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Day: 16 October 2017

Unhappy Manny?

Written by Mia Gair on . Posted in News.

Brexit, the rainy arrival of winter, inflation of the magic bus to £1.50; it is easy to see how some Mancunians could feel particularly sad this time of year. But are we quite as sad and anxious as the latest personal well-being report from the Office of National Statistics (ONS) suggests?

Since 2011, the ONS has recorded the life satisfaction and happiness of people up and down the UK in order to get a sense of the well-being of the nation. This year’s report ran from April 2016 to March 2017 and found that Manchester was one of the saddest and most anxious places in the UK.

The mean average happiness rating was 0.31 points below the national average, and 0.23 points below the average for the North West. The life satisfaction rating was also below the national and regional average, by 0.23 and 0.14 points respectively.

The only rating on which Manchester scored above average was the level of anxiety felt by residents. Our anxiousness rating was a whopping 0.47 points higher than the national average. It’s fair to say that something isn’t quite right in Manny.

The State of the City Report 2017 was published around the same time. This revealed the council’s take on how the city was doing in relation to its prescribed goals. Environmentally, the report revealed that there has been a 37 per cent reduction in CO2 emissions since 2005 — meaning that Manchester will not reach its target of 41 per cent reduction by 2020 — but no such reduction in nitrogen dioxide pollution.

Manchester saw a 9 per cent increase in the number of homes built in 2016/17 compared to 2015/16, although homelessness remains a major issue, with Manchester having a rate almost double the national average.

The student population has returned to its pre-fee rise peak in 2012, contributing — potentially in equal amounts — to the council reaching its goal of Manchester becoming the ‘UK’s youth capital,’ and to Manchester experiencing a higher rate of alcohol-related hospital admissions than the rest of England — 220 more per 100,000, to be precise.

There has, however, reassuringly, been a 10 per cent increase in visits to the wonderful cultural and recreational facilities this city has to offer (yes, there is more to Manny than Oxford Road and NQ).

Whilst emotionally Mancunians may be lagging behind the rest of the country, the report revealed that economically they are not. Employment continues to rise, and Gross Value Added (GVA: an indicator of economic performance) increased by 5.4 per cent from 2014 to 2015.

Similarly, the latest data from the Greater Manchester Chamber of Commerce Quarterly Economic Survey (QES) showed a more cautiously positive image of economic growth. While the UK’s average growth in 2017 was forecast at 1.6 per cent, Manchester is leading the way with 3.25 per cent forecast growth — but this is still below expectations. Expectations for 2018 economic growth had to be downgraded from 1.5 per cent to 1.2 per cent.

Overall, the three reports paint a fairly mixed picture. It is clear that Manchester needs to drink less and look out for each other’s well-being a bit more. We can only hope that over the years Manchester will climb up the ratings and become not only the Northern powerhouse, but the Northern happy-house too.

Super League Grand Final XXII: Castleford 6-24 Leeds

Written by Jamie McEvoy on . Posted in Sport.

A series of Castleford errors and a superb performance by captain Danny McGuire ensured Leeds Rhinos coasted past a disappointing Tigers side to win a record eighth Grand Final.

After a nervy opening for both sides, Leeds drew first blood 12 minutes in, when Tom Briscoe leapt to bring down Danny McGuire’s kick. Kallum Watkins scored the consequent conversion.

Leeds were on top, and six minutes later Watkins thought he’d given his side the chance to double their lead after sliding past the Tigers try line.  However, video ref Phil Bentham quite rightly denied Leeds the points. It was not the final Castleford were hoping for, and Leeds looked determined to write their own ending to the Tigers’ fairy-tale season.

Castleford were on the ropes, but in the 30th minute, league top scorer Greg Eden burst forward, only to fumble upon being tackled at the last minute.  The Tigers appeared galvanised, yet Leeds remained dominant.

The Rhinos ended the half 7-0 ahead with McGuire dispatching a drop goal in his final game for the side.

Castleford entered the second half seemingly invigorated. However, after yet another fumble from Greg Eden of all people, McGuire stole in to go over and seal four more points for the Rhinos, a mere seven minutes into the restart.

Just before the 60 minute mark, Briscoe scored his second try of the game down the right wing, with his teammate Watkins also getting on the score-sheet for the second time with his successful kick.

The slippery conditions were giving the Tigers all sorts of nightmares, and after another fumble, McGuire darted in again to get a finger-tip to the ball, all but winning it for the Rhinos.  After an effortless conversion by Watkins, Leeds were 23-0 up with ten minutes to play.

With six minutes left on the clock, it looked like Greg Eden had gone over to give Castleford some consolation, yet he was denied by the video ref, arguably somewhat harshly.  It was a truly miserable night for the league leaders.

Just as McGuire’s final appearance for his side looked as if it could not be more poetic, he sent another ball between the posts with his second drop goal of the game.  Yet he did not have the final word, as with one minute to go, Alex Foster went over to ensure Castleford at least came away from their first Grand Final with points.

Not the tight final many had hoped for, and devastating for a Castleford side who had absolutely dominated the league table.  Nevertheless, it was a fitting end to illustrious careers for McGuire Rob Burrow at Leeds, and yet again another sell-out fixture with an electrifying atmosphere at Old Trafford.

Man of the match:  Danny McGuire

The Grand Final proved to be a fairytale ending after all, just not for Castleford.  An emphatic performance from the Rhinos skipper, and a perfect ending to his Leeds career.  Hull KR fans’ mouths will surely be watering at the prospect of him joining their side next season.

 

Film and media continue to let down survivors of sexual assault

Written by Jessica Hyer on . Posted in Opinion.

The way rape is portrayed in the media often fails to reflect the experiences shared by the majority of survivors. Rape scenes in film and television are dramatized, often depicting extremely violent rape scenes. A warped perception of rape is presented to the public, affecting the way we perceive the boundaries between rape and consensual sex. Therefore, survivors can often feel their experience do not earn them the right to be defined as a survivor, making them less inclined to take action against perpetrators.

Crime dramas such as CSI and Criminal Minds often depict serial rapists unknown to their victims and brutal scenes of rape, during which physical marks and an abundance of evidence become available to the authorities. However, as Rape Crisis UK states, around 90 per cent of rape victims know the perpetrator prior to the offence, and rape often leaves little to no evidence or physical markings, especially as survivors often fail to report the crime for long periods of time.

As women, we are taught not to go out at night alone and to be wary when on the streets out of fear of being raped by a stranger, yet these kinds of sexual assaults only make up 10 per cent of rapes in the UK. We are not taught how to deal with rapes that are carried out by those we love, and it is common for victims to continue to engage in normal relationships with their attackers. However, victims that go down this path should not be persecuted or discredited as survivors.

In England and Wales alone, around 12,000 men and 85,000 women are raped every year. Only 15 per cent of survivors choose to report the rape to the police. In my opinion, the fact their narrative does not comply with the way rape is portrayed in the media plays a huge part in this.

When it happened to me, my rapist told me that I couldn’t compare myself to someone that was taken off the street by a stranger and raped at night, but he was wrong. A rape doesn’t need to comply with any given narrative to be defined as rape. If non-consensual sex occurs, a rape has taken place.

13 Reasons Why, a fictional series recounting a teenager’s journey towards suicide, became regarded as highly controversial. Several of the graphic depictions of rape and suicide were criticized as triggering and harmful despite warnings shown before episodes.

One particular scene shows the main character, Hannah, raped by an acquaintance named Bryce following a party. She remains in the hot tub in her underwear after Bryce joins her, but gives him absolutely no indication that she wishes to engage in consensual sex. He roughly holds her back, kisses her shoulder and neck and says “we’ll just go nice and easy.” She does not outright tell him, “no”, or attempt to fight him off, she just closes her eyes and waits for the rape to end. Some critics have hailed the scene, calling it an “obvious rape”, showing the scene from Hannah’s perspective, despite her inability to say “no.”

Speaking of the rape Hannah states: “I did not say no or push his hand away. All I did was turn my head, clench my teeth and fight back tears.” This was such a real and raw depiction of rape that I believe is so important for the public to see. Yet, when Hannah returned home after the rape, a close up shows bruises on her back that were caused by Bryce’s fingers, completely destroying the thankfulness I felt for the way the rape was portrayed prior to this. Aside from the inherent violence of a rape, Bryce’s force did not comply with the extent of damage on Hannah’s body.

Film and media continue to fail women and men who are victims of rape. Rape doesn’t have to be dramatic or incredibly violent to be defined as rape. A rape can take place in five minutes and leave absolutely no physical scars.

From my experience, it’s the aftermath that truly hurts. A victim should not have to be subjected to a certain level of suffering in order to be defined as such, and these portrayals of sexual assaults are damaging to both survivors and the general public alike as they warp our perceptions and allow people to get away with rape that does not comply with the narratives that are shown.

Review: Blade Runner 2049

Written by James Gill on . Posted in Film.

Throughout his directing career, Denis Villeneuve has proved that regardless of budget or genre, he can create a great piece of cinema. Blade Runner 2049 is Villeneuve’s second foray into existential science fiction, a sequel to Ridley Scott’s timeless 1982 classic, and it is truly staggering in scale.

There is a distinct step away from the original in terms of style but he continues to build upon both the world and themes that Scott developed. Similarities can be seen between the two, for instance both involve an unfathomably powerful corporation who manufacture replicants; androids who are superior to humans in almost every way, except for their lack of empathetic abilities.

In 2049, the original corporation has been bought out by another, helmed by an extraordinary looking but ironically blind Jared Leto. In preparation for the role he partially blinded himself and because of that he won’t be disappointed at how few scenes in which he appears. His intentions are sinister however most of the work beyond brooding is done by his assistant Luv (Sylvia Hoeks).

The plot centres around Ryan Gosling’s K, a replicant Blade Runner tasked, like Harrison Ford before him, to hunt down other replicants living illegally. After each ‘retiring’ of a replicant, K must endure the Voight-Kampff test, a bizarre psychological assessment to determine if his human to android balance is still correct after a traumatic experience. The sterile, emotionless nature of his employment is a product of the bleak, dystopian world he lives in. At home he is greeted by his girlfriend Joi, played by Ana De Armas, who is sumptuously attractive, albeit holographically.

A sad product of technological advancement, the waifu of today’s culture has long since been replaced by an A.I girlfriend so complex that it makes that of Spike Jonze’s Her look cheap and tacky. The main downside to a holographic significant other is the impossibility of physical intimacy. To overcome this, Joi arranges for a prostitute to come to the minuscule flat they both live and, in perhaps the strangest thing I have ever seen, have sex with K whilst she layers her holographic body over that of the prostitute, their two separate bodies flickering over one another. Even in love he can’t find a human touch.

This idea of humanity is explored throughout the film, most poignantly so towards the end. K pauses outside a building and extends his arm, snowflakes gently land upon it before quickly melting. Inside that building is a female character (Carla Juri), whose compromised immune system traps here in a large, sterile bubble where she is forced to invent her own reality. We watch as she too extends her arm, holographic snowflakes gently landing upon it before glitching out of existence. Both feel empty in their inability to experience life in its purest form.

Roger Deakins, regarded by many as the pre-eminent cinematographer of our time, nominee of thirteen Academy Awards, winner of none, will undoubtedly receive his fourteenth for his incredible work here. Few would deny his work should have earned him at least one golden statuette and this I feel, although I hesitate to make such bold predictions, should be his year. The 2049 version of Los Angeles was horrifically miserable, truly deserving of the dystopian name and when K travels to Las Vegas, he encounters a world so different yet somehow still dystopian.

That wretched, angular world which Deakins created is complemented beautifully by Hans Zimmer’s score, although beautiful is not an attribute you would not easily assign. It’s harsh, disjointed and unmelodic, and unless you sat through to the end credits there would be no indication that it was indeed composed by Zimmer.

Next on the agenda for Villeneuve is Frank Herbert’s science fiction epic Dune. There have been several attempts of a big screen adaptation and all have failed. David Lynch’s version was deemed sacrilege to fans, Alejandro Jodorowsky’s version, had it received funding, would have certainly changed cinema forever, with Pink Floyd, Salvador Dali, Orson Welles, Mick Jagger and many more attached.

The seed of that film, denied the water to sprout, was so significant as simply a seed that it influenced fantasy films of the future like Ridley Scott’s Alien. Interestingly, Ridley Scott was attached to Dune for seven months before the death of his brother Frank made it too tough to continue. Now, just as he took over the reins on Blade Runner, Villeneuve will take over the reigns on Dune, and I for one am sure we are in very capable hands.

Live: Tom Grennan

Written by Alice Berkeley on . Posted in Music.

Thursday 5th October 2017 at Sound Control

“I’m sick as a dog” Tom Grennan announces as he struts onto the stage to the Corrie theme tune. Sound Control is sold out, as are most dates on his current tour, and it is easy to understand why.

He launches into his newest single ‘Royal Highness’, his voice gravelly yet mellow, and failing to show the croakiness that he betrays when speaking. Despite the fact that the song has only been out since the 21st of September, it feels like the entire audience is singing along (or dancing along at very least). It is a catchy number with intriguing lyrics: “Come be my lover, be my getaway car, come be the new string on my broken guitar.”

In 2016 Grennan collaborated with Chase and Status on ‘All Goes Wrong’, a hit that has almost 10 million streams on Spotify. A brief mention of it has the crowd roaring and many tuneless voices join him, struggling to hit the high notes that he reaches so effortlessly, even while clutching at his sore throat. The rendition is softer than the recorded version, but undoubtedly has the same impact.

Equally, the showman’s powerful and fast-paced performance of ‘Found What I’ve Been Looking For’ impresses. He builds up much anticipation to the high and long notes at the end and unquestionably delivers. It is a soulful track and belongs in a stadium; it is certainly worthy of its place on the Fifa 18 soundtrack.

Other crowd favourites include upbeat ‘Praying’, slower ballad ‘Something in the Water’ and Jamie T-esque acoustic tune ‘Old Songs’ that gives him an opportunity to show off his vocals.

At just 21 years old Grennan oozes confidence and charm, using the breaks between songs to tell anecdotes and jokes: “I am a football fan of Manchester but won’t say who”, “What day is it? Thursday is the new Friday”. His likeability is reflected in the mass of people who stay behind at the venue to meet him. He promises to meet each and every one of them and to see them at the Ritz in March.

The support act Lily Moore was equally remarkable despite it being her first time on tour. She made up for lack of production with her outstanding vocals, it is easy to see why Grennan chose her; the likeness of her vocals to Amy Winehouse (one of his favourites) is uncanny.

Tom Grennan’s debut album is out on the 9th of March.

 

9/10

Review: Marilyn Manson – Heaven Upside Down

Written by Tobias Soar on . Posted in Music.

Marilyn Manson: musician, actor, Satanist, and blamed to be a contributing factor in the Columbine Massacre of 1999, is back on the radar, and not just because he knocked himself out on stage while climbing a prop which collapsed on top of him. His 10th studio album Heaven Upside Down may not carry the shock value his early work did, but it does a good job at raising a middle finger to society, as Manson does best.

His previous album The Pale Emperor had a very raw, instrumental sound, which is still present in this new release. In Heaven Upside Down, however, some digital elements are also brought into play by Manson and Tyler Bates, co-producer of this record and many others of Manson’s discography.

Starting from the top, we’re greeted by static and muffled recordings of news reports which suddenly give way to the explosive opener ‘Revelation #12’. The use of a count from 1 to 10 in the chorus of the track makes for a catchy rage anthem that sets the tone for the rest of the project.

‘Tattooed in Reverse’ and ‘WEKNOWWHEREYOUF******LIVE’ bring a grungy metal sound, reminiscent of ‘Deep Six’ on The Pale Emperor.

The aforementioned digital elements become noticeable in ‘SAY10’ and ‘KILL4ME’, making for an industrial sound à la Nine Inch Nails.

The slow intro in ‘Saturnalia’ slows the project down a bit, breaking the rhythm until ‘JE$U$ CRI$IS’, a critique on our society and on what we deserve for our sins.

The pace changes completely for a single track, ‘Blood Honey’, a moody, dark, synth-piano infused ballad with an intense climax.

The title track ‘Heaven Upside Down’ surprises the listeners’ ears with the sound of an acoustic guitar thrown into the mix, creating an ever so slightly lighter tone, characteristic of the rock songs of bands like Smashing Pumpkins.

Finally, the closer, ‘Threats of Romance’, brings the sound of a piano which is met by a synth halfway through the track for a bizarre blend of timbres that surprisingly works. Manson’s echoing growl certainly ends the project on an edgy high.

The lyrical theme of the songs is classic Manson. Talk of self-abuse, sex, toxic relationships and anti-establishment motifs make for a relevant yet edgy soundtrack for the modern revolutionary. Although, it’s worth noting that Marilyn’s lyrics have always had this tone, and therefore, some might find them somewhat cliché.

Overall, the album isn’t Manson’s best work but it’s a solid 10-track project that will delight old fans and might catch the interest of new listeners, too. We can definitely call the sound goth-metal, a sound which Marilyn pioneered and continues to dominate.

However, this goth influence has seemed to overlap into the world of hip-hop, with many artists citing Manson and other punk or goth-metal artists as heavy influencers of their music. Among these is Lil Uzi Vert who, according to an interview between Manson and Zane Lowe, might have a project coming up with the goth-metal godfather himself.

If you’re a fan of Manson, he has an upcoming show on the 4th of December at the O2 Apollo. Fortunately, the dates have not been affected by his accident last month; after all, it would take a lot more than that to take the godfather of goth-metal out of business.

Live: Neighbourhood Festival 07/10/17

Written by Yasmin Duggal on . Posted in Music.

Blossoms ft. RNCM ensemble @ MMU Union — 9/10

Tom Ogden and Charlie Salt blessed the Opening Party with a beautifully intimate and understated set, accompanied by the RNCM ensemble. A cacophony of harp strings, brass and strings added new elements to Blossoms’ finest hits, re-imagining the tracks to sound fresh after a year of touring the debut album. Tom held the crowd in the palm of his hand, his mellow charm on form as per usual, vocals flawlessly edgy as at every gig. Heartwarming, wintery b-side ‘For Evelyn’ was welcomed with surprise, its elegant melancholy mirroring the Manchester weather battering the outside. A treat came with the finale in the form of Tom and Charlie’s karaoke tune, a cover of The Beatles’ ‘Ticket To Ride’. The ensuing singalong in the Mancunian venue proved a fitting conclusion to Blossoms’ huge year, as their synthy-heartbreaker melodies have clearly captured an adoring fan base.

Peace @ Albert Hall — 9/10

Familiar, organised, indie chaos filled the famous hall as Harry Koisser sauntered on, adorned with retro specs and a military jacket. The crowd were fully on board despite the daylight streaming through the windows. An eclectic set list which featured both albums and ‘1998 Delicious’ triggered a tumultuous reaction of mosh pits and singalongs, while Harry’s flawless vocals were met with gasps of amazement. Energy rippled and spines tingled as Peace put on a show and a half, proving they may have been away, but they have much more to give.

The Vryll Society @ Sound Control Basement — 10/10

“If you’ve taken anything, you’re about to get your money’s worth right about now” promised Vryll Society frontman, Mike Ellis. What followed was a psychedelic party… imagine upbeat Tame Impala with a front man’s dance moves that make Ian Brown look serene. Intros and outros dominated, saturating the basement of Sound Control, whilst intimate lighting suited the occasion as the band became silhouettes, bringing vibes of a 60s nature into the room. Their songs are niche, and it’s exciting to see bands still making music of this fashion today.

The Old Pink House @ Revolution — 7/10

This up and coming band brought energy and a good effort to Revs, with storming passion which, at times, uplifted run-of-the-mill songs and elevated instrumentals to a higher level. It was a decent attempt at a powerful indie impact, the last song in particular providing some variation in synth and regular structure. The band clearly displayed musical prowess and dedication to putting on a visceral live show, though it would stand them in better stead to find their own niche if they are to break through the rising talents of rivals. They were entertaining — credit where credit is due — but to make a lasting impact they need to stamp a POS on that impressive energy.

Interview: Zara Larsson

Written by Yasmin Duggal on . Posted in Music.

With a top 10 UK album under her belt and a 2017 to rival any pop star, Zara Larsson is taking the world by storm, aged 19, and is not afraid to tell you so. Bold, honest, and gracious, she spoke to The Mancunion about her rise to fame and future plans for the Swedish star.

Your album So Good was a top 10 UK hit and a massive success. How did you manage that sudden success and fame?

It hasn’t really affected my life in the way that most people think it did. I still live my life and do all the things I’ve been doing for years even before I released my album and started touring, so my life is very normal. Sweden doesn’t have the same mentality I guess. We don’t really have paparazzi, so it’s very calm.

Do you find it hard at this age to figure out who you are or what direction you’re heading in?

Yeah absolutely. I am still going through all those stages of asking what my sound is, what I wanna do. I’ve been going through this phase of “would Beyonce do this?”, “no, Beyonce would not do this.” I think I came to the conclusion that I love Beyonce but I don’t care what she would do because Beyonce is not gonna sing this song — I’m gonna sing this song. I’ve got to stop comparing myself to other artists. People always put women up against each other on Twitter so it’s not all my fault I compare myself. I know some stuff… for me, feminism is very important and I will never change my mind about that.

You’re a vocal feminist and you started out quite young. Have you faced any challenges being a woman in the industry?

I’ve been very young, and now I’m reaching 20 it feels really good as people are listening to what I’m saying. I’ve been really lucky when it comes to the people I work with. They respect my voice, my opinion on things, my songs, who I want to work with, and that’s crucial. You’ve got to surround yourself with people who respect you and aren’t going to walk all over you. I know so many girls that can’t even pick songs for their album because an old man is doing it for them, and that’s sad.

How important do you think it is for music to have a political impact or message?

I don’t think every pop song needs to be deep and have a J. Cole message, even though it’s great when people bring it into their music. That’s why I love Beyonce, as she’s one of those artists that brings important topics into her art, but I wouldn’t say I do it. I’m quite political and outspoken in free time and on Twitter, but my songs are pop. I sing about having a lush life, and it’s OK for people to listen to songs that are only for the turn-up. These songs are about bringing people together, making people feel good, and for some people, these songs are a little ray of hope.

What’s next for you after this European tour in October / November?

After this tour, I’m going back to LA to write some more songs for the album and I will hopefully do another tour early 2018 or spring. I love to tour, and that’s why I’m in the studio writing songs, so I can sing them on stage.

What do you do to relax?

I spend time with friends and family, and if I’m on the road I lie in bed watching movies. I really take advantage of my time off.

What are you currently listening to?

I’m listening to a lot to playlists. As an artist, I f*****g hate Spotify it but as a person I love it. I listen to a lot of hip hop and trap. I’m one of those people who has three songs on repeat for two weeks, then I will never listen to these songs again [laughs].

 

Zara Larsson will be performing at the O2 Apollo on Saturday 21st October.

Interview: In Bed With My Brother

Written by Sophie Graci on . Posted in Theatre.

In Bed With My Brother’s We Are Ian is hard to describe. Part dance party, part political theatre, all loving tribute to acid house, it’s an extraordinary night out that feels so utterly Mancunian. It’s surprising then that the run at HOME from 12th-14th October will be the show’s premiere in Manchester. “A lot of people assume that we are from Manchester,” Kat, one-third of the company, tells me. “I think one of the things though is that we don’t speak, so Ian’s voice is the only [one] heard in the show. So even though the show’s about Ian, people automatically assume we’re Mancunian as well.”

In reality, the trio — Nora, Dora and Kat — met at Exeter University where they all studied Drama. “We were like, we don’t want to be actors but we want to carry on performing [after we graduate] and so we just decided to do it.” The first thing they created as a company was a show called Twinkletoes, which they performed in an Edwardian toilet in Bristol. Kat notes, “it wasn’t necessarily a show, it was more of an installation. It was a bit of a bouffon-y thing.”

The advice they have for other young creatives mainly boils down to: you can’t have fun until the admin’s done. “How we’ve got to do stuff is just from applying to loads of opportunities […] the most opportunity you’re gonna get is when you’re emerging.”

“We got the opportunity to go to Edinburgh in 2016 because we were awarded the Charlie Hartill Fund for Theatre from the Pleasance, which is a really great opportunity for young companies to just take up work to Edinburgh. If you’re really passionate and you want to make work, just find those opportunities and write shit-hot applications.”

So how did We Are Ian come about?

It’s important to note, first of all, that the eponymous Ian is Dora’s stepdad. “We started making this show because a couple of years ago we just wanted to make a show, and Ian asked us if we’d make a show about him.” Whilst they can’t recall much about the early devising process, it was Ian’s voice that drove the development initially. “Ian’s voice is one that isn’t really that heard on stage, and so it was a really big thing for us when we started making the show that we really wanted to have [his] voice as the only one heard on stage.”

The show is entirely about and inspired by Ian, with not only his recorded voice making up the monologue we hear throughout the show, but also his music choices playing throughout the entire hour. “[The music] gives you a feeling of the time but also makes you think something about the time without us having to say something explicitly,” says Nora. What is interesting about the music choices is that you can track the changing era, the introduction of darker themes in the tracks, and the changing mood of the show itself all through the specific music decisions made.

Gender in We Are Ian feels like an afterthought: In Bed With My Brother are only a feminist theatre group in that they are three feminist women occupying a theatrical space. They say of Ian’s story: “We didn’t want this to be anything about gender, we didn’t see it as a statement that three women are telling his story because it’s more than that.”

In their minds, We Are Ian is a political show, although it didn’t come off that way to Ian and everyone involved in the acid house movement. Links between the movement and Thatcherite neoliberalism weren’t made until later.

“[They] never thought of it as being a political action, [they] were just getting together and having a nice time and partying and dancing and that brought everyone together.”

“In a time now when everything is so politically-driven, everyone is so opinionated…there’s still a massive divide…we want people to be able to take away from it what they want. Some people are able to tune into the political things that we’re trying to say…and some people just really like partying, which is fine and great as well!”

Whether you want politics or partying, tickets for We Are Ian at HOME can be purchased here.

Travel story: Flamenco in Andalusia, Spain

Written by Sophia Macpherson on . Posted in Lifestyle.

There is no question that dance is an art-form, and that a dancer’s movement can be used to express a wide range of emotions. Flamenco, the dance birthed in southern Spain, is a prime example of beauty created through skillful dancing. The term ‘flamenco’ can also be associated with the musical traditions of cante (singing), toque (guitar playing), jaleo (vocals), palmas (hand-clapping) and pitos (finger-snapping) which come together with the dance to create an atmosphere of pure sensory pleasure.

Last Easter, I spent two weeks in Andalusia, where I travelled from town to town with my family. I was lucky enough to indulge in the sensory-rich settings of the flamenco houses. Flamenco houses are abundant around there and most are nothing short of amazing. However, finding an authentic and intimate setting could prove difficult, especially during peak tourist times like Easter. Experiencing this atmosphere was to me immensely emotive, and by least, completely enjoyable; it was a beautiful portrayal of what Spain has to offer culturally.

To my advantage, I had a few family friends who resided in different parts of the south of Spain and so, I was given insider tips on where to go for the real Spanish experience. This often did not only mean seeing the flamenco dancers in action but also meant that I would be thrown into the kind of place that Spanish locals would enjoy themselves. For me, travelling to and experiencing a new place means to temporarily walk in the shoes of the people who live there.

Below are five of my favourite flamenco houses that I had the pleasure of visiting during my stay in Spain. To me, these flamenco houses boast authenticity and the aura of Spain that keep people coming back for more.

La Casa del Flamenco — Seville, Spain

Le Chien Andalou — Granada, Spain

Kelipe — Malaga, Spain

Jardines de Zoraya — Granada, Spain

La Cava — Cadiz, Spain

Personally, I found that Easter in the south of Spain was the most pleasant time of year to go; plenty of sunshine in a light breezy day accompanied with quaint cool nights. Travelling-wise, prices from Manchester to towns/cities across Andalusia prove to be fairly kind to our student budgets.

Manchester to Malaga: depart on the 27th, return on the 5th or 11th (if you want to indulge and stay longer) — from £80 pp

Manchester to Granada: depart on the 26th, return on the 4th — from £90 pp

 

All flight details correct as of 4th of October 2017.

Chinese Moon Festival celebrations at the University of Manchester

Written by Sophia Macpherson on . Posted in Lifestyle.

This year the annual Chinese Moon Festival was celebrated at the Manchester Museum, with taster events of Chinese culture also running across the week at the University’s Confucius Institute.

The cultural festival, which has been celebrated since the Shang Dynasty (c. 1600 – 1046 BCE), marks the traditional end of harvest in China and across other regions of Asia. Celebrations are always held on the 15th day of the 8th month of the Lunar calendar, which this year corresponded to the 4th of October according to the Gregorian calendar. This is supposed to be the night of the fullest, brightest moon: although cloudy Manchester skies may have obscured a perfect view, the abundance of incredibly popular (and delicious) moon cakes surely made up for lack of the real thing.

With the roundness of the moon symbolising reunion, the central theme of the festival is the gathering of Chinese people and this aim was certainly achieved. The museum’s Kanaris theatre played host to various Chinese cultural workshops and exhibitions, including calligraphy, the famous Chinese tea ceremony, traditional clothing, and decorative string craft. The red and gold colours synonymous with China filled the room, and I looked particularly stylish wearing traditional Asian clothing.

Once many people had gathered there was a run-through of the festival’s historical background and legend, followed by wonderful performances of the Chinese ancient zither (guzheng) and traditional dance routines by the staff of the Confucius Institute. These members of staff also ran other sessions at the Confucius Institute all through the week which offered a taste of Chinese culture. The hands-on workshops included calligraphy classes, Chinese painting, a deeper look into Chinese traditional musical instruments, paper-cutting, tea ceremony, and traditional festivals were held Monday to Friday.

Full classes in Chinese calligraphy and other cultural classes are beginning shortly, further details of which can be found on the Manchester Confucius Institute website.

Uber Fights Back

Written by Youssef Bouri on . Posted in Opinion.

Uber is facing growing criticisms concerning the way it functions. In June, its founder, Travis Kalanick, stepped down amidst a polemic on his managerial practices; accused of doing little to prevent sexism and discrimination from thriving within the company. A video of him appearing to insult an Uber driver was also released, sparking the public’s indignation.

On September the 22th, Uber was forbidden to operate in London by Transport for London, a public entity. Uber was accused to not taking seriously sexual assaults committed by its drivers. In a number of cases, the Californian company has obstructed justice and has dragged its feet when it has had to cooperate.

In addition, it’s been alleged that the company has not done enough to control its drivers’ good health and ability to ensure the security of customers. The company’s use of software enabling it to detect and avoid police checks has convinced Transport of London that Uber considers itself above the law.

In Quebec, the company has to cope with another hardship: the government from now on requires Uber to extend the driving formation time from 20 to 35-hours, to check criminal records of its drivers, and to inspect all vehicles at least once a year.

Uber isn’t exactly accepting these judgements lying down. Instead, it is fighting back — and fighting back hard. In Quebec, it is reportedly threatening to cease its activities if the government does not withdraw its rules.

Ironically, Uber is doing the exact opposite in London: it is instead doing everything it can to be allowed to stay. They have appealed the Transport for London’s decision. Uber masters the legal ground; helped by an army of lawyers, it systematically appeals every decision that goes against its interests, thereby gaining time and money.

In 2016, a British judge stated that Uber’s drivers are its employees, not independent contractors and are thus eligible for minimum wage and a set of rights. But the decision is still not enforced as it has been appealed by Uber.

Uber often wins in the courts, finding contradictions in the law or playing on its vagueness. They have recently won against Austin and the State of Maryland which were both requiring tougher controls on drivers, just like Quebec.

In London, they have also launched a petition calling Londoners to support them which has been signed by 750,000 people in only three days. This underlines the success of Uber’s new communication strategy. They have shaped a very attractive image of their company.

The bad buzz resulting in the resignation of Travis Kalanick has been quickly forgotten. He has been replaced by Dara Khosrowshahi — an experienced and consensus-building CEO, known to be patient and humble. Just as in London, Uber is supported by thousands of devoted fans in every city it operates in.

It remains to be seen then, what the effects of these legal actions will be. Though it may win in court, arguably, it is Uber’s popularity with consumers on which the company depends. What effect this aggressive legal strategy will have on this popularity remains unknown, but with the fight with Transport for London now ramping up, it should shortly be revealed.

An uncertain future: the student-led charity projects that need your help

Written by Kizzy Bray on . Posted in Features.

Something rewarding and worthwhile to get involved in whilst at university is charity work. Lots of people do it, it looks good on your CV, and you could really be making a difference by simply giving up a bit of free time a week to helping others.

You could work at a soup kitchen, with refugees on their CV writing skills, or spend some nights with the Greater Manchester Nightline taking the calls of people in need. Whatever you decide to dedicate yourself to will not go unnoticed and unappreciated by those you are helping.

Student Action are the volunteering society at the University of Manchester. All their projects are student-led and run weekly, covering a wide variety of events that support people in the local community.

Molly, Serena and Phil are three of these wonderful students who take the time out of their day to organise, run and volunteer projects of which they are mostly keeping alive due to unfortunate understaffing from a lack of volunteers.

Molly is The Ladybarn Project’s team leader, Serena was the team leader last year and this year is one of very few volunteers who help out on a Tuesday of every week for The Ladybarn Project. The Ladybarn Project provides a fun and social place for adults with learning disabilities to take part in scheduled activities, as well as being provided with transport from their homes to the SU (where the project takes place) and back again.

There are lots of fun things to get involved with when it comes to the Ladybarn Project such as meals out, crazy golf and bowling as well as the end of year trip to the zoo, which is where Molly started her Ladybarn Project career.

Molly explained, “I first got involved when I volunteered with the Ladybarn Project at their end of year trip to the zoo. I’d previously worked at a two-week residency at a school for children with learning disabilities and knew I really wanted to get involved when I got to university.

“It’s hard to find out about volunteering things at the university, but once I found The Ladybarn Project online I knew that’s what I wanted to do.” Molly applied for the role of team leader and was successful in her application for this academic year, just as you could be if you were interested in the role.

“I had worked in a home for people with learning disabilities before”, Serena adds. “I ended up volunteering in my first year and then being a team leader in my second.”

You don’t need to have experience prior to applying, either. “All new volunteers get training and taught in matters of safeguarding” Serena assures me. “Before you come to the club you will be given a small profile of all the members so that you know what to do and what not to do with that particular person.

“It even has conversation starter ideas about their likes and dislikes in case you don’t know what to talk to the members of the club about! What I think people need to remember is that people with learning disabilities are still people. You shouldn’t feel afraid or cautious to get involved. It’s really not something to overthink.”

Photo: Molly Stedman

Unfortunately, The Ladybarn Project, which has been running for seven years, has an uncertain future. Due to a lack of interest from students in volunteering, there are vacancies for team leaders in the week that haven’t been filled which means certain days may not be able to go ahead as usual, which could be potentially devastating for club members.

“It’s their event of the week” Phil, who runs the ‘People With People’ Monday project, explains. “They really look forward to it and many of them have been apart of it for years and years.”

“Us three will all be leaving the university and Manchester soon,” Serena tells me, “we need more people to take part otherwise the projects will suffer and so will the people” Molly adds. “It’s very, very important to them. It’s such a big part of their lives.”

When it comes to applying to be a volunteer, it’s very easy. “You just have to fill out a DBS check form that you can collect at the student activities in the SU. It’s really quick and easy to fill out, then it just gets sent off which may take a few weeks to process. After it comes back fine you’ll be ready to volunteer with us!” said Serena.

“You’ll never be alone” Phil assures. “We are always there for volunteers and you’ll get to know people straight away and understand the process easily. There’s no wrong thing really. It’s all common sense and part of the experience is learning the little things in what to do.”

Both The Ladybarn Project and People With People are a vital few hours to the adults who attend the clubs. Two hours a week spent volunteering on a Monday, Tuesday, or Wednesday seems minuscule for a cause that really enriches the lives of those who need it the most.

Being a project leader means that you will have to give a bit more time to the project as organisation, as well as funding management, comes into play, but Molly assures me this is only an extra 3-4 hours on top of the actual club, plus you can go straight into being a team leader without experience.

The People With People project are still looking for a team leader on a Wednesday evening as well as like the other days being in desperate need of volunteers. “We’re looking for people who really want to commit to each week,” says Serena, “the members get used to a familiar face and it does affect them if someone only comes for a few weeks or is irregular. We need someone who is reliable and friendly.”

If you can’t make the weekly commitment needed, you could still contact the project volunteers to volunteer for their day outings as these events typically need more volunteers than usual.

If this sounds like you, or you would like to get involved in either The Ladybarn Project or People With People, which I would encourage anyone to do so to keep this wonderful piece of goodness going at the university, you can contact the team through their email: [email protected], find the projects online at www.find-volunteering.manchester.ac.uk or simply enquire at Student Activities on the first floor of the SU.

Without you, the members of the projects may face uncertainty in whether or not their favourite weekly events will continue.

Review: TWIABP – Always Foreign

Written by Hannah Brierley on . Posted in Music.

Before we start, can I just stress that this band’s name is too long? It’s real mouthful, and equally pretentious. Their full title — The World is a Beautiful Place & I Am No Longer Afraid To Die — is too long, even when abbreviated. So I’ll use an abbreviation of an abbreviation: TWIABP.

This is now something the band have become aware of themselves, as they’ve seen it be parodied in memes. That’s all well and good, but edgy t-shirts and funny tweets only get you so far as musicians. So where does this leave their 3rd album Always Foreign then? Well, I’m not too sure.

TWIABP stick to the very familiar ground, with an album that sounds very similar to past efforts. What they do is good, but with very few new ideas, and that mix of Midwestern emo, indie rock, and post-rock doesn’t quite give the same kick it used to. In a world where the emo revival is growing larger and more saturated, they need to do more to differentiate themselves.

This album is a more stripped back affair and could be compared to their debut Whenever, If Ever, which comes as a disappointment. The epicness of Harmlessness seems less present.

Some of the longer tracks on the second half like ‘Marine Tigers’ and ‘Infinite Steve’ are grand and epic, played with lots of instruments, but as stated before, it isn’t anything too different from what they have done before. In fact, the solo violin on ‘Infinite Steve’ sounds very similar to the one found on ‘January 10th 2014’. That being said, there are still highlights on the album and they do show off what they can do as a band.

The biggest difference is the lyrics in the first half of the album. The writing process for Always Foreign coincided with Trump becoming president and guitarist Nicole Shanholtzer, who was married to bandmate Katie Dvorak, departing from the band. ‘Hilltopper’ starts with “Can’t seem to erase you. I threw out all the records you’re on.” It’s packed with vitriol and hate and is a far cry from anything they have done before.

Instrumentally the album is varied. Synths, violins and trumpets are scattered throughout and are well-performed. They show what the band can do, but when they decide to go for a more stripped back pop-punk and indie rock sound it leaves you wanting more.

This is more present in the first half than the second, with tracks like ‘I’ll Make Everything’ and ‘The Future’. It feels safe and boring, especially from a band that can have an expansive sound.

While Always Foreign is a good album, there isn’t really much that distinguishes it from the band’s past discography or even the genre. Even just looking at this year, albums from Brand New, Sorority Noise and Remo Drive are more worthy of your time.

If you were looking for more of the same, then you’ll find some enjoyment in Always Foreign that’s for sure, but you can’t help but wonder what could have been. Maybe there is an unintentional lesson in it all; maybe TWIABP, and by extension, we, should spend less time procrastinating on the internet because this will be the end result.

5/10

Review: The Child in Time

Written by Mancunion on . Posted in Film.

The BBC1 adaption of Ian McEwan’s 1987 novel A Child in Time follows Stephen Lewis (Benedict Cumberbatch), a children’s author, who loses his four-year-old daughter Kate in a supermarket never to be seen again. The 90-minute drama pivots between the lives of Stephen and his wife Julie (Kelly MacDonald) immediately after the tragic event and three years on.

A Child in Time follows the separate journeys of grief Stephen and Julie experience after the disappearance of their daughter. Cumberbatch and MacDonald demonstrate this with ease, at first the sheer horror and desperation between the two searching for their daughter which is then followed by bitterness and anger, and eventually the downfall of their marriage once blame is ascribed.

Rather than donning a deerstalker or playing an extraordinary superhero Cumberbatch portrays an ordinary man riddled with guilt and grief who has been flung into a perpetual state of searching. His performance is so raw and gut wrenching you are clearly reminded why Benedict Cumberbatch is one of the best actors of his generation.

Kelly MacDonald is fantastic in her role of Julie, she is sometimes cool but never not caring. Her exploration of grief is something to be applauded, especially her darker days of anger, desperation, and ultimately leaving.

There are moments within the drama which quicken the heart rate and make a lump form in the throat of any viewer – parent or not. A particular one for me is the sign Stephen leaves on his door saying he’ll be home soon whenever he leaves, even if it’s just for a moment, just in case Kate in her yellow rain coat returns.

A Child in Time does an exceptional job of highlighting the horror in everyday life. Especially in terms of sound. The deafening silence which follows Stephen and Julie in their homes is suffocating, the chatter and check out bleep of the supermarket as Stephen’s world falls apart is cruel and uncaring. The drama highlights that although your world may be collapsing time still moves on indiscriminately.

There is a scene in which Stephen travels home to visit his parents, he mentions in passing that he visited Julie to which both of his parents, especially his father emphasises that he thinks of her often after all that she’s been through. I found it very interesting that it came across that he didn’t share the same empathy for his own son, despite him still going through the same process, as if, like Julie did in the wrath of grief, he too blames his son.

The drama explores childhood on three levels: the trauma of two parents losing their child, a man who feels robbed of his childhood and is desperately searching for it once more, and finally, the government’s intervention in child development.

Between the three the narrative itself is lucidly laced with the day dreams of Stephen and his Mother, everywhere he goes he thinks of her and catches glimpses of her, at first always out of reach but as the drama progresses always close to hand. He’s missing her, but more importantly, still continuing to love her.

Stephen Campbell Moore plays Stephen’s friend Charles who retires from his position in the government to up sticks and move to the country side with his wife, Thelma (Saskia Reeves).

Charles is desperately longing to be a child again. This is revealed rather abruptly, Charles is running full force, arms spread wide open, towards his den in the woods. His actions sudden, hungry, and uncontrollable – not those associated with a man who’s just retired.

Stephen Campbell Moore gives a standout performance in this role. The balance between the mature middle aged man and the cheeky child he longs to be is heart breaking. He has the ability of embodying the boy he longs to be but immediately switches back to the middle aged man talking to his friend, even if it’s only for a moment.

Amongst the grief I feel it’s a tale of growing up and accepting responsibility, the lost responsibility of no longer having a child, but the sense of responsibility and guilt they are burdened with, the responsibilities Charles has hampered away but is still conscious of and tormented by, and arguably the responsibility of Thelma as Charles’ wife. I feel they could have done more with the character of Thelma, however her sheer love for her husband was truly heart breaking.

Stephen finds his friend, a grown man in his school uniform, hanging nalone in the woods. That moment which will dry out the throat of anyone watching once you realise how desperately unhappy Charles must have been tormented by what he longs to be but constantly reminded of what he ought to be.

A Child in Time had the potential of being utterly miserable but instead is a tale of endurance and ultimately hope. A must see.