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Day: 2 February 2015

Club: Transmission presents Ram Jam

24th January

Albert Hall

5/10

A DJ is only as good as his music and Sir David ‘Ram Jam’ Rodigan had all the best tracks on Friday. He has been paying serious attention to Reggae and related sounds since 1984 and his wealth of knowledge and experience showed.

Shy FX and Toddla T played good sets, but whether they intentionally showed restraint or if other factors crept in there was a marked change in atmosphere between the supporting and headline act. Memorising the songs, mixing them smoothly and taking a crowd of 3,000 on a musical journey requires a fully-developed spine. Rodigan is from a different era, and his performance and interaction with the crowd showed a bravery and honesty that made his set special. In between shouting “Manchester – show me some signal” and unleashing reggae weapons he was jumping up and down while biting his towel for joy. His love for his music is infectious, and it had the crowd dancing hard.

A let down came with Kevin Ford aka DJ Hype’s no show, car trouble halting his appearance. The acts across the rest of the bill went some way to making amends for this. Credit to Shy FX for playing ‘Original Nuttah’ which was well received by the crowd. His 2014 compilation Diary of Digital Soundboy is an accessible fusion of Caribbean and liquid d’n’b influences and well worth a listen. Toddla T was decent enough on the night, but did not interact much with the crowd and to a degree hid behind his laptop and flashing LED animations. His set really stuck to a formula that served its purpose but failed to surprise or delight.

The venue presented some problems, with some of the doors to the smoking areas being closed which meant it was hard to move around the ground floor. The downstairs room was near enough vacant all night and hence lacked atmosphere for the DJs who played there.

Overall, the crowd in their 20s & 30s seemed to have a good if not great time. It was up to Rodigan to make the night with a double set.

Club: Music is Love presents Kerri Chandler and Move D

31st December 2014

Sankeys

8/10

Having had a pretty outrageous 2014, there was only one fitting way that it could end—a night of music and debauchery at Sankeys.
The friends I assembled to join me were two or three years above me in school respectively. They first started going to Sankeys when they were still in sixth form, before I even knew what house music was. One of them noted how the clientele has changed since then, with the crowd now being friendlier and much more diverse. On my own observations, outside term time in Manchester you seem to notice much more interesting and amusing characters in nightclubs than the standard Mk. 1 student in the denim jacket toking on a rollie. Sankeys tends be a pretty weird mix of old-school Hacienda era ravers, local boys out on the town, and tourists from Eastern Europe and Asia looking to see what Manchester nightlife can offer them. The bar staff always seem pretty happy as well, despite the 6am closing time. I wish the same could be said for the bouncers.

Move D was up first in Spektrum. Having recently been interviewed by The Mancunion‘s Music section, we’re pretty big fans. Sticking to vinyl only, the German techno impresario’s set was as good as I expected it to be. The clock struck midnight about a third of the way through, as everyone in Sankeys paused to shake hands and wish each other all the best for the New Year. At this point I shook Move D’s hand over the decks and wished him “Alles Gute im Neuen Jahr.” Personal highlights of his selections include the eclectic ‘My Soul’, ‘My Spirit’ by Mike Grant and Joey Negro’s ‘Do What You Feel’. I also never thought I’d hear ‘Everybody Dance’ by Chic in Sankeys, but Move D played it to an extremely warm reception.

Following the conclusion of Move D’s set, we moved downstairs to catch Kerri Chandler. His set was filled with old-school house classics, which were exactly what I wanted to hear as I entered into my twenty-first year. ‘Move your Body’ by Marshall Jefferson being one example. My favourite moment of the entire set came at about 3:30am when he spun Frankie Knuckles’ ‘Your Love’ on a delayed timer. As that Chicago classic echoed around the Sankeys basement, I was reminded of exactly why the ‘godfather of house’ is missed so dearly.

The Manchester Debating Union

The Manchester Debating Union are running a public debate on Thursday at 17:00 in Theatre B, Roscoe Building at the University of Manchester.

This week the Manchester Debating Union asks: Should we reintroduce grammar schools?

Grammar schools, dominant in the UK until the 1960s, ran under a system of selective education. At age 11 all school students would be given a general intelligence exam.

If a student passed they would gain entrance to a more academically-based grammar school. If they failed they would be sent to a school focusing more on practical skills.

There’s an increasing minority within the political establishment who argue that grammar schools should be reintroduced, including the resurgent UK Independence Party, believing that it offers an opportunity for the brightest students to thrive regardless of socioeconomic background.

Critics argue that it creates segregation in our society, and only removes a few children from their troubled backgrounds rather than tacking the root causes of deprivation.

Speakers will include:

Proposition
– Robert McCartney QC, Barrister and Former Leader of the UK Unionist Party and founder of the National Grammar Schools Association.
– Graham Brady MP, Conservative MP for Altrincham and Sale West, former Shadow Secretary for Europe and Chairman of the 1992 Committee.

Opposition
– Melissa Benn, journalist and author, founder of the Local Schools Network which campaigns in favour of a totally comprehensive schooling system.
– Professor Bernard Barker, Emeritus professor of educational leadership and management at the School of Education, University of Leicester, he was the first comprehensive school pupil to become a comprehensive school headteacher in the UK.

Zip it and help the Giving Voice campaign

The Speech and Language Society are a brand new society set up and run by us, speech and language therapy students. Speech and language therapists (SLT) assess and treat speech, language and communication problems in people of all ages to help them better communicate.

We also work with people who have eating and swallowing problems. Our society has been set up so students can get involved in the events we run throughout the year.

Due to the financial climate hitting all areas of the economy, the Royal College of Speech and Language therapists (RCSLT) realised that the SLT service may be under threat, and that the profession would be heading for a difficult period. As a result, RCSLT introduced the Giving Voice campaign.

Giving Voice will help speech and language therapy services demonstrate SLTs’ unique value to national and local decision makers, while showing evidence of their efficiency and value for money. The SLT society have run GV campaigns throughout the year to promote this. Our first event was at the Refresher’s fair, where we spoke to students about our profession. On the 10th of February we are running a bowling social… but with a difference.

We will all be taking on an exciting challenge called ‘Zip It!’ for a charity linked to SLT called ‘Afasic’. Afasic supports families, children and young people with language and communication problems. They are a great supporter of raising awareness and the work of the RALLI campaign as well.

The challenge is to stay silent and use only non-verbal methods of communication for 30 minutes! We will be asking students to donate a small donation of £1 or more to go to Afasic.

Afasic hopes that taking part in ‘Zip It!’ will help people to understand how frustrating and difficult everyday life can be for the many thousands of children and young people in the UK who have speech, language and communication disabilities.

Money raised from the ‘Zip It!’ challenge will go towards funding Afasic’s Parent Helpline Service (£35 keeps it open for an hour) and their unique specialist youth clubs (£50 pays for a young person to attend for a month).

This challenge will be part of the GV campaign as it is promoting our profession to the public by using non-verbal means to communicate. We will be promoting this on our Twitter and Facebook accounts and trying to get as many people to donate as possible!

From the University of Manchester Speech and Language Society

Untitled Short Story, by Jessica Sired

“And, John, you promised you’d put that damned shelf up two weekends ago! WHERE ELSE CAN WE PUT THE NEW LAMP?” she shrieks, their argument finally reaching a crescendo. A door slams. The sound of glass breaking rings through the quiet, suburban street and finally John appears, red-faced and dishevelled at the front door.

“You can shove it up your arse!” he screams, the familiar vein appearing in his neck, protruding above his blue shirt collar and snaking its way up behind his ear. With a final huff of frustration he slams the front door too, kicks over his wife’s favourite pot of daisy marguerites and opens my door harshly. I wince.

He only drives me to the end of our street before he stops and lights up his pipe. I hate it when he smokes; he gets the fumes in my upholstery and now I have a permanent stench. “Stupid bitch,” he mutters, taking a long drag. John does this every time he and Jen fight in the morning, which is every day except Sunday now, when we go to golf before she wakes up. I should be glad that he still takes me, but parking me down the road so his friends don’t see me hurts a bit. He inhales deeply once more and finally relieves me by putting my gear stick in neutral, taking his foot off of my clutch and pulling my hand-brake on. We sit in a rare moment of contented companionship whilst John bubbles the dottle left over in his pipe, muttering about Jen under his breath, and I steel myself for the drive ahead.

Once again we’re on the A30, on the way to work, and I’m competing for my place on the road. John is pushing me and it’s making me uncomfortable. All of the stopping and starting is making me feel sick. I can feel his gaze burning into my rear-view mirror before he flips off the lorry driver behind. If I could blush I would. The car in front, a pretty little Audi, brakes suddenly but John doesn’t notice because he is too busy continuing his mimed argument with the guy behind. If I had been any closer to the car when he finally slammed my brakes on we’d have snapped the owner’s neck. A few cars back someone blasts their horn. A space opens up in the fast lane and my steering wheel is wrenched to the right impatiently, only for me to have to slow down almost straight away for a Mini. John pounds my horn with his fist. “Shit,” he hisses. “Get out of the fucking way! Some of us work for a living!”

I used to like John driving me, when I was new. I used to be his pride and joy and he’d spend every weekend waxing and cleaning my silver body work until it shone. I was the best cared for car on the street and all of the other vehicles were jealous; when I was new. He loved to take Jen and me out for the evening. On several occasions he surprised Jen with flowers and a nice dress and then all three of us would cruise down to Brighton. I liked being parked in the Marina, on the open top floor of the car park where I could watch John and Jen walk hand in hand towards that floating Chinese restaurant. Those were the days. We haven’t all been out together just for the fun of it like that in ages. John never used to call Jen ugly either. He doesn’t want to show us off anymore. He wants a new car, a “lovely ride, like a Jag,” and a “cute blonde” to go with it. Well, now he’s confessed that’s in his sights, I guess.

We’re at a standstill, back in the slow lane with the lorry driver in front. Every time I crawl forward I grit my grille because I know the arsehole in front—John’s words, not mine—is waiting to slam his brakes on hard so we go up the back of him. Why does John have to vent his anger at general life whilst he’s driving me? I used to be so happy, excited even, at the prospect of John taking me out and now if I could cower and whimper away from him like a kicked dog I would. John lights up once more and blows the putrid smoke at my windscreen.

“Oh, Mike,” he whispers and involuntarily my engine purrs. His affection has become alien. “Look at me, talking to a bloody car,” he scolds himself, slapping his palm on my dashboard. He inhales and opens my window. “Come on! Move! Step on it!” he yells out of it, waving his pipe and punching my horn a few times for good measure. He pauses for a second, eyes glazed, before pulling himself back inside and doing the window up. “I can’t carry on like this.” The vein is back but this time it’s accompanied by a rare, single tear.

Yesterday Mr. Next Door had caught John just before we’d left for work.

“You alright, John, mate? How’s life treating you?” the neighbour had asked, leaning his grubby hand against my door. I wished I could shake it off.

“Yeah, I’m living the dream, fella. Shame its Freddie Krueger’s dream.” John had replied with what was supposed to be a nonchalant shrug. The neighbour gave a sympathetic smile and leaned in closer so that his coffee-breath filled my interior. “The wife and I heard you arguing this morning. If you ever want a place to cool off my fridge is full of beer and the spare bed is always made up,” he’d offered.

“Oh, err… thanks Fella, but I’ll be alright.”

“Ok then. But just for the record, when someone wishes you dead it’s probably time to call it a day.”

Cars start to move again but John, who is now on his fourth pipe, is too slow getting going for the Fiat Punto behind us, who beeps long and loud. John stomps on my brake and I almost stall, but thankfully John saves me from that embarrassment just in time. He puts his middle finger to my rear view mirror once more and the man in the Punto reciprocates with his own rude hand gesture. “HOW DARE YOU HOOT AT ME? COME ON THEN! YOU WANT TO FIGHT? ME AND YOU, YEAH? ME AND YOU!” John screams, his spit flying everywhere, drenching my mirror and dash.

We’re pushing sixty now and John finally comes back to me, shunting me up a gear so that my engine stops straining, and focusing on the busy road ahead. There’s space in the right hand lane and I see John’s eyes linger on it before he slaps my indicator on. A Jag appears on our outside and despite the indicator it doesn’t let us out, but John just stares after it admiringly. He only ever gives way to a Jaguar. A pang of jealously resonates within me. He steers me to the right once more and we start to cross over, only for the Punto to creep up behind us on the right and pass us, almost hitting into my door. John blasts my horn again and jerks us too harshly in his hurry to get over. The white line at the edge of the carriageway drills at my tyres, making both of us cringe.

Two nights ago, after Jen had cooked herself and John baked beans and jacket potato, a meal he considers “lazy,” she had begun to nag him about his job. He’s being “shat on from above,” according to her, and she doesn’t think that it’s right. He said that work is work and in the current climate he is lucky to even be employed. That he likes work better than being at home with her. Then he told her about Angela.

“Angela as in work Angela?” she’d spat. I could see her venomous glare through the dining room window. John had only nodded resolutely. Only months ago he would have sworn to her that he’d never act on his lust.

“But, why would she fancy you?” Jen had hissed nastily, and I could just make out John clenching his hand into a fist through the white, net curtains.

“She knows the real me; the happy bloke you got your claws into and sucked the life out of. She doesn’t nag, we don’t argue. She and I want to go away together. Don’t worry about the house and car, you keep them, they’re both piles of shit anyway.”

The Punto blocks our every action and I can’t stand it anymore. We speed up, it speeds up. We pull to the left, it pulls to the left and then back to the right again as soon as my wheels shift to do the same. Cars all around us are beeping and revving angrily and I just can’t stand it. John is staring fixedly into the Punto’s rear-view mirror, gesturing and shouting vehemently every time the driver sneers at us. I can’t stand it. I hate this John. I hate the John who thinks I’m worthless, who is willing to leave his wife for the blonde office whore. He used to love us. He thumps my horn repeatedly and squashes my throttle to the floor. My engine screams in protest, desperately craving the relief that fifth gear will give. “He’s fucking insane. Fucking barmy.” John mutters feverishly to himself, licking the spit off of his lips. Sweat is dripping down his forehead and sheen of perspiration covers his top lip, but he doesn’t seem to even notice. He’s past caring about either of us, intent only on his next conquest. The Punto, a Jaguar, the slag Angela. We’re disposable. He’s disposable. I hate him. I HATE HIM. He veers into the left lane and the Punto is too slow. He clenches his pipe and my moment is ripe. I swing back into the right lane more ferociously than John directs and carry on straight, ignoring the curve in the road. As the corner accepts its kill I prevent my air-bags from deploying.

Live: Johnny Sly

24th January

The Roadhouse

8/10

Soulful 7-piece post-folk band surprise and delight the Manchester Roadhouse with their varied and intricate music. Adorned in a range of exciting hats the band started their show with ‘Déjà vu’.

Underpinning the cerebral, bitter lyrics are long and warm trumpet notes over a twinkling harp and piano flow. The song is about failed love; a nihilistic observation that “someday you’ll be pleasing someone else”. Emotional and personal; the track has choral, jazz and indie influences.

‘Peace of Mine’ sounds trip-hoppy with its sung-spoken lyrics, lo-fi effects and some psychedelic bendy guitar elements. The song had the crowd in a happy (and chilled) place. ‘Stitch’ reveals more worldly influences; reminiscent of Latin-Jazz and Flamenco chill. The crowd were properly going for it by the end of the set.
It is a struggle to find any band to directly compare them to. The line-up consists of six vocalists, acoustic & electric guitars, bass, drums, keyboard, trumpet & a harp. Powerfully amplified instruments dominated Jonny’s voice and try as the soundman might to strike a balance throughout the set lyrics proved hard to decipher. The music never fails to innovate; but was inconsistently reproduced by the Roadhouse sound-system on the night. One thing that no-one could fail to hear was a man with bellows for lungs in the front row screaming “JOHHNY SLY” in between every track.

Their ability to encompass such a wide variety of styles and influences is their greatest strength and it is hard to place or define their sound. Listen to their Déjà Vu EP. Brief sections of songs sound like they have potential as songs in their own right but can be overshadowed by changing influences, instruments & voices coming in or going out. That said the band interacted well with the crowd; handing out presents and throwing scarves. The connection felt strong.

There are huge voices & instruments in this band; but like a war they need to pick their battles and balance sounding the artillery with everyone coming in like the cavalry. A live structure where they start with slower/softer pieces and build to faster/louder tracks would be better. The performance was rock solid with the only poor decision of the night being an acoustic encore. Their music maximises its emotional payload when restrained but is at its most compelling when the crowd dance.

Live: Alvvays / Moon King

21st January

The Deaf Institute

8/10

Two bands hailing from Toronto played at Deaf Institute on Wednesday night: Moon King and Alvvays. The latter have almost certainly risen in fame since they were booked for tonight’s show, as the venue was completely sold out and they are coming back to play Academy 2 in September.

Openers Moon King announce to the crowd before their set that they “aren’t quite with it” due to having just arrived from Canada. Despite this they play a good set, and songs such as ‘Only Child’ and ‘Dreamtrap’ really show promise. However their lengthy support set definitely falls a little flat at times, and the omission of ‘Sleeping In My Car’, one of their liveliest tracks, didn’t help either.

Alvvays played a brilliant set, consisting of their whole rather short self-titled debut album, and a new song. The live setting really suited their sound, really adding energy to the guitar lines, and bringing songs such as ‘The Agency Group’ and ‘Adult Diversion’ to life. The jangly rolling riffs of ‘Next of Kin’ and ‘Atop A Cake’ proved Alvvays worthiness of one of the most enthralling bands to come out of 2014. The set closed on their most popular song ‘Archie, Marry me’, a sun soaked product of truly brilliant song writing. An encore consisting of the slower and emotive ‘Red Planet’ and ‘Dives’ proved an excellent closer to the night.

In addition to their brilliant songs, Alvvays came across as a genuinely charming band. Between songs (in her thick Canadian accent) singer Molly Rankin expressed her love for Oasis and her excitement about playing in Manchester for the first time. The combination of Canadian charm and catching a band that certainly have greater things in store for them was a classic example of why the live music scene is so exciting.

Album: Meghan Trainor – Title

Released 9th January

Epic Records

7/10

You cannot deny that Meghan Trainor is a rising star. In the southern French village where I am spending my year abroad, the strains of ‘All About That Bass’ were frequently heard throughout the autumn of 2014. Then I returned home to the UK at Christmas to find the song inescapable. Next thing, ‘Lips Are Movin’’ landed and it seemed the music channels were never free from kitsch rainbow videos. Not that I am complaining. Both are great, catchy songs with, in the case of ‘All About That Bass’, an important message. But Trainor’s rise from obscurity to being the hottest thing in music does fascinate me, so I am delighted to have the chance to review her debut album, Title.

The first thing that strikes me is the cover. It screams, “kitsch” and “sixties.” Sixties yes, there is definitely that vibe to some of her material. But kitsch, no. If you forget the cover and the rainbow-y videos and just listen to the music, she actually has a very slick, cool sound. A cross between soul and RnB, with a definite pop twist. Her harmonies are a crucial part of each and every song and are always on point. Her voice is strong and distinctive. Yes, her sound is spot on.

I have slightly more of an issue with the songwriting. Trainor co-wrote all of the songs on the album, mostly with established producer Kevin Kadish. She clearly has a gift: both singles are excellent and several other songs stand on their own such as ‘Dear Future Husband’ and ‘3am’. However, other tracks are very same-y and blur together when I think back over the album. A quirk she has is to choose a “concept” for a song and bleed it dry. This works brilliantly with body image in ‘All About That Bass’ but others feel overstretched; for example, losing a friend to a boy in ‘No Good For You’, and making mistakes while drunk in ‘Walkashame’. Both songs are good musically but the lyrics could be improved by not being restricted to one idea.

Overall, I am impressed with this album: as a debut it is very well-crafted. The little niggles I have pointed out can easily be ironed out over the years to come: at twenty-one, Meghan Trainor has a great future ahead of her.

Live: Metronomy

6th December

Albert Hall

8/10

Supporting Metronomy were Teleman, whose debut album Breakfast had featured highly in many albums of the year lists. Their combination of clear and intelligent sounding vocals backed by bouncy guitar driven melodies proved their position as a solid support slot. Finishing their set with the slow building ‘Cristina’, anticipation started running high for Metronomy.

Having been touring in support of their album Love Letters for seemingly most of 2014, Metronomy’s live show has come on leaps and bounds. Towards the beginning of the year, I saw them perform a rather lacklustre gig in Birmingham, yet this time around, I was blown away by the sheer energy of the band.

They began their set with three of their earlier songs from second album Nights Out, including the gloriously bouncy ‘Radio Ladio’. Despite this, the crowd seemed surprisingly unimpressed by this choice of starters, and remained fairly static. Then, as the familiar opening chords of ‘The Bay’ kicked in, the crowd cranked up to a frenzy, and remained in one for the remainder of the show. Songs from The English Riviera were among the best received, but it was ‘The Upsetter’ from their most recent album that the clear highlight of the set.

The gig was everything you could have hoped for from a Metronomy gig. There were token members of the audience awkwardly bobbing and robot dancing in the wings of the Albert Hall, and the combined awkwardness and enthusiasm of the backing band was a joy to watch. The band shifted at times to form two pairs behind the keyboards at the back of the stage, seemingly to both play and dance in sync.

It was also nice to see that Metronomy have not abandoned their roots, with the setlist featuring a surprising amount of their older material. As they closed the night on ‘You Could Easily Have Me’ from Pip Paine (Pay The £5000 You Owe), and a cover of ‘Here Comes the Sun’ by the Beatles, the crowd was still going mental. A unique Metronomy kind of mental that needs to be experienced.

8/10

Live: Love Inks

1st December

Soup Kitchen

5/10

With the wind and the rain howling outside in Manchester’s Northern Quarter, Love Inks played a small gig in the homely warmth of Soup Kitchen. Small may be a bit of an understatement, as there were only 16 people present in the audience. Despite this Love Inks played a good show, playing several songs from their most recent album Exi as well as from their debut album.

The highlights of the set come in the form of ‘Outta sight’ and ‘Solar Diary’. These songs epitomise Love Ink’s sound; a blend of the slow and groovy guitar lines of The XX, and the alluring vocals of Stevie Nicks. Yet it is perhaps ‘Night Lunch’, which is the standout song of the set; it momentarily transporting the audience away from the confines of Soup Kitchen and the bleak wintery Manchester environment.

Love Ink’s could no way be considered that lively, but they handled the awkwardness of a small crowd well and played an atmospheric performance.

Flashion: Rick Owens AW 14/15

Rick Owens likes penis. It reads more like an unfunny ‘frape’ than a runway manifesto, but if his AW15 Menswear show is anything to go by, as far as Owens is concerned, flesh means fashion. For SS14, his choice to use a sisterhood of African-American step teams instead of the usual coterie of skinny and sylph-like catwalk models caused something of stir, however it was nothing compared to this season’s controversy. So why is it, when naked bums and boobs barely raise the industry’s immaculate eyebrow, that a little game of penis peek-a-boo shocked so many?

Is it really such a surprise that Owens, who has gone further in the pursuit of accessibility—and not just in the trouser-less sense—than most contemporary designers, should stray so suggestively below the belt?  The designer had this to say for himself: “Boys with their dicks out is such a simple, primal, childish gesture.” And indeed, there was something freeing and delightfully juvenile about Owens’ ballsy move. A little like maths, dick drawings are one of few truly universal languages. Who can honestly say they haven’t scrawled one on a desk/in a textbook/on a friend’s face in permanent marker pen at some sorry stage of their adolescence?

And yet, Owens’ penises weren’t quite this brash, they weren’t there to offend or be transgressive. Subtle and in some cases unnoticeable, they seemed, like the rough-hewn garments the models wore, to hark back to an ancient, more simplistic time. An act which recalls our own personal primitive existence; childhood, when bare skin was natural and free from sexual connotations.

Is it objectification? There are certainly those who think so. But in an industry which is so saturated with sex, these soft and, frankly, flaccid male members were refreshingly unsexy. They were there for a reason and for once it wasn’t arousal. When was the last time you saw a pair of bare breasts on the runway that weren’t there for titillation’s sake alone? Now, that would truly be ground- and maybe even ball-breaking.

Political Correctness doesn’t exist

Chances are if you disagree with me, you’re just “saying what everyone else is thinking,” you’re worried about Christmas being banned, or you’re annoyed that you’ve offended someone—or you’re Nigel Farage.

Perhaps instead you’re just a devout advocate of unrestricted freedom of speech without conscience; it doesn’t really matter. The concept of political correctness only exists in the mind of those who want to criticise it, and even if it existed independently of its detractors—and UKIP—it would not contravene freedom of speech.

The inability to call someone a “faggot” or to use racially insensitive language is in no way an attack on anyone’s freedom of speech. It’s not political correctness to avoid using terms like this, nor do those who avoid them because they’re offensive wake up in the morning and prepare their straitjacket of correctness for the day.

Offending someone is offending someone. Importantly, no one other than the marginalised groups being offended are permitted to decide what is or isn’t offensive. A straight man isn’t allowed to tell me that I shouldn’t be offended when someone calls me a “poof” or puts gay marriage in scare quotes. As a white male, I’m not allowed to decide what terms to use to call black people or to call women, and so on.

Not being offensive isn’t hard, nor does it detract from your opinions, however backward, in any way. Intelligent debate about immigration, gay marriage, or any topic you could possibly imagine, can be talked about without offending people.

Comedy is an exception. It’s a blurry line between acceptable offence and just downright tastelessness but no one really knows where the line falls—it’s an undefined line that Dapper Laughs definitely crossed.

Not being offensive does not equate to censorship; for example, saying “AIDS” rather than “full-blown AIDS” doesn’t censor any ideas or opinions put forward in an argument.

We all have the right to an opinion, and the right to criticise anything. But you don’t need to be offensive and everything can be debated in polite, inclusive, terms.

We should stop blaming political correctness every time we offend someone, and just call it not being an arsehole.

Student Action: Breakout

Student Action gives you opportunities to participate in or lead your own projects that help make a meaningful and beneficial contribution to people in the local community.

Finding it hard to fit in volunteering around your studies? Student Action are running ‘Breakout’; a four-day activity programme in the week beginning the 6th of April during the Easter holidays with disadvantaged children aged 8 to 10 from a local school.

Breakout involves trips to the Manchester Museum and Sealife centre, team games and treasure hunts, cake decorating and T-shirt making and everything and anything else! The aim is to inspire children to go to university and enjoy educational activities they may not usually have access to. Student Action wants to make an impact. You will be part of the team planning and designing and running the sessions, so we are looking for committed and enthusiastic people.

If you would like to be involved they can invite you to information and training sessions by email. Places are limited so get in touch! Never worked with children before? You’ll need a DBS check and can also gain experience on their weekly projects running children’s activity sessions in Fallowfield.

If you are interested in volunteering on any projects their next social is 25th Feb at the Students’ Union Activities Space.
www.manchesterstudentsunion.com/studentaction
[email protected]

Save the Children

University of Manchester Save the Children work with the national charity Save the Children UK by supporting its work in 120 countries. They help the charity to save children’s lives, fight for their rights and help them fulfill their potential. They do this by organizing fundraising events and creating awareness with aims to give children a brighter future!

They are looking for students who are passionate in making the world a better place for our children. It does not matter whether you have any experiences in fundraising; what matters is the compassion you see in yourself. Each of us has the ability to make a difference. So join them and inspire them with your ideas to achieve the goal together!

The last event they organised was Christmas Jumper Day, in conjunction with the annual celebration of Christmas Jumper Day by the national charity before they took a break for Christmas and first semester exam. It was held on the 8th of December 2014 in Students’ Union.

Their next event will be in collaboration with the Filipino Society, they will be having a food stall selling Filipino food and a stall for a bake sale. Our shared aim is to raise donations for children in the Philippines. The event will be on going for two days, the 17th and 18th of February at the Students’ Union. Students are welcome to join them manning the booths or volunteer to collect donations around campus.

They are also collaborating with Belly Dancing Society by carrying out a Belly Dancing workshop, a 2-hour long workshop to teach belly-dancing enthusiasts the basics. With the full support from Belly Dancing Society, all class fees collected will be channeled to Save the Children.

Save the Children UK is also looking for volunteers to help out with collecting donations after a concert in March.

They are having a meeting with all members on the 11th of February, at room 3 in SU from 2 – 3pm; so for those who are interested to know better about their upcoming plans can drop by to attend their meeting.

If you want to get involved with the upcoming events or to suggest more fundraising ideas, e-mail them or register yourself as a member of Save the Children on the Students’ Union website and you will receive emails of any updates.

Contact them at:
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MDMYay or MDMNay?

Upon reflection, my entire life, and perhaps yours too (along with most citizens of the over-medicated West) has been an alarmingly constant binge, a towering list of one drug-addled rampage after the next. At age five I was the kid on a North West London street corner swigging Calpol from a brown paper bag. I’ve smoked enough weed to realise that I’m boring on it. I’ve blacked out drunk more times than I can remember. Most terribly, I’m also sorely dependent on caffeine. Then there are the painkillers: Ibuprofen, Tramadol and Codeine. Class acts, all of the above, but none of them Class A.

Then came a post-exams blitz, as a two-week slog of work came to an end and students began again to do what students do best.

At a night out, I took two doses of MDMA. This was my first ever contact with ‘party drugs’ but I wasn’t worried since I knew all my good friends were having it too. This is not a total damnation of the drug—for all I know the dealer mixed our stuff with Speed and Ricin—but merely a self-reflective exercise that will maybe make some people approach drugs like MDMA with more caution. After forty-five minutes I began to feel definite effects, and from midnight until three (roughly when I had more of it) I was convinced that I was having the best night of my life. I was a space Communist riding out into oblivion with my best friends and loving every second, in perfect harmony with the music (blatantly I wasn’t though) and my species. We stayed until the party broke apart and I felt pretty much fine.

From there I went to three separate houses, mainly because I wanted to be among company during the dreaded comedown I’d heard so much about. Sweats, shakes and paranoia were taking hold. Under the influence of this new and confusing drug I was consuming anything that people suggested would make me feel better, including beer, weed, serotonin replacement pills and herbal tea. None of it helped. I was pacing and stuttering like a cannibal. Long story short, myself and a friend ended up in A&E at around 2pm having not slept whatsoever, and I had blood tests and an ECG which revealed my heart rate to be a steady 160bpm. Most adults have a resting heart rate between 60 – 100bpm.

Pins and needles, facial numbness, uncontrolled limb movements, chest pains and incredible difficulty breathing were my main symptoms. Constant thirst, nausea and sleep-deprived delirium added to the horror. After several hours of attentive care from my friend and the hospital staff, who put me on a drip and did their best to sedate me, I was allowed to go home that night. After a spasmodic fourteen-hour sleep I was fine.

Since then I have carefully weighed up my two very different experiences of MDMA. Negative was considerably heavier on the scale, and based upon this I will never take it again.

Come back next week for ‘My First Ether Binge’, which I’m off to research now.

Love Britain? Love FUKP and the art of satire

The Charlie Hebdo shootings and the disregard for freedom of speech instilled in the ideology of the murderers has no doubt united thousands. Under the banner of expression and the right to free speech the world has responded with a vigorous two fingers up to anybody who attempts to supress their voice.

With free speech comes responsibility to use its power. In the words of Salman Rushdie ideas “deserve criticism, satire, and, yes, our fearless disrespect.” To turn the issue of freedom of speech back towards a more light-hearted issue I would urge you to look back across the English Channel to Al Murray and FUKP. Under the guise of his creation, the ‘Pub Landlord’, the comic is igniting the fuse of satire in a huge way, evidencing, as ever, the power of possessing the freedom to mock power.

It would appear that amongst the stoic who are able to endure the full monotony of British politics, a comedy candidate is as much a grievance as the politicians they satirise. Leaning over the parapet of satire, Al Murray will no doubt have been met by thousands of stony-faced realists. Too serious about the state of policy to recognize the existence or function of comedy, these people will invariably have missed the point.

Like Russell Brand before him, albeit in a more flippant tone, Murray is undeniably enfranchising more people into politics. Love or loathe Brand, the sales of his book ‘Revolution’ sold 22,000 copies in 11 days. Likewise his appearance with Nigel Farage on Newsnight drew in the largest viewing figures of the series. Looking at the Newsnight Twitter response, Brand succeeded in his aims that evening, with #newsnight evidencing an outpouring of ridicule at Farage’s backwards ideology.

My issue however with Brand is that for all his beautiful, verbose, mastery of language, his ideology isn’t watertight. Herein lies the genius of the Pub Landlord’s approach. He doesn’t need watertight ideology. He is undertaking an immense task, but what he is doing is simply a brilliant satirical mission.

The utter lunacy of Murray’s Free United Kingdom Party policy serves to ‘out-UKIP UKIP’, but in a totally safe and humane way. Policies such as ‘bricking up the Channel Tunnel’ to keep out immigrants and ‘starting a war with Germany’, serves to highlight UKIP’s absurd stance without the need to appeal to its voters. Unlike the major parties Murray can openly satirise, highlighting Farage’s dangerous status as ‘a pound shop Ezra Pound’. Murray’s achievement is that the Pub Landlord is a comedy caricature of all that Farage really is, and the most valuable method of defusing Farage is to reflect just this irony.

Perhaps unsurprisingly, Nigel Farage failed to get just that irony. He welcomed the competition of Murray stating, “the more the merrier… especially from the man who is David Cameron’s sixth cousin.”

This is true—Murray is a distant relative of David Cameron, linked through 19th-century Vanity Fair author William Thackeray. What Farage fails to realise however is that in pointing out the link to hierarchical bloodlines, he is undercutting himself.

Murray, unlike Farage, knows he isn’t an outsider or the voice of the disenfranchised masses. Nigel Farage, pictured on Boxing Day at a hunt, publicly educated and a former broker, is genuinely founding a career on an outsider-act image. The Pub Landlord is a heavily educated and wealthy person dressed as a mock-xenophobic man of the people. Nigel Farage is, well, exactly the same.

As if on cue, Farage has spoken out in the press against Paris’s plans to sue Fox News, serving to further validate Murray’s satire. Despite being founded on incoherent nonsense and despite the station being a one-stop shop for pathological liars, Farage has supported the statement of “no-go zones” in the city. He has attributed this to the “moral cowardice” of Britain and European countries. Presumably this is the kind of all-encompassing, multicultural cowardice he will stamp out.

FUKP’s heavy-handed policy on immigration can only be compared to an anti-assimilation bulldozer. Al Murray is propping up the mirror perfectly, reflecting back Farage’s rhetoric with the added layer of comic incoherency it so deserves.

Like I said at the beginning of this article, the stony-faced amongst us have stated Murray is simply making a mockery of the political system. Patrick Kidd, a diarist at The Times, similarly pointed out Murray’s Oxford education as a failing of the campaign, showing you don’t have to be a one-brain celled bigot to miss the point.

Murray is mocking the political system to an extent. However we’re all part of a system that allows the medieval policy of Farage to be cultivated. Arguably we deserve to be mocked, maybe we need to take a long look at ourselves. In that sense he is possibly providing a greater public service than any other self-interested political party.

Where the campaign perhaps falls down is in its introversion. Whilst sat watching Great Britain, a play mocking the gutter press currently garnering rave reviews in London, I felt the same twinge I do now. As I looked around the room at the laughing audience who had paid to watch a satirical look at the media I realised that we were laughing, but that the message was one we already knew. Murray perhaps will face the same problem.

His strength is that he is in the public sphere far more than Great Britain, for example, however whether his message will be lost on those that need to recognize it remains to be seen. Whether he can truly make a UKIP supporter recognize their blindness will be the real test of his mission.

One thing that is certainly true though, is that one more person evidencing the backwardness of Farage and his backwards party is by no means a bad thing. If Murray can engage the public to even half the degree that Russell Brand has through a less serious but possibly more poignant campaign, then his contribution to the election will be a good one.

Al Murray might just provide a moral conscience often totally missing in politics.