Year: 2017

Opinion: ‘For the love of God, give me diversity!’

Written by Emily Oulton on 18th September 2017. Posted in Theatre.

Last week, a rather revealing new blog post from popular arts and culture writer Victoria Sadler circulated the theatrical Twittersphere. The post, depressingly titled ‘2017 in Review: The Lot for Female Playwrights Worsens’, set to highlight and expose the monumental lack of work by female playwrights being programmed in what Sadler calls “the leading London theatres.”

This is Sadler’s third annual piece on gender imbalance in theatre programming — and her findings suggest that this year has made London an even bleaker environment for women playwrights. Sadler’s original purpose behind writing these articles was to provoke what she calls “the shame factor,” figuring that — once exposed — theatres would revisit how and what they programme. This relates to how we often like to idealise our media — that it will expose, challenge and eventually change the status quo. Alas, as Sadler notes, calling someone out on something is likely to make them dogmatically continue on with programming the plays they want to.

Throughout the article, Sadler analyses data that she has gathered from theatres in this order: The Royal Court, the National Theatre, the Young Vic, the Donmar Warehouse, the Almeida, and the Old Vic. The descending order represents the number of female playwrights programmed in each theatre — starting with the very optimistic Royal Court figures at half representation, right down to the Old Vic whose number of female playwrights was at an impressive zero. So yes, there is definitely an issue here.

However, theatre shall not live on playwrights alone — and that’s the sore-thumb flaw in Sadler’s article. Georgia Snow, in The Stage last year, pointed out theatre’s largest audience demographic is aged 65–74. This audience, although there will obviously be exceptions, is likely to comprise of the more traditional theatregoers — and as we’ve all learnt, theatre tradition is fundamentally male. So perhaps these London theatres are only catering to their clientele? It’s a sad fact that if Matthew Warchus were to programme a season of Caryl Churchill, Sarah Kane, and Timberlake Wertenbaker, then he is likely to alienate a large swathe of his audience demographic. It’s a complex tug-of-war between audiences and theatre-makers that will take years to rectify. So, rather than condemning artistic directors, it is surely more helpful to involve them in the conversation. Attitudes are slowly changing but we’re not going to see an improvement in a short three years like Sadler wants to expect. Therefore, it’s the responsibility of the necessary evil of quotas and the upcoming generations to keep the wheel of progress spinning.

Sadler also suggests rather unhelpfully that if men don’t understand women’s plays, it’s because women aren’t writing for men. This is a problematic manipulation of information. Does this mean I can sit and have a great time at Raine’s Consent and Birch’s Anatomy of a Suicide but should shake my head and tut at Yerma because it’s written by a Spanish man? And God forbid enjoying Angels in America because that play was written by a man and about men! Isn’t the whole point of this that we’re trying to bridge the gap, and surely by making sweeping statements like that, we only serve to perpetuate the problem? Additionally, I struggle with the concept of telling a male playwright that “this isn’t your story to tell.” Stories have been bent, blended and borrowed since the beginning of time. By Sadler’s logic, I shouldn’t be allowed to be writing about the trenches of the Somme or about the Australian male rugby team, nor Shakespeare to be writing about teenage Italian star-crossed lovers. We should spend less time being offended by cross-demographic writing and more time on bridging gaps between the demographics. Sadler’s article is helpful and thought-provoking, but her approach seems to only transfer condemnation from artistic director to artistic director. There is certainly much to be done in British Theatre, and in the words of Prior Walter, “The Great Work Begins.”

Read Victoria Sadler’s article here.

It’s down to students to show the UK’s positive future

Written by Elizabeth Rushton on 18th September 2017. Posted in Opinion.

On the face of it, Britain’s older generations have set ours on an increasingly likely downward spiral. It was largely them who, at the previous three general elections, installed Conservative governments who ordered last year’s Brexit referendum, the same people who mostly voted to take us out, and have conducted the subsequent negotiations with all the grace of Boris Johnson hastily exiting a field of wheat.

Our neighbours across the channel are not blind to this. We were hardly the most willing EU member even before the 23rd of June 2016, but we now come across as an aloof nation intent on walling itself in. Ask any European interested in British politics who today’s key political figures are, and they’ll likely answer with Nigel Farage, the demagogue so wildly popular that his party — which twice asked him back as leader after his resignation when no-one else wanted to do it — has no MPs. Theresa May’s likely challenger? Many Europeans long for the kind of enlightened rising star we have in the form of Jacob Rees-Mogg, with his modernising and morally grounded vision of Britain as a rainy remake of The Handmaid’s Tale.

But can we really blame them? We are famed for our unwillingness to learn foreign languages and thus engage in the valuable cultural exchange and understanding that it affords, and it’s increasingly hard to decry this perception. As part of the University of Manchester’s proposed cuts to 171 staff roles, vital languages including German and French may lose up to half their teaching staff. Other universities have gone further, with Brighton among those to axe departments completely.

Can we really argue that Brexit is simply a case of “it’s not you, it’s me” and that Britain still values and respects its international partners when the 3 million EU citizens living here are still waiting for a solution that offers security and eases their concerns for their futures? Failure to fix this could have dire consequences — a Britain with a reputation for slapping away hands offering collaboration and cooperation is one which will sever our remaining opportunities to live, work and study abroad, and leave us with an economy that offers little even within our own borders.

It’s this threat to our own futures that we need to take into our own hands. We need to demand that our government delivers a Brexit which delivers opportunities rather than depriving us of them. The year 2017 has posed the question of whose ally Britain will be once it goes it alone – will it remain the EU’s friend, or sidle up to Donald Trump? Crucially, showing that Britain’s youth doesn’t side with a president who condones racism and inequality will demonstrate to the rest of the world that this country has a more positive, outward-looking future, which can patch up the damage being done now.

Action towards this needn’t be extravagant, and work has already begun — the massive youth turnout at June’s election and swing behind Corbyn’s Labour, the most left-wing mainstream option for decades, has already shown that British youth is far from satisfied with what we are being offered. We can demonstrate this beyond where we put our crosses on the ballot paper whenever that opportunity arises. While the government leaves the EU citizens among our first-class staff (to quote the university) and classmates in the lurch, we must support them and, with xenophobia on the rise, refuse to let discrimination and prejudice grow in university spaces, challenging those who do. As students of the city of Manchester, this is part of a proud legacy which has only garnered greater global respect and recognition in the wake of May’s terror attack.

Academically, Brexit threatens to strip us of privileged opportunities. We still don’t know how our access to Erasmus programmes will be affected, and a government pledge to plug the gap left in research funding by the loss of EU finances has been met with scepticism — to say nothing of the lost opportunity to collaborate and easily share findings. Manchester is a university which could once rightly be proud of its open outlook and world-class research, but this now hangs in the balance. We need to fight the compromising of our academic prospects, and that can start simply with defending our staff and rejecting the rampant cuts proposed by the board of governors. Extortionate tuition fees have long transported British higher education a world away from its European counterparts, and the latest trend of further prioritising profit over progress brings us further down this path. But we can demand to turn things back — and doing so will show Europe that our generation is one that will come through to make Britain its collaborator and close neighbour, even from outside the EU.

Brexit will impact us all, regardless of how we individually voted last summer – so it’s in everyone’s interests to demand our future is invested in. If we show Europe that we are different from the generation stumbling through the monumental labyrinth they created for us all, we show that there is still hope in Britain and we are not ready to be walled off from the rest of the world just yet. We are the future, and building it begins now.

Review: Destiny 2

Written by chrisglover on 18th September 2017. Posted in Games.

For someone who sunk so many hours into the first Destiny game, I was surprisingly indifferent to the prospect of returning to Bungie’s first-person-shooter-meets-RPG-meets-MMO universe.

This is almost entirely down to Destiny’s failure to present any one of its attempted facets as fully formed. Disagreements during development meant huge portions of Destiny’s story mode were dropped or rewritten, leading to a chaotic Frankenstein’s Monster of a narrative; badly cut apart and sewn back together.

As well as this, the MMO element was often frustratingly hollow and the class system didn’t quite do enough to diversify combat roles. It left the game feeling like a confused teenager, lacking any clear identity and woefully unsure of its place in the world. Perhaps the greatest praise I can give to Destiny 2, then, is that it made me regret spending so many hours on what was — in comparison to its successor — such a threadbare Destiny experience.

One thing that was never a complaint for Destiny was its gunplay, and I’m thankful to see that hasn’t changed. Unsurprisingly for a game from developers with such experience with first-person shooters, killing things on Destiny 2 is an absolute blast.

I think what makes the combat such a continuous delight is that, thanks to brilliantly designed feedback mechanics and striking, throaty gun sounds, every single one of the game’s many weapons simply feels powerful. The gameplay even manages to feel adequately smooth and responsive despite Destiny 2’s cap of 30fps — a comparatively low frame rate considering other console shooters such as the Call of Duty games run at 60fps. Whilst this will certainly be noticeable to players who care about such things, my experience with Destiny 2’s gunfights was so thrilling that the issue never once entered my mind… after an initial 20 minute period of adjustment.

Destiny 2 has also altered the way in which you acquire some of its content, to become the latest in an ever-growing list of sleazy developers who incorporate micro-transactions into full priced titles. It’s slightly redeemed by the fact that the rewards in these bundles (armour and weapon shaders, hover-bikes, weapon mods) are obtainable through regular play, but the transparent greed betrayed by the addition of micro-transactions still casts a disappointing shadow on Bungie’s otherwise much-improved IP.

Photo:BagoGames @flickr

Undoubtedly the first thing that struck me about Destiny 2’s story missions is that this time, Bungie had actually given me some story to go with my missions. I don’t think it’s an exaggeration to say that there are more cutscenes in Destiny 2’s first 20 minutes than the entirety of the first game. The story mode even features some memorable characters (a phenomenon completely absent from its predecessor) such as Cayde-6, a wisecracking Android who Bungie made sure to show off in advertisements in a bid to assure us their blockbuster space romp has some personality this time round.

And why not? Credit where credit’s due here — Cayde brings a touch of Borderlands-esque silliness which punctuates the serious narrative just enough to prevent it from becoming overbearing.

I don’t want to overstate Destiny 2’s story, though. Whilst it is indeed a lot of fun, it’s a rather forgettable sci-fi experience; the roughly 10-hour campaign sees you embark on a struggle against the Red Legion and their leader: a cruel, masked villain (Darth Vader, anyone?) with a giant planet-destroying spacecraft called the Death St— sorry, the Almighty.

The accompanying musical score, on the other hand, is anything but forgettable. The composers behind it succeeded in perfectly setting the tone of the campaign; ranging from beautiful, orchestral scores to enforce to the heart-pumping, electronic tracks for the more action-packed sequences.

Photo:BagoGames @flickr

It’s a testament to the things that Destiny 2 gets so incredibly right that the laughably easy story mode never becomes too tedious to be enjoyable, and it is laughably easy; there were missions where even the expertly crafted combat mechanics and soundtrack weren’t enough to distract me from the fact that fighting a horde of the Red Legion’s most elite troops felt more like a fly-swatting simulator than an epic struggle for humanity.

The hardcore fanbase of Destiny 2 will tell you that the truly rewarding experience doesn’t begin until the campaign is finished, and I’m inclined to agree. Upon finishing the main storyline, I was the max level of 20, but my ‘power level’ — a number rating indicating how good your weapons and armour are — was only 200 out of a maximum 300. Indeed, viewing the story mode as one long, elaborate tutorial is perhaps the only way to explain Bungie’s decision to make it so effortless. Regardless, if you’re a player primarily interested in the story of Destiny 2, or you value difficult gaming experiences (that don’t require 10+ hours of play to unlock), this is something worth thinking about before you buy.

The question, then, is whether Destiny 2’s post-campaign content is substantial and rewarding enough to justify Bungie’s apparent decision to position it as the main body of the game. Having finally put in sufficient hours to experience the Nightfall strikes (difficult 3-player co-op missions that require a power level of around 240+ to unlock) and the new Leviathan Raid (a much longer mission requiring a power level of 260+ with bosses and puzzles that necessitate teamwork amongst 6-player squads) I feel I can confidently answer in the affirmative.

Of all Bungie’s improvements to their IP this second time around, their overhaul of the way in which players grind for loot post-campaign is by far the most welcome. Pre-DLC, the end-game grind of the first Destiny was a mind-numbing slog of repetitive resource gathering for which you received a frustrating trickle of power-level-raising loot. Destiny 2, on the other hand, offers no shortage of methods to obtain this loot.

Each planet is teeming with side quests and their own post-campaign quest lines which feel just as thoughtfully designed as the main story itself. There are daily challenges and weekly ‘milestones’ to meet which encourage you to partake in all of what the game has to offer. This includes the Crucible, Destiny 2’s PVP arena which — despite suffering some slight balancing issues – sports a wider variety of game modes than its Destiny counterpart and offers players who aren’t crazy about PvE a viable alternative to grind for post-campaign rewards.

Destiny 2 marks Bungie finally delivering on their grand promise for an open-world first person-shooter MMO. Players have been given something previously missing from Destiny: a universe that players actually care about, and thus a reason to keep coming back for powerful gear that will let you kill stronger enemies for even more powerful gear. In short, Destiny 2 feels like the true beginning for Bungie’s ambitious vision.

8.5/10

Review copy of the game provided by Activision.

Cristóbal Balenciaga: Shaping fashion

Written by Amy Nguyen on 18th September 2017. Posted in Fashion & Beauty.

I consider myself to be fairly literate in the world of fashion and design. However, the exhibition hosted by the Victoria & Albert (V&A) Museum in London and curated by Cassie Davies-Strodder really highlighted the influence Cristóbal Balenciaga had on the global fashion industry.

His creative DNA and bold, innovative designs can be seen to have inspired the likes of J W Anderson, Givenchy, Alexander McQueen, Oscar De La Renta, Emanuel Ungaro and Yves Saint Laurent – to name but a few. Simply put, ‘Haute couture is like an orchestra whose conductor is Balenciaga. We other couturiers are the musicians and we follow the direction he gives.’ – Christian Dior.

Fun fact: Did you know that Paco Rabanne was the son of Balenciaga’s former head seamstress?

Regarded by his peers as the ‘King of Fashion’, his forward thinking stance on bold architectural shapes and tailoring are brought to life for all to see. Over 100 pieces are presented to punters, many crafted by Balenciaga himself but also pieces created by his students and disciples such as Hubert de Givenchy, as well as contemporary fashion designers like Molly Goddard, who have used and adapted his techniques.

Interactive elements within the exhibition allow you to channel your inner couturier as you are able to fashion a Balenciaga cloak/skirt into a ‘wear it your own way’ garment. Similarly, you can create your own mini paper Yoki coat, which involved cutting a singular line to mirror his genius ‘one seam’ coat, and provides you with a deep appreciation of his talent.

Intricacies of pattern making and eccentric shapes is a constant theme, highlighted through he exhibitions promotional imagery which focuses on the Envelope dress, designed in 1967.

Secrets behind the construction of his designs are overturned by an X-Ray project that explores the underbelly and structure of these famous pieces.This scientific lens enables us to comprehend the way Balenciaga married various aspects of design, art and fashion as fabrics, weights, and folds within structures were analysed and alludes to the fact there is far more than meets the eyes within these designs. For example, the use of disguised weights within pieces such as the Balloon Hem Evening dress and the Tulip dress created unique folds that would other wise not exist.

X-Ray Vision at Balenciaga: Shaping Fashion – Photo: Amy Nguyen

The embellished gowns and lavish accessories resonated with me; although his clients included the Spanish Royal Family, Grace Kelly, Audrey Hepburn and Jackie Kennedy, Cristóbal Balenciaga exceeded the simple model of being a popular designer who dressed the stars. It is clear that his designs are an intrinsic link and the back bone to many of our most beloved fashion houses.

His notion that “a woman has no need to be perfect or even beautiful to wear my dresses… The dresses will do all that for her” is a message that echoes loud and clear throughout the manifestation of his work.

If you want to be as mesmerised and quite frankly googley-eyed as I was at the beautiful couture pieces and the many facets of the exhibition you’ve still got plenty of time. Whilst you are there be sure to wander around the newly opened Exhibition Road Quarter Gallery which will now be home to temporary galleries within the museum.

Exhibition ends on Sunday 18th February 2018, so if you’re around in London over the Christmas break, be sure to check it out. Tickets are £12 and can be booked here.

Interview: George Osborne

Written by Kirstie O'Mahony on 18th September 2017. Posted in Features.

Sitting in the foyer of Northcliffe House, I was overwhelmed by my surroundings, and how it loomed over Kensington High Street. It houses the Independent, the Daily Mail, The Metro, and the newspaper I was there to visit, The London Evening Standard — so naturally it was buzzing with busy journalists who had no time to pay any heed to a random person who, unbeknownst to them, was about to interview their boss.

The building itself is awe inspiring, all white, gold, and glass. The perfect setting for an interview with a man many believe to have resided in one ivory tower or another for the majority of his career.

That man is George Osborne. His office sits at the back of the Evening Standard newsroom, a bustling hub of creativity and concentration. I am brought through and briefly shown around it — Mr Osborne’s new role as Editor of the team I pass through is something I’m eager to discuss with him. In the job since May, he is still fresh in the role… something he and I have in common.

I step into his office (which is remarkably minimalistic for someone with his amount of wealth). He asks me to sit down, and himself reclines on a sofa in front of me. He’s calm, collected, and charming, and it puzzles me trying to work out how much of that is inherent and how much is extensive media training.

First, I ask him about his appointment as honorary Professor of Economics at the University of Manchester. He told me he was “flattered” to have been asked, and attributes it to his longstanding relationship with Vice Chancellor Nancy Rothwell through various projects in the scientific field and, more recently, the Royce institute.

His appointment caused somewhat of a stir in Manchester. The university’s Post-Crash Economics Society wrote to the Guardian, saying the decision was “undemocratic”, and a joint statement from last year’s exec team vehemently criticised it as well. When I asked how he felt about that, and what he would say to his critics, he told me that he’d “be disappointed in the state of student life if there weren’t differing views about the appointment of former politicians to posts at universities.”

He continued “students will have the opportunity if they want to, to ask me what it’s like to be chancellor/hold senior political office in this country and they can debate with me some of the decisions we took at the time and some of the big issues that face our country.”

I asked what actually would feature in his lectures — would they merely serve as a justification for the decisions he made as chancellor, or would they incorporate a broader look at the state of the national and international economy?

“I’ll be led by the students and the people that want to come and engage with me. We can either talk about the past and the pretty dramatic events in British Politics over the past ten years… or we can talk about the big decisions that the world faces at the moment…I’m up for a discussion about anything and I certainly don’t think I have all the answers.”

Obviously, he knows his new students may not feel as he does about his policies or his views for the future. I asked him if he expected lively debate because of this, and he responded by saying “I hope so – university would be a very boring place if everyone agreed with each other.”

Despite his bravado however, his assistant mentioned he is feeling somewhat nervous about his first visit to Manchester, and given that the university is practically painted red, I’d be surprised if he wasn’t.

Mr Osborne takes up his role on the Honorary Professor of Economics within a matter of weeks. But before then, there is the small matter of editing a daily newspaper, at a time when British politics feels in a permanent state of turbulence.

Last month, it was revealed that the figures Theresa May used as Home Secretary to crack down on international students overstaying their permit were extremely misleading. Did Mr Osborne feel he could have done more?

His response was, at best, slightly vague, stating that “I argued consistently in government and now as Editor of this newspaper for Britain to be as open to foreign students as possible” and that international students are “a fantastic thing for… Britain.” It seemed clear to me that he certainly disagreed with their use, and when I pushed him, he pointed to the editorials of the paper he owns, which “broadly reflected his political outlook” to begin with anyway, and said “my views on the student numbers are there for everyone to read.”

And what a read they are – last month the editorial in the Standard read “the then Home Secretary thought it was better to stick with false information than get the real facts, which might force her to change the policy.”

Harsh words – although not quite as vivid as Mr Osborne’s alleged desire, reported in a recent Esquire profile, to chop up Ms May and put her in food bags in his freezer. Cold.

Speaking of his time in Government, one of Mr Osborne’s major political projects was the Northern Powerhouse Partnership. The transport minister Chris Grayling recently opted not to electrify the train line between Manchester and Leeds, meaning the journey time will remain as long as ever, and the Associated Press recently published analysis that stated the North of England is still primarily reliant upon 19th century infrastructure.

I asked him: do you think your project has failed?

He insisted not: “the Northern Powerhouse is very much alive but instead of being just a project that is talked about in Central London or is the product of one politician’s plans, it is now something that lives and breathes in the North of England.”

That didn’t really answer my question on the lack of modern transport infrastructure, so he continued that “the whole is bigger than the parts” – he explained that whilst transport development may be screeching to a halt (as it were), the other projects that are thriving in the North and the North’s combined population means it’s starting to “rival London, New York, and Tokyo.”

He did concede though that transport is important, and that the North “ultimately need[s] a new train line through the pennines”, which is something that he knows won’t happen overnight.

I also asked him how the project benefits students, and he pointed out that “it’s not healthy to be in a situation where other parts of the country feel overshadowed by London, [and] if you’re a graduate of the university, you need choices to fulfil your career and full potential… you’re now able to do that in Manchester and Liverpool as well as London.”

Time had flown by – we were prompted that we only had five minutes left, so before we finished I wanted to ask him about his new role as editor. I was quick to point out that he hasn’t been in the position on the long time, and he was quicker to retort that neither have I – touché. However, I wanted to ask him what he wanted to say to those who have criticised his lack of experience.

“As always in life, the only way you can prove people who doubt you wrong is by just doing it… when I announced that I was going to become an editor of a paper, I managed to offend 2 professions: politicians and journalists… but the proof is in the pudding – every day there is Evening Standard produced.

“I’ve published Corbynistas and hardcore brexiteers [in the Evening Standard]; people assumed it would all be towing the conservative line and now I get criticised for attacking the conservatives too much! Well that strikes me as getting the balance about right.”

Did he have any advice, from one new Editor to another?

“I hope when you edit the paper that you’re not afraid to call things as you see it, and you have to accept that people aren’t always going to agree with you, but if they did you’d probably be doing something wrong.”

Manchester student forced to crowdfund degree

Written by Kirstie O'Mahony on 18th September 2017. Posted in News.

A student set to study Physics at the University of Manchester is only able to do so because of the donations of strangers.

Agnes Harding, who was born in The Gambia, but who has lived in the UK since the age of four, finished sixth form in Dagenham in the summer of 2016. With hopes of becoming the first British black, female astronaut, she applied to do Physics at lots of prestigious universities.

After getting three As at A-level, she received offers from four Russell Group universities, but opted for Manchester and applied for student finance like everyone else in her class.

She was then told that because she had not been living in the UK under ‘Ordinary Residence’ for over three years, she was not eligible for a student loan.

‘Ordinary residence’ does not have a definition as set by Government. It is the phrase used to imply that a person — or, more specifically, an immigrant — lives in the UK habitually for either a long or short duration. It essentially allows immigrants to the UK to reside there for two and a half years, and you need to be an ordinary resident for a decade before you receive indefinite leave to remain, and then British Citizenship.

Speaking to The Mancunion, Agnes said that the discovery that she could not apply for a loan left her “heartbroken.”

She explained that without the student loan amount, she would not be able to afford to come to the University of Manchester, but that she would have allegedly been eligible had her family’s application for ‘Ordinary residence’ been processed in a year — she told us it took four years to be accepted by the UK Government. She chose to take a gap year first to figure out what she could do.

She was then encouraged by her aunt to set up a crowdfunding website. After initially getting off to a slow start, her story was picked up by Dispatches on Channel 4, and the night that documentary aired, her fund went from £4000 to £14,000.

The messages she received from donators had her “smiling from ear to ear” and that the words of encouragement she received were unbelievable. People were writing: “You are British, you are one of us, we need more people like you.”

Agnes is starting her Physics degree next week and hopes to be an astronaut one day – Photo: The Mancunion

But Agnes is not the only one with a story like this. Up and down the country there are many international students who are not eligible for student finance and therefore cannot afford to go to university.

Let us Learn, a charity that has helped Agnes prepare for university, estimates that 1000 people are affected by this problem each year nationwide. The charity has helped 770 prospective students who find themselves in this position since 2014.

A spokesperson for Let us Learn explained that “Our numbers were extrapolated from a study by COMPAS at Oxford University that estimated there were 120,000 ‘irregular migrant children’ in the UK, who were largely either born here or who migrated here at a young age.”

The Students’ Union Diversity Officer Riddi Visu told The Mancunion that she’d like to “congratulate [Agnes] on her successfully crowdfunding” of her first year, but that Agnes’ story “disappoints” her.

She continued that “as a union, we are committed to fighting for an education system free at the point of use for all as we believe that education is a public good.”

“We believe that this case is an example of how the funding system is grossly unfair, especially for international students. Whilst as an exec team we will continue to support the cause of free education in the short term we should at least start working on the easing the restrictions associated with accessing public funds.”

She finished by telling us that the executive officers at the Students’ Union will “look at other ways of improving the funding opportunities available to address this problem.”

The University of Manchester has so far not responded to The Mancunions’ request for comment.

G4S security return to patrol Manchester’s student suburbs

Written by Amy Wei on 18th September 2017. Posted in News.

Night-time patrols are scheduled to monitor student house parties in Fallowfield and Withington this Welcome Week. A security team from G4S, accredited by Manchester City Council, is being funded by both The University of Manchester and Manchester Metropolitan University.

The same security program was implemented during Welcome Week last year following 400 noise complaints by local residents in Manchester’s suburbs. A spokesperson for both universities told The Mancunion that the security staff were being hired to foster “positive relationships between students and residents.”

64 student properties were visited by officers in the first few weeks of term last year. They were handed noise abatement notices, and students were told that they faced property seizure, exclusion from their courses, or prosecution if they did not stop their anti-social behaviour.

The Mancunion published comprehensive reporting last year about the alleged misconduct of G4S staff.

Multiple students came forward alleging officers had visited and threatened to sanction their households, despite not having received any complaints from local residents.

Students have previously expressed unease because they felt unprotected from their universities against crimes committed against their peers. In a survey conducted by the University of Manchester Student’s Union last year, 9 out of 10 respondents claimed to have been victims of crime while studying at the university.

A staggering three-quarters of women were victims of sexual crimes. The city’s universities, however, have decided to only hire security to guard against anti-social behaviour for the second year in a row.

A spokesperson for both the University of Manchester and Manchester Metropolitan University said in a statement to The Manchester Evening News, “Following positive feedback, it has been decided to continue the night-time patrols to provide reassurance and support for both student and non-student residents alike.”

“As part of our ongoing commitment to positive relations and enhancing cohesive communities, we’re pleased to be able to continue the night-time patrols for the next academic year.”

The patrols will operate from September 16 until November 5, and again during next year’s exam period. A dedicated phone-line will be installed for residents to call with complaints regarding student house parties.

Two G4S ‘mobile neighbourhood support officers’ will be active at all times, and will have received the following training: Incident Response Officers Licencing and Training, Front Line SIA Licenced, SIA CCTV Licenced, and Enhanced DBS check.

Students are encouraged to report any incidences where they feel unsafe to the University of Manchester Student’s Union.

Manchester’s hidden gems

Written by James Johnson on 15th September 2017. Posted in Lifestyle.

Arriving at university and discovering all of the many delights Manchester has to offer excites new and returning students each and every year. Whether you’ve arrived from the sleepy suburbs, a quiet country village, or another major city, sometimes the traffic along the Oxford Road corridor and the fight for the busy pavements can prove to be a little overwhelming.

Adjusting to the continuous hustle and bustle of Manchester’s unique network of social and cultural hotspots ensures you’re never too far from a new experience. We often venture into the heart of the city centre when we’re looking for the best place to get some productive study hours logged or to enjoy a new dining or caffeine-filled afternoon. But, Manchester has some great alternative options to wine, dine, study or relax the hours away, that can be found outside the hustle and bustle. Sometimes heading out of town can serve to refresh you of the city rush and might just be your new favourite place to take the magic bus (or the tram) to. Find some suggestions below and plan your next trip outwards.

Withington

Withington is that special place where the magic bus becomes a little quieter, where you’ll unlikely be finding yourself searching for an available seat. A little further south than Fallowfield, Withington is awash with local eateries, banks, coffee shops, and places you can get a little work done (try the Withington library, open 7 days a week) outside of the library.

Didsbury Village

The jewel in South Manchester’s crown, Didsbury Village is a popular spot for shopping and dining. The abundance of popular stores and coffee shops will be a welcome return to small town suburbia for many. Its relaxed vibe is a great contrast to the rush of Piccadilly Gardens. You can also hop right onto the local tram stop, taking you to the heart of Manchester in under thirty minutes.

Trafford

If you’re a keen shopper, or perhaps just a great Carrie Bradshaw impersonator, you might consider heading west to the famous Trafford Centre, where no shopper can go unsatisfied. Your feet will ache before you’ve reached all of the stores available here and there’s always a plethora of great food to be eaten. Hop onto the 250 from Brook Street West, or onto the X50 from Piccadilly Gardens, and you’ll be there in no time at all.

Media City

Manchester’s innovative and incredibly efficient network of trams is here for you to explore all of Manchester’s outlying suburbs, towns and attractions. Just a short ride away from Piccadilly is Media City UK – the home of the ITV and BBC studios. Travel along Manchester’s infamous shipping canal to a place where any recreational needs are met. The Imperial War Museum is a must-see attraction for historians and visitors alike. Tours of the TV studios are also a highlight, or if this all sounds like too much, maybe just catch a film and hit the shops at the Lowry Centre instead.

Wherever you find yourself venturing to during your time at Manchester, you’ll always be spoiled for choice. Consider heading further afield next time to find your favourite new hangout or take a breather in one of Greater Manchester’s inspired out of town districts.

Preview: Pizza and Prosecco festival

Written by Anokhi Shah on 15th September 2017. Posted in News.

The Pizza and Prosecco festival will arrive at Bowlers in Manchester on Saturday 16th of September. From 2pm until 11am, a variety of over 20 different Proseccos including some delightful fizz cocktails will be on offer. At the same time a range of delicious home cooked pizzas from local traders such as Doughboys and The Original Goodfillas will be available as the perfect pairing to the sparkling Prosecco concoctions. All dietary requirements are catered for, including gluten free and vegan options.

The Tiny Tipple Van will be helping you pair each slice of cheesy goodness with the perfect Prosecco, and will demonstrate some innovative new cocktails that you can try at home. Additionally, to ensure each Prosecco you try compliments each slice of pizza, upon entry guests will be handed a Pizza and Prosecco bible.

A variety of entertainment can also be expected including live music and sing-a-longs. As the evening gets cooler guests can snuggle up under soft blankets next to outdoor heaters to watch the live entertainment whilst indulging in the plethora of treats available.

The response to the Pizza and Prosecco Festival has been huge — the Glasgow event sold out in four hours, forcing a second date! Pizza and Prosecco is a perfect pairing and loved by many. This is undoubtedly going to be an unforgettable event. Tickets are on final release from £15.99 and available at https://www.fatsoma.com/pizza–prosecco-festival

HOME Cinema Preview: 15th September

Written by James Gill on 15th September 2017. Posted in Film.

Films opening this week:

Mother!

Directed by Darren Aronofsky – Rated 18

A couple’s relationship is tested when uninvited guests arrive at their home, disrupting their tranquil existence. From filmmaker Darren Aronofsky — Black Swan, Requiem for a Dream — Mother! stars Jennifer Lawrence, Javier Bardem, Ed Harris, and Michelle Pfeiffer, in a potent psychological thriller about love, devotion, and sacrifice.

Click here to book tickets

Victoria and Abdul

Directed by Stephen Frears – Rated PG

The extraordinary true story of an unexpected friendship in the later years of Queen Victoria’s rule. When Abdul Karim — played by Ali Fazal — a young clerk, travels from India to participate in the Queen’s Golden Jubilee, he is surprised to find favour with the Queen herself. As the Queen questions the constrictions of her long-held position, the two forge an unlikely and devoted alliance with a loyalty to one another that her household and inner circle all attempt to destroy. As the friendship deepens, the Queen begins to see a changing world through new eyes and joyfully reclaims her humanity. Directed with characteristic intelligence by Stephen Frears.

Click here to book tickets

Centre of my World

Directed by Jakob M. Erwa – Rated 15

Based on the bestselling young adults’ novel, The Centre of the World, by Andreas Steinhöfel, director Jakob M. Erwa’s imaginative, candid, and complex film portrays a young man coming of age, discovering his sexuality, and falling in love. Returning home to Germany after a summer away at French-language camp, 17-year-old Phil finds a strange tension has developed between his mother and sister. Unsure of the reasons why, Phil finds much-needed fun and diversion with his best mate Kat. But the seemingly unshakable bond between the friends is tested when mysterious, handsome, new boy Nicholas arrives at their school. Full of admirable energy and verve, Centre of My World is both a compelling family drama and a tender tale of first love.

Click here to book tickets

Kills on Wheels

Directed by Attila Till – Rated 15

Twenty-year-old wheelchair user Zoli, his physically disabled friend, and an ex-fireman, who is also confined to a wheelchair, decide to offer their services to the mafia as a gang of hired assassins. But, as is the way with life, the reality is a little more prosaic…

In his highly original comedy, Hungarian director Attila Till skilfully blends reality with fantasy as he offers a gentle probe into the lives of protagonists living on the edge of society and desirous of things which able-bodied people take for granted. The director was inspired to make his film from his own experiences as a volunteer for the disabled. He explains his motivation: “It was crucial to me to make a movie about disabled people where they finally aren’t played by actors but get the opportunity to act themselves and be the real heroes.”

Click here to book tickets

Films continuing this week:

Wind River

Directed by Taylor Sheridan – Rated 15

Screened to acclaim in Cannes, where director Taylor Sheridan deservedly won the Best Director in the Un Certain Regard section, Wind River is a chilling thriller that follows a rookie FBI agent — Elizabeth Olsen — who teams up with a local game tracker with deep community ties and a haunted past — Jeremy Renner — to investigate the murder of a local girl on a remote Native American Reservation in the hopes of solving her mysterious death.

Click here to book tickets

The Limehouse Golem

Directed by Juan Carlos Medina – Rated 15

In Victorian-era London, an intrepid police inspector — played by Bill Nighy — investigates a series of brutal killings that seem to be linked to a fearsome creature of Jewish legend. Director Medina takes meticulous care to preserve the foggy and unsettling atmosphere of late 19th-century London. With the spirits of both Sherlock Holmes and Jack the Ripper hovering over the proceedings, Medina stops at almost nothing as he rubs our noses in the murk of a London that has itself been a character in many a murder mystery — a tradition to which his film is a welcome addition.

To read Jamie McEvoy’s review of this film click here.

Click here to book tickets

God’s Own Country

Directed by Francis Lee – Rated 15

Johnny, a young sheep farmer from Yorkshire, has sacrificed his own life choices to run the family farm. As lambing season approaches, much to Johnny’s initial resentment, migrant worker Gheorghe is hired to assist. Gheorghe proves he not only understands the farming life, but more importantly, he understands Johnny.

Click here to book tickets

Special events taking place this week:

15th September – Dennis Skinner: Nature of the Beast

Directed by Daniel Draper – Rated 15

A feature-length documentary about socialist, trade unionist, and Labour politician Dennis Skinner. Raised alongside nine siblings within a mining village, Dennis has fought for the rights of the working class for over 50-years. Uncompromising in his views, with a set of incorruptible principles, Dennis is both respected and feared on both sides of the House of Commons. Nature of the Beast looks at what lies behind his passion and drive, and tracks his rise from a local councillor to today, where he is one of Britain’s most recognisable politicians — widely known as ‘The Beast of Bolsover’.

Click here to book tickets

16th September – Newton

Part of HOME’s Not just Bollywood Season

Directed by Amit Masurkar – Rated 12A

Having already bagged a major prize at this year’s Berlin Film Festival, Newton stars Rajkumar Rao, one of Indian cinema’s brightest acting talents. A seamless socio-political satire, this is a potent work that pits a government clerk against the machinations of electioneering in India’s rural hinterland. Writer and director Amit Masurkar first shot onto the indie scene with the breakout cult comedy Sulemani Keeda (2014) about a pair of struggling scriptwriters. The main lead of Newton, Rajkumar Rao, has starred in numerous critically acclaimed indie films including Shahid (2013), Aligarh (2016) and Trapped (2017) and works predominately in the Indian indie film scene. Newton also stars the hugely talented character actor Pankaj Tripathy in a supporting role. Manish Mundra is the producer of Newton.

Click here to book tickets

17th September – Belle de Jour + Post-Screening Discussion

Directed by Luis Buñuel – Rated 18

Deneuve stars as the beautiful, bourgeois, and bored doctor’s wife, who decides to spice up her afternoons by working at a local brothel where she encounters all sorts of clients and enjoys enduring no end of humiliation. The screening on Sun 17 Sep will be accompanied by a free, informal post-screening discussion led by Maggie Hoffgen, Freelance Film Educator.

Click here to book tickets

17th September – Jungle Fever + Post-Screening Discussion

Directed by Spike Lee – Rated 18

Widely regarded as some Spike Lee’s best work, Jungle Fever tells the story of Flipper Purify, a successful architect who, on the surface of things, looks like he has it all. Until, he sleeps with his white co-worker, Angie, which leads to the beginning of a tumultuous relationship. With a wonderfully nuanced performance by Wesley Snipes in the lead role; a supporting role by Lee; a turn from then rising star Samuel L Jackson; and an unforgettable soundtrack by Stevie Wonder, Jungle Fever remains a film that lives long in the memory and provides hours of debate.

This screening includes a post-screening discussion with We Are Parable co-founder, Anthony Andrews, and founder of The British Blacklist, Akua Gyamfi.

Click here to book tickets

18th September – The Gold Diggers

Directed by Sally Potter – Rated U

The groundbreaking first feature is a key film of early Eighties feminist cinema. Made with an all-woman crew, featuring stunning photography by Babette Magolte and a score by Lindsay Cooper it embraces a radical and experimental narrative structure. Celeste — played by Colette Laffont — is a computer clerk in a bank who becomes fascinated by the relationship between gold and power. Julie Christie plays Ruby, an enigmatic film star in quest of her childhood, her memories, and the truth about her own identity. As their paths cross they come to sense that there could be a link between the male struggle for economic supremacy and the female ideal of mysterious but impotent beauty.

Click here to book tickets

20th September – Ankhon Dekhi + Q&A

Part of HOME’s Not just Bollywood season

Directed by Rajat Kapoor – Rated 15

The multi talented actor, writer, and director Rajat Kapoor’s idiosyncratic masterpiece is one of the key works of the new Indian independent cinema. A heady mix of Bergman, Fellini, and De Sica, this semi-philosophical comedy about family, self-identity, and existentialism, features a career defining performance by Sanjay Mishra.

Also featuring a memorable score by Sagar Desai and lyrics by the talented Varun Grover, the film received widespread critical acclaim on its release. In 2014 the film won three Filmfare awards, Indian cinema’s premiere awards ceremony, including Best Film, Best Actor and Best Story.

Rajat Kapoor has worked across the spectrum of Indian cinema, appearing in hugely popular crossover Indian films such as Mira Nair’s multi award winning Monsoon Wedding, the much-loved comedy Bheja Fry (2007) with Vinay Pathak, while also starring in popular Hindi cinema such as the recent Karan Johar produced Kapoor and Sons with Alia Bhatt. Rajat Kapoor trained at the prestigious Film and Television Institute of India and was taught by illustrious filmmakers Mani Kaul and Kumar Shahani. Rajat made his acting debut in Kumar Shahani’s Khayal Gatha in 1989. His directorial output includes Private Detective: Two Plus Two Plus One (1997), Raghu Romeo (2003), and Mithya (2008).

Ankhon Dekhi was the first film to be produced by Manish Mundra who founded Drishyam Films in 2013. Drishyam Films, an independent production company, has emerged as one of Indian cinema’s most innovative and original new voices, nurturing and supporting new filmmakers and contributing to the increasingly international profile of new Indian independent cinema.

We will be joined by actor, writer, and director Rajat Kapoor for a post-screening Q&A.

Click here to book tickets

Made in Manchester

Written by Talia Lee-Skudder on 14th September 2017. Posted in Fashion & Beauty.

Ah, Manchester. The great city of The North. Home of Oasis, Joy Division, my not-so guilty pleasure Take That, and of course, City and United. Whilst Manchester is world renowned for its music scene and first class football teams, it is now becoming an emerging player on the fashion scene. What’s not to love? It’s considerably cheaper than London — lower rent and lower priced drinks! It’s no wonder that many of the UK’s biggest online retailers are based in our great city; from Missguided to Pretty Little Thing, the Manchester fashion scene is one to keep an eye on.

In addition to their huge online retail presence, Manchester is also home to a number of successful independent designers and brands including celebrity favourite Zeynep Kartal, Forever Unique, and Beaumont Organic.

Zeynep Kartal

Zeynep Kartal first unveiled her collection back in 2013 at Manchester Vogue Fashion Night Out and has since been a sought after designer for celebrities and mere mortals alike. Her signature style celebrates femininity, so expect to see lace and silk, but also leather and fur. Her latest Autumn/Winter 17 collection is predominantly made up of hues of pink: pink fur, pink leather, pink silk. Think less Barbie girl with more sophistication — these looks are timeless. Kartal also includes black and rich emerald green velvet in her collection, for those who want a sultrier look that still exudes femininity. Kartal studied design at Manchester City College, and her showroom is based on King Street. Her A-list credentials include Game of Thrones star Maisie Williams, Marina of Marina and the Diamonds, and Pixie Lott, plus her designs have also been featured in Vogue, Hello, and Cosmo. Zeynep Kartal is a credit to the Manchester fashion scene, bringing a high fashion look to our great city.

Forever Unique

The Manchester based luxury fashion label Forever Unique creates affordable, designer fashion, and is a celebrity favourite. Seema Malhotra, a Fashion and Design graduate from the University of Salford, established the brand in 2008 alongside her husband, Sandeep, and the business has gone from strength to strength. Seema started with a capsule collection of ten dresses; within one week, the designs had sold out. Today, Forever Unique offers over 200 pieces and remains a roaring success. The designs are completely glam with a focus on embellishment, fringing, and figure hugging silhouettes. Forever Unique is a one-stop shop for dazzling day and evening wear that is unlike anything on the high street.

Beaumont Organic

Beaumont Organic is a luxurious but affordable organic clothing line based in Manchester. Designer Hannah Beaumont creates pieces using the softest organic cotton that will make timeless additions to your wardrobe. After researching the damaging effects that growing cotton has on the environment, Hannah wanted to make a luxury clothing line that is also environmentally friendly. From this, Beaumont Organic was born. Not only does buying from Beaumont Organic equip you with super on trend pieces, you’re also helping the environment! I’ve never heard a better reason to go shopping.

Whether you’ve just moved to Manchester, or you are starting your final year, take full advantage of the amazing and unique shopping that the city has to offer. From window-shopping at the Avenue to bargain hunting in the vintage shops of the Northern Quarter, Manchester really does have it all. Grab your umbrella and fall in love with the endless fabulous shopping opportunities this town has to offer.

Review: Letters to Morrissey

Written by Lily Brittain on 14th September 2017. Posted in Theatre.

Gary McNair’s solo piece Letters to Morrissey is not exactly what one would presume from the title. Needless to say, The Smiths are a running theme throughout, with the iconic lyrics of the British indie rock band being spoken numerous times on stage. A powerful backdrop of striking luminous images of Morrissey with the steady murmur of his hit songs eases the audience in, adding to the feeling that you are truly immersed into a young boy’s life and the multitude of emotions contained within the letters to Morrissey.

However, this poignant piece of theatre is so much more than just a 15-year-old boy writing doting letters to an icon. McNair expresses the power of music through this theatre piece; presenting a lonely young man living in a ‘shite town’ and pondering many different things about his life and the somewhat dark and complex issues he is faced with.

In this sense, the audience is presented with a character that is almost instantly likeable, with his sharp wit and laughable teenage angst. Numerous characters all effortlessly presented by McNair flow perfectly with the captivating storyline. The audience learns as the characters do and each shocking turn or event is ever more powerful.

Twists and turns of the story make for a gripping piece of theatre, with some particularly whimsical moments coming from the office of Mr McKinnon and the looming sign, reading: ‘Do one thing every day that scares you’. This phrase becomes somewhat darkly ironic as the play unravels, particularly in relation to the unfortunate fate of young Tony.

The raw honesty delivered by the ‘boy with the thorn in his side’ reflects the brutal honesty of telling the story from a young boy’s perspective. The array of characters come to life beautifully on stage, it’s somewhat hard to believe that one actor is capable of such vast character changes so convincingly and effortlessly. The 65-minute run-through without an interval was the perfect way for this play to be performed. In the same sense that the lives being portrayed continued, the audience continued to be lulled into a sense of fascination alongside the events taking place.

This beautifully crafted piece of theatre highlights not only the intensity of experiences at young ages, but I also felt it reminded the audience of the power of music, reminding us all of how infatuating and powerful it can be. Not to mention how much we recall adoring an icon of ours, whether that be a 1980s musician or someone more close to home. As the play drew to a close, I began to understand just as the protagonist had, how much power the minute things in life seem to possess, and how this can shape one’s life for what seems like an eternity.

The success that Letters to Morrissey enjoyed at Edinburgh Fringe over the summer is sure to be continued after such a fantastic opening night. McNair and director Gareth Nicholls are certainly a pair to look out for. This was a thoroughly enjoyable piece of theatre.

Letters to Morrissey is at Home until Sat 16th September. Tickets can be purchased here.

Wakefield Trinity 16-18 St Helens: Saints clinch victory at Wakefield and hang on to play-off hopes

Written by Jamie McEvoy on 14th September 2017. Posted in Sport.

Justin Holbrook’s side came from 14-6 down with 18 minutes to play to beat fourth placed Wakefield Trinity by two points, thanks to a duo of late tries from Theo Fages and Jonny Lomax. Saints knew that the fixture was a must-win, and the side showed a resilience which they have been lacking all year.

After an early try from Wakefield winger Bill Tupou, and a penalty kick from Liam Finn, Saints drew level when forward Louie McCarthy-Scarsbrook touched down. Chris Chester’s Trinity then pulled ahead with a second try from Tupou and a hat-trick of kicks from Finn, but Fages gave Saints a glimmer of hope when the young full back was set free by prop Alex Walmsley.

Mark Percival followed up with a second conversion, before kicking for Lomax to go over for St Helen’s final try of the night. The decision went to the video referee, who awarded the four points. Percival then scored the decisive two points with the subsequent conversion.

Walmsley missed the late surge by his team as he left the field following Fages’ try, to watch the birth of his son. Fortunately, Saints did not appear to miss his presence. Holbrook will be delighted with the resolve and vigour his side showed as they appeared to be heading for a costly defeat, after playing catch up for 76 minutes.

They now are level with Wigan Warriors, who will play their game in hand against Hull FC. A victory for the Cherry and Whites would see them rise to fourth place, pulling two points ahead of St Helens and one ahead of Wakefield. However, it remains very tight with two games to play in the Super 8s, with the three aforementioned teams desperate to grasp the crucial final qualifying spot.

Next up for St Helens is Huddersfield Giants on Friday 15th September, and Wakefield face a tough trip to the KCOM stadium a day earlier.

Man of the match: Jonny Lomax

It was hard to spot a star man amongst a determined and zealous Saints side, but Lomax proved to be the saviour with his dramatic late try. Mark Percival deserves high praise for his superb kicking, but Lomax was heroic with his diving touch down.

Review: American Made

Written by James Gill on 13th September 2017. Posted in Film.

American Made sees Tom Cruise and director Doug Liman reunite in an adrenaline-fueled tale of former Trans World Airline Pilot Barry Seal. Had this been a work of pure fiction, writer Gary Spinelli would be slammed for the unrealistic twists and turns the plot takes. But the film is surprisingly grounded in truth. From smuggling drugs for Pablo Escobar’s Medellín Cartel to running guns for the CIA to Central America, Seal’s story was destined for a big screen portrayal.

His initial descent into smuggling was to add excitement into an otherwise humdrum life, whilst also earning some extra money for his family. As so many true story rise/fall films before this, the protagonist begins chasing the American dream before their greed leads to their inevitable downfall.

After a few years, Seal has so much money that the local bank dedicates a vault solely for him yet this does not stop him from continuing. The question as to why is left perpetually unanswered, is it more money, notoriety, thrills? Even his passion seems to slowly die as time progresses.

Eventually, he is arrested in a ludicrous scene in which every law enforcement agency in America raids his hanger at exactly the same moment, with one member from each helping to take him. The events that follow include a Presidential intervention, Harley Davidson Motorcycles, and the charity Salvation Army. Any attempt at an explanation would be fruitless in a bizarre climax to the film. One that leaves both Seal and I questioning our sanity.

Very quickly, the repetitive formula of the film became monotonous and tiresome. He’ll get caught in an act red handed but miraculously escape every time with a smile, while simultaneously digging himself a little deeper into the crime world.

Equally frustrating was the incredible wealth Seal accrued without spending it on anything more lavish than putting in a pool. Part of the thrill of similar films such as The Wolf of Wall Street was seeing Belfort’s drug fuelled escapades. The craziest moment during Seal’s free time comes when he takes a shot of Tequila at a garden party.

American Made offers up little to show the consequences of his actions, fuelling both a drug war in Miami and a rebellion in Central America. His pivotal role in the rise of the Medellín Cartel will have indirectly cost the lives of thousands but this isn’t mentioned. Alternatively, Liman could have made a critical political commentary of Reagan’s reign or the CIA but opts not to. Instead, he relies on the charm of Cruise and a breakneck narrative pace to disguise the lack of any real underlying meaning. The journey is undoubtedly an entertaining one, but American Made, like Liman’s last project The Wall, is destined to be forgotten.

Peculiarly, director Liman has a person involvement with the resulting Iran-Contra scandal. His father Arthur L. Liman was chief counsel for the Senate investigation into the events and questioned Colonel Oliver North in the public hearings — a man who appears late on in the film.

Lemn Sissay launches university scheme to boost number of black males in legal sector

Written by Cameron Broome on 12th September 2017. Posted in News.

A first of its kind, the Lemn Sissay Law Bursaries take into account applicants’ race, gender and socio-economic background.

The School of Law’s Black Lawyers Matter project was set up in 2016 by a group of academics, community leaders, and legal practitioners upon discovery of some 1200 undergraduates, only 14 UK-based Black males of African and Caribbean heritage were registered on law and criminology courses, and of these none were from lower socio-economic backgrounds.

Working with community organisations, schools, regulators and legal and criminal justice professionals, the project aims to address black and minority ethnic under-representation in higher education and the professions – as well as to promote the relationship between the University and Manchester’s African & Caribbean communities.

The Lemn Sissay Bursaries specifically aim to address the obstacles faced by male students of African & Caribbean heritage who come from disadvantaged backgrounds. It will offer eligible applicants an annual grant of £3,000, funded by the School of Law.

“I am immensely proud to have these bursaries named after me, as I fully understand how difficult it can be for people from my background to advance in life,” said Lemn, who grew up in care. “One of the main goals of the university is social responsibility, which makes it unique in the UK. It does an awful lot to inform communities who may feel university isn’t for them that the opposite is true, through public engagement work and schemes like this one.”

“It is a privilege to be part of this project, which will widen participation and improve the relationship with the local communities who often never benefit from the resources of universities,“ said barrister Tunde Okewale MBE. “This is something that would have benefited me had it existed when I was studying law. I believe that it will help to improve and increase the diversity within the legal industry, as well as facilitating a more open and transparent dialogue about racial inequality in higher education.”

“This initiative signals an important step in progressing with our local communities and partner organisations to ensure that people from all backgrounds feel a sense of ownership of and belonging to The University of Manchester and its cultural institutions,” said senior lecturer Dr Dawn Edge, The University’s Academic Lead for Equality, Diversity and Inclusion.

The bursary will be launched at an event which will feature debates with Greater Manchester Black & Asian Police Association, youth workers, and musicians about combating the recent rise in violence, cuts to local services, the role of the police, and making our communities safer. Attendees will also be able to get expert advice on making an application to the University, working there and accessing its cultural institutions.

The event will take place from 6-8pm on Wednesday 13 September at the West Indian Sports and Social Club, Westwood St, Manchester M14 4SW.

University of Manchester ranks 54th in the world

Written by Amy Wei on 12th September 2017. Posted in News.

Times Higher Education (THE) have released their 2018 global university rankings. The 54th spot on the table is shared by the University of Manchester and the University of California, Davis.

Manchester ranked 56th in 2016, and 55th in 2017. The university’s improvement in THE’s rankings is accompanied by overall improvement in performance by UK institutions. For the first time in the 14-year history of the table, both of its top two universities are from the UK — the Universities of Oxford and Cambridge, respectively. 23 of the 24 Russell Group universities feature in THE’s global top 200.

Queen’s University, Belfast is the only Russell Group university to not appear in the list of the world’s top 200 universities.

The University of Manchester is the seventh best ranked university in England. It is also the second highest scoring English university based outside of London, after the University of Cambridge. In the University’s strongest department, Business and Economics, it ranks 22nd globally.

Uncertainty after the Brexit Referendum resulted in a drop in UK universities’ rankings in the QS 2017 survey. THE’s new table indicates that confidence in UK universities is stable again.

THE’s global rankings assess more than 1000 institutions worldwide, using 13 indicators intended to determine the universities’ international reputation. The size of the international student body, international research partnerships, and international research citations are all used as indicators.

The University of Manchester’s main area in need of improvement is their student to staff ratio. At 14.6, the University’s ratio is high compared to other Russell Group universities. The ratio at the University of Cambridge is 10.9. At University College London it is 10.5.

The potential loss of EU research funding after Brexit threatens UK universities’ performance in future global rankings, including the University of Manchester.

The UK government has made one of their core Brexit objectives to, “seek agreement to continue to collaborate with European partners on major science, research, and technology initiatives.” The Department for Exiting the European Union published a paper last week declaring intentions to form stronger research ties to the EU post-Brexit than the EU has ever had with a non-EU country. If these negotiations fail, research quality at UK universities is expected to decline.

Album: ‘A Deeper Understanding’ – The War on Drugs

Written by Will Baldwin-Pask on 12th September 2017. Posted in Uncategorised.

“They don’t make ‘em like this anymore” is an expression that can describe few bands better than The War on Drugs.

Their 2014 breakthrough album Lost in the Dream channelled American heroes like Springsteen, Petty and Dylan to propel the fringe indie band to being classic rock revivalists, universally swooned over by waves of critics and brand new fans. They’re the band that got your pothead mate into rock music and your dad back into listening to the radio.

And now they’re back with A Deeper Understanding, hoping to build on their success to become one of the best bands around.

It takes just over 24 minutes to get through the first four songs on the album. Luckily, the start the band gets off to is incredible. Singer/guitarist Adam Granduciel, who sits in the creative driving seat of the band announces their return with the carefree “I don’t know / I’ve been away” on opener ‘Up All Night’.

The misleading blasts of drum machine and punky bass line fade gradually, and the song settles into a gorgeous daze that resembles previous album opener, ‘Under the Pressure’. This is followed by ‘Pain’ which closes with a loud and lucid guitar line that has the sublime quality of an ocean-bound sunset or some shit. With each song, the band reach out and hug the listener, reassuring them that they are indeed back and, yes, brilliant as ever.

Then comes ‘Holding On’, by far the ‘poppiest’ they’ve ever sounded. I have to admit, being released as a single back in June, this took a while to grow on me, but now within the context of the full album it makes complete sense.

The bouncy Casio hook and pounding guitar-drums partnership make it catchy, even danceable. Granduciel, not blessed with the best of voices, grasps at the high notes in the chorus with such confidence the listener has no choice but to sing along appreciatively. This is windows-all-the-way-down, volume-all-the-way-up driving music. This is the sound The War on Drugs have cultivated but with an even brighter punch.

These songs also show a band expanding their instrumental vocabulary. Synthesisers, organs, harmonicas, glockenspiels and slide guitars add even more depth to the dream structures the listener is thrown into. Granduciel has obviously been working on his guitar solos to contribute to this. They appear much more frequently and are more isolated on this record.

Aside from improving his screeching technique, the guitarist has found out how to make them as uplifting as possible. On power ballad ‘Strangest Thing’, the band builds and builds until dropping out to let a ‘Comfortably Numb’-esque heart-wrencher tear the song — and the entire record — wide open, producing the best moment of the whole hour. It’s a moving, single-tear occasion usually reserved for when watching Pixar on a comedown.

It comes as no surprise that these strong starting four players in the album were all released as singles in the build-up. The test then becomes whether the other six reinforcement songs can keep up with the pace. ‘Knocked Down’ slows right down to first gear, but doesn’t quite have the power to put a lump in your throat.

A lurch into fourth follows with ‘Nothing to Find’, which attempts to recreate old classics ‘Ocean in Between the Waves’ and ‘Baby Missiles’ but ends up sounding a bit like a friendship montage from an ‘80s film.

‘Thinking of a Place’ offers redemption, a sprawling highway of a track that the majority of vegan cafés have had on repeat since its first release in April. At 11 minutes, it is so pleasantly long that fans have been said to shut their eyes when listening, believing that Trump’s Presidency will be over by the end of the song. Caressing piano falls, a desert-howling guitar solo and a constant ol’ country strumming remove any risk of getting bored however; in the end, one is left wishing it would go on for just 11 minutes more.

As the album moves into its final act, it shows exhaustion. After a song as beautifully deflating as ‘Thinking of a Place’, it’s hard to get in the mood for even more and the last few tracks end up feeling fairly unimpressionable. The drummer’s favourite formula of kick-snare-kick-snare becomes plodding, whilst Granduciel’s lyrics are filled with boring imagery and overcooked expressions of romantic sadness (“Love is a bird I can’t even see / Even in the darkness right in front of me” on ‘You Don’t Have To Go’).

The band’s previous two efforts, Slave Ambient and Lost in Dream, did a good job of keeping some of their best cards ‘til later. A Deeper Understanding is front-loaded with them though. Ultimately the album comes off as out of balance, perhaps just a few songs too long which, frustratingly, holds it back from being an outstanding work.

Nevertheless, there is much to be in awe of here. The band have lost none of their knack for mind-blowing soundscaping and the few new things they try work very well. In many ways the band demonstrate improvement and succeed in adding to their growing canon of indie-Americana belters.

At the very least, A Deeper Understanding will earn The War on Drugs the high festival billings they deserve and will give listeners enough shivers and heart-squeezes to remain one of the most exciting bands in the world today.

7/10

Review: The Limehouse Golem

Written by Jamie McEvoy on 12th September 2017. Posted in Film.

In an age where the big screen rarely sees period dramas, The Limehouse Golem is a breath of fresh air. Combining crime with the gothic, this cinematic re-telling of Bill Ackroyd’s story is a mystery which – with a ‘15’ BBFC certificate – packs a punch with its morose murders and mutilated victims.

Bill Nighy leads a superb cast as Inspector John Kildare, who is assigned to the case of the ‘Limehouse Golem’ (the name taken from a monster in Jewish folklore), in order to spare the blushes of Scotland Yard poster boy Inspector Roberts, whose pursuit of the Golem has been unsuccessful.

However, leads begin to materialise as Kildare finds a book which appears to have the scrawled journal entries of the eponymous killer. Four suspects fall under the scrutiny of Nighy’s inspector: philosopher Karl Marx (the one and only); real-life novelist George Gissing; Victorian performance artist Dan Leno; and the only fictional accused – John Cree. The snag is that Cree has recently been found dead, and his wife, Elizabeth Cree, is accused of poisoning her husband.

Kildare believes ‘Lizzie’ to be innocent, and regularly seeks her help as she waits on death row, believing her deceased lover to be the Golem. The rest of the story is a race against time, as the inspector – accompanied by Daniel Mays’ Constable Flood – seeks to unmask the Golem before Lizzie hangs.

Bill Nighy was always going to be in his element here. He assumes the role of Inspector Kildare with tenacity and charm – a part which was originally going to be played by the late Alan Rickman. Oliva Cooke is equally impressive as Lizzie Cree and Douglas Booth is hilarious yet brooding as the eccentric performer Dan Leno. Other big British names complete an excellent supporting cast, such as Mays, and Eddie Marsan as the unnervingly friendly ‘Uncle’.

For those unfamiliar with the original story, the inclusion of Karl Marx may come as an odd shock, but Henry Goodman does a terrific job of playing the Prussian philosopher. Morgan Watkins’ fleeting portrayal of English novelist George Gissing is less convincing, yet commendable nonetheless.

The pursuit of the murderer is slow-burning and is littered with graphic, somewhat theatrical ‘re-enactments’ of the Golem’s crimes, imagined by the protagonist with a different suspect as the killer in each vision. The twist is rather predictable, yet Kildare’s revelation and the toll it takes on him is what makes The Limehouse Golem’s ending so effective.

The film is doubtlessly one of the better Victorian ‘gothic’ adaptations to be released recently (2007’s Sweeney Todd and 2009’s Dorian Gray were disappointingly dire). However, some will find that the crime is just not compelling enough. None of the suspects are really given enough screen time for there to be any real element of a progressive investigation – instead, all of Kildare’s significant leads come from Cooke’s Lizzie.

Perhaps we have been spoilt with the array of superb Scandinavian murder mysteries such as The Killing and thrilling American crime-dramas like True Detective. Still, the fact remains that throughout the film’s entire narrative there are only two credible suspects, and at times I found myself just longing for the investigation to be over and done with.

The theatrical feel of the movie will divide audiences – for some, it will feel too much like a stage performance. It is this tone which makes the film thrive during the scenes in the Limehouse Music Hall, where Leno and Lizzie perform. There is also the occasional feel of a TV drama, and some viewers may find themselves wishing the story had been adapted as a series for the small screen, as opposed to a cinematic production.

Nevertheless, director Juan Carlos Medina and screenwriter Jane Goldman have produced an authentic and spirited film which Ackroyd will most definitely endorse. It is a return to form by Nighy after the disappointing Dad’s Army movie last year, and rising star Olivia Cooke is terrific. It is the acting which is ultimately the film’s pièce de résistance, and occasionally its saving grace, amidst messy timelines and anti-climax. Despite never really breaking new ground, The Limehouse Golem is an entertaining adaptation of a Ripper-esque tale with a feminist twist.

3/5

Top 5: Foreign language films

Written by Jamie McEvoy on 12th September 2017. Posted in Film.

5. Delicatessen (1991, France)

Sweeney Todd meets Gilliam’s Brazil (1985) in Jean-Pierre Jeunet’s post-apocalyptic, cannibalistic French black comedy. This foreign language film is set in a decrepit apartment building in a dystopian France where the ground floor butchers is ran by a murderous landlord. He lures budding employees through job adverts into his shop, whom he then kills and uses as a cheap meat to sell to his customers.

However, when his daughter Julie falls in love with the butcher’s latest potential victim — the failed circus clown Louison (Dominique Pinon) — she seeks help from a group of rebels named the ‘Troglodistes’. Consequently, all-out war ensues between the revolutionary faction and the homicidal landlord, with the central lovebirds caught in the crossfire.

Delicatessen is a stylish and innovative caper which merges constant giggles — the “squeaking spring” scene is hilarious — with the grotesque and dark. Love and vegetarianism emerge surprisingly as the film’s dominant themes, and the feature was the perfect debut for director Jeunet.

4. Nosferatu: A Symphony of Horror / Nosferatu, eine Symphonie des Grauens (1922, Germany)

Before Christopher Lee’s Dracula, and the consequent flood of sexy, cliché-ridden ‘vamp-dramas’, there was F.W. Murnau’s Nosferatu: A Symphony of Horror. Not to be confused with the 1979 Werner Herzog remake (albeit similarly impressive), Max Schreck is absolutely terrifying in the film which firmly established vampirism on the big screen.

Cited by many critics as one of the scariest films ever made, Nosferatu is a nightmarish, expressionist work in which protagonist Thomas Hutter travels to Transylvania to visit a new business client named Count Orlok. However, after darkness falls, Hutter suffers horrible night terrors whilst staying at Orlok’s castle, as well as noticing strange puncture-marks on his neck upon waking.

The age of the film might deter some, but I cannot emphasise enough the true horror and ingenuity of Murnau’s German horror. The hollow yet piercing eyes of Schreck’s eponymous vampire will play on your mind way beyond viewing.

3. City of God / Cidade de Deus (2002, Brazil)

Dubbed by many as the Brazilian Goodfellas (1990), City of God was nominated for 4 Oscars at the 2004 Academy Awards, and was unlucky to leave empty handed. Director Fernando Meirelles set his electrifying tale of gang warfare, love and coming-of-age in the unforgiving environment of the Rio de Janeiro favelas.

Centred on Alexandre Rodrigues’ Rocket, it follows the young Brazilian boy and his proximity to the local gang-life. The erratic and explosive Li’l Zé (Leandro Firmino) is disconcertingly tyrannical as an equally juvenile resident of the slums who unlike our protagonist, longs to be involved in the hoodlum lifestyle.

The film spans the 60s and 70s, showing Rocket’s transformation from infant into aspiring photographer, whilst chaos and crime rise to unprecedented levels in the favela.

City of God is exhilarating and charming, and for a foreign language film which offers such a gritty and unfiltered portrait of life in the Brazilian slums, is uplifting and visually stunning.

2. Amores perros (2000, Mexico)

Amores perros marked the directorial debut of Alejandro González Iñárritu, known now for Oscar magnets Birdman (2014) and The Revenant (2015). This Mexican drama/thriller – marketed in the US as “Love’s a B*tch” – is split into three different stories, which are all seemingly connected by coincidence and fate.

The first is titled ‘Octavio and Susana’, the former played by Gael García Bernal, and the latter his character’s sister-in-law, who he is in love with. In order to gather funds for the pair to elope and leave Susana’s abusive husband Ramiro, Octavio becomes involved in the dog fighting business with his brother’s dog Cofi, leading to altercations with local crime-lord and dog-fight tyrant Jarocho.

As tensions rise to boiling point with Jarocho, Octavio is involved in a car collision, and it is this accident which joins together the two succeeding stories.

Amores perros is a powerful anthology in which love and canines (“Amores perros” literally translates as ‘love is dogs’) act as the glue between the film’s characters and events. Powerful, spirited yet tragic, Iñárritu’s Mexican masterpiece is a deserved Oscar nominee and BAFTA winner.

1. Spirited Away / Sen to Chihiro no Kamikakushi (2001, Japan)

Studio Ghibli are responsible for some of the greatest and most enchanting animated films to be released on the big screen, and Spirited Away tops the pile.

Directed by Ghibli veteran Hayao Miyazaki — the man behind several other classics by the studio, including My Neighbour Totoro (1988) and Princess Mononoke (1997) — Spirited Away is a fantastical tale which tells the story of the young Chihiro, voiced by Rumi Hiiragi.

Upon moving to a new home with her family, she discovers a secret, magical town which is occupied by various weird and wonderful creatures, overseen by the sinister witch Yubaba. After Chihiro’s parents are taken by the sorceress, she is helped by the enigmatic Haku to confront Yubaba and find them, so she can return to the real world.

Near perfect, Miyazaki’s 2001 Oscar winner is a moving, beautiful fairy-tale, with a certain degree of darkness which allows it to transcend age groups, entrancing both toddlers and adults. It now acts as a nostalgic and stunning reminder of the age of hand-drawn animation, before CGI and 3D usurped the paintbrush.

Interview: Mallory Knox

Written by Katie Shepherd on 12th September 2017. Posted in Music.

It may be early afternoon on the first day of Reading Festival, but the huge crowd around the main stage is filled with anticipation for the act about to step out onto the stage. The band is Mallory Knox, a five-piece from Cambridge, and they are returning to the festival for a third time, more fired up and more at home than ever before.

Facing the glare of the unusual August bank holiday sun, it was evident from the moment they took to the stage that this band has grown closer to, and more comfortable in, their own sound. Delivering a winning setlist combining their earlier two albums Signals and Asymmetry with this year’s release Wired, the crowd was instantly ignited with enthusiasm.

This was echoed by Sam Douglas, bassist and vocalist for the band, as we chatted just an hour after their set: “The crowd was insane for this time of day, first day of the festival. That was probably the biggest crowd we’ve ever played.” He also reflected on their first performance at the festival back in 2013, confessing that he felt it had been “a little too early” for them to have played the main stage. “This year it felt like we were ready. We’re ready to try and prove our point.”

Walking out to face a crowd with the need to prove that you deserve your place there might easily be incredibly daunting for any band, but not Mallory Knox. “You go into a tour show and you’re safe in the knowledge that no matter what the crowd is yours, whereas at a festival you know not everyone there is there to specifically see you, so you feel like you’ve got to prove a point. You’ve kind of got to get them on side. And I feel like that’s always been a good thing for us. We like that. We kind of thrive off that pressure. I feel like we’ve accomplished something. I feel like we’ve achieved what we wanted to today.”

Behind such a triumphant performance, however, was an important and raw message – one which has always had undertones in Mallory’s music, but which takes an even greater focus on the new album. Mental health issues are becoming more pressing, but also fortunately more openly discussed. Mallory Knox are a band that are tackling the subject head on. Sam himself has struggled and professed the importance of opening up about it: “I remember when I wrote ‘Better Off Without You’, I kind of wrote the lyrics subliminally, and I read it back and I was like ‘Wow, I don’t know if I wanna put that out there’. But then again I thought if I’m going to rewrite the lyrics then I’m lying to myself. I’ve always said that a song kind of tells you what it should be about, it kind of brings something out in you, so I had to stick with it.”

“It’s a weird thing because I went through a few things with my mental health, but there’s some days where you feel proud to talk about it, and there’s some days where it’s like ‘Fuck off, I don’t wanna talk about it today.’ But we set ourselves up for that.”

It’s not just raw lyrics that create Mallory Knox’s intense and unique sound; the band takes this same bare-all approach to every aspect of their music process. “It’s all very raw for Mallory, we are very much a rock band. We write all of our songs all five of us in rehearsal, there’s no computers. We ain’t even playing with our in-ears when we play live, it’s all very old school. I guess that’s how we embrace the lyrics on this record too. Like, ‘fuck it, let’s just go down to the bare bone.’”

There seems to be something about music that makes it such an effective platform to discuss difficult and personal topics such as mental illness. “For me, when I was a kid and I had people like Blink and Alkaline Trio – bands I grew up with – finding out they’re not invincible either means you find a connection with them.” Sam mused, “You realise your favourite people in the world are vulnerable. You can watch films and get that same kind of feeling, but they’re acting at the end of the day, and with musicians 90 per cent of the time they’re writing something that means something to them. I think that’s why people have such a strong connection with music. All I can do is what my heroes did and write songs that mean something to me, and if they mean something to someone else then that’s fucking amazing.”

Having surely left the majority of the crowd eager to know what the future looks like for Mallory Knox, Sam was quick to feed the flames with talk of new music. “The new stuff we’re writing now is very much an example of what direction we feel like we’re going in, but we’re still new to that side of the music as well so we’re just constantly evolving and constantly growing.” He stresses the importance of this in the future of the band: “you can put as much as you want into it but it’s never going to be the finished article. You always feel you can do something more in two years time… It’s never quite the finished piece, that’s why you keep doing what you do. If you settled on the best, you wouldn’t have to do it anymore.”

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