COVID-19 is no deterrent for paparazzi

This long Easter Weekend has been a bombardment of messaging instructing the ‘masses’ of the necessity of staying home. This is a necessary, if not somewhat condescending, message to the vast majority of people abiding by social distancing rules. One group that has consistently flouted the new laws is the paparazzi, which has been in overdrive, snapping dozens of celebrities on their one daily outing. This is not important journalism serving the public interest: rather, it is meaningless trite that instead sends conflicting messages to its readership. It isn’t one rule for the famous and another for us. The British right-wing tabloid press has dominated COVID-19 discourse. It is now recklessly continuing the intrusion of celebrities: it is free to chastise others and never responsible for unwarranted and dangerous photographic stories.

I reckon most university students wouldn’t be caught dead admitting to sneakily going on the slowly buffering and sexist Daily Mail, but sometimes when following breaking news, you do. Many newspapers across the world, mostly tabloids, have continued to publish their go-to reality stars pictured out and about flaunting their figures and whatnot. Frequently featured are close-up shots in Central London. From only a few metres away, these shots suggest a collusion with the press, whose coverage defines celebrities without a career. Further, it shows how paps are taking risks, namely with that of their health and the health of others. The act of travelling and lurking in celebrity hotspots needlessly breaks justified distancing rules just to fill a pointless inch of the Mail’s sidebar of shame.

The Daily Mail may not be the highest-selling paper in the UK, though its online presence is dominant internationally, with refined markets in Australia and the US. I would like to assume that no celebrities are risking innocent civilians by purposefully engaging with the paparazzi and papers. Conversely, there are clear examples of notable fame-shunning stars who continue to be harassed in the midst of a pandemic. Rupert Grint and Georgia Groome, both known for avoiding attention, had their pregnancy reported on, with invasive pictures to accompany the story. The happy couple should not have been harassed, and it demonstrates that celebrities still face privacy issues even during a crisis where safety should be prioritised over views.

The argument that celebrities do not face the same issues as the wider public during the COVID-19 pandemic is gaining traction. We should be arguing that the press is failing the public by whipping up animosity and snapping celebs tottering around to show us their privilege. No one needs reminding that having a second home is a blessing. Twitter storms have characteristically blown up about household names like Kirsty Alsop retreating to their second home. However, this does not by any means justify the elaborate photographs taken of Gordon Ramsey and his family on the beach by their rural home. Shocking and far worse than any emotive individual action, is the transactional and intrusive stories made. Stories like these are really meaningless, but they do expose the classic agenda of division. It pits the metropolitan against the rural and creates a divisive issue of class division.

Further, The Daily Mail infamously juxtaposes amazing A-listers with lesser-known names, deliberately contrasting articles about good curves with bad weights, and being happily single with being all alone. The discourse about NHS workers breaking out against the government now dominates, followed by celebrities playing their roles by being shot clapping for the NHS. Is it necessary for The Mirror, The Mail and The Sun to all have shots of Declan Donnelly? Do they seriously think it makes the public respect the NHS more? The reader is commonly told some tough message from a front-line medic about where you’ll end up if you break the rules, whilst the papers continue to profit from useless stills. Establishment figures are right to preach about solidarity, but it saddens me that lives are being risked to fill a foolish celebrity quota.

Our fellow neighbours have been portrayed as selfish and culpable for chronic national problems, with stockpiling being mostly a bit more collective shopping from the wealthier areas of the country. The intrusion of the lives of celebrities is always wrong, but it must now stop in order to protect the public. Reporting on official directions from the government is more important. These articles turn the public against harmless celebrities. They erode our trust in each other: this trust in what will get the British public, and, indeed, the rest of the world, through this testing lockdown period.

Seamus O’Hanlon

Image: Pexels.

European Film Institutions call for the Freedom of Incarcerated Iranian Dissident Mohammad Rasoulof

Mohammad Rasoulof, director of the recent There Is No Evil, who was recently incarcerated in Iran, has gained international attention from many filmmakers and institutions since his Iranian jail sentence. Institutions such as European Film Academy (EFA), the Deutsche Filmakademie, Accademia del cinema Italiano-Premi David di Donatello, the Cannes Film Festival, the International Film Festival Rotterdam (IFFR) and many others have all issued statements expressing their deepest concerns.

Rasoulof was recently imprisoned for one-year according to his lawyer, for allegedly “attacking the security of the state” following the “propaganda” content in There Is No Evil. The sentence also demanded he stop making films for two years. However, it is time for more filmmakers and directors to stand up against the Iranian government’s blatant censorship and punishment of dissident art. 

Rasoulof was unable to attend the February Berlin International Film Festival ceremony to collect his prize for There Is No Evil, a film connecting four stories about involvement in the death penalty in Iran. Executive producer Kaveh Farnam claims that the wave of political executions in 1988 was what ultimately inspired the film. Rasoulof’s own experience of lack of freedom of expression has also been noted in the film’s message of freedom and humanity under despotic regimes. 

Indeed, There Is No Evil is openly critical of the Iranian justice system and its use of the death penalty. Iran has been described by international human rights scholar Javaid Rehman in his 2018 UN General Assembly address as having “one of the highest death penalty rates in the world”. According to Amnesty International, it is still behind China as the world’s leading state executioner and leads the way in terms of the execution of minors. Homosexuality is still considered an offence punishable by death in Iran. 

The stakes were extremely high for Mohammad Rasoulof and crew, and all involved knew the risk that they were taking in defying the authoritarian regime. The film was made under complete secrecy and producer Farzad Pak thanked “the amazing cast and crew who put their lives in danger to be on this film”. The creative ways in which Rasoulof clandestinely defied the regime are astounding: with Rasoulof giving direction to scenes shot in an airport through an assistant, not having his name appear on any official documentation and shooting many scenes in remote regions of Iran. 

However, in a recent statement, Rasoulof wanted the outcry to not only affect successful directors such as himself and Panahi but also to extend to the younger independent filmmaking generation who have not got the same resources to circumvent Iran’s intrusive activities. Farnam claims that many independent filmmakers have even turned to work on the Iranian government’s own film projects due to the lack of funds at their disposal. The resourcing gap is evident: the Iranian government have the helicopters and unlimited logistical and financial systems to shut down a whole street, as opposed to independent filmmakers where this is purely “impossible”.  

This is not the first time that Iran has used its authoritarian powers to ban film directors from creating dissident films. In November 2019, action from over 200 Iranian film industry members came when Kianoush Ayari’s film The Paternal House was banned a week after its opening weekend in Iran. Well known Iranian director Jafar Panahi back in 2011 was also convicted of making “propaganda films” and sentenced to 20 years film-free.  

Rasoulof and other Iranian directors continue to make films under increasingly unfair sanctions. In his powerful Berlinale Skype speech broadcasted to the world from his daughter’s phone, he highlights that everyone “can actually say no, and that’s their strength.” It is imperative not to forget about Rasoulof’s and others’ crucial films which lobby unfair regimes across the world. We must join the outspoken film institutions in support of these oppressed directors who rightfully express their freedom of expression through art.

Image Credit: Screen Daily

‘Houseparty Hack’: Viral misinformation is eroding public trust in technology

COVID-19 has decimated industries, devasted educational institutions, and butchered many small businesses. However, new technology has, again, profited, which is a recurring theme of the past few decades. As social media has risen as an alternative to mainstream media in a polarised political climate, virtual house party apps have capitalised on the limited social freedoms that the world is now facing. This sudden popularity explains the fact that Houseparty, the most downloaded video sharing app by far, is rumoured to have exploited innocent users.

This convincing, damning rumour materialised just as families all over the world, older family members included, were having virtual fun. This is, undoubtedly, a positive product from obeying the difficult quarantine laws in place worldwide. Rumours are often ugly, destructive creatures, unjustifiable in this crucial point of the crisis, but ones like this have to be scrutinised for the protection of customers, many of whom are, sadly, now financially insecure.

On Monday 30th, Sarah Manavis, writing in the New Statesman, comprehensively outlined how the scam evolved from one mysterious tweet to a viral flurry of posts. The article highlighted Houseparty’s official line that it does not possess enough sensitive information for bank accounts to be hacked. The main concern is Houseparty’s controversial USP of anyone being able to gate-crash unlocked parties.

In my opinion, that danger is controllable via the user’s own restriction of locking the party and that parents should closely monitor all online activity their children engage in. This is not on par with thousands of pounds being stolen from user bank accounts. This story has not received the same quick viral attention and, like many reliable sources of information, the truth and critical analysis are lost in the algorithms. This rumour exposes the main issue with journalism today, which is how headlines are generated by only a few unsubstantiated tweets. Twitter has dominated media discourse, providing ‘debates’ for morning shows, and, now, the platform is let loose to ruin a uniting brand. One tweet can have far too much toxic influence.

Houseparty itself was right to swiftly address the damaging rumour, but its advertisement of $1 Million to whoever can uncover the instigator is wrong. This amount of money makes it seem as though there was an actual scam, and it assumes that there is one individual or group at hand, not a complex, international web of misinformation. The company should have also realised that giving this amount of money to the first individual to uncover the ‘smear campaign’ actually focuses the attention on the lone sleuth and not the billion-dollar company incapable of defending its own security.

Houseparty is great, or bad, depending on which way you look at it, with its utilisation of phonebooks that means your normal Facebook or phone contacts automatically appear. As users, we are supposed to trust an app, which is relatively unheard of, that offers video call functions equal to Messenger or Skype. Houseparty should have gone overboard with its media response, offering education to the public about online safety, how its data is used, and providing assurance that online banking is protected on personal devices. In these quarantine times, society is currently very reliant on technology. Competent and trustworthy digital giants should, at least, work together to prevent viral misinformation that threatens quarantine communication.

Seamus O’Hanlon

Image: Pexels.

Don’t Spend A Bunch On Brunch

Let’s be honest brunch is expensive, with most places charging £8 for some avocado on toast! But it doesn’t have to be. You can make an amazing budget friendly brunch at home, and the best part is you can eat it in your pyjamas. Listed below are some delicious brunch ideas, that will definitely impress your brunch pals.  

Frittata 

This Italian omelette is extremely easy to make, and much easier than a fancy French omelette. The basis of the frittata is slow-fried beaten egg, but you can throw anything into the mix to make it extra tasty. A frittata is a great way to use up leftovers so why not try adding cheese, boiled potato, asparagus, or even sweet potato? Great served with salad and even toast.  Not only is this dish extremely budget friendly, but a great dish to share! 

Loaded Toast 

Why buy toast from a restaurant when you can make it so easily? Honestly, I’m not a big fan of avocado unless it’s encased with other flavours. Therefore, my favourite way to eat avocado on toast is to use a tub of guacamole, and to top it with a fried egg and some chilli flakes, to make an instantly flavoursome avocado on toast.  Alternatively, why not try toast topped with hummus, cracked black pepper, cucumber slices, and some rocket.

Crepes

Once you nail how to make crepes you will always have an impressive dish. My recipe: whisk together 2 eggs, and 360ml oat milk, then add 8 heaped tablespoons of plain flour one at a time until fully combined. The mixture should lightly coat the back of a spoon. Cook in an oiled hot pan and be patient with them. The best thing about crepes is that they use 3 ingredients that you probably already have, and you can top them with anything from sweet to savoury.  I like to add cinnamon to the batter, and topped with maple syrup, bananas and whipped cream. 

French toast

For us brits French toast is more well known as eggy bread, which frankly makes it sound gross. But I think it’s highly underrated. French toast can be made with very few ingredients, all of which are cheap and probably already in your kitchen. Soak your bread in a mixture of egg and milk, and feel free to add vanilla and cinnamon if you want it sweet. Fry the bread in a pan and it’ll be done in minutes! Top with anything you have, or if you really want to impress your brunch pals then whisk up some ricotta, icing sugar, and vanilla, with some chopped strawberries to make an impressive sweet topping.

Header image credit: Twitter

Food Should Be Made More Affordable on Campus

The news that Leeds Beckett University has opened up a foodbank for students who have to pay up to eighty per cent of outgoings on rent is damning evidence that austerity and its destructive consequences are not over. Food banks themselves offer practical solutions to young families, pensioners and those receiving Universal Credit. The volunteers who run the City Campus food bank should be commended for their generosity and diligence, but as expressed by Beckett’s Union Affairs Officer Charlie Hinds, this is no cause for celebration.

Food bank usage has grown rapidly, with the Trussell Trust reporting an increase of seventy-three per cent over the past five years. Food banks are used by various groups of people: families with two working parents, the ‘just about managing’ category, and now students. Students have been demoted from no fees to modest fees: bursary provision has been reduced to the current system where maintenance grants are crudely doled out with the payment being simplistically the same outside of London. Starvation is presented as a cruel option when grants just about cover accommodation. Food poverty affects academic attainment, social experience and physical health which all limit disadvantaged students upon graduation.

Looking after the physical and mental health of students should be the top priority of all parties concerned, which means that wholesome meals, fresh fruit and vegetables and variety should be treated like attendance by the University. How many personal tutors or support staff proactively enquire about the diet of their students? Universities are still transitioning from the assumption that those who get in are broadly middle class and can afford the cost of living. Positively, it now seems that some universities are addressing students who have to go without. Opening up a food bank is a great practical step. However, I worry that reliance on food banks further marginalises poor students from important socialising heavily associated with lunches and dinners that many universities push.

Universities provide specialised education to all, ranging from international students to first-generation to low income. Many have support staff to help facilitate equality of opportunity. I would argue that universities should be more concerned with affordable on-campus food that is accessible and nutritious, albeit basic, rather than whatever faddish, costly food store they put in place. The Union has a right to make a profit for its investment but it must provide affordable options that don’t exploit the lack of convenience and competition on campus.

ToastLovesCoffee in Harehills is a local establishment that the various universities in Leeds could and should follow the example of: using otherwise wasted supermarket ingredients with no prices on the menu, it makes food accessible for those on various incomes by employing a ‘pay as you can’ method. I believe that a better partial solution would be for the University to adopt this system in a few establishments as an experiment that could benefit those who could pay for their lunch but not at that price.

The University has the chance to champion dignity and inclusivity and make campus food available for all catered and non-catered if it can remember that food is a human right.

Image Credit: University of Leeds

Changing The Way The Cookie Crumbles

Statistics show that 83% of chefs in the UK are male, according to data from the Office of National Statistics employment in 2018. Time then to cover three incredible chefs, who have managed to force their way into the small demographic of female chefs to show that women can be successful in a culinary world.

Claire Saffitz

Credit: Claire Saffitz x Dessert Person, YouTube

If you don’t know Claire Saffitz then where have you been? Not only is Claire Saffitz a trained pastry chef (though she recently claimed that she’s “not a chef”) and a contributing food editor of Bon Appétit magazine, she is also a YouTube sensation! Saffitz’ stardom began in 2017 when she began the show Gourmet Makes for Bon Appétit’s YouTube channel. The show consists of Saffitz trying to recreate popular snack foods as well as elevating the foods to a more gourmet standard. Indeed the rising popularity of Gourmet Makes was due to Claire’s relatable ‘low’ moments. 

Claire herself stated in an interview with Mashable that “there’s some sort of transference from people, they get stress relief from watching my stress” and for anyone that has watched the show, this is certainly true. We are used to watching culinary shows where the chef is the expert and we absorb the information as viewers but it is Saffitz’s stressful cooking that engages us with content that has more entertainment value. It is certainly uplifting to watch Saffitz go through a rollercoaster of emotions, to then seeing her happy and relieved at the end of the episode. Therefore it is this emotional vulnerability, that is often deemed a ‘weakness’ in women, which has catalysed Claire Saffitz’s success. 

Ravinder Bhogal

Credit: The Independent

Ravinder Bhogal was born in Kenya to Indian parents and grew up in London. It is this mixed culture and heritage that has enabled Bhogal to create impressive fusion dishes and menus. Bhogal is not just a remarkable chef, for she is also an award-winning food writer, journalist, TV presenter, stylist and restaurateur. Her most impressive achievement is the opening of her restaurant Jikoni in 2016. 

Jikoni is frankly an adorable restaurant with a cosy almost café-like feel to it and is designed in an overtly ‘feminine’ style, with a pale pink colour scheme and floral designs. However, it is not only Jikoni’s design that makes a statement but Bhogal’s menu too. Jikoni offers a variety of Asian comfort food, but with intriguing British, African and Middle Eastern twists, showing off Bhogul’s accumulation of travel and culture. The dish on the menu that appealed to me the most was the “Cold Silken Tofu, Peanuts, Puffed Wild Rice, Caramelised Foxnuts”, mainly because I was very intrigued by what foxnuts were, and also because it was one of the many creative vegan options on the menu. Bhogul’s interest in developing vegan dishes came about when her niece decided to become vegan. Consequently, Bhogul created a completely vegan menu for W London, which included her niece’s favourite, caramel tofu with garlic confit rice and chilli smacked cucumbers.

Samin Nosrat

Credit: People.com

Samin Nosrat introduces herself on her website ciaosamin.com with “Hi. I’m Samin Nosrat. I cook. I write. I teach” and while it’s clear and simple, it undoubtedly does not give Nosrat’s talent justice. If you’re a foodie, or simply have access to a Netflix account, then you need to watch Salt, Fat, Acid, Heat. The docuseries is based on Nosrat’s New York Times bestselling, and James Beard Award-winning book titled Salt, Fat, Acid, Heat: Mastering the Elements of Good Cooking, which is written on the premise that the way to master the culinary arts is to master these four elements. In the Netflix series, the four elements are explored through four episodes in four countries: Italy, Japan, Mexico, and her home in California, USA. Its success led to Nosrat becoming an international culinary celebrity. 

Nosrat is recognised for her talent as well as her endearing personality (please watch “Brad Makes Focaccia Bread with Samin Nosrat” on Youtube). The Guardian even described her as someone that “projects the kind of charisma that fosters a sense of familiarity, allowing audiences to believe they know her”, which is very similar to the reason behind Claire Saffitz’s success. 

Header Image Credit: Pexels

Why Do Men Feel Uncomfortable Identifying as Feminists?

It’s 2020. In the rear-view mirror is an exciting decade, wherein the feminist movement gained more mainstream media representation than ever before. In the last decade, many male celebrities have proudly self-identified as feminists, from the likes of our beloved Prince Harry, Duke of Sussex, to Will Smith, John Legend and even tennis-player Andy Murray. Despite this progress, the majority of men remain unwilling to self-identify as ‘feminists’… not because they are opposed to gender equality, but because they simply ‘don’t see’ themselves as being feminists. According to a 2015 survey carried out by YouGov, 81% of British men believed that men and women should be equal. Yet, only 27% of them identified as feminists, despite the definition of a ‘feminist’ as ‘someone who advocates for gender equality’. This begs the question: what misconceptions do men have about feminism? And, more importantly, how has this put them off joining the fight for gender equality?

In contemporary society, our perception of a feminist has been dominated by the image of a male-bashing, bra-burning, armpit-hair-growing radical feminist who dreams of a world without men. An image by which even women have been guilty of being misled. For instance, Dr Christina Scharff, senior lecturer in Culture, Media and Creative Industries at King’s College London, interviewed a diverse group of young German and British women. Scharff discovered that they associated the term “feminism” with “man-hating, lesbianism or lack of femininity”, which influenced their rejection of the label “feminist”. If such misconceptions prevent women from identifying as feminists, one can only imagine the negative connotations some men associate with feminism. The British public were able to get a glimpse of this reality in the second episode of Reggie Yates’ BBC Three documentary series Extreme UK, where Yates shed light on the existence of the ‘manosphere’ – an underground online community of men who harass feminists and circulate anti-feminist views and misogynistic propaganda. Given the perceptions that these men had of feminism as having ‘gone too far’ and silenced the voices of men, it is apparent that there are men who misconceive the movement as a personal threat to their autonomy, rather than a threat to the patriarchal system.

The feminisation of the language surrounding the fight for gender equality also seems to factor into men’s resistance to identifying as feminists. The word ‘feminist’ derives from the Latin word ‘femina’, meaning ‘woman’, which inherently creates a false impression: that feminism has been produced exclusively for women, by women. Whereas, in reality, the feminist movement is concerned with issues which directly impact the lives of men, such as insufficient paternity leave and men’s high suicide rates. Nevertheless, the label ‘feminist’ seems to either threaten to make men feel emasculated and ‘feminine’; or men perceive themselves as outsiders in the struggle for gender equality. One example of this is Bisi Alimi, a Nigerian gay rights activist and the first-ever Nigerian to ‘come out of the closet’ on national television. In an interview with Quartz at Work, when asked if he identifies as a feminist, he refused, and referred to himself as a “fem-ally”. He stated that he “doesn’t think men should [call themselves] feminists”, since “[they] represent everything that led to the feminist movement in the first place” and, therefore, should no longer “want to still occupy that space”. Nevertheless, Bisi advocates for gender equality and “[believes] in being a responsible ally to women’s struggles”, demonstrating that some men may support gender equality, yet actively choose not to identify as feminists to avoid overshadowing the voice of women. 

One reason why men of colour, in particular, may struggle to align themselves with Western feminism is the movement’s failure to acknowledge the ‘intersections’ – the racial and class disparities – between all women. In an interview with a black male friend, he voiced that he actively refrains from calling himself a ‘feminist’ because modern-day feminism is ‘whitewashed’. He criticised, for example, the abundance of media attention focused on minor gender disparities in pay between white men and women in middle-class professions. In contrast, issues such as high maternal mortality rates, Female Genital Mutilation and honour-killings, which affect mainly women of colour (especially in the ‘global south’ – Africa, Asia, South America) are often denied a platform in mainstream media. Historically, white women have always been presented as the face of the feminist movement. For example, according to Gwendolyn Pough, a professor in the Women and Gender Studies Department at Syracuse University, the US Women’s Suffrage Movement was “really about getting the white women the right to vote”, and “when it came down between patriarchy and sisterhood, they chose patriarchy”. Essentially, when white women were forced to reckon with the intersection of their race and gender, they chose white privilege over female solidarity, setting the stage for future decades of racial exclusion within the US feminist movement. Ultimately, the journey to today’s ‘third-wave’ feminism has been rife with racial disharmony. So, it’s no surprise that a 2018 survey carried out by GenForward, revealed that 75% of all the women polled said the feminist movement has done “a lot” to improve the lives of white women, in comparison to only 60% who thought it had also achieved much for women of colour. By failing to adopt an ‘intersectional’ approach in its analysis of the female experience, the feminist movement creates the illusion that whitewashed, Eurocentric feminism is a rose-tinted, one-size-fits-all solution to gender inequality for all women—a misconstruction which seems to influence men of colour to dissociate themselves from the feminist label further.

Without a doubt, there will always be men who loathe the prospect of gender equality. However, the silver lining is that the majority of men seem to support it, even if they can’t bring themselves to reconcile with the label ‘feminist’. After all, when there are so many societal misconceptions of who iscan and should be a feminist, how can men reach a consensus on whether or not to identify as ‘feminists’?

Miss Americana: Taylor Swift’s Political and Musical Journey

This eye-opening film begins with Taylor Swift looking through her old diaries and songwriting books, immediately declaring to the audience that this film will expose Swift’s secrets, both personal and musical. Swift reminisces over the quill pens she use to write with and shows her nerdy side with excitement over her “glass quill with an inkjet”. Through all the controversy that we’ve seen Swift go through, the world began to ignore her talent. However, this film begins by bringing us back to Swift’s humble beginnings, of writing songs when she was just 13, a girl with stars in her eyes. The film engages you with home videos from Taylor Swift receiving her first guitar on Christmas morning, to Tim McGraw hitting number 60 on the Billboard charts. 

Credit: Netflix

This biographical documentary depicts Swift’s musical journey from country star to pop icon, while also showing the creation of her new mature masterpiece, Lover. What stood out for me specifically was the clear artistry behind Swift and Joel Little’s song producing process. The film not only showed how Lover was created as an apologia for Swift’s lack of political activism but significantly exposed her talent for songwriting and for making hit-worthy music. Swift is not seen writing in a flashy music studio with a big production company. Lover is instead created with just Joel Little beside her, with Taylor Swift wearing joggers and a baggy t-shirt. Indeed, the studios Swift and Little write in (Electric Lady Studios) were designed to be relaxing to encourage artists’ creativity, and most famously that of Jimmy Hendrix. Swift, unlike many big artists, isn’t hiding behind a glass screen singing into giant microphones and letting big producers do the work for her, she is part of the entire creative process. We even get to see how Swift comes up with the music video for ‘Me!’, which won three awards for Best Video (MTV Europe Music Awards), Best Visual Effects (MTV Video Music Awards), and Best Female International Artist Video (MTV Video Music Awards). 

Credit: The New York Times

Additionally, the release of this film was coupled with the release of Taylor Swift’s single ‘Only The Young’, and much like the film, it expresses Swift’s opinion on the current political climate and her place in it. We see in the film how it was Swift’s court case against David Mueller that produced this fire in her to speak up, not only for herself but also politically. However, it is Taylor Swift’s disappointment over the result of the Tennessee midterm elections, and her want to no longer be silenced by men in her life, that fortified the power song ‘Only The Young’. This song powerfully declares that Swift and any other young individual should never let their voice be silenced, because it is the young that are most affected by this political climate, and therefore only the young can understand the struggle and must be the ones to continue to advocate change. Though the young may have been “outnumbered, this time”, and may be disheartened by a bad election result, or problematic legislation, Swift tells us that this song is “basically saying resist”. Telling us to keep resisting, because social movements are gradual, and change will only come about if the young persist in making their voices heard.

No matter your opinion on Swift this is an astonishing film, that explores how female celebrities are controlled and silenced. It truly shows how passionate Swift is about human rights, and her impassioned need to use her influential voice for social and political reform. Therefore, this film will undoubtedly give anyone newfound respect for Taylor Swift, not only for her artistry but for how unfairly she has been treated over the years. 

Header Image Credit: Pitchfork