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Day: 16 May 2018

Craig Charles leaked as one of Pangaea 2018’s artists

Craig Charles has been revealed as one of the artists performing at this year’s Pangaea festival on 7th June at Manchester Academy.

His contract was leaked to The Mancunion  on Monday 14th May.

The festival will this summer be themed around ‘Made in Manchester’, with Dele Sosimi, Afrobeat Orchestra and LEVELZ already featuring on the line-up.

The 53-year-old DJ has hosted The Craig Charles Funk and Soul Show on BBC Radio 6 since 2002, and regularly performs around the country. He has been involved in the music industry throughout much of his career, part of bands such as Watt 4, Craig Charles and the Beat Burglars, The Sons of Gordon Gekko and The Eye. Charles plays guitar and piano, also writing lyrics for some of the bands. In 1993, Charles was signed to the Acid Jazz record label.

Charles is currently on tour around the UK, coming to Manchester’s Band On The Wall on both 26th May and 30th June.

Tickets for Pangaea are available to buy here.

Cold War heating up

In the world’s most unstable and toxic region, a new conflict between old enemies is heating up with potentially devastating consequences. It is no secret Iran and Israel don’t particularly like one another, but Trump’s decision to pull the USA out of the Iran Nuclear Deal has now emboldened both sides and pushed them towards a military conflict that could potentially destroy the region, and it is something we should be observing with great care and caution.

Iran’s increasing involvement has alarmed the USA, Saudi Arabia, and many Western states alike; however, no nation has the same amount of concern as Israel. Iran openly calls for Israel’s complete destruction and wants it to be wiped off the face of the earth. With a regime advocating for the complete destruction of Israel, it is no surprise that the Israelis are watching Iranian involvement in Syria with great interest and concern.

As Iranian forces and Iranian-backed militias get closer to Israeli territory, it is no surprise that the Israeli response is gradually getting more and more aggressive. Israel, in its 70 years of existence, has fought off three invasions from its Arab neighbours, and with a pro-Israel administration occupying the White House, whatever actions the Israeli government decides to take against Iran, whether it be airstrikes against their nuclear facilities or an invasion of Syria, the Israeli military and government is likely to have the full weight of the USA behind them.

Israel’s well-trained and effective military is a powerful force to be reckoned with. Israel’s response to Iranian rocket attacks is a signal to the Iranian regime not to provoke the Israeli military and attempt to get closer to Israeli territory bordering Syria. Force, in this case, will be met with more force and aggression. It could result in a political and military game of ping-pong with both sides just striking the other.

However, Trump’s decision has made the situation far more worse as radicals and hardliners alike within Iran and Israel are emboldened to take a more aggressive militaristic policy. With the USA pulling out of the Iran Nuclear Deal based on Israeli intelligence, Iran now has its eyes set on getting payback against both Israel and the US. Iran’s most recent rocket attacks into Israel is a clear example of this. Now tensions look set to escalate with devastating effects. The collapse of the Nuclear Deal has been a key goal of Israel’s Prime Minister Benjamin Netanyahu and his increasingly nationalist government coalition– with the US’ announcement that it will pull out, his dream looks set to become reality.

In Iran, hardliners who oppose working with the USA have gotten what they wanted, and it is now likely that they will gain more influence and power as a result of the US’ decision. Now it is likely that Iran will further attempt to extend its influence in Iraq, Syria, and Yemen to further establish a huge military presence in the wider Middle-Eastern region, which will only make the situation far worse and increasingly more unstable. Iran (unlike Saudi Arabia, Israel, and the US) has been the most successful at establishing their presence in the wider Middle-Eastern region with bases in Syria and Iraq firmly established. In Syria, Iran have won the war for the Assad regime.

Now to Israel’s displeasure, they have established a dominant and long-term military presence in the Middle-East in a way the West never could. Hezbollah, an Iranian-backed militia operates in Lebanon and has gained popular electoral support in Lebanon’s most recent general election, making it a powerful political and military force in the region, and it serves at Iran’s blessing. With Iran’s influence being felt across the Middle-East, the West and rest of the world should watch in horror as a violent and aggressive regime looks set to further gain control of large parts of the Middle-East, which could provoke further conflict and bloodshed.

The fallout from Trump’s decision to leave the 2015 Nuclear Deal could release an uncontrollable wave of increased conflict and tensions in the world’s most violent region, and could result in a war between Iran and Israel, two of the Middle-East’s biggest powers.

This is America: A tale of Donald and Kanye

If you haven’t heard about Kanye West’s recent social media rants, you must have been living under a rock. But for those who are out of the loop, Kanye recently reactivated his Twitter account after leaving the platform in 2016, post a much publicised mental breakdown during his arena tour for his 2016 album The Life of Pablo.

His tweets initially were uncontroversial little snippets of Yeezy’s thoughts, or as one tweet described them; if Rupi Kaur wrote for people who stand in line at the Supreme store. But it being Kanye, a controversy was never far away. Then, sure enough, all hell broke loose when Kanye declared his support for President Trump, and even went as far as to brandish his signed ‘MAGA’ hat.

But the outlandishness didn’t stop there. Kanye, when being interviewed on TMZ, claimed that 400 years of slavery “sounded like a choice”. Many people were understandably outraged, including TMZ Senior Producer Van Lathan who called out Kanye immediately after, saying that someone with his reach and influence needs to be more careful with his words. Even the most hardened members of the Kanye fan base struggled to defend the self-styled genius here. Instead, the cry was to separate the artist from the music, and he did indeed come through with a new tune. And, despite his comments, many people jumped straight onto his new single.

Kanye’s newest track titled ‘Lift Yourself’ was by far the strangest part of this saga. The two minutes 28-second track only had one verse from Mr West and, well, the lyrics weren’t exactly substantive. Yeezy’s bars consisted of “poop di scoop poop poop”. Yes, you read that right; you’re probably better off listening to it yourself because no article could truly convey the absurdity of the track.

Is Kanye trolling us? Is this a piece of performance art? Is Kanye just being Kanye? We may never know, but what this says about Kanye might not be the most important thing. It’s what it says about us and the way we consume popular-culture. We, as a society, seem to be taking Kanye West as a joke. We think his antics are funny, yet we rarely have constructive discussions about the impact of what he says and does.

And this is what ties in another Donald — not Trump for once, but Glover. The Atlanta and Solo star recently dropped a new music video titled ‘This Is America’ under his rap pseudonym, Childish Gambino. The video deals with many different concepts such as gun violence and the value of life, especially black life. But where it relates to Kanye, is the message it portrays regarding artists in America and the way we as consumers react to them.

The video shows Gambino dancing amidst a storm of chaos in the background, completely unfazed. The contrast here is used to highlight people focusing on pop-culture and trends, whilst ignoring the socially conscious aspects of music in particular. Kanye may be having issues with his mental health, as he has done before and has alluded to recently. Yet, when we discuss him, we have to mention his antics that may seem funny to us, because that’s what we want to hear, not the conversation around mental health. Furthermore, Donald Trump’s most retweeted Tweet in the past month was not that he pulled out of the Iran Deal or announced plans to meet with Kim Jong Un of North Korea, but was his response to Kanye.

Moreover, roughly three minutes into the video an ad-lib can be heard saying “America, I just checked my following list — and you motherf*ckers owe me”. There is online speculation this could be Kanye himself, however, Rap Genius credits Young Thug. Whether this is Kanye or Thug isn’t too important, as the main message behind this line is once again we focus on the trivial aspects such as the Twitter feed and followers of our favourite artists rather than what they are saying in their music.

Overall it looks as if Gambino is making a comment about how we as a society misconstrue the meanings of what artists say and that we seem to be having the trivial conversations about them. The recent Kanye fiasco is a perfect example of this. ‘This Is America’ may not be directed towards Kanye West explicitly, but there are certain parts that can apply to him, and there are very important things we should take away and reconsider when we think and talk about our favourite artists.

Festival Review: Live At Leeds 2018

IDLES

Photo: Olivia White @ Mancunion
Photo: Olivia White @ Mancunion

 

 

 

 

 

 

 

 

 

 

Live at Leeds certainly could not have chosen a better band to kick-start the day with. The Wardrobe was filled to maximum capacity and Talbot strutted on stage to greet both cult-fans and newbies. There were plenty of people there clearly taking a keen interest to see what IDLES had to offer as the opening act of the festival and no doubt, everyone was left breathless. As IDLES orchestrated their hour-long revolution in the dark, cramped 4 walls, fans grew even more animated in their movements. With each of the five boisterous band members launching themselves at the crowd, there’s no surprise fans had to temporarily leave the centre to gasp for air.

It was a politically-charged performance that sent shivers down the back of spines and sent some leaving in disgust at Talbot’s incessant spitting. IDLES exhibited a certain fervour not yet seen in any other band currently in the music industry. As sweat utterly saturated Kiernan’s mop and Bowen’s pristine moustache, the zeal that was so potently thrusted upon the sea of drenched fans left their throats dry and their palms invigorated with adrenaline.

For me, IDLES gave the best live performance of the entire day.

Peace

Photo: Olivia White @ Mancunion
Photo: Olivia White @ Mancunion

 

 

 

 

 

 

 

 

 

 

It is no secret that Peace’s still fairly recent comeback has awakened memories cider drinking in the sun; the nostalgia of when indie-rock was in its prime. Such a mentality was so incredibly raw at the set that Peace performed at the O2 Academy. It didn’t matter that you were surrounded by complete and utter strangers because Peace instilled a calm, accepting and incredibly magical ambience which vibrated through every open space in the room.

Harrison Koisser’s vocals were absolutely flawless as he guided his adoring fans through both classics such as ‘Money’ and ‘California Daze’ as well as songs from their new album Kindness Is The New Rock and Roll. Their performance of ‘From Under Liquid Glass’ felt as though it really resonated with the audience as fans already knew the words and were hanging onto every note as Koisser gave an immensely emotional production.

With ‘1998’ and ‘Wraith’ undoubtedly being their greatest songs of the set, both of which sent the crowd into frenzied mosh pits and screeching, Peace really showed they are finally back and are here to stay.

The Howl and the Hum

Photo: Olivia White @ Mancunion
Photo: Olivia White @ Mancunion

 

 

 

 

 

 

 

 

 

 

 

 

 

The Brudenell Social Club provided the perfect blue-washed and disco-ball lit backdrop for this peculiar quartet’s dystopian dances. There was nothing else like The Howl & The Hum at Live at Leeds. Time and time again, song and song again, this awe-inspiring quartet of pure madness, intelligent lyricism and lingering licks never failed to leave jaws dropped open in admiration.

It’s almost as if Ginsberg, Paul Simonon and a child’s TV presenter all decided to form a modern band. We never quite know just what’s going on, but we just know we want to be part of it.

As frontman Griffiths ushered the audience through a fictional state by his compelling and imaginative lyricism coupled with his extravagant body flinches leaving him sprawled out on the floor, this experience was so unbelievably intense and captivating that for just 30 minutes, The Howl & The Hum created a whole new reality.

Blaenavon

Photo: Olivia White @ Mancunion
Photo: Olivia White @ Mancunion

Blaenavon were truly intriguing from the very moment each of the three members strolled onto the University Stylus stage. A very refreshing air of humility radiated from the trio although, and, had they been ostentatious, we’d have completely understood why. The sheer amount of energy and genuine care that infiltrates every movement of each of the members made their performance striking.

Frontman and lead guitarist Ben Gregory was particularly dazzling with his distinct and fairly unusual vocals which embellished his effortless guitar playing. With Frank on bass and Harris on drums, it was very clear from their first note that these thrilling musicians work together as a cohesive unit to produce songs that are not only disparate from what the majority of current indie bands are writing but are also freshly insightful.

With dark and ethereal lighting to showcase Blaenavon’s performance alongside fans that reflected an impressive vivacity from start to finish, this band proved to be one of the very best at this year’s Live at Leeds Festival.

Review: The Jungle Book

Writer Jessica Swale and composer Joe Stilgoe have reimagined The Jungle Book, adapted from the stories of Rudyard Kipling and known fondly for the Disney adaptation, with much success.

The story of Mowgli, who is taken in by a wolf pack to save him from Shere Khan, the tiger, is retained. As are the relationships with his unlikely guardians, Bagheera the panther and Baloo the bear. On this foundation, Swale has built an updated and family friendly show with a joke for everyone.  The monkeys that capture Mowgli are gangster Funk-eys and Shere Khan’s song Raw (or Roar) is predominantly about all the vegetables he dislikes (and proved to be a big hit with the younger audience members).

Stilgoe’s new songs were well performed by the cast and accompanied by live percussion and mostly actor musicians, adding another element to watch. The singing unfortunately didn’t impress, but it’s understandable that this was not the focus of the show. Its overall entertainment factor was well delivered.

The puppetry (Nick Barnes) used for Mowgli as a baby and the use of crutches as the wolves’ front legs, were just a few ways that the show was elevated, and brought back memories of the Lion King on the West End. Peter McKintosh (set and costume) brought the show to life with a very resourceful and clever set. Ladders made up the majority of it, hanging from above as the forrest canopy and creating Mowgli’s jungle playground, which was also assisted by the revolving stage.

Keziah Joseph was very commanding as ‘man cub’ Mowgli, and well cast. She was a great mover and able to embody the free and youthful character of Mowgli, with great comedic timing.  Joseph’s appearance was cleverly kept androgynous, allowing both girls and boys to relate to the protagonist.

Rachel Dawson was a standout performer as both the hypnotic snake Kaa and Mowgli’s wolf brother Grey. She was able to switch between the manipulative acid green snake and the endearing wolf so completely, they seemed to be played by different actors.  Shere Khan, played by Lloyd Gorman, was hilarious as the villainous tiger. His character was a triumph of costume (Peter McKintosh), dressed in motorcycle leathers with orange bedazzled stripes, orange streaked hair and ‘Khan’ across his back in rhinestones, I was reminded of Macavity and Rum Tum Tugger from Cats the Musical.

Balloo (Dyfrig Morris) and Bagheera (Deborah Oyelade) had great chemistry as the amusing quasi-parents with very different approaches to teaching Mowgli the ways of the jungle. A really enjoyable twist was casting Bagheera as a woman, she makes frequent comments to Baloo, reprimanding him for calling ‘she-cats’ bossy and threatening him for suggesting that women are any less than men.

This rendition of The Jungle Book was more than the expected family show, teaching messages of equality, diversity, acceptance and more.  It reminded audience of all ages that our differences only divide us if we let them.