Saskia Starritt thanks the ghosts of Nouse past

Some thoughts from MUSE’s Deputy Editor Saskia on the paper’s past and present

Image: Nouse

I am well into the second prod-week of my time as Deputy Muse Editor and it is fair to say I have some urgent questions: how many soy chocolate milks can I possibly drink in one week? How long will Andy allow the office to leech off his Spotify account? Why did the li-brary change sandwich supplier? When will I ever fit in time to do my degree?

This week I have undoubtedly felt more comfortable in my role, and I hope the same could be said for the rest of the team. It is so refreshing to be surrounded by people collaborating to create something that they are proud of. I think that’s why I love MUSE so much; the editors have such passion for their section, and it’s often infectious. When the socio-economical and political reality of 2018 is so bleak, it is often these other aspects of our culture that keep me positive; Brexit is a complete mess, but at least we can celebrate wonderful literature such as Matilda, or pay tribute to the life and works of lesser known artists, as Andy has done this edition with his feature on Charles Bradley.

Speaking of lesser known individuals, this week I have found myself thinking a lot about our “ancestors” here at MUSE. As a history student, I am often frustrated by the constant focus on the huge names of the past and want to learn about the lives of ordinary people or about an unknown individual’s story that actually influenced many.

Nouse is a perfect ex-ample of such.While most people wouldn’t recognise the name of Nouse’s founder, Nigel Fountain, I wonder what I’d be doing now had it not been for that first team producing Nouse. I prob-ably would have been involved with student media, but in what capacity? Would I have found a creative outlet quite like that which MUSE offers?

So, I’d like to thank all the forgotten editorial teams of Nouse and MUSE past, who have made the paper what it is now, and for providing us with this platform as well as so many editions that continue to be a source of humour and inspiration for the team.

This edition of MUSE holds a lot of strong opinions: the Film & TV team debate the success of Aesthetica Film Festival, the meaning of York’s status as a human rights city is questioned, and a particularly scathing, but hilarious review of Muse’s latest album (as in the American rock band and certainly not us) can be found in Music.

I hope that 20 years from now, the 2038 MUSE team will find inspiration from this edition, in the same way that I have while making it.