Skip to main content

Month: December 2018

Photo: Simon Abrams @Flickr.

Live: The Warehouse Project – Sounds of the Near Future

Written by Theo Bennett on . Posted in Music.

The Warehouse Project strives to be eclectic. Their 2018 season so far has seen impressive names from pretty much every type of electronic music around take to the stages at Store Street, attracting thousands of electronic music fans into the now legendary venue over the past few months, but on Saturday it was hip hop-heads who were unlikely to be disappointed with the stacked line-up awaiting.

It’s interesting to see the variety of acts that The Warehouse Project curators consider appropriate for an event titled ‘Sounds of the Near Future’. Among the acts apparently corresponding to this label are Manchester’s own Children of Zeus, whose brand of slightly fuzzy, sorrowful soul has seen them win over a sizeable number of fans in 2018, and Flohio, the South London rapper whose distinctive style of abrasive, high-energy rap is turning her into one of the scene’s most hyped new talents.

Of all the artists performing, perhaps none could be more fittingly described as ‘Sounds of the Near Future’ than Slowthai. Few could dispute the Londoner’s status as one of 2018’s stand-out emerging UK rappers, and he channels every ounce of the snarly, confrontational intensity that he’s quickly become known for in his performance at The Warehouse Project. Slowthai’s popularity owes itself to the fact that there aren’t really any other rappers that sound like he does right now – and that’s an extraordinary feat considering the level of saturation of the current UK rap scene. There’s nothing disappointing about his delivery and stage presence live. From the beginning to the end of his set, the crowd doesn’t stop matching his energy for a second.

The night’s headliner is hip hop heavyweight Pusha T. Pusha has been making music for well over a decade, but is by no means past his best – his Kanye-produced album Daytona and Drake diss ‘The Story of Adidon’ have made him one of the most talked-about rappers of 2018. Expectations all around were surely extremely high for his performance on the night, but I’d be surprised if there were any people in the crowd who found their expectations weren’t met.

In a set largely consisting of Daytona material, which also contained some throwbacks including his feature on Kanye’s ‘Runaway’, Pusha truly did impress. It’s actually pretty rare to see a high profile rapper in an environment like The Warehouse Project, and regrettably so. It’s the kind of buzzed, excited, animated environment that hip hop was made for. Around halfway through his set, Pusha brags that Daytona is ‘the best album of the year’. He’s met with a cheer. In that moment, everyone is deliriously in agreement of the truth of his claim.

AJ Tracey takes to the stage towards the end of the night. Considering the level of excitement already in the room, the grime artist probably wouldn’t have needed to over-exert himself to keep his crowd happy, but nonetheless appears to put in full effort. Coming after Pusha T, he’s got a high bar to reach, but easily succeeds in keeping the crowd bouncing and singing along to his songs, further proving (if anyone was possibly still in doubt) that UK rappers can pack just as much punch as their American counterparts.

It’s sad to think that this night was one of the final chapters of The Warehouse Project at Store Street, but surely will go down as a memorable one for those who were there. To quote Pusha T on the explosive Daytona track that for many was surely the highlight of the entire night: “If you know you know.”

8/10.

Photo: Luca Bolton

Review: ‘Chicago’

Written by Emily Cushlow on . Posted in Theatre.

‘Chicago’, a timeless classic on the stage and screen, was the University of Manchester Musical Theatre Society’s (UMMTS) show of choice to round out the first semester, directed by Jess Johnstone and Scarlett Spicer and produced by Euan Au. By no means a small feat, the group tackled the performance with more vim and vigour than Velma Kelly herself possesses, putting on a spectacular show with roaring success.

Attending a sold-out closing night, the excitement was palpable. Never having seen ‘Chicago’ myself, I was unaware of the treat I was in for. The Students’ Union Theatre provided an intimate venue, although perhaps not the best to showcase the talented performers; the seating arrangement meant the view of the stage was slightly obstructed for the performance, but this certainly doesn’t take away from how brilliant the show itself was.

Most noteworthy in my opinion was the excellent orchestra that accompanied the show, sailing through a full set list with apparent ease. Their commitment and confidence in every piece allowed the cast to throw themselves into their performances with complete trust in the music to carry them, and throw themselves in they did! Each member of the cast provided a praiseworthy performance with complete professionalism that I could not fault.

Jess Adams played an enigmatic Roxie Hart, moving between simpering sweetheart and manipulative murderer with skill, conviction and brilliant vocals. Velma Kelly was tackled by Georgie Rosser, another stunning vocalist who balanced the sex appeal of the character with her unwavering desire for success against all odds.

Another worthy mention, despite being a more minor character, goes most deservedly to Helena Stanway for her performance of Mary Sunshine. Slightly reminiscent of Rita Skeeter of Harry Potter, Stanway excelled as Sunshine, giving a humorous and uplifting performance. Matron Mama Morton, Jess Stoddard, gave a performance that absolutely delighted the audience and embraced the character’s love of wrongdoers.

A particular mention to Roman Armstrong for his delivery of Amos Hart, accompanied by some rather impressive magic tricks, and of course to Charlie White as Billy Flynn, unwavering in a passionate performance of the smooth-talking lawyer and incredible vocals.

Of course, the show would not be complete without the choreography of Emily Tandy, who herself admitted that the cast originally came with a variety of dance experience. This was not evident in the performance, showing the dedication and hard work that had gone into the show by all those involved. The dances managed to include ‘all that jazz’ whilst remaining tasteful and well done, the touch of a truly talented choreographer and an excellent cast of Cell Block Girls. The show featured some excellent props, the old-fashioned cameras perfectly exaggerated and giving the show that bit extra something.

For me, the best part of the show was that the cast clearly relished performing their roles and enjoyed every single second on stage. Their love of the show was infectious, and I’m now ready to go and give the world the ol’ razzle dazzle.

photo: Gage Skidmore @wikimedia commons

Spider-Man: Into the Spider-Verse

Written by Lama Chmayaa on . Posted in Film.

Your friendly neighbourhood Spider-Man has gone beyond the popular Peter Parker. Spider-Man: Into the Spider Verse is directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman and unlike previous versions, this story is led by Miles Molares, voiced by Shameik Moore, as he learns the ropes to become Spider-Man.

The movie introduces Miles, the first biracial (African-American and Latin-American) Spider-Man, especially to the audience that was not previously acquainted with Spider-Man. Following Miles’ exposure to none other than a radioactive spider, his adventure begins after witnessing Peter Parker’s (Spider-Man’s) death who had just given him a crucial task to fulfill. Different to those found in the comics or other movies, this scenario occurs in a unique alternate dimension in which five different Spider-Men from different parallel universes are all brought together: an older, tired, depressed Peter Parker (Jake Johnson), Spider-Gwen (Hailee Steinfeld), Spider-Man Noir, Spider-Ham, and Peni Parker.

The group combines their forces to beat the infamous Wilson Fisk (aka Kingpin) – usually battling Daredevil – and other celebrated villains such as the Green Goblin, and Doctor Octopus. Miles Morales goes through a stunned reaction when encountering all these heroes all while struggling at his new ‘elitist’ school, but manages to find a teacher within Peter Parker. If that’s not enough, the movie does not fail to also include the sensitive and heart-warming family figures we love — previously found in Aunt May’s or Uncle Ben’s characters — through Miles’ parents and uncle.

The film offers a classic, yet fresh take on the familiar superhero and brings the comic books to life better than ever before and is nuanced with layers of comedy, action, teachable moments and emotions. The animation is moreover stunning as it combines faux-stop-motion with graffiti-like urban styling, as much as it also perpetuates authenticity with the use of comic book panels, comments and subtle breaking of the fourth wall – an invisible wall separating the characters which the audience are aware of. Spider-Man: Into the Spider Verse has officially been nominated for the Golden Globes up against The Incredibles 2, Isle of Dogs, Mirai, and Ralph Breaks the Internet.

Due to the funny, tragic, and relatable nature of Spider-Man, and the diversity this movie brings, it is enjoyable for a wide-ranging audience.  The story remains true to the original story-line. It keeps us wanting more with the always-awaited post-credit scene too, “with great power comes great responsibility.”

5/5.

Photo: The Mancunion

Live Review: Mabel

Written by Kavindra Huggins on . Posted in Music.

The O2 Ritz was graced with the double presence of rising stars Ruel, and Mabel, who showcased a genre-defying night. The former, 16-year-old Australian vocalist Ruel, opened the event with his chart-ready pop, to an intent crowd.

Fresh from being crowned 2018’s Breakthrough Artist at the Australian Recording Industry Awards, Ruel came with confidence and poise for virgin ears, expanding his swelling fanbase, which already has almost three million monthly listeners on Spotify. No small feat for a man in the making.

A communal air swamped around, for a gig that had the feelings of a pop-up show in practice for larger arenas. At 9 o’clock, sharp. Mabel emerged, dancers flanking either side.

The promptness of the event’s orchestration displayed the excellent professionalism to which Mabel takes her craft, clearly setting her future sights high.

Opening with ‘One Shot’, a self-aggrandising pop hit in which Mabel professes “I’m too Bougie… So I’ma give you one shot.” The 22-year-old was sure to let it be known that she wasn’t to be taken lightly.

Her afrobeat-inspired take on RnB is one that carried the show as she ran through a slew of chart-hitting tracks. Tracks featuring her peers of the new guard like RAYE, NOT3S, and Kojo Funds. Coupled with inspired lyrics on situations of the early twenties, an overwhelming response from a mixed-age crowd exemplified an ability to craft songs on the pulse of the UK’s mainstream music.

Singing almost casually, the live performance provided a license for her vocals to show perhaps what her most popular songs don’t — incredible range and control.

Though Mabel’s calm demeanour bounced well against the punchy drums of big hits, the slower jams were intricately weaved in, leading to the mood to fall into the doldrums as the Swedish-born singer’s nonchalant assuredness played against her strengths.

Almost seemingly aware, Mabel was able to miraculously pull out another winner. As though there were an almost infinite number of aces up her proverbial sleeve. Paying homage to influences, covering RnB icons like Lumidee and Ne-Yo.

At times, these stunts felt over rehearsed to the point on insincerity. If over-professionalism can ever be considered a fault, then maybe this was it. It appeared that any spontaneity had been ironed out in the preparation.

If performing at a larger, less intimate venue, this would have played out fine. But with the closeness to be able to pick up the slightest dishonesty, it could be read easily.

As the show hit the later stages of a succinct performance, Mabel’s gravitas was poignant. The budding star showed that she was clearly aware of her influence, in an age of Instagram flaunting and ‘best life-living’.

Before departing for good, the young star played out her biggest track ‘Finders Keepers’ of this year’s Ivy to Roses mixtape, which arguably best encapsulates all her creative abilities, meaning she closed on a high.

Mabel is clearly no joke when it comes to dominating her area of comfort, but this felt like another show in a string of shows for a star perfecting her craft. Mabel is so focused on her future that she forgot to live in that moment, although the show still highlighted the immense talent and hard work that has got her here.

6.5/10.

Photo: Olivia Blinn @ Mancunion

Live Review: St. Paul and The Broken Bones

Written by oliviablinn on . Posted in Music.

St. Paul and The Broken Bones filled Manchester’s Albert Hall with their R&B-rooted sound. The former Wesleyan chapel felt uniquely suited for their soulful music with religious undertones. The show was supported by The Americans, a roots rock band out of Los Angeles, California.

The lights dimmed, and the members of St. Paul and The Broken Bones filed onto stage in well-tailor suits. As the music began to swell, frontman Paul Janeway took center stage in a black, sequin cloak. To cheers from the crowd, his powerhouse vocals filled the former chapel.

The eight-piece ensemble boasts a few more instruments than most groups — a trombone, a trumpet and either a baritone or tenor saxophone, depending on the song. Hailing from Birmingham, Alabama in the southern USA, the band’s sound is reminiscent of old, American soul music. The fullness of the instrumentals is matched by the power in Janeway’s voice, particularly when he slips into his falsetto.

Janeway is a performer as much as he is a musician. Throughout the show, he made use of the entire stage — his cloak occasionally a prop in the performance. When he wasn’t singing, he often gently waved his hands around, as though he was conducting the crowd.

Despite being the frontman, Janeway wasn’t one to hog the stage. Twice throughout the night, Janeway exited the stage, and the crowd enjoyed lively musical interludes. The second interlude included a duel between the trombone and tenor saxophone. When it finished, with a roar from the crowd, the musicians were clearly winded a sign they had given their all.

From beginning to end, the entire performance displayed the polished nature of a well-crafted set. The band transitioned between songs nearly seamlessly. The brass and woodwinds added a unique liveliness to the sound. Given its impressive precision, the show appeared choreographed — but never in a way that felt stuffy or routine. The entire group performed with authentic energy and musicianship.

Between the catchy melodies and high energy, it’s hard to sit still at a St. Paul and The Broken Bones show. This energy was felt in the performance of tracks such as ‘Apollo,’ the first single from their most recent album, Young Sick Camellia, which was released in September of this year.

The music of St. Paul and The Broken Bones has a timeless feel, as demonstrated by the audience that they drew. Nearly just as many twenty-somethings filled Albert Hall as did people twice that age.

The band performed a two-song encore, beginning with ‘Sanctify’ from their 2016 album, Sea of Noise. A slower ballad, the song articulates a lot of religious imagery, a reflection of their Alabama roots. The encore closed with Janeway singing while making his way up the stairs on the stage into the balcony — much to the delight of the crowd.

By the time he made it back to the stage, the entire crowd stayed on their feet for a standing ovation. One at a time, each of the eight men put down their instruments, gave a wave of gratitude to the crowd and exited the stage. The hall buzzed with energy, even after the band’s departure.

9/10.

Photo: The Village Screen

Victoria Baths Christmas Extravaganza: Die Hard

Written by Josh Sandy on . Posted in Film.

When you’re offered the opportunity to watch one of the greatest ‘Christmas’ films of all time, set against the backdrop of one of Manchester’s most historic and interesting buildings, it’s very hard to say no. Thankfully this enthusiasm proved not to be in vain, as The Village Screen’s showing of Die Hard at the Victoria Baths was an absolute delight from start to finish.

Upon entering the Grade II-listed building, which has previously served as a filming location for the popular BBC TV series Peaky Blinders, you were greeted with a host of Manchester’s finest street food vendors, serving everything from hot dogs to gourmet mac and cheese. In addition to the food and drink offerings, the Ordsall Acappella Singers were also on hand to provide some Christmas musical offerings which further added to the festive cheer.

Whilst watching the film, seating was either in some surprisingly comfortable deck chairs within the building’s empty swimming pool, or on the balcony above. Due to the particularly chilly Manchester evening, it proved extremely advisable to be wearing multiple layers in addition to the much-needed blankets that were provided.

The film itself was an absolute treat. Despite being 30 years old this year, John McTiernan’s classic action thriller was still as adrenaline-fuelled as ever, and served as a reminder of the incredible acting talent of the late, great Alan Rickman in what was astonishingly his feature-film debut.

In addition to Rickman’s career-defining performance, Bruce Willis also shines as the protagonist John McClane. The heroic and seemingly indestructible New York cop has spawned an entire genre of action films, even as recently as this year’s Skyscraper, in which a lone hero fights against incredible odds.

During the course of the film, McTiernan expertly combines action, dark comedy, and even romance to create one of the ’80’s most beloved and oft-quoted films.

Obviously, due to the film’s age, some of the special effects do come across as dated, and the sound effects are almost laughable at times, but if anything this only adds to the film’s charm. In a world where there is almost a competition for who can make the most intelligent and realistic film, it was extremely refreshing to be able to just switch off and enjoy a ridiculously over-the-top classic action film.

Of course, it is almost impossible to mention Die Hard without engaging in the age-old debate over whether or not it is indeed a Christmas film. The naysayers point out that its original release date was in July, and that the plot has an almost comical dissociation from anything remotely Christmas-related. Yet ultimately, due to its setting on Christmas Eve and the numerous references to the festive season, I believe it should definitely be classed as a Christmas film.

Overall, wherever you watch Die Hard this Christmas you’re almost certainly going to have a good time. However, watching it from the swimming pool of a historical landmark surrounded by great music and food is something else and is highly recommended.

Photo: KAMiKAZOW @Wikimedia Commons

Star Wars: A New Hope Live in Concert

Written by jackgreeney on . Posted in Film.

From the very day that the first Star Wars film was released to the world four decades ago, the saga has had an enormous impact on science fiction, cinema, and popular culture alike, particularly with its iconic Academy Award-winning musical score composed by John Williams.

The London Symphony Orchestra came to the Manchester Arena to debut their Star Wars: Film Concert Series, performing the groundbreaking orchestral score alongside an (enormous) screening of A New Hope, selected by the American Film Institute as the greatest movie score of all time.

In an unexpected twist of humour, the orchestra opened with the 20th Century Fox opening theme as the film began, provoking laughs all around the audience. But as the screen fell black, the laughs were cut short, the crowd immediately falling silent in anticipation of the iconic Star Wars theme. As soon as the spine-tingling roar of the opening theme blasted around the arena, the audience became captivated. Now the fun began.

The orchestra perfectly encapsulated the scale and enormity of the score as the opening text reel sank to reveal the enormity of space, the Empire’s giant cruiser haunting over Rebel Leader Princess Leia’s tiny spaceship above the distant worlds of a galaxy far (far) away. The musicians accompanied the film to the millisecond, a near-impossible feat achieved by a well-conducted, well-practiced orchestra.

Every section of this sensational 70-piece orchestra was given the chance to truly flaunt their capabilities throughout the length of the film with flawless dynamism, timing, and unwavering emotion, delivering a wide range of tone and feeling. A lone trumpet evolving into the swells of soaring strings as Luke, barred from his hopes of adventure, gazed longingly towards the twin Tatooine sunsets, is absolutely feel-it-in-your-chest exhilarating, a true high point of the experience.

In terms of production decisions however, there are certainly a few unforced errors. Somehow, the orchestra neglected to perform the iconic ‘Cantina Band’ songs, long-whistled by Star Wars fans since the galaxy began. The songs instead were heard pre-recorded through the film’s standard audio reel which, in all honesty, was a bit of a let down. Aside from being a favourite memory of many from the original film, these songs convey the strangeness of the Mos Eisley spaceport bar Luke finds himself in, adding confusion to the strange cross-section of alien creatures drinking, fighting, and laughing.

The orchestra could have had their true moment during the closing credits reel with the music building up into a wonderful crescendo — if only the musicians were illuminated by the stage lights. Regardless of this, the genius of John Williams was absolutely tangible throughout, escalating science fiction to an unceasing adventure and, crucially, evoking an enormous emotional spectrum.

I cannot think of another film which could grab you by the arms and shake you until you really, truly hear the far too often overlooked music of cinema more than A New Hope. Until they come out with The Empire Strikes Back, that is.

Photo: Broady @ flickr

GMP appeal for information following ear attack

Written by Ethan Davies on . Posted in News.

Greater Manchester Police are appealing for information after part of a man’s ear was bitten off outside a city centre venue.

Around 11.30pm on Saturday, 8th December, police were called to Impossible Manchester to reports of a disturbance.

When officers arrived at the venue, which opened in 2017 after a £3 million refurbishment, they discovered a man in his twenties had had part of his ear bitten off. He was taken to hospital but has since been discharged.

Two other men in their twenties were also discovered to have minor injuries after the disturbance.

The Peter Street venue is situated directly opposite the Albert Hall and Albert’s Schloss.

A 17-year-old boy and 20-year-old man were arrested on suspicion of assault and affray. They have since been bailed pending further enquiries.

Detective Sergeant Natalie McDonald of GMP’s City of Manchester Division, said: “Violence of any kind will not be tolerated in Manchester and we will do whatever we can to find those who use it to cause fear on our streets.

“We know that there were a lot of people in the area at the time – some of whom may have information crucial to our investigation.

“Please call our dedicated team of detectives with whatever information you have.”

Anyone with information should contact police on 0161 856 4409 quoting reference number 2382 of 08/12/18 or the independent charity Crimestoppers, anonymously, on 0800 555 111.

Photo: Sara Kurfeß @ unsplash

Brexit and the environment

Written by Amelia Kent on . Posted in Opinion, Environment.

Since June 2016 the UK’s relationship with the EU and its lengthy break-up has dominated the political discourse in the UK. It seems we can’t go a single month without being confronted by yet another high-profile cabinet resignation. With the spotlight on the Brexit theatrics in Whitehall, It is not hard to see how the environment has been overlooked.

Released in October, the most recent Intergovernmental Panel on Climate Change report states that the worst of the effects of Global Warming can only be avoided if the global temperature increase is limited to 1.5°C. This is in stark contrast to the 3.4°C increase predicted by 2100 with current policies in place.

To achieve this target there must be monumental cuts to emissions which will only come from the introduction of drastic policies and heavy investment in green technologies. Despite this, in his most recent budget speech the Chancellor, Phillip Hammond, failed to mention climate change once and has announced a 9 year freeze to fuel duties (gilets jaunes rejoice).

However worryingly, our current government’s ambivalence towards the state of the environment is not out of character; one of Theresa May’s first acts as prime minister being the abolition of the Department for Energy and Climate Change. A move described by former ministers as ‘a major setback’ at the time.

With regulation on climate change and the environment in the UK embedded into EU policy, withdrawal from the EU will affect almost every aspect of environmental policy in the UK.

It is understandable then, that one of the main concerns of environmentalists and climate change campaigners has been what the UK’s domestic policy on climate change will look like after Brexit, and how the draft agreement sets about ensuring standards will be upheld? Not so well apparently.

Brexit & Environment, a network of academic experts from across the UK and EU, assessed the draft agreement against the four ‘green benchmarks for Brexit’ and judged it to be insufficient to pass, albeit stating that things ‘could have been worse’.

Significant steps need to be taken to ensure that withdrawal from the EU does not result in backsliding on policy or weakening of regulation, and the immediacy of the situation is not forgotten amid the so-called ‘Brexit-chaos.’

Protests are already being seen across the globe for action on climate change as again and again the scientific community presses for urgency of action whilst governments do too little.

Our silence on the matter is politically charged and indifference akin to complicity, we must prioritise the environment now, if not the consequences will be irreversible and we’ll only have ourselves to blame.

Photo:Pax Ahimsa Gethen @wikimedia commons

Review: Sorry to Bother You

Written by alfieclark on . Posted in Film.

A smart political satire with a bizarre and disturbing edge, Sorry to Bother You is certainly one of the year’s most memorable and original films.

Sorry to Bother You is the highly promising directorial debut of Boots Riley, and tells the story of Cassius ‘Cash’ Green, an African-American telemarketer who slowly rises through the ranks of his company to become a ‘power caller’ by using his ‘white voice’, which is the only way he can keep white-American callers on the line. This new found success comes into conflict with the revolutionary ambitions of his artist girlfriend, Detroit, and his close friends who form a union to demand raises for telemarketers. It’s a compelling plot that allows for intelligent political commentary along with hilarious, and absurdist comedic moments.

Each cast member excels in their role. Lakeith Stanfield in the lead role continues to prove himself as one of the most promising rising stars in Hollywood, with his awkward charm perfectly suiting the everyman nature of the protagonist he portrays. Tessa Thompson as Detroit is as charismatic as ever, and does a lot with a role that sadly I did feel was underwritten, coming across as yet another ‘Manic Pixie Dream Girl’ in the same vein as Ramona Flowers of Scott Pilgrim vs the World and countless other examples. The white voices that the characters adopt in the film were chosen perfectly, with comedian David Cross filling Cash’s white voice, and Lily James as Detroit’s.

To me, it felt like the film had two distinct halves, the first half being a slightly absurd political comedy, and the second half delving into absolute insanity that left me speechless— and that’s a good thing! Although I liked the first half, I didn’t feel that the jokes landed quite as much as I was expecting them to considering the hype I’d seen for this film. In particular, I found myself cringing at an appearance by Danny Glover, in which his character claimed to be “too old for that sh*t” in an un-inventive reference to his role in the Lethal Weapon series.

However, I was very impressed with the second half, which fully embraces absurdism and involves scenarios that caught me off guard, which I won’t give away here as the trailers do well not to spoil some of these plot developments. Though not a horror film like Get Out, a clear inspiration for this picture, Riley has created a story that is often just as unsettling. A scene in which Arnie Hammer’s character, Steve Lift, the drug-addled CEO of powerful company, WorryFree, orders a confused Cassius to rap in front of him and all his white friends, led to much uncomfortable laughter in the audience.

Visually, this film is a delight. It is highly colourful, with a lot of purple and yellow,  creating an aesthetic that does not feel completely separate from reality, allowing us to draw parallels to our society. But, is just at the right level of strangeness that we can buy into this crazy world operating by its own rules.

Boots Riley has proved himself to be a talented director and I’m certain he will continue to make original and entertaining works such as this. Though I wish I had enjoyed the first half as much as the second, this is still one of the most notable films I have seen this year, and I’m excited to see what is next for Riley and its stars.

4/5.

Photo: Peter Myers @ Flickr

In Conversation with James

Written by jackgreeney on . Posted in Music.

 Speaking to the longest-running member, official band namesake, and genuine Moss Sider James “Jim” Glennie, the band appear enthusiastic to get onstage and show the world their most critically acclaimed material in years.

After a one night stand with The Charlatans at Liverpool Arena in 2016 thoroughly enjoyed by all involved, the two heavyweights of British indie decided to rendezvous once again, touring the UK this winter.

Before dishing out praise for their touring contemporaries, Jim reveals that James and The Charlatans had rather unusually never crossed paths for the majority of their careers before the enormously successful show together two years ago. Once they finally ran into each other they got along like a house on fire, eventually inviting them along to their Christmastime shows, a reignited James tradition following the release of their new album.

Living in Extraordinary Times, released earlier this year, is a “release of summer tension”, as Jim puts it. Singer Tim Booth wrote lyrics to play off world politics “rammed in your face”, creating attention and protesting against societal issues. “I have a sneaky feeling it’s a one-off”, says Jim: Tim generally stops himself writing overtly political songs, but sheer passion blew his top on this occasion. If you’re looking for inspired songwriting, look no further.

“Amazing producers” Charlie Andrew and Beni Giles had a massive impact, working with the band to create a rhythmic basis for the album perfect for live performance. Jim recalls their studio time experimenting with everyone from opera singers to Spanish flamenco heel tappers, recording his favourite song from the album, Coming Home (Pt.2): “a big anthem, a tune”. “We are massively, massively proud of the album – it’s hard to have the self-discipline not to play it all the time”, Jim says of their new creations.

Yet speaking of discipline, Jim pens the longevity of James down to a constant ambition to produce fresh music that challenges the consensus, describing a band who inherently do not give people what they want. “We demand a lot of a James crowd”, says Jim, and this is undoubtedly true, no less than touring entirely experimental material around smaller venues earlier this spring. On suggestion that this is the James ideology, Jim references a quote from a review of their show in The Times in agreement: “in the world of rock and roll, the customer isn’t always right”.

The customer may not always be right, but is the critic? “If you start listening to other people, you’ll lose the plot”, Jim exclaims, reminiscing how the band used to be happy with having anyone review them at all. Nevertheless, Living in Extraordinary Times is their most critically acclaimed effort in years, The Guardian amongst those concluding that “remarkably, this 15th album might be their best”. The release even performed well in the States, and as a result, James are pencilled in to tour there next year.

It’s Manchester that James are excited for right now, though: Jim can’t wait for the “buzz backstage” returning to their hometown arena. Whilst the band have played Manchester Arena many times throughout their career, Jim is keen to note that this will be their first since the bombings only last year. Jim appears genuinely enthusiastic to reconnect and give something back to the city, looking forward to a “special occasion”. Mainly though, they just want to keep having fun playing their music on what is to them the biggest stage: “we’re looking for a party”, Jim laughs.

Photo: Kate Bush @ Flickr (Daniel Rehn)

Record Reappraisal: Kate Bush – The Whole Story

Written by Bella Fleming on . Posted in Music.

40 years ago, the world was blessed with one of the weirdest and most wonderful artists it has ever seen. The world was blessed with a frizzy haired 19 year old singing about Emily Bronte’s novel Wuthering Heights whilst dancing in a forest wearing fantastically bold red lipstick and green eyeshadow. The world was blessed with Kate Bush.

With five albums worth of material to work with, The Whole Story sees Kate take the best of her brilliant early catalogue and assemble it into one amazing compilation. 32 years on, this record has not aged a day, with every track still proving timeless, fuelling its listeners with all of Bush’s raw emotions.

The Whole Story takes the listener away on a musical ride through some of Bush’s most iconic moments from the beginning of her career. Hearing Bush’s early work in particular showcases the evolution of her wonderfully wavy vocals and wild imagination. From her softly sung piano ballad ‘The Man With The Child In His Eyes’, written at the age of just fourteen, to her spacey-orchestral experiment track ‘Wow’, taken from her second album Lionheart.

Bush uses The Whole Story to really showcase the formation of her now trademark quirkiness. With tracks like ‘Babushka’, (about a woman romantically fooling her husband) and the iconic pop anthem ‘Running Up That Hill (A Deal With God)’, being flawless demonstrations of her ability to continually surprise listeners and push boundaries. Every track on The Whole Story shows the pure creativity and song-writing talent possessed by Bush – a skill heard in every one of her song’s piano notes and every drum beat.

Opening this compilation is the genius ‘Wuthering Heights’, which Bush remixed and re-recorded herself for this project. This remixing was done purely with the intent on giving the song a more mature sound, replacing Bush’s original vocals for the track when it was released in 1978, when Bush was just 19. This minor alteration in sound really does highlight the subtle change in vocal depth and resonance Bush developed in the eight years between the original track release to the polished and perfected iteration heard on The Whole Story.

Kate Bush creates magical worlds through her music, vocals and lyrics that has the fantastic ability to transport you away to a wondrous place where anything could happen. A place where Catherine and Heathcliff are together; a place where God will let you be another person to escape from the excruciating feeling of loving someone too much. The Whole Story is a vessel that ultimately transports the listener to the depths of Kate Bush’s imagination.

Kate Bush is not a singer, she is an artist. In fact, she is one of the most important artists of our time, and one that will continue to shape the music industry forever. Listening to The Whole Story is all the proof you need.

10/10.

Photo: miamifitnesstv @Flickr

The backside of Instagram: why our Monday motivators are all the same

Written by Emma Price on . Posted in Lifestyle.

We are a generation fixated on absorbing information and images, digesting them to reconfigure ourselves – to produce the best version. The fitness industry has harnessed Instagram as its platform for projecting all types of information, products, and motivational quotes. What it’s lacking, is integrity.

Let’s first focus on the fitness ‘influencers’, the Twitter-tick certified social media role models. On the outside: a rush of positive affirmations and inspirational captions. Lurking beneath: a dark toxicity, a trip-wire for young, impressionable people to become trapped in a state of comparison. Not to mention being caught in the onslaught of often dangerous information. Numerous studies have found Instagram to be the most detrimental social media site for young people’s mental health. Even more so when it comes to to body dissatisfaction.

A 2015 study conducted by Tiggemann and Zaccardo compared how women felt after viewing either ‘fitspiration’ images or travel photos. The results concluded that those exposed to the images of people working out or posing experienced lower self-esteem.

I spoke with a current student, Elise Stockdale, who highlighted the way Instagram has had negative effects on her own mental health: “Instagram is so worryingly addictive that it’s not just something you can put down. It was all consuming, I was stuck at that awkward age where being perfect is all that mattered. I don’t have a particularly feminine shape, so seeing all these perfectly posed photos made me feel pretty crap about myself”.

As levels of self-esteem fall, the opportunity for influencers to capitalise on their follower’s insecurities rises. In one fell swoop young people go from image and lifestyle consumers, to products, plans and ‘detox’ juice buyers.

After following fitness bloggers for years, I started to see trends and similarities across their Instagram accounts. The recent ‘booty’ obsession has sexualised the fitness industry, and Instagram is whispering at the door to be a soft porn site. These idolised body images validate any information that captions the photo. The girl with the best behind must know what she’s doing, right?

Wrong. Genetics doesn’t inherently mean knowledge. Yet, unfortunately many young people become susceptible to believe online advice by those with the best bodies. I asked strength coach Geoff M. Wiseman (Instagram: @strengthcoachcardiff), who holds an impressive portfolio of diplomas, certificates, and advanced qualifications, and who is also well-known on Instagram for his personal training with Carys Gray (@busybeecarys), for his opinion: “Social media influencers and chip shop PT’s [personal trainers] are destroying the industry and are just in it for a bit of quick cash. The population seem to have gone from the following ‘to be popular I must be skinny’ to, ‘to be popular I must look like someone else or have a butt’”.

With many students low on funds, recruiting a qualified PT to help with their fitness goals is out of the question. I asked Geoff on other ways young people can make sure the advice they’re getting is useful and legitimate: “Don’t be a sheep. Don’t follow someone because of sexual appeal. When you hear something, check it. Fad systems like diet pills, Skinny Coffee, Slimming World are just looking at dragging money from you. [Nutrition] is dependent to the individual and their goal”. He also offered his knowledge to anyone with questions about health and fitness on his social media.

With no sign of social media trends dying any time soon, I offer my own piece of advice. If an app leaves you feeling worse about yourself after a five-minute scroll: delete it. Eat and exercise for the best version of yourself, and don’t take everything you see online at face value.

Disability History Month Photo: Disabled Students' Society

Disability History Month arrives at the SU

Written by Rona McCann on . Posted in News.

December sees the Students’ Union (SU) launch a series of events to mark Disability History Month.

The events have been organised by the SU’s Disability Officers and the Disabled Students’ Society.

Events taking place during the week beginning on Monday, 10th December include workshops, opportunities to learn about the life of disabled students at the University, and a film screening.

Disability and Me is a “showcase” of disabled staff and students at the University. Held in the Students’ Union’s foyer on Monday, the showcase involves activities students can take part in, such as making a badge that can be worn to show support of the campaign.

On Tuesday students can meet with the Disabled Students’ Society at the Quiet Lunch Space. Students are invited to find out what the society do and how they can get involved, in an environment where social interaction is optional. The event will be in Room 2.2 at 11am-1:30pm.

The Theory of Everything, in which Eddie Redmayne portrays a young Stephen Hawking as he discovers he has motor neuron disease, will be screened at 6:30pm on Wednesday in Room LG1. The screening will be followed by a debate discussing ableism in the movie industry.

Also on Wednesday is a Queer + Disabled Zine Making Workshop. Led by Ali Harri, the workshop allows for space for students who are both queer and disabled to “connect, vent, and share their experiences of these two identities”, in a creative, social, and relaxed space. Art supplies will be provided, along with snacks and refreshments.

Closing the SU’s events will be Disability and Sex Work: The Unseen Connection, a conference that will explore the high rate of sex workers identifying as disabled or as having a long-term condition. The conference will be held on Thursday at 4:30pm in Room 1.6.

Each year Disability History Month, a national, unofficial observance of the history of the disability rights movement, runs from 22nd November until 22nd December. It is supported by a wide range of groups and institutions, including unions and voluntary organisations.

The theme of 2018’s Disability History Month is disability and music. The theme has been selected with the aim of drawing focus to the struggles of disabled-identifying creatives in a world in which they face barriers due to their impairment.

Disabled students make up 15% of the University of Manchester student population. Support offered to these students consists of the Disability Advisory and Support Service, or DASS, which aids disabled and mentally ill students in completing their academic work and in other aspects of university life.

Photo: Johann Edwin Heupel @ Flickr

Attenborough let us down — but we can still rise up

Written by sophiemarriott on . Posted in Opinion.

David Attenborough has recently come under fire for not making a more radical statement about climate change during his new show, Dynasties. Attenborough has been reluctant to add his voice to those criticising the reliance on individual actions to combat climate change.

This does not negate the fact that his shows contain important lessons. We should not be blindly following his, or anyone else’s opinions to ensure we do the right thing by our planet. In our fight to save all animals, we cannot just be sheep.

We have evidently become too reliant on celebrity culture if we insist on waiting for David Attenborough’s say-so before we respect our environment. Whilst it is disheartening to know that such a respected celebrity is not prepared to use his publicity to make a statement on such an important topic, there are plenty of incredible people speaking publicly about the need to challenge the current status quo in order to protect the environment.

The power of Attenborough’s ground-breaking documentaries has always shone through the stunning footage; their ability to bring us intimately close with nature whilst simultaneously reminding us of its vastness. Their very nature (pun intended) should be enough to inspire a push for a more sustainable planet.

When celebrities fail to be paradigms of virtue there is a collective sense of betrayal, be it the soothing grandfather figure of David Attenborough, or even someone less sombre like Kanye West (someone continually in the spotlight for his antics). Rarely, however, do the media ever cover the motivations or the story behind a questionable action or behaviour. We only care because they did something controversial in the public spotlight; ignoring everything else they might have done in the privacy of their own homes.

They are role models and should constantly be aware of their audience. This is a fair point, but one that takes away the agency from the general public. We should not be reliant on celebrity culture to inform social consciousness. Whether we are taking moral cues from Attenborough or Kanye, nobody’s word is gospel, and nobody is the one person with all the right opinions. These men are celebrated for their art and their intellect, and rightly so, but in putting themselves in the public spotlight neither of them bears the burden of having to guide a globalised sense of right and wrong.

The movement for climate action does not need a messiah. We are all capable of knowing what the right thing is, and we should all be aware that the right thing definitely is not burying our heads in the sand listening only to the commands of TV personalities. Morality is inside all of us and should not have to be reinforced by celebrity role models. Why are we all lying dormant waiting for someone else to tell us what to do? There might be no perfect celebrity but do not let that tarnish your own conscience.

Photo: Johan Persson

Review: ‘The Producers’

Written by Bella Jewell on . Posted in Theatre.

Gloriously camp, gleefully provocative, Mel Brooks’ smash-hit musical, ‘The Producers’, was everything it promised to be and more.

On a typically dingy and sodden evening in Manchester, the musical directed by Raz Shaw brought all the glitz, glamour, and sleaze of New York’s Broadway to the Royal Exchange Theatre.

‘The Producers’ was adapted by Mel Brooks and Thomas Meehan from Brooks’ 1967 film, and transformed into the glorious musical famed for its distinct lack of subtlety and outrageous use of stereotypes.

The somewhat meta plot of the musical within a musical is based on the discovery of the protagonists — producer, Max Bialystock (Julius D’Silva) and his accountant, Leo Bloom (Stuart Neal) — that they can make more money by overselling tickets to a Broadway flop. As such, the two leads embark on an adventure to produce the worst Broadway show in history.

Experienced, yet bankrupt producer, Max Bialystock leads his new weak and infantile accountant to commission an outrageous play — ‘Springtime for Hitler’ — which Max describes to be “practically a love letter to Hitler.”

To add insult to injury, they select the campest directing team possible; a flamboyant squad of choreographers and tech assistants led by the magnificent Roger De Bris. If you’re looking for subtlety, this show is not for you, as the group perform the number ‘Keep It Gay’ with off-the-wall levels of pageantry.

The original Broadway production ran for 2,502 performances after its opening in 2001 and won an unprecedented 12 Tony Awards. Since its successful beginnings, the musical has toured the world, with its latest reincarnation taking place in Manchester.

Raz Shaw’s approach to this latest staging of the producers is certainly no let down, with the incredible, tap-dancing cast using the round stage in a way which was both interactive and effective. The casting of Julius D’Silva as Max Bialystock was a genius choice, as he embraced the role with suitable eccentricity. Stuart Neal’s role as the frail and sweaty accountant with big dreams was impeccable.

“Shocking, insulting and outrageous and I loved every minute of it” was the first review of ‘Springtime for Hitler’, to Max and Leo’s surprise, yet this fictional review is a pretty accurate summary of my feelings whilst leaving the theatre.

The intense humour of Mel Brooks’ writing, creating blatant caricatures of homosexuals and Nazis, often pushed at the boundaries of what is acceptable. At times the skilfulness of the production was the tension it created in the audience as to whether to laugh or not; the show walked a fine line.

Often I contemplated the production’s significance in a post-Me Too world, given the sleaze of Max’s casting couch and the heckling of the voluptuous receptionist and actress, Ulla (Hammed Animashaun). This new societal context, however, only gives the production more power, making it more outrageous and satirical. In a small nod to this reality, the imprisoned Max claims, “I’m not going into the toilet, I’m going into showbusiness.”

The constantly changing props and seamless costume changes of the chorus lend sleek precision to a beautifully polished yet deeply coarse musical which challenges, ridicules, and excites. I cannot recommend this production of ‘The Producers’ highly enough; it is the epitome of escapism.

Photo: @Ivy Rose Studio

Preview: Lady Wildflower presents ‘The Frou Frou Club’

Written by Anuli Changa on . Posted in Theatre.

Lady Wildflower studied dance and drama at university and began helping out with the burlesque show the ‘Cats’ Pyjamas’ in her home town of Grimsby. She explained to me that over ten years of her burlesque career, she has tried many styles of burlesque and enjoys the diversity from “fierce, sexy striptease influences” to “strong character based acts” such as “mythological” routines and even a “Bob Fosse” inspired musical theatre act.

I had to ask the age old question about burlesque and criticisms surrounding objectification and sexualisation of women. Lady Wildflower’s answer was simple: “my body, my choice”. She has been asked this question “so many times over the years” and recounted a struggle to secure council venues for the Hebden Bridge Burlesque Festival, the council refused to let them use council venues because burlesque was seen as “demeaning to women”. With community support, this hurdle was eventually overcome. Lady Wildflower stated matter-of-factly that burlesque for her is “reclaiming [her] body from the male gaze, reclaiming [her] sexuality” and “celebrating all bodies, all sexualities”.

Lady Wildflower’s life is full time burlesque: performing, producing and teacher in Manchester, Leeds and around the world.

Lady Wildflower’s ‘The Frou Frou Club’  is a burlesque and cabaret show which will be performed at 53two. The show is particularly “exciting” as the show is accompanied by “a live band “. The band, ‘Cabaret against the machine’ creates a “completely different energy”, an “electrifying” atmosphere.

As well as Lady Wildflower, the show will include Lolita Va Voom, who has travelled from Berlin to perform and Snookie Mono, an international swordswallower and fire eater. And performing with the band Drag Queen, Donna Trump will be singing live!

‘The Frou Frou Club’ brings “a different flavour” to the burlesque scene and marries the “classic” with the “comedic” in an unforgettable night of entertainment.

Post-Crash Economics Society campaigns for syllabus change

Written by Josh Sandiford on . Posted in News.

The Post Crash Economics Society (PCES) is campaigning to get behavioural economics back onto the syllabus for economics students.

Behavioural economics seeks to apply elements of psychology to help better understand economic decision-making. It has previously been available as a third-year module for economics students.

Ayse Mermer, the lecturer who previously taught the module, left in 2018, and it has not been available since her departure.

PCES wants it to be available in the next academic year but staff have responded by saying that there is currently nobody available to teach the module.

However, it’s understood that there are several other lecturers in the department qualified to teach behavioural economics who have a particular interest and expertise in the subject.

A PCES spokesperson told The Mancunion: “Studying behavioural economics allows us to better understand decision-making in the real world. It is, therefore, a very important requisite for a future economist, which all students should have the option to pursue.”

A University spokesman said: “The behavioural economics course is being rested at the moment, but the Economics department is hopeful that they will be able to offer it again in the very near future.

“Several of the department’s academics work in the area and are themselves keen to see it back on the syllabus as quickly as possible.”

The University of Manchester was also keen to note that many other economics courses taught at Manchester contain elements of what has come to be called behavioural economics, describing it as “central to much of modern economics.”

The Post Crash Economics Society was founded in 2008 by a group of students attempting to change the way economics was taught in the wake of the 2008 financial crisis.

The group is committed to ‘pluralism’ within the subject of economics and wants lecturers to include alternative economic thinking alongside the traditional free-market approaches when teaching.

The group recently launched a well-attended lecture series, with one lecture on Marxism and another on the role of the central bank. Next semester, PCES hope to have events on additional economic perspectives as well as behavioural economics.

Photo: Aniol @Wikimedia Commons.

Review: American Horror Story Apocalypse

Written by Ella Broadbent on . Posted in Film.

Aesthetic, complex, and unnervingly dark — American Horror Story (AHS) is back with a new season which is everything I hoped it would be. Apocalypse aired on the 5th October and since then we have been introduced to exciting new story lines, a post nuclear world war setting, as well as the much-anticipated crossover of Murder House and Coven.

Not to disappoint, the cast of AHS season 8 is filled with familiar faces from older seasons, with leading actors such as Evan Peters and Sarah Paulson even playing multiple roles. Even characters who died in earlier seasons have made a comeback — not unusual, as ghosts and resurrections are a key part of many AHS seasons. New high-profile cast members have also joined the crew, such as Cody Fern starring as the Antichrist ‘Michael Langdon’ and Joan Collins, playing one of the survivors in Outpost 3.

Most excitingly, Jessica Lange is set to appear for an extended episode, returning to her Murder House role of Constance Langdon, directed by the one and only Sarah Paulson. Her breath-taking performances in seasons one to four won her both Emmy awards, and the hearts of most fans, and her comeback is highly anticipated.

Like other AHS seasons, Apocalypse combines a range of settings and time frames. So far, we have seen flashbacks to weeks before the bomb, the time of the bomb itself, and been introduced to the terrifying nuclear winter of the post-apocalyptic aftermath of World War 3. ‘Outpost 3’ is the central setting of the season so far, where Ms Mead (Sarah Paulson) and her robotic accomplice (Kathy Bates) run a twisted and sadistic underground refuge, where cannibalism, execution and mass murder are not uncommon. It’s nothing too surprising really, given the disturbing horrors of previous seasons…

Undoubtedly, the most compelling feature of Season 8 is the inclusion of a reprise of both Murder House and Coven. There have been hints and references to other seasons in episodes before, as well as subtle character reappearances and foreshadowing of later story lines. But a full-blown cross over, especially of two fan favourite seasons, is revolutionary in the world of AHS. There is even a reappearance of the infamous Hotel Cortez of season 5 Hotel. All of this, along with intriguing story lines and the wonderful camera work and visual effects trademark to American Horror story, make this the most exciting season yet. So, whether like me you’re an avid AHS fan, or just want to give it a go: watch Apocalypse for a thrilling experience which will not leave you disappointed.

4.5/5.

Photo:BagoGames @flickr

Review: Fantastic Beasts: The Crimes of Grindelwald

Written by issyrayner on . Posted in Film.

Disclaimer: I’m a Harry Potter fan. I wore my Gryffindor scarf to the screening of Fantastic Beasts: The Crimes of Grindelwald, I own well-used copies of everything by J.K. Rowling, and I’ve seen the play twice (go, it’s great).

This latest addition to the franchise is set in 1927 as Gellert Grindelwald (Johnny Depp) escapes the Magical Congress of the United States of America. We follow lovably eccentric magi-zoologist Newt Scamander (Eddie Redmayne), whose primary objective is to search for and protect vulnerable magical orphan Credence Barebone (Ezra Miller) from Grindelwald’s indoctrination. Acting on the instruction of an unexpectedly suave forty-five years old Albus Dumbledore (Jude Law) the story unfolds and gives us a greater insight into the wizarding world we know and love.

The screenplay was written by novelist J.K. Rowling, and it shows as Rowling is a master of the intricately plotted novels. The Crimes of Grindelwald is an audio-visual novel — an anthology of the wider world beyond Hogwarts. Devoted fans will joyfully marvel at familiar cameos, the inner workings of the French Ministry of Magic, and all the squeal-worthy nuggets of nostalgia (I must admit to getting swept up in these moments). For the fans, you cannot fault the film’s entertainment value.

Trouble is, Rowling leans too far into this and the film itself gets lost in this beast of a narrative. There are too many plots to follow while most tension comes from a worry of losing track of what on earth is going on. Seemingly every character (and there are a lot of them) receives exponential development despite the plan to create a further three films in the Fantastic Beasts franchise. I felt for the parents staring blankly at the screen with no way to get grasped by the plot.

I cannot fault the visual effects, performances, or dialogue. The star-studded cast does not disappoint; Depp’s Grindelwald is a horrifyingly charismatic villain, and Law sells the wisdom yet youthfulness of a still-developing Dumbledore. But a stand-out is Kravitz as the intelligent but troubled Leta Lestrange as her turmoil oscillates between suppressed and overwhelming within a single close-up.

Potter fans have often wished for a Game of Thrones style in-depth exploration of the Wizarding World and they got their wish – just in one 135 minute, overwhelming eruption.

3/5.