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Month: March 2017

Lighter spring coats

Written by Eliza Slawther on . Posted in Fashion & Beauty.

Spring is approaching, which (rationally) would suggest that the weather might actually begin to warm up. Whether this optimistic vision for the future will actually become a reality or not in Manchester, only time will tell. For now, let’s embrace the occasional slightly brighter days and consider the fashion changes that can be made to accommodate a warmer climate.

Lightweight macs:

Trench coats or macs are a great way to avoid overheating on warmer days whilst still looking professional and put-together. While thicker, waterproof versions will be useful in light showers, the crepe alternatives are perfect for days with blue skies, especially if you live in a crowded city and don’t want to get too sweaty while walking around. They can be paired with trainers or heels, looking polished and elegant either way. Another use for this style of coat is for job interviews — they don’t look overly fancy or distracting but are more tasteful than turning up in a puffer.

My two picks are:

Belted Trench by Rare at Topshop, £55

Photo: Topshop

ASOS Crepe Duster Mac, £65

Photo: ASOS

Denim jackets:

A classic staple which most people will already own, the denim jacket is perfect for layering over absolutely anything. From floral dresses to trousers and a top, they’re completely androgynous and can be worn during the day and out to pubs or clubs at night. Just avoid wearing them in the rain and all will be fine.
I’d suggest wandering round vintage and charity shops as the first port of call for a denim jacket, although some ‘vintage’ shops are extremely overpriced when it comes to such things. ASOS Marketplace is another great place to check, and failing that Urban Outfitters usually has a good selection (although you’d best be willing to take out a small mortgage). With denim jackets it’s best to shop around a bit, and make sure to always try them on if possible to avoid buying one too oversized or too small — especially as vintage sizes differ so much from modern day ones.

Here’s a example of a good quality, vintage denim jacket from ASOS Marketplace — at £35 it’s not exactly cheap, but is around the standard price. Plus, denim jackets are so timeless that they’ll last in your wardrobe for a lifetime.

Photo: ASOS Marketplace

Review: Rustik

Written by Miriam Mizzi on . Posted in Food & Drink.

As its coming to that time of the academic year when work is piling up, weekends can become drab and samey. Those late nights out seem like a distant past, but it’s still so necessary to ensure weekends involved a bit of enjoyment. That’s why my Sundays seem to always consist of heading out to grab a bite to eat. Whether it be breakfast, brunch, lunch or dinner, Sundays are made for eating.

Rustik, a small café on West Didsbury’s Burton Road, invite Instagram pictures of appealingly large portions and colourful brunches, meaning this had been chosen for my eating destination for this Sunday’s early afternoon feast. When my housemate and I entered Rustik, we were almost discouraged by the completely full tables, however, a flustered looking waitress quickly pointed us in the direction of a few bar stools. We ordered a coffee and waited in the fairly squashed bar area for a table to become free. After a fairly short wait, we were seated on a high table and began hungrily scouring the menu. Rustik’s interior is pleasing to the eye, the wooden floor and tables allow the space to feel homely and I felt warm and sheltered from the ever-increasing rain outside. I didn’t really mind that the Saint Patrick’s Day decorations hadn’t been taken down.

The menu is long, we took an age to scan through the multitude of options, something I don’t particularly like as when I have too many options, I always feel as if I’m missing out on something. In the end, we decided to order: ‘Rustik Eggs Benny’, the vegan option of an open Kobez flatbread, and some truffle chips to share. We turned to continue our drinks, only to realise a waiter had cleared them away unfinished. Undeservingly embarrassed, I had to head over to the bar to explain and get some new drinks as ours had already been abruptly poured away. But, mistakes happen, and after working in a busy café for four years, I know that more than anyone.

I sat back down, drinks in tow and we began the unknowingly long wait for our food. Multiple times during this wait we were approached with plates piled high with tempting looking ingredients, however, we had to reluctantly say they weren’t our orders. This was when we couldn’t help but discuss the poor organisation that was blatant all around us. Not only were drinks being wrongly taken away and orders being sent to the wrong tables, orders came out without the special requirements customers had asked for and the general lack of co-ordination left the whole room feeling slightly uncomfortable.

When our food finally arrived, we almost grabbed the plates out from the waitressed hands with hunger-induced anticipation. The Kobez flatbread dish included falafel, hummus, puy lentils, pickled red cabbage, and spinach. Unfortunately, I had earlier been informed the kitchen had run out of butternut squash, essentially the main ingredient, so halloumi had been added instead. The dish included numerous punchy flavours, the red cabbage stood out as the best, backed up by the mellower flavours of the olive oil drizzled flatbread. I do wish the squash was included as I think this would have been a welcome extra to what was a completely delicious dish. The Rutsik Eggs Benny was made up of two poached eggs, cubes of halloumi, mushrooms, spinach and hollandaise sauce. The combination sounded tempting, however, the amount and taste of mushrooms on the plate were somewhat overpowering. Finally, the truffle chips – these were as amazing as they sound. Luxurious and moreish.

Our experience at Rustik left me confused. The café has bags of potential, they clearly have good chefs, a perfect location and an acceptable menu. But, the service was littered with faults and that’s something that can easily put off return customers, especially in a restaurant-saturated area like West Didsbury.

Live: State Champs

Written by Meg Roberts on . Posted in Music.

11th March at The Ritz

6.5/10

On the surface, seeing State Champs at Manchester’s Ritz is like smoking your first cigarette in Piccadilly Gardens. It’s waiting outside Urbis for the great unknown whilst Fallowfield mums ask you what the concert is (“No, we just chill here”). It’s jaunty trips to Afflecks after college to stare at the Audio Bam Magera skate shoes , or the Element deck — you need that in your life too — and then going on Tumblr until oh-my-god o’clock reblogging pictures of Oli Sykes and Josh Franceschi. In other words, it’s angsty as hell.

If you’ve ever felt wronged by the world, had an ironic penchant for Tay-bae, and had an emo fringe some ten years ago, then you may be found here. If you want to get down to some honest pop-punk with a large helping of nostalgia, you’ve probably come to the right place too.

Pop-punk is one of those icky, in-between-y genres that promises you that it’s alternative and totally not-like-that-crap they play in the charts, but proudly displays those easy-peasy lyrics and shout-along choruses all the same — and State Champs didn’t really seem significantly different to that.

They weren’t All Time Low or Kids in Glass Houses, and no one in the crowd seemed to be an emo but also a nu-raver at the same time, clad in fingerless neon gloves and shag bands  — memo to 2007 — what was that about? No, you’re not a dinosaur, and free hugs for the irony don’t make much sense any more. I don’t think ‘XD’ is even a thing these days, but ‘lmao’ is definitely making a comeback.

All of these things don’t make as much sense now as you would think, but they sure as hell remind you of it in all of its fist-pumping glory some ten years later. I guess that’s what bands like State Champs mean in 2017 — tinged with all of that nostalgia, but not made up of it. It’s not so evocative that it makes you choke on your ramen and deactivate your Piczo, but I can’t promise that you won’t get a sweat-induced flashback either. Although Tyler Szalkowski with his Slipknot vest and Jim Roots-esque guitar made me smile for sure.

It’s the scene-kid revival for the millennials. I don’t know if my fourteen year-old sister and her contoured classmates will ever be as tragic as I was. The genre isn’t what it used to be: it’s gone, so let’s leave it there where it belongs, along with the rest of the Internet’s dark matter. The nostalgia of times-gone-by feels good when it’s nostalgia, but it just doesn’t feel right in the superficiality of a 2017 aesthetic, or when the material you’re putting out just isn’t that good.

Bands like State Champs, Real Friends and Knuckle Puck aren’t trying to relive those days and neither are their shows. God knows why we’d want them to. They’re re-imagining it, and they are relevant with just enough of the past to make you remember but none of the ‘whoa, whoa, whoa’s’ of ATL. It’s less throwaway.

Review: Bat Out of Hell The Musical

Written by Brogen Campbell on . Posted in Theatre.

In recent years, a number of musicals have emerged based on the work of musicians: American Idiot, Viva Forever!, and Beautiful: The Carole King Musical to name a few. The most recent jukebox musical, Bat Out of Hell is based on the songs by mega star Meat Loaf.  The Bat Out of Hell album is one of the best selling albums of all time, reaching sales of over 43 million copies worldwide.

This Rock ‘n’ Roll musical has taken over 40 years to be constructed; going through countless drafts until it was finally ready for its premier performance at the Palace Theatre. World renowned producer/songwriter Jim Steinman is behind the music and lyrics for this show and Meat Loaf’s album.

The story revolves around the beautifully innocent Raven (Christina Bennington) and rebellious leader Strat’s (Andrew Polec) forbidden love. Strat is part of a gang known as ‘the lost’, a group of young people with mutations which mean they typically stop ageing after their 18th birthday. This does lead to a particular scene reminiscent of Twilight where Raven asks Strat how long he’s been 18.  The premise does seem rather far-fetched, but then again it is set in a dystopian post-apocalyptic world.

However, Raven and Strat’s isn’t the only love story that exists. You have young Tink (Aran MacRae), frozen before he has fully matured, who’s unrequited love for Strat, results in an act of ultimate betrayal. However, it was hard to find any sympathy for a character that came across as whiny as he did and honesty I wasn’t surprised that Strat wasn’t interested.

The other two groups of lovers are Raven’s parents, the tyrant and Chief of Police Falco (Rob Fowler) and Sloane (Sharon Sexton). The most touching love segments were between two members of the wasted youth, Zahara (Danielle Steers) and Jagwire (Dom Hartley-Harris).

Jagwire is clearly infatuated with Zahara, but she seemingly remains too hurt by Strat’s rejection to ever love again. The rebellious leader has certainly had a number of admirers, which is hardly surprising as he spends the majority of the show parading around bare chested.

Andrew Polec carries the show on his young shoulders and he really does excel in the role. Polec bares no resemblance to Meat Loaf physically being blond and supporting a six pack. Yet they share the same immense energy which they are able to bring to a performance.  Polec had an almost deranged look in his eyes throughout, but this perfectly fit the dystopian world that surrounded him. Polic’s intensity never seemed to wane. This young star certainly delivers a stellar UK debut performance.

The musical was highly comical, although I’m not sure if this was entirely intentional all the time. One of the funniest and awkward moments occurred during Falco and Sloane’s duet of “Paradise By The Dashboard Light”. Raven’s parents attempt to relight the fire of their relationship, much to the embarrassment of their daughter who is still present in the room.

The couple eventually start to strip to their underwear — beware of bringing your judgemental grandparents — which isn’t that shocking when you consider that the entire cast are pretty scantily dressed throughout.

Fed-up Raven decides to interrupt by pushing the car they are dancing around into the orchestral pit. One of the many creative and impressive ways the set is used to push the boundaries of theatre.

If you aren’t a huge fan of Meat Loaf you may feel slightly out of touch with the musical. I would definitely recommend having a listen before you go. However, there are a number of times when the cast seem to out-sing even the legend himself, notably, the standout, soulful vocals of Danielle Steers, especially during “Two Out of Three Ain’t Bad” and “Dead Ringer for Love”.

During both these songs Steers received spontaneous applause from the audience. Naturally the show couldn’t end on any number except with “I Would Do Anything for Love”. The show received a standing ovation before it had even finished.

That said, the musical wasn’t perfect — I still can’t work out how ‘the lost’ gang managed to escape from prison undetected — but this didn’t detract from the overall show. The staging was incredible, Motorbikes galore, Fire, an admittedly strange addition of confetti symbolising blood,  they even threw in a few very realistic torture scenes.  Everything was created to transport you into this dystopian world, were the wasted youth rebelled against the tyrant Falco.

The musical certainly challenged conventional musical theatre; pushing through the visual image of theatre. Projected on screens and on the set buildings were close-up views of what was happening inside the Falco residence.

This visual effect gave the ‘Big Brother’ you-are-always-being-watched-impression. However, I felt this was one of the few times where the musical fell down. The camera-person obscured the actors on stage in their pursuit to get the closet angel. I felt the effect wasn’t worth this obstruction: if I had wanted to watch a screen I would have simply watched a film. The image projection created a barrier from the action that wasn’t necessary.

Bat Out of Hell certainly delivers a visual feast for the eyes from the set design to the dance routines and it never held back on the vocal performances either.

This musical definitely pushes the boundaries of musical theatre and mostly delivers. This new musical will undoubtedly go on to be performed for years, maybe even going on to revive fellow rock musical, We Will Rock You.

Bat Out of Hell The Musical is being performed at the Palace Theatre till the 29th April. You can grab your tickets here.

The show is opening at the London Coliseum this summer for a limited run from the 5th of June to the 31st July, tickets can be bought here.

Record Reappraisal: John Lennon — Plastic Ono Band

Written by Nick Jeyarajah on . Posted in Music.

Released December 1970 via Apple Records

Released in late 1970, John Lennon’s debut solo album Plastic Ono Band closes the chapter of the 1960s, the Beatles, and the John Lennon the world thought it knew. Chronologically sandwiched between the Beatles’ break-up and the release of the seminal Imagine, Plastic Ono Band appears dwarfed in the popular imagination by Lennon’s other artistic achievements, if not simply by the iconography of John & Yoko’s War Is Over project that so characterised this period. To neglect this album, however, is to neglect a uniquely gripping and at times heart-wrenching record.

Confessional, raw, angry, yet painfully vulnerable, Plastic Ono Band portrays a tortuously honest John Lennon. Though he revealed clues of his emotional condition through the facade of cheeky-charming Beatledom in records such as ‘Help!’ and ‘Don’t Bother Me’, Lennon’s psychological turmoil more often expressed itself in psychedelic escapism and carefully sculpted lyrics during the Beatles’ later years.

Indeed, few fans are aware of Lennon’s various neuroses, which ranged from severe substance addiction to Oedipal fantasies. An excruciatingly personal and cathartic recording, Plastic Ono Band is the most direct invitation into the tumultuous landscape of Lennon’s mind that he recorded before his untimely death in 1980.

Introduced by an ominous bell chime, the album’s opener ‘Mother’ addresses Lennon’s childhood abandonment by his parents and his mother’s tragic death while he was still a schoolboy. Stark and often carried by the exposed canter of Ringo Starr’s drumbeat, the direct nature of Lennon’s expression — ‘Mother, you had me/but I never had you’ — establishes an agonising vulnerability that persists throughout the album. Elongated, simple, major chords that ring from a piano suggest catharsis and world-weariness in equal measure. As in the muscular rocker, ‘Well Well Well,’ Lennon’s rasping vocal descends into wrenching, guttural screams during the song’s climax.

These striking vocal experiments draw from the primal therapy sessions that he and Yoko had undertaken during 1970 that encouraged patients to re-engage with episodes of childhood trauma through unrestrained screams of hysteria. The effect is powerful: the relaying of Lennon’s deepest insecurities delivered in a language of pain, reflecting feelings truly beyond articulation. Indeed, throughout the album one cannot escape the wearying search for solace of a man whose demons were not soothed by artistic expression or pop superstardom, Yoko Ono, or heroin addiction.

No longer constrained by the Beatle identity or the melodic emphasis of McCartney’s songwriting, Plastic Ono Band, in some areas, represents a musical regression to the rock ’n’ roll, Teddy Boy confrontation of Lennon’s teenage years. ‘I Found Out’ and ‘Well Well Well’ use heavy distortion on thrashed guitars, whilst throughout the album Lennon’s vocals are drenched in 50s-style echo, mimicking early Elvis records or even Gene Vincent’s ‘Be-Bop-A-Lula.’ Indeed, such rawness anticipates the lo-fi trend later adopted by Patti Smith and Iggy Pop, later to be mythologised by the punk movement.

Alongside the agony and insecurity, however, there is also warmth. Characterised by the tremolo of a welcoming guitar lick, ‘Hold On’ is a reassuring exhale between traumas, while ‘Isolation’ lowers the stakes — ‘just a boy and a little girl/trying to change the whole wide world’ — and attempts to make sense of fear.

‘Love,’ too, offers a sense of peace; however, one cannot escape the sense that even in this supposed expression of bliss, Lennon remains anxious. The tune is peppered with unexpected minor chords that suggest a vulnerability that perfectly demonstrates the dichotomy of John Lennon: a man capable of swinging from the utopianism of ‘All You Need is Love’ and ‘Imagine’ to the indignities of rage and domestic abuse.

Phil Spector’s co-production with Lennon and Ono is respectful: gone is the studio trickery and alchemic experimentation of the Beatles’ psychedelic years and Spector’s own ‘Wall of Sound’ staple does not encroach on the content. Rather, the simplicity of the production perfectly matches the sobriety of the music and lyrics.

Though a few familiar Beatle-era names are involved, with Klaus Voorman, — designer of the Revolver cover — Billy Preston, and Ringo each contributing,  Plastic Ono Band was a project designed to be  a loose association of artists in defiance of the rigidity of the Beatles, and it is this vehicle of emancipation that allows Lennon to express with the clarity that he does on this album.

With issues ranging from class — ‘Working Class Hero’ — to existential reflections — ‘God’ — and most prominently the self, Plastic Ono Band is a trip inside the chaotic mind of a cultural titan of the 20th century.

Though characterised by its confessional overtone, its rawness does not detract from its melodic quality and overall accessibility. Rounded off by the faux-conclusion of ‘God,’ Lennon renounces all, delivering the almost-contrived ‘I don’t believe in Beatles,’ before once and for all laying to rest the rollercoaster of the 60s: ‘I was the Walrus, but now I’m John; and now, dear friends, we’ll just have to carry on. The dream is over.’

Poet of the Week: Seevana Raghubeer

Written by Seevana Raghubeer on . Posted in Books.

Recipe for disaster (DO NOT try)

If you wish to be exotic,
Let me tell you the recipe for sweet success
Take a multitude of colonialism
As much as you have and probably more than you can carry
Scatter it all over your family’s history
Spoon feed your babies and children and teenagers,
A history that dictates brown folk to be enemy of the state
Take care not to miss a single generation, lest they be forgotten
Slip in words like dangerous, recessive, uneducated
Label the men terrorists, shopkeepers, taxi drivers
Pour the women into mainstream media as enticing, provocative and something new to try
Bury this deep into your core, your ancestry and knead it into society so you can fight every day to prove your worth
Grab fistfuls of micro aggressions about your hair, your skin, your size and stir in self-esteem that took years to build
Spread lies that racism is not real and women of colour are not marginalised
Sprinkle with gold and serve with a smile

This recipe usually takes years to prepare and will never ever be finished.

Review: Across the River

Written by James Gill on . Posted in Film.

On day two of Manchester Film Festival it was an honour to witness the world premier of Across the River. A remarkable achievement in filmmaking given the micro budget the crew had, it goes to show that millions of pounds isn’t a requirement for making a heartwarming movie packing an emotional punch.

The story begins when Emma and Ryan bump into each other on the side of the River Thames. Emma, a highly regarded lawyer and Ryan, is seen on a tiny stretch of beach making sand art. Director Warren Malone is quick to convey the stark differences between the two, while also illustrating the tangible chemistry that is present.

On paper they shouldn’t possibly work yet we learn of a long passed relationship, ended when Ryan left one day without a trace. Their feelings of love, hate, anger, inadequacy, happiness and the lack of fullfilment are explored during the film.

A process that would normally take weeks if not months is condensed into the single day the film takes place. This is due to a tube strike in London and Emma, desperately trying to get home for her daughter’s birthday which she missed through work, reluctantly enlists the help of Ryan as her travel guide.

Enough time has passed for Emma to find someone else, get married and have two kids but still her feelings towards Ryan remain. The thoughts of what used to be almost lead her into temptation, however each time she realises what she would lose.

This is where Across the River sets itself apart from more fantastical romance films. Emma and Ryan don’t just get together and screw the consequences. You don’t spend years creating a life to just throw it away for an old romance after just one day. It’s this grounding that makes the film more accessible. Love isn’t all sunshine and rainbows, sometimes it’s regret and sorrow too.

A surprising fact to learn is that aside from the general story arc and a select few lines the entire dialogue was improvised. This is a brave decision that gives both positive and negative results. For instance the chemistry between the two characters feels human, through the laughs they share and the arguments that attempt to ruin the encounter. The process becomes more natural, allowing the cast to make the roles their own. That said it does present the very real issue of pacing.

There is alternation between a sense of urgency and a need to relax and enjoy the present without any explanation as to why each is used at any given moment. Unfortunately a large number of viewers will be turned off by this, which really is a shame as the premise has lots of potential.

Across the River delves into the idea of their love as the elephant in the room. An unspeakable bond they share regardless of how much time has passed.

The elephant in the room for this film is that the substance just isn’t quite there to hold the audience for the whole duration.

Complete improvisation is interesting as a concept but it requires perfect execution to create a truly great film, Malone falls short of great but his first feature length film is certainly a respectable effort.

Review: Fazenda

Written by Samuel Pigott on . Posted in Food & Drink.

I’ll be the first to admit that I am by no means a die-hard meat eater. I’m not someone who refuses to eat a meal unless there is a pile of meat, so a Brazilian restaurant ‘with continuous service of 7 cuts’ didn’t initially tickle my fancy. How wrong I was. The opulent setting of Fazenda, in the heart of Spinningfields was perfect for a Sunday lunch with a twist.

It is by no means your standard restaurant to pop into after a busy couple of hours in town — booking is essential. There was only one free table for the two hours we were there. Immediate table-service and an explanation of how the system worked was very helpful.

Every diner has their own green and red card, to signal to the waiter if you would like more food or not. You start off by visiting the fanciest salad bar I’ve ever come across. Numerous vegetarian side dishes, salads, a traditional Brazilian bean and meat stew ‘Feijoada’, continental cheeses and cold meats, as well as some slightly out-of-place sushi all graced an elegant bar at the back of the restaurant.

It feels odd to describe it as an ‘all-you-can-eat buffet’ as it is all very measured and restrained. Part of that is probably because it is nothing compared to the main event.

Once re-seated, attention begins to fall on the ‘Passadores’ or meat chefs crossing the restaurant, skewers of incredible meat in hand. They approach your table, offer what they have, and you will inevitably say yes. They cut you a piece, while you salivate in anticipation.

All of the meats are cooked medium-rare, but you are more than welcome to ask for more or less cooking as you wish, although I’d suggest you just dive in! With such an extensive menu, the only way to break it down is to look at the meats individually.

First to arrive was the ‘signature cut’ of beef: Picanha. This cut is the cap of the rump and is just how they describe it, juicy and full of flavour. The incredible taste of barbeque on the outer edges is so delicious and a perfect juxtaposition to the tender centre.

Just as you get into the first piece of meat, the next Passadore walks past and offers you something else that you just can’t refuse. This time it was the ‘Frango’; extremely tender chicken thighs with deliciously crisp skin. Although the taste was wonderful, it didn’t have the wow factor to go with the novelty of the restaurant.

Next came ‘LinguiÇa’ — little Brazilian sausages. Like the chicken, they were delicious, extremely meaty, and hit the spot. At this point, with a plate piled high from the salad bar and passing skewers, you are liable not to fancy the next one that passes by. Temptation will prevail.

‘Bife de Presunto’, which is gammon (with optional pineapple) arrived. I had been looking forward to this ever since seeing it on the menu, but I must say that it was slightly underwhelming. It was incredibly succulent but it didn’t match up to the other meats flavour-wise. Same problem with the ‘Tritip’, or sirloin. It was, dare I say, slightly bland. The great thing about a place like Fazenda is that if you don’t love one of the cuts, you’re not stuck with it.

Another cut of beef arrived, ‘Alcatra’, rump. Like the ‘Picanha’ it had an excellent barbecued outer layer and was tender inside. As I said, I’m not the biggest fan of meat, especially not when it’s overly rare. One cut it was essentially blue, which wasn’t to my taste, so I simply asked for it to be cooked more.

Also on the menu: ’Barriga de porc’ (belly pork) served with honey and cinnamon. It had an unusual flavour, and was completely different to everything else on the menu. Christmas was my first thought and by no means a bad one, and the meat was delicious.

The ‘Cordeiro’, the only cut of lamb, was simply seasoned with salt and pepper and a brushing of mint sauce. This lamb was an unexpected highlight to the meal.

Without doubt, Fazenda is incredible. Accompanied by a glass of rosé, the setting was wonderful, and definitely something different. At £20.50 for lunch and £31 for dinner, it doesn’t really appeal to a student budget, but the food is worth it.

Preview: Woman with Gloria Steinem

Written by Shema Begum on . Posted in Film.

Gloria Steinem became known as the leader and spokeswoman of the feminist movement in the 1960s. Her social and political activism spans decades, from writing books on the empowerment of women to delivering speeches, her most recent appearance being at the Women’s March in Washington D.C earlier this year.

Steinem’s programme provides an authentic insight into the many different ways in which women are affected by issues today globally. This ranges from rape to child marriage. The Emmy-nominated documentary series depicts the harsh reality of those telling their stories, whilst advocating viewers to get involved and help prevent such atrocities.

Episode six looks into the topic of assault in the US military. Many women join the military with the hopes to serve their country, carry on family traditions, and build a successful career. However, too many seem to be losing this opportunity due to the acts of their male colleagues, and the more than incompetent military justice system.

The women in this episode recount their harrowing experiences of being sexually assaulted and raped. The documentary looks into how their lives have been affected since, with all three women speaking of how they attempted suicide as a result, and are suffering from depression and PTSD.

It would be assumed that the military would have an effective regime in place to prosecute the offended to prevent such actions, and encourage more women to come forward. It is in fact revealed that there are many issues with the system, as military personnel speak of the measures in place. The just over 20 minute episode does enough to effectively educate viewers on the background of this subject.

Episode seven explores the world of women who have been placed in prison for minor drug offences, the particular focus being on how it has affected their role as mothers, as the majority of the women incarcerated either enter the prison facility pregnant and/or leaving their children behind. Despite the offences committed, the first-hand accounts enable viewers to empathise with the women for the little role they now play in their children’s lives.

The documentary also looks into the impact of the children, and the psychological effects of being separated from their mothers. This creates an ongoing cycle of incarceration, as such these children are seven times more likely to end up in prison. Additionally, the faults of the prison system are also highlighted. Many pregnant women receive poor treatment, even after they have given birth.

This series captures the struggles faced by women across the world, and how the rights of women are not being fully realised. Woman with Gloria Steinem is shown on VICELAND, which can be found on Sky channel 153 and on NOWTV.

Lions Watch

Written by Toby Webb on . Posted in Sport.

This summer, the British and Irish Lions will travel to New Zealand for a five week tour in June and July, a ten match tour including a three match series with the No.1 ranked team in international rugby. Working on a 12-year cycle, the last Lions tour to NZ was in 2005, in which they lost the three match series 3-0: the Lions only victorious tour to NZ was in 1971.

Despite this bad omen, the Lions come off the back of a victorious tour to Australia in 2013. This year’s 6 Nations was the last competitive international rugby for the players from the home nations, England, Scotland, Wales and Ireland, to stake their claim for squad, or even starting, places.

Warren Gatland will be the head coach for the summer tour, having fulfilled the role in 2013. His experience in bringing players from different nations together to form a winning side will be crucial.

In 2013, with Wales the dominant team in the 6 Nations, the Lions squad was largely made up of Welsh players.

However, given England have won back-to-back 6 Nations titles, the squad is likely to be dominated by English players. Assuming there are no major injuries, here are my predictions.

With the forwards, there are positions with real strength in-depth and positions deficient in quality options; Gatland must consider his starters, as well as who can make an impact off the bench.

At loose-head, despite being injured for most of the 6 Nations tournament, I expect Mako Vunipola to start, pipping his England teammate Joe Marler and Ireland’s Cian Healy, who will likely make the squad, to the jersey.

Moving on, no hookers have made a real statement this year. One would assume Dylan Hartley, England’s captain, will get the nod considering his experience, however, his England teammate Jamie George has arguably been playing better when coming on as a sub. The Hartley-George combination provides a good change of style and should be incorporated into the Lions.

Unless blighted by injury, it appears Ireland’s Tadhg Furlong is set to secure the tight-head position, with Scotland’s WP Nel providing solid back-up assuming he recovers from injury.

There is some real quality in the Second Row. Alun Wyn Jones, a Lions veteran and the likely candidate for captaincy, has proven quality and is a certain starter. England’s Joe Launchberry and Courtney Lawes have been immense this tournament, the shining lights in often average performances; Maro Itoje, although playing flanker under Eddie Jones, usually plays here too.

Also staking a claim is Jonny Gray, who has been fantastic in an upstart Scotland team. I expect these five to all make the squad. While I would love to see Itoje start, I think Gatland will look to experience, with Launchberry playing alongside Jones. Itoje offers real impact off the bench.

There is strong competition in the back row. At No.8, Billy Vunipola has arguably been the most improved player since Jones became England coach: his blend of dynamism and power will be important against a fierce NZ side. Assuming full fitness, he will start, with Ireland’s Jamie Heaslip his backup.

There is less certainty in the flanker positions.

At blind-side, CJ Stander has been Ireland’s exceptional player in the tournament, yet, Sam Warburton has looked rejuvenated without the burden of the Welsh captaincy duties. While Warburton has Lions experience, I would like to see Gatland use both against NZ. Wales’s Justin Tipuric and Ireland’s Sean O’Brien will contest the open-side position, with Gatland likely to favor the familiar Tipuric.

Moving on to the backs, it will be intriguing to see how much precedence Gatland gives to national partnerships, the chemistry between certain individuals.

At scrum-half, Ireland’s Connor Murray, England’s Ben Youngs and Scotland’s Greg Laidlaw are viable options, with Wales’s Rhys Webb a dark horse after good performances in the tournament. While I expect Murray to start, Youngs will be crucial to providing impetus off the bench.

Although he is injury-prone, Ireland’s Jonny Sexton will secure the fly-half position, linking up with teammate Murray. Wales’s Dan Biggar will likely secure the back-up role, while England’s Owen Farrell can also fill the role if needed.

Farrell will be the starting inside centre. Along with Vunipola, he has improved massively under Jones. While his kicking, both points and place, has always been exceptional, he has added incredible nuance and poise to his attacking play; he was instrumental in England’s rout of Scotland.

However, if Gatland intends to stick by his ‘Warrenball’ philosophy, Ireland’s Robbie Henshaw will play 12. However, given his quality, Farrell has to start.

At outside centre, there is competition between the Welsh household name Jonathan Davies, a Lions starter in 2013, and England’s Jonathan Joseph: Joseph’s performance against Scotland (scoring 3 tries) will likely give him the edge.

I expect Wales’s George North, back in form, and England’s Anthony Watson to start on the wings. North was talismanic for the Lions in 2013: his try in the first test was immense. Watson, a classic speed merchant, provides the perfect accompaniment to North’s power.

Moreover, it seems destined that Scotland’s Stuart Hogg will start at full back. He has been the diamond in an electric Scottish backline in this year’s tournament. However, concerns over his defensive capabilities, as well as his ability under the highball, will mean Ireland’s Rob Kearney and England’s Mike Brown are necessary inclusions in the squad.

Finally, as a veteran of the 2009 and 2013 Lions’ tours, Alun Wyn Jones will surely be named tour captain.

The Lions’ tour of New Zealand will be a fantastic spectacle, especially given the strong English contingent likely to occupy starting positions.

Eddie Jones, with designs of taking England to the top of the world rankings, will be intrigued to see how the English contingent plays against NZ.

Yet, despite the quality the Lions will take on tour, I expect New Zealand to win the series 2-1.

A new traditionalism in political debate

Written by Tristan Parsons on . Posted in Opinion.

Student Union elections, Reclaim the Night, BDS. It is a challenge to escape politics on a student campus. That is, it is hard to escape politics as we know it. Outrage at problems of the world and a desire to change them is part and parcel of the development of the adolescent mind. But how should we apply our efforts?

In the face of what some have supposed to be the beginnings of a new totalitarianism, many have escalated their efforts in calling all to arms, with particular regards to Donald Trump’s electoral success. In doing so, and in support for such actions, they have created grand, romantic images of unity, solidarity, and all the rest.

External, mass protest is not a necessity of that youthful revolutionary spirit. Whilst throughout history these powerful shows of public resistance have achieved immense progress, we might argue that taking part in one makes the least sense of all the possible avenues for politics. For many people, attending an anti-Donald Trump rally will have been their first political action. Of all the scales of politics, why pick the very top, where the web of complexities is the widest?

There is a certain comfort to be found in mass-protest. There is no necessity to articulate individual motives, there are usually pre-arranged speakers to attempt to fill the voids of thought, and then there is the easily-memorable headline facts and quotes that drew in the crowds in the first place.

For all the significance of these major political debates, how many of us can truly articulate ourselves? How many times will we hear “he’s sexist” or “she’s a racist”, “he’s transphobic” or any other platitude as a reason for not engaging in debate? This University’s Safe Space policy is peaceful compared to the language censorship, no-platforming, and violent protest seen on U.S. campuses in the name of keeping those whom you disagree with at a suitable distance.

How many times in conversation will I, you, or anyone shrug their shoulders or remain a little quieter when a political topic arises? For me, it is far too often. My ability to explain myself and my opinions in conversation is despicable given any measure of my ‘academic’ worth.

When we approach the world and the political debate that engaging with it entails, we ought to start with what we (think we) know best: ourselves. That rage of the adolescent brain should be channelled from the picket line to the page, where, rather than chant in unison, one can better understand one’s past, present, and future.

If we were to understand ourselves more thoroughly, we might not call people like Mao ‘monsters’. We might understand that, as human, we too are capable of something just as awful. Before this, and with far more ease, we could understand our potential as an active or tacit supporter of such people. Easier still, we might understand how people could come to vote for Donald Trump.

What use would this be? University of Toronto Professor Jordan Peterson makes an interesting claim that this sort of personal development would make us more resilient in the face of political adversity. Rather than scorn at the horrors of the world, we would understand how people like us contributed to them. He calls this “incorporating our shadow”. Beyond this, he argues that our generation must “change the world…properly” beginning with struggle to better know ourselves.

After sorting ourselves out and learning to properly articulate our lives and opinions, we might find ourselves strong enough to engage with those around us. A far more difficult task than that of attending a mass protest would be to explain a progressive ideal to a more conservatively-inclined grandfather, mother, or friend. There is a challenge for all of us: to be able to discuss any political issue with family and friends without embarrassment, fallings-out, or muted opinions.

This way, the grand tensions of mass protest and anger would be dispersed. By doing the small, courageous thing more often, a widened political discourse might act to reduce the extremities of the current political climate.

All this talk of family and small-scale things seems strangely conservative. Perhaps it is. Think of this as a new traditionalism; a progressive retrofitting of the old family and community model.

Maybe one day these notions — alongside similar calls from others, such as a scaling-down of business activities argued for by some environmentalists — will feed back into our economy and society. We might start living closer to home. Perhaps less of us will live in lonesome apartments. Maybe the geography and demands of jobs will shift to accommodate these things.

All this in an idealist’s world. Perhaps, for now, we might take just that first step: by articulating ourselves though writing, we should try to better understand our histories, how we deal with our lives in the present, and what our futures hold. For everyone on this earth is devastated, confused, or thrilled by those same questions.

Review: Josephine Doe

Written by James Gill on . Posted in Film.

Coming to Manchester Film Festival for its UK premier, Josephine Doe is the tale of one girl’s battle with grief after her father’s death. Whilst Claire attempts to deal with this dramatic change in her life she meets Josephine, a much needed ray of sunshine in an otherwise dark world. It seems suspicious however that her arrival is always at the exact moment she is needed and if it seems too good to be true, it probably is.

The black-and-white cinematic style is an intriguing directorial decision by Ryan Michael, one that gives the film individuality whilst also acting as a vital detail of the narrative.

Following her father’s death, Claire’s life begins to blur the boundaries between real life and imagination, no longer being able to distinguish whether the people around her actually existed. Opting to shoot this way allows the grey areas in her reality to be emphasised, giving the audience the opportunity to see the world through her eyes.

Furthermore, the use of black-And-white changes the focal point of a film, shifting the interest to the story and the substance. What is within the frame moves to the forefront of the viewer’s mind as there are far less distractions in the form of colour.

To create striking or evocative imagery for this particular style, one must master the art of lighting. Where in the frame the light should hit, and perhaps more importantly where it shouldn’t. Every frame in a truly great black-and-white picture should be a well-composed thing of beauty, for example Casablanca or more recently the Coen Brothers’ The Man Who Wasn’t There. Josephine Doe does not reach the same heights, that is definite. But for an indie film with a relatively unknown cast and crew it is a marvellous effort.

In terms of quality there is a disparity between the best and worst scenes. When the film excels, it does so commandingly of which a perfect instance of this is the ending. At the climax, Claire’s sister Angie approaches her in an attempt to rekindle some form of a relationship, an attempt to lead her away from her grief induced mental health issues.

Claire is then faced with a difficult decision: try to mend her family ties and leave Josephine behind, or abandon her sister to live in the realm of fantasy. The presentation of her decision was both deft in its implementation and emotionally fraught rising far above everything prior.

Another scene which should have equally stood out is the moment Claire is told that Josephine isn’t real. From the steady build-up of anticipation to that moment the expectation was of an uncompromising and harrowing reveal. An explosion of emotion as Claire’s life begins to slowly collapse around her. Instead she simply brushed the news off, as if it was but another small issue to add to her pile. This is an area where the film falls short. Too often the scenes with the biggest impact on paper didn’t materialise on the screen.

Had Josephine Doe managed to maintain that same high standard seen in the final 10 minutes the resulting film would have been a masterpiece. Nevertheless Michael’s work is worthy of high praise and is a fantastic addition to the line up at the festival this year.

Review: The Shins — Heartworms

Written by Christian Hurry on . Posted in Music.

Released 10th March via Columbia

6/10

“This is fun.” That’s what I thought when first listening to The Shins’ latest record. A quick browse of the internet will probably tell you the same. But, what does fun mean in the context of music? After some thought I realised that what fun means here is busy production, catchy melodies and a cool, steady rhythm. Heartworms will be an endearing return for The Shins’ biggest fans but a forgettable, if pleasant, one for the more casual listener.

The album starts strong with lead single ‘Name For You’, a summery song with a bouncing bassline.  Band leader (and effectively the only member) James Mercer can no doubt write a decent and catchy song. This is confirmed by the next two tracks, ‘Painting a Hole’ and ‘Cherry Hearts’. The latter could easily have been taken from Animal Collective’s last record, with an uncomplicated and easily-enjoyable song structure that they often lack. Flowing into one another, the album starts with a good pace and mixture of sounds.

However, after these songs, the production seems to dampen the album’s initially-bright mood. It’s unusual for me to fault an album on its use of dense instrumentation, but there are right and wrong ways to use it. Reverb added to most tracks turns dense instrumentation into a muddy, lifeless distraction. It’s disappointing, as there are some really nice guitar phrases and interesting synth pads, but it’s all lost into a pool of echo and reverb. A fun album is much less fun when you have to work to listen to it.

All this is countered by measured guitar, bass, drums and song writing. James Mercer’s voice rises above the muddied production on every song: an impressive, bittersweet tenor, it’s his sharp delivery that really makes you follow the album start to finish. Beach Boy-style multitracked harmonies complement choruses, and drums emphasise certain lyrics like punctuation.

The lyrics are also worth emphasising. Though in 44 minutes Mercer doesn’t unpack anything too deep, he does have a knack for succinctly describing a detailed scene. Simple phrases with the right delivery, “I just can’t get her out my bed”, really give something for the listener to sing along to.

The album is at its best when settling to deliver formulaic pop-rock. The guitars are good. The bass is good. The drums are good. Listening to ‘Half a Million’ you would be forgiven for thinking you’re listening to The Strokes. But tracks like ‘The Fear’ and ‘Heartworms’ lack the strong melody needed to keep your head above the heavy production.

It’s a shame to hear such good songwriting affected by production. Perhaps had Mercer decided to use an external producer, rather than do it all himself, this album would have had the cleaner crisp sound needed to bring these songs to form.

The best UK destinations for the Easter break

Written by Jack Greeney on . Posted in Lifestyle.

Liverpool
The maritime city of Liverpool, under an hour’s train ride west of Manchester, makes for a great day trip this Easter. Whilst The Beatles Story museum attempts to encapsulate the home of The Beatles, there’s more to Liverpool than that alone. The Walker Art Gallery displays a great range of European paintings and sculptures, whilst the Victoria Gallery and Tate Liverpool are also must-visits. For history enthusiasts the World Museum is large and extensive, and the unusual Liverpool Metropolitan Cathedral is another sight worth seeing. Of course, there’s always the football, too: and with Anfield and Goodison Park, Liverpool is rarely shy of it.

Photo: Jack Greeney

The Lake District
By the time students run free from university for Easter at the start of April, Spring will have sprung: hopefully, anyway. For a more outdoors experience to finally get out and about after months of the Winter weather, the Lake District is a great area sitting just waiting to be explored. The Windermere train station is around an hour and a half’s journey north from Manchester and from there the mountainous Cumbrian region is ready to be delved into. There are wonderful gleaming lakes, the very same ones which inspired the writings of Wordsworth, and a range of pikes and fells to hike and admire the view.

Photo: Jack Greeney

York
Only an hour and fifteen minutes by train from Manchester, the historic walled city of York is a must-visit for those living in the north of England. York Minster, the city’s enormous 13th century Gothic cathedral, has impressive medieval stained glass and bell towers. The York Museum Gardens feature Roman ruins and a medieval abbey, and the City Walls form a walkway on both sides of the River Ouse. Another top attraction is the Jórvík Viking Centre: a time capsule Viking village and museum from the city’s era of Scandinavian rule. The old town streets of The Shambles are lined with timber framed buildings and touristy shops.

Photo: Jack Greeney

South-West
For something a little different, catch a Megabus down to the south-west of England and spend a few days in some great southern cities. Bristol, straddling the river Avon, is a cultural hub. The harbour’s old warehouses now contain restaurants, shops, and The Arnolfini contemporary art gallery. Two other places of interest are then only a train ride away. Cardiff features a wonderful bay area, the National Museum of Wales, and the wonderfully striking Senedd building. Meanwhile, Bath displays the famous Royal Crescent, the Grade 1 listed Bath Abbey: and of course, the Roman Baths from which the town was named.

Photo: Jack Greeney

Clitheroe
For a visit to somewhere off the well and truly beaten trail, why not have a look around Clitheroe, a small town in the Ribble Valley. Just 35 miles northwest of Manchester, Clitheroe is easily accessible by regular train services from Manchester Victoria. The town is well-known for its 12th century Norman keep: Clitheroe Castle. Whalley Abbey also finds its home in Clitheroe, with beautiful grounds, gardens and ruins. On top of this, the town is the most popular base for those wishing to walk among the trees in the lovely Forest of Bowland, which features some of the loveliest walking routes in the north west.

Come back next week for a follow-up piece of five more UK destinations to visit this Easter. Enjoy your travels!

An ode to the Megabus

Written by Katy Teasdale on . Posted in Lifestyle.

For years I swore by Virgin Trains. It’s comfortable, it’s safe, and it’s easy. However, when the financial times get tough, the train becomes less appealing. You shouldn’t have to book months in advance to get an affordable journey home, and you don’t have to either. It has its ups and downs, but the Megabus is the transportation of the future.

1) There’s free Wi-Fi — and it’s easier to get a plug

Albeit, neither are guaranteed. However, when the free Wi-Fi is working and you’ve snatched the window seat with the plug socket, the rest of the journey will be pure bliss. Unless you’re forking out for first class, you have to pay for Wi-Fi on Virgin Trains. The Megabus truly cares more about your needs.

2) It’s dirt cheap

For the same price as cheesy chips and curry you can get on a coach to London. Not only that, but changing your reservation is miles easier and cheaper than it is with the trains.

3) The Megabus is funny 

At best, you’ll have a normal, calm, and pleasant coach journey. At worst you’ll have some great stories. How many times has somebody changed a baby on your lap without asking on Virgin Trains?

4) You can work on the way

The low price comes with a long journey time, but this is just part of the magic. Five hours to London is more than enough time to sneak some work in. You have more time to be productive, whereas the train is too quick to get some substantial work down.

5) It’s character building

I’m sure that if Lord of The Rings was set in contemporary 2017 England, Frodo and Samwise would have taken the Megabus to Mordor. The reason? It’s an adventure that tests the boundaries of friendship. You have to be patient and calm at times. The skills you learn from the Megabus will be truly applicable to real life situations.

6) It’s an adventure

It’s like a school trip gone wild. People from all walks of life get the Megabus: students, the elderly, people who believe they’re magicians. You never really know what you’re going to get — you may even find love.

Horoscopes, week commencing 20th March

Written by Emily Dadswell on . Posted in Lifestyle.

The 20th of March marks the Spring Equinox in the Northern Hemisphere and the beginning of a new astrological year. It brings with it the perfect opportunity to plant new seeds in your own life and peruse personal goals.

Aries, March 21st – April 19th

As mercury enters your charts communication zone, now is the time to speak your mind. You have the tools to realise your ambitions so do not be shy of taking risks.

Taurus, April 20th – May 20th
You may find yourself surrounded by people this week. Take pleasure from their company, interact earnestly and you will build secure foundations for friendship.

Gemini, May 21st – June 20th
Friendships and close bonds may feel strained this week as your ruler, Mercury, brings about a short spell of conflict. Do not make assumptions about those closest to you.

Cancer, June 21st – July 22nd
Your work life comes into sharp focus this week. Ensure you feel comfortable in your work and career plans will be met with greater success.

Leo, July 23rd – August 22nd
Your intuition is strong. Have confidence in your judgements, especially in social situations.

Virgo, August 23rd – September 22nd
This week you may feel that your best efforts are coming to nothing. Stamina is key, as the fruits of your labours may not at first be obvious.

Libra, September 23rd – October 22nd
Your routine and work life are in perfect synergy. Your execution of tasks that often seem tiresome will be significantly better, you may even find yourself enjoying them.

Scorpio, October 23rd – November 21st
As Mercury enters the area of your chart that rules creativity and self expression a more artistic phase begins. You are also better in touch with your inner child, do not be afraid to experiment and play.

Sagittarius, November 22nd – December 21st
Family ties take centre stage. Find the time to spend with close relatives, you may find a new appreciation for those relationships.

Capricorn, December 22nd – January 21st
With organisation and discipline there is still time to reach what you need. Do not let self-doubt hold you back.

Aquarius, January 20th – February 18th
Actions and words must be carefully considered this week, so as not to cause regrettable situations later on. A stimulating conversation may be turned into a profitable opportunity later in the week.

Pisces, February 19th – March 20th
Mercury leaves your sign early in the week, allowing space for misunderstandings to dissipate. Your emotional intuition could bring you closer to new people, but the first move is yours to make.

A culture of objectification, not rape

Written by Francis Edge on . Posted in Opinion.

In a recent article, Catherine argues that the 2014 United States Department of Justice study — which reveals that, on average, one in 164 college women aged 18-24 reported experiencing rape or sexual assault between 1995 and 2013 — does not cast substantial doubt on the view that we live in a rape culture.

Unfortunately, when challenged on their assertion that we live in a rape culture, many of today’s feminists reply that their challengers base their arguments on “misunderstandings” with regards to, firstly, consent, and secondly, rape culture.

Firstly, on the notion of consent. My definition on the nature of consent is synonymous to the definition provided by the Sexual Assault Prevention and Awareness Centre which states that “consent is when someone agrees, gives permission, or says “yes” to sexual activity with other persons. Consent is always freely given and all people in a sexual situation must feel that they are able to say “yes” or “no” or stop the sexual activity at any point”. Therefore, if someone’s removal of consent is ignored or they have been incapable of giving consent — through black out intoxication for example — then this is rape. This is something that both Snow and I echo.

However, though the following argument is not explicitly found in Snow’s article, there is room for disagreement when consent is taken away after the sexual act. I struggle to find how the word consent can apply to the past unless one uses the past tense: consented. Therefore, if you consented to something, does the removal of consent later outweigh the fact that one had previously consented to an act in the past?

Furthermore, the Mary Koss study I referenced in my previous article showed that 40 per cent of women who said they were raped consented to sexual intercourse with their rapist at another time. Both Catherine and I agree that a woman’s choice to have sex with her rapist is a consented act. However, the willingness to have sexual intercourse with someone who has previously violated them  is questionable.

The second alleged “misunderstanding” is that of what constitutes rape culture. The word rape is quite brutally clear, whereas culture is a far softer term: the attitudes and behaviour characteristics of a particular social group. Therefore, a ‘rape culture’ must be a culture in which non-consented sexual penetration is a prevailing attitude and behavioural characteristic of this particular social group.

The definition of rape culture that Snow abides by is used to argue that rape culture is “embodied every time someone shouts a lewd remark to a woman walking down the street,” and, amongst other things, exemplified by “memes bearing the slogan “it’s not rape if…”.”

Arguing that rape being the subject of jokes is evidence for a culture of rape is logically equivalent to arguing if someone jokes about how they could murder someone does that mean we live in a murder culture?

Furthermore, to debunk another example cited by Snow, idiotic misogynistic males shouting at women on the street and “slut shaming” of women is not evidence of a culture that normalises rape but, rather, a culture of sexual objectification. Sex is not only a fascinating subject but everyone is a sexual object to someone. The behaviour of some men on the street and in the home is disgraceful, but this behaviour is an example of our culture of sexual objectification.

It is clear that a disclaimer is necessary. This is not a dismissal that rape occurs and this is not a condoning of the disgraceful behaviour of which that Snow and many other women have been victims. It is not accurate to say that this disgusting side of our sexual objectifying culture is evidence of a culture that sees rape as permissible and in an epidemic. Thus, I agree with Catherine that there “is an insidious thread securely woven into the fabric of our society”, but this thread takes the form of a culture of sexual objectification, not rape.

Of course, Catherine’s story of being sexually approached by two men by which — I am disgraced as a man as well as a 21st Century western adult — is an anecdotal and severely regrettable example of a culture of sexual objectification, not rape.

Therefore, I was not denying the existence of misogynistic attitudes that stem from this cultural objectification, and I agree with Catherine that there is a need to tackle this for change. I am no more “peddling a misogynistic agenda” as Catherine Snow is peddling anti-male agenda. Both claims are equally as absurd. What I often find in these arguments is that we agree on a surprising number of issues and work towards the same goals, but words do matter here.

In order to seriously fight rape and the misogynistic elements of our culture of objectivity, we must make an honest outline of what actually is rape and what is not. This is a distinction that, once made, will be our greatest weapon in fighting rape on our streets and in our homes. A fight that both myself, Snow and all good willing civilians are devoted to.

Seven UoM students receive national call-ups

Written by Jack Greeney on . Posted in Sport.

This year, seven University of Manchester students have been chosen to represent their country at the 2017 Home Nations Finals university tournament in April. The competition, hosted in Edinburgh from the 10th to the 13th, will feature three sports — hockey, football, and rugby sevens — and some of the most talented student sportsmen and women from around the UK.

The students selected were as follows: Politics and Modern History student Tom Lush was selected for the men’s hockey team; Civil and Structural Engineering student Ed Hunt was selected for the hockey team; Biomedical Science student Rowan Poots was selected for the hockey team; Dentistry student Megan Clarkson was selected for the football team; Sociology student Charlie Reed was selected for the rugby team; History student Asher Silverman was selected for the football team; and Geography student Ellen Lockhart was selected for the hockey team.

After receiving the news, the selected players were revealed at a photoshoot at the Armitage Centre on Monday 13th March. The opportunity to represent their university and their country in their sport is not one these students will forget anytime soon. These national call-ups present a unique opportunity to the students: a flavour of international sports representation to those who have never experienced it before.

These are athletes who have fought for their chance. Rigorous trials in February, first at regional and then national level in Manchester, Leeds and Hartpury, ensured only the finest performers made the team. The University of Manchester has performed extremely well in seeing seven students make the grade, who make up almost 10% of the entire squad: the second highest of any university represented in the competition.

The Universities represented in the English national team selections: Photo: The English Universities Programme

This year’s Home Nations Event will be the first tournament of its kind after an eight year hiatus. On the competition’s return, the English team will be looking to make their mark. The English team is made up of a total of 36 men’s and women’s hockey players, 32 men’s and women’s football players, and 24 men’s and women’s rugby players, all of whom will be raring to go come the turn of the new month.

James Plowright, the national team manager overseeing the head coaches, said the aim of the tournament was to allow those who have “proven their sporting ability and commitment” to “excel in their respective sport” at the highest level within university level. All in all it’s looking like an exciting tournament in the making, with some talented players having made the squad. The Mancunion wishes the very best of luck to all those involved.

The Home Nations Event is run by the English Universities Programme. For more information, or further updates as the tournament progresses, follow the English University Sport Twitter @EngUniSport, or visit the English University Sports page on the BUCS website.

Six Nations Review

Written by Guy Williams on . Posted in Sport.

The Six Nations competition had come into this year’s edition at something of a crossroads. While the fans and many of the players still regarded it as the premier rugby tournament in the world, there had been some consternation from ex-players and higher-ups that the quality of rugby on show was unsatisfactory compared to the southern hemisphere’s equivalent tournament, the Rugby Championship (TRC) which features New Zealand, Australia, Argentina and South Africa.

In the aftermath of Rugby World Cup 2015, one of the Argentine coaches, whose team reached the semi-finals (no Six Nations team managed this), stated plainly what many had already suspected: that his country would not have progressed so far in the tournament if they had joined the Six Nations in 2007 rather than the Rugby Championship in 2012.

The latter competition, he said, had prepared his team better for the cauldron of international rugby.  The facts support this assessment of TRC: there are more tries, more line breaks, fewer scrums and less kicking in open play.  This means that the ball is ‘live’ more and players are consequently fitter and stronger in the southern hemisphere.

There are a couple of provisos to this comparison.

Firstly, the weather.  It is much easier to run and pass when the sun is out and the wind is at your back; less so when the rain is horizontal and the wind is gale force.  Since the Six Nations is played in February-March, it is often at the mercy of the elements and if the elements don’t play ball, neither can the players.

The second proviso concerns nothing less than the definition of rugby itself.  Your average Australian or New Zealand fan will cherish the running and the passing, while your average Welshman or Englishman will yearn for the ‘contest’, the thump of the tackle and the scrum.

This is perhaps an oversimplification. Most European fans also want their teams to run and score tries, but since our teams are not very good at that, we pretend that rugby is not all about tries.

With these thoughts in mind, the administrators attempted to spice up this year’s Six Nations by adding bonus points to reward those teams who score four tries in a game.  It is hard to judge the effect that this has had on teams.

Certainly, it has not triggered an evolutionary attacking style.  In any case, the question of style brings us on to the state of the home nation sides and France (there is not much to be said about Italy).

Without a doubt, the shining light of this year’s edition has been the maturation of Scotland.  Irrespective of their recent drubbing by England, by beating both Wales and Ireland, Scotland have shown that they can thrive.  Not only have they added a cutting edge to their attack, they have also sharpened their defence.  The Gray brothers, Zander Fagerson and Finn Russell are a young crop around which to build.

France have also developed, albeit at a slower pace to Scotland. It seems that they are attempting to rediscover the attacking potential that causes rugby dads to tear up when they think of French sides of yesteryear.  They have started to off-load in the tackle far more and have shown a willingness to cast the ball wide in attack.  At times, they have been guilty of forcing the pace, but if they do manage to master their high-speed game, that can only be good for the tournament.

Wales have been a bitter disappointment. Where Scotland and France have shown a willingness to evolve their game, Wales remain stuck in their ways.  They have managed to beat Ireland and they may still beat France, but their tactics and selection reflect outdated thinking. Wales have debuted only three players since the World Cup in 2015.

This is the lowest number of new caps from the major nations.  By comparison, New Zealand have handed debuts to 11 players, and England 12. Wales have attempted to broaden their power game by adding runners, but they too frequently fall back on an attritional style which wins them few matches and even fewer admirers.

Ireland have enjoyed a stellar season.  They have beaten the Big Three of New Zealand, South Africa and Australia. Consequently, their sub-par Six Nations has surprised many.  The 9/10 axis of Murray and Sexton is arguably the best in Europe, though, and this tournament is likely to be just a blip.

This brings us, finally, to England. England have evolved quickly and decisively. Their back line is one of the best in the world, their forwards are usually excellent but never poor, and their coach is a tactical magician.

But the key to England’s resurgence has been their strength in depth.  No other team, bar possibly New Zealand, can boast such a strong bench. When all these elements are combined with a ferocious work ethic, it is easy to see why Sir Clive Woodward, England’s World Cup winning coach of 2003, has declared this team a “special group of players”.

It remains to be seen whether the improvements made by several Six Nations teams will result in a successful Lions tour in the summer.  New Zealand is the hardest place to tour, but success breeds confidence and this year’s tournament has been a resounding success.

Are New Zealand concerned? They should be.

Review: Grease: The Musical

Written by Georgie Hines on . Posted in Theatre.

Like many, I have been a huge fan of the film Grease since I was young. The addictive songs, the fabulous costumes, the iconic characters — what’s not to love? So, when I heard that Grease: The Musical was to make its premiere run at the Palace Theatre in Manchester, I was more than just a little excited.

I did have one reservation beforehand however, and that was the casting of Danny (Tom Parker) and Rizzo (Louisa Lytton). I knew little of their background, just that one was a former member of The Wanted and the other a soap actress, and I hoped that their appearances weren’t a feeble attempt to use ‘household’ names as a way to push ticket sales.

Unfortunately, this did turn out to be the case. Compared to flawless performance of Danielle Hope as Sandy – her rendition of ‘Hopelessly Devoted to You’ was nothing less than magical — Parker and Lytton failed to shine.

Parker seemed uncomfortable in contrast to his fellow T-Birds, and whilst his voice did well in the lower-pitched ‘Grease Lightning’ and other group numbers, he struggled to find himself when paired with Hope’s pitch-perfect voice. Off to a shaky start, Parker’s confidence did grow throughout the performance, and by the beginning of the flawlessly choreographed school dance scene he had started to become the charming and mischievous Danny the audience craved.

Lytton, however, fared far worse as she struggled with her conviction of the dark and edgy Rizzo. Her solos, ‘Look at Me, I’m Sandra Dee’ and ‘There Are Worse Things I Could Do’ were particularly awkward as her lack of theatre training against the immaculate supporting cast became obvious.

Although the show got off to a slow start, Doody (Ryan Heenan) thrust the show into high Rock ‘n’ Roll gear with his spectacular performance of ‘Those Magic Changes’. The surprise hit of the night made me want to jump on stage and fan-girl with the rest of the cast (except I wouldn’t be acting).

Credit must also be given to the marvellous Darren Day, who stole the limelight every time he graced the stage. His appearances were infrequent at most, a reason that I am not a fan of the Teen Idol/Vince character in any run of this production, but my, did he make a noise when he finally arrived. ‘Beauty School Dropout’ was an assault on the senses, and I couldn’t have loved it more. Nothing screams the 50s more than sequins, over-the-top outfits, and a smooth pop tune for the ladies.

Honourable mentions must also go to the comical Rodger (Oliver Jacobson), and incredible Pink Ladies, Rhiannon Chesterman (Frenchy), and Marty (Lauren Atkins), and Jan (Rosanna Harris), who carried their struggling main counterparts through the show.

Ultimately, even the faultless set, music, and choreography were eclipsed by Parker and Lytton’s painstakingly obvious inexperience on the stage. Despite the sheer talent of the insatiable Danielle Hope and supporting cast, next time I get a craving for Grease, I’ll probably just watch the film at home.

Grease: The Musical is being performed at the Palace theatre till the 25th of March. You can get your tickets here.