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Month: November 2015

Why Germany can’t solve the refugee crisis alone

The footage from Germany this summer, of refugees receiving a warm welcome at train stations, was incredibly uplifting. This was especially true in the midst of contrasting images coming out of other European countries, and our own government’s uninspired, intransigent response.

However, many Germans now seem apprehensive of Chancellor Merkel’s optimistic “Wir schaffen das!” (We can do it!) approach to the refugee crisis. An Emnid poll from the 31st of October shows that support for the right wing anti-immigrant ‘Alternative for Germany’ party has been pushed to 8 per cent nationally, above the 5 per cent they would need to enter the Bundestag. The same polls show that approval for the CDU-SDP coalition has fallen to 36 per cent—a significant drop from the combined 41.5 per cent of the vote they received in the 2013 election. In another poll, 51 per cent of Germans responded yes to the question: “Are you worried that so many refugees are coming to Germany?” Added to this, the CDU’s Bavarian sister party, the CSU, is one of the apprehensive elements. This is significant, as the South Eastern area of Germany is the natural entry point for refugees travelling via Austria and the Balkans.

Of course, different polls suggest different things, and this certainly isn’t a mass movement. But, there has been a noticeable populist backlash against Angela Merkel—now in her tenth year as Chancellor. With this in mind, are these Germans right to be worried about their government’s policy?

There are some genuine reasons to be concerned. 800,000 new migrants (refugee, economic, or otherwise) is arguably too much for any country to absorb in the space of a year. That is how many Chancellor Merkel expects to be able to take in, perhaps even more. Already the strain is being felt. One teaching association estimates 25,000 new teachers will be needed. The head of the federal police claims that: “The security situation is getting worse with the growing numbers of refugees.” Ten cases have been opened into refugees suspected of terrorist activities and war crimes in their home countries. Even factoring in what the federal government has promised them, the German regions may still need up to €5.5 billion to cover the cost of healthcare, education, processing, and other services.

There may however, be some benefits to this plan. 45 per cent of German firms are having difficulty filling vacancies, and a recent study conducted by BDO and the Hamburg Institute of Economics shows that Germany now has the lowest birth rate in the world at 8.2 new births per 1,000 people. A population influx may mitigate some of these problems.

On a moral and legal level, it supports an idea which should be inviolable—that developed and stable countries should welcome refugees with open arms. They’re fundamentally different to economic migrants, as they’re driven out of their countries by pure necessity.

There has been somewhat of a cultural backlash against multiculturalism, represented in Germany by groups like Pegida (Patriotic Europeans Against the Islamisation of the Occident). Worries that Muslim migrants will cause a fundamental change in their culture are the product of a minority of small-minded nationalists who overstate the influx of Muslims, their level of cultural difference, and their relative influence. Those who bleat about the inevitable triumph of Sharia law are of a particularly paranoid bent.

Now, that is not to say that a few individuals among the many couldn’t pose a possible security risk, but a thorough processing scheme should mitigate this, as long as security concerns are put before economic ones. On the whole, Merkel is leading her country in the right direction on this issue.

However, this is not a German problem. This is a humanitarian crisis of continental proportions. To her credit, Merkel has been pushing for a continental solution. However, the proposed centrally planned quota system may prove arbitrary, be unfair to smaller countries, and violate the principles of freedom of movement. The focus should be on getting economically larger EU countries, such as France and the UK, to take the initiative when it comes to housing refugees.

Likewise, diplomatic and financial overtures to Turkey, in an attempt to get them to accept more migrants, seems risky. The country is gradually becoming more aggressive and authoritarian under President Erdoğan. The prospect of such a regime gaining closer ties to the EU will undermine the Union’s moral credibility, especially as European powers attempt to stand up to Putin.

Placing too much expectation on Germany to solve this problem will ultimately prove risky in the long term. The Germans may be in need of large groups of migrants now, but the fate of desperate people should not be contingent upon the fluctuating economic conditions of a single state. European leaders need to provide an equitable pan-European solution.

If Britain’s recovery has been as good as he claims, maybe David Cameron should adopt a little of the “we will cope” attitude himself.

The case for introducing pop existentialism

What is the problem with living? If you can’t answer without making a joke, it’s probably because you already know. Existentialism deals with these questions. It concerns itself with the perpetually perplexing problem of why we are living. It’s a philosophical movement which has asked questions relating to not only existence but what it means to exist.

Though varying in form and diverse in opinion, existential thought or philosophy rejects any holistic systems of thinking which professes to answer questions relating to the purpose of life. This is because, whether that system is scientific or religious, in claiming that it can explain away ‘why’ a person exists, it takes away a person’s ability to fully confront what existentialists call the human condition.

Existentialism really developed after World War II, where this philosophy had began its manifestation in society. It began to get incorporated into novels, plays and even lifestyles. Though this was mainly a response to the consequential horrors of war and colonialism, it is back again in a new form. It appears in television shows and films, so you may be familiar with jokes about the meaninglessness of life, or comments about the severity of our isolation. These may only seem like innocent jokes or remarks, but they are actually part of a resurfacing kind of existential thought in popular culture, which is more deranged, absurd and void of its own reasoning.

Mass media exaggerates existentialism’s tough questions and fades out its progressive evaluations to the answers of these questions. It is creeping into the minds of media-literate people, some of whom have never before sought an interest or merit in philosophy or philosophical thinking. Often, the consequences of this can be brutal. We are left with an image of a meaningless life, doomed to death and spending eternity playing chess with the Grim Reaper.

Though it is natural for a type of serious philosophy to find itself in fashion every now and again, this time it comes with the issue of a mass misunderstanding of existential thought—the kind of reception of existentialism that I put forward as pop existentialism.

Rather than media texts honestly incorporating existential ideas, there is a mixture of existential thought tainted by nihilistic and absurdist outlooks. Lest I am misunderstood, it is important to note that nihilism and absurdism are, in their own right, valid philosophies. But when fed to the masses, it becomes skewed and uninformed. Nihilism, and its forms, pertains to the idea that there can be no meaning in anything in a person’s life—in that, all which is surrounding a person, will never have the capacity to engage with their journey of self-actualisation. Absurdism pertains to the limbo state of the active search of meaning in one’s life, and yet finding none, claiming it is impossible to ever find meaning, and so our pursuits are futile and fruitless.

It seems clear enough that philosophies such as nihilism and absurdism are not suited for anyone who is not specifically interested in the area. It stands to reason then that a television show or film twisting the content of existentialist thinking for a mass audience will not capture the hearts of those already embracing of these philosophies.

When beloved fictional characters appear on our screens with a joke about the meaninglessness of life, they instil an unnecessary sense of apathy about the way that a viewer sees the world. Though this does mean more people are engaged in (some kind of) philosophical discussion, this media representation is a very inefficient way to contemplate such ideas in relation to our own lives. What fictional characters seem to forget is that existentialism emphasises the self-creation of meaning for oneself, which is rather comforting in a world where we are commonly told that we are supposed to ‘find ourselves.’ This, despite society telling us the random and accidental nature of the universe, has no exerted meaning on our person.

For the common misconception of a person purely existing as meaningless matter to pervade mainstream thinking is to really be saying that you cannot find yourself at all, because you are nowhere to be found. Rather, if mainstream media did not deal with such existential questions, mainstream media would be throwing out the idea that one ought to create themselves as opposed to look for it in arbitrary social constructed categories of identity. This is because existentialism pays no real attention to how a person got to earth, but only that they are here. To the media, it only matters what a person does with their available time.

It may be that the worst part of the misrepresentation of Existentialism in mainstream media is that, as mentioned before, it is not entirely existentialist, but also nihilistic and absurdist. To have a nihilistic viewpoint carelessly infused is what a lot of popular media has been purporting to be the stuff of great philosophical contemplation. Absurdism is also in the mix, which complicates matters even more so because when presented with the existentialist question of, for instance, what does it mean to live, the nihilist contaminations answer—it does not mean anything. Absurdism adds salt to the wound by saying it cannot mean anything.

Though ideas such as these are being lifted directly from writers like Camus or Sartre, it is not fair on the layperson who happens to dip into such thinking by virtue of a media outlet seriously misrepresenting what is a great philosophical movement. What it means is that philosophical thinking can become, for people, whatever mass media desires it to be for the purposes of revenue and mere trend. If there ought to be anything beneficial from the misrepresentation of such philosophies, it should be that there exists an opportunity to climb away from popular visions of existentialist thought, and instead delve into the real thing.

It is at everybody’s liberty to—as existentialism claims, create and recreate one’s meaning, identity and life purpose, which should always be explored through the way that person wishes. Never through the eyes, or lens, of any other being.

Why it’s time to crack down on the touts

Earlier this month, thousands of fans attempted to get hold of tickets to The Stone Roses’ 2016 reunion tour after intense hype over recent weeks. Websites crashed within minutes of tickets going on sale, and many fans were left empty-handed and frustrated.

The disappointment of missing out on tickets would have perhaps been reduced if they weren’t appearing on resale websites within minutes of selling out. This situation is all too common with those who look to buy tickets for many major events, not just concerts. I’m sure many people will have been waiting in virtual queues, desperately refreshing webpages only to find that tickets have sold out, being directed to partner websites advertising inflated tickets.

Standing tickets for The Stone Roses were sold at £64.90 with a booking fee of £5.90 per ticket. After selling out, over 3,000 tickets have been listed on GetMeIn.com alone, just days after selling out—all well above the face value. An identical situation can be seen on other websites. Tickets started from £90 for the same standing ticket, with some rising above £1,000. Add to this the further charges on top of resold tickets by authorised agencies that regulate their sale—most websites charge a booking fee of 10 – 15 per cent of the resale price, along with handling fees and delivery charges.

Ticket touts used to only occur outside venues with a small number of tickets, buying spare tickets and selling them at inflated prices or counterfeits. UK law now prevents the resale of tickets on the streets unless touts have a street-trading licence—though this is rarely enforced. The growth of official online ticket resale agencies such as StubHub and Viagogo have meant that much of the activity is now online. The regulation of the resale of tickets online has only shifted the problem. While it prevents tickets from being fake, it doesn’t stop people making vast profits from the resale of tickets.

Touts are still hoarding tickets to resell with added cost.

The unauthorised resale of football tickets is illegal in the UK, whether online or on the streets. This has meant that agencies have partnered with football clubs to become authorised sellers, bypassing the law. Currently, Viagogo has partnerships with Chelsea and PSG, while StubHub has linked with clubs like Tottenham Hotspur and Everton. Arsenal and Liverpool meanwhile have their own ticket exchanges in place.

An argument is that touts utilise a scarcity in tickets to add a premium to the price of a ticket. More often than not, this could not be further from the truth. The touts add to the shortage of tickets and the scarcity is somewhat artificial. Add to this, the fact that touts can sometimes have access to tickets before going on sale. The fabricated shortage increases the price of tickets while demand remains stable.

The resale of tickets becomes an oligopoly, with a small number of sellers having vast amounts of tickets. This prices many fans out of the market, meaning only an elite band of consumers can afford these tickets. The original sale of tickets could be described as a monopoly, though some degree of regulation and justification for this exists. The price is rationalised by a reasonable cost of the services of the performer, the venue and the management.

Some argue that ticket touting is legitimate capitalism—buying and selling a commodity for profit. Ticket touts do not provide a service that does not already exist with the primary ticket seller. Online purchase and distribution is already available, and online resale by a tout hasn’t added any convenience that warrants an increased price. The primary seller already adds on booking fees and delivery charges that already increase the price of a ticket from the face value. The buyer is getting the same ticket with the same experience from the event which invalidates any such price increase from touts. A more valid argument would be if the secondary seller was adding a convenience to warrant an added premium. Why should I reward someone tens or hundreds of pounds for cheating me out of a product? It would be interesting to hear of anyone who avoids buying initial tickets to dodge virtual queues and instead chooses to pay a premium from ticket touts for securing a ticket for them.

A fact often highlighted is the risk involved with touting—the danger of losing money on unsold tickets justify the value added by touts. This assumes that with every risk, a degree of benefit should come with it. Through the same logic, artists and venues should add a premium for the risk of unsold tickets (though this is often accounted for). Again, the touts are not providing the customer with any benefit by reselling tickets that could have been bought from the primary seller and the risk involved should not allow fans to be exploited.

Some events are now requiring the ticket holder to carry ID that matches the name on the ticket. This will prevent genuine ticket holders who can no longer attend the event from reselling their tickets even for face value or less. This can also leave events under capacity if large amounts of tickets have been bought by touts. A similar situation was seen at the 2012 Olympics where many events were under capacity—though this was largely as a result of unused tickets from sponsors. Foreign ticket agencies also marketed tickets at inflated prices which also added to the problem.

Ticket touts make tickets available closer to an event, but why should these fans have their access to such tickets for an increased price prioritised over fans who planned ahead and tried to buy tickets originally?

Ticket touting is hurting the entertainment industry, and the resale of tickets with inflated prices needs to be prevented at all costs. It limits both the ability of an artist to ensure fair prices for fans and the chance for genuine fans to get hold of tickets. I encourage all fans to use apps such as Twickets and Vibe to get tickets for face value—though these companies still charge commission—and not allow touts to exploit the system for profit.

Review: Taxi Tehran

Jafar Panahi is an Iranian director currently banned by the state from making films. Despite this, and being under house arrest for a period, Panahi has continued to make films, getting others to smuggle them out of the country on his behalf. Taxi Tehran’s setting, a taxi fitted with hidden cameras, can therefore be seen as a functional way of overcoming the restrictions placed upon him.

The film is excellent: Its dialogue, setting and characters give the audience, a primarily Western one due to Panahi’s predicament, a new perception of Iran—as a country filled with people trying to subtly undermine the state’s restrictive power.

It is easy to overemphasise the restrictions of Panahi’s own situation, and just see the message he is trying to get across in the film as the result of it. Taxi Tehran can be seen as a direct protest against government policy—a film which shows the artificial nature of Iran’s cinema rules. However, to a greater extent, Taxi Tehran acts as a testament to the power of film as a medium for protest, advocating for its use as a way of conveying interactions and emotions as well as being something to enjoy.

The film shows Panahi driving around Tehran as a slightly incompetent taxi driver. Cameras hidden within the cab reveal the conversations between Panahi and a range of eccentric characters whom he picks up. A man and a female teacher have an argument about capital punishment. Two women have a mission to release goldfish into a sacred pool to ensure a further year of good luck. A wife loudly wails over her husband who has been injured in a motorbike accident, while trying to ensure she can inherit the house.

The informal and chatty dialogue between Panahi and his passengers, combined with the filming style, make you feel like you are part of the scene, being taken on a literal cinematic journey.

The first passenger to recognise Panahi is Ovid, a character who makes his living illegally renting DVDs. He asks many questions about Panahi’s past films. His business serves as evidence that laws cannot suppress the production and distribution of films. Film is a running theme; Panahi’s past films are brought up by various characters.

Panahi picks up his niece Hana from school (played by his real life niece). Their relationship is playful; Hana demands a banana split from her uncle and makes fun of him for his bad car. The immediacy of the setting once again gives you a feeling that you are experiencing a real relationship.

Hana has been given a project to make a film at school. Her teacher has provided her with a list of rules, compiled by the Iranian government. She has been told to avoid the presentation of “sordid realism.” When Hana oversees a young boy picking up some money dropped by a groom, she encourages him to give it back, to provide her film with the right moral message. As Panahi points out in the film, reality cannot be sordid—it is just the truth.

This parallels with the ambiguity of the film’s ‘truthfulness.’ Are the characters real or fake? Does it matter? Taxi Tehran is able to reveal truths about the restrictiveness of the Iranian cinema setting through a series of presumably fictional interactions. In this way, Panahi undermines the idea that notions of “realism” can be applied to film.

It is easy to focus on what this film can tell us and ignore how watchable it is. It is not dramatic but is completely engaging, despite its slow-moving pace. Certain scenes, such as the one with the injured husband are perhaps a bit prolonged. But the conversations are subtle and the characters are realistic yet eccentric.

Taxi Tehran demonstrates the ways in which film can undermine authoritarian regimes. Filming events and conversations, whether true or untrue, gives audiences the opportunity to assign their own meanings to what they are being presented with.

5/5

Preview: Undermajordomo Minor by Patrick DeWitt

Patrick DeWitt’s Undermajordomo Minor opens with a scene that will be familiar to a lot of first year university students; the narrator Lucy (male, short for Lucian) is leaving home for a new life, where he will try new things, escape any past mistakes, and leave the people of his hometown marvelling in his wake. While he fails at the latter, his determination is admirable.

Our sheltered hero has a very simple view on life. When somebody steals his pipe, he simply goes and asks for it back; when a rival suitor appears on the scene he decides the only sensible course of action is to kill him. In other hands this could come across as a lack of depth, and elsewhere DeWitt has been criticised for making his characters too literal, but Lucy’s honesty and naivety throughout the book (including during some rather gruesome and risqué scenes) make him extremely sympathetic, and his black-and-white outlook makes for a refreshing read.

A straightforward narrative style ensures the various storylines are not laborious, and the simplicity means you are constantly focused. This is what is most enjoyable about the novel—by mixing murder, sex and loss with a familiar premise, DeWitt has produced a novel that is genuinely fun to read, without losing its emotional core. For the most part, the simplicity drives the comedy.

For example, there is a very large hole, which is plainly called “the Very Large Hole” and Lucy’s conversations with his superior Mr Olderglough are deadpan even when they are discussing murder. The whole narrative is conducted extremely eloquently—everyone in the story is very polite. Even the young vagabond, Mewe, is articulate to the extreme. The stony humour is reminiscent of Lemony Snicket, with slightly more adult themes.

The unfiltered candour reveals many an awkward situation, bordering on the ridiculous. But this still feels logical in the story, because Lucy works for a secretive Baron; so what else would you expect? The castle and its secrets are, as Lucy says himself, “quite beyond his experience,” and as a reader you relish his nervous determination. At the start of the book Lucy is childlike, delighting in extravagant lies and stories.

The war that is going on around the castle where most of the story takes place is never explained. The soldiers assume Lucy will not be able to understand it. When he witnesses a rather scandalous rendezvous between the Baron and his guests, he is not offended, but rather confused by what the point of it all was. He is not a classic gothic hero, despite the setting, and his general misjudgement of the people around him leads to more comic situations, where he valiantly tries to impress everyone.

Of course, there is a girl, and the hero must find a way to get said girl. Your sympathy for Lucy increases as you watch him struggle with his emotions. Some might find his teenage self-pity trying, but we’ve all been there before, and the speed of the narrative keeps the plot moving along. There are poignant moments both for Lucy and his companions, heartbreak and death, and despite this being primarily a funny book, these moments are still genuinely touching.

Lucy meets a stereotyped but vibrant cast of characters; the ageing butler, the mysterious Baroness, and the valiant soldier are just a few. The characters of Memel and Mewe, despite being criminals, are very kind to Lucy, and offer him help and guidance. The same goes for Mr Olderglough, the Baron, and Agnes the cook. What is interesting about them is the lack of information that is given to us about their pasts, and the secrets that they keep from Lucy.

Their stories intertwine with his own, revealing themselves slowly, with small but satisfying twists lifting the plot throughout the novel. The other characters’ anecdotes, stories within stories, embellish Lucy’s world. There are also funny little references back to previous situations in the book, complementing the fairy tale theme with a cyclical history. However our hero doesn’t really learn from his mistakes.

There are some loose ends left at the completion of the story, events never explained, mysteries never solved, and this is disappointing. This is where the novel is less satisfying, as there is no clear cut “happy ending” or closure. However, the characters and the setting are classic and the boldness of the story means you easily engage with Lucy’s adventure. The storyline has enough deviations from a typical model to be interesting without being too complicated. DeWitt finds a balance between dark humour and slapstick comedy, romance and sorrow, and life and death.

Live: HEALTH

Gorilla

27th October

8/10

LA Noise-makers HEALTH graced the Orwellian stage of Gorilla on their first headline tour in the UK for six years. The show garnered a relatively sparse turnout but those who were in attendance were quite clearly dedicated fans.

Opening with the pounding drums of ‘Zoothorns’, three out of the four members screamed their throats out into different arrays of pedal boards; there was an immediate and brutal assault on the senses. HEALTH had arrived, and they were not fucking about. This band does let up and ploughed straight ahead into the tribalistic rhythms of ‘Crimewave’, which went down a storm. Headbanging ensued and the tension in the crowd was palpable.

The band really shone when they showed their newer, poppier side. For example, the signature gated synths of ‘Die Slow’ came across as some sort of apocalyptic disco track, with the beat so infectious that the entire crowd could not help but break into dance. The same goes for the blissful ‘Tears’–the throbbing drums of this track draw you in to a dreamy state of mind.

The emotionless singing of Jacob Duzsik worked perfectly live, too, almost acting as a soothing balm to the mechanical aggression of the music. A perfect example of this was on ‘Stonefist’ from HEALTH’s most recent album, Death Magic. The studio version is crushing enough as it is, but live, it came across as a whole different level of devastating. An industrial beast barely kept in line by the pacifying drone of the lyrics: “Remember, love’s not in our hearts”.

The set was kept short and sweet, clocking in at just under the hour mark, which was almost a relief considering the fatiguing nature of the music being played. However, this worked to the band’s advantage; the set stayed focused and direct. HEALTH proved themselves to be a unique and certainly interesting band who do what they do phenomenally.

Will the male supermodel soon don wings?

With the Victoria’s Secret fashion show being a highlight in November’s fashion calender, all that people can talk about is the female Angels who have become world-renowned for strutting their wings on the catwalk. However, with all the talk on the female supermodels, I can’t help but wonder about the male supermodels who are becoming more and more known for their chiselled faces, flawless hair and oiled bodies. Like any female model, the male model has been around for a while—no perfume advert would be complete without a gorgeous hunk holding on to a lingerie clad woman.

Without the male model, most high-end fashion adverts would flop, and with the increase of interest in male fashion, it is no wonder male supermodels are rising to the same height as the Victoria’s Secret Angels. Many male models are now featuring in popular music videos—Sean O’Pry, a model known for his Paco Rabanne perfume adverts, is also famously known for starring alongside Taylor Swift in her ‘Blank Space’ music video—meaning more and more male faces are being recognised, and are going from the catwalk to the big screen.

Let’s face it, male supermodels are becoming the new pop stars. Girls from all around the globe, regardless of their age, are beginning to tear down their One Direction posters in favour of supermodels such as Tyson Beckford and Oliver Cheshire. I mean, who wouldn’t want to wake up and look into the eyes of the hottest face in fashion right now? Male supermodels are taking over the world, and girls’ hearts, too, and it comes to absolutely no surprise to me.

With more actresses and singers dating male models, they have never been at the centre of attention as much as have today. It isn’t just us girls who have got our eyes on them. More and more fashion houses and highstreet brands are using male faces instead of women. At the end of the day, if a woman sees a good looking male model wearing a certain kind of jumper in an advert, then the women is more likely to buy that very same jumper for her other half. Beauty sells, and we’ve known that for a while with female models, and it seems like we’re beginning to see it with the rise of the male supermodel, too.

Craving & Saving: Accessories

With winter’s arrival, it’s easy to fall into the trap of sacrificing style for warmth. But have no fear, accessories are here! We understand the need to stay comfy and cosy in the winter, but you can get a designer look without freezing your toes off.

 

The power of the scarf is highly underestimated and should be exploited more. This simple accessory can be your protector of the wind as well as make you look hella fine.

Craving
Burberry scarf, £395
Photo: Burberry

 

Saving
ASOS scarf, £22
Photo: ASOS

 

With our scarf game on point, we can’t forget about what lies beneath. Jewellery can make or break an outfit, and winter is just another excuse to bling up. Long necklaces add a hint of elegance to any outfit.

Craving
Vivienne Westwood necklace, £60
Photo: Vivienne Westwood Saving
Miss Selfridge necklace, £6.50
Photo: Miss Selfridge

 

With your daytime bling sorted, you can’t very well neglect your jewellery choices for the evening ahead. Fantastic earrings are a great way of making a statement, adding a touch of elegance to your look.

Craving
Stephanie Brown earrings, £140
Photo: Stephanie Brown Saving
New look earrings-, £9.99
Photo: New Look

 

So, we’ve covered all bases when it comes to our top half—but what about our hands? They deserve some TLC after the things we put them through.

Craving
Dent gloves,  £70
Photo: Dent Saving
Marks & Spencer gloves, £18
Photo: Marks & Spencer

 

And to complete the famous five, we of course have the hat. A winter staple that can be mixed and matched to suit your look.

Craving
Harrods hat, £370
Photo: Harrods

 

Saving
Accessorize hat, £22
Photo: Accessorize

So—there are our top five high street steals that you need to accessorise your winter wardrobe this year. Cheap as chips.

Geist – Retro Review

In the video game industry at the moment everyone, both fans and video game companies, are used to Nintendo being the kid-friendly company who likes to do something different from everyone else, with crazy gimmicks in exchange for console power.

However, people often forget that back in the early 2000s, the Nintendo Gamecube was the strongest system of its generation with a lot of major 3rd party titles like Resident Evil 4 and a lot of serious, adult titles like Eternal Darkness, Call of Duty: Finest Hour, Killer7 and Metal Gear Solid: Twin Snakes, to name a few. One of the most underrated of these titles is an exclusive first-person shooter called Geist which deals with death, nudity, and a lot of religious tones—and this is a game published by Nintendo themselves.

Geist came out about half way through the GameCube’s life cycle and was massive surprise for fans at E3 2002. It was not exactly anything they had ever seen Nintendo do before, but many were excited. Geist is primarily a first-person shooter, however it would not be a Nintendo game with out some kind of twist, and Nintendo definitely had a spooky gameplay mechanic that made it stand out. In most first-person shooters, the player can run around and change weapons by picking up other guns. Not in Geist. Instead, if the games title did not given it away already, you play as a ghost called John Reimi, and you have to possess people in order to survive.

Photo: Nintendo Co. Ltd, n-Space Inc.

The game has both a multiplayer aspect and a single player campaign. Both are fun but the multiplayer starts off rather barren until you unlock stuff for it by finding collectibles in the single player. The single player is where the game really shines by combining first-person action segments with puzzle elements. As a ghost you can possess people in order to slip through areas undetected. If you need to get through a door then just possess someone with the right credentials and walk on through; however, if it was that simple then the game would not be as fun as it is.

As the game explains it, people can only be possessed when they are vulnerable and they get vulnerable when they are scared. So, it is up to you as the player to make them scared and you do this by playing the poltergeist. You can possess objects and make them do all kinds of strange things from moving bins on their own to literally jumping out of a TV to scare its viewers. This is Geist’s greatest element, and I cannot stress enough how much fun and how creative some of these puzzles can be.

Unfortunately, while one of the game’s major aspects is fantastic, its other major gameplay style is… mediocre. The first-person shooter sections of the game are not terrible by any means, but there is nothing about them the particularly stands out. The controls are a bit clunky and you never have to worry about ammo, so it is just a matter of shooting everyone while keeping your host alive. Sometimes these sections throw in elements that make them really interesting, like possessing grenades that are in mid-throw and rolling them back to their original owners, or hiding your host body somewhere so you can possess a Gatling gun on the other side of the room and use that to mow down your unsuspecting enemies.

It is just a shame that these segments are so far and few between. Specifically, I wish the bosses used this a bit more because, except for a very few, they all just rely on shooting and hiding. Compared to more modern first-person shooter games it certainly does not feel anywhere near as polished. Even for games from its time it was a bit clunky, but it certainly was not unplayable.

Geist is a game that went largely unnoticed at the time of its release despite all the initial hype behind it. It is likely that the lack of success in titles like this is what drove Nintendo to move a bit further away from the more realistic style and stick to a more stylised one for future titles. This is a shame really because Geist was an incredibly fun game and one that I hope Nintendo thinks about making a sequel to someday.

With the lack of GameCube games on the Wii U virtual console, the only way you are going to be able to play this game is by owning a disc of it and playing it on the original system (or the Wii). Thankfully the game is not too expensive (I got my copy for about £10) and it is honestly worth it. Geist entertained me more than I expected. It was nothing groundbreaking, but what was new felt really fresh and enjoyable, and I think more people should check it out.

SPORTLIGHT: University of Manchester’s Rowing

This week, The Mancunion Sport will be turning its focus to rowing at university level!

A pre-lecture 7am meet for training at the Sale Boat Club does not feature in the timetable of most students. However, if that sounds like your type of thing, look no further than the Manchester University Boat Club (MUBC).

Second year rower Dominic Rogers describes his experiences as “long and painful, yet exponentially rewarding.” That seems a fair assessment of a lifestyle that features as many as 12 training sessions in a week. As Dom states, however, it is not all pain. There are socials most Wednesdays at the Athletics Union or Fallowfield’s 256, where the team really get to know one another, as well as being able to flaunt their six-packs over the rest of us who gave the 7am meet at Sale a miss. Becoming a member is far from a half-hearted decision, and despite the discomfort, it seems to be a decision that will revolutionise your personal health and social life.

Additionally, you certainly do not need to have come from Eton or have had any experience in a rowing boat to join. Just ask third year Jake Brown who in his first year of rowing went to GB trials. Eton graduates are of course also welcome, with four squads available. There is the Novice Men’s and Novice Women for beginners as well as the Senior Men and Senior Women. There is also the Cox’s team, for those who like the idea of shouting at their friends. The names and contact details of the captains of the squads are on the MUBC website, just message one of them if you are interested in joining.

The last year has been of mixed success for our squads, with a handful of notable performances. They successfully qualified for multiple prestigious races such as the Henley Royal Regatta, Head of the River Race in London, Marlow at Eton and BUCS Regatta. Although qualification was a success, our squads will be hoping for better performances this time around in each of the events. Although, there was one standout performance from Peter Zelinka who won the lightweight men’s single scull at BUC’s Regatta. The most noteworthy result of the year was clearly at the Varsity against Salford in April, where we demolished our local rivals in a 7-0 whitewash.

When discussing the Boat Club, it is also imperative to recognize some of the ex-members who have gone on to represent us on the international stage. Zak Lee-Green, Hugh Gallie and Graeme Thomas are all currently representing GB after proudly sporting the colours of the MUBC in the past. It’s not just ex-rowers who have impressed at a national level. Head Coach Mathew Hackett is an ex Boston Marathon winner, a highly competitive race in Lincolnshire.

Hackett and the Senior Men are currently looking to qualify for Henley, and to improve on last year’s performance. Be sure to visit their website mubc.org.uk to keep up to date with their results. We at The Mancunion certainly wish them the best of luck with all endeavours over the coming season. Also, once again, do not be afraid to message one of the captains if you want to drastically improve both your physical well-being and social life by becoming a member of the MUBC.

Hong Kong and youth politics

With royal carriages, red carpets, and grand banquets, Britain’s welcome of Chinese President Xi Jinping was hospitable to say the least. Chinese students queued for hours in the cold for a chance to meet their beloved leader—others were less thrilled. Or rather, their interest was directed towards The Independent’s 20th October 2015 headline: ‘The hero of the Umbrella Revolution is here to rain on China’s parade’ rather than ‘Manchester looks forward to Xi’s visit’. These divergent news stories perfectly capture the clashing sentiments of Mainland China and Hong Kong regarding the presidential visit.

While many saw the visit as a recognition of China’s growing importance in world politics and the global economy, some took this as an ultimate betrayal by the British government. While mainstream Chinese media placed the impetus on the royal family colour coordinating for President Xi Jinping, young people from Hong Kong mocked the visit. First Lady Peng Liyuan’s uneven makeup and President Xi Jinping’s wish to visit Old Trafford came under fire while the ultimate mockery had occurred following the President’s selfie with Manchester City striker, Sergio Agüero and David Cameron. Hong Kong’s youth are not harbouring feelings of hostility towards the President, but a feeling of abandonment towards Britain. It’s a feeling being cultivated by the visit in which Britain was so clearly kowtowing to China for economic benefits—ignoring the growing tension between the two regions.

Last year Hong Kong made international headlines with its 81-day civil disobedience, the Umbrella Revolution. This student-led movement surprised the world on not only by how organized the young leaders were, but also with how quickly the Hong Kong Police Force (HKPF) resorted to violence. One such student activist, Joshua Wong, was featured on the cover of TIME magazine and The Independent for leading and initiating the movement. The United Nations and several world leaders urged Beijing to recognize and obey the Sino-British Joint Declaration signed in 1984. While protesters hoped the British government would take further actions and support Hong Kong, what resulted was a formal statement with no diplomatic measure.

The people of Hong Kong were disappointed once again when the British government chose not to address the democratic and human rights issues in China during Xi’ Jinping’s visit—especially when the room for public discussion in Hong Kong is shrinking. We are politically hopeful people, but given the actions of Britain this past month, we cannot help but feel like the window to drastically change our situation is closing quickly and unforgivingly.

While foreigners see Hong Kong as a generally autonomous city on par with London and New York, the reality falls short of its reputation of freedom, justice, and rule of law. Freedom of speech in the press has been constricted for a couple of years now, but news that Ming Pao’s former editor-in-chief, Kevin Lau, was attacked in broad daylight was completely unexpected. Though the incident was not the first threat towards Hong Kong journalists, this assault led to the rising trend of media self-censorship. In fact, Hong Kong’s ranking in the World Press Freedom Index has had its place dropped from #58 in 2012 to #70 in 2015.

Over the course of a year, ominous signs of a private agenda has suggested that the justice system in Hong Kong is being used as a political tool. When cases for the Umbrella Revolution were being presented in court, judges criticized the HKPF for making unsubstantiated testimonies. Furthermore, the Beijing government’s emphasis on the ‘fact’ that all judges should be patriotic and responsible for protecting China’s sovereignty, security, and developmental interests in The White Paper (published in 2014), which drew concerns about Hong Kong judiciary’s independence from across the world. Spectators and Hong Kongers alike worried that this would be the signal of Beijing’s government intervening with the peninsula’s domestic issues and violating the promise of the special administrative region’s ‘high level of autonomy’.

Decisions made by The University of Hong Kong’s board of directors regarding the nomination of an Umbrella Movement affiliated university vice principal further proves the Central government’s—or at least their allies—relentless pressure on the SAR’s academic freedom. After witnessing how the core values of Hong Kong are being jeopardised, one must ask how Hong Kong can fend off competition from neighbours like Singapore, being that the cornerstones on which Hong Kong built its success on is being insidiously corroded.

It is nearly impossible to put a society back on the right track unless its people are willing to get actively involved in political activities, elections, protests, or even simple discussions. Despite what the Umbrella Revolution might suggest about the people’s heavy involvement in politics, the majority of citizens respond to politics with a shrug. In fact, it is the near-obsessive focus on economic development that caused this phenomenon. The social environment in Hong Kong encourages people to work tirelessly for financial benefits. Just as how President Xi Jinping ‘bought’ the luxurious trip to the UK, a similar mentality persists through the government building infrastructures at the expense of social stability.

The people of Hong Kong believe that all it takes to lead a stable life is playing by the rules, yet they fail to realise that they are playing in an unfair game where the rich get richer and the poor get poorer.

Each year, the high achievers in the Hong Kong Diploma of Secondary Education (HKDSE, a public exam qualification) will always go for medicine, law, or degrees that will guarantee them a decent job. There is an overwhelming consensus in society that believes these are the talents that will lead Hong Kong to a better future. Yet what Hong Kong’s society truly needs are young people who will devote themselves to politics. Hong Kong needs more than just one Joshua Wong. But this won’t happen if the public still sees studying politics as having one foot in the grave.

Classic Review: The Seventh Seal

Returning from the crusades, a Swedish knight finds his home country ravaged by plague, and enters into a game of chess with Death himself, in order to delay his inevitable fate long enough to at least discover answers about life.

With a plot description like that, it’s easy to see why The Seventh Seal, and so much of Bergman’s work, has been so susceptible to mockery. Everyone from Woody Allen, to Bill and Ted, to French and Saunders, has taken a swing at aping the Swedish auteur’s unmistakable style. Whilst a lot of these parodies appear to stem from places of love, many use hallmarks of Bergman’s work as a shorthand for unnecessarily esoteric arthouse cinema. With all of its heavy-handed symbolism, bleak imagery and big questions, at times, there appears to be little to distinguish The Seventh Seal from these send-ups.

Yet, what comes as a surprise about The Seventh Seal is the abiding sense of optimism that lies at its heart. By no means do Bergman’s interests lie in creating a feel-good film, and certainly, a strong element of despair hangs over the film. A combination of disease and the impotence of faith appears to have driven half of Sweden to the brink of madness by the time Max Von Sydow’s knight and his squire wash up on its shores. Certain scenes, such as the burning of a young woman accused of witchcraft, go beyond the rest of the film’s palpable existential dread and venture into the realm of intense psychological horror—more akin to Polanski or Lynch.

But despite all of this, The Seventh Seal appears to urge audiences to not search for solace in a mute, unresponsive manner, but instead to find comfort in the joys of family and companionship. In one notable scene, the Knight is invited to share in a meal of wild strawberries and fresh milk with a couple of actors and their infant son. The Knight looks out over the beautiful scenery, and explains how he will always treasure this memory. Although Death still lingers out of the frame for a brief moment, the manifest concept remains invisible.

Even in the film’s haunting climax, Death might have emerged victorious, but we have come to understand that Death is not a malicious force, rather an inescapable truth—perhaps the only thing worth putting your faith in. If that all sounds a bit heavy, Bergman is on hand to neatly undercut it with an image of a young family, bathed in sunlight, walking in each other’s arms. For them, Death is something to worry about on another day.

Bergman also finds other ways to balance his intense subject matter, weaving a surprising amount of comedy into the film. Admittedly, the farcical scenes involving a blacksmith and his unfaithful wife add little. But, a strong sense of gallows humour, best exemplified by a man waking into a tree to find Death nonchalantly sawing it down suggest a Fellini-esque appreciation for the absurdity of life, rather than a morbid preoccupation with death.

Cup North: Legal Highs

According to Wikipedia: “Caffeine is the most widely consumed psychoactive drug, but unlike many other psychoactive substances, it is legal and unregulated in nearly all parts of the world.”

In this sense, Cup North was exactly the same as the Warehouse Project, but there was no amnesty box and the stimulants were free. The crowd? Just swap bandanas and lollipops for flatcaps and beards, noserings and croptops for glasses and jumpers.

 

VENUE:

VICTORIA WAREHOUSE

 

LINEUP:

J.ATKINSON

SMALL BATCH

DR W

LA MARZOCCO

UNION

NORTH STAR

COLD BREW

VBM

NEIGHBOURHOOD

BUNN

ORIGIN

SANREMO

ANFIM

MAHLKONIG

CLIMPSON

CONTI

+ MORE

 

THE EVENT:

Under the rooms of Manchester’s most underground (in the edgy sense) Hotel, lay the North’s largest two-day coffee party, testing the strengths of both its visitors and the beverages they came to try. Some powered through ’til the end, some stayed only for their favourite artist, some pranged out and got the jitters, but everyone had a good time.

Stalls were dotted around the two low-ceilinged rooms offering constant samples of the good stuff. Imports from Columbia, Ethiopia, Guatemala, and Nicaragua, to name a few. Blends were in constant supply, and from a range of sources.

 

WHAT WAS ON:

Latte art workshops—Hosted by Union, participants were challenged to design the most creative patterns in the marbled surfaces of their white foamed drinks.

Coffee throwing championships – Four drunk men in suits and sneakers held up blackboards to judge this ‘strictly no rules’ competition. N.b all bags of coffee thrown were water damaged and not safe for human consumption.

Cupping sessions – This was a specialist method of product testing. Using a spoon, you huff the black liquid in one short breath in order to reach as many taste receptors as possible. You then move around the roulette style board of flavours deciding which is your choice cut. Ideally, you spit back out to avoid over consumption. We did this at the DR W stand, where collective favourite was the Ipi Rosa, a bitter blend, and not too strong.

Cinema – Caffeinated, A Film about Coffee, Barista

 

HIGHLIGHTS:

Brew Tea. Photo: Ellie Gibbs

 

Brew tea.

 

Yes, a coffee event. But for those of us less tolerant to caffeine, there was the wonderful Brew Tea Co. Beautifully designed, colourful and reminiscent of traditional English lettering (as in ‘keep calm and…’) but with a modern twist. Best: Lemon & ginger loose leaf; wooden gift set with black vanilla and glass teapot; caffeine free breakfast tea—the motif is a pair of Wallace & Gromit-style slippers.

Buy: HOME, PLY, Home Sweet Home and online.

brewteacompany.co.uk

 

 

 

Neighbourhood Coffee ‘Born Sippin” Photo: Ellie Gibbs

 

Neighbourhood coffee.

 

Oh, I love a good pun. And what’s more fun than sitting thinking of coffee play-on-songs while you wait for your brew? We can’t go on together, with suspicious grinds. Email yours in!

Best: Espresso Yourself. A thick, rich, full-bodied brew ith boozy notes, dark chocolate and a toffee sweetness. (I copied a mixture of what the man said and its description on the website—I think it’s good coffee.)

Buy: neighbourhoodcoffee.co.uk

 

Small Batch. Photo: Ellie Gibbs

 

Small batch.

 

The man we met outside recommended the Panama roast as the best he’d tried all day, and he’d been there since 10:30. When I went over they’d turned everything off and this guy gave me a free sample full of beans! I popped two on the way home.

Best: The adorable monochrome KeepCup that they sell to save both the environment and your fresh coffee.

Buy: London, Brighton, Norfolk

neighbourhoodcoffee.co.uk

 

 

 

SAFETY:

– Stay hydrated. If you’re feeling jittery, take a break and drink some water.

– Don’t peak too soon, pace yourself.

 

The event ended with a bearded human getting awarded two million points for throwing a box of ‘has bean’ across the rainy courtyard, he then got disqualified for being Welsh. If that doesn’t sound like the kind of thing you’d expect from the end of the night at Victoria Warehouse, then clearly you’re in with the wrong crowd.

 

Cup North
7th/8th November
Victoria Warehouse

cupnorth.co.uk

Matcha Madness

Matcha has come to Manchester! Joanne Lee, the founder of CHA.ology has revolutionised this tea-loving nation by working her magic with tea in the form of baked goods. From her Matcha Tiramisu to her Matcha Cream roll, this upcoming baker is cooking up a storm.

Matcha is the fine ground powder of green tea leaves, and Joanne uses only the finest. Imported from Uji, Japan, to ensure the taste of freshness and stamp a mark of quality on all CHA.logy products, Matcha is a running ingredient throughout CHA.ology’s selection continues to expand in order to bring the taste of Japan to familiar treats and sweets here in Manchester. With CHA meaning tea, CHA.ology experiments with other tea flavours to complement the matcha and help our taste buds experience tea heaven. Joanne has experimented from the heart of her own quirky kitchen to deliver immaculately packed goods and hopes to bring this relaxed vibe to her tea house in the New Year.

Joanne Lee has worked her magic on lots of delicious classics, using tea as the foundation for flavour. These are just a few of many products which are favorited by CHA.ology customers.

 

CHA.ology Matcha White Chocolate Tart

Photo: Cha.Ology

 

The Matcha White Chocolate Tart has quickly become adored by CHA.ology regulars. This elegant tart has matcha and white chocolate ganache alongside a lovingly baked shortcrust pastry. Joanne recommends this delight to be eaten at room temperature to retain the creamy texture of the filling. A great indulgence.

 

 

 

 

 

CHA.ology Jar Desserts – Hojicha Panacotta

Photo: The Mancunion

 

With a selection of desserts to offer, served in endearing jars. The Hojicha Panacotta is one to look for. Hojicha is a roasted tea with very little caffeine, so you don’t have to feel bad if you decide to have it as a midnight treat.

 

 

 

 

 

 

CHA.ology Matcha Pound Cake

Photo: The Mancunion

 

CHA.ology’s delicious sponge pound cake is a great surprise for those who you are share with (or not). With a matcha exterior and a vanilla interior, the pound cake comes in different shapes and sizes. This beauty is available in CHA.ology’s christmas hamper with a star shape to add to the festive fun.

 

With such a variety of baked goods, this is only a sample of what CHA.ology offers. With a tea house soon to open behind Northern Quarter, you’ll be able to grab treats on the go and experience matcha at its best. In the meantime, check out the CHA.ology Facebook page and order Joanne’s delicious treats in time for Christmas. Also, take a look at CHA.ology’s Instagram to get your appetite going and watch Joanne’s exclusive bakery videos.

facebook.com/cha.ology

instagram.com/cafechaology/

Top 5: Books about siblings

I asked my brother for a Top 5 idea and he pitched this one—figures, I guess! I do like it when a book showcases sibling love—often it is more moving and rewarding to read about than romantic love. So, here is my Top 5. They all happen to be kids’ or young adult books but I wouldn’t have chosen them if I didn’t believe that they could be read and enjoyed by all ages.

One by Sarah Crossan
This is a sibling book with a difference: it tells the tale of conjoined twins. Grace and Tippi are joined at the waist and, perhaps surprisingly, are fairly content with their situation, with no real desire to be separated. Then, something unexpected happens that sets in motion a series of events that will have awful and irreversible consequences. As with Crossan’s The Weight of Water, One is told in free verse and is incredible—I wasn’t expecting it to be quite so tragic and powerful. It is almost worth reading just for the last few lines, which pretty much sum up what it is like to have a sibling.

Jo of the Chalet School by Elinor M. Brent-Dyer
I think the fact that the author’s beloved brother died young might have something to do with the wonderful, tight-knit and caring family unit she created in the form of the three orphaned Bettany siblings. Joey, the youngest, is in fragile health—so Madge, at the tender age of twenty-four, starts a school in the Tyrol so Joey can study in the clean Alpine air. Dick, their brother, appears less often but it’s obvious that he adores his sisters. When Madge is entrusted with the care of a friend’s daughter, Robin, Joey immediately adopts her as an unofficial younger sister and her tenderness towards the little girl contrasts with her usually boisterous ways.

Forever Rose by Hilary McKay
The Cassons are one of the most lovable, artsy, chaotic families in children’s literature. Cadmium, Saffron, Indigo and Rose are as colourful and vibrant as their names and are all believable characters. Within the four Indigo and Rose have a particularly strong relationship with some adorable moments. Although all six books are amazing, I picked Forever Rose because the parents are quite distanced, allowing us to see even more clearly, the bond between the kids. It’s especially nice to see Saffy and Rose together as normally, they seem to interact together the least amongst the siblings. And in the end… I won’t spoil it, but it is truly lovely.

Broken Soup by Jenny Valentine
This is one of my favourite books for its pure honesty. There is zero pretence; the souls of all the characters are laid bare. Fifteen-year-old Rowan has to look after her little sister alone while aching from the death of her older brother. What appears to be a chance encounter leads her to make friends with two kooky teens whom she would ordinarily have nothing to do with. They then just… live their lives. There’s no great plot arc or conventional structure; it is just a slice of life, so real and refreshing. The relationship between the three siblings, two alive and one dead, is what propels the story and unites these characters. Everybody should read this book!

The Dream Snatcher by Annie Dalton
Another of my absolute favourite books. The kids, Joe and Flora, aren’t actually siblings yet, but it’s pretty clear their parents are an item, and in the sequel they are indeed stepsiblings. Packaged like a simple fantasy novel, it is actually quite dark and sad. From the moment Joe and Flora board a ship to sail through a field of dreams, the reader is bombarded with eerily stunning imagery. Dalton also pitches some quite profound ideas about dreams—where they come from and their significance. Joe and Flora’s relationship as soon-to-be-siblings is very realistic, with scrapping, teasing and hiding/growing affection. I wholeheartedly recommend this series, however old you are—it will make you think differently about the world.

Quincey, drugs, and excess

One of the fathers of ‘drug literature’, alongside Byron, is Thomas de Quincey. This might surprise some, to find out that the drug culture we know has firmer footing in 18th century coffee houses than Woodstock tents. Born in Manchester, Quincey’s understanding of ‘intoxication’ can be made just as relevant today.

“I stood checked for a moment—awe, not fear, fell upon me—and whist I stood, a solemn wind began to blow, the most mournful that ever ear heard. Mournful! That is saying nothing. It was a wind that had swept the fields of mortality for a hundred centuries.”

Standing in the stark cold and huffing plumes of air we found ourselves stood on a cobbled street gazing up at the lidless night’s sky. Such was the weight one felt stumbling home from Manchester’s yearly Oktoberfest. We paused at half seen features of this landscape, “Everlasting farewells! and again, and yet again reverberated—everlasting farewells!” The “burden of the incommunicable” was shared between us in our collective intoxication. We had lost our bounds, and that was the thing in common, dissolution of selfhood, ‘will to nothingness’.

The sense in which De Quincey ‘enjoyed’ drugs is at once similar and alien to the drug culture we ‘enjoy’ today. Easy parallels are made between his indulgence in “a glass of laudanum negus, warm, and without sugar,” before an opera, and the drug charged atmosphere of a concert. However, there is a distinction to be made between the individual and the communal drug experience than might parallel the Nietzschean idea of the apollonian and the Dionysian. I will permit myself an aside to describe the latter state for you. This is in the true Quinceyan spirit, for “digression… constitutes the very core of the human unconscious.” Thus, in unlocking its secrets, we are obliged to take this route.

“All the rigid, hostile walls… between men are shattered. Now that the gospel of universal harmony is sounded, each individual becomes not only reconciled to his fellow but actually at one with him… Man now expresses himself through song and dance as the member of a higher community; he has forgotten how to walk, how to speak, and is on the brink of taking wing as he dances.”

It is in this very act of digression that we understand De Quincey’s spirit. The superfluous nature of his prose gives it potency and joy. In the ‘excess’ of his prose and imagery we are shown glimpses of sublimity. Just as how love is glimpsed in the excesses of the gift of a rose. “Flowers… that are so pathetic in their beauty,” show more through their lack than their lustre. Such things are accessed precisely through their non-utilitarian aspect. So to ask of Quincey, “what is the point of all this dreaming?” is to miss it.

“Thou hast the keys of Paradise, oh just, subtle, and mighty opium!”, but one must point out that De Quincey doesn’t recommend such experiences for everyone. Such experiences are characterised by the destruction of the ego, the dissipation of it. The suspension of self to orgiastic Bachic rites, that are, “no friend of any man who’s hostile to the gods.”

We recognise a latent danger in these substances. We can explore this through the observation that these states of intoxication inspire art through the firing of our passions; the very word ‘passion’ inferring suffering. Popular musicians again and again pay tribute to the character of the ‘addict’. Perhaps an artist’s struggle with drugs can be read as an attempt to gain this passion; the authenticity of the opium eater. The sage whose insights are more legitimate, as they have suffered an ‘inward passion’ in the Kierkegaardian sense. Artists, like Christ, gain legitimacy for their willingness to suffer for mankind.

Does not this mindset similarly apply today to those we view as oppressed? We attribute to them mystic insight into the flaws of our society and culture. Videos where the virtues of the poor are displayed to us seem a twisted development of the concept of the noble savage. What truths can these people whom have suffered such hardships offer to us? We assume that one who has suffered and who is outside the societal remit has something of value to say to us. The poet who suffers for his art; the socialist who suffers for his cause. It is the suffering that lends them credibility. From here derives the power of the insult, ‘Champagne Socialist’.

The struggle of the pampered to struggle. Is this not why we look down upon rappers who are not ‘from the streets’, sound ‘posh’, or are ‘too white’? They lack authenticity: where is the realism in their art? To enjoy something we must infer some pain in it. This allows a disturbing insight into our relationship with art.

Perhaps, we feel guilty to enjoy something that is not engendered by suffering; someone must suffer for our pleasure.

The irony that Men who have decried ‘bull fighting’ take no greater pleasure than in the observance of self destruction expressed through their favourite ‘troubled artist’. Quincey remarks that, “The pleasures and pains of opium were inextricable from one another.” Therefore, this is another mode of ‘drug culture’, one that is purely spectatorial.

Perhaps we can extend this to say that ‘consumerism’ is a drugged state. We watch the fulfilment of the promise: “That those eat now who never ate before; And those who always ate, now eat the more.” We glorify a consumption that, like Bronte, will be the death of all of us. Thus drug addict embodies an archetype that we can all relate to. “The pleasures and pains of opium”, needless and excessive, symbolise our own ‘sickness unto death’.

“A little poison now and then: that makes for pleasant dreams,” so liveth the ‘last men’ of Nietzsche’s imagining. This is how the modern man views the visions of drug taking. Lacking the passion and inspiration in our own lives, we seek to gain it through the drug experience. The promise of individuation, seeking self-affirmation in the orient; clashing with our personal sensibilities.

We search for the limit experience, where pleasure and pain are synonymous, where language dare not tread. One need only read the ‘story of the eye’, to conceive of the dangers of this world of Bataillean excess. This image of the transgressive addict, who might have experienced something beyond the common remit, has been much damaged by the advent of the ‘permissive society’. Limited experiences harder and harder to find, one can not readily access the infinite satisfaction promised by the exceeding of conceivable bounds.

As more is conceivable, permissible and understandable, potential for such experience diminishes. If genuine freedom lies in the inexpressible, beyond “that line of foam showing just how far speech may advance upon the sands of silence,” then we are at high tide. One almost feels that in a society where everything is permitted, the only limit one can find is to inflict one upon oneself; the sadistic pleasure of the ascetic.

Interview: Hotel Chocolat co-founder Angus Thirlwell

Beautifully marketed, from the seductive choice of wording to the exquisite presentation of each product, who could resist the cocoa-ey charms of the capsule shop so conveniently located in Manchester’s Arndale? Whether you lose yourself in the arms of the unremitting staff, or browse at your own leisure on the online store, co-founder Angus Thirlwell is here to answer any questions not already made explicit by the brand.

 

The name adds to that luxurious feel of the brand, where it’s a treat rather than a norm. But where specifically did it come from?

It was aspirational. It expresses the power that chocolate has to lift you out of your current mood and take you to a better place. “Chocolat” is almost onomatopoeic, and suggests how the chocolate melts in your mouth.

What inspired the brand, and where did it all begin?

I grew up in the West Indies. We sailed over there in the late 1960s after my father sold his interest in Mr Whippy and took on the challenge of turning around the Barbados Ice Cream Company. I was immersed in an entrepreneurial culture, and surrounded by cocoa trees from a young age!

We all know that Hotel Chocolat is a cut above your average bar. But what is it that makes it so special?

Right from the start, we’ve never played by the rules of what people said a chocolate company should be.  We’re one of the world’s few chocolate makers to actually grow cocoa, on our beautiful plantation in Saint Lucia. Connecting cocoa growing with luxury chocolate making and retailing makes us unique in the UK. Cocoa is at the heart of everything we do.

An obvious one—but are you a chocolate fan yourself?

Cocoa punctuates my day. I start by drinking a cocoa-infused tea to hydrate, and follow that with eggs dusted with ground nibs or chocolate muesli. Then, around lunchtime, an energising barista-made cocoa, and to ease off in the evening, a rum sour whilst enjoying our latest Tasting Box.

Have you found it at all difficult to cope in a time where the nation has become rather obsessed with ‘clean eating’, due to the bad rep chocolate often gets in health?

Our mantra has always been “more cocoa, less sugar”, for a healthier and more satisfying cocoa hit. It’s only when you start pumping sugar and fats into chocolate that it becomes unhealthy. Our house grade milk chocolate is 50 per cent cocoa, and even our white chocolate is 36 per cent cocoa, well above the average. Our 100 per cent cocoa bars have found a hardcore fan base in endurance athletes.

We understand you have incorporated savoury into your products such as the cocoa pasta shells, pesto and finishing oil. Talk us through the range and the process of the new accompanying cookbook.

The roots of this amazing ingredient are deeply intertwined with human history, going back more than 3,000 years. What people often don’t realise today is that people only started getting sweet on cacao 500 years ago. For at least 2,500 years before we added sugar, people mostly enjoyed cacao as a savoury spice. Our cookbook and accompanying cuisine products draw on this rich history, taking inspiration from the dishes and cocktails we serve at our three restaurants (in London, Leeds, and Saint Lucia).

Your christmas products range from the gingerbread spread to the exclusive sculptured advent calendars. What would you recommend for students looking to purchase from the brand?

You can’t go wrong with a ‘Christmas Jumper’ mini slab. Crafted from smooth 40 per cent milk chocolate, at £5, it’s the perfect stocking filler.

In a zombie apocalypse with the chance to save ONE Hotel Chocolat product, which would you choose?

A bar of our 70 per cent Dark Saint Lucia Rabot Estate. It was a real labour of love, restoring a striking 250-year-old estate house and cocoa plantation in Saint Lucia in 2006. At the time, cocoa farming was at an all-time low there and all the local beans that made it to market were lost in mixed bulk sales and anonymous chocolate blends.  I still remember the feeling of pure elation when we became the first chocolatier to produce single-origin Saint Lucian chocolate.

Saint Lucian beans  produce chocolate with a dazzling array of tasting notes, ranging from classically rich cocoa to black tea and ripe yellow fruit, grassy olive oil and dry red Burgundy.

I’m fairly confident zombies would enjoy it too.

Have you considered branding a Golden-Ticket style factory tour? And if so, may I please have a ticket?

Watch this space… We’ve got some exciting things on the horizon.

 

There are options in a range of prices to suit your Christmas budget needs without compromising on quality. Last year I bought a packet of ‘tiddly reindeer’ for a close friend. Or, if you’re feeling lonesome this season, go for a billionaire’s shortbread giant 500g slab all to yourself.

Hotel Chocolat is more than just the products it sells, from ‘bean to bar experiences’ to a ‘chocolate tasting adventure’. Look online to see the range of products, gifts and experiences available—get 10 per cent off until the 22nd of November with online code HC15NOV6PB1FF5F.

Angus Thirlwell will be speaking at an event hosted by the MEC on Thursday the 19th of November, speaking to Manchester students about where his idea came from and how he built his business. This event coincides with Global Entrepreneurship Week. Students can get tickets to the event here.

Ronaldo: Film Review

Arrogance or winning mentality? This is the question that accompanies the viewing of Cristiano Ronaldo’s new autobiographical film, Ronaldo. With behind-the-scenes-access, the film gives a unique snapshot of the Portuguese superstar’s life.

Ronaldo, a.k.a. CR7, describes his time being spent alone, but he is constantly driven by the desire to be the best—or as he puts it; “to prove I am better than the others.” The term “others” could easily be substituted with the name of an Argentinian superstar, playing in Barcelona. Although Ronaldo stresses that Messi is not a rival, but a person who makes him better, the rivalry between the overall winners of the last seven Ballon d’Ors is a key theme during the 102 minutes of the film.

The rivalry between the two often looks like an obsession, which is often the way with his entourage also. Super-agent and godfather to Ronaldo, Jorge Mendes (also agent to Di María, James, Diego Costa and Mourinho), doesn’t miss a chance to glorify his name. He claims Ronaldo is not only better than Messi but is the “best sportsman in the world.”

There is no doubt that he is one of the best in the world, but probably not the best. Instead, he’s surely the best in terms of the biggest ego in the world of sport.  What emerges from the film is a picture of a man obsessed with his own individuality. Football is a team game, but in Ronaldo’s view, the individual becomes more important than the team. This is the reason why the only thing that matters to him is the victory of the individual prize that is the Ballon d’Or. That is also why the documentary gives little or no relevance to the victory of “La Decima” by Real Madrid, or to the clubs and the players of Cristiano’s career. For example, according to a report by The Financial Times, CR7 is shown playing for Manchester United for only 19 seconds during the whole film—but he is seen with a tuxedo for more than seven minutes.

Considering himself the best, Ronaldo reveals to get often frustrated by the lack of quality of his team-mates, in particular when it comes to the national side, where not even patriotism is bigger than his ego. Indeed, Portugal’s premature elimination from the 2014 World Cup caused Cristiano the biggest disappointment of his career, not because of the inability to give his country the first international trophy of its history, but due to the fact that Lionel Messi (who is on screen for 2:39 minutes) could reach the final and win the tournament’s Best Player award.

However, the film also tries to add a touch of humanity and fragility to Ronaldo’s portrait, retracing his childhood in the Madeira Island where he had to struggle with poverty and his unsuccessful relationship with his drunkard father.

There are two central figures in his off-field life. One is Cristiano Ronaldo Jr., who he considers to be his “successor.” Despite this, Cristiano Jr. is a big fan of Lionel Messi, and one of the best scenes of the film is when he meets the Barcelona number 10. His other central figure is Maria Dolores, his mother and biggest fan. This is particularly curious because not everybody knew that Cristiano was an unwanted baby, and that she had planned to have an abortion. But at the same time, she was the person who convinced him to leave Madeira for Lisbon at the age of 12, to join Sporting Lisbon and therefore launch an incredibly successful career.

Along with the quality of the screenshots and the different perspectives of the scenes, on and off the pitch, what makes Ronaldo recommended viewing for any sport fan is indeed the quantity of anecdotes that are told throughout the film. One of them is about CR7’s move from Sporting Lisbon to Manchester United. His agent Jorge Mendes reveals that Juventus, Valencia, Inter Milan and Barcelona were all after the 18-year-old sensation, but wanted to send him back on loan to Sporting for a season. Alex Ferguson was the only one who promised that Ronaldo would play in at least 50 percent of the games in his first season, and therefore he managed to sign one of the greatest players of this era.

It’s indisputable that Cristiano Ronaldo has written an important chapter in the history of the game, breaking individual records and winning everything that a club player could win. Furthermore, he has achieved all of that, not only thanks to his talent, but also due to his constant winning mentality. This takes us back to the initial question of this article; arrogance or winning mentality? The line is blurred in Ronaldo’s life.

(On a side note, I would recommend taking a full immersion Portuguese course before watching the film, as you can count on your hand the number of scenes in which they actually speak English.)

It starts with tampons, but where will it end?

When you think of ‘luxury’ you picture something lavish, with a great deal of expense. Something that is perhaps enjoyed as a treat from time to time, or as a ‘one-off’.

Tampons?

I don’t necessarily think that myself, along with 32.2 million other women in the UK, squeal with sheer and utter excitement at the thought of purchasing our monthly menstrual necessities. However, our nation’s MPs seem to think so, recently voting against an amendment to remove VAT tax on these products. That is to say that the five per cent VAT rate that is added onto what is considered as ‘non-essential items’, would have been discarded.

What infuriates me as well as many others in the UK, both men and women, is that in this day and age, in the face of other cuts, something as necessary as ‘sanitary plugs’ are deemed as ‘non-essential’. What adds insult to injury was that in light of all the things we do pay VAT on, such as ‘luxurious’ tampons, the items we don’t have to pay VAT on are even more unnecessary and futile than our sanitary requirements will ever be.

These goods include edible cake decorations, a ticket to the zoo, and my favourite: Yes, you’ve guessed it, crocodile meat. I’m sure women in Britain are really agonising over the choice of buying crocodile meat over tampons on their weekly trip to the supermarket.

This has caused me to call into question the decision-making bodies that decide how our money is spent in Britain. Still in the 21st century, after years of advancement in equal rights of women, there still seems to be a lack of regard for women and their physical health.

What’s more, with the House of Commons being heavily dominated by men—a recent report shows that after the General Election 2015 the ratio of male MPs to female MPs was 459 men to 191 women—perhaps the unfairness of tax amendments is reflective of the disproportionate number of men to women in parliament.

Furthermore, it also sheds light on the self-serving attitudes that some of these men in parliament have, who value tax reform over the basic needs of women. It should not be overlooked, as their actions speak volumes about how we as women are viewed in today’s society.

This subject in particular brought my attention to the idea of ‘gender visibility’. In translation theory, it refers to the power imbalance in language, where feminine attributes have derivative status to masculine attributes. For example in French, a group containing at least one male or one masculine noun is considered masculine, and takes the pronoun ‘ils’. That is to say that even a group which is predominantly female with just one male loses its gender visibility, and thus its entire feminine status is disregarded.

Similarly, this concept can be applied to the final say on our essentials that continue to incur VAT; it takes just one male to make an authoritative decision on how our spending is dictated, so how much more with 459? It is quite evident to me that there is an element of disequilibrium concerning the amount of power women in parliament have on these matters. While we live in a world of male-dominated politics, the role of women in the House of Commons has the right to be more prominent. Moreover, our concerns and needs should not fall on deaf ears, especially not in the day and age in which our country prides itself on being liberal and democratic.

It is, then, important to note that if a predominately male government can begin to make such harsh and unfair decisions regarding our necessary sanitary requirements, who knows what the future holds for other necessities that may be overlooked? Perhaps we will witness a future of higher spending on nuclear weapons at the expense of cuts to our essential welfare care system? It starts with tampons—but where will it end?

Paul Foot: A man of many words that provide little discernible information

Let me begin this by saying that, over the course of this interview, Paul Foot beat me. I’m not sure what he beat me at, but he definitely did. Trying to interview the comic is not unlike trying to catch jelly on a tennis racket: You can try, you can even retry, but essentially it will slip, slide and evade you.

Being called a bitch in an interview is rarely a sign that it is going well. When Paul Foot says it to me though, it could be an indicator of just about anything. The comic, who has been labelled everything from, “a comedy genius” to “a rare exotic bird,” is not somebody easily labelled or read. With this in mind, I feel it only fitting to open up my questions with a gentle opener. Could you introduce yourself in your own words?

“I am Paul Foot, one of the world’s comedians. I was born in Buckinghamshire over 40 years ago. At first I couldn’t speak or walk, but luckily my parents carried me home from the hospital.

“I performed in pubs for 15 years before deciding to become an overnight success. I now work fulltime in showbizness, coping with attention on train station platforms and eating boxes of sushi that sometimes cost more than £4.99.”

It’s an opening salvo that might leave you fumbling for words if you weren’t aware of Foot’s comedic styling. He is a genre unto himself; he describes his style as a collection of “niche genres; Disturbances, Glimpses and Mime Plus [which he describes as mime with added speech] Madness 2.0 and Madness 3.0—my latest genre which is inexplicably funny.”

The more disorientating the conversation becomes, the more seemingly in tune to what is happening he becomes. Defining his appearance is as difficult as pinning down his answers. Foot occupies an aesthetic somewhere between Brian Eno circa 1970 and Richard O’Brien.

Thinking I have found a residue of sanity from which to draw a question I ask him about his style icons: “I invent my own fashion seasons. Last year it was Space Casual—kind of like an off-duty astronaut’s househusband. This winter I’m moving into Vietnam Honeymoon, the Far East meets sexual doom.” Confused, and slightly shaken by that image, I move on.

Photo: IWMPUK

Despite making a number of television appearances, Foot is most known for his stand-up. Asked what first drew him to live performance his tone shifts, seemingly becoming less abstract: “Making a room full of people laugh is addictive, it’s a sport really, and also I get to see some really interesting backstage dressing rooms in provincial theatres.”

Speaking to anybody else about an interest in dressing rooms might have thrown me off, but speaking about his craft seems to appeal to Foot. Continuing this line he tells me about his method for writing his sets: “I like to go on writing holidays. On this tour there’s a show I wrote in a lighthouse.”

For all his apparent mania, Foot is happy to speak about the craft behind his work. As a former Oxford University graduate his wit and wordplay are, perhaps, to be expected. However what he illuminates in his answers is a level of consideration that perhaps isn’t so obvious to those who have caught his television appearances.

I’m interested to ask whether he likes television work, or whether he feels it can be stifling for more avant-garde performers: “I’ve turned work down because a show is too rigid or too macho or too icky.”

“I am always myself on telly but I might perform slightly older material. Nana Foot watches telly, so I probably wouldn’t tell my joke about a disastrous wedding in which the groom is wearing a kilt.”

His appearance on Never Mind the Buzzcocks, in which he innocently enquired as to whether “Coldplay was the one with James Blunt,” is perhaps his best-known television appearance.

When questioned about this apparent aversion to pop culture Foot seems totally unconcerned by it all: “With Never Mind The Buzzcocks, it’s just pop music—I’ve almost no interest in it. A friend couldn’t believe I didn’t know who Rihanna was the other day. But why should I know who she is?”

As ever though he is quick to make an addition to the answer, and, as per, it is unexpected. “I know some celebrities, obviously, as I work with them. Davina McCall for example. She’s a right babe!”

Photo: IWMPUK

Speaking to Foot, in all his ludicrous brilliance, there is a niggling sense that the performance for him must be cathartic—an opportunity to exorcise his strangest thoughts. However, when presented with this suggestion, he seems unimpressed: “I’m not sure it’s cathartic; it takes a huge amount of energy to put on a good show.

“I find hawk sanctuaries cathartic. Actually that’s a lie, the last one I went to really stressed me out.”

Undeterred, and still determined to latch onto some solid ground, I ask him whether he thinks that his success owes anything to him being such a niche performer. “I’m not sure, but it certainly helps in brothels. I have huge admiration for professional sex workers. I’m hopeless at sex, that’s why I stick within my remit as an enthusiastic amateur.”

It is at this point that I felt I was beaten. I’m very much enjoying myself, but the combination of Foot’s articulacy and surrealism was making it impossible to find any logic in the conversation.

Realising this, I decide to embrace it. I asked him why he chose to distinguish his followers as ‘Connoisseurs’, not fans.

“You can create fans with tricks like advertising and over-exposure, whereas people have to want to become a Connoisseur. It really sorts the wheat from the chaff!

“Connoisseur Elaine wore a different homemade Paul Foot t-shirt on each night at Bloomsbury Theatre.”

It’s with this strange image that I am left. This is outside even the top ten thousand most clarifying conversations of my life, but is safely inside the top ten most memorable.

Foot is a man of many words that provide little discernible information. All I have gathered from our conversation is that he likes sushi, space-casual fashion, and Davina McCall, and that he doesn’t particularly like pop music and icky television.

I ask him if he’s got anything to add, possibly a naïve mistake: “I am actually three ducks wearing a human costume. Don’t tell Michelle!” he says.

Who is Michelle?

 

We put some one-word statements to Paul. These are his musings.

On Jeremy Corbyn – “I discussed Jeremy Corbyn recently in my newsletter that I send to my Connoisseurs. Is it a coincidence that his initials are JC? Almost certainly. But, he has some things in common with Baby Jesus. They both have beards, which I hate. They’ve both made something out of wood in the past (probably). Neither is the son of God. I could go on.”

On death – “LOLZ. That’s what I want on my tombstone. Not really. I want Angela Lansbury with angels wings, not a statue though, real Angela, from 11am-6pm Monday to Thursday, just hanging out in the cemetery.”

On allergies – “I presume you ask this because of my joke about Allergies, which is on YouTube I believe. GET WITH THE TIMES BITCH!”

On the Royal Family – “I think they’re fantastic, but I almost definitely wouldn’t mind if they weren’t there. I think Katie Middleton has got a right doss of a job, and I can’t wait for Prince Philip to explode with gout.”

On dinner parties – “I don’t go to any! My worker Ken was saying the other month when we were clothes shopping “Oh yeah Paul, that’s nice – you can wear that to a dinner party…”—“WHAT DINNER PARTY?! I’m not at dinner parties am I? I’m on the frigging stage doing a comedy show!” I don’t go to dinner parties! Not often, anyway.”

On rap music – “I have to be careful what I say here because I have a rap career in the pipeline.”

On Shakespeare – “Ah yeah, top playwright. Definitely up there with the greats. He’s loving it.”

Paul Foot will be appearing at the The Lowry in Salford on the 23rd, 24th and 25th of November, and is on Twitter @PaulFoot.