Skip to main content

Month: October 2018

High death rate of discharged mental patients

New research done by a team at the University of Manchester, led by Professor Roger Webb, has shown that patients discharged from their first inpatient stay at a mental hospital were significantly more at risk of dying from unnatural causes than those in the general population. Mental hospitals are places where those suffering from mental illness can go to seek help and recuperate, and once they are stable again they are then discharged back into everyday life.

The study tracked 47,000 Danes who had been discharged from their first hospitalisation and compared that to 1.6 million in the general population. The findings showed that suicide was 32 times more likely, intentional self-poisoning was 41 times more likely, and psychotropic drug poisoning was 90 times more likely in those who had been discharged. They are also 15 times more likely to die from any unnatural death.

Other research carried out in the UK has shown that the first month is when the risk level is at its highest, but during the first three months, patients remain more vulnerable. Despite taking its data from Denmark, the results of this study can still be applied to Britain due to the similarities in mental healthcare systems and population size.

While the risk to discharged patients is still fairly low, it is still significant enough to not be overlooked. On reasons that this might occur, Professor Webb said: “The post-discharge period represents a particularly risky transition because people are returning to living in the community and often in the same or similar circumstances to the point at which they were so ill that they needed to be admitted to an inpatient unit.”

Adding to this, Webb also stated that this may be “an especially daunting experience” to those who are being discharged from their first inpatient stay. However, while there is a strong association between unnatural deaths and hospital discharge there is no evidence of a causal link.

Lauren Goodfellow, the President of the Mental Health Society at the University of Manchester, spoke on this topic; “The people in those hospitals do want to help but they want to help as many people as they can, so if they think you look better then they’re going to discharge you.” If patients being discharged have not completely recovered, then there is a high chance that their mental health will just deteriorate again. Webb also stated that, “Having a serious mental illness is the main driver for the very high relative risks that we observed.”

In order for these deaths to be avoided, changes would have to be made to the way mental healthcare is run, especially in regards to keeping in contact after patients have left inpatient care. Webb and his team suggested that there should be closer liaison between inpatient services and community care, and that psychosocial assessments following self-harm could be carried out in order to decrease the risk of unnatural death post-discharge. Lauren Goodfellow stated that “It is a case of underfunding for mental illness,” adding, “going from 24-hour care when people are checking up on you all the time… to then nothing can be very lonely.”

To decrease the risk to discharged mental health patients Lauren suggests, “The hospital could keep in contact and have mandatory groups for those who are discharged.” On why this is so important she adds, “You need to keep that follow-up, or they’ll feel alone, and loneliness can lead to negative thoughts and depression, which can lead to suicide.”

Solid ideas for reform such as keeping track of those who have recently been discharged and providing them with adequate support might help reduce these deaths. It is paramount that decent mental health care is available to those in need of it, even if they have been seen as being healthy enough to live outside of inpatient care.

Citizen Can: what you can do for science

By writing this article, I am slightly delaying the next big discovery in gravitational wave astronomy. My computer would be — were I not using it — crunching numbers I don’t understand for research teams I’ve never met, and that’s brilliant. The 21st century’s next great gift to science: other people’s computers.

Data in the 21st century is everywhere. Big science projects produce it at a prodigious rate, and the facilities themselves often cannot keep up. The Large Hadron Collider, the iconic particle accelerator at Swiss facility CERN, can alone generate upwards of 20 gigabytes of data a minute. In 2010, it generated 13 petabytes (13,000,000 gigabytes) of data. By 2017, this had risen to around 30 petabytes a year, an unfeasibly large amount of data for even CERN to handle.

The solution? HiggsHunters. HiggsHunters is one of a growing number of citizen science projects aiming to solve the issue of data hyperinflation. In a simple web-based challenge, volunteers are asked to examine data from the Large Hadron Collider and identify patterns.

Pattern recognition is a trivially simple skill for humans, but a computer with even close to human levels of pattern recognition remains deceptively elusive. The best attempts so far to reproduce this seemingly simple human talent in machines rely on so-called neural networks, routines whereby neuron ‘pathways’ within the machine fire upon recognising a pattern in a dataset. Based on a simple model of a human brain, these often cumbersome algorithms are prone to misbehaviour, and are frequently criticised as being too much of a black box: it isn’t easy to tell whether a trained neural network has really noticed the trend you wanted, or instead focussed on a meaningless, subtle bias in the training data.

The best way around this problem is simple: more data. To train these algorithms, large, labelled datasets are key. This is where the citizen part comes into it. By getting volunteers to label datasets, large amounts of valid training data can be gathered, vastly improving the accuracy of the algorithms.

Hosted on popular citizen science website, Zooniverse, HiggsHunters is one of many projects keen volunteers can get involved in. Other projects include Shakespeare’s World, which asks volunteers to transcribe Shakespeare’s handwriting. The brilliantly named project Chimp & See asks volunteers to help characterise chimpanzee behaviour in the wild. All manners of scientific discipline are represented in citizen science!

A more passive attitude to citizen science can also be taken.

BOINC is a program allowing users to donate their computer time to ongoing science projects. By taking advantage of the time computers are left idle to analyse data, it allows research teams to increase the computing power they have at their disposal.

This style of citizen science takes almost the opposite approach to the more interactive style mentioned above. Whereas Zooniverse and its projects typically look to capitalise on human skills, these projects are looking for raw computing power. Projects such as Amicable Numbers are attempting to calculate pairs of numbers up to an arbitrary high point with certain characteristics – a skill at which computers excel.

Other BOINC projects include RNA World, identifying and classifying RNA molecules, and DENIS@Home, simulating a heart.

LHC@Home adds your computer to the, already ridiculously large, network of computers at CERN’s disposal. Einstein@Home looks for pulsars using radio, gamma-ray, and gravitational wave astronomical data. The discovery of the Higgs Boson won the 2013 Nobel Prize for physics, and the observation of gravitational waves won in 2017.

One of 2019’s Nobel Prizes could yet be clinched by data processed by your computer. And that, again, is brilliant.

‘wet n wild’ launches in Boots

With an imminent and exciting launch, wet n wild is set to hit the UK high street later this October with an online and subsequent in-store launch at Boots. For those who aren’t aware of the brand, wet n wild is the USA’s number 1 value beauty brand based in LA, is vegan and has, from day 1, been cruelty-free. They have always been trend-driven and were interestingly the first brand to introduce black nail varnish into drugstores!

The brand have a variety of products from their well known nail varnish and ‘photoready’ skin collections, to their more extravagant rainbow highlighters. What unites their varied range is their inexpensive price tag and amazing quality, hailed by industry experts, winning awards such as the Cosmopolitan Beauty Award and Allure’s Best of Beauty, and not to mention the brand’s cult following by makeup artists.

wet n wild’s philosophy is to produce cruelty-free makeup, and this is visible on every one of their products with a little bunny symbol which represents the PETA’s ‘beauty without bunnies’ programme. So wet n wild have not only great products, but great ethics behind them too. With the brand’s pricing being in line with a student budget, here’s a rundown of our favourite picks of wet n wild products.

Photo Focus Foundation: This has been an absolute staple for many huge YouTube beauty gurus, being compared to the likes of premium products such as YSL Fusion Ink and the bestselling Estee Lauder Double Wear. It claims to provide a flawless, full coverage, matte look with no flashback. It comes in 20 shades, which for a drugstore foundation is quite comprehensive.

MegaGlow Highlighting Powder: This collection of highlighters comes in 7 different colours, that have a silky, highly pigmented formula for that perfect glow. It has an imprinted flower design in the compact, and colours include your staple peaches and golds, and even wacky pinks and a blue. This has been compared to the Becca highlighters that are one of the most raved-about products on the market and are a fraction of the price.

Pearlescent Pink Blush: The industry cult classic Nars Orgasm is £24, yet wet n wild’s Pearlescent Pink sits at a modest £3, with this shade a perfect dupe to deliver a healthy glow with an even healthier price tag.

wet n wild have a vast range of face, lip and eye products that are all inexpensive treasures definitely worth checking out. This launch is one of the most exciting ones for a while, and we know we will definitely be stocking up!

Halloween looks: if you’ve got it, haunt it!

When it comes to beauty, Instagram is the ultimate platform for self-expression and exploration of artistic flair, and no time of the year does this better than Halloween. This week I shall be spotlighting five of the most iconic Halloween makeup looks created by artists especially for the spooky season.

First up, is Manchester-based self-proclaimed makeup enthusiast Jodie Hulme (@jodiehulme), who is a fashion business student. Jodie’s feed is inundated with highly artistic and original pieces, often challenging traditional conventions of beauty. She titles this look ‘Demonic Dream’.

Next in line for the spotlight is the makeup artist whom Jodie gained inspiration from for her ‘demonic dream’ piece, Desi Perkins (@desiperkins). Desi is a YouTube vlogging sensation and makeup artist, who has had celebrities like Kim Kardashian appear on her channel. This outstanding look, which she describes to be a ‘voodoo witch doctor’, amassed attention from huge make-up artists all around the globe. You can watch her create her ghoulish masterpiece on her YouTube channel.

The third make-up look comes from an upcoming beauty influencer named on social media as ‘@laviedunprince’. His makeup look takes a step away from the extreme SFX make-up used in the previously mentioned looks, and combines more conventional beauty tropes, such as contouring and cut crease, with an enchanting twist.

Another artist I would like to highlight  is Mimi Choi (@mimles), who is well known for the astonishing optical illusions she creates with makeup. Although not strictly created for Halloween, her looks are certainly not for everyday wear. This piece is described as a faceless illusion, inspired by Salvador Dali’s bronze sculpture.

The last, but by no means least, look that I would like to draw attention to comes from London College of Fashion student Bran Alunan (@branalunan). Having followed Bran for a number of years now, I have watched him flourish in the beauty industry. I still remain in awe of his artistic capabilities, as he always seems to be pushing the boundaries of what is achievable with makeup.  He captions this exceptional piece ‘Repent my sins’.

UEFA Nations League Round-up: England

As UEFA’s new footballing experiment, the Nations League, heads into its second international break, the new division-style competition is finally gathering some steam among fans. Bridging the gap between the world’s best and lower-ranked international teams, it offers further chances to qualify for major international tournaments for sides that don’t make it through the regional group system. World champions France are early favourites for the inaugural crown having defeated Germany 2-1 in Paris. Euro 2016 winners Portugal, along with Belgium are also good bets as they remain the only A League sides with a 100% record. For Gareth Southgate’s England, the campaign in Group 4 got off to a rocky start as they suffered a 2-1 defeat to Spain, their first loss in 24 competitive games at Wembley. The second round of fixtures posed two tricky away games, against world cup finalists Croatia, and the reverse fixture against Luis Enrique’s side in Seville.

Match Report: Croatia 0-0 England (Friday 12th October, Stadion HNK Rijeka) — England failed to gain a vital three points in their hunt to top Nations League Group 4, as they were frustrated by Croatia in international competition for the second time in three months.

A slow-moving game didn’t see its first attempt on target until the 37th minute when a clever dummy by Frankfurt’s Ante Rebic saw Ivan Perisic fire towards Jordan Pickford, who reacted quickly to turn the shot away. Six minutes later, the Three Lions came agonisingly close to taking the lead, as Eric Dier met Jordan Henderson’s corner, thundering his header against the post, with Croatian goalkeeper Dominik Livaković stranded.

The second-half started at a higher tempo, with Perisic almost catching out Pickford from 18 yards. On 49 minutes, captain Harry Kane rattled the crossbar with a header, as England once again came close to opening the scoring. As Southgate’s men started to get on top in the match, Marcus Rashford wasted two clear chances in three minutes. First, the Manchester United forward attempted to poke home after a long ball over the top; miscuing it, however, the 20-year old scuffed it, making it easy work for Livaković to gather. Three minutes on, Rashford was played through on goal by Raheem Sterling, after Kane worked hard to win the ball back after a failed attack. Rashford tested the keeper with this effort, forcing the Dinamo Zagreb keeper into a good save, as he seeks to establish himself as the new no.1, following Danijel Subašić’s retirement in the summer.

After Ante Rebic was unlucky to not put his side ahead, England had a goal rightfully disallowed 15 minutes from time when Kane was flagged offside. The introduction of Bourissa Dortmund wonderkid Jadon Sancho added some excitement to the closing stages, but the 18-year old hardly had enough time to make an impact, as the contest slowly fizzled out. A match played behind closed doors after UEFA sanctions for crowd trouble, an eerie atmosphere surrounded the two teams as they both failed to hit back from their defeats against the Spanish. With Jordan Henderson and John Stones both picking up suspensions for the Spain games through bookings, the game will surely go down as a wasted opportunity for Southgate.

Match Report: Spain 2-3 England (Alcácer 58, Ramos 90+7) (Sterling 16,38, Rashford 29) (Monday 15th October, Ramón Sánchez Pizjuán Stadium, Seville) — England gained a famous victory over a resurgent Spain in Seville, as Raheem Sterling scored in a brace in one of the Three Lions’s most memorable first-half performances in recent memory.

A largely unchanged starting XI saw Ben Chilwell keep his place after impressing in Croatia in Friday’s game, while Harry Winks started in midfield despite failing to nail down a place in the Tottenham side so far this season. They faced a strong Spanish side that included the likes of Marcos Alonso, Thiago Alcántara, Sergio Busquets and Marco Asensio.

Predictably, the hosts controlled much of the play, and in the first half, England were often resigned to keeping a careful defensive structure and waiting to feed off any mistakes made by the 2010 world champions. The away side however, exemplified the kind of composure that Southgate is so keen to demand of his young squad, as the opener grew out of a delightful 17-pass move, that saw Pickford’s 40-yard pass take the Spanish midfield out of the game, before Harry Kane exchanged passes with Marcus Rashford, who fed Raheem Sterling, the Man. City forward, ending a run of 27 international games without a goal by rifling into the top corner.

The second was almost a carbon copy of the opener, as Pickford once again picked out his side’s captain, who fed Marcus Rashford, who slotted home. The third arrived just 7 minutes before half-time, as Ross Barkley picked out Kane with a clever chip to catch the Spanish back four napping, the Tottenham striker squaring it for Sterling to tap in and effectively end the game before the 40-minute mark. It was the devastating movement of the front three that energised an England side with just 1 player over the age of 25 in the eleven.

It was Luis Enrique’s side that began the second period the most positively, despite the scoreline, and inform Paco Alcácer rose brilliantly to pull one back two minutes from the hour, having come off the bench. England’s overconfidence was then exposed, as Pickford’s clever footwork nearly cost his side a goal, as he was pickpocketed by Rodrigo, the Everton man needing to go to ground to win the ball back. This led to Spanish cries for a penalty, as they looked to put pressure on their opponents. Marcos Alonso rose to divert a header against the bar at the start of an 8-minute injury time period before Sergio Ramos once again cut the deficit as he headed in with virtually the last kick of the game.

While victory in this fixture was essential to keeping the race for top spot alive in Group 4, it will be the manner of the performance that will please Southgate more than anything else. The youngest Three Lions starting XI since the late 1950s, this was a team that oozed confidence and calmness against one of the world’s top international sides. Harry Winks controlled the midfield battle with his brilliant spacial awareness alongside Ross Barkley, while Joe Gomez looked natural next to Harry Maguire, who made a remarkable 11 clearances throughout the 90 minutes. The win, and in particular first 45 minutes was a clear endorsement of Southgate’s continued belief in giving chances to young players. Even in the closing stages and with his side under pressure, the 48-year old choose to hand a debut to Chelsea’s Nathaniel Chabolah.

After Monday’s win, England can still top the group but must hope for the Spanish to drop points against Croatia, a side they beat 6-0 in September. Conversely, England could still be relegated and drop into the B League, should Croatia win their game against Spain and then draw at Wembley in the group’s final fixture.

Ronnie O’Sullivan makes 15th 147 break at “hellhole venue”

Ronnie O’Sullivan achieved his 15th maximum break in the second round of the English Open against Allan Taylor in a comfortable 4-0 win.

Talking to Eurosport O’Sullivan said: “I felt sorry for Allan out there because you could see he was struggling, he’s a lot better player than that, I think the conditions and just being on the TV table got to him a bit. I got a bit fortunate earlier on, I missed quite a few balls. We both did and my bad was a bit better than his bad.”

“From about 40-odd I was in bits, I was twitching all over the gaff. My back arm was like a bit of fish, flapping all over the gaff and then they’ve all gone quiet to watch the max, and I thought that’s the worst thing you can do, just carry on playing, make some noise, do something.”

“When it went too quiet you felt the pressure is on you even more. I didn’t even fancy potting that black to be honest with you, I was feeling it.”

The Open took place at the K2 Leisure Centre in Crawley, a venue he described a few days prior as a “hellhole” that “smelt of urine.” “What they should do is hire the whole back of the venue rather than have the snooker part and then you have to walk through the bowling green to the press conference.”

“When I was walking through there yesterday Peter Ebdon was walking through and one old boy shouted, ‘Can you stop walking while I’m trying to play bowls.’ Peter looked around because he thought he was joking but he was really serious and he went ‘I’m going to start walking through when you are playing snooker.’”

“I just thought a top player should not be subjected to one old guy who’s really, really angry.”

University rowing club starts year with gold

On Saturday 13th October, the University Boat club started off its racing season winning four golds at the Agecroft Head rowing race.

With 20mph winds, there were fears that the race, which runs through the Spinningfields and Deansgate area of Manchester and finishes outside The Lowry and Imperial War Museum North in Salford, would not get off the ground. Despite this, the Manchester senior men’s and women’s teams ploughed on regardless.

The first rower of the day was Felix Rummel who braved the weather to win the first gold of the day in the men’s single event. Shortly after, Rosa Thompson and Emelia Cole joined Felix on the medal table taking home a second gold in the women’s double event.

Despite racing already that morning, Felix raced again alongside Francis Heylen in the men’s double event, taking home the third gold of the day and maintaining the University’s winning streak.

Next up was the men’s coxed four, who took home the fourth and final gold of the day. With Alex Davies, Matthew Layton, Harry Dalrymaple, Ghazn Khan, and cox Ruby Jordan racing against several crews, including a second Manchester University boat, to win their race.

Regrettably, the weather got the better of the event, with the rest of the races having to be cancelled due to the course becoming dangerous for both competitors and marshals, meaning that many of the senior women’s crews to miss out on their first race after a long summer off.

However, the club hopes that both the women and the men’s crews, as well as the new novice teams, will have another chance to test their strengths with the BUCS races beginning soon.

Boxing: Groves vs Smith

Callum Smith claimed the top spot in the super middleweight division on Friday 28th September with a clinical, emphatic knockout of a brave and battling George Groves. Smith’s power showed several times, shaking up Groves with right hands – most notably in the third round – signalling the likely end result.

Every minute of the fight was tightly contested, Groves controlled distance by feinting and landing his quick left jab to head and body while Smith looked to counter any wayward shots and throw his long right hand over any lazy Groves’ jabs. The wide variation in the judges’ scorecards reflected the back and forth nature of the fight with each fighter getting a 5-1 scorecard in their favour at the time of the stoppage and the other judge seeing it all square.

With hindsight, however, it is clear that the knockout was only a matter of time, Groves was getting hit harder and more frequently by Smith’s right each round and the disparity in power and size was obvious. Callum Smith towered over Groves who is otherwise considered a very big super middleweight and used his long levers to maintain distance. Do not be surprised if he moves up to light heavyweight at some point down the road.

What made Smith so lethal, though, was a combination of his ability to keep up with Groves when countering and inconsistent defensive responsibility on the champion’s part. Ultimately, he matched a Groves right hook with a left, which shook his unprotected jaw. Once he had his man rocked, Smith didn’t wait around. Groves headed for the ropes and covered up and crucially Smith didn’t start wailing away; he measured his punches, attacking head and body to slip by Groves’ guard, finishing the job with a sharp right below the ribs.

Smith claimed the WBA title belt and the Ring championship that night as the number one man in the division. However, his position will likely face the challenge of formidable contenders: Gilberto Ramirez (his most dangerous rival), athletic prospect David Benavidez or the rugged Jose Uzcategui. These fights won’t come till later next year, a lucrative domestic fight against a lesser challenger in Chris Eubank Jr. or James Degale in Liverpool is next.

Smith has earned a big homecoming fight; Degale and Eubank should produce a fun fight which favours the Liverpudlian. Groves, meanwhile, will have to decide if he wants to continue fighting. For a 30-year-old, he has fought in more wars than most and seemed to have taken enough punishment by the end of the Smith fight. He could come back for one more payday by taking on James Degale again but otherwise retirement may be the best option. His career has provided enough entertainment to satisfy any boxing fan either way.

Victory over blindness: an interview with veterans

Marion Burrows joined the Woman’s Royal Air Force in 1951 and worked in catering in St John’s Wood. She began to lose her sight nearly 10 years ago due to macular degeneration. I meet Marion at the unveiling of a new war memorial in Manchester, which was commissioned by Blind Veterans UK , a charity that works to support veterans who have returned home only to fight a new battle; that of blindness. As I draw up a chair, she’s chatting away before I have chance to sit down, and I dive in my bag to quickly grab my notebook before I miss any detail of the story I am about to be told.

The first thing Marion tells me is that it was Blind Veterans UK who telephoned her when they heard about her condition – she didn’t have to reach out at all. This sets the tone for the rest of our conversation, gratefulness shining through every word she says. In-between telling me about herself, she also takes a keen interest in what I am doing. She jokes and tells me how her grandson studied IT at The University of Manchester. “I’m all over Facebook”, she tells me later on, “not sure what it is, but I’m there”. Having only been involved with the charity for three years now, Marion has already received a wealth of support. From IT help (so she can keep up with her grandson) to microwaves, “they make me feel safe at home”.

She was an amateur painter before her sight began to decline, and had feared that would be the end of her artistic journey. Yet with the charity, she tells me, she was able to attend some arts and crafts workshops. Soon after, she received a package at home containing brushes and paints. I sense an underlying passion and ask her what she likes to paint. “Oh anything! Everything around me inspires me”, she replies.

In the middle of the interview she stops talking and begins fumbling with her bag. After helping her with her zip, she brings out a black and white photo of herself aged just 17 when she had just signed up, a photo with the name ‘Alma’ written on the back. A nickname of her mother’s, she explains, “as there were too many Marions around at the time!”. It was difficult for her family when she joined up, “I broke my father’s heart”, she tells me. Yet when she saw his smile, coming home in her uniform, she knew that she had made him proud.

Asking more specifically about the unveiling that morning, I am bombarded with too many words to jot down on my pad. “Emotional”, “overwhelmed”, and “tears” are what I manage to write down before she pauses, wanting my full attention and saying in a more serious tone, “It was an honour to touch every one, I wanted to salute them”. It is only when she is told that her taxi is waiting that she reluctantly winds up the conversation, realising in the process that she has forgotten to finish half of her lunch in her eagerness to share her story. To finish, she sums it up in a single line. With Blind Veterans, there is “nothing you cannot do”.

Simon Brown is another of the veterans that I speak to at the event. He was shot in the face with a sniper while serving in the Middle East. He was in a coma for 17 days and his left eye was completely destroyed. The first thing I notice about Simon is the impressive set of medals lining his lapel. Standing up amongst the hubbub of people chatting and laughing, I have a direct question for Simon and I get to it straight away. What does it mean that this is the first war memorial of a total of 77,000 in the UK to depict a disabled service man? He is very quick to take a positive stance. He explains to me that disabilities have always been seen through a screen of fear and intimidation. When asked whether this was something he himself had experienced, he tells me about times when children had asked questions about his condition, only to be quickly hushed by their parents. The statue is “a sign of the times”, he says, “disabilities are no longer in the shadows”.

Simon now works for Blind Veterans UK. Currently he does not need support, but with Blind Veterans UK, he explains, you know the support is always there. He sums it up in a word; “safety”. When I ask whether this statue marks a change in the way that we see disabilities, he tells me that there is a way to go yet. What sticks with me is his hope that the statue will someday become “iconic”. “Once it gets a nickname then we know that we have done something special.”

Review: Utøya: July 22 (with Q&A)

The ‘based on a true story’ film genre is obviously no rare one. These films are usually epic, star a protagonist hero and maybe even feature a love story arc. None of these are contained within Utøya: July 22’s 90 minutes. This film makes you consider that to add such things is an insult to the real-life events upon which this genre chooses to base itself. Alternatively, you realise that this is one of the only ‘based on a true story’ films you have seen that is the telling of an event that had no triumphant, hero-led happy ending.

The event in question is an unimaginably tragic one. In July 2011, a lone far-right extremist, armed to kill, travelled to the small island of Utøya where a Norwegian Labour Party youth summer camp was taking place. Approximately 600 teenagers were in attendance at the camp and 69 never made it out alive.

A challenge presents itself when taking on a task as monumental and as socially important as recreating the events of that day: how do you capture the true timeline of a modern-day massacre in a way that feels real? Director Erik Poppe’s solution is to shoot in a single take stretching the entire runtime. The effect is that you are spurred to appreciate that this is the only way the film could have been shot. As was elegantly put by lead actor Andrea Berntzen in the Q&A following the screening, the victims cannot pause and cut away from the action like actors or viewers of it can. Each terrible minute and each terrible minute’s events have to be lived out in real time.

Poppe describes how he wanted to give a sense of what 72 minutes (the exact amount of time the shooting lasted) actually feels like, and the single shot aids this. The film certainly does feel long in a way that one that had been cut and chopped and edited and musically-scored might not. And yet, you don’t miss these effects. Honestly, you don’t find yourself on the very edge of your seat like you might at the climax of an epic containing them either, even though the theme of Utøya is so infinitely more emotionally trying. But again, you don’t wish to. If you want these things, you do not want truth.

There are points of main character Kaja’s (played by Berntzen) journey that lead the shot to linger in one place for a significant amount of screen time. These instances include just Kaja or Kaja sitting with one other person, words only being exchanged infrequently. Somehow, however, you aren’t swept with a yearning for the scene to hurry up. There is something about the reality of the situation and the power of the on-screen turmoil that lets these lingering moments not live in fear of outstaying their welcome.

Thanks can also be given to Berntzen’s performance on this front. She is truly staggering in her ability to portray such a believable character in every breath she takes, every line she utters, and every single physically gruelling movement she makes, especially when you consider that she is present on camera every second.

There is only a single moment in the entire film in which you can feel a filmmaker’s artistic presence. In the opening minute, Kaja’s eyes meet the centre of camera lens as she says “you won’t understand”. Only after do you realise she is actually talking into her phone and that would be the last time she faces you straight-on again. Still, the message is clear. The unfolding events you are about to follow will always be out of reach of your comprehension.

The Q&A included the highlighting of a concerning issue that lingers in the wake of terrorist attacks, namely the media’s narrative of that infamous day being focused almost exclusively on the perpetrator. Inadvertently, the malevolent attacker comes to be fed with the attention they had craved all along. At the same time, the victims remain nameless, faceless and anonymous. Their struggle is shunned away from the light, a light that shines instead on questions such as where to put the memorial statue, really just because it is so hard to talk about the former. By turning the narrative on its head and giving the attacker this anonymity and lack of screen time, Utøya: July 22 puts the focus entirely back on the victims – where it needs to be right now.

Not to be confused with the recently-released Netflix drama 22 July, Utoya: July 22 will be showing at HOME from 26th October. This is an essential watch.

Rating: 5/5

Review: Tetsuo: The Iron Man

HOME Cinema recently screened the 1989 Japanese film Tetsuo: The Iron Man, as part of Asia Triennial Manchester (ATM). ATM is a visual arts festival across Manchester showcasing film and art with the theme of Asia. It was the first of a number of screenings at HOME that are said to be collectively part of Japan’s ‘early punk generation’.

Directed by the then 29-year-old amateur filmmaker Tsukamoto Shinya, Tetsuo: The Iron Man is both a thrilling and horrifying film. Produced on a very small budget, shot in black and white, and with largely handheld camerawork, The Iron Man follows the story of a nameless man in a world where metal creatures start to ‘infect’ and take over helpless victims.

The opening scenes set the tone with visibly suffering people consumed in some kind of metallic hellscape. It is a vaguely familiar factory setting, but made unfamiliar through unusual camera angles. Throughout the film are recurrent themes of the meshing of man and machine, usually in particularly graphic ways. The blood and gore are unrelenting in some aspects which might be off-putting to the more squeamish. The special effects are exceedingly realistic and become increasingly torturous as the film progresses. This metallic infection corrupts people to produce something neither man nor machine, but a grotesque amalgamation of the two.

The protagonist in one sequence is chased down by a metal-ridden woman in a train station and the unique cinematography is perfect at capturing his sheer fear and desperation. This is created by shaky handheld tracking, upside-down panning and constant shifting between close-ups and wide shots. Accompanying much of this was an imposing soundtrack composed almost entirely of factory-like sounds. The clanging, scrapes and thrashing of metal provide the ideal backdrop for the disturbing world created.

I found the sexual elements of the film fascinating, with the ‘punk’ notions of the film definitely extended into challenging sexual norms and taboos of Japanese society. They were, however, challenged to an extreme. In a dream sequence our man is raped by a devilish version of his girlfriend wearing a massive metallic snake, no doubt highlighting his subconscious fears. In waking, only the next scene, his penis transforms into a giant drill. This is only the first part of his metamorphosis.

Throughout the film I felt constantly on edge — quiet scenes are invariably sandwiched between those filled with blood and screams. The acting is certainly horrifying, although at times is quite exaggerated. I felt that all the emotions expressed in this film could be generalised into either anguish, fear or rage. The last third of the film lost some of the thrill with protracted, gore-filled battle scenes between people who just seemed to keep coming back to life.

Tetsuo: The Iron Man was and is a ground-breaking Japanese film, not least for its power to instil a deep sense of unease in the viewer. It remains largely obscure except for fans of the body-horror genre, but I would recommend it to anyone as a disturbing, raw and impressive piece of film.

4/5.

Theatre in late Victorian Manchester

Although we now associate going to theatre with a sort of high art, classy night out which is so unlike our daily student activities, in the 19th century theatre had a long way to go to become a respectable art form. Theatre and performance played an important part in cultural and social life in Europe throughout the second half of the 19th century. Theatre was inclusive and accessible to all social classes. In fact, opera houses were the first to open their doors to the general public, allowing in everyone who could afford a ticket.

Still, in the mid-19th century going to theatre was still a activity dominated by the aristocracy who considered it to be a social activity. The noise of their chatter quite often overpowered the text or songs of the actors, which infuriated many visitors. A reviewer for the Mancunian Guardian on 20 June 1849 wrote: “it gave occasion for the rude and noisy mirth of some persons in the dress circle, whose fitter locality would have been the gallery – or rather the street”.

‘The street’ would have been quite an insult to many aristocrats at that time. The upper-class Mancunians were appalled by the abundance of noisy drunkards, prostitution and riots that often occurred around the theatres. The labouring class lived close to the city centre and the factories, as opposed to the middle class with their suburbs further away from the city. The theatre area around Oxford Road and Lower Mosley Street was a unique melting pot of people from different social strata.

In Victorian Manchester, theatre got more and more affordable for the labouring and middle class. Theatres and music halls sprung up around Peter and Oxford Street after 1850, such as the St. James Theatre in 1884 and the Alexandra Music Hall in 1865, the latter created out of an old chapel. These new theatres compared to the 18th century buildings were commercial and built for large audiences, entering the age of popular culture. Music halls, especially, were known for their ‘liveliness’. This often resulted in street fights among the working men, resulting in a consistent fear among the bourgeoisie for the working class; a fear of being overtaken by their ‘degenerate moral values’.

The proposed plan to build the new Manchester Palace of Varieties in 1891 (now Palace Theatre) led to a heated debate in the newspapers about morality, as it was viewed by some as a threat to decency and the moral welfare of citizens. Still, theatre in Manchester has a way of creating links between classes of people that wouldn’t usually meet. Theatre became increasingly a way of transferring political ideas – a role that would soon be partly overtaken by film, which created the need for theatre to re-invent itself. In the end, film made sure theatre became more clearly considered as art, as it replaced theatre’s former commercial and entertainment function.

Review: Call of Duty: Black Ops 4

It’s 2018 and the new Call of Duty is the talk of the town. Many would argue – and I agree – that the series’ fall from grace came in 2012 with the launch of Ghosts. In the last 5 years, the franchise kept diverging from the original formula in an attempt to stay fresh with yearly releases. Exo-skeletons, jetpacks, laser weaponry and cyborgs became the norm until last year’s WWII, the setting that started it all. Despite an attempt a rebirth, WWII was not well-received and was massively overshadowed by its competitor, Battlefield 1. Black Ops 4 was a make-it-or-break-it entry for the franchise and it’s definitely made it.

The current gaming scene is all about the Battle Royale experience. Playerunknown’s Battlegrounds brought the sub-genre into the mainstream and Fortnite launched it into the pop culture stratosphere. Activision clearly wanted a slice of the Royale pie; prompting two massive changes to the game’s core: they did away with the staple yet overdone cinematic campaign (press “F” to pay respects) and replaced it with Blackout, the franchise’s very own Battle Royale. However, before you sigh and overlook the mode, you’ll be pleased to know that it’s the best Battle Royale I’ve ever played.

“1v1 me on Rust, quickscopes only” was the challenge everyone heard back in the day. Stepping up to the challenge made us the gamers we are today. (Well, we thought so, anyway.) Blackout brings this classic philosophy and applies it to a 100-player deathmatch. The Battle Royale formula and the Call of Duty gunplay mechanics are a match made in heaven; not only can you feel like the king of the hill when placing first, but you can get there with reliable hit-reg and fun gameplay mechanics designed to keep you pushing forward, unlike PUBG. Many critics of Playerunknown’s broken, buggy mess argue that the game mostly consists of waiting around for enemies to push you – and they’re not wrong.

Blackout keeps the match interesting with a map that feels large but not enormous and a shorter time between phases in which the circle limiting free roam closes. An intelligent move by Treyarch is that of including classic Black Ops maps within the larger map. Nuketown, Estates (Villa), Turbine and Firing Range are on the list. And, uniquely, there are also zombies maps (Verrükt, Diner) populated with hordes of the undead. The higher risk in these zones ensures better loot, if you’re willing to mow down zombies and real opponents alike.

Unfortunately, Blackout is not a standalone experience; you have to purchase the full £50 game to play it. In a market where PUBG costs £27 and Fortnite is free, I believe that the game would stand a chance at becoming the number one Battle Royale if it was sold separately from the base game for, say, £20.

“Push, push, push” applies to the multiplayer mode, too. Every element of the game – specialists, map design, perks, scorestreaks and mechanics – is there to keep you moving forward. Gone are the days of camping a window and landing a 25-kill nuke before the match ends. Although the gameplay is mostly “boots-on-the-ground”, fast sprints, fast animations, slides on the ground and fast gunplay (fast being the key word here) put you on edge every match. Gunplay is satisfying and easy to pick up, as it is in every Call of Duty. “Specialists” bring elements of Overwatch to the franchise by forcing players to take up roles that have a noticeable effect on the battlefield with their unique characteristics. Every Specialist has a minor ability that recharges every 90 seconds or so; for example, Torque can place razor wire and Ruin can grapple hook to zip around the map (he is the only specialist with a grappling hook and its use is very limited and, therefore, well-balanced). They also have a stronger ability that acts similarly to a scorestreak but doesn’t require skill to achieve. Nomad can call in a K-9 unit to do his dirty deeds, for example.

call of duty photo:ActivisionBlizzard
photo: ActivisionBlizzard

The health system has been revamped; gone are the days of bleeding eyeballs that recover by magic. Every player has 150 non-regenerating hitpoints, which can be reinforced with armor, and a syringe. This syringe refreshes every 5 seconds, allowing players to heal up multiple times in a life, making engagements strategic. A particular gadget allows players to keep a weapon up while healing, allowing for greater control over the gunplay.

Maps are cleverly designed, with a similar formula present in all of them; they have two spawn areas, a midpoint with a circular flow and multiple paths around the whole map. This design subtly does away with the classic tug-of-war feeling maps used to have and mixes players’ routes around each other. 10 of the 14 maps available at launch are new but some classics return: Firing Range, Summit, Slums and Jungle. Nuketown, the staple map of the Black Ops series, will be coming to all, for free, in November.

The learning curve is rather steep, however, with hundreds of possible class customizations and 10 specialists to master over the game’s lifetime. Of course, forthcoming DLC packs will bring even more content to get accustomed to.

The third and final mode in the game is the beloved Zombies – a game within the game, a new sub-genre of the FPS genre that no other game, or studio, has been able to replicate. Treyarch simultaneously birthed and pioneered the mode in 2008 with World At War. As the years went by, Treyarch’s instalments in the Call of Duty franchise kept becoming more and more ambitious. Maps got bigger, the storyline became more complex, the gameplay evolved with crafting and magic powers, and the easter eggs which ultimately told this story became more bizarre each map release (by franchise entry and by DLC). Black Ops 4 brings back the undead stronger than ever with three maps at launch. A new cast of characters are thrown into Voyage of Despair, a map on the Titanic, and IX, a trip back in time to a Roman Coliseum. The original Black Ops quattro return to Alcatraz – first introduced in Black Ops 2 as Mob of the Dead – in Blood of the Dead.

call of duty photo:ActivisionBlizzard
photo:ActivisionBlizzard

There are many changes to the gameplay, as every DLC on Black Ops 2 used to do, but, at its core, it’s another instalment of Black Ops Zombies, and that is fine by me.

Black Ops 4 brings back everything that made Call of Duty great. Every mode is playable with friends and it all feels familiar yet fresh, all at once. Multiplayer challenges and unique matches of Blackout will keep players returning to the game over and over again, like we used to do back in the day. The tried-and-tested formula got stale, forced innovation and flopped but it’s time for it to reign supreme once more.

The well-polished experience might not appeal to all; if you hated the franchise back in 2010, you’ll hate it now but if you’re willing to give it a chance, you might just find one of your favourite releases of the year.

Rating: 8/10.

Call of Duty: Black Ops 4 is available on PC, Xbox One and PS4.

‘Women, Art and Revolution’ at HOME

To make art is to say something. Making art that actually reaches people is to say something that people listen to. That’s why for so long art seemed to be reserved for the elite; those who already had the advantages of talking and being heard. The panel ‘Women, Art and Revolution’ hosted at HOME as part of the arts and cultural festival ‘Celebrating Syria’ turned elitism on its head, recognising the revolutionary power of art, even when – or especially when – your voice is failing to be heard.

For the women on the panel, art in the context of the Syrian revolution was a way for Syrians to speak up, especially women, against an oppressive regime. Graphic designer and curator, Sana Yazigi, of creativememory.org, a website which collates into one place the rich art scene that emerged during the Syrian revolution, spoke on the panel. Yazigi explained that “when the revolution started, I was amazed, just like all other Syrians”. 

Men and women began to express themselves: as a citizen, as a militant, an artist. Being represented like this was hugely important. It provokes the anger of the regime”.

“Around 40 women artists emerged during the revolution”. Yazigi showed the room a collection of images of these artists’ work, including that of the cartoonist and caricature artist Sahar Burhan. If you venture onto creativememory.org you can find no less than thirty three pieces by the artist, each satirical, and undeniably chilling. ‘Ceasefire’ (2016) depicts a bomb in a glass of water. Though the weapon is lit, underneath we can see roots growing from it.

The second panellist was Muzna Al-Naib, a children’s author and self-described “aspiring film-maker”. Upon watching her film during the panel, which focused on deaf Syrian story-telling, it was clear that Al-Naib was established in her own right. Al-Naib explained that anything from the red water representing blood in the fountain in Damascus to the viral image of an old woman holding up a sign stating she still hoped for the life of her son was art.

Art is the language of our struggle,” she stated. “Art is not elitist anymore. It carries the force and the heartbeat of a nation”. Al-Naib described the added layer of complexity that stems from her gender: being a woman demonstrating in Syria may have meant that she “has to do her own mini revolution at home before she goes to the street”. This is why the writer believes more female artists emerged within the revolution, “it was a liberation journey for freedom from the regime, as well as from being a woman”.

It was clear, listening to the voices in the room who introduced themselves and stated where they were from, that the talk had attracted many Syrian women. Both old and young, university students and mothers, they were all here in Manchester, and eager to share their own personal revolutions. One woman stood up and said she always wondered what art was for. “Art never represented me,” she stated. “I always thought in art class, how does drawing fruit in a bowl help with anything? It never meant anything to me. But when I saw the old woman with the sign, I thought, there is hope”.

The panel sort to prove that art has the power to say: I will still hope for better, even when right now may feel so hopeless. Art has the power to make a fountain bleed in the middle of the street. Art liberates and revolts, and doesn’t back down.

The Great Debate: ‘All Schools Should Be Art Schools’

This is a joint piece from Alexander Cresswell and Bella Jewell.

The impact of Gove-era cuts to creative education served as an apt backdrop, both literally and metaphorically, to Design Manchester’s Great Debate — ‘All Schools should be Art Schools’. Behind the panel of five — Jack Tindale, Lisa O’Loughlin, Joanne Roney OBE, Ellie Runcie, and Lou Cordwell OBE — was a bold, open-letter to Michael Gove encouraging him to reverse his 2011 reductions to the education budget.

Spoiler alert: Michael Gove did not listen and nor did the wider Government policy. Since he was appointed as Secretary of Education, entry to creative GCSEs fell by 47,000 — a trend, described by Penny Macbeth (Dean of the Manchester School of Arts), as “very worrying”. Given the positive rhetoric surrounding STEM-based subjects, this might be interpreted as not entirely negative; the panel however, offering the statistic that the creative industries is worth an estimated £85bn to the UK economy, could not disagree more.

This set the tone for the debate with many of the panellists making the economic argument for creating more ‘art schools’. Macbeth pointed out that the “Victorians knew that design and manufacture would set us apart” and it would appear that this thinking still rings true; 70% of Manchester-based businesses employ graduates but only 13% feel that students are properly equipped with the creative skills needed for the workplace. Over the course of the debate it became clear that the panel believed creative subjects were a key factor in economic success. Given the statistics they were citing, it was hard not to agree.

Whilst this debate could sound exclusionary, the panellists did a good job of reaffirming that everybody has creative talents and it is the responsibility of schools to nurture these. This reframed the debate effectively as the notion of ‘art schools’ can often sound as though it caters to a niche demographic. What was really being discussed was the need to foster the skills that everybody has. Given the ubiquity of creativity in all workforces, and its status as a key-skill for employers, this debate began to sound much more common-sense.

A key sticking-point of the debate was the question of accessibility, a point underlined by Lou Cordwell OBE. She described how a “middleclass-ization” of the Arts has grown out of the modern trend towards a gig economy – a system which renders the creative industry “the domain of the privileged few.”

Panellists reiterated the need for investment in schools in order to encourage students to develop their creativity, with Joanne Roney OBE identifying the “vocabulary gap” between modern class structures as the reason for the current lack of diversity in the Arts. The panel was united by the belief that “the middle classes haven’t got a monopoly on talent”, and continued to highlight the necessity of educating the public on the importance of the Arts. Jack Tindale raised the issue of tuition fees, describing the “tragedy” that students now “have to aim for ‘practical’  subjects” at university with a view to their employability on graduation.

Ellie Runcie outlined the necessity of role models who “mirror more diverse areas of society” to inspire young people to enter the currently elitist design industry. The panellists discussed the creative influences that inspired them as young people, coming to the consensus that “it’s quite exceptional to break in without the influence of a person in your youth” (Cordwell), reiterating the importance of targeting people at a young age to enter the Arts. This rings true with the aims of the Design Manchester festival, which seeks to promote creativity, specifically targeting schools.

Following a debate dominated with talk of the economy, Manchester Poet, Tony Walsh provided a radical interjection from the audience. He critiqued the tame nature of the debate, referring to the lack of passion surrounding subjects that “used to be called the humanities”; an outlet for human expression and rebellion rather than a tool for economic growth. His eloquence and passion aroused a round of applause from the audience, who were moved – in typical Mancunian style – by his subversive message.

The debate then segwayed to the thorny subject of Brexit. Despite the collective sigh across the room, some interesting points were made by the panel. Lisa O’Loughlin described how she has witnessed “further education having a Renaissance” in the build-up to Brexit. Jack Tindale, on the other hand, expressed dismay at the potential impact Brexit could have on students, with the Erasmus+ programme – “the egalitarian version of ‘The Grand Tour’”- at risk. Tindale ended his contribution on a slightly more positive note, remarking that “things always appear to be big at the time and don’t appear to be 40 years later”; a clear indication of his background studying History.

Overall, ‘The Great Debate’ culminated in more of a consensus than gritty battle of ideology. It was very much in-keeping with the values of the Design Manchester festival, giving a platform to those involved in the creative industries to highlight the importance of the Arts: a message often obscured from public discourse.

Anna Burns wins the 2018 Man Booker Prize

Anna Burns has become the first Northern Irish writer to win the Man Booker Prize. On Tuesday 16th, she accepted the £50,000 award for her novel Milkman.

Milkman, Burns’ third novel, has been praised for its “utterly distinctive voice [which] challenges conventional thinking and form in surprising and immersive prose.” Kwame Anthony Appiah, Chair of the judges, went on to say that Milkman “is a story of brutality, sexual encroachment and resistance threaded with mordant humour. Set in a society divided against itself, Milkman explores the insidious forms oppression can take in everyday life.”

By winning the 50th Man Booker Prize, Burns became the 17th woman to claim the prize since it began in 1969.

Burns was born in Belfast and lives in East Sussex. Milkman draws on her experience of living in Northern Ireland during the Troubles. It’s a time that Burns has explored throughout her writing — her first novel, No Bones, was similarly set in Northern Ireland in a time of violence.

While the context of the Troubles is key to the novel, it is actually set in an unnamed city and filled with unnamed characters. In an interview for the Man Booker Prize website, she noted that “the book didn’t work with names. It lost power and atmosphere and turned into a lesser — or perhaps just different — book. In the early days I tried out names a few times, but the book wouldn’t stand for it. The narrative would become heavy and lifeless and refuse to move on until I took them out again.”

The competition this year was particularly strong, with Esi Edugyan’s Washington Black, Daisy Johnson’s Everything Under, Rachel Kushner’s The Mars Room, Richard Powers’ The Overstory and Robin Robertson’s The Long Take all shortlisted.

While it is set in the past, Milkman is particularly timely in the era of #MeToo as it focuses on a young woman who is sexually harassed by a powerful man. Appiah, speaking at the Guildhall in London, said the novel “is to be commended for giving us a deep and subtle and morally and intellectually challenging picture of what #Metoo is about”.

But it’s not just the subject matter that makes Milkman a difficult read. There are few paragraph breaks and the experimental style can make it challenging, but Appiah said that it can be “challenging, but in the way a walk up Snowdon is challenging. It is definitely worth it because the view is terrific when you get to the top.”

Anna Burns has certainly reached a new peak in her career and said she’ll use the money to “clear [her] debts and live on what’s left”. Let’s hope she does a little more writing too.

Review: a celebration of Muriel Spark

Last Tuesday, the Manchester Literature Festival welcomed guest speakers Alan Taylor and Jackie Kay to the Martin Harris Centre for Music, to celebrate the life and literature of Scottish author, Muriel Spark. And what a celebration it was – while of course Spark could not be there in person (she died in 2006 at the age of 88), Taylor and Kay ensured that she was most certainly there in spirit.

Like many other women writers, Spark had a late breakthrough in her career, publishing her first novel, The Comforters, when she was 39. The book follows writer Caroline Rose who, after a recent conversion to Catholicism, becomes aware that she is a character in a book. And she, along with her boyfriend-turned-detective, Laurence, and his potentially diamond-smuggling grandmother, Louisa, are just some of the wonderfully wacky voices that make this story so wildly original, and terribly funny. But this is a novel as much about reality as it is about fiction. As with much of Spark’s later work, noted importantly by Taylor and Kay throughout the evening, it addresses questions of who she was, who we are, and why we are here.

As noted by the event’s charismatic hosts, it is impossible to separate Spark’s own devotion to Catholicism and her life in Scotland from her writing. Despite feeling like an exile in Edinburgh – Taylor humorously recalled Spark stating that she was simply ‘Scottish by formation’ – she penned The Prime of Miss Jean Brody in 1961.

Kay told of how the titular character and school setting was based on Spark’s own experience being taught by Christina Kay at James Gillespie’s School for Girls, before going on to give a captivating reading of one of her favourite passages from the book. Through stifled laughter, Kay, the Scottish poet laureate, perfectly captured Spark’s sharp wit and dazzling ability to imitate so vibrantly the world and people around her. As she later stated, there was nothing of the nitty gritty of people’s lives that Spark was not utterly fascinated by. Taylor, a close friend of Spark’s for over fifteen years before her death, added that her work seems as if it is made up of conversations overheard in restaurants.

Though a successful writer himself – notably for The Scottish Herald and The New Yorker, among many other publications – Taylor’s fascinating friendship with Spark allowed him to contribute something remarkably personal to the discussion. Prompted by Kay, and later, questions from the intrigued audience, Taylor detailed how he first came to meet Spark when he was invited to her home in Arezzo, Italy, to interview her. This particular anecdote gave an insight into how her writing style reflected her own dry humour and attention to detail. Taylor described how he become the interviewee when Spark quizzed him about whether his hair was dyed – she claimed that her own flame-red locks were natural.

His further anecdotes about her disinterest in domestic life and other relationships, were all met by what became knowing sighs and giggles from an audience who clearly felt that, over the course of the evening, they had managed to chip away a small part of the mystery surrounding the enigmatic author.

I went to the event a little concerned that it would be high-brow and intellectual. I thought it might not be accessible for those who aren’t extensively familiar with Spark’s work. She was not just a novelist, but a short story writer, poet and essayist. But instead, it was more like witnessing a nostalgic conversation between friends.

Published this year on the centenary of Spark’s birth, Alan Taylor’s memorial, Appointment in Arezzo: A Friendship with Muriel Spark, is out now.

Review: Cabaret for Freedom, a celebration of James Baldwin

There was a real sense of community as I approached St John’s Church — a staple of Old Trafford — on Saturday evening. A running discussion about Old Trafford, the location for the Cabaret, elevated this sense of togetherness as we came to the sturdy wooden door of the Church, lit up by an array of lights.

Our host, Shirley May, a vibrant personality, made her way onto stage to loud cheers. She opened the evening with an apt Baldwin quote, “you think your pain and your heartbreak are unprecedented in the history of the world, but then you read.” And so, the tone of the night had been established. It was a celebration of Baldwin’s cultural impact worldwide but also, on a more personal and communal level, his impact in Old Trafford. Throughout the evening, love, struggle, and ideas of black identities were explored in their intersections through a variety of prose, poetry and music.

The line-up of performers including Shirley May, Tiki Black, Jackie Kay, Whit Stennett, SuAndi, Segun Lee-French, Isaiah Hull, Kei Miller, Billie Meredith, and poets from the Young Identity creative group. 

Tiki Black’s music particularly stood out during the emotive musical performances. Exploring the position of the self within the remits of power, she created an aurally encompassing, soulful experience with her accompanying keyboard music. She began with an opening statement about Baldwin, who “gives us the right to be ourselves”. A statement hard to deny if you’ve read Giovanni’s Room or Go Tell It to the Mountain. And Baldwin’s influence was clear throughout Black’s lyrics, as she sang “let me out of the King’s cage”.

Books published by the Hull-based Wrecking Ball Press were available for purchase during the event. Nosebleeds by Isaiah Hull, an Old Trafford-based former Young Identity poet, is interrogative of the human form and its associations with a conceived or rather, perceived identity. Hull’s work grapples with struggling to formulate a sense of self and the importance and identification of communities during the crucial years between childhood and early adulthood. After launching on the 4th October at HOME, Hull’s collection is now available for purchase online.

The second Wrecking Ball Press book at the event, She Wrote her Own Eulogy, is a collection by Shirley May. May explores the theme of familial influences on identity, which, at the Cabaret, was made all the more poignant with heart-warming anecdotes about her mother sprinkled throughout her performance.

Although, it is difficult not to go on about the brilliance of the performances by Jackie Kay or the rest of Young Identity, a special mention has to be made for Kei Miller’s Letters to Baldwin. Miller’s letters are monologues of confusion and clarity underwritten by the fact that they can never be delivered to Baldwin, that they will never receive a response. In the letters, Miller asks: what does it mean to be working with white power structures? With people who attempt to humanise you but end up tokenising you? And how did Baldwin himself navigate these difficulties?

Like Miller, we all had questions inspired by Baldwin, had a similar yearning to be able to communicate with a writer who has done so much for community, for identity, for hope.

A Cabaret for Freedom proved a beautiful articulation of the proliferating effects of Baldwin as a writer who articulated his own LGBTQ, African-American identity via art that he has left so many to celebrate.

Album Review: The Stars, The Oceans, and The Moon by Echo and The Bunnymen

Revisiting old hits in a ‘new’ manner is an increasingly familiar way of older acts justifying the reeling out of their best-known songs for the umpteenth time. While these records can sometimes turn a new light on to lesser known tracks from an artist’s back catalogue (like Paul Simon’s recent In The Blue Light), the Bunnymen have elected to wheel out thirteen classics (with a couple of newbies) on latest outing The Stars, The Oceans & The Moon.

Opener ‘Bring On The Dancing Horses’ manages to somehow be more uniquely eighties than its 1985 original: its drum machines, washy synths and scratchy guitar are pure New Order. It’s a strange choice and not one that really works. Ian McCullough’s melodramatic croon has developed an endearing husk over the years, and it lends an earthy charm to the campfire reimagining of late 90s hit ‘Nothing Lasts Forever’, adding an extra sense of poignancy to the elegiac track.

It’s one of the better rearrangements on the album, unfortunately. Others aren’t so good. ‘Lips Like Sugar’ is so faithful to the original, one wonders what the point or re-recording it was. Likewise, ‘Bedbugs and Ballyhoo’ and ‘Rescue’, whose overproduced arrangements only succeed in robbing the songs of their post-punk vitality.

Things work a little better when the band take the opportunity to slow things down a notch. ‘Seven Seas’ jangly guitars are replaced by an accordion, turning the song into the left-field sea shanty that it always threatened to be. ‘Ocean Rain’, the title track of their 1984 opus, is given a similar treatment. While not radically different from its original state, the manner in which it builds from piano to sweeping strings is just as powerful this time around, and a reminder of just how magnificent the Bunnymen were at their peak.

The two new songs are guitar-driven pieces, giving guitarist Will Sergeant a welcome workout. The first, ‘The Somnambulist’, is an instantly forgettable mid-tempo latter day Funnymen number, yet ‘How Far?’ is one of the album’s real highlights. Sergeant’s glistening guitar recaptures the band at their brightest and most accessible, while McCullough brings the vocals to match, singing with a boyish optimism that we haven’t heard in years.

Of course, no discussion of Echo & The Bunnymen would be complete without their calling card, ‘The Killing Moon’, knowingly placed at the end of the record. McCulloch famously believes that his most enduring work is the greatest song ever written, and the version on The Stars, The Oceans & The Moon is more personal than ever. With just a shimmering piano for company, McCulloch’s voice sores over the old lyrics with as much passion as ever. While the synths and shards of brittle guitar that made the original the brooding, darkly romantic classic it became are missing, it’s a song that will always find a captive audience, no matter what the arrangement.

The Bunnymen’s ‘latest’ is an odd exercise, to say the least. While being another reminder of how the moody Scousers have one of the greatest songbooks in British indie, there’s nothing here (beyond the surprisingly great ‘How Far?’) that fans can’t gain from revisiting one of their many ‘best ofs’ instead.

5/10

University sport – what’s the deal?

Are you interested in joining a sport but don’t know where to start? Do you want to play but don’t necessarily want the competition of the University teams? We’re here to help you figure out exactly where to go. Whether you’re interested in the Maths Football team or the the Aikido club, there’s certainly something for everyone.

Throughout the university there are 42 sports societies that belong to the AU (that’s the Athletics Union), and these encompass 38 different sports, so whether you’re looking for trampolining, rugby, or even korfball, you’re sure to find what you’re looking for. Out of these societies, some also compete in BUCS (British Universities and College Sport), which runs leagues and competitions throughout the year, which is great if you’re interested in playing competitively. More locally, many clubs also take part in the Christie Championship, where students from the Universities of Manchester, Leeds, and Liverpool all fight for the glory of the coveted Christie Cup. If you want to show everyone who truly is the best northern university, this is the competition for you. Spoiler alert, it’s definitely us.

Campus sports is a great place to get started – there are around 130 teams made up of groups from courses, halls, and groups of friends. If you’re looking to play competitively without the pressure of the uni sides, this is the place to start. Leagues and competitions are still organised, but they’re a bit more low-key than the likes of BUCS and the Christie Championship. However, they’re still a lot of fun and are a great way to keep fit, whilst making new course friends and meeting people in your accommodation.

If you’re looking for beginner level sports, and are looking for something less competitive than either campus or club sports, then the university runs a great programme every year called Sporticipate, which provides over 60 hours a week of sports – all completely free. Whether it’s a weekly drop in session or a more structured ‘Learn-to’ programme you’re interested in, Sporticipate will be there every week for you to partake in. The timetable changes each semester, so make sure you check on the University Sport website for an up-to-date version. This semester, you can try your hand at water polo, squash, kickboxing, and indoor cricket, amongst others. Sporticipate also offers women-only and men-only times for some sports such as swimming and dodgeball.

Another great way to keep fit at uni is to join the gym! There are a few different options – for everyone living in the Fallowfield area, both the Armitage and The Gym offer student deals for a nine-month period, costing £120 for the Armitage, including free classes and access at peak hours, and The Gym costing £134 for the same. For those closer to the city centre, there are a whole host of options including PureGym, The Gym, and Anytime Fitness.

Cachella Smith, a fourth-year English Literature and French student and member of the cross-country society, said “sport is an amazing way to meet like-minded people at Uni and have conversations that don’t revolve around studies, exams, and deadlines. It also allows you to work towards a sense of achievement that isn’t directly academic.” Whatever you choose, joining a sport during your time at uni is a great way to keep fit, make new friends, and relax after a long day of lectures.