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Month: December 2018

Photo: Lara Dixon

This Is The Female Gaze: Photography Exhibition

Written by jackgreeney on . Posted in Arts.

Organised by University of Manchester student Lara Dixon, the ‘This Is The Female Gaze’ exhibition sought to challenge the patriarchal ‘male gaze’ depiction of women prevalent throughout the history of art.

The Goodstock charity shop exhibition featured photography by female students in Manchester, displaying female subjects from feminine perspectives and deeply examining the relationship between the two.

Natty Arendt displays an eclectic yet wonderfully coherent combination of images, whilst they individually focus on small details, together they encapsulate a larger scene. Green and white apartment blocks immediately grab the attention. They are a backdrop to a great shot of two elderly women in floral dresses sat conversing on the corner. A passing glimpse of a person’s back and shoulders by the sea is complemented excellently by a faraway man relaxing on a rocky beach, waves approaching.

Asha Ray portrays African and Asian women engaging in pleasant eye contact with the viewer, a welcome interruption to normality. A wonderful Gursky-like vista of a white, weathered city provides perfect setting for groups of women chatting, grinning, and reclining on hammocks.

Pav Nagra’s works contain soft green, black, and white tones in a dim yet sunlit room to portray a half-shadowed elderly woman appearing to look in the direction of the viewer but withholding eye contact.

Amy Smithers photographs women of colour wearing striking dresses and set against powerful black background, displayed cascading down the wall.

Evie Spicer depicts incomplete sections of women’s faces in interior settings such as bathrooms. Glimpses of parts of a woman’s face, such as eyes and hair, draw one’s attention, as the subject sees the viewer through the angles of mirrors. The scene surrounding the face is softened, drawing the eyes naturally towards the face.

Alice Goad’s piece is markedly discrete. Negatives are splashed with vibrant green, titles reading ‘MAN AT HIS BEST’ and ‘HIS AND HERS’ above listed gendered household items. These are in the form of film covers, displaying men obscuring and shadowing over women, using clever framing.

Toni McCoy-Hopwood’s work sees a woman posing, walking, ironing; these are contemporary visions, model-like poses in unlikely scenarios and a typically British run-down neighbourhood. Zoë Barry views a range of subjects in often colourful, sunlit scenes, displaying a variety of motion, perspective and dress.

Maisie Lee portrays subjects from the shoulders upwards engaging in direct, almost disarming eye contact with the viewer. Adriana Szczerepa displays different perspectives of a figure at a scenic, coastal location. They are over the shoulder and partial nude shots in the format of large black and white prints.

Kira Wainstein displays colourful public scenes of Japan. Women in traditional kimono using phones placed next to images of men in workplaces in motion. Alice Swift uses black and whites hanging around a frame to place the viewer behind the camera. She depicts traditional housing, fishing boats, and kitchens.

The sum total of this exhibition is quite an impressive curation of work, although some pieces clearly stand out: the photography of Natty Arendt and Asha Ray in particular are joys to behold. The challenge towards the normatively masculinised perception of female subjects is largely palpable.

This exhibition was funded by the networking platform Bumble Bizz.

Whitworth. Photo: Charlesdrakew @Wikimedia Commons.

Perspectives at The Whitworth: Thursday Lates Takeover in contemporary art

Written by saoirseakhtarfarren on . Posted in Arts.

Resisting the unforgiving wind and biting cold last Thursday evening, I made my way to the Whitworth Gallery for Thursday Lates Takeover which hosted an invigorating and inspirational exhibition on learning disabled contemporary artists.

Perspectives is an exhibition which aims to open the discussion on the “visibility” of learning disabled artists in contemporary art spaces, including the relevance, or rather, irrelevance of terms such as ‘outsider’ art within the artistic community.

The term ‘outsider’ art was the central theme of perspectives. Coined by Roger Cardinal in the early seventies, ‘outsider’ art was originally translated from the French, ‘art brut’ meaning ‘raw art’ which aimed to encompass those ‘outside’ of conventional culture, and with no exposure to an education in art.

However, ‘outsider’ art has evolved into what, Jennifer Gillbert described to be, an “umbrella term” that encompasses disabled or mentally ill artists in contemporary art, including individuals from an low economic background and subsequently had no access to art education. This raises questions into the appropriateness of terms like ‘outsider’ art to encompass minority groups. Indeed, it would seem to ostracise individuals and group them as ‘different’ from educated and ‘mentally sound’ artists.

In true contemporary style, Venture Arts’ artists, such as Ahmed Mohammed and Lesley Thompson, found space on a table and peacefully crafted live drawings during the introduction speech which outlined the core aims of Venture Arts.

The intended goal of “inclusivity” for disabled artists into mainstream contemporary art was one way Jennifer Gillbert advocated Venture Arts’ message. This is in order to break-down socially constructed walls that separates disabled artists within contemporary art. An emphasis on the similarities over the differences of contemporary artists are a means that Venture Arts suggest to eradicate assumptions attached to minority groups.

Perspectives explored how Venture Arts empowers artists through providing spaces and exposure to mixed media. Barry Finan Anthony and Terry Williams are amongst some artists supported by Venture arts, who have been — or are to have — their work displayed in exhibitions.

The Whitworth Gallery are among the contributors who are celebrating learning disabled artists, and have purchased Barry Anthony Finan’s ‘YES I WANNT TO DO TRRICKSSERRS’, which will soon be part of Whitworth’s permanent collection.

I was privileged enough to observe Finan’s piece, purchased by the Whitworth, in a private room beneath the main gallery. Here, Holly Grange, the curator of the Musgrave Outsider Art Collection, gave a detailed history on selected pieces of artwork from the Musgrave Kinley collection.

A favourite was Dusan Kusmic’s shoe sculpture created from chewed up bread, spat out, and moulded into miniature shoes.

In the closing Q&A of the private art tour, Grange remarked the point of being “open and transparent” within the realm of ‘outsider’ art. This I felt was poignant to the function of art as knowing no boundaries or limitations.

Despite the limitations associated with the term ‘outsider’ art, integration of  ‘outsider’ art into mainstream contemporary art may be the gateway into freeing all art of preconceived assumptions and expectations, making art truly “open and transparent” for all.

Pret A Manger Photo: Transport Pixels @ Flickr

Pret A Manger and the Stern Review

Written by alexwalker on . Posted in Opinion.

Two weeks ago, Pret A Manger arrived on campus, and was immediately inundated with students making the most of the 50p discount for bringing your own cup. Did someone say 49p coffee?! But what does that tell us about the student population? It could be that we just like cheap coffee, but I think there is more to this. 

Pret’s initiative shows us more than anything that consumers respond drastically to financial incentives. They are even willing to change their behaviour suit it. The ‘Pret Effect’ can be also be seen in other places, like the attempts to get people to adopt more environmentally conscious habits. Since the introduction of the 5p bag charge in 2015, for example, plastic bag usage has decreased by 86% – a reduction of 300 million bags. 

How else are we motivated by money? In 2006, Nicholas Stern released a 700 page report informing the government on climate change and the world economy. It had some compelling and familiar conclusions. It claimed that climate change threatens basic elements of life, especially for those in developing countries. Additionally that we need to spend 1% of GDP annually  on reducing climate change. These conclusions are the same that we heard just a few weeks ago with the release of the IPCC special report, but were made 12 years ago. Yet, why did we not act at the time? 

An important element of the report is the level it uses of something called the discount rate. Discount rates determine what value we place on future spending compared to spending today. A high discount rate places a low value on future spending, and a rate of zero assumes — while accounting for inflation — that a dollar spent in 10 years will be worth the same as a dollar spent today. 

The assumptions are that improvements in technology, increased consumption and future uncertainty mean that a dollar in the future should not be viewed the same as one now. Stern used a near-zero discount rate in his report, which led to his conclusions. This methodological choice was widely criticised, particularly by William Nordhaus — a recent winner of the Nobel Prize in economics.

He advocated for a much higher discount rate, which would have suggested the threat of climate change was much less pressing. His conclusions were far more palatable at the time and required less spending, and either by consequence or coincidence, the Stern Report was largely forgotten about by policy makers. 

If the findings of the report had been implemented ten years ago we would be in a far better position today in terms of avoiding the devastating consequences of climate change. However, they were not. When a less costly alternative view was presented, we of course went with that. Governments were once again swung by money. 

People respond to financial incentives far more than other concerns, both on a governmental and individual level. Money is so central to our lives, arguably being the factor which influences us the most. We will only act on climate change when it makes financial sense to do so. The questions remains of how this can be done, but when the threat of mass extinction is not enough, perhaps the threat of mass financial hardship is. 

Homeless Photo: quinntheislander@pixabay

The homeless epidemic needs empathy, not cynicism

Written by oliverstorey on . Posted in Opinion.

It is estimated over 4,700 people slept outdoors in 2017, a 15% increase from 2016 and the seventh consecutive annual increase for the UK. The growing homeless epidemic is very apparent when you choose to notice it.

I can understand if you do not give money to the homeless all the time. My understanding begins to falter, however, if the reason you withhold your money is because you believe you are helping them somehow. This reasoning is not only immoral but it fuels a cynical and inhumane attitude towards the homeless community.

There are a number of assumptions that are made about the homeless community. Many are unsure whether those on the streets truly are rough sleepers, or merely ‘beggars by trade’. In fact, there were 307,000 people categorised as homeless in the UK in 2017. That’s 1 in 200 people in temporary accommodation, ranging from a hostel to a friend’s sofa.

While not all beggars are categorically rough sleepers, they still deserve your sympathy and help. They are among the most vulnerable people in our society.

A common assumption is that the money you give will go towards drugs. Jon Glackin, the founder of Street Kitchens, a grassroots charity, re-iterates, “if you can afford to give money to a homeless person on the street, do it”. He emphasises that the proportion of drug addicts on the streets would be minimal.

And yet, what if they do buy drugs? Who are we to judge? Perhaps it is even kind to allow them to escape and numb the pain and humiliation of their life. What is more, to stop taking drugs whilst on the streets can be doubly painful due to the excruciating withdrawal symptoms you can suffer. It is too easy to dictate how others should live from a position of comfort and relative ignorance.

Withholding your money will not cure an addiction. To stop an addiction the addict must believe in and want the alternative more than the next hit. Drug addiction and begging are usually last resorts. Bad luck has knocked some down so many times that they have given up. It is incredibly unlikely that anyone would choose to live that way.

Cutting the only source of income is not a solution, nor does it help anyone to get off the streets. It makes trying to save for a night in a hostel harder, winters colder, and bodies thinner. For drug addicts, it could make them more likely to turn to criminal activity.

The Salvation Army claims that giving money to beggars keeps them trapped in a cycle of drug abuse and money should go to charities instead. Charities themselves, however, are often considered not to be very reliable sources. How much of that money will reach those in need? Donating directly to the homeless is the only way to help those who are unreachable by charities.

While charities are stoic in their provision of housing and care, a single gap in the process of rehabilitation can let someone slip back to the streets. Eight years of Tory austerity has reduced the number of homeless beds by 20%, while homelessness rose, and gutted the social and mental health care that was desperately needed.

It is the role of the government to provide the homeless with the mental and social care needed for rehabilitation into society. Whilst direct donations to the homeless may not be the best solution to the wider problem, neither is giving the same amount of money to a charity which props up government cuts.

Giving money to homeless people will not get them off the streets, but that is not our responsibility. We have a moral responsibility as human beings to care for those less fortunate than ourselves and to help how we can by making their life more bearable.

Photo: Richard Cooke @ Geograph

Artefact of the Week: ‘Rain’ by Lemn Sissay

Written by saoirseakhtarfarren on . Posted in Arts.

As part of my walk from Fallowfield to Uni, I know my destination is on the horizon when my brow crumples in an attempt to figure out how the fragmented letters read, on left the side of Gemini Café on Dilworth Street. The poem that adorns the café‘s left side, is called “Rain.” It is a work by one of Manchester’s most famous poets, Lemn Sissay.

Intrigued by the artwork, I searched online intending to decipher what appeared to be a riddle, to awkwardly realise that the letters are read vertically…

‘Rain’, now legible, revealed an optimistic take on Manchester’s nation-famous weather. Yes, you guessed it — rain.

The rainy weather is described as the necessary factor in the natural phenomenon of rainbows, which I thought could reveal a deeper sentiment for Manchester, now being the third most friendly city for the LGBT+ community in Britain.

Just as the gay community have become role models for reclaiming historically offensive words such as ‘queer’, Sissay does the same for Manchester’s grey clouds and puddle-ridden streets.

Portrayed as inconvenient and disruptive, Sissay reclaims the unfavourable weather type as part of the “Mancunian way.” Indeed, Mancunians themselves treasure Sissay’s ‘Rain’, with one women tattooing “Mancunian way” on the inside of their arm, while another woman named her child ‘Rain’, after the poem.

Like many individuals raised in Britain, Sissay comes from a culturally diverse background, yet in just 22 words Sissay captures the Mancunian collective identity that is uniquely shared by individuals of all races, classes, and heritages.

‘Rain’ makes me internally smile. For it is only the people who know Manchester that appreciate how rain can make us collectively think of inexhaustible happiness and opportunities in the face of such sad weather.  

Regardless of the temperature, Manchester is home.

Brexit Photo: Elionas2 @Pixabay

Who is wearing Brexit’s suicide vest now?

Written by jamiechalmers on . Posted in Opinion.

The resignations of Ministers Sam Gyimah, Dominic Raab, and Shailesh Vara have unnerved the parliamentary Conservative Party. This mass defection is of such proportions that it might have impressed the author of the book of Exodus; the Prime Minister’s cabinet has become a material representation of her fractured credibility. Gyimah’s resignation on the first of the month has left the 23-person Conservative front bench with only one remaining person of colour; fitting, perhaps, when we consider the voting dynamics which precipitated the triggering of Article 50.

These defectors abandoned their Cabinet positions in protest against the Brexit deal. May even lost most of an entire familial generation in the resignations of the Johnson brothers. Alexander Boris De Pfeffel Johnson, who, as a man of the people, has wisely elected to go by the second of his many names, said of the Brexit deal: “We have wrapped a suicide vest around the British constitution and handed the detonator to Michel Barnier.”

Characteristically, he muddled understanding of the apparatus of martyrdom, the detonator on a suicide belt being customarily operated by the wearer. However, the sentiment behind this statement rings true, if not exactly as intended. The detonator, in this instance, is in the hands of a cross-bench coalition of both Remainers and Brexiteers. The vest is not worn by the British constitution alone; perceptive viewers will spot it under the Prime Minister’s jacket in the upcoming debate.

Across this fractured political hell-scape, cross-party calls for a ‘people’s vote’ are increasingly audible. Yet the line of argument used to support a second referendum is as hyperbolic as that which won the initial vote for the Brexiteers.

This argument states, correctly, that the referendum result was built upon lies, but this is a trait shared with every other electoral process in recorded history. Electoral mistruths do not preclude democracy, rather they constitute its foundation. Is this system flawed? Clearly, and so to challenge the referendum result is to decry the continued fitness of the system itself.

The SNP accused pro-unionists of running a radically dishonest referendum campaign in 2014. Pro-unionists levied identical charges in return. Yet where were the appeals for a second ballot then?

One difference between these two cases lies in their relative effects. Brexit will be an economic catastrophe. Scotland’s failed secession, at least until 2020, will not. Yet when Theodore Parker coined the idea of a society ‘of the people, by the people, for the people’, he sensibly omitted to qualify that statement by adding, “as long as our majoritarian decisions make sound economic sense”.

Or perhaps the scale of deception is the central difference. If so, take a moment to recall the 8th November, 2016. Trump’s electoral victory was incontestably built on lies, not least the unconstitutional pledge to ban all Muslim immigration, and allegedly involved unprecedented illegality. The conduct of British political actors in 2016 was pious by comparison. Worse still, Trump lost the popular vote; his victory was ensured only by bureaucratic technicality.

Where were the British media’s calls for a US re-election? Where were the outraged backbenchers demanding democratic justice? The answer, it seems, is that their silence signified an understanding that democracy is democracy, whether its exercise delivers a result we consider palatable or otherwise.

Live Review: Blossoms

Written by Winona Newman on . Posted in Music.

Only two albums in and Blossoms have proved they can fill Victoria Warehouse, not only once but twice. It’s an impressive feat for a band that were playing small festival stages just a few years ago. The Stockport quintet are riding the wave of a successful second album and were met with a very Mancunian welcome on Sunday evening.

This was very much a Manchester band at a home gig. Pits had formed to the Courteeners, the crowd was cheering to The Stone Roses and singing along to Oasis even before the boys had come on stage. Luckily Blossoms had planned an equally dramatic entrance, strolling on amongst strobe lights, an audience-lit flare and Kanye’s ‘Black Skinhead’ which they merged into their opener; ‘I Can’t Stand it’.

This ability to play with their own music, as well as others’ and across genres really highlights the band’s musicality and is what makes it a joy to see them live, with gems such as the Beatles’ ‘I Want You (She’s So Heavy)’ embedded within their own music and sound. The set flowed beautifully, giving little time for rest or even applause between each song, with very little filler. This was a crowd-pleasing set list which seamlessly merged nostalgic classics such as ‘Blown Rose’ and ‘Honey Sweet’ with their electrified second album Cool Like You  – founded on synth and hints of psychedelia, highlighting the signature Blossom’s sound underlying both.

Whether they like it or not the band, at least here, have been embraced by Manchester’s young Brit-pop scene and this is something they very much played into on Sunday. With an encore including The Smith’s ‘Big Mouth Strikes Again’ and Tom’s signature solo section culminating in a chorus of ‘Half the World Away’ as well as a secret set at YES just the other week, the band seem eager to spend as much time as possible with their home city.

Tom managed to calm the immense, high-energy crowds for just a moment and as the band left the stage he played ‘My Favourite Room’ alone. Whilst a single guitar attempting to fill a warehouse sounds slightly strange, his voice is all that is needed to carry the heart of the song through the audience; the ultimate nostalgic indulgence. In his usual style, Tom goes off-piste finishing his solo section with some Mariah Carey and obviously some Oasis, leaving the audience in their own happy singalong as he exits the stage.

The band returned for an impressive encore, including of one of their new, but already one of their most popular tunes; ‘There’s a Reason Why’ as well as a homage to The Smiths. This encore once again highlights the band’s ability to seemingly lift styles and ideas from anywhere they choose, especially from their Mancunian predecessors. The show closed with ‘Charlemagne’, the band’s ultimate classic, leaving the audience in a wild frenzy beneath the clouds of a couple more flares.

Tom retained his stage presence throughout and thus his place as one of the genre’s top front men but there seemed something lacking and it is undeniable that connecting to that large an audience is hard. Whilst the show was pretty much flawless musically some of the band’s energy seems to have been lost, possibly just out-shone by the audience or simply lost within the space.

Their music is beautiful, their stage presence captivating and their audience manic but there seems something slightly off when those three come together and perhaps it is simply the inevitable veil that must come between band and audience once they reach a certain level of fame. The recent release of a choral version of ‘There’s a Reason Why’ suggests the band is up for exploring their music a little more before settling fully into a signature musical and performance style, what with them still being a very young band.

Ultimately they gave the audience what they wanted – a jam-packed set-list, a Christmas tune, a Smith’s cover and what more could you want from a band returning to their hometown? Perhaps an audience that isn’t so distracting.

8/10

 

Live Review: Fontaines D.C.

Written by Olivia White on . Posted in Music.

Having just disembarked off their tour with Rough Trade’s #1 album artist, Shame, the fearless Dublin born 5-piece Fontaines D.C have certainly held their own so far on their headline tour selling out 4 of their dates including Manchester’s Night People and The Lexington, London.

Fontaines D.C. have spent the last few years on the grind, ensuring they’ve become a name amongst their industry counterparts such as Idles, Sorry and Shame. This contemporary fervent resurgence in punk-rock influence has proven to give Fontaines D.C. a heavy footing in the upcoming wave of restless musicians.

With the London-based, slightly more punk-inspired, Hotel Lux as support, Fontaines D.C. perfectly established the soundscape of the evening. Lux are a strutting quintet composed of lousy, carnivalesque-sounding guitar riffs and haunting spoken-word vocals. Exuding an admirable confidence for their still very small fanbase, this 5-piece are utterly fascinating. Possessing the ability to make you feel like you’re part of something far bigger, Lux are certainly a band to keep a close eye on.

Kicking off their sold-out Mancunian basement, Fontaines D.C. immediately instilled a strong sense of self-assurance, creating an atmosphere that enveloped their mostly middle-aged audience into a charging electrical buzz. Frontman Grian Chatten’s thick Irish accent travelled down the back of the venue’s dark and dingy walls, penetrating the spines of each member of the audience that had attended in the hopes of joining the band’s foreboding concoction of heavy riffs and raw lyricism.

Chatten’s demeanour radiated a sweeping sensation of comfort on stage but was uniquely trimmed with an unsettling habit of walking back and forth in a quick-tempered fashion. This jittery movement only echoed the band’s collective energy to dominate every aspect of the intimate stage. ‘Chequeless Reckless’, an anti-capitalist, spoken-word protest sparked a vigour in fans as they rallied in the centre of the room.

‘Boys in the Better Land’ alongside the band’s new single ‘Too Real’ and my personal favourite, ‘Hurricane Laughter’ certainly stood out to be the band’s most memorable moments. Each of these tracks were effortlessly pioneered by O’Connell and Curley’s melodic and stirring heavy riffs which were supported by Coll’s pounding drum beats.

‘Hurricane Laughter’ is an anthemic, hypnotic and unrestrained portrayal of just what Fontaines D.C. are capable of. Having not yet released a debut album, this track released earlier in 2018 acts as a pioneering momentum for the band’s future artistic endeavours. Sending fans into fits of frenzied flinching- Fontaines D.C.’s performance at Manchester’s Night People was intoxicating and stimulated a further confidence in the future of heavier band’s that are finally starting to be recognised in the current industry.

As I left the stripped-back venue, Chatten’s accented repetition of “There is no connection available” continued to resound around my head.

8/10

Photo: ActuaLitté @ Wikimedia Commons

Opinion: Do we really need a sequel to ‘The Handmaid’s Tale’?

Written by Alice Porter on . Posted in Books.

Margaret Atwood has just announced that she is writing a sequel to her 1985 novel, The Handmaid’s Tale. It is titled The Testaments and will be published by Penguin Random House in September 2019.

The Handmaid’s Tale is a dystopian novel set in Gilead, a totalitarian society that has replaced the United States of America in which birth rate is plummeting. The novel follows the life of a handmaid, Offred, whose only purpose in life is to bear children for an elite couple who cannot conceive. 

The original novel has had a resurgence in popularity ever since its remake as a TV series in 2017, which has now been renewed for it’s third season. The novel has also resonated with many in the so-called Trump era. Protesters all over the world have dressed as handmaids from the novel, in the signature red cloaks and white hats, from anti-Trump marches in America, to pro-choice rallies in Ireland.

Atwood has stated that her inspiration for the novel is “everything you’ve ever asked me about Gilead and its inner workings” and “the world we’ve been living in”.

But Atwood’s decision to write a sequel to this deeply political novel 32 years after its publication at what is seemingly the peak of its commercial popularity might be down to more than these reasons.

The Handmaid’s Tale was Amazon’s ‘Most Read Fiction Book’ of 2017 but there’s no definitive answer to the question of whether the novel’s revival was due to Donald Trump becoming President, as many have claimed, or due to the success of the TV series. But what is clear is that the announcement of a sequel to this book is partly, if not solely, down to it’s increased popularity.

Although there are other potential reasons as to why Atwood has come to this decision, it’s difficult to deny that guaranteed success must be one of them –  you have to wonder why she would she wait over three decades to produce a sequel. People have been asking questions about The Handmaid’s Tale’s ambiguous ending since its publication and it has always been politically relevant. It’s not as if feminist discussions have only come into popular political discussion since the election of Trump, though they have perhaps increased.

An author’s intentions in writing are not necessarily the most important thing about a book but it seems slightly gratuitous to add to Offred’s, or any of the other characters’, stories just for money. This might even take away from the original impact of the novel on feminism, especially because its ambiguous ending is what has provoked a great deal of discussion.

But in criticising Atwood for producing this with potentially materialistic motives, we might be reverting back to the age old narrative that woman should not ask for more, especially when it comes to money and power. In claiming that Atwood is wrong to take advantage of the commercial popularity of her most successful novel, there is a sense that I am saying that she should be happy with what she’s got and should not strive for further success.

Maybe I’m not even just applying this narrative to Atwood just because she’s a woman but because she’s also a writer. I think I feel slightly uncomfortable with the creation of a sequel to this seminal novel because I have a subconscious belief that writers should only write about something because they feel passionately about doing so and that they have something to say, not because it will make them lots of money.

But, in saying this, I’m putting writers on a pedestal too. It’s Atwood’s job to write books and, ultimately, the purpose of a job is to make money.

Do I think a sequel to The Handmaid’s Tale is necessary? No, probably not. Does this mean it’s wrong for Atwood to write and profit from writing one? Again, probably not. As a writer, a woman and human with the same wants as any other person, Atwood should be able to write this novel. But that doesn’t mean that the world is going to benefit from it, in a literary or a political sense. I’m anxiously awaiting for September 2019 to find out if it will.

The Game Awards Roundup

Written by Danny Jones on . Posted in Games.

Now, whilst I grew up with the likes of the recent Golden Joystick Awards as the one and only gaming awards ceremony, since 2014 the old bull has faced strong opposition from the young buck in the form of The Game Awards, an event that this year particularly has come to take on a whole new level significance other than handing out a piece of brass. Having said that, let us first take a look at those who did pick up a few of those trinkets.

First of, let’s start with the game of the moment: Red Dead Redemption 2. Fear not my budding cowboys and cowgirls, whilst you might have been disappointed when Red Dead was pipped to the post for Game of the Year at the Joysticks and only earning an honourable mention having only been out for just over a week, Rockstar made up ground this time around by sealing a slew of awards.

Photo: Instacodez@Flickr

Not only did RDR2 win the highly desirable Best Narrative, but also Best Audio Design, Best Music and Best Performance (Roger Clark). So, as the now award-winning Arthur Morgan would say: “that’s quite the corral of proverbial chrome-encrusted cattle”. Okay, he’d never say that and let pretend I never did either, shall we?

Having said that, for many it doesn’t matter how many awards you win: some only one want the holy grail and just as was the case in London last month, the title that won out was that familiar old mythological, beard-faced, father-son blood-fest, God of War. The team who have now raised the bar so high in terms of games being art also took home Best Action/Adventure and Best Game Direction. As if that wasn’t enough to satiate God of War fans, we were even treated to Kratos actor, Christopher Judge bellowing “Read it, BOY!” as means of handing one of the awards.

However, it was some surprise that Santa Monica’s seminal title didn’t complete the trifecta by clinching Best Art Direction, which instead went to Return of the Obra Dinn: a murder-mystery-puzzle game with a cool monochromatic, illustrative style. Other notable mentions go to the interactive story-driven game, Florence, which earned Best Mobile Game, as well as Celeste, which took home the double with Best Indie Game and the Games for Impact award, recognising the game’s profound message before it’s classic platforming mechanics.

Return of the Obra Dinn photo:LucasPope

We had some more returning winners carried over from the Joystick’s here too, with the likes of Monster Hunter World securing the award for Best Role-Playing Game, Dead Cells this time picked up Best Action Game – oh! And who could forget Fortnite? Which, of course, picked up the awards for Best Multiplayer and Best Ongoing Game.

One last friendly face that popped up on the podium was Blizzard’s Overwatch, which continues to earn accolades for its competitive qualities as it picked up Best Esports Game. In fact, with the pro-gaming scene bigger than ever, it has become a key part of The Game Awards annual line-up: this year recognition was given to players like SonicFox, teams like Cloud9 and content creators like Ninja.

Photo: Wikimedia Commons

But perhaps the most exciting aspect of this year’s Game Awards is how it has now become another window for announcing new games and debut eagerly awaited trailers; I recently mused over Sony’s decision to pull out of next year’s E3 and what it might mean for the future of games marketing.

It seems that award ceremonies like this might be the new alternative as not only did we get new trailers for Rage 2 and new content for the likes Rocket League and Fortnite, but we were also treated to Outer Worlds – the heavily-teased new game from Obsidian (developers of Fallout New Vegas) – an interesting new IP from the makers of Assassin’s Creed called Ancestors, and even an unexpected new entry into the Far Cry series entitled, New Dawn (which could also be mistaken for a Fallout or maybe even a Borderlands game).

Photo: BagoGames@Flickr

The fun didn’t stop there either. The crowd nearly lost their minds as a brand new Mortal Kombat was revealed on stage and I nearly suffered a fatality myself when I heard klaxons sounding, race lights flashing and that rambunctious bandicoot going from pixelated relic to high-definition, high-octane speedster: that’s right – Crash Team Racing is getting a remaster!

Whilst I pray nothing takes away from our beloved E3, I enjoyed this new approach to debuting new games: it felt like it a lot of things caught me off guard and even titles that had been rumoured were not necessarily expect here; they offered respite and excitement at the same time by breaking up what can often feel like a long queue at the post office as you wait for the packages of interest to you. All in all, The 2018 Game Awards were a hoot and worthy competitor for the Josyticks. Step your game up, guys.

Photo: Cassandra_Dvl @ pixabay

The role of history in society and how its been abused

Written by Armand Azra on . Posted in Opinion.

The role of history in society today is lacking to say the least. Rather than a tool for understanding ourselves it has been abused by many to push a narrative they want. As the nation-state has in modern times become the primary mode of governance, these narratives often revolve around it. So, as the predominant narrative of our time, any historian that challenges these narratives will often face the fury of the many that have built their identities around it.

History as an instrument of shaping identities is not a new phenomenon, nor is it exclusive to any particular country. A surge in the study of nationalism in the 20th Century has found that many nations build collective understandings of the nation-state through the standardisation of history to fit the nation, rather than through historical understandings of people living in that space.

The problem which arises with such nation-centric history is that their history is often white-washed, in order to maintain a cohesive identity by glorifying the successes of the nation and downplaying its ugly side. In Malaysia, for example, this has meant teaching less about the efforts of left-leaning coalitions that played a big part in its independence and this extends to infighting amongst Malaysians for their version of Malaysia.

The result of this is obvious. In the 21st Century, many nationalists long for a ‘golden age’ which has cease to exists. Hiding the ugliness of history has resulted in its glorification. In Malaysia, many long for an ethno-state based on a doctrine of ‘Malaysia for the Malays’ — a very modern concept, stemming from a past which doesn’t exist.

India faces a similar phenomenon where the Hindu nationalists glorify a Hindu ‘golden age’ brought about by the ‘Aryan’ race to which the Hindus are presumably descended from. Britain has often experienced bouts of Imperial nostalgia, evident in museums, artworks, and even advertising. China’s constant emphasis on the ‘century of national humiliation’ on the other hand has created a prevailing ‘us and them’ narrative which they can use to justify imperial expansion.

These narratives simplify history. The effects of this reckless handling of history is more obvious now than ever. The glorification of history in these places in an attempt to create a singular national identity and promote loyalty to the nation-state fuels blind nationalism. But as the far-right encroaches upon more and more in the western world, the significance of this is more salient than ever. A nation too afraid of facing its ugly past will find itself haunted by it.

In pushing a nation-centred narrative in history, it has required some stories be told more than others. In the age of the nation-state it is necessary to construct an identity that is cohesive, standardised and fixed in an effort to consolidate itself. But history taught in this way naturally causes violence as it solidifies lines of identity which have always been fluid and permeable. It also forces the ‘detractors’ of the nation to the fringes of history only to be forgotten.

Myanmar’s genocidal campaign against the Rohingya gives the grisliest image of what happens when history is abused. To consolidate the nation, the history of the Rohingya is erased from national discourse and thus, the voices of the Rohingya are taken from them as they face some of the worst modern atrocities.

History as a tool for the nation-state is violent because it solidifies boundaries. It does not only delineate people through their identity, but also nation. There is a certain degree of apathy people feel when injustice is done towards others when they are separated by race, ethnicity, language, and borders. Separating history by people and by nation is not only exclusionary but it simply gives a caricature of how the world really is.

A history of the industrial revolution without learning about the imperial expansion and the exploitation of people in European colonisation is a history without consequence. A history glorifying the Malays in Malacca while putting its relationships with China, India, and the Islamic world in the backseat glorifies the idea of a Malay ethno-state completely ignoring the diversity of its various identities which had shaped it until today.

History as a subject could be so much more than it is today. Learning history should be about learning about people and thus unlearning many of the pre-conceived notions we have about each other. The appropriation of history by nationalist demagogues is a sad state of affairs, not the least because they use history to glorify and exclude. When we manage to transcend such narrow narratives of history, then perhaps history as a subject will finally not be about some caricature of a nation but about us as diverse peoples and individuals.

Manchester Academy 1

Manchester Academy gig stopped early by suspected stabbing

Written by Ethan Davies on . Posted in News.

A Popcaan gig at Manchester Academy has been cut short due to a suspected stabbing.

Police were called to the Students’ Union-owned venue just before 10.30pm on Friday evening, with two men reportedly being taken to hospital but not suffering life-threatening injuries.

Subsequently, the Students’ Union (SU) building was placed on lockdown.

In a statement, Greater Manchester Police said: “Shortly before 10.30pm on Friday 7th December police were called to Oxford Road to reports that two men had been stabbed inside a music venue.

“Both went to hospital but neither suffered serious or life-threatening injuries. Enquiries are ongoing and no arrests have been made so far.”

Users on Twitter reported that the Jamaican artist was only four songs in to his set before he was ushered back stage.

In a statement, a spokesperson for Manchester Academy Venues said:  “Manchester Academy can confirm a criminal incident took place at one of its venues last night (5/12/18).

“The incident was dealt with swiftly by The Academy’s team and its partner staff with the safety of gig goers and staff prioritised throughout.

“The emergency response for those directly involved was immediate and we understand both victims have been released from hospital. 

“Due to the nature of the incident and it being subject to police enquiries, we are unable to comment further. Greater Manchester Police can also be contacted in relation to this specific event.

“We can confirm all of the Academy venues are operating as usual this evening and going forward. We would like to thank all of our visitors for their understanding and reassure them that their safety is always paramount when attending any of our events.” 

Photo: UMSU

Senate introduces Postgrad Exec Officer

Written by Nicole Wootton-Cane on . Posted in News.

In a meeting cut short by low attendance and dominated by sustainability motions, last Thursday saw the third Students’ Union (SU) Senate of the academic year.

The meeting began with the team of Exec officers outlining their priorities from the start of the academic year, and reporting back to Senate on their progress.

Welfare Officer Deej Malik-Johnson did not report back, due to arriving late to Senate.

The largest issue on the agenda was a constitutional change that would allow the merging of the Community, Campaigns, and Citizenship Officer role and the Welfare Officer role to open up funding for the creation of a new Postgraduate Officer.

Officers told the Senate how postgraduate students often reached out, saying they “don’t see the Union as a place for them”. They also discussed last year’s unsuccessful referendum on the role of Postgraduate Officer that failed to reach the majority needed to create the role, telling attendees that the role will be different this time.

A handful of student officers raised concerns about the timing of the merger, arguing that a number of students at the University were still unaware of the role of the Exec team, and Senate, in wider university life.

The motion passed however, with an overwhelming 92% of attendees voting in favour.

However, concerns were raised over whether the newly merged Welfare and Community Officer would have “too much to do” if they were responsible for both welfare and community issues.

Officers responded by telling Senate that “welfare is in all of our remits”, and citing Manchester Metropolitan University’s new Welfare Officer, who is also responsible for community campaigns, as an example of how the transition can be made successfully.

Activities Officer Lizzy Haughton raised several motions, including encouraging the SU to implement a ‘2 for 1’ tree-planting policy, and suggesting that they should “limit the environmental impact of large SU events” such as Welcome Week.

Both motions passed with a large majority, meaning that the SU will now calculate the number of trees equivalent to the amount of paper the union use, and plant two for each one cut down.

Haughton said that she hoped the policy would be successful not only in planting new trees, but also in encouraging those at the SU to use less paper.

However, Senate was unable to vote on two further motions due to two attendees leaving Senate early, which put the total number underneath the quota of 41.

In a recent interview with The Mancunion, Abid admitted that Senate could be publicised better, telling us that “senate is not as powerful as it could be” because “students don’t engage.”

The annual members meeting (AMM), that was due to took place directly before this Senate meeting, was cancelled entirely due to the number of attendees not reaching the required threshold of 50.

The AMM functions as a break down of the Union’s finances, with SU General Secretary Fatima Abid admitting that the Union was in slight financial difficulty.

The meeting also saw the Exec Officers scrutiny reports discussed, with each officer given an overall rating out of four (with one being the lowest mark) by an independent panel, who analysed how successful their work had been so far this year.

All officers scored at least a three, and Riddi (International) and Fatima (Gen Sec) both scored four overall.

Lizzy Haughton and Deej Malik-Johnson were unable to be scored as they did not attend their meetings with the panel. Malik-Johnson had an authorised absence, and Haughton was attending a protest.

When questioned about her absence, Haughton said she was attending an Extinction Rebellion event: “I had to choose my priorities… and that was it.”

Other policies passed at Senate included a motion for the Union to support the fight for marriage equality in Northern Ireland and a motion to commit to creating more safe spaces for QTIPOC students.

Policies calling for the Student’s Union to declare official support for the Plastic Pledge, and Extinction Rebellion were not discussed due to the suspension of the meeting.

The chair confirmed that these policies would be moved to the top of the next meeting’s agenda.

It was also announced that popular Northern Quarter milkshake shop Black Milk will soon be coming to the union.

The next Senate will be held on the 7th February 2019.

Photo: The Mancunion.

Uni finances rattle leadership

Written by Ethan Davies on . Posted in Investigations.

A combination of rising costs and the cap on tuition fees has burned a hole in the University of Manchester’s finances.

The latest accounts show its operating surplus – the equivalent of a profit, and described by the University as a “key measure of financial performance” – fell by nearly £40m to £25m in the year to July.

This meant it missed a key target – a surplus of 5-7% of total income. Last year the surplus fell from 6.3% of turnover to 2.4%. It still has £315m in cash reserves, although this figure shrank by £70m, mainly due to building projects.

In the report president and vice chancellor Prof Dame Nancy Rothwell said it had been a “challenging year” for all universities and added: “We must address the level of our surplus to ensure the sustainability of our university.”

Edward Astle, chair of the Board of Governors said: “Some actions have already been taken, and others are in hand, to bring our operating surplus back to our target range of 5–7% of income.”

The Mancunion asked the University how it was planning to increase the surplus. In a statement a spokesman said: “With an increasing number of external challenges facing the sector, like many other institutions across the country, Manchester is looking to improve its efficiency and effectiveness.

“Our funding comes from a wide variety of sources, including student fees, research and government grants, and much more modest revenues earned from activities like conferences and catering. This income is then invested in many different ways back into the University.

“However, our financial objective, as ever, remains the same – achieving long-term financial sustainability and maintaining our strategic goals, including year-on-year income growth and delivering an operating surplus to reinvest into our University.”

In the report, the University described the shrinking surplus as, “a product of continuing growth in staff costs whilst the external environment prevents a rise in the Home Undergraduate Tuition fee and many research funders will not pay the full costs incurred by the University.”

It added: “The University has limited influence over the continued growth in wages and salaries, as this is driven by contractual increments and the national pay award. We have also seen a £4.4m increase in voluntary severance costs as a result of our strategic initiatives.”

The accounts show the University’s income rose by 5%, to £1,05bn, in part down to fees from international students. Debt fell slightly to £403m and the pension deficit was down 22% to £221.6m.

Professor Dame Rothwell’s overall pay packet fell by £37,000 to £269,000, due to the fact she took less in pension contributions as cash.

Josie Fowler, second year Politics, Philosophy, and Economics student, commented: “I don’t think it’s well run financially. The amount of money that they clearly have at their disposal and they are not utilising it successfully. Given there is so much disenchantment among students on their fees, staff on their wages, and departments having cuts for funding. It seems ridiculous there is yet another negative piece of news on the University’s finances.”

Hana Jafar also believed the University was being poorly run financially: “Unethical investments, the whole pensions issue, graduate teaching assistants not being paid on time, and [there’s a] general lack of transparency.”

Jacob Thompson, English Literature and American Studies third year added: “Frankly, I’m baffled by these statistics. More transparency is required – at the moment, it’s like looking through a bathroom window. I can see the outline of a person, but don’t know what they’re doing.”

Museums Photo: Rolando Silva @ Flickr

British museums must de-colonise

Written by hannahvallance on . Posted in Opinion.

Last month, the governor of Easter Island tearfully begged the British Museum to return Hoa Hakananai’a, one of the most spiritually important of the Moai stone monoliths, to the island.

For Britain, the statue has been retained within the walls of the museum for 150 years, merely another material acquisition from the ‘great age of exploration’ (or exploitation, depending on how you see it).

Yet for the indigenous communities of Easter Island, Hoa Hakananai’a is so much more than just an object. “You have our soul“, the governor, Tarita Alarcón Rapu told the museum.

Even an international lawyer, with experience in front of the International Court of Justice, called for the return of the statue in order to allow the Islanders to honour their ancestors.

Yet sadly, the plea of the Easter Islanders is not unique. These calls for repatriation join a growing petition from former colonies to retrieve their beloved artefacts, antiquities and objects that were once purloined by colonialists and ‘adventurers’ in their quest to ‘explore’. So, why aren’t museums in Britain listening?

Importantly, museums are institutions of memory. And, the preservation of memory is entirely dependent on them to put the fragmented pieces of memory together to construct a narrative, a history, in the quest for the truth.

In this sense, museums are agents of history. They have a duty to both actively seek, and present the multitude of different memories, narratives, and stories from all cultures, including those that have long been excluded from the mainstream narrative.

It is time for museums to live up to this duty; they must decolonise their collections. No longer is it fitting for institutions such as The British Museum to be an archaic collection of painfully acquired objects, objects that continue to tell the enduring legacy of the Empire as one of successful British conquest and possession.

Museums should not be uncomfortable spaces for indigenous communities. Rather, along with other Western institutions, they have a duty to give a platform to those who have been silenced for so long, and exist to provide safe spaces for the promotion of open discussion and dialogue. This should begin with the repatriation of indigenous possessions but, of course, there is even more that can be done to decolonise Britain’s culture.

Institutions such as The British Museum should support the creation of de-colonial spaces from the ground up, providing funding, space, and time for the construction of exhibitions by those unheard voices themselves. As the dawn of a post-Brexit Britain continues to encroach closer and closer, and the country’s future becomes more complex by the day, the promotion of a heterogeneous, multi-cultural dialogue has never been so important.

Nuance is key in developing historical debate, and there is no reason museums should be excluded from this. And, with the calls for the decolonisation of culture and education growing louder, now is the time for change.

Photo: iamsdawson @ Flickr

A fight for equality has no room for hypocrisy

Written by Jay Darcy on . Posted in Opinion.

Ethnic minorities are taught from a young age about the ugliness of racism and are told they have to work twice as hard to get half as far.

However, what is missing from the early education of many British ethnic and religious minorities is that other minority groups also face discrimination, and sexism and homophobia, in particular, are prevalent amongst many minorities.

To feel strongly about the oppression of one minority group whilst ignoring the struggles of another seems hypocritical. How can one claim to care about social equality, by fighting racism, whilst doing nothing to help the LGBTQ+ community or women?

Having conservative grandparents is not just a Western phenomenon. My own grandparents are from India and Pakistan. These countries undeniably oppress women and suppress expressions of sexuality. These attitudes remain prevalent, even now that we are living in a more liberal society.

For me, these problems are exemplified in the standards of dress for Arab, Asian and Muslim women, in contrast to the freedom that men, like myself, have. There are many girls from South Asian families who are made to commute to university rather than live in student halls, yet there is no shortage of South Asian boys living on campus.

Of course, it is not just women who suffer in our communities; there are many cases of gay Muslims being disowned for bringing ‘shame’ upon their families. There are even stories of Arab and Asian customers who refused to have their hot drinks in rainbow Pride cups. This shows how deeply ingrained homophobic attitudes are in the everyday lives of many minorities.

This is of course not referring to all Muslims, or even just Asian and Arab communities. There is also no denying that sexism and homophobia exist in other communities, and homophobic hate crimes have risen drastically recently. What I am seeking to point out is the fallacy that because a group faces discrimination, they are thus unable to enact it themselves.

It is unacceptable to use your religion or identity to justify sexism or homophobia. Enough is enough. We cannot tolerate bigotry and injustice out of fear of offending ancient belief systems.

The worst part is that whilst many are xenophobic towards other minorities, they still expect other people to fight for our equality and our place in society. For instance, Saba Ahmed, President of the Republican Muslim Coalition, supported Trump whilst he made awful remarks about African-Americans and Latinos, but attacked him when he disparaged Muslims. The hypocrisy is rife amongst us.

I do not wish to tarnish our communities; most of us are more liberal than our grandparents. Like everyone, we cringe at their ignorance and racism. It’s largely generational. But for people who have been oppressed because of our backgrounds, it breaks my heart that some of us force that same intolerance upon others. Silence is complicity, so our community must speak up about prejudice – 0nly then can we eradicate it. Only then can we truly state we care about social equality.

Album Review: Dennis 6e by Serengeti

Written by Jack Burnett on . Posted in Music.

Rapper David Cohn, also known by his stage name Serengeti, has been developing his fictional persona Kenny Dennis since breakout single Dennehy in 2006 over tens of albums spanning classic hip hop, comedy rap, house, disco, R&B, and just about everything in between. Dennis 6e is his newest record and brings a close to the Kenny Dennis story after 12 years, being released simultaneously with a biopic film script that ties all the music together in a clean close.

Dennis 6e is the wrong album to hear if you want to understand this complicated backstory. It’s impossible to give a concise summation of such a gigantic arc but in essence, Kenny is a large moustached Chicagoan who on the surface loves beer, sports, and his wife. Seems simple. As you listen deeper more emerges: The glory days of his 90’s rap crew, his early 2000’s rap tour of Midwestern Malls, his brief stint as joint owner of money laundering laundry Bubbles ‘n’ Fun.

Serengeti I also an expert at the details and seemingly inconsequential stories are inescapable in all the Kenny Dennis LP’s. Smuggling fireworks one time, storming out of his 50th birthday dinner, returning a fog proof mirror, and giving the useless store credit to the boy next in like to buy a shower radio unit. This excruciating level of detail earned Kenny (or KD) a cult status within Chicago and the wider blogosphere as a piece of exciting rap fiction. Open Mike Eagle called his single Dennehy “the national anthem of Chicago”.

As the KD story finally comes to an end on Dennis 6e though, dark themes like alcoholism, addiction, and failure that were hinted at ever so slightly right from the beginning of the saga all come to fruition. It is set at the end of the accompanying screenplay “in a near empty, economy apartment” where “Kenny Dennis (70) sits on the edge of an unmade bed” and we see all the previous bravado of this braggadocios MC pulled away. The accompanying production from Andrew Broder is the perfect fit for this; the beats are stripped back and lonely with an avant-garde arrangement and disoriented often dissonant sounds. The rapping at the end of ‘6e’ sounds like an angry frightened call for help, at the end of ‘Jam’ harsh percussion violently pierces through the mix.

Serengeti’s final KD record is certainly reflective of what underground rap has turned to since the noughties bling-era when Lil Wayne was king. Kenny Dennis was once a vehicle to explore idealised middle-aged Chicago life “Playing softball with the guys/ Wife makes curly fries,” and now stands as a mirror for Serengeti to explore the anxieties of the 2010s. Dennis 6e almost feels like a tribute to all those that modern life has left behind and though it barely flows past a half-hour of run time, it acts as a perfectly jarring conclusion to one of the most well-crafted universes ever seen in rap.

9/10

Credit: Dureshahwar Qureshi

25 Days of Glam with the Revolution Advent Calendar!

Written by Dureshahwar Qureshi on . Posted in Fashion & Beauty.

With Christmas just around the corner, and socials and parties filling our schedules, what could be better than being treated to a new makeup item on each day of December! Making an amazing alternative to chocolate, Makeup Revolution’s advent calendar retails at a very reasonable £30, and contains 25 pieces: working out at only £1.20 per product. Makeup Revolution are a budget makeup brand who have had a monumental year, being praised by many high profile Youtubers for their affordable concealer that was compared to the likes of NARS that retails at almost five-times the price. Surrounding gleaming reviews of this advent calendar, I got my hands on this glitzy product to put these bargain products to the test.

Firstly, there are an abundance of eye shadows behind the doors, which are ideal for creating a perfect christmas look, appropriate for any occasion, with any level of skill. Notably, there is an eye primer included, which has been a key product this year, necessary to prep the eyelid in order to build and create the perfect base for shadows to be applied upon. Furthermore, the calendar contains a premium looking palette made up of both matte and neutral shades which were great for blending: perfect if you wanted to create an everyday, smokey look. Yet, if we are feeling more adventurous this festive period, there is another eyeshadow palette of 15 shades included, suitable to create a heaviler glam look as it contains an array of matte, foiled and glittery shadows.

Highlighters certainly have the power to make or break a look, and fortunately this advent calendar contains different formulas and colours to suit everyone! Revolution have treated us to 3 creamy formulas, 2 powders and 1 liquid highlighter hiding behind the windows. Personally, my favourite had to be the cream highlighter as they are buildable. The highlighters are versatile and can be applied to give either an intense or subtle glow and are therefore suited to everyone’s personal taste. In terms of contouring, there are 2 bronzers included in the set which come in two dark shades. I would usually prefer a matte bronzer but the ones included have a subtle hint of glitter which does give the skin a healthy, dewy finish.

8 lip products are also available within the calendar; in an array of 6 satin lipsticks and 2 glosses. The lipsticks come in staple colours, from nudes, to subtle pinks and ravishing reds, perfect for adding a touch of colour to a simple look. The formula of the products is fairly pigmented for such a low price, and quite surprisingly doesn’t feel greasy or uncomfortable. To further enhance your look, I would suggest to add a touch of gloss on top of the lipsticks, as they contain a  notable non-sticky formula. However, something I wish that they included would be a lip liner as it is hard to get a complete, neat look without one.

In addition to all the products I mentioned before, there are 4 brushes included and 1 mirror to top off the collection. Although the brushes are fairly small, they are incredibly soft and work well to distribute the products. If I’m being picky I felt it was a shame that Revolution didn’t include one more blending brush as it would be hard to apply a sufficient transition shade with any of the brushes that are included.

Overall, I believe that Makeup Revolution’s advent calendar is a thoroughly good buy, and is a perfect gift for any makeup lover in your life.  Given its incredibly reasonable price, it’s a no brainer, as you are able to test out a variety of great products without breaking the bank. My personal favourites are certainly the eyeshadow palettes, as the the colour options give you a versatility that is a lot greater than I expected for £30, and I was able to make an endless combination of looks. It’s Christmas, treat yourself!

Meat Photo : dottorpeni @Wikimedia Commons

Educate children about meat

Written by Olivia Stringer on . Posted in Opinion.

A worldwide survey conducted by market research company Ipsos MORI found that twice as many people believe that transport is a bigger contributor to global warming than animal agriculture.

This is not the case. The meat and dairy industry produces more greenhouse gases globally than cars, planes and buses combined.

At school I remember being told countless times the benefits of car sharing and of using public transport. We even had a walk to school week where you got a lovely sticker for getting to school fossil-fuel free.

However, not once was I ever informed of the impacts that eating meat has on the planet. This leads, in a lot of cases, to ignorance later in life.

Everyone assumes that I do not eat meat because I’m some sort of ‘sheep-worshipping saint’ who believes that every creature is sacred, but actually that is not true at all – I am not even sure I like sheep that much.

I am a vegetarian for the purely selfish reason that I would like to live on this planet for as long as I can without burning in a forest fire or becoming submerged by rising sea levels.

In a report released earlier this year, the world’s leading scientists warned that we only have 12 years to prevent catastrophic climate change from destroying the planet.

That is an alarming fact. Yet people seem to remain relatively unconcerned. The reason, I think, in part, is that people do not believe there is anything that they personally can do about it. They push the thought to the back of their minds and pray that a miracle will occur suddenly and save us all from our impending doom.

I believe that the environmental impacts of eating meat should be more widely taught in schools. It should be at the heart of the curriculum, so that people understand that they do have the power to make a difference. According to the website One Green Planet, if just one person gave up eating meat, it would save 162,486 gallons of water annually – enough to provide for 445 people.

Not only are a lot of people uneducated about the environmental impacts of eating meat, they are also uneducated about its health impacts. Red meat has been linked to an increased risk of heart disease and diabetes, and processed meats such as ham and bacon are ranked by the World Health Organisation alongside tobacco as a major cause of cancer.

However, the majority of children are completely oblivious to this and shovel Billy Bear ham and other carcinogens down their throats in a manner which, unfortunately, could have serious health impacts in the future.

In order to try and reduce the health and environmental impacts of consuming red meat, scientists at the University of Oxford have suggested that the government impose a red meat tax, with a 14% tax on red meat and a 79% tax on processed meat.

I still do not believe that this is good enough. Telling people what they can and cannot eat is only going to anger people and cause an uproar. However, focusing on the power of education will help people to make a conscious decision to eat less meat and therefore will help us work towards a greener, healthier future.

Photo: The Mancunion

Live Review: Skegss

Written by loischandler on . Posted in Music.

Really bloody fun are three words that ultimately sum up the experience of seeing Skegss live. Lyrics about beer, skateboarding, and days spent on the beach in Aus coupled with lead singer Toby’s washed out vocals and choppy, sun-bleached guitar riffs transported a rain-drenched Deaf Institute into the midst of an Aussie summer day.

While there’s nothing particularly unique about their music and they generally follow the same 3 chord formula and whistling summer melodies of every other blonde, long-haired Aussie band, Skegss are refreshingly aware of this fact. Before playing ‘Road Trip’ bassist Toby giggled “this song is about nothing, fuck all.” The band never pretended to be there for anything other than a good time, a welcome reminder that not all music needs to be super deep. Slower songs such as ‘Road Trip’ were made heavier for the performance and while this worked, the mellower album version may have made a welcome change from the punk bangers and would have brought some variety to the set.

The performance was far from perfect; the band slipped up several times and had to start songs again. However if anything this only aided their fun, slacker image and proved that the band don’t take themselves too seriously. They also demonstrated their laid-back attitude when halfway through the gig, guitarist Benny and bassist Toby swapped instruments and surprisingly played just as well as they had before. This sums up the band; ironic surfer rock but performed by a band so talented and good at what they do that their self deprecating vibe seems almost totally unwarranted.

The band’s set of 3 minute punk songs were a direct assault on the audience who charged around the mosh pit with stamina that only such a young and dedicated audience could muster. Despite the set only being an hour long, this was probably welcomed by both the band and the audience who both gave the night their absolute all.

The band gave the impression of having great fun and there was a lot of banter with the audience, enabled by such a small venue. Lead singer Benny also dived into the audience during their final song, ending a relentless performance on an explosive note. The band also seemed extremely grateful, commenting that the gig was their favourite on the tour so far, a reminder that the band are still relatively unknown on this side of the world.

Despite most of their songs sounding the same, this was welcomed by the audience who couldn’t get enough of the sound. Although their debut album My Own Mess was only released in September, the fiercely passionate audience gave the impression of having followed them for years. Whether you were a die hard fan or someone who had never even heard of them, the band made sure you had the time of your life.

You may think that the world doesn’t need another Australian surf rock band but if they all were as talented as Skegss then I think we’d happily welcome them all.

8/10