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Day: 2 March 2016

Review: King Jack

King Jack, the story of a bullied delinquent learning some big life-lessons after his young cousin comes to visit is a solid addition to the coming-of-age-genre, but it isn’t exactly groundbreaking. At its best, King Jack recalls the work of David Gordon Green (excluding his forays into stoner comedy), with naturalistic dialogue and dreamy cinematography that work together to ground viewers in the summertime melancholy of its protagonist’s headspace.

It’s difficult to talk about King Jack without referring to other directors seeing as director Felix Thompson (making his feature debut) wears his influences entirely on his sleeve. Besides Gordon-Green, anyone familiar with the work of Jeff Nichols or even our very own Shane Meadows will find King Jack to be more than a little derivative.

But derivative does not always equal bad and King Jack is ultimately a very charming, if slight, film. This is in large part due to a fantastic lead performance from Charlie Plummer, whose depiction of adolescent malaise is note-perfect, with exactly the right blend of insecurity, vulnerability and awkwardness that only ever seems false when the script lets him down.

The script is arguably King Jacks weakest part, prone to veering into cliches or jarring tonal shifts. The film as it its strongest in its early scenes, where it focuses on how Jack deals with the humiliation and cruelty of his everyday life. A third-act decision to examine the cyclical nature of violence and bullying has the potential to be interesting and the intensity of the brutality is appropriately difficult to watch. But it unfortunately lacks the gut-wrenching emotional impact of a film like This is England, in part because any sense of character development is only given to Jack’s tormentor too late in the film.

It would be easy to criticise King Jack for being naive in its presentation of poverty or for not fully exploring some of the darker themes at its centre, but optimism is an important part of coming-of-age stories. Though the film is checkered with troubling moments, it’s clear that Thompson is more interested in examining the healing powers of companionship and the importance of responsibility than forcing the audience to endure 90 minutes of unrelenting emotional distress.

Though King Jack is undoubtedly a flawed film, audiences should find plenty to enjoy in its sincere and tender approach to familiar subject matter. Thompson’s decision to draw so heavily from the canon of small-town dramas could be read as a lack of confidence from a first time director but there’s enough good stuff in King Jack that a second feature would be something worth anticipating.
3 stars

Fish out of Water: Marina and The Diamonds

23rd November 2015

The Ritz

It’s fair to say I didn’t know a lot about Marina and the Diamonds—unless you count the two tracks that I accidentally synced onto my iPod from my sister’s iTunes a couple of years back. Not really being a pop fan, and normally used to seeing DJs or predominantly male rock groups, Marina’s gig was certainly different from how I expected it to be. I have been lucky enough to see some of my musical heroes perform, but I can honestly say that this was one of the most fun moments I’ve ever had at a gig.

The first noticeable thing upon entering the Ritz was the crowd. The devoted level of fandom was unlike anything I had ever experienced. Alongside the expected teenage fan girls, grown men and crying teenage boys were going crazy to every single song. People on the front row were holding banners with messages for Marina. One even had a drawing of the singer; which after an hour of holding it in his outstretched arms, finally managed to give to her. To my surprise Marina wasn’t overwhelmed by such a hysterical crowd, despite it being a rainy Monday night in Manchester, she took it all in her stride.

The gig itself was loud, eccentric and brilliant. Split into three segments (each to cover one of her three albums) the set up was pretty mental. With each album change, came a costume change. Each one more elaborate than the last, the costume transformations were fantastic. Combined with the musical changes, the whole thing almost felt Bowie-like; yeah I’ve said it: Bowie-like. Thankfully the band carried on playing over a visual backdrop during the intervals so the gig never dropped in pace.

Marina herself was a star performer. She didn’t remain still for the whole set, and instead danced away enjoying herself and interacting with the crowd. It was a pleasure to see a singer enjoy their own music so much and treating their fans so well, and not as just walking wallets like most pop stars do these days.

Early music from The Family Jewels such as ‘Oh No!’ and ‘Hollywood’ may have been light-hearted and jokey, but it’s joyous. My favourite track of the night, ‘I Am Not A Robot’ was from this first segment.

The second transformation for Electra Heart was definitely the weirdest with Marina bringing out a strange toy dog and labelling it her crack addict pup. New music from album Froot is more serious and brooding. It’s ironic that ‘I’m A Ruin’, which starts as a sensitive piano ballad is surprisingly upbeat in its lyrics, while the bouncy ‘Blue’ has deep lyrics referring to her break up, but this is part of her genius.

If it hasn’t come across already, I thought Marina was great. Her voice was subtle yet powerful, allowing her to hit beautiful notes that captivate the audience. Compared to most other pop stars on the scene nowadays like Miley Cyrus or Nicki Minaj churning out crock after crock of shit, we should celebrate a homegrown talent like Marina more.

Live: Marina and the Diamonds

Thursday 19th November

Manchester Academy One

7.5/10

On Thursday night Marina Diamandis, better known by her stage name Marina and the Diamonds, brought her Neon Nature tour to Manchester, providing punchy pop old and new in a colourful sensory delights that very much lived up to the tour’s name. Performing songs from her albums chronologically with an act (complete with a different shiny seventies inspired catsuit for each) dedicated to each ‘era’.

Diamandis performed in front of large screens emblazoned with a mixture of emojis, pop art images and the geometric colourful shapes that have dominated the campaign for her latest album ‘Froot’. Her irresistible stage presence was asserted as she traversed the Academy stage and the seeming lack of any real choreography was made up for by lots of camp over the top gestures and endearing crowd interaction.

Throughout the show the real jewel in the crown of the show was her undeniable vocal prowess that ad-libbed and coo’d in all the right places, and held its own on both the more upbeat electro-pop numbers, and when she opted for the piano as with the song ‘Obsessions’ (that she informs us “got her signed”). The crowd’s energy reached its definitive peak towards the end of the second act with the performance of Electra Heart cut ‘Lies’ whose dubstep inspired production packing a powerful punch in a live setting, complete with an energetic strobe that only added to the excitement the performance of the song generated.

Unfortunately, all of this built up energy was lost with her movement into the third act with songs from her lowest charting third album. Mid-tempo songs such as ‘Savages’, ‘Can’t Pin Me Down’ and ‘Solitaire’ led to an undeniable lull in mood that was only saved by her unexpected and touching version of the Cyndi Lauper classic ‘True Colors’ that managed to provide a new take on an already much covered classic.

The stunning Welsh-Greek starlet ended the show perfectly with the bouncy pop sounds of album highlight ‘Blue’ – wrapping up a show that, although slightly slumping with the inclusion of some of her more languid recent material, contained enough to provide a feast for the eyes and ears that would leave any self-respecting pop fan more than satisfied.

Live: Hinds

Hinds | Gorilla | 20th February

10/10

“Hooolllla!” Spanish quartet Hinds have arrived. The all-female outfit take to the stage with a level of genuine enthusiasm and gleeful energy that is sustained throughout the course of their blistering hour-long set. They have the audience burrowed deeply into the palms of their hands. Guitarist-vocalist Carlotta Cosials blows a modest kiss from behind her mic; later, there’s even a crowd-pleasing bit of mini-choreography between Cosials and bassist Ade Martin.

They are by no means revolutionary. Seasoned alt-rock fans will know their reference points very well: the surf-rock twang of Pixies; a touch of Best Coast and the Pastels; Beat Happening’s guileless lo-fi pop; the rollicking jangle of early Orange Juice; a generous helping of the Raincoats; and, of course, the Velvet Underground. But rarely has such a familiar synthesis been played with such exuberance, charm and gusto, the sound of Postcard Records by way of sunny Madrid.

Moreover, Hinds are more accomplished than many might think. Behind their rickety, trebly garage-rock lies an incredibly taut guitar band. Drummer Amber Grimbergen handles the restlessly shifting tempos – variously skipping, dragging or hurtling towards a crescendo – with relish. Guitarists-vocalists Cosials and Ana Perrote alternate effortlessly between the ebb and flow of spiky jabs of distorted jangle and sparkling, melodious thrumming. Hinds are also satisfyingly less winsome than their peers – close attention to the words on ‘Fat Calmed Kiddos’ reveals the delightfully salty lines: “Texting me while you were drunk, whatever makes you happy…” The four-piece end on a high to the sound of unanimous applause; this writer suddenly realised that he’d been smiling all the way through from start to finish. Hinds are that special sort of band: the kind that makes you want to race home, blow the dust of your old guitar and start one of your own.

Live: Mystery Jets

Four-piece London band, the Mystery Jets have been absent from the music radar for the past few years, and after the January release of their latest studio album Curve of the Earth it’s easy to see why; laced with bittersweet lyrics, space-age imagery and sumptuously catchy pop riffs, the Mystery Jets have lifted-off with possibly their most mature, melancholic and inventive studio album yet. Judging by the sweaty packed out capacity in Gorilla on Friday night—where the band played their new songs for the first time in Manchester—it is clear to see that the album has earned deep respect from fans both new and old.

Usually when bands play new songs for their audiences for the first time, they’re met with utterances and sighs from the audience—irritated with the idea of having to listen to a song they are not yet familiar with. With the Mystery Jets, this is not the case; the night begins with the first new single ‘Telomere’, and there is a real palpable sense of anticipation from the audience, as they watch engrossed, swaying hands in the air, softly repeating ‘Oh telomere’ back to the band. As they launch into melancholic anthem ‘Taken by the Tide’ the crowd come alive, jostling and wavering, crying “taken by the tiiiiide” in time to the chorus. It is great to be at a gig where the audience are so receptive and excited about the new tunes; to the point where they know every word to sing. The band pleased with old tunes too; ‘Young Love’ and an encore for ‘Two Doors Down’ were met with frantic crowd-surfing and singing. However, it is not only the new album that’s been baptised in approval. “Mr Jack Flanagan, ladies and gentlemen” Blaine Harrison announces during the gig, as the bands new bassist is met with a friendly cheer by the crowd.

Backstage, The Mancunion spoke to the band before the show, are enjoying gin cocktails in Gorilla’s kitchen before the set. “Did we order these? Who ordered these?” They joke as they pick at a bowl of spicy fries that arrived at the table. They discuss the making of the new album, a personal and nostalgic journey for the band. “It’s our most personal record, and it’s based very much on the experiences that we’ve all had as a band over the last 10 years, so it’s kind of like a study of the band’s history really” says guitarist Will Rees. “A lot of the record kind of sounds like memories to me it’s got this kind of filter, like an Instagram filter!” “X Pro 1” adds Jack.

Despite the songs having this nostalgic “filter”, the dark elements of the past for the band have not been overlooked. “It’s definitely not sugar-coated, some of it—if anything has got chilli oil dribbled all over it,” explains Rees. “I think we were trying to be as honest about it as possible. If it’s too sugar-coated it’s too sweet. But the past is quite a magical place, really. That’s worth making the most of, you know, music’s gotta be magic otherwise it’s boring.”

Visually, the show was magic to watch. One searing pink line breaking through dark navy illuminated the band in pinks, purples and blues—all resembling the album artwork for Curve of the Earth. Space and earth have contributed much of the inspiration behind the record, as the band cite the Whole Earth Catalog (WEC) from the 1960s and ’70s as a “springboard” for some of the images within the album: “[WEC] was pretty much like a yellow pages for the 1970s counter-culture like, hippies, and in the Whole Earth Catalog, you could kind of learn how best to cultivate your own marijuana or where to meet like the like-minded people,” Jack explains, “once Steve Jobs in a speech described it as like the analogue internet, and when the book came out, he went round to university campuses and handed out these badges saying ‘why has nobody ever seen any pictures of the whole earth?’ And there’s just this real kind of innocence and naivety to it that’s part of it I think.”

I think these catalogues sort of reflect a yearning to like, bring people together and connect people.” Rees adds. Perhaps this is the intention of Curve of the Earth, to bring their audience together—much like they have at their Gorilla gig—and unite the past of the band with the future.

Brexit will be better for Britain

June 23rd is the date in which we will finally be rid of the clumsy combination of “Britain” and “exit” that serves as the name for the collective campaigns for us to leave the EU. This alone, due to fear of once again having to deal with this word, should be adequate inspiration for our leaving of the European Union.

One of the first serious considerations we have to account for when approaching this discourse is trade, and whether or not they are adequate alternatives or additions. Close to the River Clyde, near Glasgow, stands the 150ft Titan Crane, surrounded by the abandoned memories of what once was a thriving local industrial ecosystem with worldwide trade implications.  Amongst these implications were the continuous trade in Wool and dried fruits from Australia, butter from New Zealand, Steal from Canada, spices from India, Tobacco from the Americas and sugar from the Caribbean.

Indeed, the remarkable imperial nature of Glasgow’s past still maintains a legacy in street names such as Jamaica street, Plantation Square and India Quay.

And so, we have previously sat at the centre of the “kith and kin” commonwealth trading ecosystem, rather than seek a similar status at the centre of the European trading community, in a system named the “Imperial Preference.”  In return, we exported the produce of what once was a great British industrial complex.

Coupled with the Titan crane is the site of the Singer sewing machine factory, which once incorporated over 17,000 people on its pay roll, along with the epicentre of John Brown Engineering at Clydebank leading to shipyards that launched ocean liners such as the Queen Mary, Queen Elizabeth and the QE2.

Now, however, the Titan Crane stands as one of the only memories of another overlooked age of Imperial preference. What this age represented was a system of trade, in which its security was guaranteed by import tariffs and preferential trade agreements, casting a reflection of anti-European alliances and further commitments. Churchill himself made his view adequately clear when considering “If Britain must choose between Europe and the open sea, then she must always choose the open sea”.  Nowadays the open sea should be interpreted as the BRIC economies.

After our interventions in the early 1940s , this trade system began to fall apart at a similar rate as the decline of the British Empire and, therefore, so did the city ports.

As we approached the 1970s, Liverpool was the second largest industrial port in the country, after London. Similar to the Clyde, the Mersey connected Britain to the wealth of the entire world and mostly did business with the current and former countries of the British empire. However, as a result of Edward Heath’s signing of the treaty of ascension (coming into force on New Year’s Day in 1973)—confirming Britain’s membership of the European Economic Community, Liverpool found that its geographical location lacked pragmatism when it came to European trade. Many of the old “kith and kin” companions did not appreciate the new expressions of pro-European amicability as the trade produce of Commonwealth countries faced import tariffs—a result of the new friendship with Europe.

The evolution of trade from the Empire to Europe changed the centre of the gravitational pull of British trade from the city ports of the west to the new fine trade ports of the south and east. A further implication of our new European membership was the acceleration of the decline of traditional British manufacturing and the incline of, what is now, arguably, our strongest export—the service based economy. The manufacturing that survived, though severely diminished, is now more closely integrated with European economies more than ever before. Gestamp Tallent, a Spanish-owned company, with plants in the north east and the midlands,  has factories in 10 EU countries and a further 10 in non-EU  countries. At the plant in county Durham, specialised parts for cars are made. It is fair to say that this plant is a good indictment of the 40 years of the EU membership. In 1980, seven years after our entry into the European Economic Community, it sported a turnover of around £3m a year only for this to increase tenfold, to £30m a year by 1990. Today, the sales of this particular plant exceed £200m a year.

Now, where is the market for the products produced by the county Durham plant? Two thirds go abroad to plants that are mostly within the EU where the cars are assembled. Only a third of what is made is sold to car plants in the UK.

Would a vote to leave the EU threaten economic activity like this? I think it is unrealistic to say that such trade will be negatively affected by our (if we have to use the term) Brexit.  It will be in the interests of the other EU countries to go on trading with the UK—and in their interest that other nations can, and do, trade freely with Europe from outside the EU.

Having assessed the European implications of on our economy, and more specifically trade, the second largest issue associated with this debate is the security implications involved in Brexit.

The UK’s threat level is currently at “severe,” the second highest status on the scale, and the government sees a terrorist attack as “highly likely,” We are quite prominent in the Neanderthal mindset of IS with, it is predicted, over 2,000 individuals with Islamic state sympathies or terrorist connections living in this country. We have prevented a Parisian style attack in this country because of the nature of our intelligence and the nature of our borders.

September 2001 and the London Bombings of 2005 inspired reform in the intelligence community in this country. We broke down inter agency connections that lacked pragmatism and have removed “silos” that still exist in some of the European intelligence communities.

The old foreign policy rivalries have largely been set aside and yet, absurdly, in France and Belgium the police and intelligence agencies share little love yet alone intelligence. It is widely known that, for a Belgian police officer to find out what Belgian intelligence knows about a security threat, a Belgian police officer sometimes needs to learn of the threat from UK police, who, ironically, have learned of the threat from the Belgian intelligence.

Britain has something that is unique to continental European countries—a single coastline. Because we have not have not signed up to the Schengen open borders agreement, it is difficult for organised criminals to obtain the sort of armoury used in the Paris attacks. It has been admitted by senior EU counter terrorism officials, prior to the migrant crisis, that, despite the strengthening of the EU’s external borders, once weapons of this kind have crossed over from the Balkans, there was very little that can be done to prevent them crusading across Europe.

Furthermore, our strongest intelligence relationships are with countries that are outside of the EU. These nations make up the “five eyes” intelligence community consisting of the UK, Canada, United States, Australia and New Zealand, along with having strong ties with the intelligence communities in Pakistan and Saudi Arabia.

Therefore, one could argue that leaving the EU will not have a negative effect of the security capabilities of the country. However, we have been subjected to situations in which the security of our nation has been threatened by EU laws. It was, under EU law, illegal for us to deport Abu Qatada, a threat to national security, because of the fear that his trial in Jordon would include evidence obtained by torture. This links amicably with a further fear that the “in” campaign has with Brexit. This is the fear that we will repeal our human rights legislation. I severely doubt that a country that has socialised medicine would immediate bin their liberal values upon Brexit. Furthermore, one may remember that at the beginning of the current parliament it was proposed that we repeal the human rights act. This was justly and swiftly met with immediate defeat in parliament and so our human rights worries would not be ones that are worth dutiful consideration.

Arguably the most controversial issue surrounding the whole debate is the problem of immigration. The world is a bigger place. Globalisation is occurring and now transportation is easier. Net immigration levels being bigger than the Huguenot wave is almost inevitable. The migration of 50,000 Huguenots occurred over a period of 100 years. Today, we let in more than 620,000 people per year. In the seventies, long term migration from European member states was, on average, around 20,000 per year. By the nineties, this number had gone up to 60,000 and in 2014 it was 251,000. It would not be unfair to argue that this is not sustainable.

From Jewish migration to Windrush, to the Asian migration in the seventies and eighties, immigrant communities have integrated and made this country a better place. This is not an attempt to place blame, stigmatise or discourage people from coming to our country and trying to create a better life. However we do have an unsustainable system in place.

One could aim to amend this by firstly removing the passports of those who fight alongside terrorist groups and, should they successfully leave the country, deny them entry upon return. Secondly, we should close our open borders with Europe and adopt a points based system designed to make a fair system for commonwealth countries along with ensuring that we have enough skilled workers.

This journey does not have to be lonely. This country has survived and, arguably, seen its best days in a non-EU binding security, trade and immigration environment. Despite its aesthetically unpleasant sound, ‘Brexit’ represents our ability to recapture our sovereignty. We have defeated far greater threats, from European countries, to our sovereignty. Haven’t we had enough?

The Pope’s stance on birth control does not hide the Church’s misogyny

Pope Francis’ reputation as the progressive new voice of Catholicism was strengthened last week, as he weighed in on the growing Zika virus crisis. Esteemed broadsheet Teen Vogue ran with the headline ‘Pope Francis Says He’s Cool With Birth Control Now’, going on to describe how the Pope has “made history” by condoning women rebelling against the church’s ban on unnatural contraception. In fact, all he said was that “avoiding pregnancy is not an absolute evil”, in cases such as the Latin American women faced with the Zika epidemic. And this was only in response to a question asking whether birth control might be, in the Catholic credo of “the lesser of two evils”, better than abortion as a way of avoiding giving birth to a baby infected with the virus. Inspiring.

Despite the apparent tenuousness of the link much of the media seems to find between ‘endorsing’ birth control and saying it is “not an absolute evil”, perhaps we should make allowances for those who believe the quote points to the end of the Church’s ban on reproductive rights. After all, compared to his predecessors’ opinions on the subject, Pope Francis saying that contraception is anything less than an abhorrent abomination is positively liberal. Probably the biggest controversy surrounding the Church’s stance on birth control has been in the condom ban in Africa at the heart of the HIV/AIDS epidemic.

While evidence has proven condom use to drastically reduce the infection rate, and ‘abstinence only’ sex education to be ineffective, Pope Benedict XVI spread the lie to African bishops in 2009 that AIDS ‘cannot be overcome through the distribution of condoms, which even aggravates the problems’. In his own visit to Africa the following year, Pope Francis softened the rules in a similar way to his current commentary on the Zika virus, stating that condoms could possibly be used in ‘justified individual cases’. However, the statement was as hollow then as it continues to be.

He did not lift the ban then and he hasn’t now, and while his attitude may seem progressive – that is, compared to previous Popes—it is still anti-contraception, anti-choice and, by extension, anti-women. In a world in which there are 1.2 billion Roman Catholics, 40 per cent of whom are in Latin America, having an at best ambiguous stance on contraception and continuing to call abortion ‘a crime, an absolute evil’ (as the Pope did last week) is not only ignorant, but dangerous.

The Pope’s refusal to accept birth control use for anything other than special circumstances of infection not only endangers women’s lives but betrays a fundamental hypocrisy in his own beliefs. In moves that established and entrenched his status as the ‘progressive Pope’, Pope Francis has spoken out against poverty and climate change. Yet these are two problems that could be vastly improved by giving women unlimited access to family planning resources. Giving people the ability to choose when to have children means they have better educational opportunities, and therefore a far greater chance of breaking the generational cycle of poverty. Birth control would also help to slow population growth to a sustainable level, a hugely important step which would, according to Rebecca Ruiz in Mashable, ‘directly affect our chances of withstanding climate change’. By continuing to prohibit the use of contraception, Pope Francis is willfully ignorant of the truth: that allowing women, particularly in more impoverished nations, to use birth control would help in the fight against the very issues he is passionate about. This hypocrisy reveals the extent of the misogyny in the Church.

It is interesting that Pope Francis is—perhaps rightly—viewed as progressive in many other areas, but cannot make the same advancement for women. It’s as if denying women’s rights is so ingrained in the Roman Catholic belief system that it’s seemingly impossible for him to do anything other than make vague remarks on the issue. This would hardly be noteworthy for any other religious leader; we are used to misogyny being a significant part of most religions, Catholicism included. But this Pope is supposed to be different. His record of changing the Church’s more conservative rules is extensive, having envisioned an ‘inclusive church’, holding bishops and cardinals accountable for sex abuse (for the first time), and emphasising the allegiance of his church to the poor rather than the elite. He has spoken out against the ‘cult of money’ controlling the financial system, and clashed with Donald Trump this week after calling his crazed wall-building rhetoric “not Christian” in Mexico. Bernie Sanders, meanwhile, is a “big fan” (according to Allan Smith in Business Insider), calling the Pope’s views on income inequality a “very radical critique of the hyper-capitalist world system we’re living in today.” The fact that Pope Francis cannot have the same liberal mindset when it comes to reproductive rights, as he does for all the other issues he has spoken out against, exposes how entrenched sexism in the Catholic Church really is.

Essentially, it is not just the Pope himself but the entire Roman Catholic Church and belief system that needs to change its position towards women. The Pope is important because he is the figurehead and spokesperson for the organisation. Any man preaching against women’s reproductive rights is always exhausting and demeaning, but when it is the Pope— whose worldly influence is insurmountable, and who is perceived by many as a liberal icon—it becomes far more problematic. Ultimately, ‘progressive Pope’ is something of an oxymoron. The heart of the Vatican and the Catholic Church is riddled with misogyny.

Calls to repatriate bronze cockerel at Cambridge

Following the Cecil Rhodes controversy at Oxford University, Jesus College Cambridge has witnessed a similar debate in its own Students’ Union. The Benin Bronze Appreciation Committee (BBAC) put forward the motion to return the statue to Nigeria in a repatriation ceremony, in an effort to “weed out the colonial legacies that exist” in the University. The 11-page document that proposed the motion emphasises that the gesture to return the cockerel would be the “just” thing to do.

The sculpture, named “Okukor”, along with several other Benin Bronze items, was looted by the British during the ‘Punitive Expedition’ in 1897. The expedition is remembered as a brutal act of imperialism, in which the British killed thousands of citizens and destroyed the city of Benin, leading to an annexation of the Kingdom. Nigeria has made several requests for Benin artwork to be returned to its rightful home, as the art is essential to Nigerian history and culture. Students state the returning of the okukor would provide mutual benefit both for the university and Nigerian culture.

The Benin bronze cockerel has been situated in Jesus College since the 1930s. The cockerel is the mascot for the College, named after its founder, John Alcock, the Bishop of Ely. Students suggested Okukor could be replaced with something of the college’s choice.

The BBAC presented their debate successfully, meaning that the College’s council will discuss their proposals on the 7th of March. It was a unanimous decision in the Students’ Union, however there has been discussion elsewhere to allow the cockerel to tour different places of the world.  Jonathan Jones from The Guardian argues that this way it can be seen by many people, whilst being reminded it is a piece of Nigerian culture.

Jason Okundaye, a Pembroke College student involved in the discussion, brought forward the point that black students should have more say in the cockerel’s repatriation.

Record Reappraisal: The Lounge Lizards – Voice Of Chunk

Released 1988 via Strange and Beautiful Music.

The Lounge Lizards were an experimental group formed by two brothers in 1978, John and Evan Lurie. By combining elements of experimental jazz, free improvisation and minimalistic repetition, they created a sound which was a niche genre within itself. One of the most prominent features of their music was the particular strong sax line, juxtaposed with laid back beats and cross rhythms.

Voice Of Chunk was released 10 years into their flow—once they were comfortable and familiar with their sound. Many have described this as one of The Lounge Lizards’ lesser albums, yet for me it combines two elements of their sounds in subtle harmony; it effortlessly blends their noisy anarchy-like sound with a smooth melodic side. The album itself is a story or even a journey, taking you through all the complexities and wonders of all aspects of the Voice Of Chunk.

The album starts with ‘Bob The Bob’—for me, one of the best songs on the record. It is so, so incredibly smooth. It begins with a silky sax line that tastes creamy—the guitar, piano and drums all tinker in, fitting like cogs spinning in a well-oiled machine. This song starts slow, creeps up on you, and then slyly knocks you over with frankly, some serious side-rhythms. At only 2 minutes long, it’s one of the gentler but sexier tracks.

This moves seamlessly into the title track, ‘Voice Of Chunk’. This feels like a natural development upon the previous track, incorporation a slightly angrier  dual sax voice that never quite synchronises with a thrashy piano and jumpy beat. The sexy Bob The Bob grows into a fiery cross-rhythm paradise full. The prominent feature of this track is the constantly repeated but always so slightly different sax melody. It shows the ability to develop the melody in a pretty sophisticated manner, which lets the listener lose themselves into the music.

‘One Big Yes’ comes as yet another natural progression pushing you further into the soundscape of The Lounge Lizards. As a fairly similar track to Voice Of Chunk in structure and layout, it sounds remarkably different, with a strong driving riff. This song feels like you’re being propelled forwards, with the chords that never quite settle on a root, throbbing drums.

A final touch on a song worth hearing is ‘Tarantella’. Imagine a Spanish fairground that engages in pyrotechnics and a sense of terrifying decor that doesn’t quite fit. An entirely different song to the rest of the album, it’s wonderfully catchy and acts as a brilliant anthem showing the admirable personality of the group. It has a jaunty piano fairground riff which gets overpowered by spooky screaming instruments and a tongue in cheek vocal refrain.

This is jazz with a cinematic sensibility. As an album, not one song acts as a weak point, each bringing something further to the fore. It can be so wonderful because it doesn’t just showcase the smooth and tasty sections, it stands strong and pisses the ugly parts right down your throat, as they say in ‘Tarantella’, “And we’re proud of it, oh so proud of it, that’s just the kind of guys we are”. It’s both a soft dream and hard hitting kick in the gut. I’m not a fan of the word quirky, but the word is fitting to describe this niche corner of jazz. If you listen and enjoy, have a gander at their 1981 album The Lounge Lizards for an angrier, harder hitting, and toe-crushing performance.

Review: Zoolander 2

Zoolander 2 reminds us that sequels to cult comedies, like Anchorman 2, can never live up to their predecessors. But these kinds of films can instead allow for audiences to once again return to their favourite characters. Zoolander 2’s characters are what makes the film function. It is fantastic to see Ben Stiller and Owen Wilson as Derek Zoolander and Hansel onscreen again. It is also refreshing to have a few new faces, be they Kristen Wiig playing Alexandra Atoz, or Benedict Cumberbatch playing the ‘male-or-female? Who knows?’ model. There are some great cameos throughout the film as well, including Billy Zane (again), Justin Bieber, Kiefer Sutherland, and most memorably, Susan Boyle and the American astronomer Neil deGrasse Tyson.

But it is Will Ferrell reprising his role as Mugatu, and his assistant Todd (Nathan Lee Graham), who steal the show. In Zoolander 2, Mugatu truly cements himself as one of the greatest villains in comedy history. His presence saves the film with funny after funny. It is sad, however, to see such a talented actress like Penelope Cruz playing the Interpol Fashion Police Agent Valentina. She only seems present as an object, and her crude role in the film reminds me of several comedies (normally starring Vince Vaughn or Adam Sandler) that the Zoolander franchise is not.

The opening sequence of Zoolander 2 is a highlight of the film, and lets the audience watch Justin Bieber get gunned down, whilst also bringing them up to date from the Zealander original story in 2001. Watching Derek lose his son following not being able to “make the spaghetti soft” is particularly amusing. This passage of time is emphasised throughout the film. As Derek and Hansel return to the fashion world, they find themselves not strutting along beautiful New York City gangways, but instead performing in shows taking place on top of toxic waste heaps.

It is these kinds of moments, unfortunately only really taking place in the opening 45 minutes of the film, that makes the Zoolander franchise stand out from others. Just as how Anchorman was about the classy news of the 1970s, Zoolander is all about the modern day fashion world. Hipster designer Don Atari, played by Kyle Mooney, is another fantastic reflection of this.

Zoolander 2’s plot is also commendable. All films need good plots, and comedians tend to forget that comedy films are also true of this.

Zoolander 2 is ultimately a relatively funny sequel, whilst obviously not being as good as its predecessor, it manages to return audiences into the Zoolander franchise. Had it not been for the film’s predecessor, I would not have been a fan of this film at all. But when you consider the groundwork Zoolander did in regards to building some fantastically memorable characters, Zoolander 2 works well, and progresses from its predecessor.

3/5

Top 5: Films within films

5) They’re Filming Midgets (working title) – In Bruges

Despite Colin Farrell’s initial reaction to the film set, this film in production actually sounded very interesting. Somewhere between a pastiche of and a homage to Nicolas Roeg’s Don’t Look Now, complete with Lynchian midget-filled dream sequence. I can see it at Sundance.

 

4) Angels With Filthy Souls – Home Alone

Not only does this film look like a classic of the mob movie genre from the short clip we see, but it’s dialogue is so true and so sinister that it can both provide a young boy with free pizza AND protect him from dangerous criminals. I would donate at least a fiver to the kickstarter for this film, and they can keep the change on the filthy animals.

 

3) Simple Jack – Tropic Thunder

It was the film which destroyed Tugg Speedman’s (Ben Stiller) career, and by the looks of it for good reason. Simple Jack is terribly written, horribly acted and extremely insensitive. But overall, I think its hilarious. I would watch Simple Jack if it was on TV. Interestingly, the titular character bears a striking resemblance from another completely terrible film I love—The Lawnmower Man.

 

2) Nation’s Pride – Inglourious Basterds

For a piece of Nazi propaganda, Nation’s Pride actually looked remarkably well shot. A real piece of history, if it was an actual film and not part of a subplot for a Tarantino film, it would be a mandatory watch in history courses. But I would probably give the screening a miss.

 

1) Birdman Returns – Birdman or (The Unexpected Virtue of Ignorance)

Birdman was undoubtedly a great film, but the titular Birdman franchise may have been even better. While he may have Batman, I for one would love to see a feature length superhero movie featuring Michael Keaton dressed as a giant bird. I don’t know why he never made Birdman 3.

Interview: Run Wild MCR

Following the recent announcement from SPORT Manchester that the University’s Sport Office has negotiated 1,000 places for staff and students to run  the Great Manchester 10 KM, the largest 10 kilometre run in Europe, what better way is there to make the most of this opportunity than by joining like minded students at Run Wild MCR? And ahead of what is often referred to as ‘Running season’, or ‘Marathon season’ with both the Manchester and London Marathon amongst many others taking place just after Easter in April, I caught up with Mark Harrison from the Run Wild MCR society to discuss running in general, the events you can get involved in across campus and also some advice on how you can reach your full potential.

1) So what exactly is ‘Run Wild MCR?’

We’re a group of students who love running, whether that means going for a light jog followed by brunch on a Saturday morning or pushing our limits on a track. We focus first and foremost on having a great time, and enjoying the benefits that running can offer for your health and well-being. There is also a great social side to running, and this is integral to the Run Wild community.

2) What types of events do you host?

We arrange a wide variety of sessions, ranging from track sessions to fell runs. Our regular meeting is every Tuesday evening, where we go for a run either into the city centre or around the campus. We also coordinate a ‘Great Run Local’ event in Birchfields Park every Sunday. Our other sessions are organised on a more ‘ad hoc’ basis, and usually take place on Thursdays or Saturdays. Our Facebook page is also a place where runners can find others to run with, or organise informal runs whenever suits them.

3) Is this society only for students with running experience or can anybody join?

We welcome all abilities, from beginners to more advanced runners. To do this, we split into a number of differently paced groups on our Tuesday runs. Our one request is that you can do at least 30 minutes of light continuous exercise to come to our Tuesday sessions, as the routes are usually at least 5km. We occasionally organise 4-week beginners’ courses, and our next one (led by qualified leaders) will take place in the coming months.

4) Other than the Run Wild MCR events, what events would you recommend for aspiring runners?

Manchester has a wide variety of free timed runs that take place in local parks. For example, there is Park Run in Platt Fields and Heaton Park, Great Run Local in Birchfields Park, Salford Quays etc. There’s always a great vibe at these events and there will always be runners of similar ability to you. Also, events like the Great Manchester Run are great targets to work towards and can give that extra incentive to keep up the training!

5) As a runner yourself, what are your hopes or goals for 2016?

Personally, I’ve decided not to worry so much about getting lots of personal bests in races (something I used to care about a lot!), but to do a wider variety of running events such as fell/trail races. I’d love to explore more of the trails around the country, rather than just the local ones. Also, I want to keep increasing my limits in terms of distance and see how far I can push it!

6) What piece of advice or encouragement would you give to anybody still hesitant about coming to a Run Wild MCR event?

Don’t be nervous! As I said before, we cater for all abilities and on our Tuesday runs we have a group specifically for beginners, so you will not be left behind! If you do feel like you need a bit more confidence though you can always drag your flatmates along as well! Alternatively, keep an eye on our Facebook page for announcements regarding our next beginners’ course.

7) And finally if you had to give three tips to help potential runners reach whatever their target may be, what would they be?

1. Make your goals ambitious but achievable.

2. Never say “I can’t”. Anything is possible with enough work.

3. Enjoy it! Running can be challenging and still be fun! If you plan your runs around interesting places and sights you will enjoy them a lot more than if you run simply to cross off a certain number of miles.

The University of Manchester is offering a discounted entry price of £20.00 for staff and students only, which also includes a purple technical running T-shirt. Everyone is welcome, as long as you are a member of staff or a student at the University of Manchester, but please note that there will be no refunds available.

For more information on how to get involved with Run Wild MCR or the Great Manchester 10KM please visit: facebook.com/groups/runwildmcr & www.sport.manchester.ac.uk/fitness/manc10k/

Sport in the City: Manchester Thunder

In the spotlight this week: Manchester Thunder (Netball)

Well… what is it?

Manchester Thunder, founded in 2005, are a netball team currently competing in the Netball Superleague made up of the top eight netball teams throughout England and Wales. After a 3rd place finish in the 2015 Superleague Season, having overcome rivals Yorkshire Jets to crucially win their 3rd place playoff 55-49, Manchester Thunder’s next home game is only their second of the current league campaign, which kicked off at the end of January.

A first win of the season came at home against Team Northumbria and their comfortable 59-37 victory was followed by a consecutive win, this time over the Celtic Dragons with a score line of 72-52. Manchester Thunder are currently managed by Dan Ryan who has previously worked as assistant coach at Adelaide Thunderbirds and took over the side in June 2015 after Gary Neville’s younger and Phil Neville’s twin sister Tracey Neville left her position as manager to become the manager of the England National Team. And although it is still too early to say whether Manchester Thunder can continue their good form of last season and progress higher in the table, recent results would certainly suggest they’re determined and more than prepared to be battling at the top of the Superleague standings.

How do I get there?

Nicknamed the ‘Manchester Thunderdome’, Manchester Thunder play all of their games at Wright Robinson Sports College on Abbey Hey Lane in Manchester. With regards to public transport I would recommend the train as the best method of transportation to and from the venue. From Manchester Piccadilly station, catch a train to either one of Gorton or Fairfield, as the Wright Robinson complex is situated centrally to both and leaving a short walk away from either train station. Trains from Manchester Piccadilly run frequently and direct to both stations without any need for a change and should you struggle to find your way after disembarking the train, head in the direction of Wright Robinson Sports College which includes the Manchester Thunderdome. If you are fortunate enough to be driving there or intend on getting a taxi, a full set of directions are available via the Manchester Thunder official website in the ‘Contact Us’ section.

But how much does it cost to get in?

Students with valid identification are able to make use of the reduced ticket options available at Manchester Thunder, making your day out that bit more affordable. Available to purchase online via the team’s official website or at the venue alternatively, a concessionary ticket only costs £8.00, or £10.00 for a full priced adult ticket. Not bad if you ask me! Additionally if you for whatever reason wish to enjoy your day out watching Manchester Thunder in style with more comfort then a VIP ticket option is also available with cushioned seating and refreshments before, during and after the game and is priced at £22.50. We’ll leave that choice up to you…

What are the facilities like? 

The Manchester Thunderdome is situated at the heart of the leisure centre at Wright Robinson Sports College. Often in-front of a packed crowd, as well as the indoor netball court and sports centre, there are also facilities within the complex including FIFA 1STAR 3G pitches, swimming pool and both a sports hall and dance hall, all available to hire at a concessionary rate should you wish to host a sporting event with such modern facilities in the near future.

Tell me something I didn’t already know…

Manchester Thunder are set to make netball history when they compete in the Netball Manchester Live competition in April this year hosted at the Manchester Arena. In what looks set to be a tense war of the roses clash up against Yorkshire Jets, the match aims to break the record for the highest attended domestic netball game. This title is currently held by Netball London Live with an attendance of 6033 people but if recent audience figures are anything to go by, Manchester Thunder have the potential to carry on making headlines on and off the court. Meanwhile the club won the annual Mike Greenwood Trophy three times in a row between 2012-2014 and were crowned Superleague winners back in 2014, and also in 2012 under their previous name Northern Thunder.

Finally, when can I see this in action?

Manchester Thunder take on reigning champions Surrey Storm on Monday 29th February, kicking off at 7.45pm. For more information on ticketing, directions and anything else head over to: http://www.manchesterthunder.com/

If you have any requests for local teams, sports, or events taking place in Manchester that you would like to see featured in The Mancunion, or if you wish to get involved, please contact: [email protected].

A decade ago in the Premier League…

If you cast your mind back a decade ago, to a time when all we really used was MySpace, Bebo and MSN Messenger, not Facebook, Twitter and Whats App; to a time when musicians got to Number 1 in the charts based solely on single sales, while ‘streaming’ remained a dream for many of us; to a time where the iPhone, Instagram and iPlayer did not even exist…well, it is fair to say that a lot can change in the space of a decade.

The same applies to football. Ten years ago, Real Madrid lived up to their Galactico namesake with a side that boasted the likes of Zinedine Zidane, Ronaldo and Luis Figo. Ronaldinho was the Ballon D’or holder, Manchester City’s transfer record stood at a whopping £13 million, and MK Dons did not even exist—oh how things change! Yet, despite the recent influx of foreign investment into the game—especially in the Premier League, which has arguably changed the footballing landscape of those who can comfortably compete at the highest level—the 2015/16 season has perhaps been one of the most enticing, exciting and enthralling seasons to date, with any one of the current top four or five still in with a real chance of reigning supreme come May. But was the league this open in the past, ten years ago, a time when many would say the league was perhaps at its traditional, competitive best? Let me take you on a trip down memory lane, to the same point in time as this printed publication: The first week of March and beyond in the 2005/06 Premier League season.

After 27 games played of the 05/06 season it was José Mourinho’s Chelsea who were leading the way with a total of 69 points; a mighty 15 points clear of nearest rivals Manchester United and Liverpool. At the same point as the current Premier League season in the first week of March, Chelsea were imperious as ever at home, unbeaten, and had drawn only once, with wins in their other thirteen matches. While Arsenal had recorded the season’s biggest victory with a 7-0 home thrashing of Steve McClaren’s Middlesbrough, it was the Northwest, and now Championship pairing, of Blackburn Rovers and Bolton Wanderers who occupied the UEFA Cup places in 5th and 6th respectively, with 11 games remaining. Steve Bruce’s Birmingham City and Harry Redknapp’s Portsmouth found themselves well and truly engulfed in a fierce relegation battle, but neither found themselves struggling quite like Mick McCarthy’s Sunderland. Rock bottom of the league table with a goal difference of -31 and only 10 points to their name after 27 games, it perhaps comes as no surprise that the current Ipswich Town boss lost his job one game later, when the Black Cats finally realised that their chances of survival were, at best, bleak.

That season, Manchester United waved goodbye to club captain Roy Keane, who left to join Celtic. However, with the benefit of hindsight, United acted shrewdly in the transfer market, bringing in Edwin van der Sar, Park Ji-Sung, Nemanja Vidić, and Patrice Evra. In the blue half of Manchester, before the days of Sheikh Mansour, an era where balancing the books restricted any significant spending in either transfer window, it was in fact an ex-Red who fired Stuart Pearce’s Manchester City to Premier League survival and mid-table mediocrity for a successive season. The lethal strike partnership of Andy Cole and Darius Vassell set pulses racing at the then City of Manchester Stadium, with a combined tally of 20 goals in all competitions between the pairing. In terms of Manchester derbies, an early season 1-1 bore draw at Old Trafford, with Joey Barton equalising late on after a Ruud Van Nistelrooy opener, was soon followed by a 3-1 home victory for Manchester City much later in the season. Goals from Trevor Sinclair, Darius Vassell and Robbie Fowler earned Stuart Pearce’s Manchester City local bragging rights, while the red half of Manchester had high hopes for their promising 20-year-old Portuguese starlet, despite a red card in their away derby-day defeat. I wonder what ever happened to him?

2005/6 was also a season of significant milestones on and off the pitch. Michael Essien became a club record signing for Chelsea at a cost of £24.4 million from French club Lyon in a season where Roman Abramovich truly began to flex his financial muscles, after also spending £21 million on Shaun Wright-Phillips and £12 million on Spanish defender Asier del Horno. Ruud van Nistelrooy scored the first goal of the 2005/06 season in Manchester United’s opening day 2-0 victory over Everton, while West Ham United’s Marlon Harewood struck the first hat-trick of the season in a 4-0 demolition of Aston Villa. Charlton Athletic shared the most Player of the Month awards with Manchester United, with Darren Bent and Danny Murphy matching the achievements of young, double award winning Wayne Rooney. Similarly the number of Manager of the Month awards that Liverpool’s Rafael Benitez won, Wigan Athletic’s Paul Jewell did just as well, and both finished the season with two awards apiece.

Fulham, meanwhile almost became the third side in Premier League history to go without an away victory for an entire season, only to beat Manchester City 2-1 in their penultimate away game of the season to spare their blushes. Blackburn Rovers completed a league double over Manchester United for the first time in 75 years, whilst hot prospect Cristiano Ronaldo made club history by scoring United’s 1000th Premier League goal.

And away from the field of play, it was also season of goodbyes; the end of the 2015/16 season will signify a decade since Arsenal departed their long-time home of Highbury, moving to their current home, the Emirates Stadium, in the following season. In addition, Alan Shearer and Dennis Bergkamp both retired during the 05/06 season as English football waved farewell to two of the most prolific strikers to grace the Premier League.

Although at 27 games into the season the outlook in the Premier League title race appeared to be a much clearer one than that at present, many would probably have struggled to predict the conclusion to the 05/06 season. Portsmouth looked dead and buried eight points adrift of safety at the end of February but embracing the spirit of West Bromwich Albion’s ‘Great Escape’ from the previous season, Harry Redknapp completed his own miracle with a game to spare after six wins out of his side’s remaining ten games proved enough to rescue Portsmouth from relegation. Survival on the south coast of England did, however, come at the expense of Sunderland, Birmingham City and also West Brom, who failed to replicate their exploits of the season before, and all three were condemned to what was then known as the Coca Cola Football League.

Meanwhile at the top of the table, it looked lonely at for Jose Mourinho’s Chelsea, who already looked like they had begun etching their name onto the Premier League title. Despite an unexpected, turbulent run of form towards the business end of the season, a blip which quickly saw Chelsea’s 18 point cushion reduced to only 7 as Manchester United looked to capitalise on what had the potential to be a catastrophic collapse, Chelsea soon recaptured their early season form and a 3-0 home victory over their closest rivals, with goals coming from Ricardo Carvalho, William Gallas and Coventry City’s very own Joe Cole, made it back-to-back league titles victories. Sir Alex Ferguson’s side eventually finished only 8 points adrift on 83 points, while Liverpool and Arsenal respectively made up the rest of the top four. The battle for fourth place, however, proved to be no minor formality, after Tottenham Hotspur failed to equal Arsenal’s result when playing away at West Ham United. And although you probably do not need me to remind you, but Arsenal’s fourth place finish that season continues to be a controversial topic, centering on a Spurs squad that came down with a virus the night before the match. Afterwards, opponents West Ham, Tottenham themselves, and the Premier League, failed to agree on a new date or time for the game, the match went ahead as normal and Spurs lost 2-1, allowing Arsenal to qualify for Europe once again, at the expense of their North London rivals. On the flipside, there was European qualification for Blackburn Rovers as Mark Hughes led his side to a magnificent 6th placed finish, while Newcastle United also experienced a taste of European Football after their 7th place finish saw the Magpies qualify for the Intertoto Cup. Remember that one?

And somewhat expectedly, Chelsea’s José Mourinho was named manager of the season, and Frank Lampard picked up his second Barclays Player of the Season award. But out of the three Chelsea players nominated for the PFA Player’s Player of the Year award for 2006 (Joe Cole, Frank Lampard and John Terry), it was Liverpool’s Steven Gerrard who also beat the likes of Thierry Henry and Wayne Rooney to the coveted title. However, Wayne Rooney’s exploits were certainly not ignored as he was named PFA Young Player of the Year for the same season after beating the likes of Cesc Fabregas, Cristiano Ronaldo and even Anton Ferdinand to the trophy. Thierry Henry was also not overlooked, and scooped both the Football Writers’ Association Footballer of the Year, and the Golden Boot Award after scoring 27 goals, one more than the entire Sunderland squad for the season.

Liverpool managed to record the highest point’s total for a third-placed club with 82 points, and their goalkeeper Pepe Reina took home the league’s Golden Glove Award, after achieving 20 clean sheets throughout the Premier League season. A 13th placed Charlton Athletic meanwhile topped the fair play charts for the Premier League, with the least number of total bookings and red-cards, with Blackburn Rovers proving to be the least sporting side during the league campaign. And as for the team of the season, the Premier League could call upon a dream team of x4 Chelsea players (Gallas, Terry, Lampard, J.Cole), x2 Liverpool (Carragher, Gerrard) and Manchester United (C.Ronaldo, Rooney) players alongside representatives from Arsenal (Thierry Henry), Newcastle United (Shay Given), and even from Wigan Athletic (Pascal Chimbonda).

Therefore, although looking back at a season from yesteryear does little to affect the outcome of the 2015/16 season or even change how the game is both played and perceived in the modern era, it does offer an opportunity to reflect on a competition that, even a decade ago, produced as many scares, surprises, and shocks as the present day. And despite the increases in expenditure, technology and viewing audience, it is the drama on the pitch that really matters. Will Leicester City’s consistency falter like Chelsea’s did towards the end of 2006? Can Remi Garde’s Aston Villa manage to pull off their very own ‘great escape’ like Harry Redknapp’s Portsmouth? And which moments will we look back at in another 10 year’s time and pin-point as defining? Nobody knows until Sunday 15th May, when it will all become clear.

Are fashion and feminism incompatible?

In anticipation of the Women in Media Conference hosted by the Manchester Media Group, 4th – 6th of March, and International Women’s Day, which follows shortly after on the 8th of March, I started musing over my position when it came to feminism. As an editor for the Fashion and Beauty section, does an interest in appearances and the ‘superficial’ necessarily dictate my stance on the social, economic and political equality of the sexes? Is this concern for fashion and beauty just a conspiracy created by the industry to oppress women?

A widely-held opinion that I have come into contact with is that an interest in fashion and beauty is incompatible with feminism. A movement that fights for the equal status of men and women is supposedly undermined by the desire to express oneself through their outer appearance. I would argue that this simplistic view of the fashion-feminism relationship comes down to a misogynistic binary that applies the fundamentally subjective notion of beauty in opposition with intelligence: Women who are preoccupied with their appearance lack capacities in other areas; intelligent thinkers have greater concerns than that of their clothing.

This entire argument is flawed and, moreover, out-dated. Fashion, like any other creative medium, should be considered like an art and a form of self-expression that people can appreciate and replicate in the manner that suits the individual. A quick Google Image search of feminist pioneer Simone de Beauvoir confirms that she was a beautiful woman who expressed herself through her fashion and accessory choices. An example such as this goes to show that an interest in fashion and beauty, or, indeed, the act of dressing oneself, should not be considered as a visual interpretation of how an individual wants to be perceived, rather, a way of exercising their freedom of choice to buy and wear what they choose. It is, to avoid charges for indecent exposure, a fundamentally legal requirement to wear clothing in the UK, so making this daily task more expressive and creative is a naturally human reaction. There is, undeniably, a more nuanced relationship between fashion and feminism than just simple opposition.

The idea that fashion and feminism go happily hand-in-hand is, however, undermined by the nature of the fashion world, which is emphatically a profitable industry. Can fashion really have a credible impact in the feminist movement if it has consumerism and not revolutionary social change at its heart? There is nothing feminist about brands capitalising on their target market’s perceived insecurities to ensure that an economic investment in their appearance will be beneficial, after all.

There have, however, been moments when the worlds of high fashion and feminism have very deliberately collided. During Karl Lagerfeld’s S/S15 Chanel show, he staged a feminist march, complete with megaphones, placards, and lively, animated models who ditched the regimented walking style in lieu of a catwalk mob of psychedelic clothing.

Many were sceptical about Lagerfeld’s faux demonstration. Is the runway really the right place for feminism? As the same man to have called Adele ‘a little too fat’ in 2012, can this revered creative director suddenly be a feminist crusader? It is inevitable (and perhaps necessary) to look to the importance of trends in Lagerfeld’s staging choice. With a feminist discourse (quite rightly) more prominent in popular culture, this cultural trend was perhaps seen as way to capture the attention of modern audiences and garner attention on social media, which is becoming an increasingly vital tool for the fashion industry. Were Lagerfeld and the Chanel entourage simply fishing for Instagram likes by adding a dash of feminist spirit to the show? Needless to say, there have been no feminist runways in the seasons that have come and gone since. This, by all intents and purposes, was a trend that Chanel seized upon; a wave to be ridden, to make a statement in line with popular debate, before proceeding to seek out the next ‘in’ thing.

As dubiously as the floral-clad, megaphone-wielding supermodel-cum-protesters were received by commentators, it was unequivocally a positive thing for feminism to be promoted in such a deliberate and visual way. Popularity and outreach have to be considered in an argument about a fundamentally social movement such as feminism. Beyoncé’s VMA performance backdrop, emblazoned with the word FEMINIST, and the speech conducted by Emma Watson as UN Women Goodwill Ambassador, have reached an astronomically larger and more diverse audience than the readership of Germaine Greer’s feminist text, The Female Eunuch. Figureheads of popular culture, including those in the fashion industry, are integral to the progression of feminism and its evolution, so that feminist becomes a word that women and men embrace and embody, instead of the being the shameful ‘F-word’ that women shy away from using.

Although the growing pro-women sentiments in popular culture are undoubtedly a positive thing, the lucrative fashion industry still has a long way to go in fully embracing a feminist cause. While women account for over two thirds of clothing sales, at an executive level, the fashion industry is still very much a man’s world. Just last month, one of the few female fashion house CEOs, Maureen Chiquet, left her long-standing position as Chanel Global CEO, to be replaced by a man. Mainstream brands such as Victoria’s Secret bid to promote female empowerment with their supermodel turned role-model figures who exhibit the lingerie in immense annual runway shows. As positive and pro-women as Victoria’s Secret’s mission statement might seem, a feminist message cannot be credible if it celebrates the empowerment of an exclusive few; namely the minority of individuals with a desirable (and generally unattainable) look and lifestyle. This example of the workings of the fashion industry begs the question of how women and men can be valued as equals if there is such a defined hierarchy between women, that is entirely based on appearance.

As the face of feminism reshapes and evolves in the wake of a fast-changing, modern society, it seems logical that all facets of society and popular culture should be promoting important messages, such as that of feminism, instead of leaving them for the academic elite to peruse and debate. It is a duty of the fashion industry to interact with feminist issues in order to engage an international and mediatised market. Once we have done away with the redundant binary of beauty and intelligence, perhaps women and men alike can take pride in the freedom of choice to express themselves through their appearance, and thus fashion and feminism can, although not without some contradictions, live together in harmony.

Interview: Dhruv Mittal of The Chaiwalla Supperclub

I first met Dhruv Mittal, the twenty-something creator of The Chaiwalla Superclub, during our first week studying at Le Cordon Bleu—a French culinary school based in London. Since then, Mittal has travelled across India, worked under some of the world’s most renowned chefs and set up a success mittalful supper club right at the heart of London.

However, Mittal wasn’t always based in England’s capital. And it is his childhood in Southern Manchester, his fond memories of trips with his family to the South Asian restaurants on the Curry Mile, that he credits with awakening him to the joy of food.

Photo: The Chaiwalla

“We used to pick a new restaurant each time and go all-out on the menu, then get out just in time to get paan [an Indian betel-leaf refreshment] down the road from a DVD and cassette shop,” Mittal tells me.
“It was the closest thing to home food that we could find and it opened my eyes to the fusion of the various South Asian cuisines that came together in Rusholme.”

During high school food technology classes, Mittal used to dream of attending Le Cordon Bleu. However it was only at age 22—after leaving his job as a project manager in the capital—that he put his dreams into fruition.

After three months of Le Grande Diplome, the school’s most intensive cuisine and patisserie program, Mittal realised he belonged in the kitchen. “I loved the skill, passion, thrill and creativity of being in a kitchen more than anything I had experienced before.

“LCB was definitely the best nine months of my career to date. I learnt all the tools and techniques; from basic knife skills, to cooking different meats and the art of flawless presentation and taste.”

Not only did Le Cordon Bleu teach him the skills required in a professional kitchen, but the school’s reputation opened doors for him at high end of the catering industry: “I was openly accepted to stage at some of the leading Michelin starred restaurants in the country and even abroad in India, many hotels were more than keen to take me on to train.”

It was during his time in India that Mittal saw the potential of The Chaiwalla Supperclub: “I wanted to showcase the best of Indian street food, regional specialities and home favourites that you wouldn’t find anywhere else in the UK… I wanted to bring that flavour and authenticity but in an intimate, personal environment.”

For Mittal, tradition and authenticity are key to the food he serves at The Chaiwalla Supperclub: “I always aspire to create dishes in the exact way they have been for generations… There’s a strong focus on great produce, fresh and vibrant spices, and above all creating a family environment to enjoy the food together. Rarely will Indians sit down to eat with only one dish, there’s always at least three to four dishes on the table, and the experience is only true when all the food is being shared around. That social aspect to Indian dining is also what inspired the Supperclub.”

With plans to open a restaurant within the next couple of years, Dhruv Mittal is certainly one to watch. I ask him what advice he would offer inspiring foodies. “Be prepared for the hard graft, master the basics, follow your passion not the money, and finally find your voice early on and continue to spend time growing it and developing it. You will never know enough when it comes to food and hospitality.”

Jamestown Way, London E14 2DA

thechaiwalla.co.uk

Kawaii Culture: The Psychology of Sweetness

Introductory Insights

Have you ever laid eyes upon something so cute, so heart-warmingly adorable, that you get the urge to squeeze whatever the trigger might be within an inch of its life? Close friends would likely describe me as a hard-nosed stoic with a chilly little heart, yet even I am prone to this occasional mystifying sensation when presented with images of the splendid Fennec Fox (Google Images is your friend, readers). Psychologists think that this could be a result of an evolutionary glitch, that our emotions can sometimes work in paradoxical ways, deducing that the joy experienced when witnessing whatever we deem to be toxically cute, can also prompt a frisson of mild aggression.

Cuteness has, even in recent years, become synonymous with Japanese fashion and culture. Growing up in England, where, for instance, our most celebrated fashion icons are often conservatively dressed and our advertisements are professional, glossy and airbrushed to the last detail, the idea of dressing and behaving in a childish manner above the age of sixteen is severely frowned upon and almost taboo. Drawing primarily from Sharon Kinsella’s fascinating essay on Kawaii culture, entitled ‘Cuties in Japan’, I’m going to take you on a journey to East Asia, exploring the psychology of cuteness, reviewing the origins of the kawaii lifestyle and wrangling with how this all ties in to current conversations regarding expressions of femininity, feminism, fashion and beyond.

Getting to the Root of Cute

“…You Harajuku Girls, Damn You’ve Got Some Wicked Style” (Gwen Stefani)

2004 was a simpler time. 12 years ago, pop culture icon, Gwen Stefani, introduced the world to the ‘Harajuku Girls’. This backup-dancing quartet of young Japanese women accompanied Gwen for all promotional appearances, be that in her music videos (for example the Alice In Wonderland themed ‘What You Waiting For?’ which this writer adores), red carpet events or chat show appearances.

This presence of the Harajuku Girls, however, has been criticized as a reinforcement of negative stereotypes of Asian women within the media. The women, critics feel, were employed to be ‘props’—rumours circulate online to this day that they were “contractually obliged” to speak only Japanese in public. A fine line does indeed exist between appreciation and appropriation. Was Gwen, a white American woman, using her entourage’s race for her own personal gain?

Gwen herself has always denied these claims, arguing in 2014 to TIME magazine that the girls were her friends in real life outside of the performance world and that she wished only to celebrate a culture different from her own, of which she had always been a fan. Gwen’s fans in Asia have also been complimentary of what they believe to be her inclusiveness, bringing kawaii culture to the mainstream western world through her highly successful Harajuku Lovers perfume range and fashion lines, for instance.

Photo: Gwen Stefani

When Sweet Refuses to Take a Backseat

Nevertheless, potentially problematic pop stars aside, what exactly is it that constitutes a kawaii aesthetic? I wouldn’t be appropriately honouring my Linguistics degree without first conducting a little etymological research. Derived from a term with principle meanings along the lines of ‘shy’ and ’embarrassed’ alongside secondary meanings such as ‘pathetic’ and ‘vulnerable’, ‘kawaii’ has not always had the connotations with which it is associated today.

Heavily influenced by American and European style, kawaii in its noun and adjective forms refers to anything small, pastel and fluffy. Buildings, public transport and even construction equipment are personified and re-personalised through the use of quirky googly-eye stickers. Although a very wry humour seems to underlie the style, it is claimed that in Japan, there are no boundaries to the notion of camp (or even a concept of it), as the delightful sign pictured below demonstrates.

Photo: Roland Tanglao @ Flickr

Kawaii, it is claimed, originates in a handwriting craze of 1970s Japan (please bear with me on this one). Rebellious teenage girls, desperate to express a young, feminine identity of their own in a society that represses such a demographic, took to using highly stylized, rounded, fine pencil strokes, adorning their characters with hearts, stars, fruits and faces. The distinctive and difficult-to-decipher nature of this so called ‘kitten writing’ caused major discipline problems in Japan; in some schools it was eventually banned and test papers submitted in this style were not marked. If anything, this disciplinary action in fact spurred the style on further—it later developed into an underground, anarchic literary trend, proving that, for young Japanese girls at least, the pen really is mightier than the sword.

Advertising agencies and businesses alike soon cottoned on to how lucrative kawaii style products could prove, especially for a demographic as identity- and fashion-conscious as young women. Almost overnight, starting with products as simple as crockery, notebooks and purses, the seemingly attractive and rebellious kawaii culture was embraced and celebrated throughout commercial Japan.

This new generation of rebellious women rejected the previous traditional values of condemnation of materialism or displays of wealth. Perfect childlikeness is an unattainable ideal that becomes even less attainable over time. This very concept generated a market that demanded an endless stream of ephemeral products, increasingly designed to meet the demands of looking and acting as childlike as is humanly possible. It would seem that this underlying drive is also what contributes further to the highly consumerist, Instagram culture within which we live today.

Furthermore, lifestyle magazines praised childlike fashion. An emphasis was placed on demure, youthful styles that incorporated pastel colours, fluffy frills and puffed sleeves. Influences from French, punk and preppy styles to this day remain highly prevalent. Most importantly, clothing was to be slim-fitted.

Plastic accessories were lauded, as were colourful socks, small sandals and novelty hairpins. The photography featured in these magazines juxtaposed sweetness with grown up settings, portraying young models clad in kawaii clothing in metropolitan nightclubs and streets.

Kawaii and Feminism: A Naïve Nightmare or a Perfect Pairing?

Is this saccharine styling conducive to the feminist movement, however? Embracing the kawaii lifestyle to the extreme essentially involves ‘becoming’ a cute object. From purchasing cute products to surrounding oneself with sweetness, these choices have the potential to transform someone’s identity. To be out of touch with reality, living in a pastel daydream, encourages hedonism and the pursuit of only the simplest of pleasures.

It could even be claimed that behaving as a child is even an act of self-mutilation, as is depicted by the pigeon-toed stances and postures portrayed in images of women promoting kawaii fashion. Glossy eyed expressions, aspiring to an infantile ideal and feigning stupidity and naivety are all a compromise. To display as a child an adult is, critics of the style argue, to deny the qualities of insight and introspection associated with maturity. In its extreme form, kawaii is a subservient behaviour rooted in becoming dependent on others as opposed to becoming empowered by one’s own identity (this latter being a core value of feminism). This lack of responsibility further reinforces the hegemonic status of masculinity. The physical frailty depicted through the fetishized imagery of a sweet, little girl contributes in a damaging way to perceptions of women and femininity.

Dedicated followers of the kawaii lifestyle argue to the contrary, however, claiming that a woman who embraces her cuteness is far more elusive than first sight would suggest. Opposition is taken in particular to the construction of the style as designed exclusively for the male gaze. Could it be that this birth of a whole new culture, so different from traditional Japanese values, was an indirect response to sexist stereotypes through ‘conscious taunting’ of societal expectations?

Women with a penchant for the saccharine are those who are no longer obligated to please a man. They embrace their freedom; they are young and successful, spend a large amount of money on their self and enjoy time with like-minded friends. They view their lives as privileged, with ‘maturity’ being perceived as a threat to this lifestyle. Some Japanese feminists argue that is, in reality, anarchic, to idolize a romanticised childhood. The kawaii lifestyle challenges values central to societal structure in Japanese culture. Women are happy to experiment with their femininity and are conscious of doing so in what they perceive to be a refusal to conform to traditional female roles through dressing and acting in a youthful manner.

In a similar way to the rise of raunch culture in the western world (which sees women acting in a sexually charged manner to emphasise independence and maturity), Japanese youth equally infuriated their elders with uncooperative handwriting, child-like behaviour and pastel clothing. Emphasising immaturity and inability to fulfil societal responsibilities can be envisaged as a counter mainstream movement, condemning the bleak severity of an impending and inevitable adulthood.

Sayōnara

Ultimately, the jury remains out for whether our human appreciation of cuteness is maternal and solicitous, or the result of a transformative, prying gaze. Are we appeasing a hunger for expressing pity, or honing in on an instinctive good-heartedness? Either way, kawaii offers an escape from the often-cold reality of the twenty-first century. Consumption of culture will always be a way for humans to fulfil our underlying needs and desires.

There is a salient simplicity and emotional warmth that comes with the innocence of nostalgia. Childhood is a time when (if fortunate) we can be free. With its cheap, pastel plastic heart, the kawaii lifestyle further reinforces how complex real life itself can be. Adulthood can be brutal and harsh, false and shallow: It almost seems somewhat natural to wish to revert to a simpler time in one’s life, even if that means embracing all things cute.

Photo: C_osett @ Flickr

Album: Kanye West – The Life of Pablo

Released 14th February via GOOD Music

7/10

Kanye West’s The Life of Pablo was always going to be as polarising as the man who made it. Over the course of 18 tracks, he goes from wishing his penis had a GoPro to exhibiting hitherto undisclosed self-awareness on ‘I Love Kanye’: “I miss the old Kanye,” he opens, “I hate the new Kanye… the always rude Kanye.” His taste is as omnivorous as ever.

’30 Hours’ finds West ad libbing and taking a mobile phone call over an Arthur Russell sample, while André 3000 provides vocal garnishing. What started brilliantly turns self-indulgent, but something about his extended, half-arsed coda is very entertaining. ‘Fade’ drops into slinky, muffled Chicago house—crisp TR-909 handclaps and all. The arrival of grating autotuned singing, gospel voices and low-slung, chattering trap threaten to overwhelm the tune, until it abruptly stops.

Everything here, like West himself, is inconsistent. ‘Facts (Charlie Heat Version)’ showcases West’s flagrant self-aggrandisement (“2020, I’ma run the whole election!”) against crunching beats and tiresome bombast. Kid Cudi’s vocal hook compliments ‘Father Stretch My Hands Pt. 1’ remarkably well amid West’s lacklustre verses; its superior second part comes laden with distorted handclaps, icy synths, and fleeting references to West’s parents’ divorce.

‘Feedback’ struts with what appears to be a whining, high-pitched police-siren as its lead melody—it might piss off some, it might delight others. Many will just clench their fists. Still, for every ludicrous boast (“Name one genius that ain’t crazy… I shouldn’t even bother with all these gossiping, no-pussy-getting bloggers”), there’s a brief glimmer of self-awareness (“I’ve been outta my mind a long time”). ‘FML’ is less involving, both lyrically and musically, until a bizarre interpolation of Section 25’s ‘Hit’ heaves into view—the thrilling, disturbing sound of its creator’s mind unravelling.

‘Freestyle 4’ and ‘Famous’ both encapsulate the entire record: Less songs than splintered, sporadic and fragmented ideas. …Pablo feels like Yeezus—noted for its impressively abrasive brutality and brevity—engulfed in a protracted bipolar episode, growing more introverted and ecstatic with each track. Both ‘Wolves’ and ‘Real Friends’ are truly affecting. They sound doleful, though glancing at their lyrics, they’re anything but. The former appears to have West compare himself, his wife and young son Saint to Joseph, Mary and Jesus; on the latter, he laments the fact that he has no real friends, less doleful than a bit whingey.

Some tracks fall flat: The less said about ‘Low Lights’ or the supremely uninteresting ‘Waves’ the better. But when it works, like the jaw-dropping ‘No More Parties in LA’, it really works. Hands down, it is the album’s best track. However, it puts forward the compelling argument that despite his sonic achievements, West’s lyrical dexterity has been surpassed by others, namely guest rapper Kendrick Lamar, who delivers funny, dexterous rhymes over Madlib’s effortless production.

West, ‘No More Parties…’ aside, is rarely on the kind of form he displayed on previous albums, scant on the incisive social commentary of ‘New Slaves’, and even the braggadocio here feels rehearsed. Yet it wouldn’t be a Kanye West album if it wasn’t a flawed tour de force.

HOME Pick of the Week: Freeheld

Laurel Hester (Julianne Moore), a loyal police lieutenant serving Ocean County, New Jersey, for more than 23 years, has kept her sexuality a secret from her workplace until realising that she just might die from terminal lung cancer and wants her domestic partner, Stacie Andree (Ellen Page), to receive her pension, so that she can keep the house that they renovated together.

The film starts off relatively mediocre in what can be seen as an attempt at attracting sympathy between the couple as the film goes on. With love scenes and what I could describe as possibly the driest, and laziest attempt at articulating a love relationship between two individuals—a crappy house renovating/tender love-making montage that elicited no on-screen chemistry whatsoever. I also had a problem with the way that the film had to justify Stacie as the butch lesbian because she likes motorcycles, works in mechanics and likes dogs. Stacie is obviously younger, but Ellen Page’s portrayal is more childlike and mopey, rather than showing any real feeling toward her partner, who is dying and fighting for this pension battle for most of the film’s duration. What’s the point?

Where the film probably gets its title, is likely due to the relationship its dying protagonist has with the freeholders who get to make a decision on whether her domestic partner is allowed to have her pension when she passes…or not. Obviously, at this time, around 2005 or 2006, gay marriage was not as legalised all over the United States like it is now. So it seems this film tries to be lots of different things, but it comes to nothing, feeling irrelevant in 2015 or even 2016. The battle is already won, so what is the motive? A critique at Republicans dominating law and order? I don’t know. There’s a lot of long-winded politics in this film, which feels more dry as it goes on, and Steve Carrell introduces himself as Steven Goldstein—a “big gay Jew” and rallies for gay marriage even though Laurel Hester just wants her equality and her goddamn pension. So which is it? A political film or a love story? Because it can’t be both. But what it can be is an exemplar film for True Movies, because it is so dry, boring and dull that I would never ever ever want to talk about it ever again because I hate political films. Especially when they’re outdated. And Ellen Page is the worst and it felt like Freeheld was just another film trying to do something that Still Alice did when they cast Julianne Moore.

I know this film has good intentions of making a biopic out of a real life story that matters in society and was an act of injustice and so forth. But this story already had an Academy Award-winning documentary short. So why did the director even bother? Without putting it all on Peter Sollett, I just have to say that script was equally bad, if not worse, than everything else in this film.

1/5

Your quick guide to feminism in the Northern Capital

Manchester: The birthplace of Emmeline Pankhurst, the origin of the Women’s Social and Political Union (WSPU) and, of course, the base of the recently celebrated Reclaim the Night marches. In a city full of politically and morally fired-up groups, which campaign for equality across an unimaginable spectrum, becoming part of the feminist movement is easier than you may think.

We’re on the cusp of ‘Wonder Women’—a vibrant festival spreading across 10 days (3rd – 13th March) during which many events will be scattered around the city, from discussions about modern feminism, to performances and films ranging from the women of World War I to female restriction, and a particularly eye-catching workshop on the “most badass Northern women.” With such a great variety, it would be difficult to miss out.

Feminism doesn’t have to be all protests, marches and passionate shouting; becoming involved in upcoming events such as Women in Comedy (mid-to-late October) also helps to support and promote equality. This festival is a platform for female comedians who want to prove their valuable contribution within the comedy scene, and to diminish unequal gender distribution.

The rich feminist history of Manchester is worth further exploring, with a number of separate Feminist Walking Tours being available. This doesn’t even have to be official; the Pankhurst Centre could be a significant (and free!) starting point on your independent ‘Feminist Trail’.

There are so many ways to connect yourself to the feminist groups in Manchester; whether you’re more suffragist or suffragette, a pacifist or an activist, a shouter or a whisperer, a man or a woman, there are plenty of ways to get involved.