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Month: September 2016

Stabbing on Curry Mile

A 25-year-old man was stabbed in the head and abdomen on the Curry Mile on Friday 30th September. Manchester Evening News has reported that the attack occurred in broad daylight, around 10:20am, close to Shere Khan restaurant.

The North West Ambulance Service were called to the scene within minutes of the attack. The victim was taken immediately to Manchester Royal Infirmary and he is currently in a critical condition.

The victim was stabbed in a chip shop on the Curry Mile, the common name for the section of Wilmslow Road that goes through Rusholme. As a result, this part of the road has been cordoned off, as has all of Walmer Street and parts of Great Western Street and Heald Grove.

Photo: Elise Gallagher

There have been reports given of a fight taking place earlier in the morning outside the Rusholme Chippy, a local takeaway and café, although the eatery has not been available for comment thus far. The whole area outside this restaurant has been sealed off by police and an employee at Shere Khan said that he had been told two members of staff from the Rusholme Chippy were involved in the argument.

Forensic experts are now combing the cordoned areas for evidence as a part of the police investigation, but all businesses in the surrounding areas remain open as usual.

Anyone with information on the stabbing is being urged to contact police on 101 quoting reference number 629 of 30/09/2016, or by calling Crimestoppers anonymously on 080 555 111.

Letter from the Editor-in-Chief

As you may have gathered from glancing at our front page, last week The Mancunion conducted a poll of students to gather how well they knew our Exec team. The results were staggering, with 95 per cent unable to name the team and almost half of those polled unable to name a single member. On top of this 65 per cent did not know what the Exec team do for students.

This week has seen breaking news that students are having to share single bedrooms in Warwick as the university cashes in on an influx of EU students, revealing yet another frightening example of the trade-off of student welfare in favour of a marketised education system.

We have also seen prominent figures in the NUS criticise their own leadership over the ongoing anti-Semitism controversy.

Just in case this was not enough, at the end of last week it was announced that University tuition fees are set to rise above £9,500 for all students, with further plans to rank universities into three Olympic style groups of gold, silver and bronze.  Only universities achieving these rankings will be able to raise their fees alongside inflation.

Not only does this leave the future uncertain for students wishing to go to university, as if the uncertainty of Brexit was not quite enough, it could result in students from disadvantaged backgrounds opting for lower achieving universities if the fees are less than the top ranking.

In light of the volatile nature of national and student politics currently, students knowing who represents them and what they can do for them is crucial, and the current ambivalence needs to be addressed.

Our union voted in their first senate to not hold a referendum on leaving the NUS, but if 95 per cent of our student body are unaware of who they are, and 65 per cent unclear on what they do, how truly representative was that vote? What is clear is that a lot more needs to be done to engage students in the workings of the Students’ Union, and as their response to the article highlights, they are working to try and achieve this.

Also included in this issue is a feature on pages eight and nine, looking into how the university deals with mental health. The article highlights some of successes of the system, but brings to light many issues which still need to be addressed to ensure the health of our students.

We will also be providing our own analysis of the Labour Party conference on page 11 this week, asking whether Labour can sell ‘21st century socialism’. Next week our Labour party conference commentator will also be reporting back from his time at the Conservative party conference, from a student perspective.

Although it may sometimes seem it, it’s not all doom and gloom, and we have plenty in the issue to lighten the mood. For example, turn to Food & Drink this week to find a recipe for a delicious and authentic Spanish omelette; what could possibly be better to lift the mood than that?

Spanish Omelette

Butter

½ white onion
6 new potatoes
2 garlic cloves
Salt and pepper
4 Eggs

Ah, Spain, the land of wonderful food and glorious wine. Tortilla Español featured heavily during my last holiday to that sun drenched place and I simply had to recreate it when I returned to rainy Manchester. To make your own slice of heaven, chop half an onion and 6 new potatoes into small pieces*. Heat the grill. Melt a knob of butter in a frying pan and add the diced onion and potatoes. Crush 2 cloves of garlic into the pan. Season liberally with salt and freshly cracked black pepper. Cook on a medium-low heat until the potatoes are cooked through and turning golden. During this process add more butter as required.

When all is looking good, beat 4 eggs with a pinch of salt and pour over the potatoes (that are still in the pan). Ensure that the eggs cover all of the potatoes and let cook for 5 minutes before whacking under the grill for a couple of minutes to set the top. Keep a close eye on it to ensure you don’t end up with a charred omelette (like I frequently do).

*Listening to Enrique Iglesias is not required but is encouraged.

Vogue 100: A century of style review

2016 marks the 100th Anniversary of British Vogue. An American imported magazine; publisher Condé Nast created the paper to ensure that British readers could enjoy the fashion, society and beauty advice that previously could only be found in the American version. Once British Vogue had control over its content, it transformed the paper into the fashion juggernaut it is today. The institute stands as a pillar of 20th Century British fashion; a survivor of two world wars, numerous economic crashes and every fashion fad in between.

To celebrate, the paper curated the Vogue 100 exhibition, whilst initially shown at The National Portrait Gallery, the exhibition has since been transferred to Manchester Art Gallery from June 24th – October 30th and entry is free. Alongside the exhibition, there was a special centenary edition in June with the Duchess of Cambridge on the cover, and a BBC documentary titled Absolutely Fashion—admittedly, the documentary doesn’t represent Vogue at its finest.

On the top floor of Manchester Art Gallery you can explore the history of Vogue, travelling through the decades: one is free to explore Cecil Beaton’s defining images of the 1920s and 1930s; David Bailey’s representation of the swinging sixties; Patrick Demarchelier’s intimate depiction of Cindy, Naomi and Claudia—the original supermodels; plus portraits of some of the greatest designers of the 20th Century. The exhibition guides you through the journey the magazine has taken, alongside popular cultures.

The images included in A Century of Style highlight the legacy Vogue wishes to leave. It wants to be seen as forward thinking, an institute that helped to define the time it existed in, rather than be defined by time. The exhibition does not address Vogues controversial under-representation of black models or its frequent inclusion of underweight models.

Frequent attention is given to Britain’s most famous face in fashion—Kate Moss. The London girl who, discovered aged 14, has defined British Vogue under current editor Alexandra Shulman is given the prominence she deserves. It cannot be denied that she has an exquisite face from every angle.

If you fancy a break from the autumn rain, busy streets, or piles of work being handed out, I cannot recommend Vogue 100: A Century of Style enough. If nothing else there are some truly beautiful photographs to be admired.

A quick guide to the Armitage Centre

So, it’s the start of a new year at Manchester and from my experience, one of the first dreaded things that usually comes to mind after Freshers’ Week (and the inevitable trips to Kebab King) is “I should really join the gym again.” Some of us have been separated from our uni gyms for a while, whereas if you’re a new student you’re possibly looking for a gym to join. With the allure of low prices and the short walking distance from Owens Park, I found and stuck with the Armitage Centre. Located just off Moseley Road in Fallowfield, the Armitage is a great option for everyone, whether you’ve been a member of a gym before or not!

Classes: From Relaxing Yoga to Bootcamp, the Armitage has a wide selection of classes to try out. There’s a range of instructors who’ll either leave you feeling just a little sweaty, or as if your butt is about to fall off, which means that whether you’re a complete beginner or a long-time lover of fitness classes, you’ll definitely be pushed to the max. Classes are held in two spacious studios and fit around 30-40 people, so it’s easy to relax and not feel like everyone’s watching you at the front! I’m not going to lie, some of the classes are hard, like really hard (or that might just be me), but they are definitely worth it when you start to feel yourself getting fitter and more confident during them. The Armitage offers a pay-as-you-go option at £3.50 per session for students or £4.20 for staff, which is great if you just want to try out the classes before committing to a semester pass. For those who are already avid lovers of exercise classes, the dual semester pass (September—May) is priced at £80 for students and £90 for staff.

Fitness suite: As well as holding classes, the Armitage also has a fully equipped fitness suite for those who prefer to go to the gym and do their own thing. Over the summer the gym has been revamped to include new treadmills and bikes, and the free weights area has been enlarged to hold heavier dumbbells, squat racks and new kettlebells. While there are a lot of expensive gyms out there, the Armitage provides everything you need from a gym without the ridiculous prices! There are three membership options, including pay-as-you-go, so that you’re able to choose what would work best for you.

Team sport: As well as there being a standard gym, there is also a large sports hall available at the Armitage where you could play basketball, table-tennis or netball (just to name a few). It’s very simple to hire and reasonably priced, so you can get some mates together and try your hand at some different sports! If you’re a fan of playing 5-a-side football, then there are 3G pitches you can hire out, or if you’re more into tennis then there are courts for that too. Society home matches for sports such as hockey and lacrosse are played at the Armitage, so there are AstroTurf and grass pitches available outside of match or training times.

Profile: Qaisra Shahraz Lifetime Achiever Award at the National Diversity Awards

Qaisra Shahraz is an extraordinary woman; she has produced some outstanding literary pieces and committed much of her life to women’s rights and interfaith relationships— thirty years to be exact. Thirty years committed to equality issues and the celebration of diversity through multiple careers; she has become a highly successful woman on an international scale. On the 16th of September Shahraz’s exemplary work was recognised at the National Diversity Awards, beating several other individuals in the running for the Lifetime Achiever Award.

The National Diversity Awards honours role models and charities nationwide, this year taking place in Liverpool to celebrate the achievements of these incredible people and organisations who have dedicated their time to diversity, equality and inclusion. There are 10 awards that are awarded to individuals on the night, however this year saw a record-breaking 20,000 nominations and votes received.

The evening began with a speech by the founder of the National Diversity Awards, Paul Sesay, discussing the importance of the NDAs and the inspiration behind the ceremony. The ceremony itself is sponsored by a variety of organisations including the Army, Adidas Group, The Open University and Able Magazine, that contribute towards supporting a diverse group of talent. It was a room full of incredible individuals; Qaisra Shahraz stated that her fellow nominees were “amazing, inspirational people, excellent role models– all winners in their own right!”

Shahraz herself found the event to be a thrilling experience for me and my sister Farah, to be part of an incredible event in Liverpool Anglican Cathedral, which brilliantly showcased and celebrated the marvellous work, of hundreds of unsung heroes, amazing companies and charities across the UK. All of whom have tirelessly dedicated their lives to inclusion, removal of barriers for others and celebrating diversity.”

She completed her first university degree at the University of Manchester; she is now a Fellow of the Royal Society of Arts and has written many prize-winning and critically acclaimed novels and scripts through which she has expressed a lifelong commitment to equality issues and the celebration of diversity. However, she is still very much involved with the University of Manchester and is currently filling the role of vice-chair for “Faith Network 4 Manchester”.  Qaisra Shahraz is working with students from the University, Saffa Mir and Ilyas Nagdee to organise a Diversity Multi-Faith peace event to be held the Students’ Union on the 7th of December.

Diversity is such an important issue both within the community and globally, so it has become exceedingly important to celebrate both diversity and those who champion it. The National Diversity Awards is an amazing event which highlights incredible individuals who celebrate and promote diversity in numerous ways; the atmosphere is a very positive one, with all nominees supporting one another. Such a fantastic event deserves recognition and praise—as do all the nominees and supporters of the event, and we at Manchester should be very proud that Qaisra Shahraz, one of our own, has won such a prestigious humanitarian award.

London to Paris Bike Ride 2017: Cross the Channel for Charity

Sport is a way for you to challenge yourself as much as you can, and The University’s RAG (Raising and Giving) team are offering you the chance to challenge yourself to the max with a bike ride from London to Paris in aid of Breast Cancer. Manchester RAG raised around £400,000 last year and this is your opportunity to join and do your bit.

As a challenge leader for the 2017 London to Paris Bike ride, I want to recruit as many students as possible to take part in a very exciting opportunity to raise money and challenge yourself.

The work of Breast cancer now focuses on four critical areas: risk prevention, early detection and diagnosis, treatments, and secondary breast cancer. Currently one in eight women in the UK will face breast cancer once in their lifetime. Research holds the key to a world where everyone who develops breast cancer lives. With your help by 2050 we will live in that world.

 

Photo: Breast Cancer Now

 

The London to Paris bike ride will take place in early July 2017. It is truly the challenge of a lifetime; we will be cycling 220 miles over three days. No cycling ability is required and the challenge leaders will guide you through every step of your fundraising and training.

Come along to the information meeting on the 29th September from 5pm – 5:45pm in Academy 2 in the University of Manchester Students Union. Any questions and queries will be answered by Breast Cancer Now’s Student Engagement Executive.

To learn more about breast cancer, visit: http://breastcancernow.org/about-breast-cancer

 

 

LONDON TO PARIS BIKE RIDE 2017 – CROSS THE CHANNEL FOR CHARITY

Get involved, do something worthwhile, cycle from London to Paris for Breast Cancer Now.

As a challenge leader for the 2017 London to Paris Bike ride I want to recruit as many students as possible to take part in a very exciting opportunity to raise money and challenge yourself.

The bike ride is in aid of Breast Cancer now, a fantastic charity. The work of Breast cancer now focuses on four critical areas, risk prevention, early detection and diagnosis, treatments and secondary breast cancer. Currently one in eight women in the UK will face breast cancer once in their lifetime. Research holds the key to a world where everyone who develops breast cancer lives. With your help by 2050 we will live in that world.

The London to Paris bike ride will take place in early July 2017. It is truly the challenge of a lifetime, we will be cycling 220 miles over three days. No cycling ability is required and the challenge leaders will guide you through every step of your fundraising and training.

Come along to the information meeting on the 29th September from 5pm – 5:45pm in Academy 2 in the University of Manchester Students Union Any questions and queries will be answered by Breast Cancer Now’s Student Engagement Executive.

Photo: Breast Cancer Now

The Glorious finish!

 

 

Cyclist hit by vehicle outside Fallowfield Sainsbury’s

A large black car hit a cyclist outside Sainsbury’s in Fallowfield on 28th September 2016. The cyclist according to witnesses speaking to the The Tab was left with a badly broken leg that was “bent up behind him”.

Paramedics immediately began checking his pulse, with witnesses stating that he was unconscious but alive when the ambulances arrived.

It is thought that he sustained an injury on his head, and was reportedly not wearing a bicycle helmet. The vehicle remained at the scene.

Witnesses according the The Tab reported that people around him were wearing hockey gear, although it is still unclear whether or not he was part of the team.

The severity of the cyclists injuries are currently undetermined.

Naked man on Stagecoach bus promotes new app

A fully-grown man clad only in a towel and shaving foam was hired by Stagecoach to promote their new app.

The new app has features that help you find your nearest bus stop using GPS, plan a journey, and get live bus times and tickets on your phone.

Stagecoach were trying to demonstrate how much time you could save in the morning if you downloaded their app, and that you could use the extra time to get ready.

Alongside hiring a naked man to promote their new app, the bus operating company are offering a number of freebies when you download the app, namely mugs and chargers. They also offered the chance to win either a brand new iPhone 7 or get free bus travel for a year by tweeting using their hashtag.

Charlie Spargo, a third year, encountered the semi-naked man on  his way back from the city centre and told The Mancunion, “when I saw him alongside a photographer and video cameraman at Piccadilly Gardens, I almost headed for a different bus but curiosity got the better of me. He was trying to get people to download the app on the bus, but with bus Wi-Fi as it is I told him I’d do it later.

“He was really friendly and making jokes with the other passengers, but as the bus began to fill up the team got off at the Aquatics Centre, presumably to take more photos and shock more students.

“I do wonder how they managed to tie the towel to stay on all day.”

Album: Beware of Darkness – Are You Real?

16th September 2016 via Bright Antenna

8/10

After the deafening roar emitted by Beware of Darkness’ 2013 debut album, Orthodox, the EP that followed, Sanctuary Season, was met with deafening silence. Here, lead vocalist, guitarist and lyricist, Kyle Nicolaides, embarked down a strange, sedated musical path under the cloak of the band’s brand. Fortunately, latest album Are You Real? welcomes back bassist Daniel Curcio and drummer Tony Cupito, along with the raucous sound fans know and love this band for.

Are You Real? kicks off with ‘Muthafucka’, stamping their return with the opening declaration “Motherfucker, I’m back from the dead”. ‘Muthafucka’ is perhaps a gracious nod to the critics who have pooled Beware of Darkness into the centre of a Led Zeppelin and Jack White Venn diagram. Nicolaides serves up one of his signature wailing riffs, whilst Curcio and Cupito muster a driving rhythm comparable to Zeppelin’s ‘When The Levee Breaks’. Thereafter, the album breaks into a war cry against the “modern world” with ‘Blood, Sex, Violence and Murder’. One could postulate that this a flip of the bird to the current political environment, especially after the band’s virtual defacing of Mr D. Trump’s poster on a recent Snapchat story (it’s a ‘yes’ from me, lads).

Nicolaides’ vocals shine on this album. From the dark lullaby of ‘Beware’ to the gentle ballad ‘Sugar In The Raw’, vocals slither between cigarette-stained growls and haunting melodies with smooth dark chocolate undertones. However, at times lyrics are met with the response of an eyebrow hiking up my forehead. Some lines resemble a bad urban gangster movie script, as in the instances of “crushing on a bad bitch, yo” and “woman, I think you’re dope”. You could be forgiven for dismissing ‘Angel’, which begins with an overindulgent muttering monologue. Nonetheless, persevere past this and thou shalt be rewarded with a riff that erupts with rock’n’roll effervescence.

If heavy rock is not your tasse de thé, Beware of Darkness also please with lighter, preppy tunes in ‘Summer Daze’, ‘Surrender’ and the highly infectious ‘Dope’. Although Beware of Darkness’ progressive stance can be on the fence between revolutionary and just plain fickle, Are You Real? caters for a wealth of music tastes. An album filled with monstrous riffs, pleasurably filthy rhythm and battle cries laced with sweet lullabies and sorrowful moans, Beware of Darkness have ventured out of the shadows and into the light once more.

ANDY WARHOL at the Whitworth

One of the most exciting exhibitions to keep an eye out for over the Autumn/Winter term is the Whitworth Art Gallery’s ARTIST ROOMS’ which will home the highly anticipated Andy Warhol exhibition running from 19th November to 16th April. The exhibition will feature a selection of the 232 works of the late great pop artist’s work which ARTIST ROOMS currently has access to.

Gun (1981), Dollar Sign (1981) and Camouflage (1986) are among some of his later works which will be displayed at the Whitworth, exploring themes of conflict and destruction, particularly in relation to Warhol’s own brush with death after being near-fatally shot in 1968.

As one of the most iconic and widely-replicated artists of the 1960s, Warhol’s distinctive style lends itself well to such a large-scale exhibition, with his frequent collaborations with various muses such as Edie Sedgwick, Mick Jagger and Debbie Harry making him pop art’s most noteworthy pioneer.

His work presents us with a unique depiction of the American Dream, which remains consistently intriguing even decades on from his most prolific era. The many different thematic facets of Warhol’s work will undoubtedly draw in huge crowds at the Whitworth’s exhibition this winter, so whether you’re already well-acquainted with his greatly influential style, or simply curious, this is definitely a must-see event.

All Genius, All Idiot

All Genius, All Idiot is a delightful circus performance laced with tongue-in-cheek antics, yet does not shy away from edgier material

With just two nights in the Quays Theatre at The Lowry, All Genius, All Idiot  had far too short a run in Manchester. The four-man Stockholm based company have created a multi-disciplinary masterpiece exploring the human condition, without a plot or indeed much dialogue at all. Despite a slightly damning review from The Guardian as they closed London’s International Mime Festival earlier this year, the Manchester show did not seem “messy” at all, but rather an intimate journey for both company and audience.

Make no mistake, you get out what you put into All Genius, All Idiot. Do not expect an evening of refined acrobatics and eloquent writing. The highly malleable layout of the Quays Theatre was left untampered with, but the “traditional seating” did not indicate a traditional show. The surrealism of Svalbard’s piece was accompanied by mandolin-playing Ben Smith, the British quarter of the company, whose haunting voice was reminiscent of the late great Jeff Buckley and set a gorgeously strange atmosphere to start the show.

The acrobatics of self-described “clown” Santiago Ruiz Albalate are perhaps the strongest circus influence of the show, however the blend of text, physical theatre, original music and wit is brought about by equal contribution from every member of this exceptional company. The show is of course largely “without plot” and the audience are encouraged to contribute to the piece in some very well placed points of improvisation. Despite this apparent lack of structure, the scenes and their order seemed to resonate strongly with every audience member in a different way.

The show moves from deep social commentary to a hedonistic flurry of movement and muscle, from folksy banter to raw physical conflict with ease, and balances moments of lightness perfectly with thought-provoking texts and exceptional acrobatic talent. The wordless commentary on our culture, lusts and vices is both damning and amusing. Whilst the cast are undeniably comfortable with gender-fluidity and expressing sexual desire positively, they do not shy away from making the audience uncomfortable with rape analogies, overdoses and freakish costumes. The unnatural movements of Tom Brand in backwards clothing and a faceless mask will no doubt haunt the dreams of many theatre-goers. There is also a well-placed striptease from Santiago, wearing confetti-filled tear-away trousers, which appeared shortly after.

When asked what the inspiration of the show was, hand-balancing acrobat J. Simon Wiborn said, “the inspiration definitely mainly comes from us, from each other. We all have individual inspirations like dance, and music, and theatre, and clowning, but then the main core of ‘us’ is that we are inspired by each other”, which without a doubt is seen on stage.

Although Ben Smith seemed disappointed by such a “cosy” audience, All Genius, All Idiot definitely benefits from an intimate audience, unlike the company’s previous outdoor shows. The show is a dual experience; interaction is the key to its success.

For a maximum price of £17.00, it’s worth a front row seat, but don’t take your grandma with you. Unless she is comfortable with slightly warm tear-away trousers in her lap.

Review: Hell or High Water

Set in the picturesque, golden haze of small-town Texas, David Mackenzie’s Hell or High Water tells the story of two brothers who resort to crime in order to pay off the money they owe on their ranch, and therefore provide a better future for their family. While the plot itself is fairly uncomplicated, this film is anything but a simple watch. There is no clear ‘right’ and ‘wrong’ within the film, which leads to its accomplishment in interweaving melancholy and drama with comedy and action. In many ways viewing Hell or High Water is akin to reading a short-story, it speaks for itself and does not require lengthy explanation of the premise at any point throughout; it simply is what it is.

The tone is initially lighthearted and comedic, with many jokes and quips along with brilliant characterization, such as the contrast between the two brothers—Toby (Chris Pine) is calm and controlled with no prior criminal record, whereas his brother Tanner (Ben Foster) is prone to violence and barely able to stay out of prison. It is clear from the offset that the relationship between the brothers is highly sentimental despite their arguments and differences, yet the emotive power of Hell or High Water truly comes through in the second half when the brothers are forced to part. Tanner is willing to sacrifice anything for his brother, and Toby the same for his sons. This familial love is prevalent but not over-played and does not come across as sickly but instead the excellent acting from both Chris Pine and Ben Foster creates a sense of genuine affection. This is mirrored with the strange relationship between the two Texas Rangers, Marcus Hamilton (Jeff Bridges) and Alberto Parker (Gil Birmingham). The pair disagree on many topics and issues, yet a bond is gradually and subtly formed which makes the outcome all the more tragic.

The ultimate change in tone comes about halfway through the film, and is simultaneously unexpected and seamless. In a split-second it switches from a relatively tame but enjoyable tale of two novice brothers attempting small bank robberies being followed by two equally bumbling Texas Rangers, to a violent and bloody shoot-out. The pace quickens, and as a viewer it suddenly becomes apparent how invested in the characters we have become. While hints are laid as to the outcome of the plot, such as the brothers cutting corners on their plans and attempting to rob a bank far larger than they are capable of, it still feels deeply upsetting to watch their descent into a game of run and chase.

The true mastery of Hell or High Water is in its balance between style and substance. The cinematography is breathtaking, with extremely visually striking landscape shots entwined with skilled camera work and car tracking shots. Equally, the soundtrack further enhances Hell or High Water’s artistic qualities, with Nick Cave’s voice proving the audio equivalent of the stunning Texas landscape. This focus on the aesthetic could risk overtaking other aspects of the film such as the performances and plot, yet it doesn’t. Each different aspect of the film comes together perfectly to create a genre-mixing masterpiece. My only criticism is that the run-time feels a little short, at an hour and 42 minutes. While it does not feel like any part or scene is rushed, there is the nagging sense that there should have been another fifteen minutes of screen-time somewhere. Nevertheless, this film is so polished and beautiful that this does not take away from its success as a whole.

 

4.5/5

Have No Fear, Mature Students are here!

New city, new people, and a whole new chapter in your life. Starting university can be a daunting time for many, especially for us mature students

Returning to education after a gap year (or five), or an entire 20 year career is a big, bold choice, especially when you feel like you’re the only person in the entire student body old enough to remember the millennium. But, here at the University of Manchester, there are almost 40,000 students, and just over 4,000 of them are adult learners. That’s over ten per cent!

So here are my top 5 tips to making the most of mature student life…

1. Get to know your Academic Advisor

All students are assigned an Academic Advisor. It’s a good idea to get to know them, and for them to get to know you, so they can understand your situation a little more. Each advisor has office hours which are times when you can just drop in and see them without an appointment. You can always drop them an email to arrange a meeting, too.

2. Organisation is key

Keeping on top of your studies is, of course, the most important. Planning time to finish assignments around work, or family, is a big help. It’s often best to revise as you go when you have a lot on your plate. A favourite of mine is to spend an hour in the library after each lecture writing up my notes in a way that makes them easier to revise from, ready for exams.

3. Join The University of Manchester Mature Students Society

It’s a great way to meet lots of people like you, and with regular sessions you can jump right into your new university social life! You can join by liking their Facebook page, or signing up on UoM’s Students’ Union website. And it doesn’t stop there! There are loads of societies to join where you can meet people with similar interests, and make new connections with a wide range of people.

4. Attend Adults Returning to Education sessions

This is a support service for those interested in beginning education later in life, or who have already taken the steps to higher education as an adult. They take place on the first and third Wednesday of every month. You are required to book your place on a session in advance, and can do so by calling 0161 275 2212, or by visiting the university website.

5. Make use of the University’s Wellbeing Centre

Studying can become stressful, but it’s good to know that there are free relaxation and mindfulness classes at the Wellbeing Centre every week day. The centre is based in Simon Building on campus, and you don’t have to book. So, drop in on some meditation and just chill out. More information and scheduling can be found on the University website.

Being a mature student is great. Studying for a degree later in life means that you’re ready for the challenges of higher education. Dive in head first and you’ll be graduating in no time!

Classic Review: Le Silence De La Mer

At the time of the French resistance, young Jean-Pierre Melville read Put Out The Light, the English translation of Le Silence De La Mer, and he knew right away that this was going to be his first film. The film was adapted from the novella of the same name written by Jean Bruller under the pseudonym Vercors in 1942. The book—due to its political nature—was published from an underground press. However, Melville was attracted to the book not only because of the strong resistance that it portrayed but also because of the anti-cinematic narration of the whole story. This anti-cinematic nature of the film comes from the narration of the whole story from a silent character—at least for most part of the story—who shows opposition by remaining silent.

The story revolves around three main characters who are linked to a German officer, who is billeted with an old man and his niece. The officer has a penchant for the French culture and art, and is a music composer. But despite the uncle and niece showing their defiance by remaining mute and not acknowledging his presence in the room, the officer tries to break the silence by opening his heart to them. He visits them in the living room every night to get some warmth from the fire place, and every night he tells them about his youth, his music and his deep love of the French culture.

The aesthetic of the film is mostly accomplished in just one room with  a dining table and a fireplace, and even then the film doesn’t look small in any way, due to the nature of different cuts of the detailed body postures and manoeuvres by the officer. An exciting aspect of the direction is the way the room is filmed: despite being in one room the characters never cross each other’s path, they are in the same room, they share the same warmth from the fire place but they are away from each other emotionally. The room doesn’t look confined at all. The limited movement of the niece and a brilliant shot of her gazing into the absolute darkness shows her resilient nature and the isolation she feels while the officer is in the room.

The film would not have been made if Melville was not stubborn. Jean Bruller rejected every director because he didn’t wanted anyone to adapt the novella. Despite this, Melville kept asking again and again, and finally Bruller agreed but only if Melville showed the film to Bruller’s friends, who were resistance fighters, and only release the film if they agree to otherwise burn the print of the film.

Melville finally released the film in 1949 after fighting with the author, Centre National de la Cinematographie and the Ministry of Information and the conventional form of studio film making at that time.

Feature: Exploring the impact of Little Men

Ira Sachs’ Little Men starts off as a gentle story of two families living on the same block in Brooklyn. Not unlike his previous film Love Is Strange, the story of a couple in their late sixties—in which Alfred Molina stars in alongside John Lithgow—this follow up is equally set against the unforgiving real estate market of New York. The Jardine family move from Manhattan to Brooklyn, into a brownstone inherited from the deceased father of Brian (Greg Kinnear). The ground floor is rented out by Leonor Calvelli (Paulina Garcia) as a clothes shop, there for decades. The deceased father had developed a strong friendship with Leonor, and kept her rent affordable as the neighbourhood around them was gentrifying. Brian’s sister thinks the shop is old-fashioned and non-profitable, and therefore strongly suggests to evict Leonor for new tenants, who are willing and able to pay the expected amount. Brian doesn’t want it to come to that, approaching Leonor with a new deal. This does not go well.

This is an honest, imperfect film, about the fragility of individuals, relationships and issues related to social class. Sachs’ shots are delightfully unpolished, giving it a realistic dimension that is easy to watch. The actors deliver a raw, open performance that Sachs takes care to capture unrehearsed. 90 per cent of this film is scripted, the other 10 per cent is improvisation. The ‘Little Men’ in question, 13 year olds Jake (Theo Taplitz) and Tony (Michael Barbieri), develop an unlikely friendship. Both striving to be artists, Jake—Brian’s son—is something out of a Bresson movie, whereas Tony (Leonor’s son) is pure Scorsese. The bond these two boys develop comes across so naturally on screen, they seem to have forgotten a camera is there. Sachs explains this through his philosophy of avoiding rehearsals, making the kids spend time together off screen. A decent amount of their scenes are silent ones, specifically the recurring shots of them shooting around Brooklyn on rollerblades and a scooter. They do not need to speak for us to pick up on their mutual ease around each other. This goes to show how children have the ability to forge deep, meaningful relations in a short amount of time.

Greg Kinnear fits superbly into the role of the distraught father, struggling with mixed emotions about his son’s artistic aspirations, his rational sister pushing him to make a move on the eviction of Leonor, the passing away of his somewhat estranged father. His wife Kathy (Jennifer Ehle) brings home the one reliable source of income, supporting the family as he pursues an unsuccessful career in acting. He is ashamed of this but cannot bring himself to admit it, dealing with his grief in private. In many ways, Brian is still growing up, and has yet to become the man he wants to be, or at least the one his wife and son need him to be. The scene of him crying into the late hours of the night, alone under the staircase reaches right out to the viewer. Anguish of loss is a recurrent theme in Little Men, each character having lost or losing someone or something. Leonor, played by the very talented Paulina Garcia, is one of the best performances of 2016 so far. She is fierce, holding her ground for as long as she can. Brian and Kathy see her through their angle of the prism, shocked at her refusal to cooperate with them. In return, she despises this man, the absent son of her dear friend Max, who is the deceased father of Brian. Max cared about her, “Can you believe that?” she asks Brian during their final confrontation.

The script, co-written by Sachs and Mauricio Zacharias, cleverly never deals out too many good cards to one person, shifting our empathy from one character to another throughout the movie. As Jean Renoir’s Octave from The Rules of the Game says, “The awful thing about life is this: Everybody has their reasons.” Leonor is a refined character, who is not afraid to stand her ground, resisting their demands, simply to survive. Yet she too breaks when pushed too far, reading her eviction papers. This is not a story of aristocracy against the poor, but of the people in the middle trying to find a balance between themselves and their surroundings. The title of this film was greatly inspired by the classic novel and film adaptation Little Women for its sentimental, domestic context. Sachs uses the form of melodrama to expose some of the biggest social and economic struggles that people are facing worldwide, in every city. Gentrification is no light topic, and losing one’s home can be life or death in many cases.

Tension between the boys’ parents puts a strain on their friendship, making nonchalant things such as sleeping over at one another’s impossible. They are completely caught in the middle, and their reaction to this is to respectively give their parents “the silent treatment”, a name that was considered as a potential title for the film. The parents try to keep the children outside of the mess, but they can’t protect them forever. Tony in particular appreciates honesty, which is underlined in the kid’s party scene, when the girl he asks on a date tells him she’s “into older guys”. To this he replies “Thank you for being honest”, another initial title idea. When the truth does come out, Jake’s desperate, naive attempt at fixing things is heart wrenching. If only things were as simple and uncomplicated as his solution. No class lines, no prejudices.

During his Q&A at HOME Mcr cinema, Sachs explained how this was probably the most rehearsed scene in the film, insofar as Theo delivers an emotionally charged monologue built up in several stages: outrage, denial, proposing a solution, realising that his father isn’t going to consider this, that he is too late. He erroneously uses the word “evacuating”, softly corrected by his mother that the word to use is “evicting”. This is one of the rare reminders that in spite of their precociousness they are only 13.

Reality hits hard when Jake skates past the now empty shop, it is literally “in his face” as Sachs puts it. In the final scene, time has passed, as a slightly older Jake notices Tony at an art gallery. Watching him talk to classmates from afar, his decision to not approach him speaks volumes. He is realising their friendship just won’t work. Theo Taplitz explained to Sachs that in this scene, it dawned on him that it was the end of the shooting, the story, the film. This touched Sachs, as Theo was experiencing the notion of “past” on a deeper level for the first time. “I’m interested to see what will become of those kids” pondered Sachs. The lack of conventional closure to the story is as bittersweet as it is refreshing, as you leave the cinema wondering how these characters’ lives will unfold. Little Men truly confirms that Sachs is one of the quintessential filmmakers in contemporary American cinema.

War on Drugs: Fabric Unravelled

A large step forward in the war on scumbags has been made recently as the doors of one of the most dangerous places in Britain have been shut for the last time. The establishment formerly known as Fabric has been closed down after it was discovered that its status as a laser quest arena was merely a front for a storehouse of illegal drugs such as mega skunk and acid techno; which takes seven hours to have an effect on its users, although very little changes seem to occur to the naked eye.

Fabric was nothing but a web of lies. When questioned by the authorities, the owners of this dirty, sticky web at one point even came up with the preposterous idea that Fabric was a music club. Allegedly, groups of men and women of all kinds of strange colours and persuasions would move about whilst listening to so-called music. Though such a facade immediately fell down as the venue was assessed by the police, and there were no guitars to be found.

The truth of the matter is that these grotty rooms were cellars of excess; receptacles of immorality where both illegal drug taking and public displays of affection were rife. These two sinful acts, of course, go appropriately hand in hand. Public displays of affection, otherwise known as PDA or “heavy petting”, were invented in the 1990s as a result of mind-altering drugs, a follow on from private displays of affection which were invented in the 1960s as a result of mind-altering drugs.

With the closure of Fabric now complete, we can hope to return to the more moral, sensible and drugless Great Britain of the pre-1960s. In this Golden Age, people did not touch each other and babies were born wearing either their Sunday best or industrial overalls, depending on class. Upon coming into contact with air, these babies would pair up with someone from the opposite sex and unhappily marry; in other words, life went on as it should.

In fact, Fabric might not have arisen without the depraved 1960s and 1970s, periods when experimentation with the aforementioned mega skunk led to perversions in human behaviour and thought. At times this led to ventures such as wanking-off dolphins in order to coax them into speaking English. More bizarre and radical ideas, such as human contact, affection, and listening to music also gained momentum. Such scenes of both dolphins and humans merrily having it off with each other whilst on a melange of substances is probably only half of what went on within the walls of Fabric.

For some, Fabric was a pillar of London’s nightlife society, but then, you cannot spell “pillar of society” without “pill”, which indicates what kind of society these people were attempting to build. Plus, as Margaret Thatcher stated with an immediate effect both forwards and backwards into time, there is no such thing as society anyway. It need not be said that taking illegal pills in the night time to stay awake and forget your stress is absolutely absurd, bordering on psychopathic. It may need reminding that the only pills people should be taking are the legal ones that help you to get to sleep at night after a stressful day.

Along the way towards Fabric’s closure, there were different battles fought before the final victory in the war on drugs. Firstly, in an attempt to lower the amount of drug taking, authorities demanded that sniffer dogs be put inside the venue as well as outside the entrance. Increasing in intensity, wolves and then tigers were introduced into the club. This, unfortunately, had little effect as a deterrent and club-goers had no fear of the deadly creatures, thinking instead that they were drug induced hallucinations. Consequently, networks of texts extended throughout London starting with either “wolf pills, shout me” or “no comedowns, nuff tiger visions, get at me”.

Meanwhile the club chain Tiger Tiger attempted to profit from this strange craze by similarly introducing tigers to their clubs. The fearsome, muscular animals known to frequent the club were not happy with this, and punched the lights out of the newly introduced tigers for purportedly “eyeing up their birds” and “thinking they were hard”.

It is a sad fact today that some of the world’s billionaire oil tycoons still have to survive owning only 70 per cent of the buildings and outdoor spaces in London. However, now that Fabric’s license has been correctly revoked, we can help this low percentage rise. The streets of London are officially drugless and the druggies have been replaced with empty luxury housing developments that stand peacefully next to further empty luxury housing developments. In other words, life goes on as it should.

Fashion Week Season, The Story So Far

Twice a year, the media is overwhelmed by a barrage of women walking (traditionally) in a line, in front of an audience. It causes a huge stir and garners a lot of column inches—which I am about to add to. And this is the basics of fashion week season.

So far we have had New York, London and Milan fashion week, all of which have added something new to fashion, beauty and cultural conversations. From Marc Jacobs’ use of dreadlocks, via Bella Hadid’s runway stumble, to Christopher Kane’s bejewelled crocs, the Fashion Industry is never predictable. Let us explore some of the key moments of the Spring/Summer 17 shows.

Yeezy

Aside from the complaints about the wait for the show and lack of shade or water for the audience, Yeezy’s collection is likely to trickle down to a night out near you. With his connection to social media’s foremost family, Kanye West ensures his vision of ladies’ street wear reaches as many 18-24 year olds as possible. The plastic over the knee boots scream sweaty feet and discomfort but when Kim Kardashian-West wears them they gain an audience. Kanye’s collection is seemingly spearheading a desire for women to only wear clingy fleshtones in a dystopian street-style. It is a clear evolution from his collection last season, with the introduction of lighter colours and more sheer fabrics. My basic understanding of his collection is: why should women wear clothes when they can wear clothes that make them look virtually naked? It’s a guaranteed hit with Kardashian/Jenner lovers.

Ugly-Pretty Beauty.

This has been an evolving trend in recent seasons. Designers are rejecting the stereotypical feminine looks that have long dominated catwalks and fashion pages in favour of more jarring styles. Whether it was bleached brows and barely there make up at Gucci, interspersed with an array of seventies hairstyles; or DKNY’s use of Victoria’s Secret models, with lipstick so dark it’s almost black. The clash of overtly sexy women with gothic make up gave the collection a modern take on the street style it was promoting. Another reoccurring theme was wet/greased hair, with wisps of baby hair gelled to the face. A trend unlikely to be purposefully recreated by every day people, even if it is a reality many of us face as consequence of the autumn drizzle.

Charlotte Olympia

Hands down the most amusing show of the season. There were some traditional catwalk outfits paraded down the runway but more striking were the models in giant fruit costumes. Ensuring that Olympia kept the focus on her key pieces – shoes. Seeing bananas, melons, grapes, pineapples and strawberries walking down the catwalk epitomised that fashion does not always have to take things seriously. Sequined dancers with bananas do not detract from the glorious shoes on show. Although I doubt the fruit costumes will be reproduced and sold in the shops, I hope the joie de vivre of the show translates to the women who come to own the beautiful shoes!

Charlotte Olympia. Photo: master78@Flickr

Marc Jacobs Dreadlocks

It is rare that a hairstyle could cause as much of an uproar as Marc Jacobs’ multi-coloured dreadlocks did. His use of the Instagram set – Gigi, Kendall and Karlie to name a few – and his use of a traditionally black-afro hairstyle instigated cries of cultural appropriation. The hair fiasco over powered all coverage of the actual collection; a reminder that fashion plays a vital role in the cultural conversation, allowing the appropriation/appreciation conversation to roll on. Returning to the collection itself, a mismatch of: sheer, metallic, girly, frills and kitsch. Expect reproduction on the high street with this mixture of wear-ability, scandal and famous faces.

Crocs

Never, ever, did I expect to write about CROCS in the fashion section. Never. And yet here I am. Christopher Kane is the one to thank for this left field fashion item – the bejewelled croc. Above ankle height his fashion show was beautiful, a mixture of textures and prints, with 3D flowers and leopard prints, sheer tights and ruffled dresses. Kane maintains a special place in my heart since the gingham glory that was his Spring/Summer 2010 collection. Initially, the bejewelled crocs shocked me. However, fashion is all about the unexpected, and crocs on a high fashion runway certainly fulfils that definition. I can only presume that somewhere there are consumers willing to embrace the ironic luxury of Christopher Kane crocs.

Metallics

Perhaps it’s my own infatuation with metallic at the moment but I was thrilled to see the metallic trend continue. The London shows in particular embraced the trend. Sequin skirts at Preen by Thornton Bregazzi, Silver leathers at Marques ‘ Almeida and gold tasselling on Erdem’s evening wear; there were just so many options. Designers are refusing to limit the potential of sequins. Golds and silvers are being embraced as every day staples, adding a little bit of ‘pizazz’ to the general gloom of classic stripes, neutrals and florals we are used to wearing.

Metallics. Photo: Glam UK@Flickr

 

Fabric: An Obituary

One of London’s cultural highlights has been forced into closure. Fabric, often voted best club in the world, had its licence revoked on the 6th of September. In a toxic combination of a failing war on drugs, a cash-strapped council, and a police force at odds with the community it claims to serve, the club was the latest victim of an unjust cultural war that shows a callous disregard for younger generations.

The official reason for Fabric’s closure was the tragic deaths of two 18-year-olds between June and August 2016. Much of the media coverage has ignored the fact that the way the club operated was clearly fatally flawed. It should be taken for granted that clubbing should always be safe, and should never result in death.

However, there is more to the story than harm reduction. In a statement the Metropolitan Police said that there were “concerns about the safety of those attending due to the supply of class A drugs and the recent deaths of two young men.” Ostensibly this is the work of a force worried about the safety of young clubbers. The most important question, then, is “was shutting Fabric the most effective way of reducing the drug problem?”

Closing Fabric will not stop anyone from doing drugs. Whichever side you fall on the drug debate this must be clear. The “drug problem” is surely not the consumption of drugs itself, but the harm created to the user and those around them. At best, people will take drugs at another club, but at worst, drug use will be taken outside of licensed premises, with people taking dangerous drugs in an uncontrolled environment without trained staff to care for them.

Around 29 pubs close every week, yet levels of dangerous drinking have remained static while numbers of those dying from alcohol related deaths show a steady increase. As in all prohibition wars, closing safe spaces for consumption doesn’t eradicate a problem: it merely makes it more dangerous.

Fabric’s closure shouldn’t be simplified as the war between local authorities and some party-hard pillheads however. Fabric was a fun place; it was also a cultural icon. In the report used by Islington council they omitted that an undercover police officer had described Fabric as having a generally “friendly and non-threatening” atmosphere that was fun and diverse.

Clubbers from around the world went there to hear great music, and their compilation tapes were curated by the likes of John Peel, Rob da Bank, and Four Tet. Cultural venues cannot be replaced easily. London Mayor Sadiq Khan has urged Islington council to rethink their decision, stating “in the past eight years London has lost 50 per cent of its nightclubs and 40 per cent of its live music venues.” Khan was no doubt furious that within months of his flagship 24-hour tube being launched many people’s best reason for using it is being taken away.

But why would Islington council battle against a new a popular mayor? While places like Fabric produce lots of money through taxes and the secondary economy around them, this money goes to government rather than the council, while the costs for security, policing, and emergency infrastructure are borne predominately by the local authority.

Islington council has lost half of its funding since 2010, while the police face losing around 40 per cent of staff. Meanwhile, if Fabric were to go the way of the Haçienda—redeveloped as luxury apartments—then Islington council could stand to make serious money. A newly-built apartment block in Islington has a one bedroom flat listed at £715,000.

Sadly there is evidence, as reported by The Independent, that the deaths were not the real reason for the club’s closure. Documents released show that Islington council cherry-picked a report by undercover police officers in a long running bid to shut the club down, the not-so-hilariously-named Operation Lenor. Fabric had very recently been commended as a club with an excellent safety record by Islington council, and was offering training to other clubs.

Fabric often had on-site medics and stringent searches, yet those records are now being cited as evidence of a drug problem. Islington is engaging in a Kafka-esque trail that is nothing to do with harm reduction. Meanwhile luxury hotel The Dorchester, with rooms starting at £500 a night, has had three separate drug-related deaths in the same period of time as Fabric.

So what could Islington council have done instead? It is unrealistic to imagine that Islington council could single-handedly ignore the everyday ‘war on drugs’ message, but there are many other solutions that could have been deployed. On-site pill testing and promotional material could undoubtedly be used to prevent harm, and would save lives.

Clubs could have their license revoked for “encouraging drug use” merely for having a chill out space and attendants, and having pill testing would certainly be seen as abetting. Meanwhile in the Netherlands, where drug testing is commonplace deaths have been avoided, while the same dangerous pills have killed people in the UK.

The fact is that every death that happens while these facilities are needlessly unavailable is to a greater or lesser extent the fault of the government and the council. If they refuse to accept a scientific approach to drug policy then things will be unable to improve. Clubs that people love will shut down, and music and culture will be stunted. If it can happen to Fabric, it can happen to any club you know and love.