Calling time on club nights that sexualise women

Why are women still expected to look a certain way?

I’ve never been one for clubbing, which is rather surprising seeing as I’m a second year undergraduate at one of the most notorious "party" universities in the country. I chose to attend Liverpool for its atmosphere, its culture and the course they offered. However, many of my housemates chose Liverpool solely on its reputation as a good night out. Fair enough - I can appreciate having a good time with your friends, getting progressively pickled and ending the evening with an oily, unappetising commodity (human or takeaway). It is the treatment of girls in clubs that I cannot abide, in particular the way club nights portray young women in their promotions.

A good example is the "Carnage" club nights that are held across the country. These nights are seen as the holy grail of clubbing by student partygoers. For ten pounds you receive all sorts of discounts and free entry into various clubs around your city. You also receive a "Carnage" T-shirt, which girls are expected to customise into crop tops, the shorter the better. Note how it is expecte - it really isn't the done thing to wear your "Carnage" T-shirt the normal way. If you don’t look like Britney Spears circa "Baby One More Time" you have a problem.

This is just the tip of the iceberg as far as what girls are expected to wear and act on such nights. The recent Carnage night held here in Liverpool had the lovely theme of "Pimps and Hoes". The boys naturally got to dress up in a very tongue-in-cheek manner, with fur coats and feathered hats. On the other hand, the girls’ costume theme was not designed to be humourous but humiliating. When the theme of the night Liverpool city councillor Rachael O’Byrne commented: "The theme is blatant in its sexism and perpetuates the objectification and exploitation of women." She went on to argue that "Themes such as 'Pimps and Hoes' sexualise women's inequality and creates a climate where rape culture is trivialised."

You could argue that the promoters of Carnage were not trying to degrade women, but were rather empowering them with a theme that promotes a pride in how you look. However, it is clear to see that this is not the case. Club culture itself promotes the sexualisation of women to a degree where it is no longer about empowering women, but degrading them.

It is worse to think that these club nights are aimed predominantly at Freshers, some of whom are quite shy and find the thought of dressing like a "hoe" to be the stuff of nightmares. Not only is it distressing but it conveys a message to new students that dressing like that on a night out is the status quo and if you do not conform then you will be outcast. Therefore, not only are these nights degrading but they are also playing on the insecurities of young women.

It is only ever empowering to wear attire like this if you yourself have chosen to wear it. The Slut Walk marches contrast well with the concept of Carnage nights. The women who participated in the marches were told not to wear provocative clothing at night as it could lead to rape. They marched for the right to wear what they choose without fear of intimidation or violence. It should always be about choice, not about what club promoters or the media think you should look.

As a young woman, I could do without the constant bombardment of advertisements, magazine covers and music videos inferring how I should look. I, along with the majority of young women in this country, constantly feel the pressure to be thin and "beautiful", or whatever society’s idea of beauty is.

Tina Fey explained society’s skewed view of how a woman should look when she said "Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits."

Note how she also uses the word "expected". Why are women still expected to look a certain way? Club nights that are aimed at students are only serving to continue the objectification of women and promoting the idea that this is the way it should be.

Club night themes often perpetuate the objectification and exploitation of women. Photograph: Getty Images
Photo: Getty
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Michael Carrick is the “Geordie Pirlo” that England misunderstood

The Manchester United legend’s retirement announcement should leave Three Lions fans wondering what if?

That it came in the months leading up to a World Cup arguably added an exclamation point to the announcement of Michael Carrick’s impending retirement. The Manchester United midfielder, who is expected to take up a coaching role with the club afterwards, will hang up his boots at the end of the season. And United boss Jose Mourinho’s keenness to keep Carrick at Old Trafford in some capacity only serves to emphasise how highly he rates the 36-year-old.

But Carrick’s curtain call in May will be caveated by one striking anomaly on an otherwise imperious CV: his international career. Although at club level Carrick has excelled – winning every top tier honour a player based in England possibly can – he looks set to retire with just 34 caps for his country, and just one of those was earned at a major tournament.

This, in part, is down to the quality of competition he has faced. Indeed, much of the conversation around England’s midfield in the early to mid-noughties centred on finding a system that could accommodate both box-to-box dynamos Steven Gerrard and Frank Lampard.

As time went on, however, focus shifted towards trequartistas, advanced playmakers and those with more mobile, harrying playing styles. And the likes of Jack Wilshere, Ross Barkley, Jordan Henderson and Dele Alli were brought into the frame more frequently than Carrick, whose deep-lying capabilities were not utilised to their full potential. That nearly 65 per cent of Carrick’s England caps have come in friendlies shows how undervalued he was. 

In fairness, Carrick does not embody similar characteristics to many of his England midfield contemporaries, including a laudable lack of ego. He is not blessed with lung-busting pace, nor is he enough of a ball-winner to shield a back four solo. Yet his passing and distribution satisfy world-class criteria, with a range only matched, as far as England internationals go, by his former United team-mate Paul Scholes, who was also misused when playing for his country.

Rather, the player Carrick resembles most isn’t English at all; it’s Andrea Pirlo, minus the free-kicks. When comparisons between the mild-mannered Geordie and Italian football’s coolest customer first emerged, they were dismissed in some quarters as hyperbole. Yet watching Carrick confirm his retirement plans this week, perfectly bearded and reflecting on a trophy-laden 12-year spell at one of world football’s grandest institutions, the parallels have become harder to deny.

Michael Carrick at a press event ahead of Manchester United's Champions League game this week. Photo: Getty.

Where other players would have been shown the door much sooner, both Pirlo and Carrick’s efficient style of play – built on patience, possession and precision – gifted them twilights as impressive as many others’ peaks. That at 36, Carrick is still playing for a team in the top two of the top division in English football, rather than in lower-league or moneyed foreign obscurity, speaks volumes. At the same age, Pirlo started for Juventus in the Champions League final of 2015.

It is ill health, not a decline in ability, which is finally bringing Carrick’s career to a close. After saying he “felt strange” during the second-half of United’s 4-1 win over Burton Albion earlier this season, he had a cardiac ablation procedure to treat an irregular heart rhythm. He has since been limited to just three more appearances this term, of which United won two. 

And just how key to United’s success Carrick has been since his £18m signing from Tottenham in 2006 cannot be overstated. He was United’s sole signing that summer, yielding only modest excitement, and there were some Red Devils fans displeased with then manager Sir Alex Ferguson’s decision to assign Carrick the number 16 jersey previously worn by departed captain Roy Keane. Less than a year later, though, United won their first league title in four years. The following season, United won the league and Champions League double, with Carrick playing 49 times across all competitions.

Failing to regularly deploy Carrick in his favoured role – one that is nominally defensive in its position at the base of midfield, but also creative in providing through-balls to the players ahead – must be considered one of the most criminal oversights of successive England managers’ tenures. Unfortunately, Carrick’s heart condition means that current boss Gareth Southgate is unlikely to be able to make amends this summer.

By pressing space, rather than players, Carrick compensates for his lack of speed by marking passing channels and intercepting. He is forever watching the game around him and his unwillingness to commit passes prematurely and lose possession is as valuable an asset as when he does spot an opening.

Ultimately, while Carrick can have few regrets about his illustrious career, England fans and management alike can have plenty. Via West Ham, Spurs and United, the Wallsend-born émigré has earned his billing as one of the most gifted midfielders of his generation, but he’d never let on.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.