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Day: 7 February 2013

Tyrants cage MMU Eagles

Written by Mancunion on . Posted in Sport.

The Superbowl was not the only American football event to entice the student population earlier this month, as on the same day UoM’s Tyrants took on MMU Eagles in the American football Varsity. It is a fixture in which the Tyrants dominate the history, having won the previous two contests, and they took to the field looking to maintain their 100% Varsity record and continue their push for the playoffs. The Eagles, on the other hand, rooted to foot of the BUCS league, were looking for only their second win of the season. The match took place on the artificial pitch at Burnage Rugby Club, and the handful of supporters who made the journey into the fringes of Stockport were witness to a competitive display from both sides that was worthy of the Varsity tag.

Before the tie was allowed to start, there were rallying cries from Tyrants and Eagles alike, as some even applied war paint for the battle ahead. As was perhaps to be expected, the match consisted of mostly running plays, rather than the expansive passing showcased by the top-level NFL. This was typified by the Eagles’ attempts to commence the game with an onside kick, though possession ultimately came under Tyrant control. Play continued in a typically combative fashion, with each team’s defense giving rousing support to the offense, and vice versa, when they were not in action. Though the Tyrants made more substantial territory in the first quarter, it ended with the scores still level. 

The Tyrants continued to dominate in the second quarter, but it was only through an Eagles’ fumble which they made a breakthrough; the resulting turnover leading to a quick touchdown. The offending Eagles defensive back was clearly furious with himself, kicking his removed helmet in frustration as he left the field. It proved to be a crucial point in the match, as the Tyrants pressed home their slim advantage. Tyrants quarterback Christopher Payne (who gets the Mancunion vote for MVP) was particularly effective as the Eagles’ defensive floodgates seemed to open.

The Tyrants continued their dominance over their increasingly weary opponents in the remaining quarters, and though the Eagles rallied to score 14 themselves, there were to be none of the heroics of the San Francisco 49ers. The Tyrants held on to secure their third successive Varsity triumph, though the battling Eagles also left the field with their heads held high. Both teams headed back to Manchester to enjoy their respective Superbowl parties, and with the American sport’s continual rise to prominence in the UK we feel that both clubs could do more next time out to make this one of the biggest events in the university sport calendar.

Live: Dinosaur Jr.

Written by Joe Goggins on . Posted in Music.

The Ritz

1st Februrary 2013

8/10

Dinosaur Jr. occupy a peculiar place in rock history. They certainly never achieved the kind of commercial success as Nirvana or Pearl Jam did, but their early records served as influences to both. They aren’t held up to be the musical pioneers and embodiments of cool that their peers, Sonic Youth, are, but their gain-heavy, feedback-drenched guitar sound was as instrumental in dictating the musical trends of the 90s alternative scene as anyone else’s.

It’s difficult to pin down specifically why they aren’t held in quite the same esteem, critically or commercially, as some of their contemporaries – maybe their well-documented eight-year hiatus cost them some momentum, or the heavy influence of classic rock on their material that’s kept them in relative obscurity, but a solid cult following is evidenced by a sold-out Ritz.

Dinosaur Jr.’s association with Manchester goes back a long way – the video for arguably their biggest hit, ‘Freak Scene’, was filmed in West Didsbury in 1988 – and tonight’s crowd isn’t limited to any one age demographic. Accordingly, the band line up a set that covers their entire career, opening with ‘Thumb’ from 1991’s Green Mind. They sound remarkably tight for a band who’ve been off the road for a while, with the slew of cuts from last year’s I Bet on Sky particularly sharp.

J. Mascis, a man who looks every inch the elder statesman of the alternative scene with his greyed beard and long white hair, punctuates the group’s signature sludge with incendiary guitar solos, but the real musical triumph for Dinosaur Jr. is that they’re capable of making songs that, despite often sounding like they might collapse under the weight of their own reverb, are still replete with sparkling melodies. So formidable is the Dinosaur Jr. canon at near thirty years in the business that grumbles over the setlist are inevitable, and whilst disappointingly light on tracks led by bassist Lou Barlow, its diversity is to be admired, with a cover of The Cure’s ‘Just Like Heaven’ given a rare live outing. Dinosaur Jr. are masters of their own unique live style – often imitated but, on this evidence, highly unlikely to be bettered.

From the vault: Fleetwood Mac – Rumours

Written by Jack Armstrong on . Posted in Music.

Originally released: 4th February 1977

Warner Bros.

There is a quote that goes, “a rumour without a leg to stand on will get around some other way”. On re-listening to Rumours, the 1977 Fleetwood Mac album which was re-issued last week to mark its 35th anniversary, it seems that that other way is likely to take the form of the frequent recycling and repackaging of its content.

Saying Rumours doesn’t have a leg to stand on is certainly harsh. It features as a favourite and even a classic for many, promising endurance rarely matched by the punk albums of the era it was competing with, but the refusal to wane in popularity seems inseparable from its commercial exposure. Yes, it features in the top ten selling albums of all time – along with AC/DC’s Back in Black and a Shania Twain record – but it stands to reason that sales are not always the test of quality. For me, Rumours demonstrates this perfectly. Its reissue is a blatant attempt to re-brand and recoup what expenses are left to be had, a frequented criticism of recent spates of reformations and sparsely distributed arena tour dates.

Before anyone gets me wrong, I don’t deny that there are or maybe were, some greatly appreciated songs that are unlikely to die. But on re-listening, I am staggered by the insensitivity of modern ears to its overwhelming naffness. The arbitrary guitar solo at the end of ‘Second Hand News’ the sentimental cheesiness of ‘Dreams’. Its best songs in themselves, notably ‘Go Your Own Way’ and ‘The Chain’ have had any glimmer of virtuosity sucked from them after years of synonymy with the sphere of advertising or formulaic inclusion on top one hundred albums lists. Ultimately, the critical attention and commercial success of Rumours appears unwarranted given its content, especially average when compared to previous albums. My opinion is that the early Fleetwood Mac of the Peter Green era was a better and considerably less naff band that still stands the test of time. I predict Rumours will prevail in popularity terms, but at the expense of becoming a kind of Classic Rock artefact that serves as a reminder of the unbelievable emotional upheaval the band experienced during recording.

For now, its remaining members can be assured that Rumours will continue to be lapped up by average suburban fans of anodyne dad rock. Roll on the stadium tour. I wonder if Status Quo will support them?

The best thing and the worst thing I’ve ever seen on stage

Written by Sophie Lipton on . Posted in Theatre.

The best I’ve seen: Billy Elliot

Even if dancing isn’t your forte, your mind will be taken on an emotional tap dance, back to Northern England in 1980s. This musical is bursting with talent from fabulous harmonies to intricate dances. What blew me away was the poignant scene where Billy portrays his anger through tap dance. This minimalist yet extremely moving theatrical performance paints a picture of all his emotions, speaking more clearly than words. Normally if you were fixated on someones feet it would be seen as slightly creepy, but when watching Billy’s ‘angry dance’ it becomes socially acceptable to honour them. Therefore it is no wonder this musical danced its way to success in the West End. Without such a talented cast, the musi-’cool’ would be music-‘not cool’ as they have the power to completely tamper with emotions. Honestly, I’m not a big crier, but songs such as ‘The Letter’ and ‘Electricity’ trip my circuit. It has such a powerful presence and Elton John’s phenomenal soundtrack gives Billy Elliot flesh, never failing to light up a room. Billy Elliot is guaranteed to recharge your batteries, leaving you wanting to get up and dance right out of your seat.

 

The worst I’ve seen: Wicked

This is going to shock many people, but in all honesty, ‘Wicked’ is not that wicked at all. In fact it is Wicked to have to sit through it (enough with the puns, I know). Yes the set is amazing, but everything else seems secondary to it. My eyes were constantly feasting on the scenery, because the plot was so dull with many predictable twists down the yellow brick road. No offence to women with green faces out there, like Fiona from Shrek, but I have no emotional connections to a person with a bit of green face paint on, and felt the story just corrupted ‘The Wizard of Oz’. The only performance where painted faces is acceptable and a exceedingly good watch is the ‘Blue Man Group’, and they don’t even talk. There is only one song which comes to mind when talking about Wicked, and thats ‘Defying Gravity’. To be honest, I was still stuck to my chair by the end of it, certain that I hadn’t been challenged by this downward pull keeping us on the earth, and ultimately was not blown away. If anything I wanted to sink into my chair and fall asleep. Wicked may not have defied gravity, but I was definitely defied to keep my eyes open.

Theatre Profile: Dame Judi Dench

Written by Rebekah Murrell on . Posted in Theatre.

Dame Judi Dench, born in York on 9th December 1934, 1st class graduate of Central School of Speech and Drama and advocate of drug decriminalisation.

Cleopatra, Lady Macbeth, Titania, Juliet, Ophelia, Sally Bowles, Queen Victoria, Queen Elizabeth I, Queen Elizabeth II, Lady Catherine deBourgh, M: over the course of one of the longest and most illustrious careers in contemporary theatre history, she has territorially occupied the public imagination of some of the world’s greatest, fiercest, and downright baddest women on the globe.

She’s won more Oliviers – seven – than any other performer, won an Oscar for a film she was only in 4 scenes of, has been handed five honorary doctorates and is mates with Lethal Bizzle. Introducing national hero and all round don… Dame Judi Dench.

Alongside others, like her erstwhile stage husband, Ian McKellen, Dench is one of that ilk of actors whose strong roots in the theatre translate into any medium with the unmistakeable charisma of the British old school.

Initially trained as a set designer, she’s worked with pretty much every institutional theatre company under the sun – National Theatre, Royal Shakespeare, Renaissance Theatre to name just a fraction of them – both in and behind the scenes. “In the theatre you can change things ever so slightly,” noted Dench in one interview, “it’s an organic thing. Whereas in film you only have that chance on the day, and you have no control over it at all.”

Dench’s longevity and domination in the worlds of both theatre and film pay homage to that biting wit, sharp tongue, and piercing set of baby blues, all of which she pulls off with equal gravitas on both screen and stage. Beating off solid competition from greats like Olivier and Gielgud, Dench was named ‘Greatest Stage Actress of All Time’ in 2010 by The Stage. It’s fair to say Dench has almost become synonymous with great theatre, adaptability and poise.

I mean, how many septuagenarians do you know who can rock a snapback?