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Month: November 2018

mars Photo: NASA @ Wikimedia Commons

InSight probe successfully lands on Mars

Written by lukeedwards on . Posted in Science & Tech, News.

At 19:52:59 UTC on 26th November 2018, NASA’s latest analytical probe landed on the surface of Mars. The probe has the objective of gathering predominantly seismological data to better understand the internal structure and rotation of the planet.

InSight (Interior Exploration using Seismic Investigations, Geodesy and Heat Transport) is an international collaboration whose success is widely hailed as a large step forward for space exploration and discovery, as well as for humankind’s insatiable appetite for finding a new home for our species, despite a two-year delay.

InSight will gather data that will be 3-10 times more accurate than any preceding probe. The previously poorly understood science of ‘differentiation’ (the composition, formation, and evolution of planets) for the Solar System’s terrestrial planets – Mars, Mercury, Venus, and Earth – may finally gain some clarity.

Large amounts of the data that InSight will be able to collect over the course of its 709 sol (2 year) mission will be due to meteorite impacts on the surface of Mars that send vibrations through the layers of the planet. There are 10-200 of these detectable collisions per year. InSight will be able to measure the characteristics of these vibrations, giving vital clues to the internal structure of the planet. In addition to this, seismic activity (Mars-quakes) will also be recorded and analysed.

The mission’s secondary objective is to study the geophysics, tectonic activity, and the effect of meteorite impacts on Mars, which could provide knowledge of such processes on Earth.

As part of its public outreach efforts, NASA also included several 8mm silicon wafers on the mission’s payload. The wafers were engraved with nearly 2.5 million names of members of the public. An electron beam was used to etch letters only 1/1000 the width of a human hair onto these wafers, the first of which was installed on the lander in November 2015.

There has long been talk about the possibility of a manned mission to Mars, not least because it is the most similar planet in the Solar System to our home planet, Earth. The InSight mission is important as it is further defining our understanding of this planet, and hence increasing our preparedness if or when we undertake the voyage over there ourselves.

However, there are difficulties that present themselves regarding such a fraught undertaking, which don’t include just the technological issues. Many people overlook the fact that space itself, not the journey there, is the most challenging obstacle with manned missions.

Factors such as astronauts changing gravity fields, isolation and confinement, hostile and closed environments, and space radiation have recently surfaced as reasons why some people have been starting to err at the prospect of a manned mission to Mars ever being possible at all, or at least not until the distant future.

Figures such as Elon Musk, the CEO and ex-chairman of Tesla, as well as the co-founder of many other companies including PayPal and SpaceX, have expressed the goal of making the first Earth to Mars flight as close as 2022. Within 100 years of this date, they anticipate the established colony to be capable of being entirely self-sufficient.

This is a bold and exciting claim, and one that will require a lot of innovation, experience, and determination to achieve. NASA and other space agencies have already put in a lot of the legwork towards recognising this ambition, including creating the basis of counter-measures against the hazardous aspects of space travel that were mentioned earlier.

Regardless of the different estimated time scales for a potential Mars mission, what is known is the mission would require significant research to form an understanding of the difficulties and problems associated with it. That is what InSight is currently undertaking, and with any luck, it may pave the way for manned missions and further innovations in our lifetimes.

Photo: Gaby Hartfield

Fight period poverty with ‘Once A Month’

Written by Victoria Evans on . Posted in Lifestyle.

Periods: a taboo topic to discuss, but there is no shying away from them. It’s a cycle of fighting off dreaded cramps, battling mood swings, and worrying about facial outbreaks – unfortunately, periods are a natural part of womanhood. Going beyond the need to dismiss the claim that tampons are a “luxury item”, we ask how many of us class sanitary products as essential? For many homeless and vulnerable women across the city of Manchester, access to sanitary products is denied. This is period poverty.

‘Once a Month’ is a Student Action project, set up by students Gaby Hartfield and India Burgess to fight period poverty in Manchester.

I spoke to Gaby Hartfield, a second year Law and Politics student about the ‘Once a Month’ project. Gaby is the training co-ordinator for Student Action, and shares the role of Homelessness Projects co-ordinator with India. The girls set up ‘Once a Month’ in September. Their vision is to fight period poverty by providing sanitary products to vulnerable women across Manchester. Through the packaging and distribution events they run, they hope to create more awareness within the student community about the extent of period poverty and its effects.

Thus far, Gaby and India have hosted a packaging event in November, with a Christmas session scheduled for 12th December.

So, what are the packaging events?  The girls buy the sanitary products and packaging materials before the session and then book a room for the group to come together and pack. The packages include tampons, sanitary towels, hand sanitiser, baby wipes and a chocolate bar – enough products to last a cycle. In the November session, over 30 volunteers attended to create more than 60 sanitary care packages. The group go to the city centre and distribute the packages to homeless women living on the street. They then give the rest of the care packages to Mustard Tree Charity, the group’s partner charity. Gaby explained how “the response to the first session was overwhelming.  All the girls were so passionate, efficient and amazing!”

She went on to explain how they are excited about the upcoming Christmas project. With an aim to increase the number of boxes packed with the help of even more volunteers, there is no doubt the project is already a success. Each box will contain the basic contents with some festive treats such as Christmas chocolates and hand-written cards. The project is growing as Gaby and India reach out to other charity organisations in the new year. In addition, they have organised a Valentine’s Fundraiser; this will include a bake sale where people pay with sanitary products rather than money.

The community needs to tackle the problem of period poverty. Many homeless charities hand out razors and condoms but there is seldom an allowance for sanitary products. However, the homeless community isn’t the only place period poverty occurs. In 2017, more than 137,700 girls missed school because they could not afford sanitary products. Gaby would like to see the education system tackling the problem by creating awareness within its curriculum.

‘Once a Month’ is a compassionate project set up by women for vulnerable women. Something as simple as sanitary products can go a long way in easing the struggles of women who sleep rough. A little help can have far reaching effects; Gaby and India encourage both men and women to get involved in the project.

The Facebook group called ‘Once a Month – Student Action Project’ provides further information. Tune in to BBC Manchester this Thursday 29th November at 7pm to listen to Gaby and India talk about the homeless projects they run.

Photo: Alicia Premo

The bigger the better? Unmasking the ugly face of male fitness

Written by Emma Price on . Posted in Lifestyle.

Male Instagram fitness accounts are a whirlwind of masculinity. They centre around the triumph of the ‘riser and grinder’, the ‘struggle’ and the ‘hardship’. This contributes to a dangerous affirmation that never giving in is a sign of strength.

In the face of rising awareness about male mental health, the implicit messages behind male motivators’ accounts are potentially dangerous. They go against the positive improvements society has seen regarding men talking about emotions and reaching out for help.

I realised a crucial element was missing from the male fitness accounts, after hours of scrolling through Instagram. Women fitness influencers share encouragement and recognise vulnerabilities: the gym can become a platform for self-love and communal effort. But too often, I felt a cold withdrawal of emotion on the male accounts. Their purpose was purely to lift more and look good with a shirt off.

This deprives men of the opportunity for self-love through exercise and sets unrealistic expectations of body image and gender roles. Instagram promotes the ‘ideal’ body as a symbol of optimal masculinity. A whole array of symptoms come with this toxic portrayal.

Men are culprits (as well as women) of editing photos. However, the adjustments are more likely to go unnoticed. Influencers often edit photos to falsely advertise a ‘quick and easy’ route to look like them. Although a quick money fix for the promoters, it can have detrimental impacts on men’s self-esteem and body image.

Companies offering protein and other supplements can be useful. But, many exist solely to profit off insecure, vulnerable beginners who don’t know any better. Some of these products are also backed up by poor research and can be dangerous. Gymtalk argues that the ‘shortcut to fitness’ concept is a main marketing approach of such companies.

On the topic of irresponsibility is the deception that surrounds steroid taking, particularly on the male side of fitness. The physiques of many of the ‘biggest’ models cannot be achieved naturally on a 5-day split program eating rice cakes and chicken. But our unhealthy obsession and innocent naivety can deceive young men into buying falsely advertised and unrealistic body types. Not only this, but the disappointment of not reaching the desired outcome, even after months of dedication, could lead to serious negative emotions.

Peter Ward, a second year student, commented on this problem: “There is a vast amount of very influential people that claim to be ‘natural’ but in fact, they’re taking some sort of hormone enhancers”. He also noted a change he has personally witnessed on Instagram. “Only recently have some [fitness influencers] started to come clean about the supplements they have been taking and why. This is a step in the right direction.”

There is a long road to recognising the misuse of Instagram to abuse men’s search for information about fitness.  The repeated message of ‘hard work’ and ‘self-motivation’ glazes over the vortex of false advertisement and unrealistic bodies. For the sake of both physical and mental health, there needs to be a collective movement to make Instagram more transparent.

 

Photo: Elena Bradley

Review: ‘Polpo, A Venetian Cookbook’

Written by Elena Meritxell Bradley on . Posted in Food & Drink.

A student trip on the Orient Express to Venice in the mid-eighties spawned Russell Norman’s adoration for Venetian cooking. This then paved the way for his seven London-based ‘Polpo’ restaurants (‘Polpo’ means octopus in Italian). Opening in 2009, the crammed bustle of the Venice streets was mimicked by Polpo’s immediate London success. With that success, Norman’s book was published. Based on the Venetian philosophy of bacàri (tiny wine bars), cichèti (Italian ‘tapas’) and aperol spritzes, the book is a refreshingly minimalist read. It is littered with beautiful photos of Venice and divided into cichèti, bread, fish, meat, vegetables, desserts, drinks and gazetteer (a section describing Venice’s best eateries). The book’s beauty lies in its simplicity and modesty.

Though self-effacing, the food it details is certainly not. Whilst Norman explains the origin of Venetian cichèti (“a single anchovy from a tin wrapped around a single pickled onion stabbed with a toothpick”), the book screams chic dining ideas and impressive, effortless taste combinations. Norman’s ‘holy grail’ – ‘cichèti ‘baccalà mantecato’ – involves salt cod, which is sadly something the UK neglects but something that my Catalan family stuffed me full of – it’s delicious. The cod is flaked with olive oil into a cream, topping toasted baguette with roasted fennel. I promise you the directions are as simple as that explanation.

In the bread section, the spinach, soft-egg and Parmesan pizzetta makes use of their classic pizza dough. It showcases runny yolk on a pizza which is something everyone needs to try. As a fish-lover, the John Dory with orange, fine herbs and pink peppercorns is something that I cannot afford to make but want to go under the breadline for. Something I can afford to make, however, is the linguine vongole. A classic Italian dish of linguine with clams, white wine, chilli and offensive amounts of garlic (I don’t offend easily).

The meat section has multiple kinds of ‘polpette’ (large meatball) ranging from the classic pork and beef to the more sexy duck and porcini and lamb and pistachio. Each braised in a tomato sauce, these are delicious with pasta or simply with hunks of baguette and a fork. The duck, black olive and tomato ragù, was absolutely divine. Whilst you may be thinking these recipes are incompatible with uni life, I did in fact make this ragù last year on an Oak House hob and managed to persuade my gentleman diner that I was resourceful enough to fondle. With ‘osso bucco’ (braised shin of beef) saffron risotto  and panzanella, you too could secure yourselves a fondle from whomever you cook this for.

Fondling aside, the dessert section is understated but classy. Walnut and honey semifreddo, saffron pears with meringue and blood orange and campari cake are exactly the kinds of Venetian sweet that force you to try something new but also make you look incredibly cosmopolitan. All incredibly straight-forward in direction too – a godsend for those who feel less comfortable with the art of baking. Ultimately, this book would make a perfect present for foodies and the aesthetically concerned. It’s easy to follow, filled with delicious content and most importantly… looks stunning on your bookshelf.

10/10.

Photo: Toumi Fethi @ Flickr

Jailed academic returns home from UAE after receiving pardon

Written by Josh Sandiford on . Posted in News.

The British academic recently sentenced to life in prison in the United Arab Emirates (UAE) has been released after receiving a pardon.

Matthew Hedges, a 31-year-old PhD candidate at Durham University, was accused of spying for the UK government whilst in the UAE researching his thesis.

UAE prosecutors said that Hedges had confessed to the charges but the Foreign Office has repeatedly denied that he worked for the British secret services.

Hedges has now returned home after being arrested at Dubai airport in May and reportedly spending 6 months in solitary confinement.

He was greeted by his wife and members of his family after landing at Heathrow airport.

Daniela Tejada, Matthew Hedges’ wife, thanked “friends, family, media, academics, and the wider public” for their support and added that she and Hedges had been “through hell and back,” and “would really appreciate having some space to catch up on much-needed rest.”

The news of Hedges’ release comes after a frantic diplomatic push by Foreign Secretary Jeremy Hunt and British diplomats working in the UAE.

Mr. Hunt said in a tweet that the UK is “relieved and delighted” to have the academic home. He also praised the British Ambassador to the UAE and his team in the UAE British Embassy for their “tireless work”.

Ms. Tejada has campaigned for the release of her husband for months, setting up a petition that currently has more than 240,000 signatures.

A number of UK universities, including Durham University and the University of Exeter, began the process of cutting ties with the UAE recently due to the jailing of Hedges. Staff at the University of Birmingham also voted for an academic boycott of a campus in the United Arab Emirates.

Mr. Hedges praised his wife after returning home, saying: “[Daniela] is so brave and strong, seeing her and my family after this ordeal is the best thing that could have happened.”

Slaves Photo: Hannah Brierley @ Mancunion

Live Review: Slaves

Written by owentrimming on . Posted in Music.

After the release of Slaves’ third studio album Acts Of Fear And Love, hunger for their upcoming tour has been rife. This anticipation that has proven more than well deserved.

Isaac Holman and Laurie Vincent continue to keep punk alive for a new generation with consistently electrifying performances and Manchester was no exception. With new material to offer fans, the setlist continues to grow in scope and diversity. Isaac’s latest lyrics explore issues from commercialisation to social media presence. Yet even with complex themes, the new tracks suit Slaves’ style well with chorus lines that a whole audience can chant.

The duo opened with a cover of Skepta’s ‘Shutdown’ which fans have grown to love and is now essential to any performance. Punk and grime compliment each other well, sharing common ground in political edge and aggression – although perhaps it would have more appropriate to start with one of their own tracks. Next came ‘Sockets’ with intense pacing on drums matched with thrashing guitar. From then on the tone was set for the whole night with mosh pits breaking out at every opportunity.

What remains impressive about Slaves is that with just two members they achieve a level of energy that many larger bands can’t even dream of. This was summed up perfectly with their performance of the fast-paced 45-second track ‘F*ck The Hi-Hat’. Isaac riled up the crowd with everyone repeatedly screaming the song title before its delivery. The whole affair was a middle finger to everyone who turned down joining their band in the early days. I don’t think there is anyway you can characterise this duo better.

Slaves make the crowd feel essential to the whole experience with a jovial atmosphere. Members of the audience were even encouraged to hug a neighboring stranger echoing this contemporary thriving punk ideology of love must be made known. During ‘Cut and Run’ they took two volunteers up on stage to perform the dance featured in the music video. Whilst one of the volunteers aced the dance, the other was unfortunately kicked off stage for lying about his credentials.

Highlights included ‘Photo Opportunity’ which was a welcome change of a pace in the setlist. During the acoustic rendition, fans were encouraged to put away their phones to fully appreciate the moment. It was disappointing to see some still recording; clearly, the point of lyrics such as “What are you trying to do to me? This isn’t a photo opportunity” was missed. The thematically similar ‘The Lives They Wish They Had’ features some of Isaac’s best lyricism to date, highlighting issues with how people present themselves on social media. The climactic finish to the track was one of the most impactful moments of the set.

The night would not have been complete without the final track ‘The Hunter’. This fan favourite remains the best live offering from Slaves and was a fitting end to an outstanding performance. It was disappointing that an encore was noticeably absent despite an audience calling for more, but there is little else to criticise from a band who have undoubtedly mastered their stage presence.

9/10.

 

Photo: University of Manchester Students' Union

FundIt is a farce

Written by Jacklin Kwan on . Posted in Opinion.

FundIt is a mess. Worse still, it is the main means by which student societies in the University get financial support from the Students’ Union. The way it works? Student societies are forced to directly compete for a limited pool of SU funding in some parody of a democratic process.

For a student society to gain financial help from the SU they need to bid at a FundIt event. The competing societies all give a two-minute presentation on their respective proposals, and based on those presentation, each society must vote on who they believe deserves funding. The ones with the most votes get their bids (or a partial part of their bid), and everyone else goes home empty-handed.

Even those who are unfamiliar with the FundIt system can probably see why the process has glaring issues. Firstly, the people who decide whether or not your society deserves funding is not an independent SU committee, but other societies you are competing against. If this sounds illogical and rife with conflicting interests, that’s because it is.

Why do completely unrelated societies have any right to determine what constitutes a ‘good’ bid, especially since their decision is based on a rushed two-minute presentation? This is nowhere near enough time to communicate what a society does, or why it requires funding, and the purpose and efficacy of its projects.

Another disturbing aspect of FundIt is that societies must present the balances in their bank accounts during the event. Supposedly, this is meant to give transparency to the financial health of respective societies, but the numbers presented are incredibly misleading.

For example, larger societies may host huge events that require them to have adequate funds in their accounts at certain times of the year. The high balance in their bank account doesn’t mean that they do not need money for other projects they are organising. Another situation is that a new committee could inherit debt from previous years. This doesn’t mean the people in the society currently are financially irresponsible.

Therefore, the metric upon which societies vote are themselves distorted. They are based on misleading numbers and an inadequate amount of information. There is a narrow scope of bids which will be successful; flashy projects that can bedazzle an audience in two minutes.

Even after ignoring all these criticisms, anyone would be able to see that there are distorted strategies to bidding successfully. Just form a voting bloc with other societies, and agree to vote for each other’s bids. This leaves newly formed societies, or societies without nepotistic links, out in the cold.

The University of Manchester is an exception in how it allocates student funding. Most SUs across UK universities such as Sheffield, Durham, and Birmingham all have independent committees which review proposals and conduct measured assessments.

In contrast, FundIt removes the burden of allocating resources from SU representatives to random students who all apply for financial help. The equivalent would be if all the students who apply for financial aid are forced to review each other’s applications rather than a university administration office.

FundIt is no less than the abandonment of student societies that form an integral part of vibrant campus life.

Eduroam Photo: Vector Background @ Wikimedia Commons

Lift the porn ban

Written by amymorris on . Posted in Opinion.

Depending on your remit of news, you may or may not know that the University of Manchester has banned students from browsing all porn and sex toy websites on Eduroam. This is true of most universities in the UK who use Eduroam as their internet provider.

Whilst there are undoubtedly ways to get around these restrictions, the fact that students, considered by most to be adults, are barred from watching porn is unacceptable.

There are many issues with porn from basic objectification to encouraging rape culture. However, it is not up to the University to parent us by putting blocks on what we can see. This is a period in young peoples’ lives when they are beginning to find their way in the big bad adult world and the University do not have the right to decide how they do this, especially in the world of sex and relationships.

Porn is not illegal in this country so what gives Manchester the right to ban it? University is meant to be a place championing free thought and open discussion. I would understand if the University solely banned illegal porn sites, but the current rules are a blanket ban on all websites dedicated to pornographic content, including feminist porn sites.

This gives the impression that people who watch porn are dirty and immoral – something which is a step in the wrong direction of a society which should be taking a more positive attitude towards sex.

Porn is not inherently bad or anti-feminist. Whilst the current industry has many issues it doesn’t mean all porn should be banned. I would encourage people, men and women, to find feminist porn.

The ban does not allow you to access online sex shops which sell sex toys, but also basic necessities fundamental to safe sex such as condoms and lube. No matter the University’s opinion on pornography, there is no reason whatsoever for banning students’ access to these products.

The student population of Manchester University seems to have a positive outlook on sex and sexuality; the Student’s Union are happy for students to give out free STI testing kits. Clearly the University are out of touch with their students.

It would be more understandable if Eduroam was only used on campus. As hilarious as it would be to spot someone watching porn in a lecture, it is probably not suitable for an educational environment. However, Eduroam is also the WiFi used in all University of Manchester accommodation. Thus, the ban prevents people watching porn or buying condoms online privately in the comfort of their own room.

All that this porn ban is doing is forcing students to use dodgy apps to be able to watch porn and buy vibrators, opening up their computers to the gonorrhoea equivalent of online viruses. The university needs to grow up and lift this ban. 

Photo: Football.au @ Wikimedia Commons

City rescue draw after tough contest in Lyon

Written by Sam Honey on . Posted in Sport.

Manchester City remain on course to top their group in the Champions League after a resolute showing at the Groupama Stadium.

The two sides were battling for top spot heading into the match, with Lyon knowing that realistically they would have to take all three points to remain in contention.

Anything short of the result would all but confirm the Citizens finishing at the summit of Group F.

The away side found themselves under substantial pressure before Maxwel Cornet delightfully curled home from outside the area.

The goal had been coming, as Pep Guardiola’s sky blues struggled to hold off a Lyon side that are the only team to beat them in their last 26 matches.

Aymeric Laporte found a leveller just 7 minutes after the opener however, as Raheem Sterling’s free-kick was flicked onto the head of the French centre-back, who rose to divert the ball into the back of the net.

City searched for a winner that would mathematically put them through as group winners, but their opponents grew in confidence, as a silky move was well-finished by Cornet for his second of the night on 81 minutes.

An instant response was needed, and that is exactly what the travelling fans got two minutes later, when talisman Sergio Aguero rose to flick a pinpoint header into the corner of the Lyon net.

The result leaves Lyon with a nervy end to the group stage, as they need a point away at Shakhtar in the last round of matches on the 12th of December to assure qualification.

A draw at home to bottom-of-the-group and eliminated Hoffenheim will put City into the first pot for the round of 16 draw, a welcome benefit, with likely runners-up Lyon now facing the possibility of ties against the competition’s giants, including Juventus, Real Madrid, and Bayern Munich.

While they may finish ahead of them in the group, this clash was a reminder for Guardiola’s side that they are still finding their feet in Europe’s premier competition.

After taking one point from a possible six against Bruno Genesio’s men, Pep Guardiola admitted that they were ”one of the toughest teams” City had ever faced.

The citizens’ remarkable unbeaten run, stretching back to defeat in that Champions League opener in mid-September, continues however, as City showed that they have not only the free-flowing attacking mindset, but also the ability to grind out difficult results, and nick points from difficult situations, such as this test they have faced in France.

Photo: David Dixon @ geograph

Man shot in targeted attack outside nightclub in Salford

Written by Sam Honey on . Posted in News.

A man in his 20s was the subject of a targeted shooting outside a nightclub in Salford, police have reported.

The victim, who remains unnamed, was shot outside the Kingston Mill venue on Cobden Street in the early hours of Saturday 24th November. The attack is believed to have been pre-planned.

Emergency services arrived at the scene at around 5:30am, and it was later confirmed that the injuries the man had sustained were not life-threatening.

The incident appeared to be isolated, although gunshots were reportedly heard near Salford Crescent station in the hours after the confrontation on Cobden street.

Police feared that a gunman had opened fire as part of a wider series of attacks, but investigations into the disturbance on Cotterill Street found no conclusive evidence that a firearm had been used.

Police have appealed for any further information, as they are treating the shooting as attempted murder.

“This was a well-attended club event and there are potentially a number of witnesses who may be able to assist with our enquiries.

“I want to reiterate that this is believed to be a targeted attack and there is no threat to the wider community.”

Gun crime continues to be a major issue in the Salford area, with shots fired after a dispute between two drivers earlier this month.

Back in June, six men were charged for attacking a mother and her seven-year-old son on their doorstep on Gillingham Road.

Photo: @Mariella Dyckhoff

Review: Pravda

Written by Orla Quilligan on . Posted in Theatre.

David Hare and Howard Brenton’s ‘Pravda’ appeared at the Council Chambers as the University of Manchester Drama Society’s new Freshers’ Play. The Freshers’ Play is only open to first year students, as a way of spotlighting their talent and opening up highly competitive creative opportunities to them. Definitely, ‘Pravda’ definitely did just this – the ambitious production showcased a variety of talent and promised much potential throughout.

‘Pravda’ was written as a satire of the journalism industry in 1985. However, with the phrase ‘fake news’ being crowned, word of the year in 2017, this play gains new relevancy. Throughout the play, we continuously saw the truth, ethics and significance of news explored and tested. The famous line “So by definition, what is printed must be true – otherwise why print it?” certainly resonated, leaving a residue of distrust amongst the audience, privy to the dirty secrets of the industry.

This was when the tyrannical South African media mogul Lambert Le Roux came into play. Sam Easton gave a consistently authoritative and impressive performance as Le Roux, both terrifying and amusing the audience in equal measure. Easton very successfully conveyed the satirical element of the play, his character certainly came across as somewhat larger than life.

However, satire seemed a little overlooked in the rest of the production. There were convincing and mature performances, particularly from the romantic leads, Andrew and Rebecca, played by Adam Tutt and Mae Lankshear. However, these came across as a little earnest in comparison to the perhaps intended tone of the play.

Stamina was something that was certainly required of the actors in what ended up as quite a marathon of a play. Perhaps if the satirical tone had been honoured a little more faithfully by the director, Natalie Hillman, and the text had been cut down to a tighter structure, then this would have resulted in the play feeling sharper, which seemed to be lacking in this production.

However, Hillman’s use of physical theatre and collaboration with the designer, Nan Davey, punctuated the play well, providing real flair to the production. The set design was simple yet effective, with newspapers plastered along the black flat of the stage. All of the costumes were black and white, echoing the harsh, monochromatic nature of print journalism.

On the other hand, some of this physical theatre, although it created engaging breaks within the play, helping to increase the overall pace of the production, seemed a little cliché at times. The use of music was punchy and added to the dramatic and slick style of the play. Although the movement that accompanied it, (though well-coordinated) wasn’t exaggerated or innovative enough for the satirical style of the text.

In addition, Hare’s writing leaves much to be desired, only one real female character (Rebecca). Rebecca’s romantic storyline was quickly pushed aside, leaving the character very much defined in her appeal to Andrew’s destructive ego. To combat this, Hillman’s use of female actors in place of male characters was effective. It provided enough opportunity for the multitude of female talent and versatility within this production, whilst adding an alternative perspective of a highly male-dominated industry. ‘Pravda’ was a bold production that boasted many impressive features. Potential was key here: ultimately there was some potential left unfulfilled in this particular production. However there was much potential promised of this team of cast and creatives.

Photo: Fuse TV

Review: Slurred Lines

Written by Rona McCann on . Posted in Film.

You may never miss an opportunity for free alcohol, but would you still accept it if it was gifted on the condition that your following drunken antics be filmed and shared for the world to enjoy? Slurred Lines has taken it upon itself to scout the brave souls to whom these terms are absolutely fine.

Slurred Lines is the latest project to leap out of the creative mind of the University’s own Fuse TV. Among Fuse TV’s plethora of talent-driven shows and series, Slurred Lines is perhaps one of its most ambitious yet. Its heavy involvement of members of the public – that is, obscenely drunk members of the public – sparked the haunting worry among that script-lacking participants might not provide the sublime, quotable primetime entertainment a project like this so greatly deserves. But Fuse TV needn’t have worried one bit.

The show, incidentally, has very little to do with the controversial 2013 Robin Thicke hit ‘Blurred Lines’. Instead, the controversy lies within its two-versus-two premise; a duo of pals who are greatly passionate about a particular topic sit down with a pair of strangers, who adopt the exact opposite viewpoint. Their passion is fuelled by rivalry and, naturally, vodka shots.

The recent cold winter nights have set the scene for filming. Each episode is taped from the comfort of a shed, to the surprise of tipsy participants upon their arrival. This is no ordinary shed, however; never before has a student outhouse been decked out with such comfort. Along with sofas, blankets and streams upon streams of fairy lights, each debate’s theme comes with appropriate décor to match, to get the teams in the zone and to keep their slurred, nonsensical lines actually on topic. The intoxicated pairs are permitted to interact with their new environment as they please, to comical results.

The debate themes themselves consist of topics that will entertain and engage the masses. Coming to your screens soon will be intoxicated ramblings on everything from meat-eating versus veganism to what wears the crown for being the best-ever Christmas song. Perhaps more trivial – but equally as opinion-splitting and friendship-dooming – are topics including whether tea or coffee is a better companion to your day as well as the pronunciation of ‘scone’.

Watch the first episode of Slurred Lines from 7pm, Monday, 26th November at ‘Fuse TV Manchester’ on Facebook.

Photo: Manchester Animation Festival press

Manchester Animation Festival 2018

Written by Aisha Al-Janabi on . Posted in Film.

The Manchester Animation Festival returned to Manchester once more, hosted at HOME cinema showcasing a selection of animated films using different styles and covering a range of topics.

This year The Mancunion’s writers had the opportunity to attend the festival, reviewing:

  • AniJam, showcasing a selection of short, and heartwarming animated shorts created in a mere 48-hours.
  • Ce Magnifique Gâteau,  which explores European colonisation of Africa in the 19th century.
  • And finally, Virus Tropical which is the film-adaptation of the graphic novel following the story of one girl, Paola and is set between Ecuador and Columbia.

Read the reviews to find out more about these films.

The festival began in 2015 and has grown from strength to strength. Jen Hall, the festival producer, has said, “in the first 3 years we have seen nearly 70% increase in admissions, growing not only the audience but the programme too.” The Manchester Animation Festival is a not-for-profit company and puts the creators at the centre of the festival, to celebrate their work.

The programme is broad as the festival is proud to share local Mancunian animation talent, as well as feature an extensive international collection. In addition to this there is no submission fee for the festival, making it accessible to smaller companies sharing this platform with a range creators.

The Manchester Animation Festival had submissions from over 70 different countries leading to a diverse range of films on offer. Each year thousands of animated films are received by the festival, whose team needs to watch and select only a handful to share during the three-day festival. This is Jen Hall’s favourite parts in the run up to the festival as it shows “the talent and diversity in the animated short films that are being created.”

Manchester seems to be the perfect location for the UK’s largest animation festival as we have a “rich animation heritage starting with Cosgrove Hall’s early days in the 70s creating childhood favourites like Danger Mouse and Duckula.”

Keep an eye out for next year’s Manchester Animation Festival, which is set to be a success much like these previous years.

Live Review: WHP presents Sulta Selects

Written by Alex Coupe on . Posted in Music.

As we step ever closer to bidding a fond, final farewell to Store Street, The Warehouse Project are putting on some incredible shows. Friday night marked the return of Glaswegian house hero, Denis Sulta, the outlandish alter ego of Hector Barbour, to the infamous bunker.

After popping up lower down the line-ups at previous WHP events as recently as last December; Sulta’s meteoric rise to recognition as headline material, was marked in the form of a night curated by and named after his own label, Sulta Selects. The event, unsurprisingly, brought together some of the finest house, techno, and disco DJs the world has to offer.

Talent was spread equally between the three rooms, and over the course of the night, crowds witnessed some astonishingly well-constructed sets. Room 2 saw the return of both Shanti Celeste and Midland to the hallowed (under)ground. The former, a Chilean born Bristol resident, is another DJ whose rapid rise hasn’t gone unnoticed. Starting her set with some driving techno cuts, it was easy to think that the vibe for the night was already being laid out.

Soon, however, the euphoric 80s disco mixes which have become a trademark of Celeste’s sets soon began to surface. Mixing old school disco and soul melodies and vocal samples over intense house and techno drum patterns has become something of a Shanti Celeste specialty, and those who had seen her before knew that the remainder of her set would live up to all expectation.

As Celeste’s set drew to a close, Leeds techno mainstay, Midland, appeared behind the decks. Keen to continue in the tone that already had Room 2 shaking, he began with sounds similar to those his predecessor had finished with; soulful Detroit house taking precedent for the early parts of his hour and a half set.

The sheer quantity of people packed into Room 2 as Midland commenced his set made clear his impact upon dance culture in recent years, and as such he quickly transformed his set into something more typical of a man quickly becoming a legend of the scene. Gradually the easy-going house sounds dissipated and were replaced by pounding, high tempo, techno beats. The evening was brought to a feverish climax towards to the end of Midland’s set when the pulsing intensity dissolved into an extended mix of his ever-popular Final Credits.

As impressive as the line up was, with the likes of Modeselektor and Peach both making appearances, the event was quite obviously all about one man, Denis Sulta. Packing out a sweaty Room 1 for two hours to close out the evening, Sulta didn’t take any time in announcing his arrival. As his name shone above him in pink neon, he launched into a raucous set that set classic throbbing techno rhythms against subtle synth melodies.

Following the two sublime sets witnessed in Room 2 prior to Sulta’s arrival, it felt as though, at times, he may have been trying too hard – at times hammering the crowd with an intensity not yet reached by any other DJ, but also an intensity which didn’t necessarily fit the general vibe of the night he himself had curated. Admittedly, however, Sulta knows how to put on a show, and it must be said that he closed out the evening in impressive style.

7/10.

Photo: Album Artwork @Wikimedia Commons.

Record Reappraisal: The Beatles (The White Album)

Written by Ashwin Tharoor on . Posted in Music.

Nearly 50 years ago today, The Beatles released their ninth studio album simply entitled The Beatles but known commonly as The White Album for its ultra-minimalist blank white cover. It was a stark contrast to the psychedelic array of characters covering its predecessor – the genre-changing Sgt. Pepper. The White Album is commonly known as the beginning of an increasingly fractured Beatles. Lennon and McCartney collaborated on fewer and fewer songs, and Yoko Ono’s presence in the studio caused problems for the whole band.

Despite this tension, The Beatles managed to produce an incredible album. Their first double LP, thirty tracks altogether, and each song is a unique creation. The opening track, ‘Back in the USSR’ grabbed prevailing pop clichés of the Beach Boys and Chuck Berry and lyrically flipped them into a pro-Soviet anthem. This kind of creativity was only an inkling of what succeeds it on the album. Each track provides a totally different style that flows in no way smoothly to the next song, but still maintains a satisfying juxtaposition of sounds.

The Beatles in 1968 were solidified as popular music legends and creative geniuses, and this album shows a lot of changing lyrical content. The fanciful and surreal concepts of Sgt. Pepper were much less prevalent, with many tracks reflecting on personal experiences and beliefs. Much of the album was written in, or inspired by, their time in meditative retreat in Rishikesh, India. Lyrics aside, the instrumentation is as ambitious if not more than its predecessor. The densely layered ‘Glass Onion’ with a beautiful string section, the ethereal ‘Happiness is Warm Gun’ and its constantly shifting time signatures, or the overpowering, proto-hard rock style of ‘Helter Skelter’ (later proclaimed by Charles Manson to be prophetic of an impending race war).

1968 was a turbulent year in world politics; assassinations of US political figures, the USSR’s invasion of Czechoslovakia, and massive anti-Vietnam war protests, to name a few. The Beatles disliked people reading heavily into lyrics as well as getting involved in politics themselves, however, some tracks do reflect the zeitgeist. Notably ‘Revolution 1’ and ‘Revolution 9’. The former has Lennon sympathetic to protesters’ cause but still wary of revolution, “you tell me it’s the institution/well you better free your mind instead”. The latter is not a song in itself, but an experimental sound collage. Lennon’s ambition was “painting in sound a picture of revolution”. It’s deeply unsettling with chaotic sounds of destruction and disembodied cries, but remarkably effective at doing what Lennon intended.

Often called by critics as three solo albums (sorry Ringo) mixed into one, it certainly comes across as such. However, I think The White Album was still a bold step in The Beatles’ creative direction. Even the idea of a double album was a novelty at the time, but they took the concept and ran with it. They still genuinely needed each other’s talents to produce the album but were far less bound to a cohesive idea of a ‘The Beatles’ in their songs. In doing so new ideas shined through like never before, and a truly seminal album was made.

Photo: Aleksandr Zykov @ Wikimedia Commons

Live Review: Jon Hopkins

Written by Tom Allen on . Posted in Music.

With the release of his critically acclaimed fifth studio album Singularity now a few months behind him, Jon Hopkins’ return to Manchester’s Albert Hall is one which fans have clearly been waiting in patience for.

Taking to the stage backed by an ominous oscilloscope projection, Hopkins immediately begins to layer delicate synth soundscapes atop one another, enveloping the room in a layer of noise. As the sea of visuals begins to intensify, he effortlessly segues into his most recent effort’s title track ‘Singularity’, a move which prompts a huge response from the crowd.

For the first half hour of his performance, Hopkins masterfully works his way through the opening four tracks of his latest album. Ever the advocate of build and release, the producer continually works a perennial sense of suspense into his pieces before breaking them down in a wash of glitch-ridden beats.

‘Open Eye Signal’ marks a turning point in the set. As the eight-minute-long expansive club anthem pulsates throughout the space, Hopkins’ silhouette is backed against hyper-realistic footage of a lone teenager skating through an arid desert landscape punctuated by mountains. As the song unfurls and ascends towards its peak, the footage begins to degrade into a psychedelic haze. By this point, the crowd is fully in Hopkins’ grasp – from the balcony to the dance floor, bodies are propelled along to his caustic beats.

A brief gasp of air comes in the form of ‘Luminous Beings’, an airy and spacious 12-minute number which sees the relentless four-on-the-floor techno replaced with an atmospheric, euphoric moment of serenity. As the song fades out to a raucous round of applause, Hopkins takes centre stage and bows out, thanking the crowd in return.

A brief encore of barely seconds is followed by a return to all out auditory assault. Diving straight into his remix of Disclosure’s ‘Magnets’, the room once again is whipped into a frenzy. The already stunning visuals are now accompanied by a pair of lasers which are lost in the dense fog above the crowd, illuminating the hands in the air affair beneath.

Hopkins turns to Kendal’s finest ‘Wild Beasts’ for his penultimate cut of the evening, playing out his remix of ‘Two Dancers’ taken from their 2009 album of the same name. The lasers pace erratically around the room as the curfew fast approaches, the crowd clinging on to the final few minutes of hedonism. Closer ‘Light Through The Veins’ eventually brings the momentum to a halt. As the stage lights illuminate the swathes of bedraggled punters, Hopkins gives a final thanks to the crowd before exiting the stage.

With a back catalogue as vast and varied as Hopkins’, a set of incessant peak time techno is arguably a bold choice for a Thursday evening crowd packed into an old Wesleyan chapel. Despite the curfew of 11pm being earlier than most would ever dream of leaving the house for a club night, the crowd showed no hesitance in fully immersing themselves into what was a master-class in live electronic performance.

9/10.

Photo: Peter Varley @ The Mancunion

In Conversation with Matt Maltese

Written by Peter Varley on . Posted in Music.

Matt Maltese is quickly asserting his name as one of the most exciting songwriters in the UK. The rising 21-year-old released his debut album Bad Contestant in June, which he is currently touring. It’s a compelling, yet quirky mix of both upbeat and melancholic love songs. Yet he’s seemingly untouched with the growing fame, as was evident in his personable and friendly interview style. 

With his debut album being met with high praise, many are claiming the singer’s breakthrough is imminent. When asked about the album Matt described it as being completely personal; an emotional investment through which he was able to explore issues he felt personally moved by. Paradoxically he believes the album is compiled of two sides of himself; the one in which he sings with his heart on the sleeve and the other which mocks this more emotional version of himself. This, arguably cynical, stance is part of the character of his music, in which he frequently looks back on his own experiences, often with humour, which is no easy feat. 

The subversive nature of his songs draws many in; what at first sounds like jaunty piano melodies soon changes with the addition of complex lyrics, often addressing uncomfortable issues. He states that this is the exact message he wanted to portray in his album cover, in which an elderly couple are sat at a dinner table. “I wanted to give the impression that it’s a really beautiful photo” but when you look a bit closer, it’s not quite what it seems.

This feeling of things not being quite right is something which is echoed throughout Matt’s music, largely due to his view that we are living in “the age of unhappiness”, yet believes this should be something to talk and laugh about. Through his music he wants to forget the turbulent political landscape, we find ourselves in and focus on the impacts it has on one’s own mental health, rather than simply being another person “telling everyone Brexit is bad”. 

It’s clear Matt feels at home touring, describing it as a time “when everything feels real”. Walking out onto a stage back-lit with a giant movie-style heart, Matt kicked off the show with a delicate rendition of ‘Sweet 16’. The setlist seemed to flow seamlessly with his faster-paced classics scattered throughout. The northern quarter’s Band on the Wall was packed to its 300 person capacity to which Matt jokingly commented “it’s nice to play shows when people actually turn up”, reflecting on his previous, smaller Manchester gigs.

During ‘Less and Less’ and ‘Even If It’s a Lie’ the band took a step out of the lights leaving Matt alone with his piano, captivating the audience with every note. When asked about his consistent use of the piano, Matt reflected on his childhood musical influences and never being tempted to stray into the more common realms of guitar-led bands. His gravitational voice created an intimate performance allowing each individual within the audience to be touched by his words. During ‘Greatest Comedian’ the crowd were treated to a glimpse of Matt as a frontman, he strutted along the stage with his Morissey-esque dance moves. 

Matt admitted to loving “making people laugh” and sees laughing at yourself as a defence mechanism. The gig was filled with little comedic gems and at one point he exclaimed “my album reached 3 million sales this week” prompting a loud cheer which just turned out to be “a bad joke” as he put it. The crowd’s reaction, however, clearly demonstrated that such popularity would be completely plausible, especially in the near future.

By combining comedy with music, Matt Maltese is able to write about “really deep things in a superficial way”. His “impending sense of doom” culminated in the writing of ‘As the World Caves In’, the final song of the gig which features a satirical love affair between Theresa May and Donald Trump whilst initiating nuclear warfare. Using a sensationalist scenario allowed Matt to be “really sincere with the love song”, providing a space in which he didn’t feel ridiculous writing it, ultimately “its a song about love in the world.” 

The way in which Matt is able to write seemingly poetic and personal songs which simultaneously reflect his bleak view of the current political climate make him a poignant young voice and thus someone to watch out for in the coming years.

9/10.

Photo: Fred Perry.

Live Review: Miles Kane at Fred Perry

Written by Ella Broadbent on . Posted in Music.

Anticipations ran high as the doors of Fred Perry opened: after hours of queuing in the freezing cold, this was the moment we had all been waiting for. As Miles Kane sauntered across the street in style in his iconic red leather jacket, he was greeted by an uproar cheering.

I rushed into the front and could see many fans turned away as the shop hit capacity in seconds. I could feel the energy coursing through the room as Miles Kane sat on a stool on the steps and adjusted his acoustic guitar; it was an atmosphere like no other.

The crowd called for him to stand up so they could catch a better glimpse of the highly anticipated performance. This was the second of just four of the acoustic gigs lined up in Fred Perry shops across the UK to celebrate the launch of his new clothing range, and it was an honour to be there. The room was bursting with excitement, and as usual, he didn’t disappoint.

There was an eruption of excitement as he burst into fan favourite ‘Don’t Forget Who You Are’, his distinctive vocals paired gorgeously with the stripped back and simple sound of the acoustic guitar. This was followed by a stunning and heartfelt performance of ‘Loaded’, a slower song from his new album ‘Coup De Grace’, co-written by indie queen Lana Del Rey.

The intimacy of the gig was most prominent at this point: only meters away from Miles, I could feel the raw emotion and passion emanating from him with every chord resonating from the guitar. It was clear that the crowd enjoyed the new music as much as he enjoyed playing it.  He then treated us to a vibrant and forceful rendition of ‘rearrange’, enthusiastically inviting the audience to sing along and take over in the chorus.

Finally, the rock and roll singer finished by asking the crowd what they wanted him to play, and after a clamour of shouted requests, ended the session with ‘Standing Next To Me’. This was a tribute to his long-term best friend Alex Turner, and their band The Last Shadow Puppets, which was received with ecstatic applause from the entire crowd. He finished with a smile, looking out across the crowd of admiring fans and thanking them for watching. My only criticism was that it didn’t last long enough, and the audience were left longing for one more song as Miles put down his guitar.

After the gig, there was a meet and greet, and fans waited around the shop for an exclusive chance to get an autograph or photo with the star. He then left to prepare for the sold-out show at Manchester Academy later that evening, sure to be another huge success.

Having last watched Miles Kane headlining a festival in front of thousands, I can safely say that I much preferred the intimacy and personal atmosphere of the smaller gig compared to larger concerts. Thrilling, intimate and entertaining, it is an experience that will not be forgotten.

9/10.

Photo: Calvin Vantsis @ The Mancunion

Live Review: Jamie Isaac

Written by Calvin Vantsis on . Posted in Music.

Jamie Isaac, South London’s latest musical virtuoso, leapt on to stage to join his band as the thump of the bass drum came in, receiving a cheer from the crowd as he set himself behind the keyboard.

The thriving YES was the venue fortunate enough to host the night, and the Pink Room was lit up as Isaac craned his neck towards the microphone as he sang ‘Wings’, one of the singles off his latest and second studio album, (04:30) Idler, released in June by Marathon Artists.

Isaac’s sound is hard to pin down: with his soulful and hushed R&B vocals, his latest album provides a bossa-nova feel, and it’s clear jazz holds a steady influence over the young Londoner. However, the writer is still confident enough to flirt with elements of other genres too.

Hip-Hop is one he holds an interest in, and as the band progressed into ‘Last Drip’, it’s clear to see how it’s impacted his music. After all, prior to releasing his first album, Couch Baby, Isaac remixed many of the unreleased tracks with an assortment of London producers and rappers to create an entirely new offering altogether, the Loose Grip Mixtape.

Beckoning to the crowd to hush as the band edged gently into the slow tempo ‘Un-thinkable’, Isaac clenched his eyes shut as he sang his sorrows to the room with his heart on his sleeve. Isaac’s expressive yet tender vocals are likely to impress you, as he digs deep, relaying to the audience his feelings contained within each song. Isaac and his band continued to effortlessly flick through his discography, cycling through the syncopated ‘Maybe’ and reflective ‘Doing Better’, before reaching the funky and synthesiser heavy ‘Eyes Closed’, again displaying the fluidity of his style.

Drawing the set to a close, Isaac decided his penultimate song would in fact be one of his oldest, and ‘Softly Draining Seas’ is arguably one that catapulted him into the spotlight in 2013. The lo-fi soundscape created a calm ambience in the room as his gentle melody hovered over the crowd, and Isaac was patently in his place of comfort.

Isaac has openly discussed the insomniac nature of his new record, explaining his personal struggle with the condition, and watching him perform seemed to give a representation of this isolated state. Speaking only briefly and softly in the intervals, Isaac kept his eyes low during his performance. Only breaking from his position to dramatically crash down to the floor in synchronisation with the drums, fiercely seeing out the end of the final few tracks, this seemed to be some sort of depiction of his mental battle.

As we approached the final track of the night, ‘(04:30) Idler/ Sleep’, Isaac spoke on its title, referring to the disjointed state he felt he was in whilst writing such songs for his album. Despite his torment, Isaac has managed to piece together a strong, cohesive and self assured body of work in his second album, that is not only a fantastic listen, but is equally as powerful in a live environment.

7/10.

Photo: Olivia Blinn @ The Mancunion

Live Review: Leon Bridges

Written by Alana Cook on . Posted in Music.

Bringing a touch of old-school soul with rhythm and blues plus funk influences with just a hint of pop, Leon Bridges, a man who has been compared to legendary singers Sam Cooke and Otis Redding, gave a performance to remember at the Manchester Academy as part of his Good Thing tour.

The 29-year-old American singer-songwriter, born Todd Michael Bridges, found success from his debut album Coming Home in 2015. Now touring his second album Good Thing, he’s moved to a slightly more modern R&B sound, whilst still maintaining his position as an authentic soul artist.

Bridges began his set with catchy, upbeat ‘It Feels Good (Then It Must Be)’. Other crowd favourites and stand out songs were ‘Coming Home’ – one of the most popular songs from his first album, ‘Beyond’, ‘Brown Skin Girl’, and ‘You Don’t Know’, to name a few. Bridges also showed his versatility with his songs such as ‘Flowers’ and ‘Mississippi Kisses’ bringing an element of country music, inspired by his hometown, Fort Worth in Texas. The set flowed well, consisting of a good mix of mellow ballads and upbeat jams that showcased Bridges’ smooth vocal talent.

A man with incredible stage presence and eccentric dance moves, he maintained an impressive level of energy throughout the set, which seemed to captivate his notably diverse crowd of fans. Even the elderly man stood next to me was dancing along to a number of songs in the set.

He interacted well with his crowd, though he perhaps played a risky card when he told a room full of Mancunians that people from Manchester don’t know how to party. Immediately met with a communal groan from the large crowd, you could almost hear them saying to the singer, “umm have you been to Manchester?”. Though the clear ploy to get the crowd to sing even louder and dance even bigger seemed to work, it perhaps did not get people moving to the extent that Bridges would’ve liked. However, it would’ve been a hard task for any member of the audience to match up to the energy and passion being displayed by Bridges during the majority of his performance.

Another moment to note was, of course, the performance of one of Bridges’ most well-known songs ‘River’. A song from his first album ‘Coming Home’ that found success and featured in the Golden Globe-winning, hit 2017 American mini-series ‘Big Little Lies’. Bridges performed the stripped back, emotional song as one of his encores. A truly beautiful song that succeeded in highlighting Bridges’ raw talent and ability to hold a crowd.

Special mention should also be given to his talented and charismatic band, some of whom delivered impressive solos during a break from Bridges’ singing. You could see the passion and enjoyment each member had for the music and it definitely carried through and enhanced the quality of the performance.

In an industry filled with recycled beats, auto-tuned vocals, and synthesised melodies, Leon Bridges provides a breath of fresh air and brought a brilliant performance filled with style, swagger, and soul to Manchester.

9/10.