This week, the environmental benefits of plant based diets have been all over the news as the IPCC report on climate change was released. One of the key points taken from this was that choosing a Mediterranean or ‘flexitarian’ diet is one of the most valuable things an individual can do in order to benefit the environment, if they are not willing to be fully vegetarian or vegan.
Enter Yottam Ottolenghi: one of the most popular rising chefs in the past few years. Ottolenghi has played a vital role in this movement towards vegetarian diets because of his unbiased attitude towards food. An Israeli-British chef with an Italian father and a German mother, his food celebrates multiple cultures. This results in incredible fusion food and unique blends of flavours, but also a mixture of plant based and meat based dishes, with no favour toward either.
Ottolenghi’s vegetarian dishes celebrate vegetables, pulses and grains in their own right, without displaying them as a ‘meat substitute’ or a side dish. When flicking through one of his successful recipe books such as ‘Jerusalem’, ‘Plenty’ or most recently ‘Simple’; you will find yourself salivating over roasts on one page, and butternut squash salad on the next.
He is responsible for so many recent food trends. The introduction of sumac to our spice cupboards, scattered pomegranate seeds on everything, and the popularity of what Ottolenghi likes to call ‘the mighty aubergine’ to name a few. However, I see his influence on vegetarianism as the most important change he has made to British diets. Commissioned to write The Guardian’s food column ‘The New Vegetarian’, Ottolenghi managed to avoid isolating readers by often commenting that some recipes would serve well as a side dish to certain meats, whilst also celebrating vegetables in a way that never made the dishes seem second best.
This attitude is what will bring more people to the way of flexitarian or vegetarian diets. Pressure and ‘all or nothing’ thinking only serves to discourage those who enjoy meat, whilst seeing both diets as equal in flavour and nourishment will help in reducing our meat intake, and in turn, benefit climate change.
I encourage you to try some of his recipes (especially the vegetarian ones) and see how full and wholly enjoyable they can be. With Ottolenghi, you always discover new techniques, ingredients, and flavours, with incredible meals as the outcome. His restaurants and delicatessens are based solely in London, but if you’re in the capital they are definitely worth seeking out.
And lastly, learn more about the joy in cooking with Ottolenghi’s new podcast ‘Simple Pleasures’. It sees Ottolenghi interview guests such as Michael Palin or Nadiya Hussain about their relationship to food over a delicious meal made from recipes from his new cookbook.
Still have all those flyers from Welcome Week stuffed in a Domino’s pizza bag in your room somewhere, but haven’t actually had the chance to sort through them yet? Or did you have a society in mind but missed the first week and now you feel too awkward about going?
We’ve all been there — getting caught up in the rush of the first few weeks of the university year, and despite our good intentions towards learning a new skill or getting involved with a team, it just didn’t happen and now it’s probably too late to join.
Fear not! Most societies on campus will actually still happily take new members, and so it’s definitely not too late for you to sign up to that new team sport or begin that new hobby you’ve wanted to start for ages.
It’s very easy to get settled into the rhythm of life at university: wake up, class, coffee, dinner, Netflix etc. It’s all too tempting to just stay at home after walking all the way back to your house or halls and spending time making dinner. The enticing lure of binge-watching The Bodyguard and your bed close by is very appealing. The idea of heading back up to campus for the evening just seems like too much effort sometimes.
However, societies are such a brilliant opportunity to expand your friendship group, take a break from class, learn something new, and generally add another element to your week that doesn’t involve a lecture theatre. The opportunity is just too good to be missed.
Joining a society can also dramatically help your time management skills. When the only commitments you have are class and feeding yourself, you can suddenly find yourself with more free time than ever before, especially for those just starting university. It can be very strange to have no commitments to school sports clubs, scheduled study periods or, in most cases, family commitments apart from the odd Skype call.
Your time is really your own at university, which is a first for many, and can be extremely liberating or very isolating. The temptation to stay in bed instead of heading out on a Saturday morning, or spending your evenings in the company of various social media and streaming services can be very appealing when you have nothing else planned, especially as no-one is going to tell you what to do or when to do it.
Personally, I found my new found freedom very stifling when beginning university, the opposite of what I thought it would feel like. I constantly had free time, and with no set commitments I found myself feeling paralysed by the possibilities, and most of the time ended up watching Buffy on my laptop continuously. This also got me into extremely bad time management habits: with all the free time to get things done, I barely finished anything as there was abundant time to complete things, and therefore I never got round to them. It was only when I joined two excellent societies, and then had subsequent social engagements from them that my performance in class really improved.
I was able to maintain a better sleep schedule as I was busy and tired more, and much better able to hold myself to the ‘bed before midnight on weekdays’ rule. I wasn’t tired when I woke up, and was more engaged with life in Manchester in general. There were so many benefits of joining societies, and it’s not too late for you to start too!
Below are examples of societies that are still taking new members, but it’s certainly not exhaustive. Most societies have a Facebook page or email address you can use to contact them and ask if they are still taking new members, so don’t miss out on starting the sport you’ve always wanted to or trying a new hobby just because you think it’s too late, chances are it’s not!
One example is your friendly local academic society. Most undergraduate and postgraduate degree courses have an attached society. This is a great way to meet more of your course mates (especially if you do an arts degree and literally never see them), and these are open all year round. What’s even better is that you don’t have to go to your own course’s society. Are you a Creative Writing student who’s also really into Physics? Join the PhysSoc! You can keep on learning about and discussing a subject you’re interested in, even if you didn’t end up doing it at uni.
Languages societies are also a truly brilliant way of making friends, as well as learning that language you’ve always wanted to learn. These societies are usually a mix of native speakers and those who want to practise, so you get the opportunity to chat with someone who speaks the language fluently, and also enjoy learning about the culture of the country. Languages societies often organise themed food nights, as well as trips to sporting events and film/literature evenings.
Moreover, the University of Manchester Dance Society are still welcoming new members. This is a great one for combining trying something new with fitness. The classes are held locally, with options for beginners and advanced classes, and plenty of different styles! Bring a housemate along too, so you can keep each other accountable for getting out and trying something new, whilst not having to go alone.
The Choir and Orchestra society is made up of the university’s non-audition choir and orchestra, so anyone who’s brought their instrument or their voice can join. Singing in a choir is great for your health, as well as the social element, plus CAOS are know to have some excellent socials, including Disney Karaoke nights!
Part of Manchester’s attraction as a city to many prospective students is its illustrious musical history. For final year English Literature and German student, Chloe Hawes, Manchester was the perfect place to help grow her musical career alongside her studies. Having recently returned from a year abroad in Berlin, and with her third EP due to be released at the end of October, Chloe gladly shared her tales of how her involvement in music is leading to an exciting future.
“I think I always went to watch a lot of gigs growing up,” Chloe explained, thinking back to when her interest in music and performing was first piqued. Describing her first gig experience, seeing the “not very cool” Busted at Wembley Arena, Chloe recounted how being surrounded by live and recorded music instilled a positive ‘can do’ attitude within her. In turn, she feels this environment allowed her creative hobby to be cultivated into something a lot more serious.
Reflecting on her big move up to university in Manchester, Chloe stressed the need to be in a city, especially one with the right kind of charm: “I come from a very small town where there’s no train station, it’s rural Essex. Manchester has got the scene, it’s got the bands, it’s got the history.” Although the rich musical tapestry woven by the past artists of Manchester is an appealing lure, moving to a brand-new city with few connections can present a frustrating uphill battle to new musicians hoping to make a name for themselves. “I found it quite frustrating initially coming up here because I was just at a point where I was starting to get some good gigs at home.”
Being split between two cities is a, sometimes cruel, reality for the majority of students. Involvement in the Athletics Union sports teams, such as the ladies’ football and cricket squads, was something Chloe found particularly helpful: “You make friends in sports teams and if you get a fraction of them to come to the gig — you’ve sold 10 tickets!” The thought of asking friends to support your endeavours may seem slightly unnatural, even awkward to some, and was something Chloe wasn’t scared to mention: “I think you just need to be very shameless when it comes to asking for gigs and also asking people to come to gigs. It still seems strange to me that I’m asking my friends to come and watch me play…but I’m just kind of at a point where I’m like…‘don’t ask, don’t get.’”
The ability to be actively involved in so many different facets of university life is not always an option taken up by all students. A sentiment echoed by Chloe was the suggestion that, through the use of their musical facilities, the SU could act as a stronger stepping stone for musical students: “It could be something that the university or the SU could maybe put forward to students who do music-related things, whether they’re actually students of music here or otherwise.” Playing at events organised by the Students’ Union, such as Reclaim the Night, has allowed Chloe, and other students, to get a taste for performing on well-known stages like those of the Academy.
The chance to attend university, particularly in a city with the largest student population, can prove to be an invaluable tool for furthering your artistic journey. Chloe agreed that different aspects of the student lifestyle, along with moving away from home, had helped to give her opportunities and experiences which she wouldn’t necessarily have had otherwise. “The people who I’ve met have allowed me to record my music properly and to get a band behind it, which is something I always wanted to do when I started.” In the same vein, Chloe also mentioned fellow band mate and friend, Steve — a student at the creative industry specialist university, Futureworks in Salford. Through him, Chloe has been able to access professional standard recording equipment and facilities for free, which has helped elevate her project to an entirely new and impressive level.
Discussing future plans, Chloe eagerly spoke about her upcoming tour and EP: “I’ve got the UK tour at the end of this month — it’s my fourth tour this year!” Chloe has taken on stages across Europe, playing cities such as Berlin, Amsterdam, and Hamburg, which makes her return to Manchester’s Northern Quarter a gig you simply cannot miss. Although Chloe’s excellent list of tour locations may evoke a mix of admiration and envy amongst peers, she adamantly delivered her most key piece of advice: “Try not to burn yourself out, which is easily done if you’re studying, going on tours and playing gigs as and when you can. You need to know when to take a step back.”
Chloe’s third EP is available on 26th October, with her launch taking place on the same night at Gulliver’s, Manchester (tickets available, £5.50). You can find out more via her Facebook page.
We are now into November, the leaves are falling and frosty mornings are on the horizon. This can only mean one thing; semester one has truly begun. Perhaps you thought you were wardrobe-ready this year? Think again. Here I take a look at some of the best bargains (and perhaps a few more pricey items if your relatives are feeling generous) to get you looking as stylish and as ever this semester.
Item 1: THE THIN KNIT. At just £9.99, New Look’s ‘Black Curved Hem Jumper’ is a real staple item. Pair this with black jeans, biker boots and a black leather jacket for a simple yet sophisticated style. Thin plain knits are also perfect with a statement trouser. Perhaps pair with a snakeskin print if you’re looking to master the animal print trend of AW18.
Item 2: THE ON-TREND TRAINERS. Maybe it’s been a long time since pay day? Fear not. Primark’s ‘Black Chunky Sole Trainers’ are the affordable alternative to the Alexander McQueen trainers that are everywhere right now.
Item 3: THE CAMEL COAT. Coat collections have been stripped back this season to basic yet brilliant. Ideal both for a lecture or a society social, ZARA’s ‘Masculine Coat’ is a little more pricey at £95.99, yet so worth the money. Adaptable and long-lasting, camel coats work well when worn with the three hottest trends of AW18; animal print, checks and high shine fabrics.
Item 4: THE BIKER BOOT. Nasty Gal’s ‘Back Up Buckle Boots’ are practical yet fashionable at just £40. Faultless with jeans, leggings or even a cute mini skirt, these boots will be super useful this semester. From chunky soles to embroidered leather, the biker boot is a must-have for AW18.
Item 5: THE DUNGAREES. Dressed up or down, Boohoo’s ‘Polkadot Denim Dungarees’ are ideal with a flat trainer at tutorials or even a block heel boot for smarter occasion at only £32. Carried through from SS18 to AW18, the polka dot trend is here to stay for yet another season.
Item 6: THE CHLOE-INSPIRED CROSS BODY BAG. An absolute necessity, H&M’s £19.99 ‘Shoulder bag’ is not only ideal for that lush lunch date when your parents visit, but it’s also perfect in the evening when you’re heading out with pals. Generally, cross-body bags are becoming increasingly popular, with many of us appreciating the fashionable and practical elements they have to offer.
Item 7: THE CHUNKY KNIT. Ideal for those frosty mornings later in the semester, H&M’s ‘Polo-neck jumper‘ is a real staple with a pair of comfy side-stripe leggings and snakeskin boots at just £14.99. As the chunky knit is also becoming an increasingly trend-driven item, various styles can be found printed with cheetah or check prints.
Item 8: THE MANCHESTER NECESSITY UMBRELLA. As a student in this rainy city, you will know that you don’t step foot out the door without your umbrella. Your best friend during those long walks between lectures, Primark’s ‘Dome umbrella’ is the best £4 you will ever spend at uni.
Item 9: THE WHITE SHIRT. Versatile and smart, Topshop’s £22 ‘Long Sleeve Poplin Shirt’ is stunning both in the day with a pair of on-trend check trousers and even better at night with a boyfriend jean, leopard print heels and a red lip.
Item 10: THE FLARES. Not only comfortable to wear, but also stylishly sophisticated, Topshop’s ‘Striped Flares’, just £22, are perfect for those manic Mondays when you can’t possibly find anything to wear.
As a mix of both staple and trend-led items, this guide to the AW18 student style offers both affordability and fashionability. Happy Shopping!
‘The Maids’ is a play written by Jean Genet and inspired by the true story of the Papin sisters — the sisters murdered their employer and her daughter in France, in 1933. The new production will be performed at HOME from the 16th November, and is directed by Lily Sykes, who was born in England but has lived in Berlin for the past six years. Having become a German citizen last year (cue brief Brexit lament) she confirmed that Germany is “definitely” home. I got to speak with Lily about her choices when adapting the play and I was particularly interested to hear her decision to cast all three (female) characters in ‘The Maids’ as men.
Sykes explained that this play is very much an “exploration of forces in the self.” She created a fascinating picture of this exploration: “in modern terms a…therapeutic exercise” or “a geschält therapy.” When directing a play, Sykes appreciates the “idea that it has come from one person’s head.” She mentioned Martin Crimp (who translated Genet’s play from French to English) and his comments “about the process of writing and the relationship the writer has with their characters”, which mirrors the actor-director relationship.
‘The Maids’ is all about the “shifting power plays” in the relationships of “a mistress and two maids.” By casting men in the roles of the three women, “every character could be onstage at the same time.” The audience not only experiences the presence of the male writer (Genet) on stage, but also the two male characters who are alluded to but not seen on stage in the current version.
Sykes was previously quoted as “particularly” looking forward to bringing ‘The Maids’ to Manchester, I was keen to know why. She clarified that it was “the politics in Manchester”, her sense that there is a “huge disparity between voting habits” in Greater Manchester and the rest of the city. This “divide between the two different groups”, Sykes continued, “feels quite relevant to the play”, considering the disparity of the classes explored in it. Sykes explained that she thinks “of the North as a place that’s very local, personal, and very friendly”. She believes we live in an age “that’s trying to wipe that all out” as it tries to functionalise relationships — a theme also reflected in ‘The Maids’.
Sykes’ answers to my questions were deeply considered — her passion and intellect were evident. One of her most considered explanations culminated in a comment about how “neoliberalism…has effected human relationships”, adding that we are trapped in a “neoliberalist bubble.” ‘The Maids’ deals with “two different classes who don’t understand one another.” In the present day, it seems “too difficult for people to think differently”, whether it’s because of “blindness” or “laziness.” However, she qualifies, “theatre is a place where you can change that perception, say: ‘hey, it could be different, think a bit differently.’”
Genet wrote the first version of ‘The Maids’ in 1943 when he was in prison and I asked Sykes whether the play would still be relatable to a modern audience. She responded that, as a director, “your job is to make the people onstage understandable” and “put them in the present.” She argued that the Brexit result and the election of Trump are examples of “massively violent and a very drastic acts”, a way of people saying: “we’ve had enough, we can’t do it anymore.” For Sykes, the ideas of exclusion explored in the play are universally relatable, “exclusion is a terrible thing” and difficult to escape. To the sisters’ violent actions, Sykes simply said, “I get it” and “you shouldn’t just focus on the sisters” because the mistress is trapped too.
HOME is staging the performance in the round for the first time, raising the stage level to the circle. Sykes explained this as “taking down the barrier between the audience and the actors”, she explained that to “challenge the way people think”, you have to bring them into the story.
I wanted to know how Sykes viewed the state of her profession for women. Her pithy response was that “we have to be better.” She elaborated, saying that women “are not cut enough slack and people are less forgiving” when women make mistakes. We discussed at length the white, male-centric standards of what is and isn’t good; this is something women have to fight against in multiple professions. The change needed is not just about gender quotas but “changing the way that people see things.”
This fascinating conversation left me questioning the “fluidity of identity”, and why society is so reluctant to change despite being aware of ‘the bubble’. Most of all, I was left eagerly awaiting the opportunity to see ‘The Maids’. What the production represents, and with a female director who has considered every aspect of the play so deeply, it is sure to be an exciting production.
Birmingham five-piece Spilt Milk Society have been drifting more and more around the airwaves since the release of the incredibly popular ‘She Tastes Like Summer’ last July. However, the band had a swift change of membership back in April, leaving people wondering how long it would be before we heard more from this summery pop group.
Their brand new single ‘Turtleneck Boy’ is an unbelievably catchy track featuring sonic-sounding guitars and powerful choral vocals from lead singer Harry Handford. For fans of something slightly softer, older eponymous EP Spilt Milk Society features the soft-sounding ‘Over The Edge’, showing the band’s ability to master the slow song. Mood-lifter ‘She Tastes Like Summer’ is perfect for brightening up the increasingly dreary days, drawing to mind bands such as The Magic Gang and JAWS. With new releases expected in November and January, this up-and-coming band are sure to be coming up with great things.
Drenge are quiet in their field. Taking a three-year break between releases and spacing out tours that makes catching them live a lottery prize seems to have been their go-to of late. You probably won’t hear their songs on the radio outside of their own occasional on-air interviews and they probably don’t get stopped on the streets of home city Sheffield every day for selfies. And yet, Drenge are still going. Trudging through with songs true to themselves and that are a revved-up treat for their long-serving fanbase.
Whilst their presence may be quiet, their music is anything but.
Autonomy seems to have been gifted to us a concept album; a robot graces the artwork and its adventures are the pivotal theme of opening track ‘Autonomy’ lyrics. Take the Blade Runner-referencing conundrum of “Do androids dream of electric sheep?”, a hook that is accompanied by an almost cartoony mechanical riff.
Still, it remains the case that the thing that stands out as the most obvious tie connecting each of the four songs is simply that they sound, well, Drenge-y.
Thankfully, this doesn’t matter too much because the Drenge sound is a unique one. Frontman Eoin Loveless’ deep, near speech-like vocals are instantly recognisable and adapt well to whatever each song demands of them. 2015’s Undertow managed to capture the deep-riffed spirit of their grungey, angsty, in-your-face self-titled debut but with an added darker layer of ominousness occasionally just creeping into its lyrical subject matters and fuzzy, crescendoing guitars. Autonomy’s tracks sound as if they could have been easily lifted from the album this merge brought us three years ago, leaving room (and hope) for Drenge formulating a new strain of their signature sound when they decide to make their next full-length record.
Drenge do experiment a little with pace and percussion on this record. ‘Outside’ sees a sudden quickening of the EP’s journey. Cymbals are placed in the audible foreground and inject a clash in time with each word of Loveless’ shouts of “It’s so much better on the outside!” ‘Before the War Begins’ keeps it going fast, but this time a little smoother and even a little sadder. Of course, what’s a Drenge release without at least one tune that will get you feeling just a little more deeply?
Autonomy is not an EP that will blow your mind if you already know what Drenge are all about but since an album is not yet on the horizon, it’s enough to keep fans happy for now.
Could the future of Formula One be in the hands of a household name? Mick Schumacher, the son of Michael, would certainly like to hope so after running away with the Formula 3 title this year. Mick finished the season on 365 points, 57 clear of the nearest competition, winning the championship with a race to spare — this is including an impressive eight race victories and 14 podium finishes.
Schumacher’s dominance, especially in the latter half of the season, evokes memories of the brilliance his father brought to the track back in the 1990s. Mick Schumacher is following in the footsteps of his dad who won the F3 Championship in 1990 which paved the way for his F1 debut for Jordan in 1991.
Although the F3 champion is somewhat of an outsider, with spaces still up for grabs at Toro Rosso, Force India, and Williams, he could be lining up on the F1 grid in the foreseeable future. Some of the most high-profile names in the sport all began in the single-seaters, including Lewis Hamilton, Nico Hülkenberg, and Esteban Ocon. It will be Ocon’s story that will inspire Schumacher the most, with the Frenchman having raced in F3 as recently as 2014.
Rumours had been circulating that Toro Rosso were looking to poach Schumacher to race for them in 2019 but these were quashed by the team chief, Hemult Marko, who said: “he is not on our list and we have [made] no contact at all with him.”
Meanwhile, off the racetrack, the condition of Schumacher’s father Michael has been kept relatively secret since a skiing accident in 2013 — he is currently rehabilitating at home in Geneva. While his father’s recovery process continues Mick is ensuring that the Schumacher name is still present in the world of motor racing and who knows, perhaps his talent will go on to surpass even his father’s record 7 Championship wins.
Novak Djokovic re-affirmed his status as one of the game’s very best as he blew away Borna Ćorić to win his fourth Shanghai Masters crown.
The 31-year old, who has won the tournament three times in four years between 2012 and 2015, took 97 minutes to wrap up the match, which ended 6-3 6-4. It looked as though it could have been a close competition, with his Croatian opponent Ćorić beating Roger Federer — the sport’s most successful player of all time — to reach the final.
Ćorić’s previous best finish at a Grand Slam was at this year’s US Open, where he bowed out to Juan Martín del Potro in the quarter-finals. The world No. 19 was also noted for an impressive showing at this year’s Davis Cup, but in Shanghai picked up just four points on Djokovic’s serve in the entirety of the first set.
He then saw his serve broken in the first game of the second set, and battled three championship points with the score at 5-3 in the second set, before eventually bowing out.
He had, however, recovered from 3-0 down earlier in the set to bring the score to 3-2.
In the doubles, Britain’s Jamie Murray and partner Bruno Soares were beaten in the finals as they lost out to Lukasz Kubot and Marcelo Melo 6-4 6-2.
While Djokovic extended his run of straight victories to 18, including his US Open title, Ćorić will still be pleased with his run in China. By reaching the final, he is now ranked at No. 13 in the world, the first time he has ever broken into the top 15. The Serbian has also moved up in the rankings, having overtaken Federer to reach the No. 2 spot.
This comes as the latest achievement in a wonderful year for the 14-time Grand Slam Champion, in which he picked up his fourth Wimbledon crown in addition to his triumph in New York. He will now have his eyes firmly set on topping the rankings, with Rafael Nadal sparking concern among his fans by pulling out of the Chinese spectacle with a knee problem.
Djokovic’s resurgence has been driven by an unprecedented upturn in fortunes. From having fallen out of the top 20 after his exit to Marco Cecchinato in the last eight at Roland Garros, to clinching two Grand Slams in under two months and becoming the first ever player to win all nine Masters 1000 tournaments with his success at the Cincinnati Masters in August.
He is now emerging as the dominant force in the sport, as the rest of the ‘big four’ face questions: Nadal and Murray have both struggled with fitness this year, while retirement finally seems to be on the horizon for Roger Federer.
It seems the 31-year old Serb could now close out his final few years on court with an array of further Grand Slam victories.
Sublime scouse 5-piece, The Vryll Society are a refreshing yet nostalgic wave of celestial wonder, mellow undertones and seraphic vocals.
Given The Vryll Society are such a diverse, complex and sophisticated disco, fans may have a tad bit of difficulty pinpointing their actual genre. Even the band themselves couldn’t quite reach a decisive answer and settled on “psychedelic space-rock”, leaving room for its own peculiar ambiguity.
However make no mistake, there is certainly no room for doubt where their songwriting is concerned. In fact, it appears the Liverpudlian lads are so indulged in their cosmic creativity that they often find themselves having “to start cutting back” large parts of their songs before they’re finalised (…even then they’re averaging 6 minutes long). As the softly spoken frontman Mike Ellis elaborates, he’d often “pop to the shops, have a brew” and the band would still be working on the same track.
This is exactly what makes this fusion of virtuosos so intriguing. As The Vryll Society took to the damp corners of the sold-out Manchester’s beloved Soup Kitchen, a venue that they’ve played once before “many moons ago”, it was as if fans had been plummeted right out of their mundane duties and into an intimately illusive jamming session. The same could be said for the band themselves who are all currently in “full-time jobs,” aching for that big break where they can fully pursue their intergalactic voyage.
Establishing themselves as a “music-led” band as opposed to vocal led, The Vryll Society take inspiration from the likes of Pink Floyd and Air with an intention of taking fans on a journey. A journey pioneered with introspective vocals which are embellished by a cluster of intricate and spine-tingling parts. These individual efforts form a concoction of utter bliss, leaving your soul opened with a feeling of transcendence.
After finally releasing their pilgrimage guide to higher levels, also known as their debut, Course of the Satellite, the iridescent 5-piece “spent a few quid” ensuring each and every single member of the audience would be able to savour the experience that is The Vryll Society. Two large “game-changing” screens projected fascinating intergalactic and kaleidoscopic imagery onto the worn walls of the basement acting as a nod towards the likes of Floyd. The band are certainly one step closer to pursuing their dream of hosting a “light show”. Despite there being a running joke amongst the band that they can’t always see anything due to its glare. I guess the price to pay is worth it guys?
Having seen the lads play Sound Control (may you rest in peace) a year ago at Neighbourhood Festival, there is simply no comparison in how much they’ve grown and mastered their performance. When asked which song they loved to play live the most, the lads couldn’t quite settle on the same answer as Mike put it, “it changes with every performance” although he did have an incline towards ‘Give into me’.
‘Give into me’ is one amongst a few of the totally new material that The Vryll Society have launched on Course of the Satellite. Having noticed that it’s a slightly shorter and less complex sounding track- at least compared to their previous singles and Eps, the band assure me that it’s of no significance to the direction the band are heading. Instead, songs such as “Give in To Me’, ‘Soft Glue’ and ‘Glows and Spheres’ serve as a display of “8 different colours”. In essence, the band wanted variety for their first complete project and with that, came some slightly poppier and “more direct” tunes. This really hooked the audience during their live set as the dynamic song changes acted as an instrument for re-intervention.
I did, however, question their reason behind not including their hit ‘Deep Blue Skies’, on their debut – a song they declared they were going to drop from the setlist just before they ended with it. The band unanimously agreed that there was no point in including a song they had already released, “why not include the new ones that we (they) think are better.” After noting that the band’s late manager and founder of their label Deltasonic Records, Alan Wills, would be very honest about the band’s material, I felt it necessary to ask what they think he’d have thought of the record. After a large discussion of reminiscing, the band agreed he’d be impressed and pinpointed that “Andrei Rublev” would have been his favourite.
The Vryll Society showcased a dreamy, serene and enigmatic performance that evolved into a totally sensual experience with ‘Air’, ‘Soft Glue’ and ‘Andrei Rublev’ being the highlights. It is clear the band have grown more confident and their investment into their live sets has truly paid off. Their drive and incessant hard work leave them yearning to play proper “arenas with light shows” or even become the first band to produce a “VR album”. Until then, the stellar quintet mention they wouldn’t mind working with “Kevin Parker and Mark Ronson” to experiment.
The ‘console war’: it’s been raging since the start of the 21st century, and has often divided gamers more than anything else.
Back in the early 2000s, we saw both the PlayStation 2 and the birth of its competitor, the Xbox. With a two year head start and a pre-existing fan base, Sony’s PS2 outsold Microsoft’s Xbox by 158 million to 24 million units, seemingly establishing a very firm foothold, if not a monopoly, in the console market.
The next generation, however, saw Sony squander their lead in the market in a remarkable display of hubris. Microsoft won the race to release by about a year and released their console at a reasonable price point between £209.99 and £279.99. Sony, following slightly in their wake (a time window not as large then as it might be now due to the enduring popularity of the PS2), then priced their console, the PlayStation 3, at a staggeringly aggressive £350 to £450.
Not only did Sony pitch their product far too high, but the Japan-based company went on to be really quite belligerent and stubborn in the face of the consequent backlash. Sony’s international president at the time, Ken Kutaragi, in particular, came out with some pretty astonishing sound bites, such as: “it is more than a toy. It is a PlayStation 3. And it is the only PlayStation 3. I hope that those who understand this will gladly purchase it,” and “no game machines are comparable to the PS3.” Earlier, he had said consumers could “works more hours to buy it” – which went down as well as you might expect – before putting the icing on the cake by saying the console was “probably too cheap”.
EvanAmos@Wikimedia
Whilst Sony were trying to spin the price as a mark of superiority, reviews for the PS3 were – at least initially – not all that good, with a lack of strong launch titles failing to excite fans and developers claiming its complex architecture made it difficult to program for. In addition, Sony endured a torrid 2011 with the PlayStation network being hacked, resulting in a 23 day outage. Consequently, the door was opened for Microsoft, and the two consoles eventually ended neck and neck, with the Xbox 360 edging the PS3 by 84 million unit sales to 83.4 unit sales.
At the dawn of the PS4 and Xbox One, things turned back in Sony’s favour. The release announcement of the Xbox One was marred with concerns about the focus on the Kinect, digital rights management (games – even hard copies – would be bound to one Xbox live account) and, fatally, the idea that the console would require an online connection at all times, disabling most key features after 24 hours of disconnectivity. Although most of these ideas were subsequently dropped, the PR damage was irreversible, and the Xbox One endured a wretched launch.
Sony, however, played much of the current generation with aplomb, featuring all the good ideas that Microsoft had and few of the least popular ones. Although the two consoles released simultaneously, the PlayStation 4 came in almost £100 cheaper, and, over time, established a vast library of desirable exclusives which the Xbox failed to compete with, especially as Halo and Gears of War saw decreasing popularity. Titles like Bloodbourne, Uncharted, Horizon Zero Dawn, and The Last of Us saw the PS4 catapulted to the top, and the PS4 outsold the Xbox One by double, Sony seeing over 80 million sales compared to Microsoft’s estimated 39 million.
And yet, events in the second half of the console’s lifetime have seen history repeating itself as it so often does. Now that Sony have seemingly re-established themselves as top dogs, there are several indicators that, in the last couple of years, they have lapsed back into the stubborn and uncooperative behavior that hurt the PS3 so badly.
When Skyrim was originally remastered, for example, Sony became most unreasonable about allowing modding – something they have failed to ever address or explain publicly. Seemingly unwilling to allow consoles to have modding capabilities, they eventually settled on a solution that mods would only be allowed using pre-existing in-game assets. This meant that all mods had to be cobbled together out of Bethesda’s in-game creations, and, as a result, most mods were minor quality of life tweaks and unimaginative amalgamations rather than the expansive master-pieces seen on the PC and – to a lesser extent – the Xbox One. Again, Sony chose to dig their heels in despite backlash.
More recently, they adopted a similar tactic in regards to cross-play – the feature that allows all games systems to play in one online environment. For months and months, they refused to play ball on the matter, seemingly without much reason, despite recurring calls from Nintendo, Microsoft, the PC community and a plethora of game developers imploring them to do so. They have also taken a bit of flak for the curation of their store, and for their unwillingness to let users change their handles. Again, little explanation has been provided for these; Sony pre-PS3 aloofness seemed to be rearing its head as the PS4 has found itself in a similar position to the PS2. The excellent God of War and Spider-Man – as well the increasingly popular PSVR – have some deflected any serious criticism that Sony might have received, but the signs still remain.
photo:Insomniac
Meanwhile, Microsoft have been slowing rebuilding their image, making a series of popular decisions like allowing backward compatibility, making specially designed accessibility controllers, backing independent developers at E3, and taking a more consumer-friendly sounding approach to “Xbox Scarlett” – the codename for the next Xbox. Perhaps what speaks most highly about the real threat the Xbox is starting to pose to the PS4 once again is Sony’s recent actions: in a very uncharacteristic move given the aforementioned, Sony have allowed both cross-play and username changes within the space of a month.
Perhaps Sony just had a change of heart, but something tells me that their memory of the PS3 has something to do with it. Indeed, though the PS5 and “Scarlett” may not quite be on the horizon, Sony and Microsoft have both confirmed they have begun work on the consoles. With that in mind, it is heartening to see Sony taking baby steps towards more consumer-friendly behaviour. With the Nintendo Switch also competing strongly, Sony cannot afford to weaken their position in the market when Microsoft are strengthening theirs. The idea that the PlayStation could be overtaken even in the next generation may seem inconceivable now, but consider how quickly Sony’s hubris turned the tables on the PS2 to give Microsoft the advantage going into the 360 generation.
Ultimately, we as consumers should reflect on this pattern of reactionary behavior in order to see the console wars in an entirely different light. It would appear that, whilst people remain divided over which machine is the best, that the two – along with the resurgent Nintendo – exist as part as a delicate but intertwined ecosystem in which they hold each other accountable, and continually drive each other to innovate and adjust. God bless the console war; long may it continue.
Vegan, Veggie or not, V-Rev’s Diner has extremely positive reviews and also an accordingly positive word-of-mouth support — I was curious. Being neither vegan nor veggie myself, I was genuinely excited to try some vegan junk-food and even more excited to be indulging without having to feel guilty about animals dying at my meal’s expense.
Firstly, the decor was not what I had expected. I had envisioned a cool, mismatched-diner vibe somewhat similar to the styles of it’s Northern Quarter neighbours; Almost Famous and Luck, Lust, Liquor and Burn. This was not what we got, however; my three girlfriends and I arrived to a lurid green and yellow room that frankly looked like a daycare nursery…
With half of us at the table being veggie, V-Rev’s had everyone excited looking at the menu — it looked amazing. Choosing from burgers, hot-dogs, club sandwiches, and mac and cheese, the familiar feeling my veggie friends had of limited choice and dejection at the lack of imaginative, varied food was long gone. I went for the ‘Notorious D.O.G’ (I hope you got as much joy from that as I did) with buffalo topped fries which sounded insanely good. Two friends opted for ‘chickn’ sandwiches, ‘Churri up we’re dreaming’ and a ‘Clubber Langwich’ with the last going for a burger ‘Whopper Way to Make a Living’ (again, brownie points for creativity here).
Whilst the decor isn’t matching, the prices at V-Rev are definitely in the ballpark of ‘Almost Famous’. My hot dog, topped fries, and drink came to just under £20, however, my anticipation for the best vegan cheat-meals definitely silenced this money-woe. When the ‘Notorious D.O.G’ stepped into my life with my topped fries I was wholly content. A vegan dog topped with ‘cheez’, homemade guacamole, coriander, and jalapenos alongside fries with buffalo sauce, ranch and more ‘cheez’. The fries were glorious, saturated in buffalo-ranch goodness. My first bite of the hot-dog was even better, a herby, well-seasoned sausage with the perfect combo of avocado, coriander, and jalapeno.
I would thoroughly recommend the hot-dogs, even with the slightly unsettling and unpleasant ‘cheez’ that they could have forgone altogether. My friends were less impressed with their meals; the ‘chickn’ in the two sandwiches was chewy, lemony, and unworthy of being the centre stage of the dish.
Most of the dishes were focused around a mock-meat of some kind, which, to a meat-eater was sub-par and to a vegan was unnecessarily trying to resemble something they chose to not eat anyway. My veggie friend commented that perhaps they would be better focusing less around imitating meat and focusing more on well-cooked and seasoned alternatives to meat, like pulses or mushrooms. As a meat eater, I agree that my hopes for a fantastic vegan restaurant would make me forget about meat by feeding me the best-cooked, vegan taste experiences, not offering up imposter meats that make veganism look like a lifestyle in which you’re always just taste and texture away from ‘the real deal’.
For four students the bill totalled £75 which felt expensive and over-priced. Whilst I thoroughly enjoyed my hot-dog and thought the vegan sausage was perhaps nicer than the meat alternative, my veggie friends were disappointed and didn’t believe the V-Rev hype as they felt over-charged and underwhelmed.
22 July is a compelling and emotionally demanding film that delves into the lives of some of the people who were impacted by the devastating terrorist attacks in Oslo and Utøya, in which 77 lives were taken.
Director and writer Paul Greengrass knew how big the margin of error was when creating this film. It could have been a triggering recollection of what happened, giving Anders Behring Breivik (hauntingly played by Anders Danielsen Lie) the attention he wanted: a platform for his abhorrent political ideology and rabid hatred.
Greengrass skilfully avoids this because 22 July in its entirety concerns so much more than the terrorist attack. He takes the events of a day full of despair, an indictment on humanity and its seemingly endless violence, and by the end makes it hopeful.
Greengrass shows us the dichotomy of what it means to be human in this film. He expertly portrays the terror and panic of the young children at the summer camp in which Breivik would mow them down. It is a difficult scene to watch, with shaky camerawork and jarring editing — which, admittedly, was initially lost on me but as it progressed it became clear what effect this was trying to achieve.
No detail is spared in the depiction of the shooting — nothing is left to the imagination. Whilst some might say this is unnecessary, I would argue the opposite. For us to truly confront the barbarity of what happened we must face it in its totality, and see what people can be capable of.
After a fast-paced start, 22 July slows down entirely and becomes a slow burn drama of sorts. The rest of the film follows the aftermath, including Vilijar Hanssen (Jonas Strand Gravli) recovering after multiple surgeries and battling the inner turmoil and trauma of what happened.
We witness with Hanssen the most painful emotions on-screen, in stark contrast to the vacant stares and cold emptiness of Breivik. The characterisation of the people doesn’t just show victims and monsters — it is a nuanced, three-dimensional portrayal of the worst and best humanity has to offer. This is Greengrass’s real triumph.
By the end of the film a solitary, hollow and defeated Breivik is signing papers with his lawyer. Greengrass manages to transcend the absolute misery that Breivik inflicted on an entire nation, and end an incredibly tragic film on a note of optimism and celebration of multiculturalism.
The true climax of the entire film, however, is when Breivik’s lawyer, Gier Lippestad (Jon Øigarden), turns to him and says: “you lost.”
In our current political climate, with Europe once again flirting with fascism, 22 July was a wakeup call that we all needed. We cannot be complacent with so much on the line, because when it goes wrong it does so in unthinkable ways.
Climate change is one of the most urgent issues of our time, and yet policy on environmental issues has remained trapped in a stasis of debate and conferences. As scientific consensus on the necessity of action deepens there does appear to be a genuine will amongst politicians and global leaders to enact change. However, despite numerous targets being agreed upon, and reams of agreements being signed and shaken over, big business and their lobbying groups maintain a stranglehold on climate policy.
A recent report by InfluenceMap, a UK based Think Tank, has highlighted just how paralysing corporate lobbyists are. Around 90% of the World’s 200 largest industrial firms are part of trade associations which actively campaign against environmental policies. In 2015 the Guardian reported that Shell lobbyists had dissuaded the EU from setting binding emissions targets for its member countries.
This cannot be how policy is dictated. It wouldn’t be accepted on a local level; if individual construction companies were found to be dictating urban planning by councils in the UK it would be called corruption. But the sheer size of business interest groups and their distance from our every day somehow makes the scheme appear improbable. There is almost an assumption that because meetings are all held around big shiny desks with the utmost professionalism, there can be no subversion taking place.
The fact of the matter is, however, that if the right decisions were being made and policymakers were putting the environment first, we would be existing in an entirely different world to the one we are now. Scientists and activists have been suggesting legitimate and feasible regulations for decades and there is significant public support for reform. Yet, this mafia-esque outfit of fossil fuel companies are making change too uncomfortable to enact.
Industrialists have captured the rhetoric surrounding environmental issues in order to harness the public support for climate action, whilst continuing to put the ecological future of the planet and its most vulnerable populations at risk. This strategy has granted them the moral, upper hand in all dialogues on climate policy. InfluenceMap have revealed a prime example of this in the actions of BP’s CEO Bob Dudley, who has made an enduring show of publicly supporting energy efficiency regulation, whilst BP is simultaneously lobbying governments and the EU for subsidies which support gas extraction and actively resists various programmes for renewable energy.
By intentionally keeping the world locked in patterns of unsustainable living in order to protect their short-term profits, fossil fuel companies and energy providers are dictating the fates of billions of people — whom they cannot even have a pretense of being able to speak for. Therefore, climate change is not just the most pressing issue of our times because of the ecological damage being wrought on the planet, but also because it is in the fight for climate action that we can confront the true face of corporate power.
The US Senate Judiciary committee last week voted 11-10 in favour of appointing Brett Kavanaugh as a Supreme Court Justice, despite allegations of sexual misconduct from three women. How can we ever expect justice for victims of sexual abuse in a society where women are damned if they speak, and damned if they don’t?
In the year following the Harvey Weinstein scandal that drove the founding of the #MeToo movement, the conversation surrounding sexual abuse and harassment of women in the workplace has skyrocketed. #MeToo has given women a voice and a cumulative strength within industries rife with abuse and presided over by men. The impact of #MeToo is also all over the media — several powerful men have been accused, investigated, and have lost their jobs.
The Brett Kavanaugh case would act as a barometer of the impact and scope of the movement. Did #MeToo have the potential to tackle ingrained biases regarding abuses that are found even at the highest points in the judicial system, or was it only limited to bringing to justice actors and directors with high profile victims? Sadly, it seems it would be the latter.
The vote in Kavanaugh’s favour, despite the candour of Christine Blasey Ford’s testimony (the first accuser), shows us that the #MeToo movement is yet to truly challenge the institutions and systems that are supporting abusers and disregarding victims.
Watching Ford’s brave testimony before the supreme court, I am without doubt that she is speaking her truth. The pain caused to her and to the women who have subsequently come forwards, Deborah Ramirez and Julie Swetnick, along with their families, is not one that could possibly be endured lightly. Yet, how is it that a Senate Committee could possibly vote with a clear conscious to appoint Kavanaugh as a justice of the highest US court? Despite the public outrage, #MeToo has clearly not been enough to change the problems so deeply ingrained within the judiciary.
Following the committee’s vote, the FBI is conducting a further investigation into the accusations, due to a call for review from US Senator Jeff Flake — an operation the White House, allegedly, continues to attempt to thwart. Julie Swetnick, the woman who “witnessed efforts by Mark Judge [and] Brett Kavanaugh … to cause girls to become inebriated and disoriented so they could then be gang-raped in a side room…” has now been excluded from the FBI investigations, reportedly due to restrictions ordered by Trump.
To make it clear, Brett Kavanaugh is not on trial for rape; these allegations are not going to see him imprisoned. These women hope only to stop him from becoming a supreme court judge, a position with the power to influence the way that cases of abuse are handled and exert genuine sway over society. The fact that, despite multiple allegations of abuse made by women with nothing to gain, those in positions of power still are not taking women’s accounts of abuse seriously, shows us the limits of the #MeToo movement. Regardless of the outcome of the FBI investigations, it remains deeply worrying that the Senate committee was able to vote in favour of appointing Kavanaugh.
“Can you come and smell this milk for me? Its 3 days out of date but I think it might be alright.”
I am sat in the kitchen of my student home, midway through interviewing some of my housemates on the struggles they face due to lack of student finance, and the harsh realities of these struggles are already being manifested. The milk, we decide, is probably ok and Jess proceeds to pour it into our mugs of tea.
I, myself am lucky enough to receive the highest student loan plus a pretty substantial bursary which has allowed me to have a wonderful summer filled with an abundance of unnecessary holidays. However, listening to my friends’ difficulties in maintaining a decent standard of living has made me realise that student finance is indeed a broken system.
During our interview, Jess explains how she often skips meals in order to save money, living on a diet mostly consisting of 25p packets of noodles and bottles of mayonnaise, and of her frustration at being unable to join one of the sports societies because of the high costs of joining and of kit etc — both factors being detrimental to her health. Although Jess’ parents earn a reasonable amount of money (putting her in the lowest bracket for student finance) they have a large mortgage which means they are unable to provide their daughter with enough money to sustain a decent standard of living.
Another of my housemates, Megan, explains how her student loan (also in the lowest bracket) did not cover her rent last year so she had to get a job to be able to cover the costs of living. Megan feels that this job massively affected her uni work, as she had to take two buses there and back which amounted to three hours of travel. “Some days I would leave the house at half eight to get to uni and not return from work until midnight” she explains. Adding that her boss had her work double hours during exam season which she feels affected her grades.
Another point raised during my interviews is the regional differences in the cost of living. Henry, a student studying at The University of Surrey expresses his frustration at the fact that his rent is £600 a month, however, he gets no more money than someone studying in the north — my own rent in Manchester is almost half of his.
“This summer I had to work full time in an office job, which was incredibly draining and massively affected my social life,” he said. Although he spent most of the holidays in an uncomfortable suit staring at a computer screen, Henry wasn’t able to save up enough money for his rent since his deposit and retainer fees alone amounted to £1500. He feels that he will be unable to get a job during term time because of the high demand of his course and is therefore unsure about where he will be able to get the money to pay his rent.
My final interviewee comes from the Channel Island of Guernsey. Although not classed as international students, as it is a crown dependency, students from Guernsey receive no student loan and instead get a minuscule grant. Dylan’s grant is £100 which doesn’t even cover the cost of a return flight to Manchester. “It’s ridiculous because even the students with the smallest loan in the UK get their tuition fees covered and a minimum maintenance loan of £4,054.” Because of this lack of funding, Dylan was unable to afford the study abroad programme, which, having already accepted a place at the University of Amsterdam, he found disheartening and felt as though he was missing out on an extremely enriching experience.
Having experienced my friends starving themselves, and sacrificing their grades in order to be able to afford to live at university, I believe we need to re-think the system. Instead of just assuming that parents with a decent income will throw all of their money at their children, student finance should take into account mortgages and regional differences within the costs of living. The minimum loan should be increased to allow all students to be able to afford their rent without either sacrificing their learning or plunging their parents into debt.
Peaked Apparel was launched back in 2012, as an online shop, and the creative direction has always been in the hands of Conor Peek. The brand’s signature look lays in an alternative, darker style which commonly involves pop culture artwork as well as typical scene motifs like moons, pentacles, and skulls.
Conor Peek’s genuine enthusiasm for this alternative aesthetic is very much conveyed throughout the brand and is clearly contagious. As the Instagram page sits at 11,000 followers, and 76,000 likes on Facebook, with a clear cult following of the brand. As I spoke to Conor, we discussed the future of the brand, its creative inspirations ,and the trials it has faced.
One thing Peaked Apparel recognises is the need for harmony and diversity within the alternative fashion market. It could be argued that in the age of social media, it has become easier than ever to discover new styles and a number of independent labels, so people have the chance to be more open and experimental. Brands like Peaked Apparel have responded to this booming sub-culture, incorporating a measure of joviality to traditionally Gothic templates.
He says “when I was creating Peaked back in 2012 I wanted to make sure I didn’t fit into one box… I aim to bring out something for everyone be it a moody dark aesthetic or a fun meme inspired design”, thus allowing it to represent a playfulness that is often missing from the mainstream market.
Another important thing about Peaked is the communication between their staff and customers. Their Facebook page is incredibly active, both in terms of frequent updates and promotions, but within the comments section. Fans of this brand are passionate about it, and are driven by the understanding that staff respond to a remarkable number of messages, engaging the customer on a personal level and making them feel like a significant contributor to the brand.
I asked Conor about this rapport and interaction with customers, asking if the decisions of the company have ever been determined by customer input. He told me “over the years we’ve had suggestions. Now and then and I read them all… but we always put our own spin on it to make it the Peaked branding we all know.”
The topic of creative influences is interesting when looking at Peaked, as the brand is so dynamic. Collaborations are one of the ways in which Peaked Apparel stays ahead of the curve, pioneering projects with people directly involved in other media.
Notable projects occurred this summer, when they partnered with Andy Glass from the band We Came As Romans for their ‘Peaked X Glass Collection’. The designs included graphics of snakes and magic, with an overall theme of dark wisdom and wizardry. Conor credits “friendship and a love of their work” for their collaborations.
Peaked experienced further success at the start of September, when it was announced that they were launching a physical shop for the first time. Conor is evidently thrilled at this achievement. He told me that it “was always a dream” to get a brick and mortar store, and that he “couldn’t be more excited” to show his plan for the future unfold.
As well as his enthusiasm I also detected a degree of impatience, but of a kind that is deserved. For as much as he was able to get things in order, third parties proved an obstacle to his plans and his schedule. “The Uninvited Store isn’t actually open as of yet. We hit so many delays with the building due to previous tenants and the age of the building that it kept getting pushed back but it’s finally nearly ready for the public”. Conor was eager to make it clear that this “won’t be your average retail store”.
Currently, the brand has just released a new horror-inspired “Icons Collection” with two available prints – Pennywise the Clown, and Michael Meyers from Halloween. Both have their own appeal, and Conor announces his plans to release a “Volume 2” to the collection if anything great comes to mind.
With a lot to anticipate in the near future, current releases to take advantage of, and there being no sign of an exhaustion of creative talent, it could hardly be a better time to be a fan of Peaked Apparel and see a success story outside of the typical mainstream.
Picture this: you are five years old again. Reckless and full of energy, you spend your days drawing anything, running anywhere and playing with anyone. Until one afternoon, when you have a bad fall and scratch up your knees. Your mum and dad dash across the playground as you writhe on the floor, bawling your eyes out. They lift you up and investigate the wound. They always know what to do.
In his deep, stoic voice, your dad’s prognosis is that you will indeed survive this minor injury despite overwhelming thoughts in your head thinking no human being has ever experienced this much pain. You snort and sniffle as you gasp for breath to wail some more, but then he brushes off the dirt from your knees and your mum kisses it better. The tears dry up. The pain dissipates, and so you return to your care-free days.
This is the power of the placebo effect. Without any form of pain medication, you were “tricked” into feeling better. The mechanisms of the placebo effect are far from understood. How are our bodies and minds conned into healing themselves and could we harness this effect for medicine and science?
As part of Manchester Science Festival and Clod Ensemble’s project “Placebo”, I attended a panel discussion featuring experts from medicine and healthcare, science, and art examining the overlap of the fields when considering placebo. Among the panel was Anthony Jones, Professor of Neuro-rheumatology at the University of Manchester. Alongside him were Melanie Wilson, a multi-disciplinary performance maker, and Jeremy Howick, Senior Researcher and Director of the Oxford Empathy Programme at the University of Oxford.
Before the panel even began, Howick implored the audience to think of a “placebo” in other non-medicinal instances by presenting some magic tricks. In essence, magic tricks work in the same way as placebos. By drawing away attention at precise moments, the mind is fooled into believing something is true when, in fact, the opposite is. Placebo works in a similar way: give a patient a sugar pill, and assure them it’ll cure their ailments.
In many cases, patients have reported improvements in their chronic pains despite receiving nothing more than good bedside manner and a sugar pill. To Howick’s silent approval, Jones noted how consultations can be a performance. Doctors are trained to consistently deliver news optimistically because it is shown to have a positive impact on the outcome of the patient.
Later, he drew into question why certain professions like herbal doctors and acupuncturists still exist in this day and age when they have long been discredited as “pseudoscience”. As a sufferer of chronic pain, Jones admitted visiting a herbal doctor as a last resort. Despite leaving only with a prescription of plenty of ginger tea, he found a significant improvement in his own well-being. These professions clearly exist because they do indeed work, even if only for a few.
Howick had plenty left up his tartan sleeve for the rest of evening. To demonstrate further how the mind “jumps to conclusions”, he asked the audience to guess the material of his bowtie. Silk? No. Polyester? No. Cotton? Yet again, the answer was no. To the audience’s surprise, the answer was wood. You see what you expect to see, hear what you expect to hear.
In his final statement, Jones included a troubling statistic that half of the elderly population takes up to five pills every day. Even as a veteran of human anatomy, he still finds himself astonished by its self-healing capabilities. Why then, he posed, are we not prescribing placebo pills as medication when we know it only has beneficial impacts. Citing constant NHS budget cuts to support his argument, he fully believed placebos were the way forward for public healthcare.
It was surprising to hear academic experts discuss the fuzzy nature of medicine and healthcare and the impact of art and mindfulness on the soul. With placebo, there appears to be symbiotic relationship between science and art which is fascinating since they are usually so separated.
A report by the Ro yal Academy of Engineering and Royal Society claimed that this target could be met if certain greenhouse gas removal methods are implemented, but the IPCC’s report implies that the nature of these changes required would be “unprecedented”. They state that a global investment of about 2.5% of gross domestic product (GDP) will be necessary every year, for twenty years, to ensure the target of a 1.5°C rise is met.
The urgency of this issue is addressed in the performance piece, which has been composed by Richard Evans. We spoke to him to find out more about Sentinel, which he describes as a “creative response to climate change and forced migration”. A refreshing perspective, Evans hopes that the show will depart from the typical lecture or documentary. Sentinel combines electronic music, data visualisation, and video content that aspires to entertain audiences of all ages, as well as inform.
“Climate change is the issue of our era – it affects all of us; it affects all life on Earth and will continue to do so for generations. The subject allows us to look at ourselves and our responsibilities to one another, to our descendants, as well as to other species”.
Featuring electronic, cinematic and ambient music, Evans says the development of the performance came from each song’s theme. There are “synthesised waves in a piece about sea levels, mechanical rhythms in a piece about industrial farming, vocoder voices to represent stock market algorithms and so on”.
To create visuals to accompany the songs, the audio is shared with data visualisation artist Valentina D’efillipo. “Each composition looks at different elements of climate change like chapters in a book. One of the new songs, Protocol, came from Valentina suggesting we develop a piece about the environmental impact of meat production. On stage, vocalist Charlotte Dalton and myself perform within a cube covered in gauze screens, whilst Valentina’s art and other video content are projected on to the screens by our technical team, VJ Joel Clements and lighting designer Tarrick Wilks”.
As climate-change continues as a pressing issue for the world, Evans’s production can be taken everywhere, with components added or removed depending on the venue. He is currently developing a Sentinel album, festival appearances and a UK tour for late 2019.
You can see Sentinel performed as part of the Manchester Science Festival at The Waterside, 25th October 2018. Tickets are available here.
Playful and brutal, poetic and jarring, Placebo,is both thought provoking and visually spectacular. Underpinned by a striking soundtrack that fluctuates from soft, classical scores to infectious club rhythms (covering every genre in between); the audience quickly find themselves enraptured in director Suzy Wilson’s exploration of the power of the placebo.
Seven performers enact a series of ‘experiments’ (some requiring the help of the audience) that explore the ways in which changes in colour, light, sound, movement, and suggestion can all affect our perception. Wilson’s production seeks to challenge negative perceptions of placebos, and questions their possible role in mainstream medicine.
“Experiment one,” a computationally synthesised voice blares, and the audience is blinded by a dazzling white light. The start of Placebo is disorientating. Harsh lighting and emotionless mechanical movements lend a cold, scientific cadence to the play’s opening sequences. The uncaring voice-over orders the performer through a series of ‘experiments’, some causing the performers pain, some causing pleasure. Aided by Paul Clark’s masterfully composed soundtrack, the audience share in this emotion.
Changes in costume and music invite us to consider how subtle changes affect our emotional response to the ‘treatments’ that the performers are subjected to. As the play progresses, the cold, ordered approach breaks down. Sequences are repeated and distorted as the performers succumb to individual desire. The play takes on a fervent feel and a performer remarks, “this isn’t making me feel better”. The chaotic, overlapping narrative causes us to question the performers’ treatments – what is fake and what is real?
In the early ‘experiments’, the purely scientific approach is portrayed as systematic, uncaring, and sometimes ineffectual. Conversely, the more personalised approach presented in later experiments are shown as natural and euphoric, but also sometimes ineffective. Wilson’s production asks the question: is the false essence of the placebo a negative thing, or is it something positive – something to be utilised?
A placebo is an inactive substance or sham treatment administered to a patient, that has no inherent therapeutic properties. Despite this, the administration of placebos sometimes result in healing by tricking the body’s natural self-healing capabilities. Studies have shown that the shape, size, or colour of a pill can affect its healing efficacy. For example, yellow pills have been found to be the most effective in treating depression, while pills stamped with a brand name stamped are typically more effective than the same pill with no visible brand.
Historically, the success of placebo treatments has been viewed as an embarrassment in the medical profession. If a trial in which trial groups taking a new drug and a placebo both resulted in the same level of healing, the drug was deemed a failure. Wilson seeks to challenge this view with Placebo. In the post-show Q&A, she highlighted recent research into the importance of rituals in medical treatment. While a placebo won’t fix a tumour or a broken bone, studies have shown placebo remedies to be effective in certain fields, especially in pain reduction.
Much of the inspiration for Placebo comes from Wilson’s work with healthcare specialists. The Clod Ensemble run a programme, Performing Medicine, which works with healthcare professionals. They offer courses on how to involve arts in the medical care sector. They cite studies that show that prescription of arts related activity can be hugely beneficial in healing and care, particularly for older patients.
Placebo will play in Brighton, Preston, and end with a two-week run in London. Alongside the play, the Clod Ensemble are hosting a series of talks and workshops aimed at bringing together scientists, artists, architects, ethicists, writers, and anthropologists to explore the power that our beliefs, rituals, and attitudes can have to affect our own healing. Details of these events can be found on their website.
