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Month: October 2018

Live Review: Mitski at Gorilla

The last time I saw Mitski (in 2016, not long after the release of her break-out album Puberty 2), she played the guitar. This time around, Mitski performed without an instrument, leaving the guitar to one of the three members of her backing band. I believe there is an upside and a downside to this.

The upside is that Mitski is able to move about more freely on stage, and the way she moves really is one of the best things about her performance. There’s nothing conventionally ‘showman-like’ about the way she flails around, or storms up and down the stage, or appears – at various points throughout the show – to play the part of a mime artist. In fact, you could easily deride these stage antics as uncomfortable, awkward and weird. But it’s the confidence with which she acts out these unusual routines that make it work.

We see a performer embracing her inelegancies and proudly showing them off to the world, totally without a hint of shame. It seems very fitting when considering the lyrical content of Mitski’s music, which often deals with themes of anxiety and isolation. These themes, however, are always underpinned with a strong sentiment of striving for self-love, self-confidence, and self-sufficiency. It isn’t hard to see why she’s gained a reputation as one of the current most empowering musicians.

Even though I did say that Mitski didn’t play guitar at this gig, this isn’t entirely true. She did, in fact, equip her weapon of choice for Puberty 2′s two-minute rager ‘My Body’s Made of Crushed Little Stars’, and it portrayed perhaps the most intense channelling of emotion for the whole show. For this song her impassioned howling and the ferocious noise coming from her instrument coalesce into a fiery harmony.

I think this illustrates why the overall lack of Mitski-on-guitar was slightly disappointing for me. For a songwriter who evidently pours so much of her personality into her music, it kind of seems like a wrongful separation to have someone else play the bulk of the guitar for the show. It’s as if something’s been stolen.

Nonetheless, there’s little to criticise in the show Mitski and her band put on when taken as a whole. Despite the rave reviews her latest album Be the Cowboy (which noticeably took a more subdued musical direction when compared with Mitski’s previous work) received, the crowd seemed more receptive to the perhaps more familiar material from Bury Me at Makeout Creek and Puberty 2, of which the setlist features a healthy sprinkling.

‘Francis Forever’ and ‘Townie’ are set highlights, as is (unsurprisingly) identity-crisis anthem ‘Your Best American Girl’. In a genre with precious few high-profile POC artists, and not a proportionate number of high-profile female artists either, ‘Your Best American Girl’ may well go down as one of indie-rock’s best ever expressions of the feeling of being an outsider and struggling to fit in. Considering indie-rock’s obsession with ‘outsider music’, that really is quite an achievement.

YES: Manchester’s New and Most Exciting Venue

Last weekend saw the opening of YES, Manchester’s newest music venue located on Charles Street.

The place was filled with students, attracted by the free entry, pizza, and drinks. The opening seems to have been a major success, despite drinks unsurprisingly running out fairly quickly, and the place being uncomfortably packed at times. YES has set its own bar very high and we can’t wait to see if they live up to it.

Just down the road from Factory, YES is quickly establishing itself as its younger, better-looking cousin. It was opened by the independent Manchester promotional company Now Wave (who also work with Gorilla and Deaf Institute) who have refurbished the whole place, dividing it into four floors.

On the ground floor, there’s freshly made food and a bar. The modern booths and unplastered walls give it the impression of Manchester’s take on Leeds’ famous Belgrave Music Hall. Similarly to Belgrave, YES is offering freshly made pizza sold by the slice which, if you catch it on their half price deal (before 7 pm on weekdays) comes to just over £1 a slice for a variety of interesting meat and veggie options. The combination of other local Manchester pop-ups, cheap tea, coffee, and fairly cheap alcohol (with pints starting at just less than £3), YES could quickly become a go-to for students.

The venue seems to be attempting to create a northern quarter vibe, without the northern quarter prices; and if the pizza continues to be as good as it was at the opening, they’re definitely on to a winner.

YES seems to be attempting to cover all bases, taking the best of Manchester’s vibrant music, bar and casual food scene and combining them in one place. A feat that if pulled off, could make it one of the Manchester’s hottest venues. The pink room, filled to the brim with pink helium balloons over the weekend is a gig venue of the same dimensions as Factory’s ‘indie’ room. Which, over the next few weeks and months, will see acts ranging from the hypnotising Puma Blue to Canadian indie-folk band Great Lake Swimmers. Artists such as Let’s Eat Grandma and Laura Misch played the pink room on Friday, with many more over the course of the opening weekend, an indication that the space is already being used as a platform for some of the most exciting up and coming artists.

Although Friday evening was slightly disorganised, with bands on almost an hour late in some cases and thus playing shorter sets, those such as Let’s Eat Grandma stepped up and commanded the stage. The girl band are the new queens of the alternative, art-pop scene. They showed off their talent with long improvs creating the perfect chilled vibe for a Friday early evening gig, and the crowd loved it.

Black Midi played to a packed basement on the Saturday. The basement (which could be described as a cross between a smaller Club Academy space and northern quarter’s Soup Kitchen) was filled with guitar bliss. As the London band, heralded by Shame as ones to watch, took to the stage for a long 45 minute to an hour set. The fact the band has little to no music online shows this venue isn’t afraid to scout out good music and just these first few days have proved they have a talent for finding it.

With a mixture of free basement DJ sets and cheap music events, YES is definitely an establishment to look out for. However, if you’re just looking for an overlooking over looking the city you should make your way to the building’s a roof terrace which is, of course, adorned with fairly lights and ceiling hung potted plants.

Dogs are also welcome, if you needed anymore convincing.

Veggie Pret lands in Manchester

This is a shoutout to all veggies and vegans – Veggie Pret will be arriving in Manchester this October, as the chain opens its fourth store in the UK.

Hannah Dolan, the Head of Food Development at Pret a Manger, said in a statement to Plant Based News: “When we asked customers on social media where they’d like to see the next Veggie Pret, Manchester was the top request”.

After such increasing demand for more vegetarian and vegan options, the chain is happy to announce that its Deansgate branch will be expanding to cater for just this. It will join the range of vegetarian and vegan options already in the city. 

The menu will be offering a variety of new dishes for veggies, including avocado and chickpea wraps, mac and kale cheese cauli boxes and mature cheddar and pickle toasties. For vegans and those choosing to eat healthy, new options include curried chickpeas and mango chutney bowls, sweet potato and falafel boxes and the sweeter coconut and almond butter bites.

The shop will open at 79-81 Deansgate in October 2018. With opening hours from 7am to 7pm, Monday to Friday, 7.30am to 7pm on Saturdays, and 8.30am to 6pm on Sundays. 

Live Review – LAUREL

Soup Kitchen, 21st September

 

LAUREL is pissed off, and she wants you to know it. With herself, with the world, and most explicitly, with the ‘you’ to whom she refers in almost every song.

There is a tried-and-tested formula immediately apparent in the contrastingly catchy, poppy music of much of her set, meeting the beautiful and melancholy voice that perfectly matches it.

‘If you loved me, why did you leave? / If you need me, why did you go? / If you want me, why don’t you see?’ she sings in ‘All Star’, the opening song of the set. The raw emotion, and the obvious fact that these are her words, written by herself, give the lyrics real weight. It is impossible not to pay attention.

This isn’t to say that her songs are difficult to relate to, though. Whilst singles like the stomping ‘Adored’ (a song “about loving the feeling of being adored, but not the person offering it”) might be a little specific, themes of love, heartbreak, and anger are universal.

The minimalist set up on stage also aids in terms of build-up. She is flanked by two guitarists and a drummer, all three of whom, not fazed by the gravity of some of her lyrics are clearly, endearingly, having a great time and sound brilliant to match.

In ‘Same Mistakes’, which starts with just a light acoustic strumming, for example, the music reaches a crescendo culminating in one of the best-received choruses of the night. This is a song that begs to be enthusiastically sung straight back at her, and as her popularity increases, an even more eager audience reception will surely follow.

The middle of her set features a three-song solo section, with ‘Sun King’, a song “very special” to her, especially heartening. Songs from singles earlier than new album DOGVIOLET like ‘San Francisco’ and encore track ‘Blue Blood’ offer an insight into pre-DOGVIOLET LAUREL. And the new album does seem like an important step in her musical development.

Were comparisons at all necessary, one might say that her music has advanced from a British Lana Del Rey to a Florence Welch in waiting. But they aren’t. With the acclaimed release of her debut album, LAUREL is at a stage where she should be respected as an artist in her own right, and one who doesn’t need to be likened to others. It is her individuality that makes her so special, and if she continues performing and recording as strong music as she has so far, she will undoubtedly go far.

8/10

 

Review: Maniac

While it’s possible to review Maniac without revealing too much, commenting on any plot details frankly feels like it would detract from the viewing experience. So, I’ll be avoiding all spoilers and if you want to truly enjoy this series, watch it like I did, with no background information.

From the acclaimed director of Beasts of No Nation and True Detective Season 1, comes a limited series chock-full of insanity, subtext, satire and pure entertainment. Simply put, Netflix’s new hit is a case study in masterful storytelling. It has an ambitious narrative so complex and multilayered it requires the most skilled of artists to pull it off. The result is as bold as it is experimental, and as visually stunning as television gets with a meticulously constructed and affecting score, stylish dialogue, three-dimensional characters and enough symbolism to fill a Bible. It’s so well put together, you’ll find the series goes as far as to skilfully use your confusion to make the experience more entertaining.

Maniac was adapted from its original Norwegian source material by the novelist Patrick Somerville, who previously worked on The Leftovers with fellow alum Justin Theroux. Somerville was behind such stellar episodes as “Off-Ramp” and “A Most Powerful Adversary,” and fans of The Leftovers will find Maniac shares the same ambition and creative genius. It’s a project where everyone is at the top of their game, from the writers, the director and the actors to the sound technicians, the make-up artists and the set designers – exploiting every tool filmmaking has to offer to deliver the most engaging viewing experience. Director Cary Joji Fukunaga brings the virtuoso talent we’ve become accustomed to from him: mind-bending dream sequences, ingenious visual cues, and a creative use of colour. It takes a lot to visually match the high standards of these teleplays and Fukunaga’s success makes us all excited for when he takes the helm of the upcoming James Bond film.

The performances are as expected: extraordinary actors flexing their extraordinary gifts. Jonah Hill (Superbad, Moneyball, The Wolf of Wall Street) plays withdrawn and anxious with as much skill as he plays aggressive and camp. Emma Stone (Easy A, Birdman, La La Land) is expressive and dynamic, portraying trauma well with a deft and measured hand. Justin Theroux (Your Highness, Mulholland Drive) and Sonoya Mizuno (Ex Machina, Crazy Rich Asians, Annihilation) round out the principal cast and they bring a great deal of authenticity to a subject matter that is often alien and absurd.

In the wake of Netflix receiving the most nominations at the 70th Primetime Emmys and tying with ratings juggernaut HBO in wins, Maniac shows the streaming service is just as interested in artistic excellence as it is interested in commercial success. This may be the recency bias talking but Maniac is a sensation, one that isn’t easy to watch but is deeply satisfying if you take your time with it. The Fukunaga-Somerville lovechild strikes this reviewer as the kind of high-risk, high-reward project that will inspire many future artists in the same way as the films of Stanley Kubrick and Martin Scorsese.

Maniac premiered Friday 21st September 2018 on Netflix. All episodes are available online.

5/5

Universities are still failing to address mental health

The provision of mental health support at Universities in the UK has been widely criticised for its failure to reach those most in need. Reports by the ONS suggest that 146 students in the UK killed themselves in 2016, which was a shocking increase of 56% since 2007. It is therefore imperative that something changes in the attitudes towards mental wellbeing on campuses. Yet Universities remain lethargic on the issue, and when they do act their schemes are frequently misguided and clunky.

This is exemplified by the recent announcement by Bristol University that they are introducing an opt-in scheme for tutors to have the freedom to contact the guardians of students they feel are at risk. It follows the suicide of a 19-year old English student who took his own life in his first year at Bristol. After his death, his parents found out that he had been missing seminars and lectures and was close to being thrown off his course, yet none of his tutors questioned his rapidly declining performance. This tragedy displays a complete failure of student support networks. However, to simply open another channel of formal third-party communication overlooks the possibility for a longer term solution to the rising rates of suicide amongst students and young people.

The issue of mental health at University is deeply ingrained into the culture of student life and will not be solved simply by intervening sooner in individual cases. There is undoubtedly space for wanting a more open conversation surrounding mental health at University. However, going over the head of a person who is suffering, to their older and wiser family figures, is a blatant step backwards in our treatment of depression. Whilst family frequently play a crucial role in recovery from mental illness, especially for students who may well be struggling with homesickness, Bristol University’s assumption that a student’s guardian is their best port of call on these issues reveals a deeply patronising dismissal of young people’s self-awareness.

Arguably, the jump to contact someone who supposedly speaks on behalf of a student, rather than speak to them directly, is demonstrative of the cyclical referral system that those suffering from mental health issues can find themselves trapped in. Depression often ends up being treated like an increasingly weighty boulder to be passed around a circle of concern rather than ever actually being broken up. Whilst it may be easy to blame an overly complex healthcare system in which waiting lists for counselling services are long and do not easily cater for students registered with GPs away from their term-time addresses, the real issue is the apprehension to tackle emotions head on.

The case of the boy at Bristol is so heart-breaking because there was nobody who took the time to notice that his behaviour may have been indicative of a problem in his life. Even more, that nobody thought it was their responsibility. The new scheme at Bristol – to simply offload the problem onto the family of a student – does not address the issue of ignoring the suffering of those around you. It is just another symptom of society which is afraid to confront another person’s struggle. In reality, Universities should be looking to cultivate a culture of support between students, staff, and teaching staff that kicks in with emotional support before it gets too far.

NoBudge: independent films on your doorstep

NoBudge.com is a site started by Kentucker Audley to support new and independent filmmakers who create low budget works.

Audley, who is himself a filmmaker and actor, claims that he was motivated to start this collection of works because “there’s so many interesting films being made right now in that spirit. I started NoBudge to try and give those filmmakers a voice of support.”

Audley watches and selects all the films that go onto the website. The films he chooses are simply ones that he enjoyed: “I’m not necessarily trying to curate for a specific audience, but I try to find a balance between some of the more off-kilter stuff, and the more accessible stuff, which I think has been achieved.”

Scrolling through the now daily updated film selection gives the user a wide range of choice, mainly including short films, which is a medium I hadn’t appreciated outside of the Pixar Shorts I’d grown up with.

NoBudge shares many films and is worth scrolling through every so often, as films are updated daily, I don’t doubt that you’ll be able to find a film to watch and enjoy.

One film I’ve recently enjoyed is entitled Sundays; at 11-minutes this short film captures a pivotal moment in two New York City Firefighter’s lives – Jonny and Tommy. The story doesn’t flow seamlessly, but shares glimpses separated by black screens that feel jarring much like the story that follows.

The film starts in a driving lesson, a relatable experience where advice is being shared about how to prepare to drive. This eases you in with light-hearted conversation, and plenty of close-ups of the two characters creating a sense of familiarity and intimacy. After this preparation, the drive that ensues has a real sense of joy and euphoria created with the combination of the soundtrack and the characters’ beaming smiles with the sun shining through the car window.

The story moves beyond a driving lesson, and these simple pleasures. The two characters share a kiss in a car park, which is filmed by an onlooker and intentionally shared on social media.

“My husband, the firefighter is gay” is what we’re greeted to next, and we see Tommy turn away from his old life without saying goodbye. The perceived masculinity of certain professions, such as firefighting, can categorise people and lead to further judgement exasperating the problem which this film shows.

We follow Tommy as he drives away into the night, while he withholds his emotions.  The film shows it’s easy for others to be unaware of what we’re feeling, should we choose not to share. A scene I found effective was a phone call shared between son, Tommy, and his Mum talking about her day while he is not telling her he is gay and has been kicked out of his house and family. He is crying softly and she doesn’t realise. I’m glad that this film doesn’t shame a man for crying; this response is sometimes be portrayed as feminine in media and it is still important to show that it is just a natural emotion, for all genders.

This short provides a lot to be thought about after the brief but encapsulating story has ended.

4/5.

NoBudge shares many films and is worth scrolling through every so often, as films are updated daily, I don’t doubt that you’ll be able to find a film to watch and enjoy.

55-storey student skyscraper planned for Manchester

Plans have been submitted for a 55-storey skyscraper to house students in Manchester city centre.

Developer Student Castle hopes to offer high-end student accommodation in the heart of the city. The proposed location for the new building is Hulme Street, a short walk from Oxford Road.

If plans are approved by Manchester City Council, the skyscraper will neighbour Student Castle’s existing block on Great Marlborough Street. A multi-storey car park currently on the proposed space would be partly knocked down, according to the plans.

Glenn Howells Architects will be taking a lead on the design. The building will reportedly stand around 165 metres tall, feature over 800 studio apartments, and contain a common room on the top floor. According to Alan McCartney, studio director at Glenn Howells, the planned red brick design will aim to echo a “contemporary interpretation of the contextual red brick buildings present in and around Manchester”.

He added that the proximity of the planned development to “local universities, transport hubs and the city core makes the site location ideal for an emerging student development, combined with an ambitious vision to design high-quality student living where students would want to live.”

Edward Cade, the founder of Student Castle, said that the building “will become a new Manchester landmark and provide spectacular views over the city.”

He went on to say that the development “also presents a significant windfall opportunity to redevelop a portion of an existing multi-storey car park adjacent to Manchester Oxford Road Station into a fully managed purpose-built student residence.”

Architecture website, ArchDaily, is reporting that construction is scheduled for completion in 2022.

Sizing shake-up on the highstreet marks a step forward for inclusivity

This year’s executive decision to adjust womenswear sizing at H&M has perhaps been a long time coming. The internet over the years has seen dozens of articles and social media posts involving shoppers either finding its sizing inconsistent across different products in store or smaller than in other chains. Recognising this, the brand has made its sizes larger for the launch of the most recent season of products. For example, what was previously labelled as a UK size 12 in store will now be labelled a 10.

Speaking on their e-commerce website, the store has stated that it has adjusted its womenswear sizes to “be in line with UK measurements”. An easy way to identify this: comparing to European standard sizes. Before the change, H&M identified its UK size 10 as being equivalent to an EU 36, whereas, generally, in other high street stores you will find it to equate to a EU 38. H&M has now joined this equivalence.

Similarly, budget fast-fashion chain Primark has embarked on a sizing do-over. Whilst a Medium was previously listed as a UK size 10-12, it has now become 12-14. Additionally, instead of sizes ranging only from 4 to 20, the largest size available is now 24.

Although large changes like this may cause a lot of logistical hassle (take H&M sending online customers items the label size larger than what they ordered if the item they selected was from a previous season, causing confusion and a higher rate of returns), the short-term hassle is worth it for a long-term step in the right direction.

The omnipresent, thrust-upon-us industries of clothing and style and celebrity and weight-loss put immense pressure on women everywhere to look and to be a certain weight. There is pressure to be a certain size and there is pressure to wear the latest styles. Combine these, and shopping for clothes in fashion-focused clothing stores can be an excruciating experience. Add on top of that the distress of not fitting into your usual size, one excruciating afternoon can turn into a self-confidence nightmare.

It’s worth noting that the average UK clothing size for women is 16, but a 16 is very often classed as at least a high street store’s Large. It appears fashion brands from outside of the UK fall into this line the most. Hailing from Spain, Mango on its sizing chart equates a UK 16, its biggest size, to an XXL.

The steps taken by our high street chains to listen to shoppers and be more inclusive in its sizing is absolutely a valuable one, but it still seems as though much more can be done to tackle these stores’ negative involvement in our body confidence struggles.

Restaurant review: Cabana

A corner of vibrant colour in the otherwise chromatically restrained Corn Exchange, Cabana was certainly eye-catching — with multi-coloured chairs, walls outfitted like favela walls plastered in adverts, and seats made of repurposed denim.

Accordingly, my first glance at the drinks menu was a pleasant surprise. Given the array of colourful cocktails and other unusual beverages, you’d be hard-pushed not to choose something you hadn’t tried before. A particularly interesting find was the cocktail that came out in a (plastic) hollowed-out coconut featuring fresh passion-fruit.

The food menu was also a little more ambitious than one might expect. For a place that seemed to model itself on ‘Nandos with a Brazilian street food twist’, there was a fair amount of variety to be found on the menu — vegetarians and vegans were particularly well catered for.

photo:Mancunion

 

Don’t be fooled, however, at Cabana’s insistence on branding its products as ‘street food.’ Like most ‘street food’ places, the use of the increasingly ubiquitous term is purely stylistic. Whilst I wasn’t expecting food cooked on outdoor carts, the uniformity of the presentation and flavours indicated a largely impersonal, corporate cooking process. Indeed, examples of ‘street foods’ on the menu included nachos, chicken wings, and cheesy dough balls. Hardly authentic Brazilian cuisine, then.

Unfortunately, for a restaurant that quite audaciously overwhelms most of your senses, Cabana lacked boldness on one vital front: taste.

The starters were pretty inauspicious affairs. Comprised of the street foods (I’ll resist the urge to use another passive-aggressive set of inverted commas) above and a few other bits and pieces, they were certainly okay. And if that sounds like I’m damning by faint praise, I am. Whilst the loaded nachos were apparently pretty alright, the squid rings were very disappointing. However, I was informed that the chicken was excellent.

The mains are where the menu spreads its wings a little more. A decent range of beef, chicken, and vegetarian burgers were complimented by mains that included Spicy Malagueta Salmon, Chimichurri grilled cauliflower and — for a princely £21.50 — a couple of tasty sounding steaks.

With the idea of putting the restaurant through its paces, I chose the cauliflower. Admittedly, it would take a far better chef than me to make this blandest of vegetables into a passable main, but it seemed a good barometer of what the chefs could do. Unfortunately, the answer was not that much. Arriving with a dusting of mustardy quinoa and a sauce whose bright orange colour could not mask its pedestrian flavour, the cauliflower was obviously as much a culinary enigma to the kitchen as it was to me. The salad was also notable for a lack of creativity despite some interesting ingredients.

Once again, however, the chicken received rave reviews. The burgers, too, were well-received. Although it was unanimously agreed they were a little dry, this can perhaps be excused on account that part of the restaurant’s ethos is to provide you with huge bottles of sauce (similar to Nandos) that add some much-needed balance, as well as livening up the flavour. It was just unfortunate that said bottles were extremely given to clogging themselves up at any given moment, meaning that extracting the requisite amount of their spicy nectar was an arduous task.

The puddings were perhaps the highlight. The sundaes, in particular, were as charming as one might expect, and there were few complaints about the cheesecake or the caramel churros.

All in all, Cabana fails to stand out for its price point. Whilst its decor, atmosphere, and drinks menu give its first impression a good bit of personality, its food was certainly nothing to write home about. Like many mid-priced chain restaurants, it really suffered at the hands of a lack of fresh ingredients, and the choices on the menu failed to work around the limitations of the stock.

If you like chicken and exciting cocktails, come here. If not, there are better places within a two-minute radius to consider.

Review: Bongo’s Bingo at Manchester Academy

After starting in Liverpool three years ago, Bongo’s Bingo has grown into an international phenomenon. The event has since grown to transform bingo across the world, with regular shows in Ibiza, Dubai, and Australia. The famed bingo night returned to the UK for its first ever show at Manchester Academy last Thursday, and it sure was ‘top of the shop’!

The rules were pretty straightforward to begin with, firstly shouting BINGO if you had a horizontal line, then two lines, and, finally three lines – also called a full house. If you shouted out BINGO falsely you were called out by the crowd for being a ‘d*ckhead’, and if two people called out BINGO at the same time, an on-stage dance off was the decider. Prizes awarded included a cut out Phillip Schofield, a ‘henry’ hoover, and various bottles of booze, perfect for any student house in Manchester.

How much focus could be placed on winning such prizes was questionable however. Every few numbers, the room would transform into a raucous, action-packed nightclub as the host belted out a range of disco classics. There were recurrent inside jokes as well, for example, every time 33 was called out, an Irish theme took over the hall. It was quite a shock when the numbers were called out so quickly, making you panic frantically at whether you missed a row that could have won you a top prize.

This was as much as a no holds barred student house party as it was a bingo night – at times the bingo itself was discarded for song-after-song of throwback classics. The spectacle wasn’t even the dramatic lighting, chances to win, or the music. Rather the event was brought together by the eccentricity of the Scouse host, who openly targeted members of the crowd for public humiliation, in between the expected, yet still cringe-worthy, puns for each number. Slightly less anticipated were the back-up dancers, who flirted with controversial dance moves, inappropriate encounters with on-stage participants, and various levels of nudity, throughout the evening.

The night wound to a close with a winner found for the top prize of £500, with the exasperated scribbling slowly gathering pace throughout the rounds. Before rows of students filed out onto the streets however, a few final songs were blazed out over the loudspeakers, predictable end of night classics, such as ‘Mr Brightside’ and ‘Wonderwall’. Between dancing on tables and belting out the ultimate throwbacks, coupled with a few pints, it really didn’t matter if you won anything in the end.

Want to know more? Head to http://www.bongosbingo.co.uk/.

Manchester Food and Drink Festival 2018 launch

The launch of this year’s food and drink festival was held at Albert’s Schloss in Spinningfields, coinciding with the introduction of Albert’s Schloss’ new winter menu.

A taster menu was provided, with their new dishes adapted into canapés, as well as brand new cocktails and beers for tasting. The standout dish was the Berliner spiced lamb with pomegranate, fennel and hummus, but the vegan/vegetarian canapés were disappointingly lacking in flavour in comparison. It begs the question as to whether the canapés are adapted too much from the original dish – losing some of the flair that usually comes from the Albert’s Schloss kitchen.

However, all was redeemed with the Winter Pornstar cocktail. Unlike the Plum Spritz, which was a little too heavy on the soda water, compromising the tangy, fruity flavours, the Winter Pornstar was a perfect balance sweetness and acidity. Made from Absolut Vanilla Vodka, crème de fig, apple, lemon and honey wine, this drink prompted one of the guests to declare it tasted exactly how butterbeer should taste. (If that’s not a compliment, I don’t know what is).

Following the 1920s themed evening at Albert’s Schloss – complete with jazz singers and a Charlie Chaplin impressionist – guests were given vouchers to sample some of the food and drink on offer at the festival.

Despite not having the innumerable stalls that the Christmas Markets offer, Manchester’s Food and Drink festival has an eclectic selection of food available; and has a calmer and more enjoyable atmosphere. There are also live music acts performing and a VIP tent to keep visitors entertained whilst they wine and dine in Albert Square.

Some highlights from the festival hub include Vive La Crêpe; a crêperie providing sweet and savoury flavours, stuffed full of ingredients. Cottonpolis; a Japanese junk food vendor from the Northern Quarter, and Double Dutch G & T Bar; who use flavoured tonics paired with all manner of gins to create interesting and new variations of the classic mix.

The food and drink festival offers both free and ticketed events, but the hub itself is still worth a visit. It promises to keep the people of Manchester fed with delicious food until the 7th October, and luckily for us – Albert’s Schloss isn’t going anywhere.

Affordable eateries at Affleck’s Palace

Affleck’s Palace has long been held as one of the central hub’s of Manchester’s famous Northern Quarter. As the city’s centre of arts, individualism, and student culture, it is the perfect place to host an event celebrating the essentials of student life.

We were invited to eat lunch at Affleck’s new Caribbean Cafe ‘The Beach Hut’. With the whole menu being vegan, this cafe caters for all and introduces new flavours and culture to Affleck’s, which has, in the past, been dominated by coffee and cakes.

Having opened in February, The Beach Hut is still relatively new, but their food does not reflect this. The flavours are refined to perfection and spices immaculately balanced. We were able to try the pulled jackfruit tacos, topped with avocado and fried plantain, and the Ital curry. Whilst the jackfruit tacos were spiced with traditional Caribbean jerk flavours, the curry was made with rice and kidney beans and had a sweet, coconut flavour, that made the wheat-based meat substitute taste incredibly similar to lamb. Both of these dishes were washed down with a refreshing ginger beer, but the cafe also offers freshly made fruit smoothies.

Photo: Catrin Stewart

The owners of the cafe admit that Caribbean food does not lend itself to veganism too easily, so meat replacements are often used in traditional dishes. However, with the availability of such replacements and popularity of veganism, they don’t find adapting the recipes a challenge. The owners also told The Mancunion that they chose to set up in Affleck’s Palace because of its alternative audience, hoping they would gain a larger following there.

Caribbean food is cropping up everywhere in Manchester at the moment, including Mama’s Shack on Oxford Road, but The Beach Hut point out that lots of these places are takeaways, hoping that their sit down cafe/restaurant environment will give them a unique selling point.

Following lunch, representatives from The Mancunion and Fuse FM were given unique vouchers to use in Affleck’s Palace to try and find some ‘student essentials’. After regrouping with a whole host of posters, badges, vinyl, and comfy clothing, the hard work was celebrated with an ice cream at Ginger’s Comfort Emporium. We sampled the ‘Chorlton Crack’ (salted caramel and peanut butter), vegan strawberry, and malted coconut. They did not disappoint. The ‘Chorlton Crack’ was the ideal mix of salted and sweet, and the malted coconut a complex and surprisingly mellow flavour. The vegan strawberry ice cream was just as creamy as the non-vegan alternatives and all three were served with a charcoal cone.

 

Photo: Catrin Stewart

The consensus of everyone on the day was that it was the best ice cream they had ever tasted. But also, that Affleck’s Palace is just as relevant as it always has been; packed full of surprises and great finds, we were able to stock our rooms with student essentials and have a delicious, affordable meal. It is an ideal place for students to find their own style and spend the day with friends.

Shoe throwing and tantrums may be unprofessional, but I’m not sure I care

Two recent celebrity incidents have gained significant scrutiny in the media. These were the highly charged outbursts of Cardi B and the less violent dispute involving Serena Williams. Cardi B’s shoe throwing at Nicki Minaj at a Harper’s Bazaar party during New York Fashion Week received several complaints. Her behaviour was condemned for setting a bad example for her younger fans, but I can’t help thinking that maybe the parents of these fans should consider an alternative icon for their children. Unsurprisingly, this indignation reared its head in her Instagram comments – a particularly pathologizing remark called her “crazy”. The most striking one however, said she was “uneducated so don’t let no kids make her there idle”. The sensational irony in the spelling of the last word needless to say is lifted straight from this person’s comment.

In all the negative comments the same vocabulary crops up again and again, words and phrases like “crazy”, “no chill”, and “zero chill”. The informal and formal reaction to Serena William’s ‘tantrum’ (as it was described by the press) received a similar response. The words ‘hysterical’, ‘ridiculous’, and ‘crazy’ were used to describe her. I’m secretly quite pleased that she threw that shoe even though many thought that Serena’s behaviour was unprofessional, and Cardi B’s was completely unacceptable.

The word ‘chill’ used as an adjective is probably my least favourite among all 21st century terms. Vogue journalist Martine Thompson’s article, ‘How I Learned to Stop being a Chill Girl and Start Being Authentic’ expressing her distaste for it as well. I recognise her anguish at the charade lots of women have felt they must present to the world. In work, relationships, and friendships we often aspire to possess a breezy, laissez-faire disposition. This is manifested in being ‘completely chilled’ with a non-exclusive relationship or being ‘so chilled’ with a friend’s disloyalty because you ‘don’t like confrontation’. It even exists in the beauty industry, with everyone chasing that ‘Glossier Girl no-make-up make up look’.

Don’t get me wrong, I’m not going to hurl my Air Force 1 at the first person that crosses me. However, maybe something can be taken from Cardi B’s refusal to filter a single ounce of her anger and frustration. Obviously, jealousy and anger are not something anyone wants to flaunt, man or woman. Personally I feel I might have grown out of continuously hiding those emotions in order to seem cool and collected.

In her lyrics Cardi is also desensitising people and making them privy to the reality of female jealousy, anger and resentment. Her album Invasion of Privacy was a palpable and frenzied response by a woman to her disloyal boyfriend. Cardi is emotive, laying all her cards on the table and she doesn’t hide how hurt or incensed she is. Of course, it’s not just women who suffer from the creation of these tropes by society; the many male mental health awareness campaigns which have appeared recently have shed light on the notoriously damaging ‘boys-don’t-cry’ image which is just as problematic as that of the ‘chill girl’. Nonetheless, it’s time for the ‘chill girl’ to politely resign and walk away – she’s so chilled I’m sure she wouldn’t mind.