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Month: October 2014

What’s race got to do with it?

Written by Mancunion on . Posted in Fashion & Beauty.

The lack of ethnic models has been a controversial topic within the fashion business for as long as we can remember. Although efforts have been made by certain brands to create an equilibrium of ethnic origins,the concept has evidently not been embraced by all. It is the debated, and what many consider narrow-minded, opinion that white models have more representation within the industry.

It seems you either have it or you don’t. If you get the break, you’re in—and the industry embraces you with open arms. However, if you do not make the cut, you really have to fight to earn your spot. In many ways, the model’s background therefore works for them, or strongly against them.

Global brands such as Calvin Klein are known for their ability to solely hire white models year after year, ignoring the potential variety of differing ethnicities. Numéro magazine has even gone as far as using a white, blonde-haired model and covering her form head-to-toe in dark make-up, a statement that sparked debate and fury within the fashion industry. It is therefore no surprise that many non-white models have found that this situation is something that needs to be addressed. Highly acclaimed faces including Naomi Campbell and Iman Abdulmajid, believe that the abolishment of discrimination is a subject that needs to be taken more seriously, specifically due to the acceptance of a multicultural society in other forms of work. Collectively, they have created a campaign known as ‘Diversity Coalition’ which has set out to demolish the inherent ethnic imbalance of models being used both editorially and on the catwalk.

The debate is particularly ignited around the season of fashion weeks. Refreshingly, London Fashion Week is known to be one of the occasions where models of all colours are embraced in comparison to Milan and Paris—who feature very few black models. In many of the previous London shows, Topshop has famously included Jourdan Dunn in their line-up of models, representing the rise of black, British models. Dunn made history by being the first black British model to appear on the Forbes models rich list, making her the highest paid black model of the last year. The 21st century has also witnessed more non-white models being embraced on the covers of high-fashion publications. A star example of this is Elle Magazine famously featuring Joan Smalls, a Puerto Rican native, on their cover. Smalls has also recently become the first Latina model to appear as the face of Estée Lauder, displaying a refreshing change within the industry.

Essentially, all models want to be booked because they have the ideal qualities, and not just to make a statement—so, how do you know where to draw the line? It is evidently a complex topic and a sensitive subject for many. However, recent actions show a step in the right direction with more brands learning to embrace the racially diverse world. We live in a multicultural society—so why not represent this?

Is this something that you feel strongly about? Tweet us your opinion at
@MancunionFash – We’d love to hear your thoughts!

Where will your degree land you?

Written by Helen Chapman on . Posted in News.

According to statistics, computer scientists from Oxford University receive the biggest pay packets after graduating, earning an average of £43895 six months after leaving university.

Graduates in computer science from Imperial College London and Cambridge also feature in the top 10 earnings and graduate prospects.

The bottom five graduate earners include drama, music and art earning £13091 at highest. The lowest earners are on just £11963.

“Computers are the future and computer science courses command a salary premium,” agreed Professor Alan Smithers of Buckingham University.

Dylan Lewis, University of Manchester graduate in Computer Science, says “my degree has given me a broad understanding of the field and practical skills that will be invaluable as I move into the industry.

“There are not many degrees that I know of that offer such a wide breadth of applicable knowledge to today’s jobs.”

Figures also show that there is a significant difference in pay depending on which university students attend. Graduates in accounting and finance from Huddersfield received an average of £16335 whereas students from the same subject at Bath earned £29588.

However, faith should not be lost in arts subjects as Joanna Harris, co-founder of the Manchester student branch of Arts Emergency says; “Arts Emergency Manchester came about as a reaction to the increasing marketisation of higher education. Education should be a right for all, not a preserve of the privileged.

“We want to show that the arts should not be viewed as luxuries that only few can afford to study. These subjects are intrinsically important in their encouragement of critical and analytical thinking, and allow students invaluable insight into society and the world. The idea that arts and humanities subjects do not lead to jobs is a myth.”

Azar Nafisi’s The Republic of Imagination: A Case for Fiction

Written by Leonie Dunn on . Posted in Books.

Azar Nafisi’s background is important in a reading of her third novel ‘The Republic of Imagination’; she is a woman who implores a powerful and passionate case for the huge and vital role of fiction and literature in our world today. Nafisi is an Iranian writer and professor of English Literature, but this has not come without struggle. In fact Nafisi’s most renowned novel, ‘Reading Lolita in Tehran: A Memoir in Books’ was written just after her move to the United States, and it focuses on her experiences as a secular woman living and working in the Islamic Republic of Iran. ‘Reading Lolita in Tehran…’ became a rapid bestseller and was named on the New York Times Bestseller list for 117 weeks.

The power of reading remains the base of ‘The Republic of Imagination’ as Nafisi uses the same structure used in ‘Reading Lolita in Tehran…’: the book consists of three main sections, ‘Huck’, ‘Babbitt’ and ‘Carson’. Nafisi actively blends and interweaves memoirs with keen critical insights of novels that represent, to her, America’s zeitgeist. But before Nafisi decidedly chooses to interrogate the way we see literature in our western culture she addresses us in her introduction, which works as a sort of Prologue or a guiding voice to this complex and compelling work of literature. It begins with what was a single comment at a book signing event, which for Nafisi engendered this novel. Ramin—the Iranian sceptic who is given an honorary title by Nafisi herself acts as a ghost or a faceless man that drives this book into autopilot—told Nafisi that Americans simply don’t care about books the way that was described in her best-selling ‘Reading Lolita in Tehran…’. Stimulated by the challenge, Nafisi seeks to rediscover classics and their relevance to our lives. She concludes her introduction with a note to all the ghosts or those who do not quite yet belong to her ‘Republic of Imagination’: “My hope is that they will find a home in its pages.”

Although to a reader of Western descent it may seem odd to have our literature typified with the likes of ‘The Adventures of Huckleberry Finn’, Nafisi’s hope that her readers will find a home in her pages is used in this novel to evoke and reflect the American spirit that we are well acquainted with—freedom. She alternates her close analysis of this book with a memoir of her old friend who was a radical in post-revolution Iran detailing their struggle and eventual death due to cancer. This is the most personal aspect of the book and it evokes the strongest emotions on all levels. By interweaving something that is at the heart of the American psyche with something that was at the heart of Nafisi’s struggle as both and Iranian and a human, it allows us to see the duplicity of this artfully written novel. It acts as a pleasant reminder that there is and always will be a cultural history that we can all share, whether it be through works of fiction or not.

What evidently worked for ‘Reading Lolita in Tehran…’ has again worked for ‘The Republic of Imagination’. Nafisi captures why this book is a case for fiction through showing how literature should have as much impact on states like America as it did in Tehran. She warns of the dangers of ignoring the rights and freedoms we have and despairs over the closure of libraries and book stores. To Nafisi, novels are powerful, and her ‘Republic of Imagination’ acts as a proposition for her readers to let go of their inhibitions and dream. This book much like Nafisi’s other works is not supposed to simply be read, but moreover to be digested and discussed. It is a movement, not simply a statement.

Top 5 Novels on mental health

Written by Leonie Dunn on . Posted in Books.

1. One Flew Over the Cuckoo’s Nest by Ken Kesey
Set in a psychiatric hospital, the narrative serves as a study of the human mind and the effect of institutional processes used at the time. Kesey used his novel to interrogate the stigma that to this day still surrounds mental health, in particular the procedures that were inflicted on sufferers at the time of its publication.

2. The Bell Jar by Sylvia Plath
The Bell Jar is a semi-autobiographical novel by the acclaimed Sylvia Plath. It draws on a mirroring of the protagonists descent into mental illness with what was supposed as Plath’s descent into clinical depression. This novel shows how Esther, the protagonist, feels alienated by her depression. However, while Esther finds her eventual recovery, the same cannot be said for Plath, who not long after the Bell Jar’s publication took her own life.

3. Mrs Dalloway by Virginia Woolf
One of Woolf’s best known novels, Mrs Dalloway follows a day in the life of its protagonist Clarissa Dalloway. While Woolf was herself a sufferer of manic depression, she uses Mrs Dalloway as a stage through her character Septimus; Septimus is Woolf’s way of actively and loudly critiquing the way in which mental health sufferers are both clinically and culturally treated.

4. The Catcher in the Rye by J.D Salinger
While the novel’s protagonist Holden Caulfield has become an icon for teenage rebellion, Caulfield can actually be widely read as a sufferer of post-traumatic stress disorder. Salinger’s captivating prose focuses on how the effect of Caulfield’s misunderstood condition leads to his own alienation and antisocial behaviour.

5. The Curious Incident of the Dog in the Night-Time by Mark Haddon
This novel follows the protagonist Christopher John Francis Boone, a 15-year-old boy who describes himself as “a mathematician with some behavioural difficulties.” It is suggested throughout the book that Boone has a form of high functioning autism, or perhaps Asperger’s Syndrome. However, Boone’s autism allows the reader to see the world in a surprising and revealing way—is this Haddon’s way of suggesting that we should no longer immediately categorise mental health sufferers?

What’s On This Month?

Written by Holly Smith on . Posted in Arts.

The Sensory War 1914 – 2014 @ Manchester Art Gallery
Opens Saturday 11th October

This major group exhibition marking the Centenary of the First World War explores how artists have communicated the impact of military conflict on the body, mind, environment and human senses between 1914 and 2014.

Bernhard Schobinger: The Rings of Saturn @ Manchester Art Gallery
Closes Sunday 19th October

Recognized as a key figure of avant-garde contemporary jewellery, Bernhard Schobinger’s subversive approach to making spans more than forty years and has earned him a reputation for rebellious innovation. His work skilfully transforms discovered objects into pieces that allude to past and present, precious and leftover.

Cornerhouse Projects: How to Build a Body Without Organs @ Cornerhouse
Opens Thursday 16th October

What’s in a body? We might say organs and bones, but French philosopher Deleuze rejects this answer. His theory Body Without Organs suggests that the body isn’t merely about the parts that make it work, but the fulfilment of potential to create something whole. In this selection of works, artists have reflected upon the process of clothing the body, emphasizing the role of dress in creating the whole ‘self’, or building a ‘body without organs’.

To Ban or Not To Ban?

Written by Holly Smith on . Posted in Arts.

From the fiery orange of Dali’s clocks to the deep red of Monet’s water lilies, the cadmium pigment has been used for hundreds of years to create the masterpieces which we know so well today. However, things are about to change as the EU considers banning the pigment after studies show that it can be potentially toxic if inhaled. But what will this mean for artists today?

Cadmium, a soft blue-white metal, was discovered in 1817 by Friedrich Stromeyer and Karl Samuel Leberecht Hermann in Germany. The cadmium pigment is very often used in oil colours, adding life and vibrancy to red and yellow colours. It has been used by many famous artists since it was discovered, with Claude Monet being particularly associated with using the pigment in almost all of his masterpiece works. He believed that in using cadmium, the colours would not only brighten his work, but they would also last longer. However, whether the pigment does preserve is still debatable. In theory it should maintain its colour for more than 100 years but the fading cadmium used in van Gogh’s Sunflowers has recently been noticed.

Sweden called for the ban, The Art Newspaper revealed, over fears that when artists wash their brushes in the sink, the pigment enters the main water system and this in turn enters the sewage network. After being spread on agricultural land, it eventually may enter the food chain and cause problems for our health. Animal studies have shown that if eaten, cadmium can be potentially toxic and a carcinogen, a factor that has swayed many votes to ban the substance.

However, many artists have signed petitions against the ban, due to the pigments being indispensable. Banning cadmium would cause a serious reduction to an artist’s pallet—arguably it could see a bigger change than the lead ban a few years ago. The only alternatives are ‘Cadmium hues’, an organic substitute; however they lack the vibrancy of the real pigment. Artists worry that a world without the pigment will get a lot a duller if the ban takes place.

You Can’t Handle the Truth – action has lost its traction

Written by Isabella Yianni on . Posted in Film.

Action has become the least compelling film genre of the lot; by definition, action movies must include dynamic sequences and a resourceful protagonist of sorts. However, more recently we witness a string of fast-paced scenes fused into a film by the inclusion of unrealistic fights and excessive explosions. We are then told repeatedly that it is a ‘must-see’.

The Fast and the Furious, for example, was an enjoyable film which included the thrill of numerous racing scenes but retained an emotional authenticity that was obliterated by the fourth film—with the seventh on the way, I have less than great expectations. Many action pictures are granted insanely large budgets that appear to be doing more harm than good and there is a worrying correlation emerging that begs the question: the larger the budget, the worse the film? Unwarranted explosions, brawling or special effects leave you with the feeling you have entered a false, Hollywood generated whirlwind of what they think the audience wants. The overuse of CGI has contributed to this; when we notice its presence it destroys the credibility of scenes that could have more often than not been performed with authenticity.

The genre’s saving grace could be the recently rising number of heroines (The Hunger Games, Divergent) as the majority of action films are led by a male while a woman is sidelined and present only to add a romantic element to the story. Unfortunately, flawed female characters are not exclusive to the genre of action, but I’ll save that rant for another time.

Remakes of perfectly good action films are leaving the genre in despair. The past few years have witnessed premature remakes of the perfectly good Spider-Man films in the form of The (far from) Amazing Spider-Man; though they generated masses they failed to deliver anything interesting or inspiring. Point Break is next on the remake agenda. While the original is greatly enjoyable and achieved a fine balance of surf culture and bank robbing action, I have no such expectations for the remake. Action films seem to be pumped out incessantly and almost always fail to be clever—long gone are the days of The Terminator and Die Hard. We have seen it all before and so we are left with over-hyped generic films that lack a real plot line or any depth of emotion.

Review: Pangaea

Written by James Robb on . Posted in Music.

20th September

Pangaea returned to the Students’ Union for the second time under its end-of-freshers guise, offering the promise of a musically rewarding night after an entire week of traffic light parties and first-week debauchery. ‘Rumble in the Jungle’ was the theme of this year’s installment, though a sweep of the generally poor fancy dress efforts in the substantial queue wouldn’t have given that away.

Upon entering, we were sidetracked from our reconnaissance mission by the familiarly tantalising synth of Joy Orbisson’s ‘BRTHDTT’ emanating from BPM and Frontin’s ‘Tent in the Trees’. Dragging ourselves away, a brief tour of the venue suggested a lower visuals budget than previous incarnations, though a giant serpent-head DJ booth in Academy 2 and large stage set in Academy 1 added some atmosphere. Down in Club Academy, Andrew Ashong played to a sparse but appreciative audience as he took us on an eclectic and soulful journey from Latin America to Africa. Subsequent songs saw Ashong jumping borders and continents, finally finishing his set with Quantic’s beautiful ‘Not So Blue’ – though we couldn’t help but feel a little disappointed about the omission of warm-tummy-track ‘Flowers’.

Where Ashong finished Marcellus Pittman picked up. Taking the funky thread and running with it, Pittman upped the ante. Soon a worthy audience had gathered to boogie, lured by the enticing mix of funk and soulful house. At this point we took a break from So Flute’s nicely curated basement party to check out what the rest of Pangaea had to offer. Fever 105 and Fuse drew crowds for their silent disco, as did the Rubadub gang in Academy Three. Elsewhere, headliners Mike Skinner and Craig Charles delivered the goods for a baying audience, whilst Pangaea regulars Shy FX riled up the main stage with their distinctively high energy set. Soon after – and somewhat predictably, following last years form – mass exodus ensued and upon returning to watch So Flute founder, Danuka, we were greeted instead by Students’ Union staff closing up shop.

The remaining wide-eyed partiers congregated in the remaining open rooms to see the night out, including an agreeably trippy screening of The Jungle Book in the ‘AV Tent’. Now in its second year as a freshers event, some issues seem to persist; namely, that reports of students not being let in due to overcrowding could be so easily remedied if people were directed away from the pleasant outdoor areas and main stages and into some of the more secluded areas where there are real gems to be found. Naturally, it takes time to learn to navigate the Students’ Union, but even the staff were unsure of the stage names which didn’t help matters. Furthermore, with so much emphasis normally placed on Pangaea being an audio and visual delight, it seems strange to have somewhat neglected this aspect of the party.

Despite being an undoubtedly fun night, the event lacked the coherence and festival-like atmosphere of the winter and summer editions. Thankfully, come January’s return of Panagea, the early-retiring freshers will no doubt be au fait with the layout of the admittedly tortuous Students’ Union and – as is the way in Manchester – developed a keen interest in electronic music and recreational substances. We look forward to seeing you then!

Live: Sleaford Mods

Written by Daniel Arme on . Posted in Music.

19th September

Manchester Club Academy

8/10

It was Kim Gordon that said “people go to gigs to see others believe in themselves.” Whilst this is applicable for most bands, Sleaford Mods don’t operate that way with its audience. Originating from the depravity of day-to-day working class life, the duo’s music encapsulates the solidarity of a disenfranchised class of people who have lost their belief – whether it be in the political system, or through the struggles of low paid employment. Previous torchbearers include Oasis; whom, incidentally, have been attacked by the Mods numerous times for abandoning the culture that created their careers.

The turnout on Friday at the Academy reflects the unpredictability of the music itself; a demographic featuring young Manchester intelligentsia aside hardened middle aged men. Any disparity beforehand, however, dissolves as Jason Williamson (lead singer) and Andrew Fearn (music) appear on stage. There is no pre-song banter, and what proceeds is a verbal onslaught to the soundtrack of fast post-punk beats. The songs flow seamlessly together, with little chance to recover in between, and Williamson spits vitriol with such proficiency one has to concentrate to comprehend every line. Problems of repetitiveness and sound production, my personal complaints about their last album Divide and Exit, are not present in the live setting, which proves to be a more amplified, visceral experience – the vocals especially prove more hostile and uncontrollable.

Captivating moments come at the end of a number of songs, with Williamson shouting some provocative phrase repeatedly or improvising a rant, continuing even after the music ends. Examples include ‘the wage don’t fit’, ‘we all vote yes’, ‘sack the manager’ and a disturbing rant about going to the horse races and happily watching all the rich attendees be set alight.
The Mods’ affinity for shouted hooks becomes easily understood through songs played live, like ‘Fizzy’, and ‘Jobseeker’; Williamson’s snarl resonates with the audience, who happily sing along. It is these harder songs that showcase a brutal camaraderie between musician and crowd, and provide the high points of the set.

No crowd interaction can be found by Williamson during the set; he stands with his side to the audience, focusing on the rapid succession of words he’s spewing. But this doesn’t mean the duo lack sincerity. They end in thanks, and leave to the crowd’s frenzied chanting. Williamson’s face is half bemused in reaction. Although older and more wary of idolatry, it seems the Mods now represent the voices of those that cannot be heard, whether they like the worship or not.

Live: Fat White Family

Written by Cecilia Bicknell on . Posted in Music.

17th September

Sound Control

9/10

More prepared than the last time I saw them live at Fallow Café, the assault on the senses that was ‘Auto Neutron’, the opening song, brought with it the terrifying realization that the taste in my mouth was sweat, and it wasn’t my own. Fat Whites never cease to amaze me with the sheer volumes of bodily fluids they can exhume in 2 hours, and last week Lias didn’t fail to deliver. Compelling and alarming in equal measure, the half naked front man stood over us like a warped Christ, screaming into the microphone for a hair raising rendition of ‘Cream of the Young’ and ‘I Am Mark E Smith’, undoubtedly the best songs of the night. By ‘Wet Hot Beef’ carnal desire had taken over the audience, I looked around to see middle aged men gurning with gay abandon as their disapproving girlfriends stood at the back trying not to breathe in too deeply.

This was the 4th time I’ve seen Fat Whites play, and each time it seems to descend further and further into bedlam. They’re raw and animalistic, a far cry from the over produced so-called “rock bands” sullying the music scene today.

Fat White Family leave you feeling equally drained, stimulated and oddly aroused; experiencing them live is as close to a religious experience I think I’ll ever get. The music may not have been as coherent as it is on record, but that’s the beauty of the South London band, they’re dirty and loud and uncomfortable, and we love them for it. I’ve given Fat Whites a 9/10 for the sole reason that I got liberally doused in a old man’s piss half way through the night, which put a dampener on things somewhat.

Top 5 songs: Forgotten New Wave Classics

Written by Dan Whiteley on . Posted in Music.

1. Rush Hour by Jane Wiedlin
The Go-Go’s guitarist’s lone solo hit, ‘Rush Hour’ is one of the New Wave era’s finest singles, with a driving beat, sunny synth fanfares and a then-obligatory piddly guitar solo. Also, THAT chorus.

http://www.youtube.com/watch?v=gAsLDf-tYlg

2. Big Area by Then Jerico
Once touted as the next stadium rock gods, time has since consigned Then Jerico to bargain bins the world over. Nevertheless, ‘Big Area’ holds up surprisingly well, in a dated and cheesy kind of way.

3. Great Southern Land by Icehouse
80s pop at its best from one of Australia’s most underrated bands – chugging guitars and lush, atmospheric keyboards give a cinematic feel to this ode to the outback.

4. Bitter Heart by Seona Dancing
Fun fact: Ricky Gervais was once fronted a New Romantic duo. They didn’t last long, but this brooding single gives a fun glimpse into what could have been. Note Gervais’s Bowie-esque delivery.

5. Shattered Dreams by Johnny Hates Jazz
One hit wonders Johnny Hates Jazz found fleeting success in 1987 with this fine piece of sophisti-pop, carving a sound somewhere between The Police and the Style Council.

Album: Colt 45 – The Tide Is Turning

Written by Zakk Brown on . Posted in Music.

Released 28/07/2014

Visible Noise Records

3/10

An interesting analogy can be made between the weapon the band took its name from and the band itself. The Colt .45 was a sidearm that was standardised in the military during the late 19th century; the same can be said about Colt 45’s album The Tide is Turning- standardised.

The trio from Cumbria take influence from bands like Rise Against and in their album The Tide is Turning this is certainly clear. If you enjoy Rise Against then you will no doubt like Colt 45, however if you don’t then you will find the vocals of front man Neil Harper’s gruff snarling vocals grating and lyrics of self loathing and wounded souls tedious. Tediousness sums up the whole album; there is little difference to be found between each song on the LP with many having very similar staccato chord and bass structures to the point of needing to take a break half way through the album due to the mind-numbing repetition.

That said, there are some, though limited, redeeming factors to the album. Member Adam Lewis’ drumming is impressive and drive the songs forward, I found myself focusing on his drumming skills alone to get me through each song. The track ‘The Simple Things are Working’ is also a nice relief to the angst-y lyrics and vocal snarls with the front man deciding to actually sing for a change with some positive and uplifting words. Another highlight is ‘Found My Home’, due to the fresh riff that is heard at points throughout the song, which makes it more recognisable amongst all the other repetitive bland tracks, without losing the angry punk sound the band are going for.

Once again, if you like bands such as Rise Against, you will like this band. However for me the album fails to fill me with any kind of emotion other than boredom and will no doubt be forgotten within a couple of hours of hearing it.

Album: Bonnie “Prince” Billy – Singer’s Grave a Sea Of Tongues

Written by Cecilia Bicknell on . Posted in Music.

Released 23rd September

Drag City Records

8.5/10

“It’s not who I am it’s who I’ll never be” sings William Oldham, or Bonnie Prince Billy as we have come to know him. And what we know for sure Oldham will never be is dull. Singer’s Grave A Sea Of Tongues is Oldham’s 13th studio album under the moniker, and doesn’t fail to disappoint. Reminiscent of the mournful melodic ‘I See A Darkness’, his first album under the name, Singer’s Grave is a return to form for the American singer.

The title song, the last of 11 tracks, is well worth the wait and hits you with a gentle force that builds into a powerful chorus that will make you want to smile and cry all at once. The album has a softness to it, but that’s not to say it’s background music in any way; it’s enthralling and heartbreaking all at once. The lyrics are a breath of fresh air in the somewhat stagnant music scene and the simple but effective arrangements work perfectly in an album that’s tipped to become one of 2014’s finest. The opening track ‘Night Noises’ gives a strong indication of what’s to come, effortlessly executed slide guitar with a soft bluegrass beat and husky vocals, Oldham delivers exactly what you would expect from the man once covered by Johnny Cash himself.

Things heat up for the second track ‘So Far and Here We Are’ with Oldham giving a brief to nod to his all American roots, with a resonating bass line and jangling guitar. ‘Quail And Dumplings’ is both sad and uplifting with a somewhat unnecessary female backing vocal providing an extra layer to already complex song. Such is the mesmerizing power of Oldham’s voice that I could quite happily listen to him sing the phone book and be blissfully content. The album is admittedly a little self-indulgent at times, with middle tracks ‘We Are Unhappy’ and ‘It’s Time To Be Clear’ showcasing more of his songwriting skills, but not exactly showing us anything new. This isn’t to say that the album is in any way tedious; it’s gentle and beautiful leaving you fulfilled and craving more. Inevitably comparisons will be made to lesser musicians as is always the way, but listen to this for Prince Billy and him alone.

Interview: These Ghosts

Written by Dan Whiteley on . Posted in Music.

Norfolk-based indietronica trio These Ghosts are finally heading back on the road again, after spending the last few years taking their time with the recording of their long awaited second album. Still the Waves, which was released a fortnight ago, is already garnering critical praise, and went straight into the iTunes Electronica Top 10. Ahead of their first ever Manchester show supporting Tall Ships next week, The Mancunion spoke to drummer Harry Hall.

“We can’t believe it, really. It’s been a long time coming; we’ve been working on it for over two years while we’ve been at university, and so for it to come out and go straight into the iTunes at number 6 is kind of mental,” Hall says, “it was a crazy day, just refreshing that and watching it go higher and higher! People are really enjoying it, and that’s really important to us.” By all initial accounts, Still the Waves has been worth the wait, building on their electronic rock formula with increasingly intricate arrangements and polished production values. Hall states this is due in part to the time the band spent away from each other. “We went to three different universities – Exeter, Reading and London – and so we were far away, basically. So we used the holidays that we had, which everyone knows are very long at university, to go into the studio with Johnny [Cole], our long term producer. We’d take ideas we thought of at uni, and Callum [Duncan, vocalist] would share a lot of stuff on WhatsApp or Skype or whatever, and pass around all these ideas, and it just meant because we were apart for so long that we had way more time to reflect on the stuff that we’d done. So I think this album, we all agree, is far more thought out than anything we’ve ever done before, and that’s why the process was so long, but also why we’re all so proud of it.”

With their soaring falsetto vocals, complex drum rhythms and rich guitar/synthesizer interplay, Radiohead are a band often touted as an influence on These Ghosts’ music, though Hall says they don’t mind these constant comparisons. “We’re incredibly flattered to be constantly compared to people of that kind of scale and quality, and we’re really grateful that people think we’re capable of carrying that sound.” He is quick to note, however, that the band’s list of influences runs deeper than the Oxford legends: “We’re also into things like Jon Hopkins, and a lot of dance stuff – Callum’s just got back from a festival and said that he didn’t actually watch many bands there; he was really engaged in all these electronic artists, which is really great. Also Mount Kimbie and The Invisible, who are close to us because Matthew Herbert [Still the Waves’ co-producer] produced their first record. And just a whole load of eclectic stuff really, our tastes are so varied in the sense that we’re constantly listening to different things. There’ll be Sigur Ros on at one point, dance music on at another, electronic music or something really abstract. It’s really eclectic, which is definitely exciting.”

‘Coat of Feathers’, the first single taken from the record, exemplifies the band’s ethereal, otherworldly sound. Describing how that track came about, he explains “we built it up in the process, so Callum brought the melody, and the guitar line, and this really haunting vocal – which is one of my favourite vocals on the record actually – it’s got this weird kind of lullaby, drone-y effect that a lot of people have picked up on. It’s haunting while also quite driving. In terms of percussion, we didn’t really think it needed much. It’s quite a subtle number, it’s very simple. It’s three parts. We stuck on this kind of four-to-the-floor bass drum effect just to really drive the track and to keep it moving, which I think works.”

With such a complex, layered sound, These Ghosts’ music is not the type you would think easy to replicate in a live setting, though they seem unfazed. “We really enjoy that challenge, actually. We’re big fans of being able to say ‘Okay, that’s the recorded version, let’s do a live version, let’s mix it up’, and it’s enjoyable to be able to make changes and stuff, trying to duplicate it live and adding other sections, working on intro pieces and interludes. We love taking things from studio to the stage.”

These Ghosts play the Soup Kitchen on 8th October

Throwback Fashion

Written by Mancunion on . Posted in Fashion & Beauty.

It is safe to say that fashion throughout the late 20th century has been rather entertaining. Whether it’s Britney and Justin’s denim duo or Twiggy’s iconic 60s style that has remained imprinted in your mind, the influences of previous fashion have impacted us all at some stage. Without the knowledge of social media channels, blogs, trend reports and articles directing us to the latest season’s hottest trends, previous generations relied upon traditional socio-cultural sources of inspiration guiding them as to how to best fill their wardrobe.

Fashion evidently expresses affiliation and identity, and this notion has never changed. However, the methods by which people have been influenced have. Unlike today, the trends seemed to have a longer duration, therefore the mid-twentieth century can be typified by each decade’s general fashion movement. Let’s relive them for old time’s sake.

With music being one of the few sources of viral entertainment in the late 20th century, it was looked upon as being an important part of social culture, therefore providing a great platform to gain fashion inspiration. The mid-60s displayed Top of the Pops, which was classed as the predominant form of social culture and musical entertainment. Hippies were out in their hundreds as bold prints and flared trousers were all the rage. With the 80s seeing a rise in the purchase of denim, it was almost illegal in the fashion world if you didn’t have a number of denim garments prominently featuring in your wardrobe.

Even though music culture still plays a significant part in the fashion industry, its importance in the second half of the 20th century is known as being most influential. With the musical influences of bands such as The Beatles providing menswear inspiration and the popularity of heavy metal, the ‘Grunge’ trend emerged as being a popular movement in the 90s. However, music and fashion were not the only elements that were inextricably connected. Political happenings also played an important role in the way the fashion industry progressed, with the liberation of women during the rise of Margaret Thatcher beginning in the late 70s. And yes ladies—I bet even The Spice Girls have been a form of inspiration growing up (we know you all loved at least one of their iconic numbers!)

If you’re anything like me, then your favourite way to embrace the topic of history is through vintage clothing classics. So, I say embrace the recycling of the late 20th century’s memorable fashions and enjoy trends that aren’t strictly about following the high-street crowd. If we can’t be reborn as our favourite 90s fashion icon, then the second best option is to pretend to be them. I’m all for giving it a go—anyone with me?

Let us know your favourite part of fashion’s history by Tweeting us at @MancunionFash – or, snap your favourite 90s throwback purchase and tag us on Instagram @mancunionfashionandbeauty

Henry Holland Spring/Summer ’15

Written by Mancunion on . Posted in Fashion & Beauty.

This A/W we saw a hard-hitting mash-up of statement styles; from intergalactic metallics by Marc Jacobs to psychedelic urban prints by Christopher Kane, it seemed there was no stone left unturned in this season of standout innovative designs. However, we could not help but think: could Henry Holland be crowned the King of Statement with his show-stopping collection? Subtle is not the word that springs to mind when looking at the House of Holland A/W14 collection. With a dash of the 60s and a hint of the 70s, House of Holland took indulgent retro to a whole new level using high necks, oversized collars, A-line dresses and vintage flocked curtain prints… Bet you never thought your old aunt’s 70s decor would ever seem so trendy! Henry put this together with unusual contrasting colours, with grungy emerald green and candy-popping pink having a strong presence throughout the collection.

Another feature of House of Holland’s collection was the use of shearling on a variety of pieces, adding a broad structure to coats, and a luxe trimming to skirts and blouses. Henry made shearling extravagant and bold by layering upon it sparkling sequins and shimmering silk. We also saw a hint of chic sportswear in the House of Holland collection: with the opening model at his London Fashion Week catwalk show rocking a ‘rich bitch’ tee upon metallic tracksuit bottoms, here we can see the designer bring his trademark urban edge to his elaborate designs. And what more to love about Henry—he’s from Manchester! The now London-based designer has risen rapidly through the ranks, launching his brand House of Holland only 6 years ago, and now, with every new season collection, we simply love it more and more.

Review: Early One Morning – The Octagon Theatre, Bolton

Written by Luke Sharma on . Posted in Theatre.

‘Early One Morning’ is a play written by Les Smith. It was commissioned by the Octagon Theatre in 1998 to mark the 80th anniversary of the Armistice. It is based on the final hours of Private James Smith, portrayed in the play by Michael Shelford, a soldier once held in high regard by his peers and senior officers, as he is charged with desertion, the punishment for which is death.

The auditorium was breathtaking due to its transformation into a trench in WWI France. Corrugated sheet metal panels on the walls, chicken wire surrounding the stalls and dirt and soil were all over the floor. A smoky haze throughout the auditorium added just further to the implication of trench warfare. With the bonus of it being theatre in the round, the audience sat literally inches away from the action. It created a close and intimate atmosphere, which invited all the spectators to feel as if they were in the trenches with the soldiers.

We were introduced to the story by a narrator in the form of Sergeant Fielding (Colin Connor) who took on the role of the orator and performed it with great aplomb. Mr. Connor set the scene for the whole play in an exceptional manner, and then showed no problems in phasing between the role of narrator and his performance role as Sergeant Fielding.

Michael Shelford was terrific in acting as a soldier with Post-Traumatic Stress Disorder. Everything about his performance, down to his facial expressions was absolutely perfect. His body language took precedence over his speech. Though Private Smith’s face was not always visible to all of the spectators, throughout the intense scene during his Court Martial, his body language told the audience all they needed to know. He quivered, his hands shook and his fear was definitely amplified throughout the crowd. Accompanied by the sound of artillery fire and gunshots, it was a really effective way of emphasising the terrible effects of post-traumatic stress.

Scenes of Smith’s hallucinations and flashbacks were effectively highlighted by the change in lighting towards a more sepia toned light. This effect was used throughout the play whenever Smith’s love interest Lizzie Cartwright (Jessica Baglow) appeared. The chemistry between the pair was strong and their portrayal of a young couple separated by the war was incredible. Jessica Baglow was the embodiment of a stereotypical wartime girl at home, and managed to become a microcosm of the whole of the UK during the war. She managed to portray the heartache that was felt by those at home just waiting and not knowing whether their brother, son, husband or father was going to come home. This is as much a credit to the actress as it is to the scriptwriting.

(L-R) Tristan Brooke as Lance Corporal Bradley, James Dutton as Private McKinnel, Michael Shelford as Private James Smith, and Ciaran Kellgren as Private Webster. Photo: Ian Tilton

There must be a special mention of Tristan Brooke, James Dutton and Ciaran Kellgren who each played two characters, but particularly for their performances as Lance Corporal Bradley, Private McKinnel and Private Webster respectively. They represented the typical soldier, none thought they deserved being there but did everything they could to deal with it. When presented with the task of digging the execution post into the ground, all three actors represented the camaraderie that was necessary between the soldiers. The particular talent in this crop of actors is emphasised by the fact that the repertoire which hit me hardest in the whole play concluded with; “I’m just a bus conductor,” uttered by Ciaran Kellgren as Private Webster. In any other context this line may be trivial but the emotion and heightened tensions between these three men made it a harsh reality check for all in the room.

The horrors of the war were graphically described throughout the play by both dialogue and actions. The battalion of soldiers started out as an excited bunch of men, but throughout the play, we slowly see their spirits begining to deflate. This just showed the extremely precise directing of David Thacker, who managed to capture the overall effect the war was playing on the soldiers so intricately.

At the end of the play, the Chaplain (John Branwell) provided comfort to Pvt. Smith. Branwell made the character appear lost, confused and upset with God as he realised that Pvt. Smith was a representation of the inhumane nature of the war as a whole. A fantastic job considering he was playing the man who condemned Smith at the start of the play.

The conclusion was resounding. Fear, guilt and helplessness being portrayed by all actors and without a doubt, the whole play was tied up perfectly. The audience was in deep thought after the play and many did not leave with a dry eye. It is a terribly sad but poetically beautiful play. Amazing job from the Octagon Theatre, they have produced something that everyone involved, from front of house staff to the back stage team to actors on stage, should be proud of and deserve plaudits in equal measure.

Should we criticise Israel?

Written by Mancunion on . Posted in Opinion.

YES:

Ben Farren

It is difficult to separate the past and the present in a meaningful way and still come to a compassionate and effective conclusion. If you keep going back in time you will come to a point where one ape encountered another at the boundary of a forest: there they diverged, never to meet again, until one’s group stormed in on their cavalry, or flew down in their hellish metal birds.

Fortunately in this extremely complex conflict, there is at least one sensible checkpoint: the creation of the State of Israel.

Israel was formed on a “land without a people, for a people without a land.” This statement is almost comical now but has unclear origins. There is contrasting evidence as to where it came from, but there is definite evidence it was used by high-up individuals in the Zionist movement in the 19th and 20th century. This attitude leads us into why Israel should be criticised.

The state was founded either on the idea that Palestine was empty or it was not. In the first instance the obvious disregard for Arab lives is clear. The second instance is far worse in the sense that there is no room for excuses, the claim was clearly that the Jewish Diaspora’s security was more important than the lives of the Palestinian nomads who had lived there with their families for generations. The evidence points to the second option, as Ben Gurion, the country’s first leader, was very keen to see all the Arabs leave and their villages destroyed.

I appreciate that this is not the Israel-Palestine conflict in its current form, but the conditions set at the origin of this new chapter are important in setting the tone of the conflict. One important thing is that for all the victim narrative you hear from Mr. Netanyahu nowadays regarding the behaviour of Hamas is that at a lot of points since the start of the territorial conflict, Israel have had the initiative. They were the ones in power, and this is the crux of the issue; those with the power have the higher moral responsibility to end the conflict.

For a people who have been at the receiving end of such hatred and violence, it is understandable some of their leaders act so vengefully, but it is also disappointing that they lack the compassion and solidarity with their fellow man. It is so much easier to understand this when you stop thinking about this issue from a religious or ideological standpoint, but from an economic and class one. Israel is now firmly in the driving seat when it comes to peace. If I were in their position, I would go about “peace” very differently.

The idea of an occupied state is the spiritual successor to how the Palestinians were removed from their homes originally. It is illegal by international law to occupy territories which are not yours, and at this point a lot of people simply disagree on whose the territory is. It is the most humiliating type of autonomy, that which is constantly overseen.

The worst actions were those of compulsory transfer—the idea that Arabs were to be asked to leave Israel, and if they did not, they would be forced. The idea of Israel existing was simply more important than the lives and families of those Palestinians who lived there. This is the height of opportunism. This was allowed to happen internationally because of people like myself, so fixated on a tabula rasa state for the oppressed, such a romantic idea, so dreadfully conceived and executed.

I hope I would have been horrified as I saw one people find a home, amidst the burning ruins of another’s.

We see the collective punishment of Palestinians, a war crime which has been observed in Gaza City especially. The only defence of these war crimes is that the Palestinians legitimately elected that which is now considered to be a terrorist organization by most of the world.

Bringing up that Hamas fires rockets is to do two things. It is to attempt to conflate Hamas’ actions with those of Israel and it is to find someone to deflect blame on to for the mass murder of civilians, including children. There is absolutely no excuse for the murder of any child in Palestine and to call it collateral damage is sickening. If I were in a war I thought to be legitimate, I would be grovelling at the knees of my enemy for forgiveness for such an act. I have heard the ludicrous point that Israel are being punished for being good at war; if they were that good, then they would not be killing civilians.

Ethnic cleansing is the systematic removal of an ethnic group to make it more homogeneous to the cleanser’s ethnicity. The conflict in Palestine has too many characteristics shared with this definition not to be regarded as such any more.

An edited version of this original piece appeared in this week’s edition of The Mancunion. We apologise if any misinterpretation occurred or offence was caused by the edit.

NO:

Before labelling me as a cold blooded Zionist who tries to justify the killing of civilians, I would like to clarify that I do not support the extent of the killing. I do not support Israel on religious grounds either—but I do support Israel on the principle of deterrence and the right to self-defence and existence.

No community or country in the world would or should silently resign to missile attacks and ceasefire violations. According to the UN charter, every nation has the inherent right to counter attack in self-defence against aggression. Israel should not be condemned for simply refusing to be subjected to another Holocaust.

Israel is seen as an oppressor in a region where it is the only free democracy and is constantly imperilled by religious and racially motivated attacks on its population. Israel has agreed to various ceasefire agreements, many of which have been wilfully rejected and violated by Hamas.

Over 13500 rockets have been launched from Gaza into Israel since 2001, resulting in Israelis living under constant harassment and needless defence expenditure on Hamas’ war. The media has made us forget that Israelis are threatened; we see no ‘Israeli death toll’ or reports on the persistent building of tunnels with the express purpose of killing more Israelis in mainstream media, because for some people the same principles of humanity do not apply whilst talking about the two sides.

The cycle of provocation followed by playing the victim after Israeli counter-attack is abhorrent. Israel has accepted the establishment of a Palestinian state as the solution to the ongoing conflict and as a basis for future peace but the Palestinian Liberal Organisation (PLO), which is considered to be the official representative of the Palestinians, and Hamas, which was voted to power by Palestinians in the last legislative elections, were founded and run with the aim of death to Jews.

These anti-Semites do not understand that the destruction of a country that has been set up by the UN and accepted by the world community is not only against international laws but is also impractical. 6.3 million Jews who have lived in the same region since before 1948 are not encroaching and will not just pack their bags and leave because some people cannot digest the fact that an Abrahamic religion other than Islam could hold Jerusalem sacred.

“Heartless monsters” and “cold-blooded murderers” are some of the phrases used to describe Israel-supporters. I want to question what really constitutes inhumanity to these self-proclaimed defenders of human rights.

It is monstrous when children are taught to hate a people from birth. It is despicable and explicitly criminal when Hamas fires rockets from schools and hospitals and gives Israel no choice other than to retaliate, then takes photos of the burnt bodies of those they have indirectly murdered to further a propaganda war.

The Israeli military acts on the principle that it is ethically detestable to kill non-combatants in a fight. Hamas acts on no such principles. I would like to quote the events of the second Intifada, where Hamas members strapped explosives to their bodies and, disguised as women and children, went into highly populated civilian areas and detonated the explosives.

An anonymous Russian commander fighting in the Mujahideen once asked, “How do you defeat an enemy who looks into the barrel of a gun and sees paradise?” These words ring with palpable veracity in a conflict where it is a fact, not an opinion, that Hamas will not stop killing Israelis until they obliterate Israel or Israel obliterates them.

One may argue that the blockade perpetuates the conflict but Israel should not, and will not, lift its blockade until there is a guarantee that Hamas will not, as throughout history, use these resources explicitly and solely to construct further means to attack Israel. Unfortunately, due to the rhetoric Hamas incessantly espouses, this guarantee is as fanciful an idea as Atlantis or there being a big block of cheddar under the surface of the moon.

Political stability in this region has significant consequences because Israel, even as a non-natural resource dependent country, has focused on economic growth and thus has the highest Human Development Index ranking in the Middle East (even ahead of the US). On the other hand, by the use of slogans such as “We love death more than the Jews love life”, Hamas sets an example about what happens when the destruction of another nation becomes your national goal; supporting Hamas is supporting genocide.

The attempt to pass the guilt on to Israel for their inability to progress seems dubious when on countless occasions Hamas has hindered the UN humanitarian actions in Palestine.

How appalling of Hamas to blame Israel and claim the sympathies of the international community when it has gone to the extent of employing violence against UN staff and attempting to assassinate the former UNRWA chief—twice. Hamas does not work for the good of Palestine as it claims, a dozen times more resources are used towards the destruction of Israel than go towards the welfare of the people and the economy.

It is hypocritical of Palestine, a religious state itself along with other states in the region, to dispute the claim of Jews to live safely and freely in a Jewish state. Israel has a right to self-defence and has been defending itself since the foundations of the country were laid. Israelis are not the aggressors in this war, they are purely retaliatory.

This community does not deserve to be criticised for refusing to quietly accept yet another attempt at ethnic cleansing, nor be vilified in a war that is solely a direct result of Hamas’ despicable rhetoric.

Transformation of RBS building gets under way.

Written by Jennifer Sterne on . Posted in News.

The Students’ Union is converting the former Royal Bank of Scotland building, next to Academy 1, into a pop-up shop and flexible events space for four weeks from the 10th November.

On the 14th October at 4:30pm in Room 2 of the Students’ Union there will be an open meeting for all students who want to be a part of the project. It will be a chance to discuss and organise a program of events and plan the pop-up charity shop.

From the 27th October students will be able to donate clothes to the Students’ Union. The money will be donated to charity and any clothes left over at the end of term will also be donated to charity.

There will also be a series of workshops on upcycling, in order to prepare students who are interested in running the space as a volunteer-led clothes shop.

Alongside the clothes shop they plan to run a variety of events from art fairs to acoustic gigs.

Joel Smith, Activities and Developments Officer said that the key thing about this project is that it’s “all organised by students for students. If that sounds fun then please come along to our meeting and get involved.

“We’re looking for fashion enthusiasts, event planners, volunteers and anyone who has a great idea for the space. This is a great opportunity to try new things, meet people and have a lot of fun making the most of the former bank.

“At the first meeting we’ll be coming up with ideas for the program of events, figuring out how everything will work and electing a committee of students to lead on the project. We’ll also be deciding on a name for the space so if you have any great ideas bring them along.”

The Union, who are in control of what this space will permanently become, hope this month-long conversion will demonstrate the potential of the space as a student-led events area for the foreseeable future.

To suggest a name for this new space follow this link http://manchesterstudentsunion.com/popup. All suggested names will be submitted to the open meeting, which takes place on Tuesday 14th October from 4:30pm. The meeting will create a shortlist that will then be put back out for all students to vote on the final name.

More information on the meeting and the initiative is available on the Facebook event: https://www.facebook.com/events/704532406308423/

Manchester University becomes affiliated with Worker Rights Consortium

Written by Anna Phillips on . Posted in News.

The University of Manchester has affiliated with the Worker Rights Consortium (WRC), an independent monitoring organisation that supports workers in the garment industry in defending their workplace rights.

The WRC organisation monitors the suppliers of garments to certain universities and then traces them back to the factory where they are produced.

They then implement a new code of conduct in the factories which allows workers to unionise and to independently report incidents of negligence or abuse.

The code of conduct aims to allow workers to bypass any risk of ‘speaking out’ in a job which they could lose for doing so, protecting their rights as workers.

The affiliation follows a petition organised last year by the Manchester Young Greens which gathered over 1000 students’ signatures in a week.

A few weeks after the petition, the Rana Plaza disaster occurred in Bangladesh, where 1000 garment workers were killed in a building collapse due to a crack in the floor which was neglected and ignored by factory managers.

The WRC aims to address such situations of poor pay and working conditions at factory level, for adults and children, and has had worldwide successes in improving life for workers.

Their 2013 report into the Haitian apparel industry exposed the levels of minimum wage violations within factories. The WRC called for North American brands and retailers producing in Haiti to make clear to their suppliers that they must view minimum wage laws as necessary and that they will pay higher prices for garments in order to make this possible for factory owners.

The WRC has also had successes with companies such as Fruit of the Loom; their report exposed harassment and abuse of workers which lead to the biggest ever garment boycott and the introduction of trade union operations in their Honduras factories.

After this, a Nike supplier closed down one of their factories and refused to pay $1.5 million of redundancy pay owed to their workers. Universities affiliated with the WRC in 2009 then bought it from Nike, exposing them for their malpractice, and the universities enabled workers to request a boycott.

Nike then backed down and paid their workers the severance money owed due to the threat of a US boycott and action against them.

The WRC aims to start a global movement to prevent companies from leaving one factory for cheaper labour in another, and to enable a world where “workers everywhere can unionise, get paid a living wage, work in safety, and live with dignity in gainful employment.”

So far, there are 220 students’ unions, 181 colleges and universities and two cities affiliated with the WRC. The three criteria for institutions are that they maintain a manufacturing code of conduct, provide the WRC with factory disclosure information and pay affiliation fees.

Joel Smith, Activities and Development Officer and former Chair of Manchester Young Greens said: “The University joins 11 other universities in the UK (in addition to all students’ unions nationally) as well as many more universities in the US in trying to promote positive change for those at the bottom of our supply chains who are so often victimised by the globalised market.”

Conor McGurran, Campaigns and Citizenship Officer said: “It is fantastic to see that the University has signed up to the Worker Rights Consortium through the Social Responsibility Governance Group. This will put the factory workers who produce university garments in a far better position to report negligence and ensure fairer pay and conditions.

“Huge congratulations to everyone who campaigned on this and signed the petition over the last year, this is testament to what can be achieved by passionate students on campus.”