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Day: 11 November 2014

Review: Barnum

The circus juggernaut Barnum rolls into Manchester with sparkly staging and spectacular stunts, although I cannot begin to imagine the scale of the health-and-safety headache that these performances bring with them. “Whatever you do, do it with all your might.

Work at it, early and late, in season and out of season, not leaving a stone unturned, and never deferring for a single hour that which can be done just as well now.” These are the words of P T Barnum, the illusive con-man who turned into ‘the greatest showman on Earth’. This was, of course, a title he originally gave to himself, but the fact that a dazzling new production of a show based on his life is currently playing in Manchester, 123 years after his death, you’d be hard-pressed to find a reason to argue with him.

Phineas Taylor Barnum, born on 5 July 1810, grew up on a farm, where he developed his sharp eye for the trade and, ultimately, learnt how to make a profit by ripping people off in the nicest possible way. On his road to stardom, he worked as a clerk, set up his own newspaper and served a sixty-day prison sentence for libel. His sharp career change to circus master came when he heard about a 161-year-old ex-nurse of George Washington, whom he paid $1,000 for and promptly took her on the road around the United States. After this quick money-spinner, there was no stopping him; he spent the rest of his life developing his acts, determined to become the most famous showman of his time.

The life and career of P T Barnum was eventful enough to be transformed into a two-and-a-half hour stage show, which first opened on Broadway in 1980. This latest version, produced by Cameron Mackintosh and Michael Harrison, resides at Manchester’s Palace Theatre as part of its 31-week UK tour. Legendary entertainer Brian Conley takes on the title role of P T Barnum superbly, owning the venue from the moment he steps out onto the stage at the beginning of the first act right the way through to the show-stopping finale.

Barnum is just one of a handful of productions that Brian has taken centre stage in, having previously played the roles of Caractacus Potts in Chitty Chitty Bang Bang, Bill Snibson in Me and My Girl and Fagin in Oliver!, not to mention the numerous TV shows and albums that have earned numerous awards.

Ever the professional, Brian effortlessly pulls off the role of Barnum, commanding the stage in a manner that could only be expected from the ring master of one of the world’s most famous circuses. With singing, dancing and bags of audience participation, Brian is the perfect choice to lead this glorious cast. Now he is able to add circus skills to his already impressive list of talents, although when it came to walking the tight rope during the press night, he didn’t quite manage it the first time round. Ever the professional, he recovered and made light of the situation with hilarious consequences.

Linzi Hateley takes on the role of Barnum’s wife Chairy, the woman who desperately tries to keep him grounded throughout the twists and turns of his rollercoaster career. Linzi has previously starred in the West End with the RSC, played alongside Jason Donovan and Phillip Schofield in Joseph And His Amazing Technicolour Dreamcoat, and is the only female ever to have taken on two roles in Les Miserables, having played both Eponine and Madame Thénardier.

Kimberley Blake, who found fame on Andrew Lloyd Webber’s BBC talent search How Do You Solve A Problem Like Maria?, is outstanding as Barnum’s first signed act, Swedish opera singer Jenny Lind, whilst Landi Oshinwo, who was also discovered by Lloyd Webber, deserves credit for convincingly portraying a woman who is 127 years her senior.  With Mikey Jay-Heath as Tom Thumb, John Stacey as the Ringmaster and a wonderfully talented ensemble, this show is a circus of delights that offers a theatrical experience which is a little bit different from many of the other mainstream musicals. So, don your top hat, ‘come follow the band’ and grab your tickets before they all do a disappearing act.

Barnum is at the Palace Theatre, Manchester until Saturday 15 November.

Manchester first city to recieve Hiroshima seedlings

On Wednesday the 5th of November Manchester celebrated its 34th anniversary of becoming the world’s first nuclear free city, which placed Manchester at the forefront of the campaign to abolish nuclear weapons.

To mark the occasion the Lord Mayor of Manchester Councillor Sue Cooley received seedlings grown from seeds taken from trees that survived the atomic bombing of Hiroshima in 1945.

Despite the bomb reducing Hiroshima to ashes and resulting in the deaths of as many as 140000 people, six ginkgo trees growing 1 – 2km from the atomic blast survived, despite suffering extreme damage. From these burnt trunks new buds soon began to emerge, leading the gingko to become a symbol of hope in Japan.

These trees still thrive today and it’s from these that the seeds were taken and have been nurtured into seedlings at Hulme Community Garden Centre. Manchester is the first UK city to receive the seeds in recognition of its role as Vice-President of the Mayors for Peace Programme. The programme was founded by the former Mayor of Hiroshima, Takeshi Araki, aiming to provide a way for cities around the world to work towards the total abolition of nuclear weapons.

Taking inspiration from the saplings, the 5th of November also saw the launch of Project Gingko—a major art project for local school children. The project will ask children across the city to create artwork in response to the destruction that took place in Hiroshima and contemplate the way nature can help regenerate damaged cities.

The artwork will be exhibited next year and the creators of the winning entries will be invited to attend a special event with representatives from Hiroshima.

Lord Mayor of Manchester Councillor Sue Cooley said: “To receive these seedlings from tress that survived the atomic bomb is truly breathtaking, they serve as both a pertinent symbol of hope and a reminder that we stand proud, with our fellow Mayors for Peace cities, in the call for nuclear disarmament.

“I hope that local children are inspired by these symbolic gingkos and look forward to seeing their art work next year. Involving young people with the Mayors for Peace programme is vital in making sure the next generation do not forget the immense destruction nuclear weapons can cause and do not repeat the mistakes of the past.”

Careers Corner: Founder of ‘Facebook’ for Student Employability

Kloodle is Facebook for student employability and graduate recruitment: a LinkedIn for students. Creating a profile allows you to upload blogs, videos and coursework to showcase your experience and skills with employers and universities on the website. The company was founded by four friends: Phil Hayes, Andrew Donnelly, John Coles and Stephen Cheetham and they’re based in Bury, Manchester. I spoke to Phil about Kloodle’s beginnings and the challenges facing graduates in today’s job market.

How did Kloodle get started?

Kloodle was born out of an idea I had during my penultimate year at university. I had known Andrew since being at school, having played cricket against him. We discussed the idea of Kloodle over a beer (or eight), and the journey was started. Andrew worked at a local college, where John Coles attended as a student. I had known Steven since I was eight, again through cricket.

What were you all doing before Kloodle?

I had commenced teacher training. Steven had got back from Australia after spending four years as a professional cricketer at Lancashire. Andy worked at a local college, and John had just finished his A-Levels.

How many students/employer/institutions does Kloodle have using it at present?

We started actively marketing Kloodle to students in September, and have three thousand five hundred students on the site. We have up to twelve employers, three universities, and three sixth form colleges. Our aim is to concentrate our efforts in the North West, creating a “Kloodle microclimate”. We have the best student population right on our doorstep, so we want to see Kloodle work well in Manchester before expanding our efforts nationwide.

How did you find out about the Dragon’s Den style event in Manchester?

Heavy duty googling! We knew that with our commitments (I have two children, was working towards my PGCE and played as a professional cricketer in the local leagues) that we would require funding to allow us to concentrate on the business full-time. We thought that there must be a similar “offline” version of Dragon’s Den, and there turned out to be one right on our doorstep!

You had to wait six months after you pitched at the Dragon’s Den style event to get an offer of £150k. Why was that?

These things take time. After our initial pitch, we had follow up work to do with the investors who had shown interest. We kept in touch with emails about our progress, to ensure that they didn’t forget about us!

How would you recommend someone to prepare for pitching a business concept to potential investors?

It’s fairly hard to give advice: if you have success with something you start to believe that you’re suddenly the world’s authority! Firstly, tell a story. Kloodle was born out of my frustration with the world of graduate recruitment, how I thought a first class degree would be the road to a great career. The reality was much more difficult. Portraying the need for our business within the context of a story allowed us to highlight the need for our platform. Secondly, investors are there to make money. In your pitch, you have to show them how they’re going to do that. Take them on a journey from them putting money in, to them making a big return. If you cannot do this then you will probably struggle. Thirdly, you have to display passion. Investors want to know that you’ll be busting your guts for their money.

Explain specifically how Kloodle matches employers to students.

When employers post jobs on Kloodle, they’ll be presented with students who’ve created the most relevant evidence. If a job requires a lot of teamwork, people who’ve written teamwork blogs and uploaded videos and work that demonstrate a degree of teamwork, will appear highest on the employer’s radar.

A reason for the idea of Kloodle coming about was your frustration at being rejected by graduate schemes which discriminate on UCAS points. Is this a common feature in graduate schemes?

Yes, with good reason. Graduate employers receive thousands of applications, and have to whittle the numbers down somehow. They do this by using what the University’s Director of Student Life, Dr Paul Redmond calls “weapons of mass rejection”. It’s not uncommon for students to be rejected for one spelling mistake. But, there must be a better way. If Google can rank the millions of pages by the content they possess, Kloodle can rank students based on the skills they possess.

Do you think Kloodle would have been able to get up off the ground if you hadn’t got the £150k investment?

I would like to think I would’ve been able to, as I like a challenge. The difficulty was that I had so much else going on in my life. Between planning lessons and looking after kids, I was going to the office most nights until 1am and then getting back up at 5am. The investment money allowed me to concentrate full time on Kloodle. The goal is to increase the value of your business as much as possible before seeking external funding.

Which universities’ freshers’ fairs were you at this year? What did students think of Kloodle?

We attended Manchester, Manchester Met and Sheffield.

The student reaction was pleasantly surprising. We had to compete with nearby Domino’s Pizza and Baa Bar’s free shots! The mention of “employability”, however, engaged students. Students now are more than aware they are paying £9k a year for the privilege of university and any avenue that helps them gain meaningful employment after their degree is worth exploring. Manchester deservedly has a great reputation because of the calibre of students it attracts.

Why should employers pay to use your service, when they can recruit by themselves, e.g. at graduate fairs and their own schemes?

Recruiting students is an expensive business. To attend a graduate fair costs a lot of money. Only the biggest employers can afford to engage on such a level. We’ve spoken to employers who only attend fifteen fairs due to cost. Kloodle will allow them to access more students at the other one hundred+ universities they cannot attend.

Live: Sharon Jones & The Dap-Kings

23rd October

Albert Hall

8/10

To experiment a little, I went to Sharon Jones and The Dap Kings not knowing what to expect. That means having not listened to any of this soul superstar’s back catalogue on Spotify. Well, no expectations wouldn’t be entirely true. I knew that Sharon Jones was signed with Daptone Records, a funk and soul label from New York that has a knack for producing soul legends. In fact this night should really have been a double headline spot, with fellow Daptone member Lee Felvus and his support band The Expressions taking to the stage prior to Sharon Jones. Lee Felvus proved to be phenomenal support, pouring so much heart and passion into songs like ‘Faithful Man’ and ‘Wish You Were Here’ that you could almost forget that this man is 64.

With anticipation running high, The Dap-Kings and backing singers, sans Sharon Jones, took to the stage. The band deserve real credit, for they are all extremely talented musicians in themselves. Throughout the set they bounce from song to song by simply exchanging nods with each other.

Sharon Jones emerges onto the stage after two songs, and proceeded to play a set that nearly blew the roof off the Albert Hall. Her incredible vocals raised serious questions, like how her vocal chords are still perfectly intact after a lifetime of playing gigs and touring. Her set of soul scorchers, combined with the booming backing brass sections of the Dap Kings made it impossible not to get swept up in the wave of euphoria she radiated. Later in the set, Sharon described her bitter battles with cancer, chemotherapy and surgery. Yet here was a woman who shook off her shoes in order to dance the funky chicken, and more, around the stage and into our hearts. If this performance didn’t have soul, I don’t know what does.

‘From Gradgrind to Graphene’

“Manchester is bolshie. Manchester’s noisy, opinionated, tough.”

Professor Jeanette Winterson could easily have been talking about herself rather than the city in which she was born. Her passionate, fiery and strongly thought-provoking Foundation Day Lecture was fitting of a place that has always encouraged boldness and self-assurance. A Mancunian by birth, but, based on this talk, also by spirit, mentality and values.

‘Manchester: from Gradgrind to Graphene’ was the name of the lecture. Two words, both beginning with the letter ‘g’—one that represents everything the city stands for, the other the complete opposite.

Prof. Winterson delivered a captivating talk, taking the audience on a whirlwind tour of the radical history of both the city and the university.

This was a powerful lesson on what defines Manchester. Not United or City. Not Oasis or the Stone Roses. Manchester is about imagination and creativity. Manchester is about equality and freedom. And perhaps most importantly, Manchester is about values and vision.

Prior to calling Professor Winterson to the stage, Dame Nancy Rothwell opened proceedings. She proudly spoke of how far the university has come since its formation in its current form ten years ago.

A short video followed, in which various members of the academic community here at Manchester spoke about what the university means to them. Professor Brian Cox described it as “a place where you can wander through knowledge.” “It’s progressive, egalitarian, humanistic and inventive,” said the Manchester-born Professor and TV personality Michael Wood.

Finally, it was Professor Winterson’s turn to take to the stage. She began by stating that she was going to time travel, “to see where we were, to think about where we are, and to imagine where we might be.”

Her first destination was the year 1824, the location being the Bridgewater Arms, a pub in the city centre. It was here that a meeting of a group of local businessmen resulted in the formation of a mechanics institute. It proved to be a huge success.

Prof. Winterson moved onto the next key moment in the University of Manchester’s history. It came in 1846, when a cotton merchant named John Owens left a sum of roughly £100000 to set up a college in his name. This college would have no religious affiliation, nor would it be exclusive to the very wealthy. No attention was paid to anyone’s place on the social ladder.

“That’s the Manchester egalitarian spirit at work,” stated Prof Winterson. But this wasn’t the first time such a thing had occurred in the city. Three centuries earlier, Manchester Grammar School had been founded on the same principles. Pupils were admitted based on their academic ability, regardless of their rank in society.

This is the Manchester way. In this university, and indeed this city, everyone is encouraged to learn. People are given the freedom to discover their own place in the world, rather than be told it.

Dreaming big is another Mancunian characteristic and Owens College epitomised this when they sought university status in the 1870s. They were widely mocked and ridiculed throughout the country for this, with The Times concluding that “anyone educated in Manchester would certainly be dull and probably vicious!”

Looking at where the University of Manchester is now, I think we can all afford a wry smile.

Then, it was time to bring the first titular ‘g’ word into the equation. Mr Thomas Gradgrind—the archetypal Dickensian villain. The notorious headmaster is the main antagonist in Charles Dickens’ tenth novel, Hard Times.

In the book, Gradgrind is a keen advocate of the factory-line model of education. He views his pupils as nothing more than pitchers that he can fill up with facts and statistics, then send out into the world to make money. In his eyes, finance comes first, and any form of imagination is a direct hindrance to this pursuit of profit.

Prof Winterson described him as a “reverse Rumpelstiltskin, spinning the reckless and unknown golden possibilities of his pupils into the same old useful straw.”

The ethos of Manchester couldn’t be further from the values and beliefs that Gradgrind tries to instil into his students. “Creativity is a way of life,” said Prof Winterson. “It’s the human condition.”

“Play is how every child starts in life and how every good idea is born.”

The second ‘g’ word was then introduced. Graphene—Manchester’s favourite and most famous super-material, which saw Professors Geim and Novoselov awarded the 2010 Nobel Prize in Physics.

Unlike Gradgrind, graphene is a perfect illustration of Mancunian ingenuity and inventiveness. It was discovered, by Geim and Novoselov’s own admission, as a result of “mucking around in a lab.” It was a triumph for imagination. A triumph for curiosity. And a triumph for the values that define Manchester.

“If you can’t play, you can’t imagine,” stated Prof. Winterson. “And if you can’t imagine, you can’t create. Creativity, in different doses and dilutions, belongs to us all.”

Perhaps the most important part of Manchester’s history was the Industrial Revolution, and this was the topic that Winterson turned to next. From an economic perspective, it transformed the city into the modern powerhouse that it is today. But in social terms, the effects weren’t quite so glorious.

“It made humans miserable in an entirely new way,” she explained, “by taking away their humanity.” People were simply viewed as hands that could operate machines. In Gradgrind’s eyes, a utopian paradise. The mills and factories propelled the city to the forefront of modern Britain, but repressed the iconic Mancunian spirit.

People worked for up to 14 hours a day, six days a week. There was no room for creativity or thinking, just the same procedure of mind-numbing activity in a bid to produce as much cotton as possible.

Charles Dickens had a love/hate relationship with Manchester. “That’s normal,” remarked Prof Winterson. He was both disgusted and mesmerised by the endless rows of mills, bellowing vapours out high above the city’s skyline.

Although he may have found it hard to believe when he first visited, Dickens shared the suppressed values held by every Mancunian. “He believed in the soul of the working man and woman, the imagination of the working man and woman,” explained Prof Winterson. In the same way, Manchester believes in the soul of every resident. The university believes in the soul of every student.

Manchester is a city of firsts. The first true canal in England opened here in 1761. The first passenger railway terminal at Liverpool Road allowed workers to travel. The first steam-powered mill. The first free school. The first public library for scholars. The list goes on.

“We’re still carbon-based humans in a silicon world,” said Prof. Winterson. “And soon, a graphene world.” Moving back onto the second ‘g’ word, she said, “Manchester is on the cusp of a new identity. Graphene will alter the fortunes of this restless, changing city once again.”

It appears that a second Industrial Revolution is on its way. And what a revolution it promises to be.

Prof. Winterson then journeyed further back in time, to 1301, when the town received its charter. Even back then, Manchester was at the forefront of equality. Most medieval settlements had restrictions on upstart entrepreneurs, but not this town. Here, anyone was allowed to do business.

More of Manchester’s radical history was brought to the attention of the captivated audience. She spoke about the infamous Peterloo massacre of 1819, when Tory militia charged into a huge crowd of people demanding the reform of parliamentary representation, killing 15.

The creation of the Free Trade Hall, which, in the words of Prof. Winterson, is “the only building in England to be named after a principle,” was another important moment in the city’s rich history.

The Guardian was founded here, and the values that it still holds today remain synonymous with those of the city. “The Guardian has always been a campaigning newspaper,” she emphasised.

“Whatever your politics, you should be proud that Manchester, and only Manchester, has produced a world-class news media that has never been bought out or bought off.”

Perhaps the truest embodiment of the Mancunian spirit was displayed during the height of the slave trade in the United States. Manchester workers deeply opposed slavery, despite the fact that their living and working conditions during the Industrial Revolution were no better.

The mill owners weren’t particularly bothered about all this. Through their Gradgrind-tinted glasses, all that mattered was that they got their cotton. They weren’t true Mancunians though.

The real Mancunians were the workers. In 1862, they staged a huge anti-slavery demonstration at the Free Trade Hall. The protest struck a chord with our friends across the Atlantic. Lincoln himself wrote a letter to the people of Manchester, thanking them for their efforts.

Politics formed a key part of both the talk and the Q&A session that followed. At times it almost felt like a rally, with Professor Winterson delivering a passionate warning against austerity and the far-right. She spoke of her fear that her beloved North West might fall into the hands of UKIP and throughout the lecture she slipped in a few clever digs at the likes of Farage.

“We can’t give up on politics, especially not here, in Manchester, with our history,” she warned. “Manchester is a fighting town.”

As a native of a Labour stronghold, Professor Winterson didn’t hold back with her views of Conservatism. A few less than complimentary remarks about the Thatcher years were included in the lecture, most of them deliberately unsubtle.

There was a moment in the Q&A session where someone suggested that Manchester should identify itself with more capitalistic views, in addition to its traditional left-wing values. Her response was fiery, mesmerising and nothing short of majestic—it was almost a rallying cry for a new socialism.

Lastly, Professor Winterson spoke about the role of universities in Britain’s future. “Universities are places of enquiry,” she stated. “Universities do much more than supply the labour market with graduates.

“Universities are in the business of creating futures, all kinds of possible futures, through innovation and human capital.”

Her stirring words were a stark reminder of the university’s responsibility to encourage its students to think for themselves. “Politics is too important to be left to politicians,” she stated.

Professor Winterson concluded her outstanding talk by declaring that Manchester could and should be at the forefront, but only if it stuck to its core values. “Don’t let it just be about money,” she warned. “Let it be about values. Manchester’s always been about values and vision.”

I left the room proud to be studying at this great university and living in this great city. Although not a Mancunian by birth, I’d like to think that I share the beliefs and values that make this place so special.

Interview: Wolf Alice

Wolf Alice take their name from an explicitly gory Angela Carter short story in which the protagonist is raised by wolves and, when they are shot, adopted by a nunnery who attempt to civilize her. At the first sign of rebellion, Alice is sent to live with the Duke; a corpse-eating man with no reflection. Carter explores themes of feminism and the outsider, warping the traditional fairy tale with cleverly gory imagery that stays wedged in the mind. Wolf Alice’s music isn’t as heavy or gothic as the name would suggest, so I’m curious about the choice.

The band, which originated as Ellie Rowsell, and Jason, and expanded to include Joel Amey and Joff Oddie, sit down in the Students’ Union and I immediately ask about the name. A bit of awkward laughter follows but lead singer Ellie admits to not having read it. Ellie explains modestly that she chose the name “four years ago” when she “never really thought we’d be a band that people would listen to but she just liked the kind of vibe of [Wolf Alice].” I wonder if she identifies with the feminist themes in Carter’s writing but she says that it was “more the dark fairy side” that appealed, along with the outsider theme, which resonates in her own work, for example in Moaning Lisa Smile.

They’ve played Manchester five times before, but they’re still excited for this evening, “I feel like I’m coming up,” laughs Joel. They used to visit friends who lived in Fallowfield—Joel fondly recalls an evening when, “one of our friends ate a big tub of hair gel in Redrum,”—nodding to Joff—”he now plays in a band.” This endearingly playful band dynamic comes through in their music.

Talk turns back to Wolf Alice. I ask Ellie if she reads a lot: “Well I wouldn’t say I’m a bookworm but I have read a fair few.” I ask if she has a favourite author. “I find this favourite stuff hard to pick. If I like a book, I’d sort of think, ‘I want to go and read a completely different book.’ If I like an album, I’ll never be like ‘I’ll go and look at all their other albums.'” This multifariousness is characteristic of the bands sound, fusing the strands of alternative rock; grunge in ’90 mile beach’, punk on ‘Storms’, even folk on ‘I am disaster’, always with the slick gloss of good pop production.

The band’s range of musical tastes is “very sporadic.” They like everything from traditional American folk, with Joff citing “that whole kind of 70s thing, like John Martyn,” and even John Jacob Niles, an operatic folk star from the 40s beloved of Bob Dylan as references. Joel chips in, “yeah, it goes from that to Miley Cyrus.” “We’re all big fans of people who make good pop music,” agrees Theo. It often seems that pop has become a dirty word among bands who make guitar music, but refreshingly, they peg themselves as “yeah, pop. we don’t play 10-minute jams or anything like that.”

Wolf Alice are all in the 21ish club, watching childhood friends get jobs and, sort of, become real people. Are they starting to feel… I search for the word, “old,” offers Theo. Well, yes, but also in the sense that university has become de rigueur for our generation, do they ever feel a bit left out? “I actually do,” agrees Theo, but he always wanted to play music so joining a band was the natural career path. Joff trained to be a primary school teacher but “didn’t really like uni.” Joel sums it up succinctly, “we went to all the same parties as everyone else, and it just didn’t work.”

Wolf Alice were one of last year’s most blogged-about bands and are incredibly popular on Tumblr, the preserve of the younger teen fans. Part of this appeal is the angsty quality of their lyrics and riffs, the other part is their sartorial prowess. They all agree that looking the part and “making an effort” is important to the show. Theo jokes, “when I was younger, because I really wanted to be in a gang or something, the idea of a band uniform used to really appeal.” Ellie chips in that, “if it happens it happens,” but when “someone tells you to do it,” it looks forced. Their style has evolved organically, and they don’t have any pre-show superstitions or rituals, “except for a little hug.”

Ellie went to an all-girls school, and she thinks that has shaped her, “but in a good way, because it forces you to be the boy and the girl.” None of the girls she knows “play guitar or drums, for whatever reasons.” I ask her why she thinks this is and she says maybe people think of the instruments as “aggressive.”  She continues, “I don’t know that many girls making heavy music… but maybe it should be pushed more.” While she agrees that sometimes the girl singer/boy band dynamic can be naff, she doesn’t see herself as “a girl singer in a boy band” pointing, “I can also play guitar and I write music as well.”

Live: George Ezra

20th October

The Ritz

4/10

George Ezra is on a roll at the moment: charting in 14 countries, playing a Glastonbury set and on European tour. This is no ordinary 21-year-old. It is hard to not have respect for just how much he has achieved.

But it is hard to have as much respect for his music. Ezra is affable, unpretentious and engages with his crowd. The girls absolutely love him. Asking what they liked about his music there were many comments about “his voice,” that “he sounds like he is 50,” and a few about his looks. The comments were more about the man than about his music.

Partway through his set he spoke about travelling through Europe; how it inspired his music, saying that on his travels he would note down everything that happened, “even the things that seemed quite ordinary, or mundane.” He was not lying.

The setlist could be about a single relationship. Putting the lyrics from ‘Budapest’, ‘Cassy O’, ‘Barcelona’ and other songs together we find a pattern.  First he sings to her that “for you… I’d leave it all,” then as the relationship sours, “please don’t leave.” Once it is over: “I still long to hold her once more,” and then he blames “your halfwit of a boyfriend,” and threatens to “fill your pillowcase up with snakes.”

While there are positive blues, indie and country influences in his music the lyrics and themes become so predictable they stifle his genuine talent. Ezra’s voice is both his greatest strength and his greatest weakness. It adds this depth to everything he sings about; but exposes weakly emotional and self-centred ballads about teenage love and loss for what they are.

George Ezra has the potential to make amazing music that will be remembered. But he needs something to sing about.

Live: The Orb

18th October

Academy 2

10/10

As I stepped into the Academy 2 it felt like I had been transported back to the Hacienda days. I am greeted almost immediately by a man wearing a colourful T-shirt with a giant smiley face on, clearly off his head on pills, and dancing like a toddler who has had too much sugar.  This only foregrounded what the rest of the night would be like: hedonistic, nostalgic and mesmerising.

The first set of note was Orb in Dub, presented by Alex Peterson. Mixing a combination of modern dubstep and ambient house, it was obvious that Peterson’s musical talents had not withered away in the depths of time as the sound felt modern and fresh.

A very rare and special performance followed when Edinburgh outfit Fini Tribe entertained the crowd with a one-hour set. It was the first time they had played Manchester for 19 years but they were not deterred by any pressures as they seamlessly delivered an eclectic mix of genres ranging from hip-hop to acid house to techno packing a range of mildly philosophical and ambiguous samples.

They would prove to be the perfect pre-requisite for The Orb who eventually arrived on stage at 2am to a packed audience. Performing in front of a giant projector, their set proved to be euphoric—intense but enthralling. The visuals were probably the best I have ever seen, at least rivalling and maybe even surpassing those of the Chemical Brothers.

Their set initially consisted of some of their better-known hits but this all changed at around 3:15am when they turned it up a notch projecting some surreal avant-garde animation whilst delving deeper into the experimental. This proved a polemical move, as the crowd visibly grew thinner, although this could be down to the fact that it was almost 4 in the morning. For me, though, I left when the room was once again sent back to a harsh and brightly lit reality. I had witnessed something truly unique that night and I left with a great feeling of awe and gratitude.

Album: 2:54 – The Other I

10th November

Bella Union

4/10

I want to like this album—honestly, I do. There’s so much hype and promise surrounding The Other I, but there’s something distinctly unlikeable about the whiney tones of 2:54’s singer. Complaining she’s ‘Counting the Days’ and sounding like a poor man’s Haim, this album just doesn’t make the cut.

It seems as though 2:54 don’t know what their sound is—an unpleasant crucible of early Florence and the Machine, Temples and Interpol spring to mind listening to the record; but it doesn’t sound cohesive in any way; it just sounds uncertain.

At stages of listening to ‘In the Mirror’ you can hear them take a stab at an alternative sound when the tempo of the drumbeat changes—it’s a half-assed attempt at minimalism, and it’s bad.

‘No Better Place’ is just as terrible, with a poor attempt at dynamics; they’re trying to create a sense of suspense in the song, but it’s like watching your uncle play the ukulele at your local pub—you really just want it to stop.

I can’t help but wonder what was going through their minds in the making process of this. Self-described as a ‘rock’ band, I can’t think of anything further from the truth. The genre this should be filed under is truly, utterly dull, right next to U2.

The only redeemable feature of The Other I is ‘The Monaco’, and even then, that’s a generous statement to make, because once she starts singing, it’s downhill from there.

It took dragging myself through the entire album to find the only decent song: ‘Raptor’. It isn’t as painful to listen to as the rest of the album, but it feels like I’ve just been listening to one embarrassingly long song for 30 minutes, only to get disappointed by the return of half-assed minimalism to close the record.

As a whole The Other I is just incredibly bland, repetitive and boring the whole way through.

It’s the kind of album you’d listen to just so you could talk about it to other people who are doing the same thing—pretending to be really into underground music, even though it’s unrefined and mostly shit. Maybe Stockholm syndrome will improve the sound.

Opinion: We Built This Authenti-City On Rock And Roll

In recent years, authenticity is recognised as imperative in the successful careers of a number of artists in popular music. Due to the problematic and multi-faceted nature of the term, does authenticity within popular music actually exist? I think of authenticity as the way in which we seek to understand our existential situation, as well as the freedom to realise our existential possibilities. In a musical sense, it would describe a lucid and truthful awareness of a situation that is accurate in the representation of a genre’s origin. However, is authenticity a goal that can never be fully attained? Is it a futile quest?

The idea of authenticity is built deep into my thinking about rock, as I’m sure it is in yours, especially in comparison to pop music. The ideology of rock—the arguments about what rock means and stands for—has always been articulated more clearly by the fans than by the musicians themselves. As a fan of rock music, I am not merely a consumer or part of a passive audience; I am the meaning-maker of the genre.

The connotations of rock music are such that generic pop music is regarded as the absolute antithesis of what we perceive to be authentic, in that rock musicians create their own music and identities, whereas pop musicians by contrast, are regarded as the puppets of the music industry, performing music composed and arranged by others that pander to popular tastes. The very distinction between pop and rock as genres can be said to be founded on whether the expression of the artist is to be trusted or not. The distinction is thus one between what is authentic and what is commercial.

A less-common perceived feature of music is the notion of sincerity. To be sincere is to sing truly about feelings, thoughts and desires within the musical discourse. Lyrics do not simply reflect how things are, lyrics make things the way they are. The values wrapped up in the idea of authenticity do not exist in the music itself; instead they exist in the lyrics we hear. Thus, what we perceive to be authentic is actually more in line with the idea of sincerity. We misuse the virtue of what is authentic by applying it to what we mean to be sincere.

Sincerity is regarded as a ‘should’ as opposed to authenticity which is regarded as an ‘is’. Sincerity is moving, progressing, and working to improve, whereas authenticity is a stagnant description of the status quo. The idea that authenticity is a musical connection between what artists think and what they sing is a misplaced representation of sincerity. This misrepresentation, however, is what gives authenticity its selling point. It is a precious commodity, and its definition is a way of controlling value, almost as a form of cultural hegemony, in which the dominant figures (the music industry, in this case) present their view of authenticity in such a way that is accepted by us, the masses, as the absolute truth.

Opinion: The Tills Are Alive With The Sound Of Music

If you cast your mind back to the last time you strolled around a shopping centre, whether it was to buy new clothes, or to meet a friend or two for a coffee and a gossip, it is more than likely that there would have been some form of music playing in the background. You may have been aware that it was there, but do you know why it was there?

Background music is perhaps more intricate and intentional than the casual observer might imagine. It is supposed to surround us without any attention being afforded to it, yet music has become more authoritarian and intrusive within our every day lives.

Songs used in stores, particularly fashion stores, can possess thematic identity. In other words, each store may utilise a different genre of music in order to establish a relationship between the brand and the demographic in which the store is targeting. The songs you would typically hear in Topman, for example, are primarily indie based, which is reflective of the indie-rock casual styles that Topman have in-store. Superdry, however, has a preference for more electronic-based music, which reflects their urban and Americana-influenced ranges.

Stores differentiate themselves from each other through the music that they play, so it’s almost as if music and fashion conspire together to create an ideological dictatorship of identity. If we assume that ‘ideology’ as a general concept represents sets of ideas and values, do the choices in what clothes we buy, and where we buy them from, reflect aspects of values and ideologies that we hold as individuals? Ideologies are ‘contained’ in music as an expression of emotion that carry with it systems of ideals that are both genre and culturally specific. The systematic approach for choosing the music that is played in stores could therefore correspond with ideological traits that are similar to any particular fashion brand, as well as us, the consumers.

So is music becoming too intrusive? Whilst accepting that music plays an important role in marketing, it is important to be reminded that its fundamental purpose, for use of a better word, is to be a source of limitless pleasure and inspiration. Whilst it is now virtually impossible to avoid in our day-to-day ventures, a line has to be drawn as to how music is used with regards to its function, as well as the context and surroundings in which we listen to it. The idea that a specific song within a specific genre is being used intentionally to snare me into the trap of buying a new jumper is rather worrying, as it is not what music was intended for. It sends me into a state of paranoia as I try to recall other situations in which music may have altered my subconscious thinking in order to make me do something I would not have considered otherwise. It is a form of aural trespassing, but it just goes to show that there is far more to music than meets the ear.

Album: Wank For Peace – Fail Forward

10 October 2014

Struggle Town Records

2/10

Wank for Peace are a French hardcore punk rock band who sadly put more thought into their name than into creating music. And evidently they spent little time on the name as it is.

The quintet’s sixth LP Fail Forward achieves little other than a headache from a combination of the drum pattern that doesn’t change once throughout the whole album, and the lead vocals that sound like a chain-smoking banshee after a tracheotomy. Opening track ‘Friends First’ lets you know exactly what you’re getting into with extremely distorted power chords and throat-shattering vocals. Follow-up track ‘Heavy Shoulders’ at least has a better melody but third track ‘Five Steps to Nothing’ sounds so similar that I had to double check I hadn’t accidentally pressed repeat. Track four ‘Is That What You Expected, Kid?’ continues in this fashion and if I was the titular kid, my answer would be yes by this point. It is here that you’ll notice not only how every song sounds the same but also how tedious the album gets in a very short time.

All the clichés are present on the album too. Every song has backup chants typical of hardcore DIY punk, like a battle-cry to rally the troops of miserable twats who think the world owes them a favour. Each song is also packed with lyrics of self loathing that serve only to contribute to the tediousness of the album.

There are two positives however, tracks ‘You Are the Weak Spot’ and ‘Mea Culpa’ employ some decent bass work which is a nice relief, though short lived, to the repetition. The other positive is that at least the tracks are short, some clocking in at less than two minutes.

Wank for Peace unintentionally describe their latest LP Fail Forward in the first word of both its album name and the band name and do nothing new or interesting in it. It is by far one of the most boring albums I’ve heard in a while and listening to it was as mind-numbing as what I imagine office work to be.

Interview: Sivu

Having worked with alt-J and Mercury Prize-winning producer Charlie Andrew, as well as touring with the likes of London Grammar, it’s fair to say that Sivu is steadily rising up the ranks. Releasing his debut album Something on High this week, we first of all asked him what influenced the new album.

“Björk is someone I’ve always really loved from a production point of view, with the use of electronic music with real instruments. Beck is also one of my favourite artists. I liked the fact that he is a singer-songwriter, but production-wise, he was a bit more. So, we [Sivu and Charlie Andrew] started from there as a kind of base.”

Something On High also features the song ‘Better Man Than He’, with the video having Sivu singing in an MRI machine. We wondered both why and how. “[Laughs] I was looking for ways of making music videos without any money, cameras or using that much stuff. I saw a video of man beatboxing in an MRI machine on YouTube and I thought it was a very interesting idea. So, I emailed St. Bart’s Hospital in London and they were really up for it.

“It was hard to get the music in there. So, I had these big headphones on and they were blasting the music, since the machine was so loud. It was kind of terrifying at the time, but I think it was worth it in the end.” We asked him what it was like to work with alt-J producer Charlie Andrew.

“He’s such a cool guy! He’s really good because the way he approaches things is such an alternative way, he would never want to do anything the normal way. It’s always really exciting to go to him with a song and he sees a completely different way of doing things. He’s into a lot of left-field, crazy stuff and that just bleeds into what he does. It’s just so fun to work with because you don’t know what is going to happen.

“Before I worked with Charlie, it was always quite limited because I didn’t know where I could go—it was just me and a guitar. So, when we started working together it made both of us, but especially me, more ambitious with things. He could take the songs in a completely different direction. He was always trying to push me from a song writing point of view, so that was really good.”

Last month, Sivu was featured on new alt-J track ‘Warm Foothills’, along with Lianne La Havas, Conor Oberst and Marika Hackman. Their album This Is All Yours went straight to number one; we asked him how he got such an offer. “Well, I’d met Joe [Newman, alt-J frontman] once before because I was in and out of recording with Charlie at the time, so he asked if I would be up for it. I jumped at the chance! I recorded the same day as Marika [Hackman] as well. At the time, they didn’t know who was gonna sing what, so we had to sing the whole song. I think it’s one of the most beautiful tracks on the record, with the way all the voices merge together. It was a bit overwhelming, but I’m really happy with the way the song has turned out.”

Having toured with London Grammar and The Staves, as well as supporting Bombay Bicycle Club in December, was it harder to perform those bigger shows? Were some better than others? “When I perform with my band, I guess it’s kind of easier. It’s always difficult with support slots whether people will be open to it or not, with some artists not so much. Playing on your own is more terrifying, but sometimes more rewarding. If you can silence a big audience, it always feels really good, but sometimes it can go really wrong.

“The split headline tour with Marika Hackman was really fun because it was so off-the-cuff. I’ve just recently toured with Rae Morris, which was really fun too—she’s so lovely. All her shows were really busy and her crowd were really quiet, which was really good. Hopefully Nick Mulvey should be really good as well. I’ve been really lucky!”

Something On High is out now and Sivu will be touring with Bombay Bicycle Club in December

Leaving the Vault

Is there a more awe-inspiring moment in gaming than the Lone Wanderer emerging into the Capital Wasteland for the first time? It is hard to think of anything that can match the magnitude of that initial encounter with the irradiated ruins of Washington, D.C.; the way the light blinds the player after their imprisonment in the claustrophobic tin confines of Vault 101, and the way the dead expanse then rolls into focus, revealing miles of sun-scorched earth, rock, and broken road. These first 10 seconds or so bookmark the beginning of an unparalleled escape into the impossible, the uninhabitable, and for me they constitute a critical interval during which the player is not simply doing, but being.

It is easy to slip into superlative soup when writing about the transcendent function of games, and frankly it is embarrassing how often reviewers resort to overstatement in an effort to convey their escapist experiences. Fallout 3, however, offers a legitimate excuse for me to get worked up over that magical power unique to the medium.

When I talk about Fallout’s ability to make players ‘be’ rather than ‘do’, I’m alluding to the lens that we, as players, are forced to view games through. In almost every game ever made, we are placed in a world and tasked with an objective. To help us make sense of that world, the developer superimposes waypoints onto it, litters it with shiny objects, or designs it in such a way as to funnel us in a certain direction. To some degree we ignore our physical surroundings in the world; we fail to see impertinent visual details and stylistic flourishes because they do not facilitate our progression toward an end point. Instead, we are positioned purely in opposition to our environment, which transforms it into something that should not be observed, but conquered. In other words, our gaming eye is trained to reduce everything we see into interactive scaffolding, thereby blotting out the tireless work of a hundred programmers in the process. We would only notice these ‘extra’ visual details in their absence.

Fallout 3 is able to foreground these visual details by generating a moment of wonder. In the vault departure sequence described above, the piercing rays from the sun remind the player of the significance of the act they are undertaking; they are leaving their sheltered life behind them and are about to see the apocalyptic world for the first time. Then there is the actual visual impact of the landscape itself—its charred trees, distant towers and watercolour sky. After a fanfare underscores the momentousness of the occasion, everything becomes strikingly still, strikingly serene. The whistle of the wind accents the calm, imbuing the wasteland with a timeless quality.

Having been overwhelmed by the beauty of this image, the player then has to make sense of themselves in relation to their environment: “can I really travel to that faraway hill?” and “can I really scale that tower?” The reason they have difficulty coming to terms with their environment is that they are not given any obvious reference points—it is not clear which objects in the immediate vicinity might be valuable to them, and there is no obvious path for them to follow. The player will then turn around and face another uncertainty; behind the overhanging rock face that enshrouds the vault and obscures the player’s view beyond, it is not clear whether an equally epic mass of land awaits them on the other side. Taken together, these factors suspend the gaming impulse to ‘do’, and foster conditions conducive to the player becoming part of the environment.

Once I had left the vault on my first playthrough it was only a couple of minutes before I came across an Eyebot, a spherical robot that glides across the wasteland five feet above ground level whilst blaring out the propaganda of a surviving human faction. I heard the Eyebot before I saw it. It was crackling out some sort of patriotic melody, which grew louder and louder until I saw it appear from behind a rock and float past me. I thought it would react to my presence in some way, but it just kept bobbing along on its aimless path, the broadcast diminishing in volume as it disappeared from view again. It made me realise the world was indifferent to my existence; I could easily have missed this occurrence and yet, whether I had followed the robot on its journey or not, the wasteland did not really care. The world would go on without me. In fact, it had been going on without me for all those years I was locked up inside Vault 101.

In the same way that Hyrule continues to exist as a place even when I am not playing Ocarina of Time, the Capital Wasteland continues to hum and crackle away in my daydreams. The former does so by creating a fairytale-like world that never sleeps—if you were to enter the windmill of Kakariko village this very instant, you would be certain of seeing Guru-Guru, the creepy bearded character, playing Song of Storms with a mawkish grin on his face.

Fallout 3 also achieves this effect by going about its business irrespective of your quest, the only difference being that, in a post-nuclear setting, there are no fairy tales.

We are all equal, only some more than others.

Race and examples of discrimination still dominate our media. This is widely considered to be a good thing. Issues of differentiation by race are highlighted and brought to the public’s attention on a weekly, sometimes daily basis. We imagine then, with the fear of exposure so high, the risks of being “outed” as racist would deter even the most ardent bigot.

Recent revelations regarding the admissions processes at Oxford University, however, would suggest otherwise. Statistics gained through the Freedom of Information act recently revealed that the selection process for one of the world’s most famous universities showed frightening and unusual bias against ethnic minorities.

Statistics such as 43% of white applicants with three or more A* grades gaining entrance versus just 22.1% of ethnic minority applicants with the same grades highlight discriminatory practices permeating one of the United Kingdom’s most championed institutions.

The response to these statistics was, rightly, outrage. Further assessment of the admission statistics bring to light that just one British black Caribbean undergraduate student was admitted to the university in 2009. Furthermore, with the University of Cambridge refusing to release their statistics despite a Freedom of Information request, the question of why a white student has twice as much a chance of success as one from an ethic minority background highlights a huge issue.

Institutional racism, or at the very least cultural elitism, seems to have remained untouched by social evolution in the example of the highest castes of British institutions.

The response to the revelations, inspired by the ‘I, Too, Am Havard’ campaign, can be seen in the ‘I, Too, Am Oxford’ campaign. Students of the university from ethnically diverse cultures were invited to share their experiences at the university ranging from being asked ‘So do you like speak ‘Nigerian’?’ to being forced to answer ‘But, what is your African name?’ The most powerful of the campaign’s statements directly addresses the scandal, ‘If you “don’t see race” how come we don’t see that in the admissions statistics?’

The success of this campaign seems to illuminate a greater issue at the centre of racial assimilation in the United Kingdom. I think it is safe to assume that the experiences of these students were not imposed upon them by ‘racist’ peers. It is more than likely that the questions they were forced to answer were merely misguided attempts at attempting to understand someone different, in this case, different due to their race. The issue highlighted is that for all we are bombarded with examples of what it is to be a racist, many people still feel disparity between races.

The awkward and heavy-handed response to ‘I, Too, Am Oxford’, titled ‘We Are All Oxford’ serves as an example that racial relations in the United Kingdom, for many, is still a confusing issue. The campaign, albeit well-meaning in its attempts at uniting cultures, actually only negates the concerns of the ethnic minority students featured in the ‘I, Too, Am Oxford’ campaign. The truth is that not talking about race, isn’t going to eliminate racial tension at all.

Racial difference being the elephant in the room has made communicating with somebody clearly of a different culture an awkward experience for fear of being labelled a racist. Similarly attempting to ignore the differences entirely through ‘we are all one, let’s forget that sometimes we say ridiculous things’-style campaigns is a patronising approach to take towards somebody proud of their culture but not wishing to be solely defined by it.

Racial discrimination, at both a micro level in our day-to-day exchanges and also institutionally, will only go away through dialogue. Not awkward dialogue, but a dialogue that attempts to make race a non-issue. Race should be something with which a person can identify if they choose, but not be defined by. People should not be cast in the mould of their racial identity, stereotypes should not be enforced, and these preconceived ideologies will only disintegrate given the opportunity to engage with a person rather than a cultural identity.

One issue that must be addressed in order for a dialogue to be opened is to stop the hijacking of racial integration by high profile cases of perceived racism. The BNP branding David Cameron racist for his admission that Oxford’s practices are untoward for example, or the hounding of John Terry (who isn’t a racist, let’s be fair) for an abhorrent mistake in the heat of the moment do nothing for breaking down barriers.

The media’s love for providing a platform for the radicalists they supposedly wish to defeat and the sensationalising of cases such as John Terry’s, set back any chance of race becoming something we don’t see. Instead it places it in the forefront of our minds. It becomes the first thing we assess. And in these conditions the fear of being racist on a daily basis will underpin our consciousness so strongly that institutions will still slip under the radar, perpetuating cultural bias in our society.

An Island in the Sun – Super Mario Sunshine

The first real gaming platform I lived on for years was the GameCube. An old console you may have heard of released by good ol’ Nintendo back in 2001. The infamous Cube was home to some of Nintendo’s greatest endeavours in its 125-year long existence. The game that defined the GameCube for me, but also created the greatest controversy of any Nintendo game at the time, was Super Mario Sunshine.

The first thing you will notice upon booting up Super Mario Sunshine is the sun. It is prominent throughout and is even in the title of the game. You would have probably realised by now that Sunshine is heavily influenced by the tropics, somewhere like the Caribbean. This was a daring change for Nintendo at the time, especially coming hot off the release of Super Mario 64. The visual style of the game was a complete departure from previous Mario games. With Mario’s latest adventure, it turns out he has grown tired of fighting Bowser (a big stinky turtle), saving princesses and eating mushrooms—he now just wants to relax in the sun.

As a kid back then, the game looked stunning and refreshing. It had a warm, inviting atmosphere that made you wish you could visit the game’s island paradise called Isle Delfino. It is smack gorgeous and stands the test of time despite being over 12 years old. The art style carries across to the varying game environments you will be running around in. These locations include a picturesque hotel on a beach, a theme park, a dock and many more inspired areas that resemble the real world. However, although these levels are beautiful with intelligent design, with aesthetics that are classic Nintendo, they are quite small. For fans of Mario 64, they will be disappointed by the new aesthetic if they were looking for a Mario 128.

It is this disappointment that might drive some long-time Mario fans away. Despite being a refreshing take on Mario, many long-standing Nintendo fans have found that this design decision was too radical a departure for the company. However, I love the new direction it took, but it was evident by 2007 with the release of Super Mario Galaxy that my dream for a Sunshine 2 had fallen on deaf ears.

Super Mario Sunshine, like all of the mainstream Mario games before it, boils down to platforming. This involves a lot of jumping, adjusting the camera and navigating a level from point A to point B. Where Mario 64 brought 3D platforming to the series and played it safe mechanically, Sunshine builds upon many of the aspects of Mario 64, ramps it up a dial and throws in a whole new mechanic that redefines how the game plays. This mechanic is the FLUDD (produced by E. Gadd, a Luigi’s Mansion character).

FLUDD is a sort of water gun/jetpack/hovering/thruster type of trinket you are introduced to almost as soon as the game starts. FLUDD, like the art direction for Sunshine, was highly controversial amongst die-hard Nintendo fans at the time, who were hoping for a more traditional Super Mario 128-type affair. However, fans such as myself saw the potential for a new innovative way to completely shake up the dynamic of the platform genre and, for the most part, it succeeded.

The primary story and gameplay purpose for the FLUDD is to clean up ink. Yes, I am being serious. There is a shadow version of Mario covered in ink, running around with a paintbrush that creates living creatures—it’s all very strange. When in spray or hover mode, you can wash away the ink and kill some enemies such as the piranha plants or jellyfish-like creatures in the process. These mechanics extend to boss battles as well. For example, during one of the beach levels, you are forced to contend with a giant caterpillar. The only way to stop it is to spray plants on the floor until they cause an upswell of the sand to knock the caterpillar over so you can pound it on its belly. When the game blends the mechanics of platforming with that of the FLUDD machine, the strengths of Nintendo’s classic design technique really show and are enriched by the game’s beautiful setting.

However, the game shows its flaws when you are platforming in the game, where the erratic behaviour of the camera will often drive you mad. If you play the sand bird level, you will know what I mean. The controls can be a tad oversensitive and this makes the platforming aspect more difficult than it should be. This particularly shows in the racing on the dock level, where you ride on some kind of mini-squid and the handling is downright awful. Super Mario Sunshine is a game that works best when it hybridises old and new game mechanics and, despite some errors, most of the game thankfully centres around this philosophy.

Super Mario Sunshine demonstrated that Nintendo did not want to rest on its laurels and make an iterative successor to Super Mario 64. It is a truly divisive game—it’s like Marmite. You either love it or hate it. The game has its quirks and some glaring issues with the camera but it is a triumph of design and it receives my badass seal of approval as the most innovative GameCube game. It is just a shame that this island of paradise never received the beaming sequel it truly deserved.

UCU marking boycott to go ahead

Following the recent ballot for academic staff from 69 institutions across the country, the University and College Union (UCU) has announced that its freeze on setting and marking coursework and exams is to go ahead.

More than three-quarters of those polled agreed that walkouts should go ahead, while 87 per cent were in support of the assessment boycott alone.

The action will take place starting on 6th November for an indefinite period of time. It will be lifted when the dispute is resolved, said the UCU.

Representatives from the union are set to meet with employers for negotiations on 7th November.

The dispute arose recently over changes made to the Universities Superannuation Scheme (USS), the principal pension scheme offered by universities and other higher education establishments.

The reform would see academics lose out on a substantial chunk of their promised allowance after retirement, with a 40-year-old professor currently earning £75000 per year losing out the most, seeing a 27 per cent cut in prospective income.

Staff from all Russell Group universities, as well as a number of other institutions established before 1992, will take part in the boycott.

Those from post-1992 universities have pension plans under a different scheme, the Teachers’ Pensions Scheme (TPS) and so will not lose out by these reforms.

There are reforms planned for the TPS as well, but even with those taken into account, academics from newer universities could still receive up to £20000 more per year than those from pre-1992 universities after retirement.

The industrial action will stop any planned exams going ahead, see no coursework being set or work being marked by academics.

Universities UK has expressed its disappointment at the “damaging course of industrial action aimed directly at disrupting students’ education.

“The employers’ proposals for reform offer the best possible deal for employees within the constraints that the USS Trustees have set.”

Talks between UCU and employers’ representatives last week came to nothing, with the union stating that it could not be guaranteed that employers would protect the pensions of those staff covered by the USS.

Sally Hunt, general secretary, said, “The employers failed to convince us of the need for their dramatic changes or the reasons behind the methodology for its deficit reduction plan.

“Their proposals remain full of holes and the information they are apparently relying on to back them up keeps being exposed as misleading.”

Universities prioritising recruitment numbers over standards, say academics

One-third of academics believe that educational standards are being compromised in favour of recruiting a higher number of students to overcrowded universities, a study has shown.

Furthermore, there are allegations of grade inflation encouraged in order to manipulate league table results, which many blame on a profit-focused, target-based model of management.

The data was collected by the Times Higher Education magazine, which polled over 1000 staff at universities across the country.

38 per cent of academics say that the “pressure to give better marks” by managers at universities “has risen” in the past few years. This means that more and more students are graduating with first and upper second class degrees, in an attempt by universities to increase funding.

32 per cent believe their university has “compromised on students’ quality in order to maintain or boost student numbers.”

An engineering and technology lecturer at a southern university blamed the culture of “rack ‘em, pack ‘em and stack ‘em” amongst greedy managers encouraging “unethical and immoral recruitment.”

Since the government lifted the cap on the number of high-achieving students—those who receive AAB or higher in their A-levels—that universities may recruit in early 2012, there have been concerns about the move’s consequences.

Many top-tier universities took advantage of this reform to allow greater numbers of students into their establishments, at some places leading to overcrowding and a shortage of accommodation.

And in 2015, the Chancellor of the Exchequer announced last year, the cap will be eliminated for students of all standards, which has been cause for concern for academics putting priority on quality of education rather than quantity.

An academic from a university in the north-east of England told the Times Higher Education guide, “students on science degrees are barely numerate and don’t always leave much better off.”

256990 students, more than two-thirds of all graduates, received an upper second class degree or higher last year upon graduating.

The percentage of students leaving with a first class degree was 7.4 per cent higher last year, at 18.4 per cent, than it was ten years ago.

A Russell Group biosciences professor said marking is “not hard enough. Too many students are getting a first—33 per cent in my subject.”

Another lecturer from a British university said, “It is not sensible for 50 per cent of students to graduate with first or upper-second class degrees.

“Forty years ago it was about 10 per cent. Senior management do not openly admit to that change, but frontline staff more or less passively fall into line.”

Central Library catalogues Manchester’s gay history

Manchester Libraries and The Lesbian and Gay Foundation (LGF) are collaborating to make an important archive accessible to the public at Manchester Central Library. The LGF is based in Manchester and provides a wider range of support and advocacy services for LGBT people than any other UK based charity.

The collection from The LGF has been deposited with the Archives Centre at Central Library and includes a comprehensive catalogue of local and national gay and lesbian magazines, including The Mancunian Gay, Outnorthwest, Gay Times, Diva, plus many other smaller and often short-lived grassroots publications.

The archives also include historical documents and report about a variety of lesbian, gay, bisexual and trans (LGBT) issues, including Manchester’s Pride celebrations, culture and health issues, such as HIV and AIDS. Selected items from The LGF’s collection are now on view at the Archives Centre.

Alongside the library’s existing LGBT History collections—including the Queer Up North Theatre archive, the Manchester City Council’s Equalities Team archive and the Allan Horsfall collection—the new LGF archive enables Mancunians to trace the development of the Village and LGBT politics, culture and services in the city region from the 1960s to the present day.

Heather Williams, Policy & Research Manager at The LGF, said: “We are delighted to be working with Manchester Central Library to make our archives accessible to the public. These archives contain valuable records of the development of LGBT rights and changing attitudes in society, and now the people of Manchester will be able to discover and celebrate the history of the North West’s LGBT communities.”

Executive Member for Culture and Leisure, Councillor Rosa Battle, said: “Manchester City Council has a proud history of working with Manchester’s LGBT community and the Central Library’s Archives Centre is the perfect place to store, care for and exhibit these important archive materials to the public.”

LGF volunteers are working alongside librarians to improve access to the collection by adding to the online catalogue. Volunteer David Allinson said, “volunteering on the archive project has changed my life in so many ways. I have met so many wonderful people and I have a positive focus in my life now.

“It’s helped me to give something back to the LGF, who supported me and turned my life around and helped me become the person I am today.”

On Valentine’s Day next year, the first National Festival of LGBT History, Manchester in Love, will be held at Central Library’s Performance Space. Ahead of this event, archive opening days will be held in November and January.

For those wishing to find out more about researching LGBT history visit http://lgbthistoryfestival.org for more information.

Album: Mysteries – New Age Music Is Here

Released 28th October

Felte Records

6.5/10

New Age Music is Here is a grand title for an album. The first track borders on pretentious avant-garde and is seriously intriguing. When I first heard it, I thought it sounded like something for Dungeons and Dragons fans. There’s the haunting whispering that recalls Slint over sort-of clashing. But then, the choir comes in—who sound like Coldplay trying to make New Age music. But it gets much better after that. In fact, after listening to the entire album I came back to the first track with much less dread; I was no longer expecting the musical equivalent of walking through a modern art gallery, bored and frustrated. In the second track, so-called ‘Knight Takes Rock’, the vocalist sings about his heart giving up conquests (“can never call this love”) and it is in fact very Depeche Mode, a darker Hot Chip-esque style with some Enya or Annie Lennox-style backing female vocals, with a Gregorian choir thrown in for good measure. I really like it—his voice sounds like Antony Heygart’s.

With every track, the wonderment or critical expectation of New Age-ness drops to simply enjoying these tracks that sound like a mature, stripped to the bare essentials Wild Beasts. The tracks are very similar to each other, but varying from the more dance-y tracks to broody ones. The seventh track ‘Ev’rything’ really sounded to me as if the more ‘solid’ sounding John Grant was the vocalist, and Grant’s last album was an exploration of 80s revival that sounded similar, and from which I absolutely love a few tracks. The last tracks are a little darker. It’s a really good album, especially for a first album; it’s certainly very defined and confident.

About it being supposedly New Age: if I haven’t already made it clear, this isn’t New Age music. But maybe we’re all missing the point, and by new age they don’t necessarily mean boundary-shattering music, but celebrity-free music production. Even their Los Angeles record label don’t know who they are, and these are well polished records. They may have made music before elsewhere, but if they have to would be hard to find, so this record is judged only on its own merit. So too would the rest of their albums, if they were to continue in this impressive manner.