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Day: 14 March 2017

Tuned On: Ms, Millennial & The Music Industry

Tuned On is a regular event run by Punch Records that aims to engage with and educate young people hoping to get involved with the music industry. For International Women’s Day, they joined University of Manchester SU to deliver an all-female panel that was as empowering as it was educational, and thoroughly enjoyable.

The panel, hosted by BBC Radio Manchester’s Karen Gabay, featured women from different sectors of the industry as they discussed their roles, their inspirations and their best advice for women wanting to get into the industry. The event was enriching, inspiring and the honesty and realness of their approach to the discussion gave an invaluable insight into what it means to be a woman not only in the industry but succeeding in it.

Each of the panellists offered a unique perspective into their roles in the industry: Parris OH, the Urban Promotions Manager for Sony, discussed the importance of intersectional feminism, hard work and “earning your stripes” in a way so inspiring I immediately went home and wanted to kick-start a world-changing career. Rebecca Ayres, COO of Liverpool’s Sound City, which has had the likes of Ed Sheeran and The xx grace its stages, discussed the way festivals are actively trying to change the lack of female representation both on their line-ups and within the team behind them. Georgie K, a female DJ currently killing it in the Manchester scene self-taught herself to DJ and has now DJ’d for Justin Bieber and Drake, while Melody Kane, from BBC 1Extra gave a refreshing view on feminism in the industry: “We’re a real threat to men,” she laughed. “Women bring a different skill set.”

Once the panel was over, what remained was a room of women — and men — with an overall feeling of empowerment, a buzz of inspiration and a raw hope that all of us really can follow the path we want, regardless of gender or any other force that may be holding us back. As Melody Kane said in one of the sharpest moments of the night: “You shouldn’t ever feel as though anything is above you.”

How technology and widespread media are affecting you right now

It is now 2017 and, unbelievably, the human race is still going. However, life is constantly evolving as the rate of evolution exponentially increases with technological advancement. I know what you’re thinking: this is another boring article about how technology will be the death of us in a Terminator-style inferno. No, I’d rather like to talk about the general effects of this advancement, which you may not have perceived or even recognised.

First things first, we now live in an age where it is virtually impossible to avoid interactions with technology on a daily basis. A smartphone is now considered a necessity, and with access to data roaming, our whole generation walks around constantly zombified by the invisible tendrils of the internet. This has led to some profound changes in both the ways we interact with each other and the ways in which we project ourselves.

On an immediate social level, smartphones have impacted interaction by providing a crutch for people. No longer do we live in an age where, if the conversation isn’t flowing, a horrible crippling awkwardness descends. Now, if no one can think of anything to say, they are extremely happy whipping out their phone and pretending that no one else exists. This, for me personally, is incredibly frustrating, as sometimes I feel like I’m really enjoying a conversation, but once the smartphone is taken out, I really feel like the chatter suffers. Funny enough, most of my conversations these days seem to be revolved around ‘have you seen this?’ followed by someone showing me a meme. This I don’t really have a problem with. But what it means for humanity itself, I do not know. Yet, this is only the surface level impact on the way we interact. In fact, there are much deeper implications and problems with having an almost alternate reality in the hands of every child, teen and adult.

Nowadays, we all share a space on the internet, often seeing the same things and reading the same content. One outcome that is impossible to prevent is that young children and teens are being exposed to adult material and themes. Unfortunately, the disturbing effect of this is that teens are getting into drinking sooner, becoming sexualised earlier, and even getting into drugs earlier. This is because younger people are seeing what the generation above them are doing on a daily basis, and in their bids to become cool and more adult earlier, will indulge in such activities. This effect is impossible to prevent, as most kids have access to social media and can easily lie about their age on the internet. Of course, when I was a 12–13 year old, I spent my time playing Pokemon and wrestling my friends. In 2017, it seems these activities would be considered outright terrible.

The second damaging effect is one of extreme disillusionment over the internet. Everyone, and I mean everyone, has an internet personality. Whether we like it or not, our personalities on the internet are separate from our everyday identities. This is because on the internet, you often project a ‘perfect’ version of yourself, a version in which no awkwardness or mistakes arise; you have time to think about what you want to say, and measure your words to every situation accordingly. Whilst I think this, in some regards, can be a healthy thing for people who struggle to express themselves in real life, it also has the adverse effect of derealisation. Having plenty of online friends and connections on platforms such as Twitter, in place of real friends, could also have negative effects on the social media user, making them feel comparatively lonely when their ‘friends’ don’t speak to them in real life. It also offers a crutch for those who are too nervous to talk to people, as they can simply hop online and send messages stress-free.

Of course, there are many good things that come along with social media and technological advancement. People, generally speaking, are reading more news and are more updated with current affairs. Video games and the vast world of the internet allows those who find it difficult to deal with reality to simply take a break and relax. Not only this, but meeting up and staying in contact with people is now easier than ever; it is far harder nowadays to lose contact with the people you genuinely wish to stay in contact with. With Facebook and WhatsApp and all the other messaging services, your loved ones are only a click away — meaning that not contacting your mum to tell her you’re still alive really is unacceptable these days (still, I do forget most days). In conclusion, the future is unclear, yet it’s not all doom and gloom for humanity!

Can florals ever be cool?

‘Florals, for Spring, ground breaking’. These dry words, uttered by the sassy Miranda Priestley in The Devil Wears Prada are more than just a sarcastic quip — they make a valid point.

We spend the long winter months in a plethora of heavy knitwear and velvet. However, the novelty of turtlenecks soon wears thin, wool has gone bobbly and we are bored of that same coat. So, by mid-February we see a daffodil and deem it appropriate to whack out the shades, shorts (side note: why is there always one guy on campus wearing shorts all year round, like the weather could be blizzerding and he’s there in cargos) and of course, florals.

Florals. The very word conjures up images of Regency era Jane Austen-esque ladies taking tea (and Cath Kidston table cloths). As much as I would revel in floor length floral gowns and ribboned bonnets, could be a dash too edgy for a night at Antwerp.

Today, most tend to play it safe the majority of the year with neutral tones and geometric patterns. However, Spring rocks up and without fail the shops look like Chelsea flower show; florals everywhere you turn and we panic buy in a bid to ‘girly up’ our wardrobes. Suddenly it’s cool to look like Elizabeth Bennet again?

Men’s clothing shops give the odd nod to Spring with floral shirts here and there but overall, it seems to be largely restricted to female shops. An accident? Of course not. Since classical times and beyond women have been associated with nature, Spring itself being about fertility and birth. Therefore, we can look upon this as reinforcement of gender stereotypes.

However, despite these connotations, floral does not have to be twee and submissive.

Spring is about renewal (God knows I for one have enough black in my wardrobe to renew with colour), make a statement. You can do floral and still look icy cool. Look to Urban Outfitters for example, for inspiration. This season they offer the typical pastel hued floral tea dresses, mid length button downs 90’s style and full length numbers. However, they distort these stereotypically feminine pieces by styling them out with oversized leather jackets, Doc Martins, trainers, chains, and layered t-shirts. The bottom line is that floral is about how you style it and how you choose to wear it as an individual.

It’s time to dress fancy

Second semester is flying by and Easter is fast approaching — meaning summer balls and graduation are peeking over the horizon. Fashion follows a peculiarly old fashioned time scale, perhaps a sensible one, that is, shops will start to stock the majority of there spring/summer occasion wear from late March in preparation for summer balls, weddings, race days, graduations, christenings, etc, etc. So, if you’re fashion savvy, now is a good time to start looking, plus in the midst of deadlines — procrastination gold.

Let one shopping lover give a few tips to help you through the trials and tribulations of choosing your perfect outfit.

Notice — outfit. Not dress. One of the perks of 2017 is that it is widely accepted that you can wear whatever the hell you like, a spring wedding no longer dictates a floral dress. Midi skirts and wide legged pants are both fabulous options if you’re after an outfit with more wearability, team with a crop top, bodysuit or to really fashion any outfit up a plain white shirt. It may sound simple but with the array of ginghams and flowers it’ll be a powerful move. Suits are having a high fashion moment still, the high street has a range of styles available whether you want to channel Cher Horowitz or Yves Saint Laurent, you’ll be able to find something for under £100.

Skirt. Photo: stories.com

Much as I may mock florals, they come around every year, as Miranda Priestly told us all, and every year we lap them up. This season however, ditsy, delicate florals take centre stage. Ruffles and cold-shoulder details give a romantic feel, while fluted sleeves can leave you singing the age of aquarius all night long as you live your boho hippy dream.

If you’re thinking of colour blocking this summer there are two options I would suggest (not at the same time though) pink or yellow. Both were the defining colours of the SS17 runway shows, fashion bloggers and influencers alike have embraced fuchsia, blush, canary yellow, lemon, and mustard. This years Golden Globes offered a schooling in how everyone suits a shade of yellow. You may not believe it but it’s true.

Accessories wise, this is the year of the earring. Big, bold, statement earrings, the kind that have an eighties Dynasty feel to them are all the rage. Graduation caps do limit hairstyle possibilities, so statement earrings may give your outfit the lift it needs. Whether they are bejewelled or minimalist, the aim is to elongate the neck and probably start a conversation, mainly about how heavy they are I imagine.

J’adior. Photo: dior.com

The big fear for occasion wear is how to survive a day in heels when it’s warm and your feet invariably swell. Fortunately, for the more sensible among us, the fashion lords have been kind to you this year because kitten heels are in fashion. These are not awful, mother of the bride monstrosities, no no, this year fashions number one shoe is undeniably Dior’s J’adior kitten heel. If Dior says its okay, we know its okay.

Just remember, the biggest problem with these kind of occasion wear occasions is that you will be photographed. In the social media age the camera is unavoidable, so if 17 people are going to upload a picture in the same outfit onto the internet, I hope my tips help you to find a good one.

Viceroy’s House

Following Brexit, the uncertainty regarding the division of power and the partition of people has been at the forefront of everyone’s mind; it seems, then, that Gurinda Chadha’s Viceroy’s House could not have come at a more fitting time. The film follows Lord and Lady Mountbatten, played by Hugh Bonneville and Gillian Anderson, as they attempt to ‘quit’ India as quickly as possible and with the least damage done.

At first, after watching the trailer for Viceroy’s House, one is left with the sense that the film is going to be that of a ‘white savior’ period drama in which the realities of British colonial rule are romanticised, as has so often been the case. However, in this instance, this did not prove to be wholly true. Although, director Gurinda Chadha often creates a playful atmosphere in the film, she did not shy away from the uncomfortable reality which Britain had forced India to face after the end of their colonial rule. Following British rule, India was politically and socially unstable and as such, tensions began to rise between Hindus and Sikhs and Muslims to the point that Indian Muslims wanted their own sovereign state, Pakistan. The film explores the difficulties the Viceroy faced in trying to negotiate between these opposing parties, although his attempts proved to be unfruitful and India was further divided, with the creation of Pakistan. Chadha does not soften the portrayal of the mass migration that took place as a result of the division, instead she depicts it as grueling and often fatal, something which it seems is important for British audiences to see despite the fact it took place many years ago.

However, the film does also feature some light relief courtesy of Chadha’s sharp story telling ability to capture audience’s interest and the brilliant acting from Manish Dayal who plays Jeet Kumar and Huma Qureshi who plays Aalia Noor. Their story line follows a Romeo and Juliet-type trajectory. Dayal’s character is Hindu and Qureshi’s character is Muslim, therefore their love is forbidden, but in contrast to the other messages in the film, their love succeeds in overcoming boundaries and boarders. This sweet love story gives a glimmer of hope for the future of India as is in the film but also for the future of the current world’s socio-political situation as we are seeing an ever increasing creation of boarders and segregation in one type or another.

It could be argued that Viceroy’s House is perhaps a simplified portrayal of India’s acquisition of independence that was created with broad brushstrokes. However, it seems that it is exactly this which makes it such a successful film. Chadha, Paul Mayeda Berges and Moira Buffini have created a film which is accessible to a broad audience and especially to an audience that perhaps did not know of the negative legacy that the British and their empire left on the world or the hardship that resulted due to the creation of  Pakistan as a new country. If one is to view the film this way, as an education on a matter that is deeply important and significant to British and Indian life, then it seems Viceroy’s House is no failure at all.

3/5

MANIFF 2017: Public Intimacy and Railment

Public Intimacy is a film that inspects the nature of love and its boundaries. It is a Portuguese language independent film made on a shoestring budget; the film was conceptualised and made in 5 months. The film was produced by the director and actors together. The film is narrated in four parts, with every part inspecting love of its own kind, and is an excellent example of resilience needed to make cinema.

The first part explores the love between an interracial gay couple. The second part is about the love between a man and a prostitute, in this part the struggle and aspirations of a woman are also shown. The third part is about a transsexual teacher falling in love with a student and the final part and arguably the most explosive part of the film is about the love of a woman with a ghost, and love amongst blood siblings. All the four parts are open ended and in each part the audience is left to think and ask questions themselves.

During the Q&A with the Director Lucian Canton, she revealed that she wanted to make a film where the imagination of the audience can be stirred, since the kind of love explored in the film is not very welcome in her society, as well as a lot of others. She also hesitated to answer a lot of questions from audience as she wanted everyone else to have their own interpretation of every part rather than having only her interpretation of the story.

The film can be next seen at 33rd Chicago Latino Film Festival and Victoria Film Festival, British Columbia.

Railment is an animated experimental film directed by Shunsaku Hayashi. The film is based on a continuous journey of a figure in a train. The idea of a man travelling in a metro train seems really ordinary, but the art of a film is making ordinary into extraordinary. The director has achieved that by not only exploring the dimensions of time and space, but also presenting an image of daily life of people travelling around the metro trains. These people do not have a face, colour or gender, they are just a crowd and nothing else. Such a representation of human life is a testament to the fact that we are nothing but a number in the population of billions.

The film will be next shown at 19th Mecal Pro at Barcelona, 12th Athens Animfest, 55th Ann Arbor Film Fest, Michigan and 29th Filmfest Dresden.

Review: City of Glass

The first I heard of Duncan Macmillan and 59 Productions’ stage adaptation of Paul Auster’s acclaimed short story City of Glass was as I was being shepherded into a virtual-reality exhibit in the foyer of HOME a few weeks ago. In the excellent preview feature, titled My Name is Peter Stillman, you are placed in the body of someone you are not, being spoken to by a ghostly reflection in the window that mirrors your every move, yet is not yourself nor the character you inhabit in this world. It is both unsettling and alluring, much like the play it previews. Its impression of shifting identities and realities was apt preparation for the main feature.

Playing with identity and reality is City of Glass‘ bread-and-butter. Let me demonstrate: answering a wrong number in the middle of the night, depressed crime-fiction writer Daniel Quinn (played by Mark Edel-Hunt and Chris New, alternating intermittently) assumes his mistaken identity of Paul Auster (the detective, not the author) to pursue the case of Peter Stillman, who fears his deranged father (of the same name, and played by the same actor) is going to murder him after returning from prison.

Intending to follow him from the train station, Quinn identifies two figures who perfectly resemble Stillman Sr. and must choose which one to follow. In his investigation, he meets Paul Auster (the author of the story, not the detective) and also assumes the identities of both the protagonist of his detective novels and a fictional creation of Stillman Sr. As he delves deeper in the case, Quinn loses track of his identity and the truth of his reality.

It’s dense, then, and more than a little confusing. Yet this postmodern meta-theatrical framework contains a more traditional detective story at its heart that somewhat grounds it, and is structured so as to gradually acclimatise us to its unorthodox narrative. The play takes the uncertainty and intrigue inherent to the detective genre and, step by step, takes it further; it is only a little after the half-way mark that we jump into the deep end when Quinn’s perception of reality spirals out of control after hitting a brick wall with the case. Who knew detective fiction was such a compelling gateway drug to postmodern meta-theatre?

A special mention must be given to 59 Productions’ innovative use of lighting and staging. Though the stage stays physically static, it is transformed by shifting (and occasionally three-dimensional) projections of animated backgrounds, which seamlessly transport us from Quinn’s drab apartment to Stillman Jr.’s lavish walls of artwork to the bustle of Grand Central Station. This sense that we are in an environment that is at once both the same and different perfectly reflects the play’s central pillar of uncertainty.

The play’s ambitious rethinking of roles and identity means the cast’s acting chops should be stretched to the limit: every actor takes on a number of roles, and it’s striking that at the end of the play only five actors come up to bow. Jack Tarlton, who plays both generations of Peter Stillman (Stillmen?), is particularly impressive, capturing the father’s mania and his son’s deep psychological trauma. In the latter role, he moves like a marionette and speaks in a patchwork of timbres, accents and vernaculars, bringing a character who was locked in a dark room and deprived of language for nine years as a child to disturbing life.

City of Glass is clearly a difficult text to adapt to stage, and for the most part Macmillan pulls it off. The use of a narrator who recounts in detail what the characters are thinking and doing is probably a necessary inclusion for making sense of the confusing plot, and ensures the play is faithful to the source material. However, it also has a tendency to undermine the role of the cast somewhat, and they occasionally come across like puppets of the plot rather than characters in themselves. This may well be the point, as it is certainly in the story’s spirit, but it can make the action feel distant at times.

City of Glass is not an easy play to watch by any means: it is dense and convoluted, and at no point does this web of identities and misinformation come into focus. Nonetheless, it is a tremendously impressive production both in the range of its actors, its hi-tech and seamless stagecraft and its ability to make (relative) sense of Auster’s postmodern masterpiece.

City of Glass is playing at HOME Theatre till the 18th of March.

Feminist reflections on International Women’s Day

The celebrations and demonstrations of International Women’s Day swept the world last Wednesday the 8th of March, with countries across the globe hosting events to both commemorate the achievements of women and to rally together in demand of gender equality. The tradition of International Women’s Day has been observed for over a century now, a century tracing huge progression in women’s social status and expansion of rights. Whilst such achievements have made vast improvements for gender equality, the fight remains far from over.

With the call for gender equality still a pressing matter, it becomes crucial to ensure that any demand and movement for women’s rights remains deeply invested in unity with a strong consideration of intersectionality. The dedication of a day to women, or indeed a day invested in the rights of any single identity category, may run the risk of a potential exclusion or failure to account for all the diversities such a category contains. Women come in a multitude of colours, shapes, sizes, beliefs, fashions, and attitudes. The struggle of one individual’s experience of their gender may be entirely different to that of another’s from a different social or cultural background. In order for gender equality to prosper, these differences and varying manifestations of oppression must be acknowledged and utilised.

A criticism so often levelled at the second wave feminists cites the movement as exclusionary, particularly to transgender women. With so many political demonstrations for women’s rights becoming expressed through language that reduce women to their biology and genitals, many forget the implication this may have for transgender women. Similarly the expression and call for female liberation has so often been one articulated from a position of white privilege, with the struggles of women of colour comparatively underrepresented. To achieve equality in a world of such diversity, it becomes crucial therefore that feminism refuses to become synonymous with white, cisgender, middle-class, able-bodied women. In acknowledging the intersectional pathways of oppression and the multiple ways a woman manifests herself, we can establish a much stronger unity for demanding gender equality.

In light of the recent presidential elections, the past year has seen a burst of activism, with women uniting to march in protest against Donald Trump’s anti-abortion policies, misogynistic comments and attempts to naturalise language inciting sexual exploitation of women as “locker room talk.” The fact that such attitudes threatening women’s equality and rights not only remain painfully prevalent but are also regurgitated by arguably the most powerful man on the planet is more than a cause for concern. In a time of such political change and implicit threat to women’s rights, control over their bodies, and equal social status, the fight for women’s rights is one which calls for solidarity. In ensuring solidarity and a movement of inclusivity, incorporating the multiple and varying struggles of different women, such unity may be the key to achieving wide reaching effects and interrogating the social systems, currently marginalising and suppressing so many.

The celebration of International Women’s Day becomes crucially invested in a resistance of controlled and subjugated bodies, as we resist a system that has downtrodden and dictated women’s position for centuries. So whilst International Women’s Day remains an immensely important day and a time of celebration, we must remember that not only is our struggle for equality still ongoing, but it is necessary to keep the category of ‘women’ broad and inclusive to enable us to demand our right to live, do, and express our gender without restriction.

BBC Sport U:SAY Application

What Hollywood is to film lovers, the sports studio is to sport fanatics. BBC Sport opened up their doors to University of Manchester students a couple of months ago, to have a look around the studios, where shows like Match of the Day are filmed, and go back stage to where output is controlled and producers swear. Now they want more people to join.

University Students were given the chance to play with the BBC’s brand new virtual reality toys too. Some set the mode on the goggles to send them to the top of the Empire State building, whereas other entered the virtual reality mode of University students not being in crippling debt.

This was part of BBC Sport’s U:SAY programme. They are bringing in anybody from 18-25 years old to talk about every sport, from curling to naked mud wrestling. They are looking for anybody with an interest in sport, to join a group of 18-25 year olds and have their brains picked, in exchange for access like no other.

The next session will be on Wednesday 5th April, 1pm, at Media City, where the team will get students together to talk about sports they love. It’s a bit like being at the pub, but instead of a gin and tonic (yeah, I know), it’s a glass of fancy lemonade and cookies… all on the Beeb.

Fuse FM’s Josh Jenkins went to the last event: “We’d walked around the ground floor, past TV presenters and reporters, having a look at all the back-stage stuff. It surprises you just how much work actually goes into producing each show or piece of content.”

Photo: Alex Whitcomb

Ross Taylor, Head of Audiences at BBC Sport and Radio 5 live, had this to say on why they’re doing the event: “At the BBC, audiences are at the heart of everything we do. Our Universities: Sport & Youth (U:SAY) programme provides us with the platform to speak to students directly and for them to tell us what they really think about what we do. This feedback is invaluable and helps to inform what we at BBC Sport create, produce and deliver across our platforms.

“The U:SAY sessions are designed to be interactive and experiential, so that by the end of each one we have a better understanding of the audience – and they have a better understanding of what we do too.

“I hope you’ll join us for a future event!”

To register interest for any future events, click here. Events are planned to run throughout the rest of the year.

Top 3 Euro destinations for student savings

Madrid, Spain

Spain’s central capital is a gorgeous affair of stylish boulevards, lively public plazas, and refined, open green spaces. Expansive parks like Buen Retiro are filled with waterfalls and statues, and are surrounded by ornate streets such as Gran Via. Stately squares Puerta del Sol and Plaza Mayor only serve to sweeten the whole serenade, surrounded by lovely cafes and restaurants. As wonderful as it is in the open air, outside is not the only place to be in Madrid, and fortunately for students there are lucrative offers in place at world class sites of interests to tempt you out of the sunlight for a few hours. The Museo Nacional Centro de Arte Reina Sofía, with its Spanish art collections featuring exhibitions of Pablo Picasso and Salvador Dalí, is free for students under the age of 25. Students of this age too are free to entirely avoid the usually large ticket price to enter the world class Museo Nacional del Prado, the main Spanish national art gallery, featuring one of the finest collections of European art in the world. Discounts are not only for those with artistic interests, however: tours around the Royal Palace of Madrid and the Catedral de la Almudena, with its crypts, museums and rooftop views, are also far cheaper for students to explore.

 

Photo: Jack Greeney

 

Paris, France

Paris is well known as the city of love, and while perfect for such occasions, romance is by no means the only reason to visit the great French capital. Paris is no one-trick pony, there’s something to be found here for people of all interests. Coupled or not, students and young people have it best of all, with the many discounts and savings that the city’s landmark attractions are willing to offer. The Eiffel Tower is reduced to €14.50, which may still be a little pricey, but worth it for the views on display: and more than worth it considering how little you’ll be spending elsewhere. Notre Dame entrance is free for all, but views from its bell tower are free for only for the young and sprightly: and that sprightliness might come in handy traversing all those steps. The Panthéon doesn’t charge for those under the age of 26 to enter, either. The famous art galleries are where Paris comes into its own, though: the wonderful Musée d’Orsay and all-encompassing Louvre usually charge €12 and €15 per person, but are entirely free for young EU residents. They say romance doesn’t come cheap, but a student card in Paris certainly proves to be an exception to the rule.

 

Photo: Jack Greeney

 

Athens, Greece

One of the best places to visit to make the most of your student card is one of the oldest cities in the world — Athens, the capital of Greece. With a recorded history spanning over 3,400 years, the city is brimming with culture, architecture, and heritage sites of the classical era. The sights to see are truly spectacular — and if you’re a student, generally free. The Acropolis, the world famous ancient citadel of Athens, contains numerous ancient buildings of enormous historic significance, and is free to enter with valid student ID, a saving of over €30. On this rocky outcrop overlooking the metropolis stand proudly such works as the Parthenon, recently voted by Business Insider as the most beautiful building in the world. Here too are the Propylaia, the Erechtheion, and numerous temples such as the Temple of Athena Nike (and no, that’s not a sponsorship deal). All are free with student ID — at the end of the day, you’ll have probably saved something like €60. Even with no knowledge of Greek history, these creations are stunning on surface alone, especially when lit up at night. Athens is beautiful, so go with student ID proudly in hand and have as much access as you like.

Photo – Jack Greeney

Fight like a girl

On the eve of International Women’s Day, American sculptor Kristen Visbal unveiled her latest piece. Standing defiant and strong, a bronze statue of a young girl stares down the iconic Wall Street bull in Lower Manhattan, New York.

Entitled ‘Fearless Girl’ the statue calls attention to gender inequality in the corporate world. Commissioned by State Street Global Advisors, the artwork is designed to represent the resilience and strength of women, challenging the male-dominated corporate world and to call on companies to celebrate diversity within the boardroom.

Staring down the ‘Charging Bull’, designed by Italian-born artist Arturo Di Modica, Visbal’s ‘Fearless Girl’ is another reminder that softness and sensitivity equals strength and capability. Visbal commented on the piece: “All women should relate to this work.” She wrote that “it should inspire the young to dream as if anything were possible and simultaneously encourage today’s working woman to hold her ground, no matter what challenges may come barreling down the pike.”

Whilst the infamous bull was commissioned as a representation of the power of the American people, Visbal’s companion to it reflects a more poignant and international plea: women around the world are underrepresented in senior leadership positions.

Recent findings state that globally, women hold an average of only 21 percent of senior management positions, and just 9 per cent of CEO jobs. And that’s without mentioning the gender pay gap (in 2017…) That’s a whole lot of leadership from wonderful women the world is being deprived of. Not to mention that fresh evidence suggests that companies with high proportions of senior female leaders tend to deliver stronger financial results.

The message of Visbal’s piece is clear: “A work which reminds us today’s working woman is here to stay and has taken her place in the nation’s financial district,” she said. “The piece is pungent with Girl Power!”

At a time where the world is filled with injustice and inequality, this piece of artwork symbolises the future. With her hands on her hips and her head up high, this young girl is staring the patriarchy down and telling the world that we all need a lot more solidarity, and a little bit more rebellion.

She is fearless. She is the future.

Photo: benjaminthomaswolf @ Instagram

Poet of the Week: Florence Kleiner

This week’s Poet of the week is a very special one. I heard this poem read aloud by Yasmin Mannon (Head News Editor) at the International Women’s Day Spoken Word event run by Seevana Raghubeer. The poem was written by and read in remembrance of Florence Kleiner, who sadly passed from Leukaemia several years ago. The poem was inspiring and moving and should be read by all. If you would like to read more of Florence’s writing you can do so on the blog she wrote during her illness at flosskleiner.wordpress.com.

Florence Kleiner Yearbook Page

Go out into the world and spread your passion. Rip open hearts with your fury and tear down egos with your modesty. Be the person you wish you could be, not the person you feel you are doomed to be. Be incredible, be fearless, be inspirational, be mind-blowingly insane, but most of all be a person you could be proud of. Don’t satisfy the wishes of others, satisfy your own. Live everyday as if it were made especially for you to shine. The world may owe you nothing, but you owe the world something. You owe the world your ability, your skill, your intelligence, your humour, your character and your heart. You were made so that someone could love you. Let them love you. Let that feeling consume you and then let it flow from your fingertips and pass into another. Let yourself run away with your feelings. Don’t let someone tell you to stop being emotional or to calm down. Cry like you’ve lost everything and laugh like you’ve never experienced it before. Be kind. Be wary. Be vigilant. Fight your own battles and let others fight their own. Learn when to get involved and when to take a step back. Be receptive and listen. Listen to others and in turn they will listen to you. Don’t be afraid. Never fear the unknown. Be reckless and cautious. Destroy boundaries and limitations. Set yourself goals that you will never achieve. Strive every day to reach those goals. Climb the tallest mountains and dive into the deepest pits of the earth to find yourself. Be confident and be wise. Be self-deprecating but do not under appreciate yourself. Never stop learning. Do not think you are ‘better’ than someone because you may have a higher IQ. Do not look down on the world but look up to it. Strive to better yourself, to be more like others and an amalgamation of everything that is commendable. Nothing is impossible. Nothing is extraordinary. Everything is ordinary at first; it is your job to make it feel extraordinary to you. You make your life. No one can live for you. No one can tell you how to live your life. It may seem that life is difficult at times but it’s really as simple as breathing in and out. You were given life by whichever way you may choose. By incredible chance, or by a higher power. It matters not who gave you life or how life came to you. Do not enforce your beliefs on others. Let people believe what they want to and do not think upon them badly because of it. As long as they are not using it as a way to harm others then there is no harm in what they are doing. Choose not to be offended. Do not hold grudges. Never hate. Life is too short to waste energy on those who do not deserve it. You don’t like something? Change it. But do it because you want to, not because you feel you have to. Be strong. Have thick skin. But don’t be built of stone walls. Let things affect you. Let yourself feel every emotion. Accept that not everyone will like you. Accept that life is full of ups and downs. Accept that one day you will die and this life, no matter what may come after it, is over for now. Make use of the time you have. Appreciate the small things. Do not regret anything you do. In the end it makes you who you are, the person you were meant to become. Accept that you may hurt others. But, acknowledge that you have done it and apologise. Apologise. Apologise. Apologise. Be strong enough to admit you were wrong and say sorry. Know when to step down and admit defeat. But never give up on yourself. If you feel strongly about something, pursue it until the end. Don’t place too much importance on too many things. Treasure the precious things in life. Your family, your friends, and yourself. There is no such thing as success or failure. There is just life and the hand it deals us. Take every chance you can and leap at every opportunity. You are you. You are free. Free to become whatever you choose.

Choose your friends wisely.

Good Luck.

Review: Sooni Taraporevala at the Whitworth

We all have our very own set of memories. We have access to a full set of experiences unique to ourselves. The best part of our memories, for many of us, is the ability to share our experiences.  Sooni Taraporevala has done just that. With her new exhibition, Home in the City, Bombay 1976-Mumbai 2016, she invites us to peer through a small window into her life, and her experiences.

Born in Bombay, India in 1957, Taraporevala is a photographer, screenwriter and filmmaker. A woman of dreams, she received a scholarship at age 18 to attend the prestigious Harvard University in the U.S., then went on achieve a master’s degree at New York University.

Following her extensive study of English literature, film and photography, Taraporevala moved back home to work as a freelance photographer. Since then she has received various accreditations, including an Oscar nomination for her screenplay writing, and being crowned winner of the highly coveted Osella award for Best Screenplay at Venice Film Festival in 1990. The artist has even written and directed an award-winning feature film called Little Zizou.

Her work at the Whitworth feels to be an entirely truthful representation of the vast rift between the way the classes live in India. Where some images represent comfort, and prosperity, others show hardship, and poverty.

This small exhibition — taking up but one hall’s wall in the gallery — is large in its thought-provoking nature. The Whitworth, quite rightly, describe the piece as “an insider’s affectionate view” of life in the city of Bombay.

Moving through the images, we see such a range of people and ways-of-life. There are some images that echo family parties here in the West where I grew up, and other images that are immediately evocative of the third world. This stark contrast really hits home, particularly in cities like Manchester where homelessness is so high.

There is an air of nakedness about this collection of photographs. Nothing is hidden. One rather disturbing image shows children playing with a gun, in which one child holds the gun just inches away from a boy’s face, though the boy appears to be laughing. Are such violent implements really that commonplace in the lives of the poverty-stricken?

The exhibition crosses social boundaries between classes in India, and brings to light the beauty within both the rich and poorer ways of living in such beautiful country. Some images will shock you, some will move you, and some will make you smile. A small, simple,and stunning captivation of one woman’s journey through life.

Olivier Awards 2017: Nominations

The Laurence Olivier Awards are taking place on April 9th at the Royal Albert Hall. The awards evening celebrates and recognises the very best of British Theatre. These sought after awards have been a mark of theatrical excellence since 1976 when they were known as Society of West End Theatre Awards. The society is now known as Society of London Theatre and the awards are named after the theatrical legend, Laurence Olivier.

There are 26 award categories and a special award which are handed out on the night. This years special award goes to Sir Kenneth Branagh. Branagh is an actor, director, producer and screenwriter. He’s starred in and directed a number of film adaptions of Shakespeare’s work. He starred in Harry Potter as Gilderoy Lockhart and has performed in countless other productions both on stage and film.

Harry Potter and the Cursed Child has made history by being nominated for 11 Olivier Awards, the most for any new play in Olivier history.  The musical Groundhog Day has received 8 nominations. Andrew Lloyd Webber’s Jesus Christ Superstar has picked up 6 nominations, including best musical revival. Dreamgirls has received 5 nominations, including best actress for former Glee star Amber Riley.

Glenda Jackson has received her first Best Actress nomination in over 30 years following her return to stage in the title role of King Lear.  However, she will be competing against Cherry Jones, Billie Piper and Ruth Wilson to win the award. Meanwhile Ed Harris, Tom Hollander, Ian McKellen and Jamie Parker battle it out for Best Actor. This is Ian McKellen’s 10th nomination.

Sheridan Smith is nominated for Best Actress in a Musical, with Funny Girl being nominated for Best Musical Revival. Giselle has been nominated for Best New Dance Production. Reviews of both Funny Girl and Giselle can be found on the Mancunion website.

Nominations:

Best Actor in a Supporting Role in a Musical

Ian Bartholomew for Half a Sixpence at Noël Coward Theatre

Adam J Bernard for Dreamgirls at Savoy Theatre

Ben Hunter for The Girls at Phoenix Theatre

Andrew Langtree for Groundhog Day at The Old Vic

Best Actress in a Supporting Role in a Musical

Haydn Gwynne for The Threepenny Opera at National Theatre — Olivier

Victoria Hamilton-Barritt for Murder Ballad at Arts Theatre

Rebecca Trehearn for Show Boat at New London Theatre

Emma Williams for Half a Sixpence at Noël Coward Theatre

Outstanding Achievement in Music

Dreamgirls — music by Henry Krieger at Savoy Theatre

Harry Potter and the Cursed Child — composer and arranger Imogen Heap at Palace Theatre

Jesus Christ Superstar — The band and company creating the gig-like rock vibe of the original concept album of Jesus Christ Superstar at Regent’s Park Open Air Theatre

School Of Rock the Musical — Three children’s bands who play instruments live every night at New London Theatre

Best New Dance Production

Betroffenheit by Crystal Pite and Jonathon Young at Sadler’s Wells

Blak Whyte Gray by Boy Blue Entertainment at Barbican Theatre

Giselle by Akram Khan and English National Ballet at Sadler’s Wells

My Mother, My Dog And CLOWNS! by Michael Clark at Barbican Theatre

Outstanding Achievement in Dance

Alvin Ailey American Dance Theater for their London season at Sadler’s Wells

Luke Ahmet for The Creation by Rambert at Sadler’s Wells

English National Ballet for expanding the variety of their repertoire with Giselle and She Said at Sadler’s Wells

Best Entertainment and Family

Cinderella at London Palladium

David Baddiel — My Family: Not The Sitcom at Vaudeville Theatre

Peter Pan at National Theatre — Olivier

The Red Shoes at Sadler’s Wells

Best Theatre Choreographer

Matthew Bourne for The Red Shoes at Sadler’s Wells

Peter Darling and Ellen Kane for Groundhog Day at The Old Vic

Steven Hoggett for Harry Potter and the Cursed Child at Palace Theatre

Drew McOnie for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Best Musical Revival

Funny Girl at Savoy Theatre

Jesus Christ Superstar at Regent’s Park Open Air Theatre

Show Boat at New London Theatre

Sunset Boulevard at London Coliseum

Best Actor in a Musical

David Fynn for School Of Rock The Musical at New London Theatre

Tyrone Huntley for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Andy Karl for Groundhog Day at The Old Vic

Charlie Stemp for Half A Sixpence at Noël Coward Theatre

Best Actress in a Musical

Glenn Close for Sunset Boulevard at London Coliseum

“The Girls” — Debbie Chazen, Sophie-Louise Dann, Michele Dotrice, Claire Machin, Claire Moore and Joanna Riding — for The Girls at Phoenix Theatre

Amber Riley for Dreamgirls at Savoy Theatre

Sheridan Smith for Funny Girl at Savoy Theatre

Best Revival

The Glass Menagerie at Duke of York’s Theatre

This House at Garrick Theatre

Travesties at Apollo Theatre

Yerma at Young Vic

Best New Comedy

The Comedy about a Bank Robbery at Criterion Theatre

Nice Fish at Harold Pinter Theatre

Our Ladies of Perpetual Succour at National Theatre — Dorfman

The Truth at Wyndham’s Theatre

Outstanding Achievement in an Affiliate Theatre

Cuttin’ It at The Maria, Young Vic

The Government Inspector at Theatre Royal Stratford East

The Invisible Hand at Tricycle Theatre

It is Easy to be Dead at Trafalgar Studios 2

Rotterdam at Trafalgar Studios 2

Best Lighting Design

Neil Austin for Harry Potter and the Cursed Child at Palace Theatre

Lee Curran for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Natasha Katz for The Glass Menagerie at Duke of York’s Theatre

Hugh Vanstone for Groundhog Day at The Old Vic

Best Sound Design

Paul Arditti for Amadeus at National Theatre — Olivier

Adam Cork for Travesties at Apollo Theatre

Gareth Fry for Harry Potter and the Cursed Child at Palace Theatre

Nick Lidster for Autograph for Jesus Christ Superstar at Regent’s Park Open Air Theatre

Best Costume Design

Gregg Barnes for Dreamgirls at Savoy Theatre

Hugh Durrant for Cinderella at London Palladium

Rob Howell for Groundhog Day at The Old Vic

Katrina Lindsay for Harry Potter and the Cursed Child at Palace Theatre

Best Set Design

Bob Crowley for Disney’s Aladdin at Prince Edward Theatre

Bob Crowley for The Glass Menagerie at Duke of York’s Theatre

Rob Howell for Groundhog Day at The Old Vic

Christine Jones for Harry Potter and the Cursed Child at Palace Theatre

Best Actor in a Supporting Role

Anthony Boyle for Harry Potter and the Cursed Child at Palace Theatre

Freddie Fox for Travesties at Apollo Theatre

Brian J Smith for The Glass Menagerie at Duke of York’s Theatre

Rafe Spall for Hedda Gabler at National Theatre — Lyttelton

Best Actress in a Supporting Role

Melissa Allan, Caroline Deyga, Kirsty Findlay, Karen Fishwick, Kirsty MacLaren, Frances Mayli McCann, Joanne McGuinness and Dawn Sievewright for Our Ladies of Perpetual Succour at National Theatre — Dorfman

Noma Dumezweni for Harry Potter and the Cursed Child at Palace Theatre

Clare Foster for Travesties at Apollo Theatre

Kate O’Flynn for The Glass Menagerie at Duke of York’s Theatre

Best New Opera Production

4.48 Psychosis at Lyric Hammersmith

Akhnaten at London Coliseum

Cosi Fan Tutte at Royal Opera House

Lulu at London Coliseum

Outstanding Achievement in Opera

Renee Fleming for her performance in Der Rosenkavalier at Royal Opera House

Stuart Skelton for his performance in Tristan and Isolde at London Coliseum

Mark Wigglesworth for his conducting of Don Giovanni and Lulu at London Coliseum

Best Actor

Ed Harris for Buried Child at Trafalgar Studios 1

Tom Hollander for Travesties at Apollo Theatre

Ian McKellen for No Man’s Land at Wyndham’s Theatre

Jamie Parker for Harry Potter and the Cursed Child at Palace Theatre

Best Actress

Glenda Jackson for King Lear at The Old Vic

Cherry Jones for The Glass Menagerie at Duke of York’s Theatre

Billie Piper for Yerma at Young Vic

Ruth Wilson for Hedda Gabler at National Theatre — Lyttelton

Best Director

Simon Stone for Yerma at Young Vic

John Tiffany for Harry Potter and the Cursed Child at Palace Theatre

John Tiffany for The Glass Menagerie at Duke of York’s Theatre

Matthew Warchus for Groundhog Day at The Old Vic

Best New Play

Elegy at Donmar Warehouse

The Flick at National Theatre — Dorfman

Harry Potter And The Cursed Child at Palace Theatre

One Night In Miami… at Donmar Warehouse

Best New Musical

Dreamgirls at Savoy Theatre

The Girls at Phoenix Theatre

Groundhog Day at The Old Vic

School of Rock the Musical at New London Theatre

Special Award

Sir Kenneth Branagh

The female boss: Maria Grazia Chiuri

The first woman to be appointed as the creative director in the luxury brand’s 70-year history, Maria Grazia Chiuri has proved that feminism is always in fashion. After being the co-creative director with Pierpaolo Piccioli at Valentino since 2008, Chiuri has now broken up the impressive pair by taking on her new role at the fashion powerhouse Dior. As well as being the creative vision behind Valentino’s stunning collections, Chiuri was also responsible for the Zoolander moment in Paris Fashion Week 2015, injecting a much-needed bit of humour into fashion.

For her debut show for SS17, Chiuri invited Nigerian writer Chimamanda Ngozi Adichie to be the guest of honour. Adichie is famous for her talk ‘We Should All be Feminists’, and so was the perfect choice to represent the new age of Dior or rather the ‘Dio(r)evolution’ — the slogan that appeared on Chiuri’s collection of t-shirts. Joining Adichie on the front row were the fashion week regulars including Kate Moss, Jennifer Lawrence, and Rihanna. In a further nod to powerful females, Beyonce’s smash hit Flawless featured on the runway soundtrack.

Chiuri embraced the elegant femininity synonymous with the fashion house but gave it her own updated twist heralding the new era of Dior. Floor length tulle skirts were paired with t-shirts emblazoned with the caption ‘We should all be feminists’. Chiuri stated that she wanted to challenge the binary stereotypes of masculine and feminine and create a collection that mirrors the life of the everyday woman. Chiuri mixed fencing style quilted jackets with white sneakers stamped with the iconic Dior bee logo and of course the letters CD. The collection included tulle and more tulle in black, red and pinks, and, in paying homage to her tenure at Valentino, the collection included delicate yet beautiful pieces styled with embroidery, lace and chiffon. The skirts were combined with satin bustiers and biker jackets that gave the classic feminine silhouettes of Dior a tougher edge, showcasing Chiuri’s take on the image of the powerful female.

Chiuri, a proud feminist, has honoured the timeless style of Dior but has given the fashion house a stamp of the everyday, modern woman. Collaborating the old with the new and reconstructing femininity, Maria Grazia Chiuri is the ultimate female boss proving that as women we really do run the world.

F1: McLaren Woes, Wehrlein Returns, Ferrari Challenge

Pre-season testing got well and truly underway last week at the Barcelona-Catalunya circuit in Spain. All the drivers will be trying to get as many laps under their belts as possible to get used to their new lairy cars: the radical rule changes have created “absolute monsters” of machinery, according to retired champion Nico Rosberg. Leading up to the first race of the season on the 26th of this month, it’s all looking the most exciting it’s been in decades.

It is, however, not all such an enthralling experience for the McLaren Honda team right now, though: it’s looking like another disappointing year for them already. The British outfit have been troubled all season, and have already changed engines over six times, including a change enforced by a power unit electrical fault during the final testing sessions. Engine expert Giles Simon has left the team and Honda F1 boss Yusuke Hasegawa has admitted he is “worried” these problems will not be resolved.

As a result, their drivers have far less experience in a car which appears to be considerably weaker than that of the others in the field. The way it’s looking, the McLaren car seems woeful. The team’s Belgian driver, Stoffel Vandoorne, has generally lapped at around three seconds off the pace: and three seconds is a long time in Formula 1. That’s a deficit that surely not even the supremely talented Fernando Alonso can overcome. For McLaren Honda, it could all unravel before it’s even began.

It hasn’t just been the McLaren team members who’ve been unhappy watching on in testing: it will have also been a frustrating experience for Sauber driver Pascal Wehrlein. The German driver was confined to only viewing the action rather than involved in it, after sustaining a back injury as a result of a giant crash at the Race of Champions show in January. Wehrlein’s temporary replacement, young Ferrari third driver Antonio Giovinazzi, appeared unexpectedly impressive in his cameo testing the Sauber car.

In the end, Wehrlein, who will be entering his second season of F1, did manage to get some circuit time. Passed fit for the final testing sessions, he sought to get back up to speed: and in these much faster cars, that’s a literal statement. The 22 year old German, although racing at Sauber this year, is under contract with Mercedes, essentially loaned out to develop his driving abilities. Mercedes deemed him too inexperienced to fill Rosberg’s vacant seat: so Wehrlein might have something to prove this season.

Off the track, the news that Formula 1’s TV audience in Britain fell by 5.1 million last year broke waves and sparked debate all round. That’s a drastic drop, and there has been conversation over the possible factors leading to it. In recent years there have been less free-to-watch races, with Sky F1 buying up all the coverage for their network, to be watched at a premium. That’s not been the only channel change: last year what free coverage remained moved from BBC to the less popular Channel 4 coverage.

It could be the presentation, but on the other hand, it could also be the content itself. With Lewis Hamilton’s lack of success, there was a distinct lack of British interest when compared to the seasons previous, and the more patriotic amongst fans might have been turned off by Hamilton’s disappointments. Hamilton himself, however, says the sport needs better engagement with the fans. This could even be the key to the sport’s survival: it is an expensive sport to run, after all.

There is hope that the new rule changes will bring back the excitement to F1: and shake off Mercedes’ dominance. The word around the paddocks is that Ferrari have made vast improvements as the new season approaches. McLaren boss Eric Boullier put them down as definite title contenders, and Haas leader Gunther Steiner believes the Italian team have made “amazing” engine progress. Even opponent Hamilton himself admitted Ferrari could be this year’s favourites: although mind games might be afoot.

With all this testing, it is important to remember that it is always difficult to accrue an accurate indication of true form in pre-season. It is impossible to tell for sure which cars are running on which specifications, and come race day everything could be entirely different. Even with that word of caution in mind though, the sport looks to have been shaken up completely, with an incredibly close title challenge on the way and intense, physical limits racing. If all goes to plan, this could be the best Formula 1 season in years.