The Gaudie 5th July 2021

University Professor bringing Solving ocean pollution from space Ask Dr. SexyEdits! Amazon’s Wasteful Choice IV magazine inside Features p.4 Science & Environment p.7 Opine p.8 Satire p.9 NUS Scotland secures 20 million pounds in student funding from Government Negotiations between the National Union of Students (NUS) Scotland and the Scottish Government have resulted in the agreement of further student funding. As of last month, students across Scotland have gained access to twenty million pounds of Coronavirus hardship funding from the Scottish Government. Secured by the NUS, the funds are aimed at assisting students who are facing the pernicious effects of the ongoing COVID-19 pandemic. Following a successful negotiation with the Government, NUS Scotland announced the new funding via a 14 June press release. President Matt Crilly celebrated the news, writing, ‘We welcome additional discretionary funding for students today and that the Scottish Government has recognised the dire situation facing students this summer…’ AUSA’s Vice President for Welfare, Louise Henrard, similarly commented, challenging the government to do more to assist struggling students. ‘We are glad that the Scottish Government has listened to the student voice and NUS Scotland,’ Henrard said. ‘While this is a very welcome short-term resolution, it doesn’t address the long-lasting issue of a lack of student support over the summer months. We hope that the Scottish Government can offer a long-term solution to this problem over the next few months.’ According to figures released by the government, over ninety-six million pounds has been distributed to students since the beginning of the pandemic. Higher and Further Education Minister Jamie Hepburn noted how ‘[the] additional £20 million will help to alleviate the financial pressure and stress facing many of our students over the summer period.’ Aberdeen students who are facing financial difficulties this summer are encouraged to apply to the University’s Coronavirus Discretionary Fund. by Josh Pizzuto-Pomaco Review of The Graduate (1967) Based on Charles Webb's same-titled novel, Mike Nichols's film The Graduate aired in cinemas in 1967, becoming the milestone of a new cinematic genre: that of the romantic comedy in which the protagonist's goal is not to fall in love or find the other half of his life, but to enter something even more challenging, the quest to find himself. The protagonist is 20-year-old Benjamin Braddock, a recent college graduate whom we meet a week before his 21st birthday, at a time of transition from adolescence to adulthood. Benjamin doesn’t seem ready to join the world of responsibility, as he constantly wonders about his future and what he would like to do for the rest of his life. All he is sure of is that he wants to be different from his upper middle-class family. He longs to follow his own path and not his father’s professional footsteps, as he is keen to be himself and not just a copy of his parents. At the end of his birthday party, while the uncertainty that continues to choke him grows, he begins a sexual relationship with the wife of his father's business partner, Mrs Robinson, in what seems a rash attempt to lengthen his adolescence. This relationship, which is mostly carnal, continues for months, until Mrs Robinson demands of Ben a very peculiar promise: to stay away from her daughter Elaine. That promise is broken soon, as Ben's parents force him to go on a date with Elaine. While he initially opposes the idea and tries to create a bad impression on Elaine, he eventually falls in love with her as he finds in her that he has been desperately looking for so long: someone who really wants to hear what he has to say. Mrs Robinson is outraged by this development and her reaction has drastic consequences for everyone. Story continued on IV page 2. Photo courtesy of Mireia Jimenez by Dimitra Karagiannopoulou

30.10.19 Note from the Editor: In case I don't see ya: Hello, good afternoon, and goodbye! This paraphrased quote from The Truman Show seems an appropriate one for what is both a reunion and a parting of ways. Let me explain. The last time The Gaudie published a graduation edition was more than two years ago in June 2019. Back then, the big news was that due to the scrapping of graduation fees a lot more people were actually graduating in-person. Thus it’s poetic, in a twisted way, that this year’s graduations are still online, as is this reunion with the Gaudie’s graduation edition. It is also a parting of ways for those graduating. A parting from a certain type of lifestyle, from a circle of friends that have kept us company during our time at university, and hopefully a parting from the seagulls. In most cases, we will have to virtually bid farewell to those moving on, not knowing when we might see them again. Yes, things could have been a lot better, but I think they could have been worse. Though students and staff will come and go, certain things will remain and that should give us hope. Not least, the collective student spirit which can be mighty strong when it wants to. Had it not been for this student solidarity, or esprit de corps if you want to call it that, there would not have been a No Detriment Policy (which I keep getting told is most certainly not called that). There would likely not have been a U-turn in the University charging locked down Hillhead students £75 for a box of food and, perhaps, there would be no promise to graduating students that they will get an in-person ceremony “once circumstances allow”. There is also another team player that remains even though people change: The Gaudie. Not to blow our own trumpet, but in many cases, it has been instrumental in raising awareness of the above issues and as such making change possible. Because, though you may not be a fan of it, The Gaudie is on your side and will keep highlighting student voices long after you have left. That includes holding the University to account over its promise of in-person graduations for those who did not get them. As I take the reins of this pensioner-aged newspaper for the upcoming year, it will continue to be a fighting voice for students and the rest of the University community. I hope that whether you are staying or leaving, you show some solidarity and give good media like The Gaudie a chance. In the meantime, good morning! And in case I don't see ya: good afternoon, good evening, and good night! p.2 Despite restrictions in Scotland being eased, there are still certain countries outwith the UK that are on a “UKVI red-list,” meaning the UK Government considers them to be highrisk areas. Students from these countries will be allowed to travel to Scotland but will be required to quarantine. The University of Aberdeen will be covering the cost of quarantine for these students. The Scottish Government has also announced that the vaccination programme has been expanded to cover international students. When asked about this new funding, international student Kateřina Vilèmová said ‘I think being an international student in covid times was mostly frustrating. You were secluded, many of us lost jobs and couldn't get any benefits, and couldn't go back home to their parents. So, I was just stranded here, without financial income. I did get some financial support from uni which saved me. I was doing extremely badly mental health wise because of the stress and insecurity.’ Teaching resumes for the University on the 27th September. This is expected to follow the further easing of restrictions by the Scottish Government, allowing all local authority areas to move to Level Zero, lifting all social distancing measures outside and reducing indoor social distancing lengths to one metre. These changes are expected to begin on the 19th July. Currently, Aberdeen City is in Level One, allowing residents to meet in groups of up to six from three households at home, up to eight from three households in a public place, or up to 12 from 12 households outdoors. If the changes to restrictions take place as planned, universities in Scotland may be able to increase on-campus teaching. HEAD EDITORS ([email protected]) Anttoni James Numminen Amy Smith NEWS ([email protected]) EDITOR Mireia Jiménez DEPUTY EDITOR Olivia Mackenzie Smith FEATURES ([email protected]) EDITOR Zsófia Kiszely DEPUTY EDITOR Skye MacDonald INTERNATIONAL (international@ thegaudie.com) EDITOR Isti Miskolczy SCIENCE & ENVIRONMENT ([email protected]) EDITOR Holly Ferguson OPINE ([email protected]) EDITOR Aidan Bridgeman SATIRE ([email protected]) EDITOR Ruairidh Macdonald SPORTS ([email protected]) EDITOR Alessandra Puglisi Editorial Team HEAD OF PRODUCTION ([email protected]) Mathilde Communal ASSISTANT PRODUCTION Julie Toft Carlsen Theodore Williamson COPY EDITORS Ava Bratejka Lindberg SOCIAL MEDIA COORDINATORS Charlotte Hill Mena Collin MARKETING ([email protected]) Production Team We voluntarily adhere to the Independent Press Standards Organisation (www.ipso.co.uk) and aim to provide fair and balanced reporting. The Hub Elphinstone Road Old Aberdeen AB24 3TU Tel: 01224 272980 The Gaudie is printed on 100% recycled paper. by Olivia Mackenzie Smith International Students to Receive Funding for Quarantine As the University of Aberdeen prepares to restart the academic year, students from certain countries will have the cost of quarantining covered for them. Photo courtesy of terminal5insider under CC BY 2.0

30.10.19 p.3 According to the new regulations set out by the Scottish Government, groups from four to fifteen people from two to fifteen households, depending on what level their residential area is, can now meet outdoors. Many musicians and performers have taken advantage of these new rules to start performing again. The National Youth Choir of Scotland gave its first public event since 2019 on 17th May on Calton Hill, Edinburgh and all participants were singing together while maintaining a two-metre distance, broadcasting live to BBC breakfast. They have since continued to have open, socially distanced rehearsals in locations such as Aberdeen, Glasgow, and Dunfermline. Local Aberdeen musicians have also been keen to return to in-person performing. The Elphinstone Fiddlers, a folk and trad band based in the University of Aberdeen, recently played in the Bon Accord shopping centre. Music student Abaigh McMenaman has also resumed busking at Trinity Centre. When asked what being able to busk again means to her she said: ‘The last time I played a concert was in the Angus Youth Orchestra before COVID-19 as a percussionist. If it weren’t for Covid, I’d be playing in the university percussion ensemble in performances! I’ve been going out busking because it allows me to still see the happy and smiling reaction people give when they hear my songs and it feels good because they’re my own creation.’ Aberdeen City is currently in Level One. As lockdown regulations continue to change, musicians may get more freedom to busk, have rehearsals, and put on concerts. Scottish Musicians Return to In-Person Playing As lockdown regulations are gradually eased in Scotland, musicians have taken the opportunity to start performing outside. by Olivia Mackenzie Smith Aberdeen Marrow student volunteers Guitar cased by Number Six (6) is licensed under CC BY 2.0 take part in fundraising and recruitment of stem cell donors. 40 UK Universities ‘Marrow’ societies fundraised a total of £35,580 this year and recruited more than a 1000 students as stem cell donors to fight blood cancer and disorders. Marrow societies across campuses work in benefit of Anthony Nolan’s charity that operates the largest UK bone marrow register. The student-led society Marrow Aberdeen is their representative in Aberdeen University. Hollie, a representative of Aberdeen Marrow, explained to The Gaudie how “this year has been really difficult as everything has had to be online,” however, it was possible to organise various events such as Marroween (Halloween bake sale delivery), Marrowmance (Valentine’s raffle hamper), and the ongoing Aviemore raffle. Signing up to discover if you could be a donor can be done online here. A swab would be sent to you and then be analysed. “Only a small less than 1% of people signed up will ever be a match for someone and even less will actually go on to donate, hence why it's crucial we sign up as many people as possible!” Hollie remarked. When asked about the future, she added: “We plan to set up events outside the University as well to try and get word spread to everyone as it's such an important charity.” According to Anthony Nolan, about 2,300 people in the UK need a stem cell transplant from a stranger every year which can be donated through a similar process to that of donating blood. Finally, she added how “being part of a marrow society is genuinely really good fun. It's not just rewarding knowing you’re helping save lives, but it's also good to meet new people in your own marrow group and in groups all over the country!” by Mireia Jimenez Gloved hand with sampling swab by TheRubinLab is licensed under CC BY-NC-SA 2.0 Many musicians and performers have taken advantage of these new rules to start performing again. I’ve been going out busking because it allows me to still see the happy and smiling reaction people give when they hear my songs and it feels good because they’re my own creation According to Anthony Nolan, about 2,300 people in the UK need a stem cell transplant from a stranger every year which can be donated through a similar process to that of donating blood. Only a small less than 1% of people signed up will ever be a match for someone and even less will actually go on to donate, hence why it's crucial we sign up as many people as possible!

p.4 30.10.19 University Professor bringing positivity to campus Professor Amy Bryzgel comes up with a new way to support students through negative times by Zsofia Kiszely Professor Amy Bryzgel, Director of Postgraduate Studies for the School of Language, Literature, Music and Visual Culture, has started something new at the beginning of this academic year at our university in the hopes of bringing some positivity into students lives who are completing their studies during this difficult time that the pandemic has brought on us. In our interview, Professor Bryzgel said she clearly remembers what the driving factor was in starting her video series called My Monday Message. ‘I remember it very clearly. It was the weekend before the term started, so students had already returned to campus and all you saw, all over the news, was all of this negative messaging about the students, and how they were spreading Covid and then breaking Covid rules. And, of course, that was the media. I was just so upset because I thought, the students don’t deserve this. It is the university’s job, and this is not just our university. It was all the universities’ job to set up the protection and the regulations. Students were just doing what students do: coming back, having a freshers’ week. And I thought, we can’t start the semester like this, I’m going to counteract this by having a positive message to appear on the first day of classes. I planned it originally to just have it through the semester, but it became kind of popular. I was surprised how many people liked it and followed it. I do have a core group of followers and because of that, and their excitement, it made me want to keep going with it.’ Professor Bryzgel posted My Monday Message episodes, or in short MMM, on every Monday morning to start off the week with positivity. She has been sharing her day-to-day life in the videos, what she’s cooked, where she’s been, her struggles with lockdown, and how she stays positive through it all. The content is mostly student focused, but through it all, it’s all about how to stay positive during a difficult time, which many people can relate to, whether they’re studying or not. However, MMM has served its purpose, said Professor Bryzgel, and the last episode was posted on the 31st of May 2021. The month of May was all about closures in the messages in order to bring the series to an end. MMM has clearly been a helpful tool for students at the university, and even though Professor Amy Bryzgel teaches in the school of LLMVC, the videos have reached students in other schools on campus too, as well as staff at the university. The videos have even reached the US and thus gained some international audience. When asked whether MMM is returning in the next academic year, Professor Bryzgel gave an unsure answer. She thinks there is a place for these types of videos (which I completely agree with) and therefore we can only hope for a comeback of MMM episodes in September. She’s got a few new ideas in terms of content, but since it is a time-consuming activity, it might only be a monthly message rather than weekly, if the videos do return. She was even jokingly saying that it might turn into a series with academic years being the seasons. One focus for this year for the Professor was to stay authentic and bring positivity into people’s lives. I, myself, have watched MMM and I would highly encourage other people to do so as well, especially if they are feeling low, because sometimes just watching a positive video can help lift a person’s mood. I thought, we can’t start the semester like this, I’m going to counteract this by having a positive message to appear on the first day of classes. An ode to Skye The island that doesn’t lose its magic by Skye MacDonald Throughout my whole life, the Isle of Skye has been a place I have spent my Christmases, October breaks, and summers. Being fortunate enough to have an array of relatives on the West Coast Island, including grandparents with their large family home, it has been a place that has always felt special - a place of escapism and magic. When I was born, my parents had as much adoration for Skye as I have grown to have, consequently naming me after the island - a privilege that hit me afresh this summer when spending six weeks with my grandparents on the north end of the island. Standing on a hill at twilight with wide skies stretching over the sea, the beauty of this hidden corner of the earth struck me again: it is a place that, even when alone, you feel comforted by the presence of the surroundings. The height of the hills, the vastness of the sky, the crispness of the air: they all gather together and create an environment which I can only describe as ethereal. There were many times this summer where I found myself full of joy - a sort of joy that manifests physically through the beat of heart, when you just can’t quite believe that you as a tiny human are allowed to access such beauty. Exploring new terrain this summer - finding hidden “fairy” pools, walking up into croft land where only cows and farmers have treaded, trekking through miles of heather and marshland - each place brought their own kind of stillness and magic. I think so often this magic was found in the quietness and simplicity of the places; being completely away from civilisation, they are spots that urge you to think and to marvel, to ask questions of yourself and of life, to watch as creatures littler than yourself dance in the sky or crawl by your feet. I have seen the island grow busier in recent years as holiday makers come and tour around in their campervans, I have seen the “no vacancies” sign on every bed and breakfast you pass. I used to resent this: the roads getting busier, steep cliff side walks becoming so jam-packed with people it is hard to squeeze past; hills laced with walkers that look like ants from above. When I was younger it seemed like the change in the island happened so quickly: one year my family and I were entirely alone scrambling in the now famous Fairy Glen, and the next, arriving to find multiple Rabbies vans filing one by one into the tiny car park, with hundreds of tourists following. I remember saying angrily to my mum, “This is our place, they’re going to ruin it!” But now, I understand why. I understand why people come to an Island which boasts so much majesty. I understand why, even in the tourist hotspots, people can find a retreat from their normal lives. I understand why, at the foot of the Cuillin’s, an overwhelming sense of “everything will be okay” hits you. Being on Skye for the past six weeks, I have found refuge in both the quietness of the hill in my back garden, as well as on the paths flooded with people. I think if I were to meet my younger self, I would pull her aside and say, “This is a place you can share, a place which you should let others enjoy,” and I would smile at the visitors, welcoming them, rather than thinking that any peace I had felt on the Island could be taken away. Photo courtesy of Amy Bryzgel The Storr, The Isle of Skye Photo courtesy of Skye MacDonald The height of the hills, the vastness of the sky, the crispness of the air: they all gather together and create an environment which I can only describe as ethereal.

30.10.19 p.5 Why My Year of Rest and Relaxation by Ottessa Moshfegh triumphs in our era of Covid-19 When literature aids escapism in times of unrest by Jordan Stead Ottessa Moshfegh delivers an interesting premise to her 2018 novel My Year of Rest and Relaxation - a young woman graduate desires to sleep for an entire year within the realms of her Manhattan apartment, hiding away from the rest of the world. This unnamed narrator does what she can to ensure her task is complete. With the aid of various medications, a rather ludicrous therapistturned-shaman and her VCR, Moshfegh delves into the dark recesses of this narrator’s journey in her attempt to gauge a new life after her induced sleep stasis. As we now enter just a little beyond a year of the current Covid-19 pandemic, with what seems to be a very promising light at the end of the tunnel, reading My Year of Rest and Relaxation was affirmatively resonant. For those, like myself, who endured the pandemic’s halting force over the summer of last year, all that was left to do was to wait, and in such a case, rest. In this time I found myself enduring a deep process of self-reflection and self-healing as the UK entered lockdown which is only now beginning to ease. After months of stand-still, there was nothing to do but bide the time, wait for pockets of air, and help each other as best as we could. For the case of the narrator and her sleep journey, the paralysed and lucid paragraphs produce a labyrinthine of lost time and wavering processes as she attempts an intense shedding of the past, and in waking, a renewed and worthwhile future. There isn’t any wonder as to why sales of My Year of Rest and Relaxation increased over lockdown as the narrator’s strife is no further from our own, albeit one that is self-inflicted rather than imposed. Her internalised processes and daily, halfawake practices would have hit the nail on the head for many of its readers during the pandemic, myself included. Months of bedroom zoom calls, infuriating Netflix parties and meet-ups whenever possible dominated my lockdown experience. Time melted into one indistinguishable pot. Yet Moshfegh ensures that the narrator's journey is not painted as something glamorous, nor a mindful and peaceful experience as the novel’s namesake suggests. Our narrator does not lounge on her bed and simply enjoys the process, but is met with complications during her comatose. With continuous interruptions from her self-absorbed friend and haunting thoughts of her toxic yuppie ex, our narrator’s sleep is hardly a fairytale. She is also terrorised by the death of her apathetic parents, a grief that is laced into the narrative. There is a sense of despair and confusion towards this loss, and as such is immediately recognisable when related to the bigger picture. Grief is the core of this story, as was ours, and it builds in a familiar bubble of paranoia. Furthermore, the narrator is not painted as a lovable character but rather one that is more human than we would like, thus strengthening the relevance of her story. The need to hide from the world and succumb to lethargy and perhaps older habits was my reality in the early stages of Covid-19. The pandemic was a time to rescind and unwind for some in our year of nothing; to face up and stare at harsh truths and make changes, some revolutionary. This, however, cannot be said for the majority. NHS workers, key workers and the vulnerable all have faced the horrific brunt of the virus, and the loss is unimaginable. It is a collective grief we all share that is still felt to this day with tensity. Occasionally, as the narrator dips out from her self-induced coma, she can gather only remnants of the news: earthquakes, floods, fires and government corruption. Even the headlines of the early noughties felt almost too relevant. Moshfegh also places the novel at the scrape of the millennium, with its events gradually climaxing at the September 11 attacks in New York. This rising tension in her world is thus not lost within ours, and its underlying sense of danger felt all too real. I think many will remember the sudden onslaught of panicbuyers, doomsayers, and deniers at the beginning of Covid-19’s spread, followed by the horrific and sudden rise in deaths. As I mentioned, the interest in her work two years later surprised Moshfegh, as she stated that it was an ‘unfortunate plus’ due to the book’s unflinching, isolating atmosphere; its relevance is uncanny. Like the narrator’s four walls and daily walks to her nearby bodega, our small worlds also shrunk in the pandemic, as well as our pacifying rituals. After finishing the novel myself I could not help but feel a certain pang of reflection and a sense of reality. Thus what resonates is this; that literature can help guide us through our complicated thoughts and grievances in a time where the world feels inexplicably changed. Book sales boomed amidst the pandemic, specifically with poetry, which opened up landscapes and stories that took us away from the rather terrifying ordeal we found ourselves in. It is no question that literature holds this power, thus its continuous riches. When the narrator returns to the world of the living after her deep slumber, the turn of the novel’s climate grants hope. There is regeneration and a sense of capability, promising that even through hardship the self can still survive. ‘Humanity finds purpose when it can,’ states Mosfegh in an interview with Vox, ‘it’s like flowers growing out of the cracks in the sidewalk. People can grow anywhere. That is beautiful.’ My Year of Rest and Relaxation teaches its reader that, even in the midst of the unpredictable, our capability to persist is what’s vital. Hopefully, as a new year creeps closer, we too will be wide awake. In this time I found myself enduring a deep process of selfreflection and self-healing as the UK entered lockdown which is only now beginning to ease. Thus what resonates is this; that literature can help guide us through our complicated thoughts and grievances in a time where the world feels inexplicably changed. Grief is the core of this story, as was ours, and it builds in a familiar bubble of paranoia.in a time where the world feels inexplicably changed. Photo courtesy of Kamil Porembinski

p.6 30.10.19 Myanmar military announces plans to release around 2000 prisoners Meanwhile thousands of people continue to flee the country following armed clashes by Julie Sulser Earlier this year, on the 2nd of February, the military retook power in Myanmar overthrowing the elected civilian government following unsubstantiated claims of a fraudulent election. The country’s democratic leaders were detained and later charged with a range of offences while remaining in house arrest as trials are ongoing. This coup has led to months of wide-spread anti-military protests and strikes, during which hundreds have been killed by security forces and thousands arrested. According to the Assistance Association for Political Prisoners more than 5200 people remained detained as of Wednesday the 30th of June. Now some of those may be released as state television confirmed that 2000 prisoners were set to be free later in that day. Although no list has been made public, the BBC reported it is likely to include some of those arrested in anti-government protests and for speaking out against the military following the coup. A day prior to the announcement, charges were dropped against 24 celebrities that had been on the wanted list for incitement after publicly speaking out against the coup. According to Prison Chief Zaw, 700 of the prisoners set to be freed are inmates in Yangon’s colonial-era Insein jail. Following the announcement, hundreds of people gathered outside the prison to await the release of family members and friends. Simultaneously, thousands of people across the country continued to flee following clashes between the military and armed groups. Conflicts that have been on-going for several decades in Myanmar’s borderlands have flared up following the coup and many newly founded groups have also taken up arms. Over the past month, thousands were displaced in Myanmar’s eastern Kayah state after fighting between the military and both established and newly formed armed groups in the region. UN special envoy Christine Schraner Burgener warned earlier this month that “the risk of a large-scale civil war is real.” This was echoed by the National Unity Government’s spokesperson, who warned that communities were increasingly taking up arms to protect themselves from military crackdowns and the country was “on the road to civil war.” The National Unity Government is the country’s parallel government, which was formed by pro-democracy politicians in April. On Friday, the 18th of June, the General Assembly passed a resolution urging the military to respect the election results of last November and to release political detainees as well as calling for a halt to the flow of arms to Myanmar. Myanmar’s ambassador to the UN, Kyaw Moe Tun, a member of the disposed civilian government, voted in favour of the resolution. He has previously spoken out against the coup and has rejected claims by the military that he does not represent the country. The resolution further called for the implementation of the 5-point consensus that military and ASEAN agreed on earlier in April, to halt violence and enter dialogue. by Stephanie Iancu Fighting in Tigray intensifies as Ethiopia organizes its first election since 2018 The outcome of the current national elections and the worsening humanitarian crisis in Tigray may potentially destabilize the entire region of the Horn of Africa. On June 21st, the Ethiopian population participated in the country’s first elections since the rise to power of prime minister Abiy Ahmed in 2018. The polling was initially set to take place in August 2020 but had to be pushed back due to the pandemic. However, results — which were initially expected within five days — may take longer to come in as the vote was postponed in the Northern region of Tigray, where the ongoing conflict is making it impossible for citizens to safely access the polls. The Tigray region has been reporting countless deaths, displacements, acts of ethnic cleansing, and sexual violence. To add to the ongoing horrific crisis, UN officials have warned that the region may also be facing the continent’s worst famine since the one devastating Somalia in 2011. Millions of people are in urgent need of assistance or close to being forcefully displaced. The current conflict began on the night of November 3rd, 2020, as forces pertaining to the former ruling coalition known as the Tigray Peoples Liberation Front (T.P.L.F.) — angered by lawmakers’ decisions to cut funding to the region in response to their decision to hold regional elections despite the coronavirus pandemic — staged an attack in order to steal weapons from a federal military base in Tigray. An offensive response by government forces ordered by Mr. Abiy rapidly followed, and a six-month state of emergency was declared in the region. The situation then became more complicated as several Tigrayan officers within the Ethiopian military began fighting rival governmental units in Tigray and Eritrean troops also crossed the border to fight alongside government forces. Mr Abiy was awarded the 2019 Nobel Peace Prize for his achievement in brokering a peace deal with Eritrea, — a neighbouring state with whom Ethiopia has previously fought a border war — freeing thousands of previously incarcerated political prisoners and relaxing repressive security laws. Nevertheless, his recent alliance with autocratic Eritrean leader Isaias Afwerki and his brutal offensive in Tigray seem to have durably tarnished his reputation. In November 2020, the Nobel Peace Prize committee issued a statement saying that it was deeply concerned by the developments in Ethiopia and was following them closely. There are also ongoing concerns of voter intimidation in several regions of the country. Head of the electoral commission, Birtukan Mideksa, declared that certain opposition party agents might try to deter people from going to the polls in certain areas. On June 22nd, a killing of at least three people was reported at a polling station in the region of Oromia – the country’s most populous region – where the main opposition parties called on citizens to boycott the election. It was said that the attackers declared that their goal was to disrupt the voting process, as they believed the election was a sham. Mideksa also went on the tell journalists that "If this issue is not resolved immediately, the outcome of the election might be compromised.’’ Furthermore, many regions and opposition parties have complained that government crackdowns on some of their officials have hindered them from effectively leading their campaigns and preparing for the election. Some of Mr Abiy's biggest opponents on the national stage — such as his former ally and media company founder Jawar Mohammed — are currently in detention under accusations of trying to destabilize the nation. About a fifth of citizens have thus chosen to boycott elections due to accusations of government intimation towards the opposition and attempts of voter suppression. Smaller scale conflicts and ethnically driven altercations have also been erupting throughout the year in multiple regions of the country. Oromia has also been subject to its own insurgency issues since May, as a local armed group known as the Oromo Liberation Army vowed that it would wage "total war" against Mr Abiy’s government. Mr Abiy’s mandate will be renewed if his party — the Prosperity Party — wins a majority of the 547 seats in the national assembly. But due to current unrest, there was no polling in at least 102 of these 547 constituencies and four of the country’s ten regions during this week’s vote. Despite these limitations, Mr. Abiy seems determined to go forth with these elections, the results of which he believes will be truly representative of the Ethiopian people’s will, affirming in a statement on Monday that "Democracy is not built in a day. We are laying it brick by brick.” For now, no date has been set for elections in Tigray and many remain uncertain as to the regularity of nationwide polling and counting. With Ethiopia being formerly considered as a mainly stable nation and economic and political power within the region, recent events may lead to unrest and negative repercussions on the entire Horn of Africa. Photo courtesy of Gayatri Malhotra via Unsplash Refugee Camp in Eritrea Photo courtesy of David Mark via Pixabay

arts culture fashion lifestyle food i gaming V technology Billie Eilish: The World’s a Little Blurry review Turnip Boy Commits Tax Evasion review Arts p.3 Gaming and Tech p.5 The Graduates of University of Aberdeen 2021 Life and Style p.6

p. 2 facebook/thegaudie | @thegaudie | gaudie.co.uk Together, together, come on, let’s have some fun With love, Team iV Editors Anttoni James Numminen Amy Smith IV Editors ARTS ([email protected]) Editor - Rory Buccheri Deputy Editors - Miles Stebens - Ida Sofie Wengler - Isabelle Hampton-Zabotti LIFE AND STYLE ([email protected]) Editor - Kendra Clark Deputy Editors - Kathryn Ritchie GAMING AND TECH ([email protected]) Editor - Nidhiyaa Anagananthan Production Julie Toft Carlsen Mathilde Communal Theodore Williamson Amy Smith Copy Editors Ava Bratejka Lindberg Front page Ava Bratejka Lindberg iV Based on Charles Webb’s same-titled novel, Mike Nichols’s film The Graduate aired in cinemas in 1967, becoming the milestone of a new cinematic genre: that of the romantic comedy in which the protagonist’s goal is not to fall in love or find the other half of his life, but to enter something even more challenging, the quest to find himself. The protagonist is 20-year-old Benjamin Braddock, a recent college graduate whom we meet a week before his 21st birthday, at a time of transition from adolescence to adulthood. Benjamin doesn’t seem ready to join the world of responsibility, as he constantly wonders about his future and what he would like to do for the rest of his life. All he is sure of is that he wants to be different from his upper middle-class family. He longs to follow his own path and not his father’s professional footsteps, as he is keen to be himself and not just a copy of his parents. At the end of his birthday party, while the uncertainty that continues to choke him grows, he begins a sexual relationship with the wife of his father’s business partner, Mrs Robinson, in what seems a rash attempt to lengthen his adolescence. This relationship, which is mostly carnal, continues for months, until Mrs Robinson demands of Ben a very peculiar promise: to stay away from her daughter Elaine. That promise is broken soon, as Ben’s parents force him to go on a date with Elaine. While he initially opposes the idea and tries to create a bad impression on Elaine, he eventually falls in love with her as he finds in her that he has been desperately looking for so long: someone who really wants to hear what he has to say. Mrs Robinson is outraged by this development and her reaction has drastic consequences for everyone. Alongside the excellent directing of Mike Nichols, who was already known for his wonderful adaptation of Edward Albee’s landmark drama Who’s Afraid of Virginia Woolf ? (1966), equally memorable are the interpretations of the previously completely unknown key actors in the film. Except for Anne Bancroft, who plays the seductive Mrs. Robinson in a masterful way, for both Dustin Hoffman and Katharine Ross (Elaine Robinson), this was the first film appearance – a great debut. Hoffman admirably plays the troubled young man desperate to find both himself and a cause, while simultaneously Ross’s fragile performance as the perfect girl who eventually rebels for the sake of love is simply remarkable. The film, however, would be completely different without the wonderful music of Simon and Garfunkel. The alternation of melancholy and the joyful mood of their melodies enhances the emotional tension and takes off the cinematic experience. by Dimitra Karagiannopoulou girl in red - if i can make you go quiet (2021) by Ava Bratejka Lindberg I f you think the name girl in red sounds familiar, it might be due to the incredible success of her single ‘we fell in love in october’. It charted at no. 14 in the US and cemented 22-year-old Marie Ulven Ringheim as an essential artist in the queer parts of social media platforms like TikTok and Twitter. Her debut album, if i could make it go quiet, proves that girl in red is here to stay, and that there is no doubt about her abilities as a songwriter and overall musician. At first glance, the album might seem like your standard lo-fi album, but at a closer look, one must admit that the album is so much more. Undoubtedly, the magnum opus of the album – and of girl in red – is ‘Body And Mind’, in which lyrics, that express complete hopelessness in realising personhood, are paired with an upbeat repetitive synth beat. The track encompasses the feel of the album; it is simultaneously a further exploration of girl in red’s usual subject matter, struggling with mental illness and dark emotions, and proof that she has not run out of things to say. if i could make it go quiet leaves you feeling grateful that Ringheim did not succeed in doing so. Concluding in the instrumental ‘it would feel like this,’ the album leaves you with a yearning for more of girl in red’s unique sound and lyrics. Collage by Anttoni James Numminen and Rory Buccheri The Graduate (1967)

p. 3 arts | new releases In the Heights (2021) by Toma Klusaite Billie Eilish: The World’s a Little Blurry (2021) by Julie Toft Carlsen An open and honest look at the years leading up to Billie Eilish’s multi-Grammy-winning debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, this documentary serves as a fascinating time capsule for the newest generation of teen pop idols. It’s a tale as old as time: a young singer skyrockets to fame, goes from small venues to sold-out stadiums within a year, and is thrust into ruthless public scrutiny while they’re still forming their own identity. Eilish belongs to a generation that grew up with social media, and not only owes her popularity to the internet, but is also undeniably affected by the direct access critics have to her, even in her most vulnerable moments. At just 14, Billie Eilish and her brother (and co-producer) Finneas posted their song ‘Ocean Eyes’ on Soundcloud in 2015. It quickly went viral and Eilish signed a record deal with Interscope Records, with whom she released a range of singles and an EP ahead of her debut album. Her image was carefully curated by a team of publicists with the aim of making her fans feel like they knew Eilish like a friend, through her deeply personal songs and consistent presence on social media and streaming services. In The World’s a Little Blurry, Eilish speaks about her mental health with an honesty that sets her apart from popstars that came before her. Gone are the days of artists shyly referring to the pressure they’re under; Eilish shares her personal journal with the camera and talks openly about self-harm and suicidal thoughts. This might be seen as teenage rebellion intended to shock those around her, but her emotional intelligence shows a level of maturity for the young singer. The respect shown to her by the adults in her life as she explores her identity is inspiring; her ability to articulate what she’s feeling and her willingness to share this with the audience adds an emotional depth and a different understanding to the songs featured in the documentary. Cutting between the candid amateur footage and professionally shot performances, seasoned documentarist R.J. Miller has created a film full of empathy, brutal honesty, and history-making music that is sure to impress seasoned fans and newcomers alike. Billie Eilish: The World’s a Little Blurry is available to watch on Apple TV+. In The Heights (2021) by Sian Wallace I t wasn’t until I was walking home that I realised what a large part of my life I had been missing by not being able to visit the cinema for so long. When I got back from an advance screening of the film adaptation of In The Heights, I described the experience to my flatmate as a twoweek-long holiday to New York in the space of two hours. In The Heights draws on the experiences from Lin-Manuel Miranda’s youth. It follows protagonist Usnavi and his friends and neighbours as they chase dreams of breaking free from expectations and from fears associated with being of Latin-American descent and living in an impoverished area of New York. My knowledge of Lin-Manuel Miranda’s work and history is very limited, so this particular film would not be my first choice for my long-awaited return to a theatre seat, but, as it turned out, the story contained just the kind of jubilant energy that I had been missing the most. I maintain that this production may be one of the best examples of a stage musical translated into film. The bright set and attentively choreographed dances caught me pleasantly unaware – especially in the wake of problematic and misjudged attempts such as Tom Hooper’s 2019 adaptation of Cats. I had a clear sense that In the Heights was a labour of love, involving its audience, and distracting us effortlessly from how empty the theatre felt due to distancing measures. I am sincerely hopeful that Anthony Ramos’ screen-stealing performance lands him the pick of starring roles for years to come. In the midst of cameos and call-backs to Lin-Manuel Miranda’s most famous work, Hamilton, Ramos holds his own. He leaves behind his legacy as Miranda’s on-screen son and leads a shining cast full of strong examples of what the next generation of acting and musical talent has in store. I highly recommend this tale of perseverance and hope in the face of financial difficulty, as a perfect summary of the sense of community that has been rising in most of us during such anxious times. This film is only one example of the deluge of new media in the pipeline, held back from release by the crisis of the pandemic. I eagerly await further projects due for release over the coming months, as the world starts to slowly return to normal and reflect on the isolation that we have all experienced. In The Heights is available to watch in cinemas.

p. 4 arts | reviews Bell-bottoms, Aerosmith, and Matthew McConaughey – what more could a coming-of-age film need? Richard Linklater’s 1993 Dazed and Confused is a feel-good comedy that focuses on the last day of a Texan high school, May 28th, 1976. The film is typically defined as a ‘no-plot’ film as it lacks a singular classic narrative structure of disruption/resolution/ equilibrium. However, I personally disagree and argue it presents multiple narratives as it follows the lives of various characters over this singular day. This is exactly what makes the film so loveable and why it gained the title of ‘cult classic’: so much, yet so little, happens. The storylines of cherished characters such as Pink, Slater, Wooderson, and young Mitch Kramer feature freshman hazing, young love, bowling alleys, and driveins. Linklater has perfected the seventies aesthetic and it is a visually stunning film. There is an overall graininess to the look, and the wash of sepia tone and frequent Steadicam use sells this seventies ‘slice of life’ despite being filmed in the nineties. The fashion is era-appropriate and entirely enviable. Costume designer, Kathy Dover, sourced all the clothing as authentic seventies vintage garments and was not afraid to utilize flares, leather vests and tube socks. The set design is also remarkable, notably the bowling alley car park cluttered with Cadillacs and Chevrolets. Lastly, the film features a great soundtrack, with music from Black Sabbath, Aerosmith, Alice Cooper, and Rick Derringer. All these elements combined result in an immersive experience that leaves you with a sense of nostalgia. In a 2019 Guardian interview, Linklater theorized, ‘Teenage life is more like you’re looking for the party, looking for something cool, the endless pursuit of something you never find, and even if you do, you never quite appreciate it.’ Living in the moment and enjoying your youth is what this film promotes, and this is why I regard it one of my favourite films of all time. Considering the theme of graduation, I would recommend this film as a reminder that having your entire life planned out in your twenties isn’t a necessity. Take each day as it comes and all will be ‘alright, alright, alright.’ Dazed and Confused (1993) by Leah Singer Formerly known as Marina and The Diamonds, Welsh singer-songwriter MARINA, released Ancient Dreams in a Modern Land on June 11th creeping, within a week, onto my ‘On Repeat’ playlist. In a Billboard interview, the singer explained: “Songwriting has always been a vehicle for me to explore things that challenge me, and things that upset me.” The album exemplifies this approach. Heartbreak, female empowerment, systematic oppression, witchcraft, political movements, mental health and several other topics are explored and condensed into ten handcrafted songs. MARINA masters pairing unsightly truths with alluring melodies. The initial three songs address the struggles of a male-orientated society through a feminine lens, backed with memorable electro-pop sounds in true MARINA style. ‘Man’s World’ is lyrically striking in its discussion of female power being rejected in a masculine society and is indicative of her songwriting genius. The star sings, “Burnt me at the stake, you thought I was a witch centuries ago/ Now you just call me a b*tch”, expressing how outdated this rejection of powerful women is. The album has the signature electro-pop overtone which is anticipated by long-term fans. However, MARINA’s music unveils a degree of vulnerability, especially with ‘Flowers.’ The song sorrowfully reflects how a simple act could have saved her relationship and was quickly awarded a place on my crying playlist. ‘New America’ carries powerful messages which draws on the Me Too and BLM movement. In a Nylon interview she notes, “If I get a backlash from it, then that’s just something that I have to accept that comes with writing about certain subjects.” Marina using her platform to spread awareness on important issues while simultaneously producing art is admirable, and shows the various shades of talent she possesses. The album is a true gem to be added to her already iconic discography, and I eagerly anticipate her future artistic endeavors. MARINA - Ancient Dreams in a Modern Land (2021) by Leah Singer G reta Gerwig’s directorial debut Lady Bird is a touching and intriguing coming-of-age story which surpasses many films of the genre. Featuring the brilliant Saoirse Ronan and Laurie Metcalf, this semi-autobiographical comedy-drama earned Gerwig five Academy Award nominations and is undoubtedly one of the best motion pictures that capture the essence of the challenging transition into adulthood. Set in Sacramento, California in 2002, not long after 9/11, the film focuses on a rebellious, slightly awkward Christine (Saoirse Ronan), or “Lady Bird” as she insists on being called. The self-chosen name suggests her desire to move away from her teenage self and redefine herself. Lady Bird is an artistically inclined senior at a Catholic high school who, despite her family’s financial struggles, dreams of breaking away from her old life and attending a liberal arts college on the East Coast, somewhere ‘where culture is.’ During the school year, Lady Bird joins the school theatre production, gets romantically involved with two very different guys (Lucas Hedges and Timothée Chalamet), attempts to befriend the popular kids, and consequently falls apart from her best friend Julie. While this sounds like a typical coming-of-age film, Gerwig did an excellent job making the characters and their relationships seem realistic and believable. Although the central theme of the film is Lady Bird’s coming of age, the complex relationship between Christine and her overworked mother, Marion (Laurie Metcalf ), is given equal attention. Their relationship is so significant that at one point the screenplay’s working title was Mothers and Daughters. Both actresses performed their roles superbly, effectively conveying both mother and daughter’s inability to understand each other and communicate their feelings, without neglecting the tenderness between the two. The well-crafted aesthetic of memory, believable characters, and the extraordinary performance of the actors have all certainly added up to the success of the film. However, it is the fresh insights and the subtle aspects, like Julie’s crush on a math teacher, that make Lady Bird worth watching. Along with the protagonist, the viewers are taken on a journey of self-discovery, dramatic first relationships, complicated friendships, and family life, which eventually ends in newfound revelations and worldview. If you are looking for something easily digestible yet witty and insightful, Lady Bird should be on your watchlist. Lady Bird (2017) by Toma Klusaite

p. 5 gaming and tech | veggies by Nidhiyaa Anagananthan I f you are like me and love to scorn at corrupt governments, you will more than love Turnip Boy Commits Tax Evasion. This actionadventure puzzle game is not all about pedantic clichés such as making subtle commentaries on society. Rather, you find yourself playing a trouble-making turnip, who after failing to pay taxes, takes on odd jobs in a village full of talking vegetables and weapon wielding candy. The gameplay provides an endless amount of cute surprises from surprisingly nimble earthworms to magical fish that swim on land – all out to kill you (unsurprisingly) - all the while throwing you into a very unsubtle fest against unscrupulous authority. The gripping plot of Turnip Boy Commits Tax Evasion unravels a deep conspiracy about the village and the graves it’s built on – there are literal graves too, and one riddle-obsessed pumpkin that helps you grave-dig among other worryingly illegal activities you would expect from a game that is faithful to its title. The barrage of equally creepy and adorable talking vegetable fruits aid, but mostly hinder you from completing absurd tasks assigned to you by the monoclewearing Mayor Onion. Among these, the amount of lost food-babies needing to be rescued is not even the most surprising thing – the people of Veggiville are shockingly bad at protecting their belongings, inanimate or otherwise. The curve balls (sometimes literal, or are they pallets?) thrown at you though, are done with good humour. Jojo’s Bizarre Adventure and other strange pop culture references aside, the game never fails to indulge in ridicule of contemporary politics. Not to give away too much, but there may be a manifesto involved that is totally unrelated to pickle gangs and very much related to one radioactive vegetable. I was gleefully surprised at the former prospect. And like me, you will find yourself immersed in this world of terrorizing lollipops and refrigerated condiments till you stop questioning the nuances of foodrelated jokes and sarcastic quips about tax evasion. Understandably the memetic humor is not for everyone and targeted towards a mostly younger audience. Yet, the nostalgia from the Zelda-like gameplay may still draw you in. The soundtrack nicely complements the cute graphics of one hat-obsessed Turnip Boy and his adventures. It is, however, simplistic in its action sequences, with only a couple of weaponizable objects – mostly a wooden sword and later on a shovel (as you would expect from a game with your not-so regular garden-variety of monsters at every stage). The game is also quite short for what it costs. Steam discounts aside, the gameplay can be completed in one sitting, and leaves you feeling empty once done. That, however, can be a testament to how interesting the plot is. Turnip Boy Commits Tax Evasion is a short enjoyable action-adventure puzzle game with offbeat quips about corrupt governments and cute talking fruits and vegetables. Turnip Boy Commits Tax Evasion A review Image Courtesy of Turnip Boy Commits Tax Evasion Press Kit at IGDB Turnip Boy Commits Tax Evasion

p. 6 life and style | university by Kendra Clark and Kathryn Ritchie 1. What is your fondest memory from Aberdeen University? 2.What are your plans after graduation? 3. What was your favourite year of University and why? 4. What did you find most helpful in getting through online learning? Kirsty Pratt - Master of Mechanical Engineering and Management 1. My time with the Women’s Football Club. Too hard to pick just one moment but I would say general training and coffees. The club offers so much opportunity to meet new people and get involved with sport. This year I helped out on the committee which was enjoyable but challenging but was it was great to give back to the club. 2. I plan to move into a role within engineering which lets me experience different opportunities as I think it is important to gain lots of experience in different areas where possible. I plan on staying in Aberdeen and hopefully my next career milestone will be getting my Chartered Engineer status. 3. I would say 4th year was really enjoyable as I felt that my course transitioned from purely theory to a lot more application of knowledge to real problems. This was also the last year I spent with my friends from football and my course in Aberdeen as many of them left to pursue their Masters, or work elsewhere. 4. Personally, I found online learning easiest when I set myself a routine and strict goals for the day or week. I tend to write a list at the start of the day of what I need to achieve that day and work through it systematically, and to use similar learning methods/note taking styles that I found useful previously. Remembering to step away from the desk and taking a break for something you enjoy is very important, doing things like a workout or a walk or talking to a friend. Robyn Gibb – MA History 1. I enjoyed first year, meeting everyone in halls. It was really good to be able to enjoy the new experience of being at university without having the pressure that came in later years. I also enjoyed seeing my friends Rosie and Becca getting attacked by seagulls at Hillhead. 2. I am going to be entering the graduate entry law degree at the University of Aberdeen, so I am going to enjoy another year of seagull attacks. 3. Third year was probably the best for actual university work because it gave me the chance to focus mainly on my degree without having to take any other subjects. Although did not love the pressure that came with the new importance of the marks. 4. Keeping in contact with other students going through the same thing. I could not imagine going through lockdown and online learning without contact with anyone else and I feel really grateful for my friends and my boyfriend. Gregor Eeles - Bachelors in Chemistry 1. My fondest memory from Aberdeen university would have to be the time I spent in the labs of my course. Being able to work with people I both knew and didn’t know was a fun experience. Working through group projects where we produced results and presented to other people was made a lot more interesting rather than working alone as well as having additional support to get through any work that was hard to understand. 2. My plans for after my graduation after a small break is to begin searching for a small job relating to lab work as a chemist and gain some experience being in a lab in a working environment. Afterwards I would look to focus my career in a more industrial form of chemistry job in the producing/ manufacturing of drugs/products in a lab environment. 3. My favourite year of university was second year which happened to be the first year I attended at Aberdeen university. It was my favourite as it was a new experience getting shown around campus, having the option to choose my own sub classes, as well as experience a different method of teaching compared to school or college 4. The biggest help of online learning was being able to work from a family home rather than a flat in Aberdeen, as the most recent year was done during a pandemic it helped by being able to spend my time working in a comfortable environment whilst also saving money for the future. Rosie Benny - MA (Hons) in Politics 1. Probably sat in the bobbin after a Gaudie meeting, surrounded by people and just not overly worried about anything. 2. My plans after graduation are just trying to find a job, hopefully staying in Aberdeen. University has made me realise how much I love it here. 3. My favourite year of university was probably second year as I had all my friends established and the grades don’t matter all that much 4. Online learning was generally awful but I think the support of individual lecturers has helped me the most The Graduates of Aberdeen University 2021 We speak to the 2021 graduates about their best memories during university, their future plans and their experience with online learning. Photo courtesy of Pexels via Pixabay The Graduates of Aberdeen University 2021

30.10.19 p.7 A World Health Organisation open draft document on their Global alcohol action plan (2022-2030) faced strong criticism across the media where claims were made that WHO intended to ban women aged 18 to 50 from drinking. Like a viral video of a family of bears chilling in a backyard swimming-pool, the story proliferated across news outlets and online. From the Metro: “WHO says all women of childbearing age shouldn’t drink alcohol,” the Telegraph: “WHO accused of sexism after saying women of childbearing age should not drink alcohol,” Mail Online: “WHO says women of childbearing age should be BANNED from drinking alcohol.” Many of these articles raised valid points about the sexism present in calling for an alcohol ban for women when there are also substantial health and societal costs from men drinking, and a culture of critiquing women having fun in ways men are often not subject to. The original statement these articles are drawing from is certainly possible to be misread and likely should have been clearer as it reads: “Appropriate attention should be given to prevention of the initiation of drinking among children and adolescents, prevention of drinking among pregnant women and women of childbearing age, and protection of people from pressures to drink, especially in societies with high levels of alcohol consumption where heavy drinkers are encouraged to drink even more.” This statement, picked out of the 37-page draft, is one of two mentions of the dangers of prenatal alcohol exposure, and comes under the heading “Advocacy, awareness and commitment.” This should be a hint that, in context, this paragraph refers to advocacy and awareness not legislation. Removed from that context though, the wording of this statement is certainly open to problematic misinterpretation, especially in a social context, where women, and pregnant women in particular, face pervasive judgement and stigma, as well as regulatory and medical frameworks which can be harmful to pregnant individuals in treating them as an incubator for a child and not fully respecting their wellbeing and agency. Therefore, better wording and clarification is still important to avoid adding to that stigma. The goal of this is to raise awareness of the risks of alcohol to the developing foetus for those who might become pregnant, and choose to carry that pregnancy to term. Foetal alcohol spectrum disorders are a range of disorders characterised by physical development issues such as abnormally formed head/limbs, stature, and cognitive impairments such as learning difficulties. A notable concern is that the risk for these conditions is greatest in early pregnancy before people even know they are pregnant. Therefore, raising awareness pre-pregnancy is important to consider. Dr. Sadie Boniface, Head of Research at the Institute of Alcohol Studies, commented that “it is a shame that one phrase in the report has hoovered up so much attention.” She added, “this is the launch of an ambitious plan to address alcohol harm, and alcohol is the top risk factor globally for mortality among fifteen to forty-five-yearolds.” In a clarifying statement to Full Fact, WHO representatives noted that they do not recommend abstinence but rather “the current draft of the WHO Global action plan does not recommend abstinence of all women who are at an age where they could become pregnant… it does seek to raise awareness of the serious consequences that can result from drinking alcohol while pregnant, even when the pregnancy is not yet known” they also reiterate that this is a first draft. Hopefully future drafts will be amended proportionally to be clearer and centre the autonomy of women in awareness campaigns that involve them and that not every woman of childbearing age will, wants to, or can have children. WHO said what now? by Sam Johnson A WHO draft providing guidance to raise awareness to reduce alcohol use and pressure to consume needed to be clarified after papers claimed it was a sexist drinking ban for women. Photo courtesy of Creative Commons A new use of NASA satellites has been developed by the University of Michigan. Researchers found that NASA satellites can track microplastics in the ocean from space. Professor Chris Ruf and his team did this by looking at previous models where microplastics have been found, showing that they tend to be in smoother water, then examined areas of the ocean where the water was smoother than would be expected in the high wind, therefore, allowing scientists to track the movement of microplastics through these ocean patterns. The system they used is made up of eight small satellites, known as the NASA Cyclone Global Navigation Satellite System, which analyse wind speeds above the ocean and use radar to monitor the roughness of ocean waves. The reason why this is so important is that microplastics are a huge cause of ocean pollution. These tiny bits of plastic are no bigger than 5 millimetres in size, and are formed when plastic is broken down by the movement of the ocean and the sun’s rays. The associated danger is not only that they destroy and damage various sea life and ecosystems, but also that they can release toxic chemicals that can be consumed by fish which then enters the food chain, building up through trophic levels, and eventually reaching humans. One difficulty in removing them is that they do not settle in one area, as the ocean currents move them across huge spans of water. This is where the satellites should be a great advantage. However, another difficulty still remains as microplastics are all different sizes, weights, and variants of plastic, making them difficult to clear. This new use of technology should provide valuable data as to where they accumulate making it easier to remove them. Despite this substantial development, the USA alone created 42 billion kilograms of plastic in 2020 and it is predicted that, by 2040, the world’s microplastic pollution will be 3 metric tonnes a year. This highlights the fact that the world’s population has a long way to go before plastic pollution is eradicated or even mostly removed from the world’s ocean. Hopefully, this new use of satellites will make waves in saving the ocean from microplastics and improve current ocean pollution levels. Solving ocean pollution from space by Holly Ferguson NASA satellites can track movement of microplastics in the ocean. Photo courtesy of Unsplash The reason why this is so important is that microplastics are a huge cause of ocean pollution. One difficulty in removing them is that they do not settle in one area, as the ocean currents move them across huge spans of water. This is where the satellites should be a great advantage. Photo courtesy of Creative Commons

p.8 30.10.19 DISCLAIMER All opinions expressed in the opine section are those of the authors of the articles and do not necessarily represent views held by The Gaudie, AUSA, or any company which advertises in The Gaudie. The 22nd of June saw the release of an ITV investigation into Amazon’s operations in Scotland and the wider UK, specifically in its Dunfermline fulfillment centre in Fife. Undercover footage revealed that millions and millions of Amazon stock is being destroyed each year, meaning that products brand new and unopened are being wasted—in bulk quantities. Despite the pandemic pushing up the demand for home office supplies and personal computing products, much of the waste includes top end laptops, headphones, and other electrical equipment, as well as Covid-19 personal protective equipment. Massive, town-sized fulfillment centres such as the one in Fife hold stock on behalf of companies all around the world. They do this so that products from abroad can be closer and more convenient for customers in Scotland and the north of England. If products sit idle in the warehouse for long enough, Amazon gets rid of them because the cost of holding them begins to outweigh the profit from selling them locally. Since many of these products are coming from overseas, it is more economical to destroy the products than return them to the original vendors. Amazon likely is not panicked about the current media narrative surrounding this story and ones like it. Most revolve around the disposable and hyper-consumerism culture we currently live in; many choosing simply to blame the consumer instead of the mega corporations that control the wealth in this country and around the world. This is a tired narrative. One that we all know. It’s all good and well if we’re doing our part, but what about Amazon? Shouldn’t this be a two-way street? Will more environmentally friendly alternatives be effective for us and Amazon? Consumers often go out of their way for inconvenient yet green alternatives, but corporations such as Amazon do not. Additionally, blaming consumers is going to get us nowhere in battling the climate crisis because unless we all band together and perform some collective action brilliance, mega corporations continue to hold the power—as they do right now. As a market failure, market solutions cannot be the answer. Government action is needed. Rather unhelpfully, the Scottish Government has a weak record on holding global corporations to account. Millions of pounds of public money have gone directly to Amazon through Scottish Enterprise, a governmental authority encouraging business in Scotland. Moreover, the government has spent £4.7 million for AWS (Amazon Web Services) in the last financial year. Funding needs to reach elsewhere in Scotland—small businesses and local communities would benefit tenfold compared to corporations already showering in profits, especially after the pandemic’s devastating blow to the economy. Further increasing Amazon’s monopoly is the last thing we should do. Consumers cannot be to blame. To do so is disrespectful. To do so is to ignore the exhausting advertising and carefully crafted consumerism culture created by corporations making people think they must buy more and more. Amazon may say they have set up in Scotland to serve the increasing demand, and they may say they do their charitable part, but in reality this demand has been crafted over years and years, and in reality their operations are, ultimately, about increasing profits, not providing a quality and sustainable service. We need bolder action by the government, who claim to be so progressive, in stripping the subsidies they reward Amazon for exploiting the planet and workers alike. By brushing aside the statistics and tacitly supporting the media narrative of consumer blaming, the waste problem will remain unchanged. Amazon’s Wasteful Choice Scotland’s lack of action against big corporations means the narrative of blaming consumers will continue Colston, where he belongs Following the wave of BLM protests across the UK, the statue of Bristolborn merchant Edward Colston was thrown into the River Avon by protesters, where it remained for months. What was unknown to the vast majority until the day of the protest was that Colston built his merchant empire and legacy on the Atlantic slave trade, being actively involved in the trafficking and killing of thousands of people. His legacy can still be seen throughout Bristol, from streets and squares across the city to Bristol’s main cultural venue—Colston Hall—all bearing his name. What the statue highlights is a real cultural issue. Instead of being discussed critically, Colston’s figure was standing proud in broad daylight asking to be celebrated. This statuesque glorification is what made his legacy go unchallenged… Until BLM protesters shook things up. After spending months on the bottom of the river, the gloriously graffitied statue re-emerged and was placed on display at M Shed, an exhibition space part of Bristol Museums. You may wonder: how does the museum environment work differently in terms of glorification and celebration than his previous spot on Colston Avenue? The answer is: Colston’s statue has changed. First of all, the way of displaying it has changed. Colston went from a stone plinth elevating him above Bristol’s citizens, to a reclining position, lying supine in the exhibition space. Secondly, the surface has changed. It has gone from clean bronze touched only by time and pigeons to his face and body covered by red and blue graffiti added by protesters (which have been untouched purposely for the exhibition). These are all signs that Colston is now exactly where he belongs. In the museum space people are being explicitly asked to engage with the statue as they never have done before. The new positioning and surface are asking for a new type of commitment, and the labels given by M Shed can contain much more information than one, afterthought plaque placed in the city centre ever could. In presence of the colourful graffiti every viewer is being pushed to interrogate themselves on how this statue of a 400-yearold still bears signs of our present and in what terms it can exist in 2021. Cleverly, the exhibition is called What Next? reminding us that history can and must be interrogated going forward. Had the statue been reinstated on its public and shameful platform, no further debate would have arisen—making years of fierce fights for racial equality and challenges to hypocrisy fade into the background. Thus, I believe Colston has now been put where he belongs. It is time we stop excusing racist figures like Colston on the sole basis that they have shaped our heritage and culture. We have reached a time in which we can equally acknowledge and challenge the past and the men and women who made it. If not for the sake of celebrating a collective past, then for the sake of building a collective future. by Rory Buccheri Why Bristol’s infamous statue is better suited in a museum Photo courtesy of KSAG Photography under CC BY-NC-SA 2.0 In the museum space people are being explicitly asked to engage with the statue as they never have done before. This statuesque glorification is what made his legacy go unchallenged. by Aidan Bridgeman Photo courtesy of Chris Watt for the Scottish Government under CC BY 2.0

30.10.19 p.9 DISCLAIMER All opinions expressed in the satire section are written primarily for the sake of comic value and therefore do not necessarily represent the honest views held by the author, The Gaudie, AUSA, or any company which advertises in The Gaudie. Gaudie Magazine Special Edition: Ask Dr. SexyEdits! Dear Dr. SexyEdits…help!!! I wrote this pancake recipe piece a while back and the Gaudie newspaper editor told me it was absolute rubbish! I really love writing, and the recipe is my grandma’s own, passed down to generations with love and passion… but when I sent my article the editor seemed so unimpressed?? Instead of giving me pointers on how to improve, the editor was just really mean and told me no one would ever gulp 2000 words of that trash... I’ve always wanted to work as a foodie journalist and this was the first article I ever wrote! Should I give up? Am I not talented enough? I am literally in tears! Dear Reader, First of all: the way you phrase the start of your query does not particularly encourage me to read it. Any of our readers writing for advice should learn to word their little sob-pamphlet properly. Abandon the pathos for the love of Jupiter! Let my person be your inspiration: be apathetic, emotionless, careless - in short, almost dead. Remember, it is in the editor’s interest to be nurturing yet authoritative. I am known among my minions to be both when I grace them with suggestions on their work. Secondly, I do not see, m’dear, what the fuss is all about! If the editor said your piece was rubbish, I am sure it was! Who cares if you were just writing your first article? And who cares if editors are there to edit? What, you expect them to actually do the job? Surely it would be cheeky of you not to submit an already perfect piece, ready for print. If you don’t, of course they would be mad! Jolly good, I, too, would be infuriated if I was asked to do my job without going berserk! Lastly: are you literally in tears? I believe you only mean figuratively. Give up already. Do us all a favour! Authentically, Dr. SexyEdits Here to help, regardless of being invited or not! After coming under fire for her comments on race, Home Secretary Priti Patel has reached a compromise on the debate of allowing the competitors to express themselves, so long as there is a presence of authority on the field. Athletes of Euro 2020 have expressed solidarity by taking the knee to protest racial injustice. This has been met with criticism by some of the fans who “are white and do not see the problem,” said a member of the booing crowd. For statements such as these, football enthusiasts have been targets of personal attacks, something which they do rather well on their own. One of such victims is the Home Secretary Priti Patel, who believes that these people have a choice whether or not to boo on “gesture politics”. After all, she is an expert on such matters, most notably the raised middle finger to the refugees crossing the English Channel being the most symbolic gesture of her career in said politics. After backlash for her comments, she has put out a press release stating that “fans are who make the sport possible,” but is willing to bring concessions. “To ensure that it is an expression with meaning, it must display the existence of said discrimination,” said the secretary in the press release. For example, footballers can kneel at the beginning of the match, provided that a match attendee is able to hurl racial abuse at the player as they do it. This, according to the Secretary, ensures the gesture serves a purpose, providing comfort to the match attendees. She would also like to extend these benefits mainly to the significantly marginalized groups of our day such as police officers, politicians, and businesspeople as a form of “societal healing and transcending cultural borders,” which she is understandably very keen on. Other gestures the Home Secretary would like to replace would be the raised fist, which now must be depicted as heading downwards, ideally with handcuffs, to show how tough on crime the government is. This new and updated approach is intended to be practiced on future England matches, with the white footballers having the “choice” to opt out of the program if they would like to. Home Secretary Supports Footballers Taking the Knee Under Special Circumstances Home Secretary Priti Patel, seen here personally checking the immigration papers of people of colour just hours after proclaiming racism doesn't exist in the United Kingdom by Jakub Ivanecky Priti Patel visits a mPesa kiosk by DFID - UK Department for International Development under CC BY-NC 2.0 Selwyn Toogood's Beauty and the Beast by Archives New Zealand is licensed under CC BY 2.0

p.10 30.10.19 Picture this: twenty-two players ready to fight on a football field for the most important European competition. Sixteen players kneeling. In one of the two teams, only five people out of eleven take the knee. More than half of the squad remains on their feet. Except there is no need to imagine it because it happened on Sunday the 20th of June at Stadio Olimpico in Rome before the game between Italy and Wales. The symbolic gesture against racism has become an important feature in sports to send a powerful message and to show support to the Black Lives Matter movement. However, the gesture seems to have caused strife amongst football fans, and even teams, with some players deciding to kneel while others stand up. The most common critique of the gesture is that it represents a specific political view and that politics should be separated from sports, as well as criticising the message as pure tokenism without bringing meaningful changes to the on-going battle against racism. What happened with the Italian team on Sunday sparked a big controversy to which defender Leonardo Bonucci replied that the team would have had a meeting to make a final decision on whether to kneel or not during the following game against Austria. Despite the declaration from David Alaba, captain of Austria, that the team would take the knee in the next game, Italy’s captain Giorgio Chiellini declared that his team would not. Interviewed a few minutes before the match, Chiellini said: “I don’t think there has been any request. When there will be a request then we will kneel to show solidarity to the opponents, not for the campaign itself which we don’t share. We will fight racism in other ways.” (as reported on La Repubblica) If on the one hand it might be admirable that Italy’s team and the Italian Football Federation (FIGC) are committed to fight racism with other initiatives outside the field, — as they claim — there are many wrong things in Chiellini’s words which beg further clarification on the Azzurri’s position. If the team truly does not share the values of the BLM campaign, what brought Andrea Belotti, Matteo Pessina, Emerson Palmieri, Rafael Toloi, and Federico Bernardeschi to kneel in the game against Wales? Moreover, arguing that an anti-racist gesture must first be requested from the opponents only highlights the confusion that truly reigns amongst the Italian team on the matter. Furthermore, the idea that a symbol might not have its own weight and carry a powerful message, as suggested by Chiellini’s words, is deeply incorrect. Football — as many other sports — is rich of symbolic gestures (e.g. sharing a minute of silence to pay respect for someone’s death, or the rainbow armband worn by some teams’ captains). The assumption that the kneeling cannot contribute to the fight against racism in its own way is simply false, especially when there is the chance to set an example for the whole country while — virtually — the whole world is watching. Supporting the opponents if they make a request for kneeling emphasizes that the Azzurri have not fully understood the importance and the meaning behind the gesture and the BLM movement itself. In a sport like football, tightly woven to the Italian culture and followed closely by millions of people in the country, the National Team could have used the visibility and platform given to them to show that Italy is truly committed to fight racism. The situation is further complicated by FIGC’s position on the matter. The Federcalcio, in fact, has communicated that while they are firmly against any form of racism and discrimination, it is up to the players to decide what to do and how to expose themselves as a team in regards to events like the support of the Black Lives Matter movement. Similar thoughts were expressed by Italy’s head-coach Roberto Mancini, who said that the most important thing for him is the freedom for the players to make up their mind on the matter without any external imposition. However, these declarations do not improve Italy’s position–if anything, they show a hypocritical attitude from the FIGC and the desire to sweep the situation under the rug as soon as possible. The critiques from the broader public did not wait long to arrive. A lot of fans have been disappointed by the Azzurri’s lack of support for the BLM campaign and former Prime Minister of Italy, Enrico Letta, admitted: “Watching on Sunday, with all the Wales players kneeling and only five of the Italian players doing it, it was not a good image.” As the Euro 2020 moves forward, it is impossible to predict if any other declaration from the Italian team or the FIGC will be made. At the moment, Italy has informed that the Azzurri will take the knee against Belgium on Friday in support of the opponents, but the team is still set to take the distance from the BLM movement. Italy, you have a problem with racism by Alessandra Puglisi From captain Chiellini to the FIGC: the storm that has shaken up the Azzurri at Euro 2020 Photo courtesy of FIGC via Wikimedia Commons Photo courtesy to Biser Todorov via Creative Commons