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Year: 2017

Burnham announces £1.8 million homelessness plan

Written by Cliona Linehan on . Posted in News.

The Greater Manchester Combined Authority (GMCA) has this week announced a £1.8 million investment to develop a wide range of measures to address the many people sleeping rough on the streets of Greater Manchester.

The £1.8 million investment, one of eight social impact bonds (SIBs) approved by the government, is planned to augment services helping people find and keep homes and deal with addiction and mental health.

In addition to these services, all 41 fire departments across Greater Manchester will work with the GMCA and the local community to provide food and sleeping assistance in the evenings, a welcome idea with winter fast approaching.

According to statistics from the charity Shelter, an estimated 189 people were sleeping rough in Greater Manchester between June and December of 2016, and an estimated 4428 people were homeless, a figure 30 percent higher than the previous year. Despite these challenging statistics, Mayor Andy Burnham remained determined in his goal to end rough sleeping in Greater Manchester by 2020.

“This new money will provide real solutions to help people to get off the streets and find warmth, safety and a better life with work,” Burnham explained in a public statement.

Alongside the development of services available to the homeless community in Greater Manchester, the Greater Manchester Reform Board joined in Mayor Andy Burnham’s calls to the government to halt the new Universal Credit benefits scheme.

“This is not a political point,” Burnham claimed, adding that “If [Universal Credit] goes ahead as planned we will see a much greater problem unfold in front of our eyes.”

Under the new Universal Credit benefit scheme, 18-21 year olds will no longer get housing benefits unless they can prove that they meet an exemption, an additional criticism to the minimum 42 day wait for the first payment to reach claimants. Students in the Fallowfield area expressed their concerns over the new benefit situation.

One student told The Mancunion, “Well with everything getting more expensive, rents are just going to become more and more impossible to afford, so the homelessness problems in Manchester are only going to get worse.”

The efforts to help the homeless was bolstered this week as the ‘Stop, Start, Go’ homeless hostel opened in Cheetham Hill. The hostel currently has 12 beds, which will soon rise to 15, providing medium-term accommodation alongside giving support to people trying to return to education and find somewhere more permanent to stay. Hostel resident Mohammed Abdulkarim said: “Since coming to SSG, I have started college and sorted out my health […] my future looks good now.”

Mayor Andy Burnham is still committing 15% of his salary to his Homelessness Fund. He said in a public statement that “there is still a huge challenge in front of us. There is good work already being done […] We always have to challenge ourselves to go further.”

The new service is expected to reach the streets of Greater Manchester by the end of October, helping people sleeping rough through the critical winter months.

Post-graduation blues need a place on the mental health agenda

Written by Tilly Gambarotto on . Posted in Opinion.

The difficulties of students suffering from depression have been gradually eased into discussion at The University of Manchester, and the subject now makes regular appearance; just last week an entire day at the Students’ Union was dedicated to events aimed at improving the wellbeing and support networks of those who feel they might be struggling with their mental health.

This, categorically, is a good thing. With figures suggesting that one in four students in the UK are currently suffering from poor mental health, removing the stigma surrounding depression is an essential commitment that any university must make.

Why, then, if depression amongst students has become a topic of regular conversation, does post-graduate depression barely make its mark on the agenda?

Living alone for the first time, having to grow accustomed to new friends and a new city, and the pressure of managing financially on a student loan, paired with a crushing combination of exams, lectures and multiple deadlines makes for a student experience that could cause even the most stable of young people to experience a mental meltdown from time to time.

Nothing, however, can prepare graduates for the sheer lack of direction and structure they experience once they have left education. The entire maturing process achieved at university feels instantly reversed, with students forced to give up their social and financial independence by moving home.

Some find that their educational progression based on advice to ‘study what you love’ provides, at best, a shaky basis for eluding the well-known career market trap; need a job to gain experienced, too inexperienced to get a job. Those who go back to old retail or hospitality jobs understandably feel discouraged, especially when surrounded by those friends lucky enough to have found their dream job, or those who are not yet too crippled by student debt to deprive themselves of the opportunity to go and ‘find themselves’ travelling. In such circumstances, it is not all that surprising that graduates struggle with the ‘blues’, or in some instances more severe cases of mental health issues.

The fact is that universities are guilty of over-selling the power of a degree at a time where enrolment is at an all-time high. Regrettably, the market in degrees follows rules not all that different to those of economics; the more there are, the less they are worth.

This is not to say that studying a degree is of no value, but simply to suggest that students must be prepared for a period of — perhaps unemployed — transition once they graduate, and must not become disillusioned if the promises of fulfilling and prestigious career options do not instantly present themselves at graduation.

Mary Curnock Cook, the recently retired head of UCAS, commented that graduates should not worry about finding a job straight out of university, and advised that they spend time volunteering or travelling before making the first job application.

In theory, her argument is logical. Young people should take the necessary time to reflect upon their ambitions, perhaps make the most of the chance to live abroad or get a better sense of the opportunities available before rushing into the first job offered to them. Such breathing space might prevent a delayed case of the ‘graduate blues’, in which young professionals find themselves trapped a job that they took out of fear or panic.

In reality though, most graduates simply cannot afford to spend time out of paid employment, and Curnock Cook’s suggestions are decidedly too middle class to provide any substantial consolation to those students struggling financially.

Careers and counselling services within universities need to establish a means by which they can encourage students to start thinking about post-graduate life, whilst also reassuring students that it is perfectly normal to experience a ‘limbo’ phase, during which career paths or life ambitions might be hazy and overwhelming. Furthermore, counselling services should make clear that a helping hand can be extended to those students who have left the university, and that support is not abruptly cut off come the summer holidays.

Perhaps the simplest cure for those suffering from the ‘post-graduate blues’ could be the fundamental knowledge that, essentially, everybody else is going through the same thing.

Looking beyond the façade: Cornelia Parker’s ‘Verso’

Written by Bella Jewell on . Posted in Arts, News.

Renowned for exploding garden sheds, dissecting Turner paintings, and steamrolling candlesticks: Cornelia Parker returns to the Whitworth Art Gallery, challenging perceptions through the medium of the mundane.

In her 2016 installation, ‘Verso’, which runs until the 5th of November 2017, Parker explores the backs of hand sewn button cards, which make up part of the Manchester Museum’s extensive collection. As an honorary Professor at the University of Manchester, Parker has utilised this role to gain access to objects which, otherwise, would lie behind glass screens, remaining static in their existence.

In 2015, Cornelia Parker opened the Whitworth Art Gallery with a major solo exhibition, containing both old work, such as the famous Cold Dark Matter: An Exploded View (1991), and newly commissioned installations, such as ‘War Room’; a powerful display made up of Remembrance Day poppy cut outs.

It was her opening firework show, however, a ‘meteor shower’ named ‘Blakean Abstract’, that highlighted the stretch of her influence into the archives of Manchester. Collaborating with University of Manchester scientist and Nobel Prize Winner Kostya Novoselov — whose work on graphene with Andre Geim gained global recognition — Parker coordinated the abstraction of graphite from a piece held in the Whitworth collection by William Blake, to launch a meteor display of huge proportions, channelling the omnipotence of Blake’s ‘The Ancient of Days’.

Once again, Parker’s access to the Manchester Museum archives provides her with the subject of her photographs, which form ‘Verso’. Lined up with meticulous precision, one notes an intriguing juxtaposition between the loose trajectory of thread, and the militaristic order of the framing of the exhibit.

It is this insightful composition which adds to the power of Parker’s message. Beyond the outward facing and identical artifice of an object — in this case, mass produced buttons — is where one finds the honest disorganisation of creation, which Parker calls ‘found drawings’. Parker claims to be fascinated with the “logic, unconscious” process of their production, which represents “an imprint… something unique to the person” who created it.  Indeed, when looking closely at the individual photographs, one may find images reflective of human faces, or familiar shapes.

Parker’s fascination with the backs of objects originates in her 1998 show, where Parker displayed the backs of Turner Canvases which, she noted, “looked like Rothko paintings”. The exploration of an object’s behind continued in 2016, when she exhibited her expansive hand-stitched ‘Magna Carta (An Embroidery)’ at the Whitworth Art Gallery. She displayed the piece, which had been hand crafted by 200 participants ranging from Prisoners to Baronesses, above a mirror, so to reveal the underbelly of this seemingly polished celebration of the Magna Carta’s 800th Anniversary.  “Given that we spend a third of our life asleep,” Parker claims “it is fascinating to explore this unconscious” which makes up a significant aspect of the human experience.

However, this form of art is often the subject of vibrant debate, posing the question as to whether reclaiming found objects can truly represent art. Surely Parker’s thoughtful re-composition of these objects does lend them new, symbolic significance, which wasn’t immediately associated with the piece before her consideration and adaptation?

With the chance to speak to Parker herself, she commented that, despite the abstract appearance of the photographs, they are rather “an accurate representation of something that’s there,” that should be viewed “in the same way that one listens to a piece of music.” Her art is a route to “extending [one’s] visual vocabulary.”

According to the interim Director of the Whitworth, Dr Nick Merriman, the gallery “is again showing that it has the ambition to work with internationally regarded contemporary artists” by entering this debate through exhibiting Parker’s works.

While often criticised, some of the most renowned and respected artists utilised the everyday, found object to create their work. Picasso, often considered the most significant artist of the 20th Century, made use of found objects such as newspapers and matchboxes, incorporating them into his revolutionary cubist collages. In this way, Cornelia Parker’s exhibition, ‘Verso’, continues a deeply entrenched artistic tradition, used by the greats of both the past and the present.

Cornelia Parker’s ‘Verso’ is on from 16 June – 5 November 2017

Mixed emotions for the men’s and women’s varsity teams

Written by Sam Cooper on . Posted in Sport.

Friday the 6th of October saw the two Manchester universities go head to head in the 2017 Varsity at the AJ Bell Stadium. The doubleheader was opened with the women’s game as they looked to continue their winning streak over their MMU rivals.

It was UoM who started the brightest, forcing MMU back into their own half, and with only eight minutes on the clock they secured the first try of the evening. Nyamedo Hannah showed a good turn of pace to get past the MMU defence and put her side ahead. Megan Grant-Harris converted and UoM found themselves with a seven-point advantage in the opening stages.

The MMU fans were certainly the louder of the two as they looked to pick up their team from the early setback. From the first UoM try onwards, it was all MMU as they looked for a way back into the game. UoM defended well though, and MMU did not have any clear sight of the try line.

The half an hour mark was approaching as MMU did manage to get points on the board. Number 13 of MMU pushed high up the field, which in turn allowed the number 3 to score the try. However, the conversion was not taken and UoM maintained their lead, which had now been cut down to two points.

Despite the uneven scoreline, the game had been a fair, balanced contest and the sides went in at the break with the 7-5 scoreline intact.

The second half was a different affair though, as UoM really pushed to gain dominance. Just ten minutes after the restart, Hannah scored her second try of the night and while Grant-Harris was this time unable to convert, UoM extended their lead to 12-5.

The game was drawing closer to the end, and there were some nervy moments as one try and a successful conversion would put MMU level. Any unrest was put to bed though as a scrum win gave Zoë Childs Ford the chance to power her way to the try line.

The conversion was missed but the 12 point lead of UoM looked unassailable for MMU. The game finished at 17-5 and the winning UoM team celebrated with their fans.

After a race between the two mascots, which MMU’s bird won easily, it was time for the men’s game. The 2016 encounter saw MMU defeat UoM 10-5 so UoM were hoping for a chance at redemption.

It was not long before MMU were ahead. Having been awarded a penalty, their number 10 made no mistake and put three points on the board for his side. In opposite fashion to the women’s game, it was MMU who started brightest; the opening penalty was being built on with some good rugby.

UoM, meanwhile, were struggling to get going and were forced to kick it long just to get the ball out of their own half. This relief was short lived though, as MMU regained possession and pushed UoM back into their own half.

The work of MMU allowed their number 5 to score the first try of the game and give the team an 8-0 lead.UoM continued to look for a way out and eventually they got their reward.

UoM continued to look for a way out and eventually they got their reward; Ross Bennett squeezed the ball over the try line and Charlie Reed converted to take the score to 7-8 in favour of MMU. Then four minutes later, UoM converted a penalty. Reed made no mistake to give UoM the lead for the first time.

After taking the lead, UoM were on top. A try was ruled out and a penalty kick was narrowly missed. With UoM in the ascendency, it was perhaps harsh that MMU were to go ahead again.

A penalty from a good distance was converted by the MMU number 10 making the score 10-11 in their favour. The penalty was the last kick of the first half and after a sluggish start, UoM fought their way back into it and can be considered unlucky to go in at halftime down.

In the same way the UoM women dominated the second half, the MMU men did so here. They started on the front foot, pushing UoM into their own half more and more. This eventually resulted in the number 5 getting his second try of the night, and number 10 proceeded to score the conversion.

Another penalty converted by MMU’s number 10 gave UoM a mountain to climb, which unfortunately they were unable to do. The game ended 21-10 to MMU, and their fans proceeded to storm the pitch, lifting their players aloft in the air.

Both games consisted of an even first half performance met with a strong second-period display. So the 2017 Varsity ended with victory for the UoM women, but defeat for the men.

Ignored Histories: Empire in Education with Anindita Ghosh

Written by Mancunion on . Posted in Features.

Our education system woefully ignores our imperial history, leaving it noticeably absent from our lower school curriculum. This week, I spoke to Dr Anindita Ghosh, senior lecturer of Indian history at the University of Manchester, concerning the absence of central historical periods, such as the British empire, from our history classes. She said: “Ignoring the empire is like ignoring the Norman Conquests or the role of Romans in Britain. It is so very integral to British society and culture,” and she’s right. Yet we are not taught about it.

I’m sure I speak for many of us when I say my lower school history education was practically caked in World War history, smothered with Tudor England and an America-centric view of the Cold War was our dose of ‘diversity’. Our curriculums ignore the fact that we once occupied one of the largest empires in history. Why do we not learn about this pre-GCSE, before studying history becomes a choice? What effect is it having on our society as a whole?

My discussion with Ghosh began with a focus on existing movements that actually are campaigning for this issue. To name just one, ‘Liber8 My Curriculum’ is an organisation that tours students’ unions and universities across the UK raising awareness.

Is this really the best approach we can be taking? As Ghosh rightly states, “it’s a start, but debate by itself is not enough.” As with any societal and cultural issue, debate and discussion can only get you so far. “There have to be some proactive steps taken on the part of the government, on the part of institutions.”

One solution she presented was getting more hires in histories of colonialism and slavery, racism and migration in our higher education system. University is where we find our future teachers, members of parliament, people who can change our future for the better. If we get people interested in a more diverse curriculum at a university level, hopefully this will translate into a move from our predominantly White European perspective in education in the future.

Following this, we discussed the effects of our current shambles of a government on the education system. Tory cuts have led British education into a state of what innumerable news outlets have aptly described as a ‘crisis’. There are many problems facing teachers these days; should diversification of the curriculum still be a primary issue? To which Ghosh replied by saying “yes” about five times in a row. Cuts and hardships to educators are, let’s hope, things that will come and go. Lack of diversification has immeasurable impacts on our society as a whole.

A repeated theme throughout our discussion was how the empire, for all its many, many flaws, provided our culture and our people with a connection to other cultures and peoples that we otherwise would not have had. Ghosh referenced jazz culture and the ‘supermarket samosa’ as prime examples. These things are “so standardized that you don’t think twice about ‘how did this arrive here? What’s the history of it?’” If we expand our education beyond the whitewashed content we are fed now, maybe we will be able to “appreciate this addition of culture and not just gloss over it.”

Photo: Anindita Ghosh

I followed this up with a rather more hard-hitting question, blunt and to the point: what, in her opinion, is the reason that we don’t discuss these areas of history in education? To which she promptly replied, “collective guilt.”  But she went on to say, “I really don’t see why that should act as a block.” Aside from the occasional talk of reparations and compensation, as a whole “the world has moved on.”

Which led me to my next question: what was her response to the main argument for us keeping imperial education out of our schools: that we should ignore it because to discuss it would be of detriment to our national pride? She conceded, “it does bite, it does hurt” to face up to our imperial past, “but the historical truth is that modern Britain is a product of empire as much as it is a product of industrialisation. By owning up, Britain would be growing up and moving on.” And she rightly added, “by that same token, we should also deny the fact that women were not allowed to vote,” or that the Somme was such a disaster, but we don’t. We didn’t even mention the fact that Brexit has already had a suitably damning effect on our national pride, you only had to go to last Sunday’s march to see that.

We need to overcome what Anindita articulated as the “institutional reluctance” that is “dividing our histories into ‘ours’ and ‘theirs’ [thus] dividing people in our very midst.”

In Manchester alone, the Asian populace is up 14.4 per cent and continues to rise, with Black and Mixed Race residents up 8.6 and 4.7 per cent respectively. “By denying its past”, she says, “Britain continues to deny its present.”

Ghosh rightly addressed the sense of identity and ownership that comes along with historical education: “Everyone wants to own the histories they are taught, everyone wants to have a sense of belonging.” By excluding topics such as the British Empire and British (no, not American) slave trade from our lower school curriculum, we are perpetrating what Ghosh described as a sense of “alienation” amongst our growing minority populations.

To end on a slightly more positive note, Ghosh and I discussed the work that the University of Manchester is doing to tackle this issue. According to Ghosh, UoM has really “taken the lead” amongst the Russell Group community in encouraging diversification. One form this innovation has taken has been the Manchester Access Programme, which supports students from underprivileged and minority backgrounds through university.

My own degree path displays how Manchester is addressing the lack of diversity in education; since starting I have studied two modules about colonial history. But, as Ghosh says, we need to do more, and “the onus is as much on the majority community to promote integration and partnership as it is the minorities.”

Review: Nick Mulvey

Written by Hannah Brierley on . Posted in Music, Uncategorised.

The O2 Ritz, 4th November

Everything that Nick Mulvey does is calm and collected. Absolutely zero per cent of his aura is in any way rushed, uptight or rushed. His performance at the O2 Ritz was no different from this, and he exuded complete zen.

Mulvey, who studied Ethnomusicology whilst at university, has always used what he’s learned in his solo work. This is still true, and it has to be said his new album is no major leap from his previous work. However, his music fills a niche, and it works perfectly for him.

The evening kicked off with ‘Remembering, Unconditional’ and ‘Meet Me There’ gently tickling everyone’s eardrums with accurately delicate acoustic guitar melodies and gorgeous angelic harmonies from the supporting female singers (one of which is his partner!). Mulvey sang past favourites such as ‘Cucurucu’ and ‘Fever To The Form’, during which dedicated fans sang the lyrics back to him with love, prompting him to even start over with ‘Cucurucu’ as he enjoyed hearing it echoed back to him so much.

The mellow songs ebbed, flowed and poured into the each other, dipping from work from his previous 2014 album First Mind, combined with tracks from his new album Wake Up Now. There’s an almost flawless magic in the air, the way the audience is compelled to be calm. Like a beautiful dream, it’s relaxing and soothing listening to the smooth vocals and array of different sounds that Nick uses.

‘Never Apart’ possessed an underwater vibe. Whilst listening you felt like you were floating effortlessly in a completely still sea, in the dead of the night. The occasional echoed sonar sound which was used as the underlying beat was so clever and calming to listen to. “Knowing who we are, and our place in the stars and now we are never really apart, from the whole of it all.”

‘Imogen’ was another song which stood out. Mulvey spoke about the origins of the song, stating that there was a storm occurring at the same time as his baby was being born. He decided to write the song about all that was going on whilst storm Imogen was happening. He also told the crowd that his baby was originally named after the storm, but as he turned out to be a boy they swiftly called him Inka instead.

The performance was tied together with the final song ‘Mountain to Move’. In keeping with the rest of the set, it was a tantalising combination of slow drums, swallowing your entire being, and incredibly beautiful lyrics.

Nick Mulvey is a beautiful hurricane of emotions to listen to. His musical presence has the power to hold a tightly fixed grip on his audience to hang on to every word and every note. Mulvey’s talents are second to none, which is clearly obvious to see and hear.

8/10

 

Interview: Wildwood Kin

Written by Hannah Brierley on . Posted in Music.

Wildwood Kin, a powerful and hypnotical trio. Consisting only of family members, two sisters and cousin, Wildwood Kin creates mystic, fascinating folk music which is perfectly crafted for mainstream listening. It’s made up of beautifully flowing three-part harmonies and nods to their spiritual selves. Having recently been signed to Sony, Wildwood Kin released their album Turning Tides back in August 2017, and are currently on their tour around the UK.

In their symbolism-laden lyrics you’ll hear a range of inspirations, from their love of the writings of C.S. Lewis and J.R.R. Tolkien to their upbringing in a progressive church in which music and faith were instrumental. In the joyous blend of their voices, you’ll hear three young women who found themselves through writing songs, and whose purpose is to inspire and empower their listeners — not to mention that their songs would sound perfect in Game of Thrones.

I was lucky enough to talk to the family trio, who were a few days into their tour. The girls spoke about how lucky they are that they can work with their family: “We know each other so well, which helps a lot.” The group are able to be in sync and can pick up on each other’s emotions with just a glance. They provide each other with the support they all need, helped by the closeness of the group and the bond that they are so blessed to have.

Despite the family bond, there have still been times where there have been mini feuds between the girls. “We all get snappy sometimes, but normally it’s over in about ten minutes.” This is something that often happens when working with people, they say, but once it’s passed, they get over it and forget about it. Most importantly, they say they would never split up because of it.

The triad go on to elaborate on their musical writing process, “a song is never complete till we have been able to play it live together.” Furthermore, they are all so well in tune with each other — pardon the pun — that they “just know” when the song is a Wildwood Kin song or just not right for the band: “United we all know what sounds best.”

The band, when trying to summarise who their biggest influences are and describing their sound, laugh that they like “all the fleets: Fleet Foxes, and Fleetwood Mac.” Alternative, post-Americana, and folk are how they would describe themselves in layman’s terms. Their music would look like the aurora borealis if they had to describe how their music would translate visually.

Talking to the group after starting their tour, they were excited to be playing in their hometown. It is evident that family and home is at the core of who they are, and this is consistent and strong. They were mostly looking forward to seeing their family and friends that they haven’t seen in a while. Not only this, but being able to play where it all started felt like “an amazing achievement.”

The band have created the perfect waking up and winding down soundtrack for you.

Catch Wildwood Kin playing at Night & Day in Manchester on the 25th October.

Finally free from freshers’ flu?

Written by Aliya Ismangil on . Posted in News, Science & Tech.

We’ve probably all experienced a cold, if not once then multiple times in our lives — and catching one often feels more likely while at university. On average, adults suffer two to four colds every year, while for children it can be as frequent as 10 per year.

In the UK, we spend about £300 million each year on cold remedies and treatments, despite many of the medicines having little evidence to prove their efficacy.

The problem with treatment lies in the fact that there is no one culprit. Today, scientists recognise seven main strands of virus responsible for colds: rhinovirus, coronavirus, influenza and parainfluenza viruses, adenovirus, respiratory syncytial virus (RSV), and metapneumovirus.

Each of these has serotypes, a sub-virus, of which there are 200 in total. When you consider that, it’s not hard to see the difficulty in protecting against all of them.

Scientists are currently focusing their effort on the rhinovirus. Although the smallest in size, it causes up to 75 per cent of cases of colds in adults.

Failure to find a cure for the common cold is not for lack of trying. The first attempt at isolating a vaccine was in the 1950s, using Louis Pasteur’s method of injecting a small amount of the virus to induce an immunological response, and therefore immunity to further infection. But those who had been vaccinated were just as likely to catch a cold than those who had not. And for a while, science seemed to have given up on trying; the last clinical trial on humans was in 1975.

This was until last year, when Sebastian Johnston, of Imperial College London, co-authored an editorial in the Expert Review of Vaccines that claimed: “New developments suggest that it may be feasible to generate a significant breadth of immune protection.” Johnston says, “the data is limited, but it’s encouraging.”

In 2003, teamed up with Jeffrey Almond, professor of virology at Reading University, he argued that making a vaccine for all 160 serotypes of rhinovirus isn’t necessary.

All rhinoviruses are essentially the same internally; what changes is the outer shell. When comparing the genetic makeup of rhinovirus, Johnston and Almond found a specific protein on the virus shell that was common across many serotypes of the virus. They injected a vaccine made up of rhinovirus serotype number 16 into mice. They then tested the immunological response against serotypes 1, 14 and 29. The results were promising, as white blood cells in the mice responded to all three strains.

What’s interesting is that number 14 and 29 are not genetically similar to number 16 in the original vaccine. Science, it seems, has never been closer.

The biggest barrier now is funding. The resources needed for this research are too much for most universities to fund — this means looking to the pharmaceutical companies. But as a big profitable pharmaceutical company, you’re unlikely to want to invest in a product that customers buy once, instead of the cold symptom remedies that fly off the shelves every year.

Almond, however, makes the economic case of worker productivity loss. In the UK, nearly a quarter of days taken off work were due to cold-related illness, which amounts to about 34 million.

A US survey found the total cost of the loss of productivity due to being off work for a cold or tending to children who were suffering one was $25 billion (£19 billion) each year.

In August this year, Johnston had just received funding from Apollo Therapeutics, allowing him to test more strains of rhinovirus. Johnston believes that developing a vaccine against roughly 20 different serotypes has a high probability of protecting against all strains of rhinovirus. “At that point, I think we’ll be at a stage where we’ll be able to go to major vaccine companies,” he says.

So we might not be completely free from freshers’ flu yet, but a cure for the common cold no longer seems impossible, and not even too far away.

Unhappy Manny?

Written by Mia Gair on . Posted in News.

Brexit, the rainy arrival of winter, inflation of the magic bus to £1.50; it is easy to see how some Mancunians could feel particularly sad this time of year. But are we quite as sad and anxious as the latest personal well-being report from the Office of National Statistics (ONS) suggests?

Since 2011, the ONS has recorded the life satisfaction and happiness of people up and down the UK in order to get a sense of the well-being of the nation. This year’s report ran from April 2016 to March 2017 and found that Manchester was one of the saddest and most anxious places in the UK.

The mean average happiness rating was 0.31 points below the national average, and 0.23 points below the average for the North West. The life satisfaction rating was also below the national and regional average, by 0.23 and 0.14 points respectively.

The only rating on which Manchester scored above average was the level of anxiety felt by residents. Our anxiousness rating was a whopping 0.47 points higher than the national average. It’s fair to say that something isn’t quite right in Manny.

The State of the City Report 2017 was published around the same time. This revealed the council’s take on how the city was doing in relation to its prescribed goals. Environmentally, the report revealed that there has been a 37 per cent reduction in CO2 emissions since 2005 — meaning that Manchester will not reach its target of 41 per cent reduction by 2020 — but no such reduction in nitrogen dioxide pollution.

Manchester saw a 9 per cent increase in the number of homes built in 2016/17 compared to 2015/16, although homelessness remains a major issue, with Manchester having a rate almost double the national average.

The student population has returned to its pre-fee rise peak in 2012, contributing — potentially in equal amounts — to the council reaching its goal of Manchester becoming the ‘UK’s youth capital,’ and to Manchester experiencing a higher rate of alcohol-related hospital admissions than the rest of England — 220 more per 100,000, to be precise.

There has, however, reassuringly, been a 10 per cent increase in visits to the wonderful cultural and recreational facilities this city has to offer (yes, there is more to Manny than Oxford Road and NQ).

Whilst emotionally Mancunians may be lagging behind the rest of the country, the report revealed that economically they are not. Employment continues to rise, and Gross Value Added (GVA: an indicator of economic performance) increased by 5.4 per cent from 2014 to 2015.

Similarly, the latest data from the Greater Manchester Chamber of Commerce Quarterly Economic Survey (QES) showed a more cautiously positive image of economic growth. While the UK’s average growth in 2017 was forecast at 1.6 per cent, Manchester is leading the way with 3.25 per cent forecast growth — but this is still below expectations. Expectations for 2018 economic growth had to be downgraded from 1.5 per cent to 1.2 per cent.

Overall, the three reports paint a fairly mixed picture. It is clear that Manchester needs to drink less and look out for each other’s well-being a bit more. We can only hope that over the years Manchester will climb up the ratings and become not only the Northern powerhouse, but the Northern happy-house too.

Super League Grand Final XXII: Castleford 6-24 Leeds

Written by Jamie McEvoy on . Posted in Sport.

A series of Castleford errors and a superb performance by captain Danny McGuire ensured Leeds Rhinos coasted past a disappointing Tigers side to win a record eighth Grand Final.

After a nervy opening for both sides, Leeds drew first blood 12 minutes in, when Tom Briscoe leapt to bring down Danny McGuire’s kick. Kallum Watkins scored the consequent conversion.

Leeds were on top, and six minutes later Watkins thought he’d given his side the chance to double their lead after sliding past the Tigers try line.  However, video ref Phil Bentham quite rightly denied Leeds the points. It was not the final Castleford were hoping for, and Leeds looked determined to write their own ending to the Tigers’ fairy-tale season.

Castleford were on the ropes, but in the 30th minute, league top scorer Greg Eden burst forward, only to fumble upon being tackled at the last minute.  The Tigers appeared galvanised, yet Leeds remained dominant.

The Rhinos ended the half 7-0 ahead with McGuire dispatching a drop goal in his final game for the side.

Castleford entered the second half seemingly invigorated. However, after yet another fumble from Greg Eden of all people, McGuire stole in to go over and seal four more points for the Rhinos, a mere seven minutes into the restart.

Just before the 60 minute mark, Briscoe scored his second try of the game down the right wing, with his teammate Watkins also getting on the score-sheet for the second time with his successful kick.

The slippery conditions were giving the Tigers all sorts of nightmares, and after another fumble, McGuire darted in again to get a finger-tip to the ball, all but winning it for the Rhinos.  After an effortless conversion by Watkins, Leeds were 23-0 up with ten minutes to play.

With six minutes left on the clock, it looked like Greg Eden had gone over to give Castleford some consolation, yet he was denied by the video ref, arguably somewhat harshly.  It was a truly miserable night for the league leaders.

Just as McGuire’s final appearance for his side looked as if it could not be more poetic, he sent another ball between the posts with his second drop goal of the game.  Yet he did not have the final word, as with one minute to go, Alex Foster went over to ensure Castleford at least came away from their first Grand Final with points.

Not the tight final many had hoped for, and devastating for a Castleford side who had absolutely dominated the league table.  Nevertheless, it was a fitting end to illustrious careers for McGuire Rob Burrow at Leeds, and yet again another sell-out fixture with an electrifying atmosphere at Old Trafford.

Man of the match:  Danny McGuire

The Grand Final proved to be a fairytale ending after all, just not for Castleford.  An emphatic performance from the Rhinos skipper, and a perfect ending to his Leeds career.  Hull KR fans’ mouths will surely be watering at the prospect of him joining their side next season.

 

Film and media continue to let down survivors of sexual assault

Written by Jessica Hyer on . Posted in Opinion.

The way rape is portrayed in the media often fails to reflect the experiences shared by the majority of survivors. Rape scenes in film and television are dramatized, often depicting extremely violent rape scenes. A warped perception of rape is presented to the public, affecting the way we perceive the boundaries between rape and consensual sex. Therefore, survivors can often feel their experience do not earn them the right to be defined as a survivor, making them less inclined to take action against perpetrators.

Crime dramas such as CSI and Criminal Minds often depict serial rapists unknown to their victims and brutal scenes of rape, during which physical marks and an abundance of evidence become available to the authorities. However, as Rape Crisis UK states, around 90 per cent of rape victims know the perpetrator prior to the offence, and rape often leaves little to no evidence or physical markings, especially as survivors often fail to report the crime for long periods of time.

As women, we are taught not to go out at night alone and to be wary when on the streets out of fear of being raped by a stranger, yet these kinds of sexual assaults only make up 10 per cent of rapes in the UK. We are not taught how to deal with rapes that are carried out by those we love, and it is common for victims to continue to engage in normal relationships with their attackers. However, victims that go down this path should not be persecuted or discredited as survivors.

In England and Wales alone, around 12,000 men and 85,000 women are raped every year. Only 15 per cent of survivors choose to report the rape to the police. In my opinion, the fact their narrative does not comply with the way rape is portrayed in the media plays a huge part in this.

When it happened to me, my rapist told me that I couldn’t compare myself to someone that was taken off the street by a stranger and raped at night, but he was wrong. A rape doesn’t need to comply with any given narrative to be defined as rape. If non-consensual sex occurs, a rape has taken place.

13 Reasons Why, a fictional series recounting a teenager’s journey towards suicide, became regarded as highly controversial. Several of the graphic depictions of rape and suicide were criticized as triggering and harmful despite warnings shown before episodes.

One particular scene shows the main character, Hannah, raped by an acquaintance named Bryce following a party. She remains in the hot tub in her underwear after Bryce joins her, but gives him absolutely no indication that she wishes to engage in consensual sex. He roughly holds her back, kisses her shoulder and neck and says “we’ll just go nice and easy.” She does not outright tell him, “no”, or attempt to fight him off, she just closes her eyes and waits for the rape to end. Some critics have hailed the scene, calling it an “obvious rape”, showing the scene from Hannah’s perspective, despite her inability to say “no.”

Speaking of the rape Hannah states: “I did not say no or push his hand away. All I did was turn my head, clench my teeth and fight back tears.” This was such a real and raw depiction of rape that I believe is so important for the public to see. Yet, when Hannah returned home after the rape, a close up shows bruises on her back that were caused by Bryce’s fingers, completely destroying the thankfulness I felt for the way the rape was portrayed prior to this. Aside from the inherent violence of a rape, Bryce’s force did not comply with the extent of damage on Hannah’s body.

Film and media continue to fail women and men who are victims of rape. Rape doesn’t have to be dramatic or incredibly violent to be defined as rape. A rape can take place in five minutes and leave absolutely no physical scars.

From my experience, it’s the aftermath that truly hurts. A victim should not have to be subjected to a certain level of suffering in order to be defined as such, and these portrayals of sexual assaults are damaging to both survivors and the general public alike as they warp our perceptions and allow people to get away with rape that does not comply with the narratives that are shown.

Review: Blade Runner 2049

Written by James Gill on . Posted in Film.

Throughout his directing career, Denis Villeneuve has proved that regardless of budget or genre, he can create a great piece of cinema. Blade Runner 2049 is Villeneuve’s second foray into existential science fiction, a sequel to Ridley Scott’s timeless 1982 classic, and it is truly staggering in scale.

There is a distinct step away from the original in terms of style but he continues to build upon both the world and themes that Scott developed. Similarities can be seen between the two, for instance both involve an unfathomably powerful corporation who manufacture replicants; androids who are superior to humans in almost every way, except for their lack of empathetic abilities.

In 2049, the original corporation has been bought out by another, helmed by an extraordinary looking but ironically blind Jared Leto. In preparation for the role he partially blinded himself and because of that he won’t be disappointed at how few scenes in which he appears. His intentions are sinister however most of the work beyond brooding is done by his assistant Luv (Sylvia Hoeks).

The plot centres around Ryan Gosling’s K, a replicant Blade Runner tasked, like Harrison Ford before him, to hunt down other replicants living illegally. After each ‘retiring’ of a replicant, K must endure the Voight-Kampff test, a bizarre psychological assessment to determine if his human to android balance is still correct after a traumatic experience. The sterile, emotionless nature of his employment is a product of the bleak, dystopian world he lives in. At home he is greeted by his girlfriend Joi, played by Ana De Armas, who is sumptuously attractive, albeit holographically.

A sad product of technological advancement, the waifu of today’s culture has long since been replaced by an A.I girlfriend so complex that it makes that of Spike Jonze’s Her look cheap and tacky. The main downside to a holographic significant other is the impossibility of physical intimacy. To overcome this, Joi arranges for a prostitute to come to the minuscule flat they both live and, in perhaps the strangest thing I have ever seen, have sex with K whilst she layers her holographic body over that of the prostitute, their two separate bodies flickering over one another. Even in love he can’t find a human touch.

This idea of humanity is explored throughout the film, most poignantly so towards the end. K pauses outside a building and extends his arm, snowflakes gently land upon it before quickly melting. Inside that building is a female character (Carla Juri), whose compromised immune system traps here in a large, sterile bubble where she is forced to invent her own reality. We watch as she too extends her arm, holographic snowflakes gently landing upon it before glitching out of existence. Both feel empty in their inability to experience life in its purest form.

Roger Deakins, regarded by many as the pre-eminent cinematographer of our time, nominee of thirteen Academy Awards, winner of none, will undoubtedly receive his fourteenth for his incredible work here. Few would deny his work should have earned him at least one golden statuette and this I feel, although I hesitate to make such bold predictions, should be his year. The 2049 version of Los Angeles was horrifically miserable, truly deserving of the dystopian name and when K travels to Las Vegas, he encounters a world so different yet somehow still dystopian.

That wretched, angular world which Deakins created is complemented beautifully by Hans Zimmer’s score, although beautiful is not an attribute you would not easily assign. It’s harsh, disjointed and unmelodic, and unless you sat through to the end credits there would be no indication that it was indeed composed by Zimmer.

Next on the agenda for Villeneuve is Frank Herbert’s science fiction epic Dune. There have been several attempts of a big screen adaptation and all have failed. David Lynch’s version was deemed sacrilege to fans, Alejandro Jodorowsky’s version, had it received funding, would have certainly changed cinema forever, with Pink Floyd, Salvador Dali, Orson Welles, Mick Jagger and many more attached.

The seed of that film, denied the water to sprout, was so significant as simply a seed that it influenced fantasy films of the future like Ridley Scott’s Alien. Interestingly, Ridley Scott was attached to Dune for seven months before the death of his brother Frank made it too tough to continue. Now, just as he took over the reins on Blade Runner, Villeneuve will take over the reigns on Dune, and I for one am sure we are in very capable hands.

Live: Tom Grennan

Written by Alice Berkeley on . Posted in Music.

Thursday 5th October 2017 at Sound Control

“I’m sick as a dog” Tom Grennan announces as he struts onto the stage to the Corrie theme tune. Sound Control is sold out, as are most dates on his current tour, and it is easy to understand why.

He launches into his newest single ‘Royal Highness’, his voice gravelly yet mellow, and failing to show the croakiness that he betrays when speaking. Despite the fact that the song has only been out since the 21st of September, it feels like the entire audience is singing along (or dancing along at very least). It is a catchy number with intriguing lyrics: “Come be my lover, be my getaway car, come be the new string on my broken guitar.”

In 2016 Grennan collaborated with Chase and Status on ‘All Goes Wrong’, a hit that has almost 10 million streams on Spotify. A brief mention of it has the crowd roaring and many tuneless voices join him, struggling to hit the high notes that he reaches so effortlessly, even while clutching at his sore throat. The rendition is softer than the recorded version, but undoubtedly has the same impact.

Equally, the showman’s powerful and fast-paced performance of ‘Found What I’ve Been Looking For’ impresses. He builds up much anticipation to the high and long notes at the end and unquestionably delivers. It is a soulful track and belongs in a stadium; it is certainly worthy of its place on the Fifa 18 soundtrack.

Other crowd favourites include upbeat ‘Praying’, slower ballad ‘Something in the Water’ and Jamie T-esque acoustic tune ‘Old Songs’ that gives him an opportunity to show off his vocals.

At just 21 years old Grennan oozes confidence and charm, using the breaks between songs to tell anecdotes and jokes: “I am a football fan of Manchester but won’t say who”, “What day is it? Thursday is the new Friday”. His likeability is reflected in the mass of people who stay behind at the venue to meet him. He promises to meet each and every one of them and to see them at the Ritz in March.

The support act Lily Moore was equally remarkable despite it being her first time on tour. She made up for lack of production with her outstanding vocals, it is easy to see why Grennan chose her; the likeness of her vocals to Amy Winehouse (one of his favourites) is uncanny.

Tom Grennan’s debut album is out on the 9th of March.

 

9/10

Review: Marilyn Manson – Heaven Upside Down

Written by Tobias Soar on . Posted in Music.

Marilyn Manson: musician, actor, Satanist, and blamed to be a contributing factor in the Columbine Massacre of 1999, is back on the radar, and not just because he knocked himself out on stage while climbing a prop which collapsed on top of him. His 10th studio album Heaven Upside Down may not carry the shock value his early work did, but it does a good job at raising a middle finger to society, as Manson does best.

His previous album The Pale Emperor had a very raw, instrumental sound, which is still present in this new release. In Heaven Upside Down, however, some digital elements are also brought into play by Manson and Tyler Bates, co-producer of this record and many others of Manson’s discography.

Starting from the top, we’re greeted by static and muffled recordings of news reports which suddenly give way to the explosive opener ‘Revelation #12’. The use of a count from 1 to 10 in the chorus of the track makes for a catchy rage anthem that sets the tone for the rest of the project.

‘Tattooed in Reverse’ and ‘WEKNOWWHEREYOUF******LIVE’ bring a grungy metal sound, reminiscent of ‘Deep Six’ on The Pale Emperor.

The aforementioned digital elements become noticeable in ‘SAY10’ and ‘KILL4ME’, making for an industrial sound à la Nine Inch Nails.

The slow intro in ‘Saturnalia’ slows the project down a bit, breaking the rhythm until ‘JE$U$ CRI$IS’, a critique on our society and on what we deserve for our sins.

The pace changes completely for a single track, ‘Blood Honey’, a moody, dark, synth-piano infused ballad with an intense climax.

The title track ‘Heaven Upside Down’ surprises the listeners’ ears with the sound of an acoustic guitar thrown into the mix, creating an ever so slightly lighter tone, characteristic of the rock songs of bands like Smashing Pumpkins.

Finally, the closer, ‘Threats of Romance’, brings the sound of a piano which is met by a synth halfway through the track for a bizarre blend of timbres that surprisingly works. Manson’s echoing growl certainly ends the project on an edgy high.

The lyrical theme of the songs is classic Manson. Talk of self-abuse, sex, toxic relationships and anti-establishment motifs make for a relevant yet edgy soundtrack for the modern revolutionary. Although, it’s worth noting that Marilyn’s lyrics have always had this tone, and therefore, some might find them somewhat cliché.

Overall, the album isn’t Manson’s best work but it’s a solid 10-track project that will delight old fans and might catch the interest of new listeners, too. We can definitely call the sound goth-metal, a sound which Marilyn pioneered and continues to dominate.

However, this goth influence has seemed to overlap into the world of hip-hop, with many artists citing Manson and other punk or goth-metal artists as heavy influencers of their music. Among these is Lil Uzi Vert who, according to an interview between Manson and Zane Lowe, might have a project coming up with the goth-metal godfather himself.

If you’re a fan of Manson, he has an upcoming show on the 4th of December at the O2 Apollo. Fortunately, the dates have not been affected by his accident last month; after all, it would take a lot more than that to take the godfather of goth-metal out of business.

Live: Neighbourhood Festival 07/10/17

Written by Yasmin Duggal on . Posted in Music.

Blossoms ft. RNCM ensemble @ MMU Union — 9/10

Tom Ogden and Charlie Salt blessed the Opening Party with a beautifully intimate and understated set, accompanied by the RNCM ensemble. A cacophony of harp strings, brass and strings added new elements to Blossoms’ finest hits, re-imagining the tracks to sound fresh after a year of touring the debut album. Tom held the crowd in the palm of his hand, his mellow charm on form as per usual, vocals flawlessly edgy as at every gig. Heartwarming, wintery b-side ‘For Evelyn’ was welcomed with surprise, its elegant melancholy mirroring the Manchester weather battering the outside. A treat came with the finale in the form of Tom and Charlie’s karaoke tune, a cover of The Beatles’ ‘Ticket To Ride’. The ensuing singalong in the Mancunian venue proved a fitting conclusion to Blossoms’ huge year, as their synthy-heartbreaker melodies have clearly captured an adoring fan base.

Peace @ Albert Hall — 9/10

Familiar, organised, indie chaos filled the famous hall as Harry Koisser sauntered on, adorned with retro specs and a military jacket. The crowd were fully on board despite the daylight streaming through the windows. An eclectic set list which featured both albums and ‘1998 Delicious’ triggered a tumultuous reaction of mosh pits and singalongs, while Harry’s flawless vocals were met with gasps of amazement. Energy rippled and spines tingled as Peace put on a show and a half, proving they may have been away, but they have much more to give.

The Vryll Society @ Sound Control Basement — 10/10

“If you’ve taken anything, you’re about to get your money’s worth right about now” promised Vryll Society frontman, Mike Ellis. What followed was a psychedelic party… imagine upbeat Tame Impala with a front man’s dance moves that make Ian Brown look serene. Intros and outros dominated, saturating the basement of Sound Control, whilst intimate lighting suited the occasion as the band became silhouettes, bringing vibes of a 60s nature into the room. Their songs are niche, and it’s exciting to see bands still making music of this fashion today.

The Old Pink House @ Revolution — 7/10

This up and coming band brought energy and a good effort to Revs, with storming passion which, at times, uplifted run-of-the-mill songs and elevated instrumentals to a higher level. It was a decent attempt at a powerful indie impact, the last song in particular providing some variation in synth and regular structure. The band clearly displayed musical prowess and dedication to putting on a visceral live show, though it would stand them in better stead to find their own niche if they are to break through the rising talents of rivals. They were entertaining — credit where credit is due — but to make a lasting impact they need to stamp a POS on that impressive energy.

Interview: Zara Larsson

Written by Yasmin Duggal on . Posted in Music.

With a top 10 UK album under her belt and a 2017 to rival any pop star, Zara Larsson is taking the world by storm, aged 19, and is not afraid to tell you so. Bold, honest, and gracious, she spoke to The Mancunion about her rise to fame and future plans for the Swedish star.

Your album So Good was a top 10 UK hit and a massive success. How did you manage that sudden success and fame?

It hasn’t really affected my life in the way that most people think it did. I still live my life and do all the things I’ve been doing for years even before I released my album and started touring, so my life is very normal. Sweden doesn’t have the same mentality I guess. We don’t really have paparazzi, so it’s very calm.

Do you find it hard at this age to figure out who you are or what direction you’re heading in?

Yeah absolutely. I am still going through all those stages of asking what my sound is, what I wanna do. I’ve been going through this phase of “would Beyonce do this?”, “no, Beyonce would not do this.” I think I came to the conclusion that I love Beyonce but I don’t care what she would do because Beyonce is not gonna sing this song — I’m gonna sing this song. I’ve got to stop comparing myself to other artists. People always put women up against each other on Twitter so it’s not all my fault I compare myself. I know some stuff… for me, feminism is very important and I will never change my mind about that.

You’re a vocal feminist and you started out quite young. Have you faced any challenges being a woman in the industry?

I’ve been very young, and now I’m reaching 20 it feels really good as people are listening to what I’m saying. I’ve been really lucky when it comes to the people I work with. They respect my voice, my opinion on things, my songs, who I want to work with, and that’s crucial. You’ve got to surround yourself with people who respect you and aren’t going to walk all over you. I know so many girls that can’t even pick songs for their album because an old man is doing it for them, and that’s sad.

How important do you think it is for music to have a political impact or message?

I don’t think every pop song needs to be deep and have a J. Cole message, even though it’s great when people bring it into their music. That’s why I love Beyonce, as she’s one of those artists that brings important topics into her art, but I wouldn’t say I do it. I’m quite political and outspoken in free time and on Twitter, but my songs are pop. I sing about having a lush life, and it’s OK for people to listen to songs that are only for the turn-up. These songs are about bringing people together, making people feel good, and for some people, these songs are a little ray of hope.

What’s next for you after this European tour in October / November?

After this tour, I’m going back to LA to write some more songs for the album and I will hopefully do another tour early 2018 or spring. I love to tour, and that’s why I’m in the studio writing songs, so I can sing them on stage.

What do you do to relax?

I spend time with friends and family, and if I’m on the road I lie in bed watching movies. I really take advantage of my time off.

What are you currently listening to?

I’m listening to a lot to playlists. As an artist, I f*****g hate Spotify it but as a person I love it. I listen to a lot of hip hop and trap. I’m one of those people who has three songs on repeat for two weeks, then I will never listen to these songs again [laughs].

 

Zara Larsson will be performing at the O2 Apollo on Saturday 21st October.

Interview: In Bed With My Brother

Written by Sophie Graci on . Posted in Theatre.

In Bed With My Brother’s We Are Ian is hard to describe. Part dance party, part political theatre, all loving tribute to acid house, it’s an extraordinary night out that feels so utterly Mancunian. It’s surprising then that the run at HOME from 12th-14th October will be the show’s premiere in Manchester. “A lot of people assume that we are from Manchester,” Kat, one-third of the company, tells me. “I think one of the things though is that we don’t speak, so Ian’s voice is the only [one] heard in the show. So even though the show’s about Ian, people automatically assume we’re Mancunian as well.”

In reality, the trio — Nora, Dora and Kat — met at Exeter University where they all studied Drama. “We were like, we don’t want to be actors but we want to carry on performing [after we graduate] and so we just decided to do it.” The first thing they created as a company was a show called Twinkletoes, which they performed in an Edwardian toilet in Bristol. Kat notes, “it wasn’t necessarily a show, it was more of an installation. It was a bit of a bouffon-y thing.”

The advice they have for other young creatives mainly boils down to: you can’t have fun until the admin’s done. “How we’ve got to do stuff is just from applying to loads of opportunities […] the most opportunity you’re gonna get is when you’re emerging.”

“We got the opportunity to go to Edinburgh in 2016 because we were awarded the Charlie Hartill Fund for Theatre from the Pleasance, which is a really great opportunity for young companies to just take up work to Edinburgh. If you’re really passionate and you want to make work, just find those opportunities and write shit-hot applications.”

So how did We Are Ian come about?

It’s important to note, first of all, that the eponymous Ian is Dora’s stepdad. “We started making this show because a couple of years ago we just wanted to make a show, and Ian asked us if we’d make a show about him.” Whilst they can’t recall much about the early devising process, it was Ian’s voice that drove the development initially. “Ian’s voice is one that isn’t really that heard on stage, and so it was a really big thing for us when we started making the show that we really wanted to have [his] voice as the only one heard on stage.”

The show is entirely about and inspired by Ian, with not only his recorded voice making up the monologue we hear throughout the show, but also his music choices playing throughout the entire hour. “[The music] gives you a feeling of the time but also makes you think something about the time without us having to say something explicitly,” says Nora. What is interesting about the music choices is that you can track the changing era, the introduction of darker themes in the tracks, and the changing mood of the show itself all through the specific music decisions made.

Gender in We Are Ian feels like an afterthought: In Bed With My Brother are only a feminist theatre group in that they are three feminist women occupying a theatrical space. They say of Ian’s story: “We didn’t want this to be anything about gender, we didn’t see it as a statement that three women are telling his story because it’s more than that.”

In their minds, We Are Ian is a political show, although it didn’t come off that way to Ian and everyone involved in the acid house movement. Links between the movement and Thatcherite neoliberalism weren’t made until later.

“[They] never thought of it as being a political action, [they] were just getting together and having a nice time and partying and dancing and that brought everyone together.”

“In a time now when everything is so politically-driven, everyone is so opinionated…there’s still a massive divide…we want people to be able to take away from it what they want. Some people are able to tune into the political things that we’re trying to say…and some people just really like partying, which is fine and great as well!”

Whether you want politics or partying, tickets for We Are Ian at HOME can be purchased here.

Travel story: Flamenco in Andalusia, Spain

Written by Sophia Macpherson on . Posted in Lifestyle.

There is no question that dance is an art-form, and that a dancer’s movement can be used to express a wide range of emotions. Flamenco, the dance birthed in southern Spain, is a prime example of beauty created through skillful dancing. The term ‘flamenco’ can also be associated with the musical traditions of cante (singing), toque (guitar playing), jaleo (vocals), palmas (hand-clapping) and pitos (finger-snapping) which come together with the dance to create an atmosphere of pure sensory pleasure.

Last Easter, I spent two weeks in Andalusia, where I travelled from town to town with my family. I was lucky enough to indulge in the sensory-rich settings of the flamenco houses. Flamenco houses are abundant around there and most are nothing short of amazing. However, finding an authentic and intimate setting could prove difficult, especially during peak tourist times like Easter. Experiencing this atmosphere was to me immensely emotive, and by least, completely enjoyable; it was a beautiful portrayal of what Spain has to offer culturally.

To my advantage, I had a few family friends who resided in different parts of the south of Spain and so, I was given insider tips on where to go for the real Spanish experience. This often did not only mean seeing the flamenco dancers in action but also meant that I would be thrown into the kind of place that Spanish locals would enjoy themselves. For me, travelling to and experiencing a new place means to temporarily walk in the shoes of the people who live there.

Below are five of my favourite flamenco houses that I had the pleasure of visiting during my stay in Spain. To me, these flamenco houses boast authenticity and the aura of Spain that keep people coming back for more.

La Casa del Flamenco — Seville, Spain

Le Chien Andalou — Granada, Spain

Kelipe — Malaga, Spain

Jardines de Zoraya — Granada, Spain

La Cava — Cadiz, Spain

Personally, I found that Easter in the south of Spain was the most pleasant time of year to go; plenty of sunshine in a light breezy day accompanied with quaint cool nights. Travelling-wise, prices from Manchester to towns/cities across Andalusia prove to be fairly kind to our student budgets.

Manchester to Malaga: depart on the 27th, return on the 5th or 11th (if you want to indulge and stay longer) — from £80 pp

Manchester to Granada: depart on the 26th, return on the 4th — from £90 pp

 

All flight details correct as of 4th of October 2017.

Chinese Moon Festival celebrations at the University of Manchester

Written by Sophia Macpherson on . Posted in Lifestyle.

This year the annual Chinese Moon Festival was celebrated at the Manchester Museum, with taster events of Chinese culture also running across the week at the University’s Confucius Institute.

The cultural festival, which has been celebrated since the Shang Dynasty (c. 1600 – 1046 BCE), marks the traditional end of harvest in China and across other regions of Asia. Celebrations are always held on the 15th day of the 8th month of the Lunar calendar, which this year corresponded to the 4th of October according to the Gregorian calendar. This is supposed to be the night of the fullest, brightest moon: although cloudy Manchester skies may have obscured a perfect view, the abundance of incredibly popular (and delicious) moon cakes surely made up for lack of the real thing.

With the roundness of the moon symbolising reunion, the central theme of the festival is the gathering of Chinese people and this aim was certainly achieved. The museum’s Kanaris theatre played host to various Chinese cultural workshops and exhibitions, including calligraphy, the famous Chinese tea ceremony, traditional clothing, and decorative string craft. The red and gold colours synonymous with China filled the room, and I looked particularly stylish wearing traditional Asian clothing.

Once many people had gathered there was a run-through of the festival’s historical background and legend, followed by wonderful performances of the Chinese ancient zither (guzheng) and traditional dance routines by the staff of the Confucius Institute. These members of staff also ran other sessions at the Confucius Institute all through the week which offered a taste of Chinese culture. The hands-on workshops included calligraphy classes, Chinese painting, a deeper look into Chinese traditional musical instruments, paper-cutting, tea ceremony, and traditional festivals were held Monday to Friday.

Full classes in Chinese calligraphy and other cultural classes are beginning shortly, further details of which can be found on the Manchester Confucius Institute website.

Uber Fights Back

Written by Youssef Bouri on . Posted in Opinion.

Uber is facing growing criticisms concerning the way it functions. In June, its founder, Travis Kalanick, stepped down amidst a polemic on his managerial practices; accused of doing little to prevent sexism and discrimination from thriving within the company. A video of him appearing to insult an Uber driver was also released, sparking the public’s indignation.

On September the 22th, Uber was forbidden to operate in London by Transport for London, a public entity. Uber was accused to not taking seriously sexual assaults committed by its drivers. In a number of cases, the Californian company has obstructed justice and has dragged its feet when it has had to cooperate.

In addition, it’s been alleged that the company has not done enough to control its drivers’ good health and ability to ensure the security of customers. The company’s use of software enabling it to detect and avoid police checks has convinced Transport of London that Uber considers itself above the law.

In Quebec, the company has to cope with another hardship: the government from now on requires Uber to extend the driving formation time from 20 to 35-hours, to check criminal records of its drivers, and to inspect all vehicles at least once a year.

Uber isn’t exactly accepting these judgements lying down. Instead, it is fighting back — and fighting back hard. In Quebec, it is reportedly threatening to cease its activities if the government does not withdraw its rules.

Ironically, Uber is doing the exact opposite in London: it is instead doing everything it can to be allowed to stay. They have appealed the Transport for London’s decision. Uber masters the legal ground; helped by an army of lawyers, it systematically appeals every decision that goes against its interests, thereby gaining time and money.

In 2016, a British judge stated that Uber’s drivers are its employees, not independent contractors and are thus eligible for minimum wage and a set of rights. But the decision is still not enforced as it has been appealed by Uber.

Uber often wins in the courts, finding contradictions in the law or playing on its vagueness. They have recently won against Austin and the State of Maryland which were both requiring tougher controls on drivers, just like Quebec.

In London, they have also launched a petition calling Londoners to support them which has been signed by 750,000 people in only three days. This underlines the success of Uber’s new communication strategy. They have shaped a very attractive image of their company.

The bad buzz resulting in the resignation of Travis Kalanick has been quickly forgotten. He has been replaced by Dara Khosrowshahi — an experienced and consensus-building CEO, known to be patient and humble. Just as in London, Uber is supported by thousands of devoted fans in every city it operates in.

It remains to be seen then, what the effects of these legal actions will be. Though it may win in court, arguably, it is Uber’s popularity with consumers on which the company depends. What effect this aggressive legal strategy will have on this popularity remains unknown, but with the fight with Transport for London now ramping up, it should shortly be revealed.