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Month: February 2019

Photo: Parklife - Press Release (approved)

Preview: Parklife 2019

Written by Jake Oliver on . Posted in Music.

Whilst it certainly seems like summer is a million years away, it’s never too early to start getting excited about those impending hazy days of bliss spent with your mates in the sun. With the recent Parklife announcement though, this excitement is almost impossible to keep down, giving us even more to look forward to as the days get longer and lighter.

Parklife, now approaching its tenth year, has released arguably one of this festival season’s most diverse and exciting lineups, boasting superstardom talent spanning almost every genre. From trap to techno, indie to in-your-face drum and bass, Parklife 2019 has enlisted the help of some of modern music’s most exhilarating acts to ensure your summer gets off to an unforgettable start.

Sitting comfortably at the top of this year’s bill are recent Grammy award winner Cardi B, who brings her uniquely popular rap style to The Parklife Stage on Saturday, alongside three-time BRIT Award nominee George Ezra, set to headline the Sunday with a plethora of singalong hits to enthral the masses. Joining these mighty musicians are the legendary The Streets, who are making their first festival appearance in almost a decade.

DJs really do take precedence this year, with Parklife snatching up some of the hottest record-spinners at the moment to dominate the dancefloors. In The Valley, house duo giants Disclosure are accompanied by musical icons like Annie Mac and Mark Ronson on Saturday night. Make entering The Hangar a priority as well, in order to be blown away by such phenomenal acts as Fisher, the chart-topping champions Camelphat and Alan Fitzpatrick.

The beauty of Parklife is that there really is something for everyone; the lineup is not only wonderfully diverse and fresh, but seemingly prides itself on showcasing new and upcoming talent wherever it can. If you’ve got a spare five minutes in between grabbing a drink or trying to locate your mates amongst a sea of windbreakers and glitter, head on down to the Sounds Of The Near Future stage; the lineup across the weekend is truly special. The glitchy sounds of JPEGMAFIA, the endless anthems of Mura Masa or the slick, suave funk of Christine and The Queens are most definitely not to be missed. This year, Parklife is also rolling out some brand new stages, which if last year’s The Valley is anything to go by, then revellers are undoubtedly in for a huge treat.

With tickets quite literally flying out of the door (is it any surprise with a lineup like that?), snapping them up now is a priority if you don’t want to miss out on the biggest party of the year. Saturday tickets have already gone, so what are you waiting for? Grab your obnoxiously quirky shades, pack a parka and get ready for the best Parklife yet.

Check out our Parklife Playlist too!

Live Review: Wild Nothing

Written by Cameron Taylor on . Posted in Music.

Wild Nothing kicked off their European tour with an intimate performance at YES this last Monday. The show was sold out, with many fans eager to hear old favourites as well as frontman Jack Tatum’s new material off their most recent album Indigo, released in August 2018. With the warm hue of the aptly named “Pink Room” enshrouding the band, they launched into performance, with soft jangling guitar riffs intertwining with each other as the synthesiser laid out the soft and welcoming soundscapes so many of Wild Nothing’s tracks possess. There was a dynamism to the set, as Matt Kallman (also a member of Real Estate) would swap from keys onto the saxophone, and it must be said the band sounded beautiful and faithful to their original recordings — precise and focused.

Wild Nothing’s most recent album Indigo saw an expansion in the sound of the project, but this expansion didn’t exactly translate to their live show. With the exception of a couple of instances where the mixing would drown out the keys or the saxophone, the band looked and sounded exactly like you might have expected just about any indie/dream pop band in 2019 to look and sound. They were unassuming and direct, qualities which are not inherently negative given the music they were playing was similarly quite straightforward. Simply put — the band delivered as promised. The setlist was largely comprised of the bands newer music, which left me a little disappointed as I had hoped to hear some of their older tunes, but nonetheless, the new songs sounded great and coherent meshed in with the band’s previous work.

The overall composition of the performance rarely changed — not necessarily a bad thing, but combined with the unchanging light setup in the room the action on stage seemed extremely monotonous despite the ways in which individual songs would sound. Alongside this, there was evidence of a certain level of rust amongst the band, with Tatum forgetting the lyrics to one of the songs, and it was as if the band were very much playing things safe, providing the bare minimum for their performance visuals. Given the minimalist nature of the music, one can’t exactly complain about a lack of over the top guitar solos or impromptu breakdances, but the end result was that the concert was an overall very simple one, with little to no interaction with the crowd which felt odd in such an intimate venue.

Overall, given the nature of the band’s music as being laid back, I hesitate to criticise them too much over things such as the lower energy level. Whilst the gig didn’t blow me away, it was truthful to the essence of the band, and perhaps the biggest excitement was hearing all the new tracks performed live. It was intimate, with highlights including moments such as the aforementioned where Tatum forgot his lyrics, and voices rose up from around the crowd, filling in for him. For long term fans of the project, there would not have been many complaints.

Wild Nothing will play a select few more dates in the UK before embarking on a European and then Asian tour and are worth catching for fans.

6/10

photo: The Nerd Patrol @flickr

The Anthology Renaissance: A New Golden Age Of TV?

Written by Josh Sandy on . Posted in Film.

There is no doubt that television is the medium of the moment. Over recent years, the popularity of TV has exploded with the likes of Game of Thrones, Mad Men, Breaking Bad and The Sopranos achieving more critical success than even some of Hollywood’s biggest blockbusters. However, this increase in popularity has led to a conundrum for viewers – how is it possible to keep up with all the episodes of all the different series available?

The solution to which may lie within something that will likely bring back painfully repressed memories of GCSE English – the anthology. This, in entertainment terms, is a TV or radio series in which each episode or series exists as a self-contained story with no continuous narrative between episodes or series.

The anthology has many advantages over the traditional series structure, most notably the ability to keep a series feeling fresh with new original ideas instead of falling into the trap of relying on a tired formula. In addition, the ability of an anthology to utilise a new cast and director for each episode or series provides massive potential. It enables the show to both showcase rising actors without banking an entire series on their ability, and equally to lure big-name actors without the commitment that a full-time series would require.

Traditionally anthologies were associated with the so-called ‘Golden Age of Radio and TV’ that took place in the US during the 1920 to 30s and 1950s respectively, during which the bulk of non-news programming took the form of unrelated science fiction, horror and mystery stories under an umbrella title. Of course, the most iconic of which was the enormously popular CBS science-fiction anthology The Twilight Zone. However, the rise in popularity of situation comedies and procedural dramas brought with it a fall in interest, leading to the format being all but confined to history by the late 1960s.

However, the increasing popularity of online streaming has led to an anthology renaissance. This is most evident with the Jordan Peele-fronted revival of The Twilight Zone which is shunning its traditional CBS home to instead take centre stage on their online streaming platform CBS All Access. It may seem counter-intuitive for streaming services, whose business models are based on the ‘binge-watching’ culture, to champion these series. Their potential variety, uniqueness and broad appeal is very attractive to new subscribers who are becoming increasingly elusive due to the sheer number of potential streaming services available.

Of course, not every series is suited to this format, and there will always be a place for long-form drama which, when done well, can be one of the most satisfying forms of entertainment. However, the promise of an anthology is both a valuable asset to any production company and an exciting prospect for audiences. Perhaps overall this is an indication of the cyclical nature of entertainment, and we have gone full circle back to another ‘Golden Age’. Either that, or we’ve entered TV’s ‘Twilight Zone‘ and proved there truly is nothing new under the sun.

Photo: @WikimediaCommons

Review: All Is True

Written by Katy Taylor on . Posted in Film.

Imagine what you know of a British period drama: upper-middle-class lifestyles, patriarchy, etcetera. Take these expectations, present them in one underwhelming package, and here you will find Kenneth Branagh’s new release, All Is True.

In classic Branagh fashion, All Is True is essentially “Much Ado” with William Shakespeare. However, instead of an adaption, we see Branagh yet again as both director and star playing the literary maverick himself. The narrative follows Shakespeare’s return to his birthplace, Stratford, in 1613 after gaining his title as the best writer of the age. Through this we see a depiction of the final segment of his life, where he situates with his wife, Anne, and two daughters as he mourns the loss of his only son, Hamnet, that occurred in his absence.

With its basis on true events of an extremely well-known figure, complete innovation within this adaptation could not be expected. The predictability of this film is so potent, stagnant even, that in reflection it feels as if I haven’t seen anything new at all, but something I’ve seen long ago; it was so extreme that often I felt myself preempting the next movement or piece of dialogue. Following on from Branagh’s tradition of star-come-director roles in Shakespeare tales, there is nothing organic in narrative content, specifically concerning Branagh himself.

The most powerful depiction can actually be found behind Branagh and the star-studded cast that acts as a mist of false promise over the quality of the film; the catalyst for the film’s emotional capacity is undeniably that of Kathryn Wilder, who performs the role of Judith Shakespeare. It is Wilder’s character and performance that provides the lens to the social climate of the time, that emotively portrays the psychological damage upon women who collectively were buckled beneath feminine expectation and lack of opportunity. Her performance is bold, even amongst the A-list faces that lace the cast, and for this merit must be given where it is due.

To its merit, this film does offer a high aesthetic appeal. The ambience and tranquillity portrayed in the visuals encapsulates the image of the British natural world and suitably accompanies the themes of reflection and conflicts between the city, success and home grounding. Although stunning, this natural imagery dominates the film without any form of contribution or benefit. It is stating the obvious, we understand we are in the British countryside, as it is established in the first shot. This ultimately resulted in an overabundance of establishing shots.

Nevertheless, without Wilder and the blatant acknowledgement of Shakespeare’s queerness with Ian McKellen’s appearance (which I LOVE), this film would immensely lack in substance. Predictable, without any element that is significantly heart-rending, All Is True has truly classified itself as a disappointment. Branagh himself may think this is an epic portrayal of the writer he loves so dearly, but this is yet another Shakespeare story without the art of Shakespeare itself.

2/5

photo:BagoGames @flickr

Howl’s Moving Castle

Written by carlfitzgerald on . Posted in Film.

This past week I was offered the pleasure of being able to attend a screening of Hayoa Miyazaki’s 2004 epic, Howl’s Moving Castle at the Odeon in Deansgate. I’d never seen the film before and, sitting in a coffee shop just outside the screen room right now, I can’t think of a better immediate response than to notify all readers of another screening on February 21st at Vue, and implore all of you to book tickets as soon as possible. This is a movie which demands to be seen on the big screen. The sheer scope of the world it creates is immersive enough to make you want to climb into the huge screen and live within it.

The story follows a young girl named Sophie living an uneventful village existence. Tales abound of witches and wizards occupying the outskirts, particularly of the wizard Howl, who wanders the world in a gigantic mobile castle, and the Wicked Witch of the Waste. But after a chance encounter with Howl, Sophie is bitterly transformed into a frail ninety-year-old woman by the Witch. Wanting to find a way to break the curse, she ventures out to the valleys and is swept up by Howl himself, leading them, along with many other colourful characters, on an adventure beyond any wildest dream.

Howl’s Moving Castle looks gorgeous. Anyone who knows Studio Ghibli’s oeuvre knows of the sheer depth of skill that goes into their animation, and this film is no exception. From the opening shot, as a thick mist clears over the mountains and we first see the titular castle hobbling along the landscape, it requires taking a moment to absorb the whole thing. And it doesn’t stop there. Every frame is filled with touches of stunning attention to detail, glueing your eyes to every scene.

Furthermore, Miyazaki’s profound imagination is never wasted on his settings or characters. From a talking flame who eats eggshells to a small storefront which can occupy a space in any village. But perhaps the film’s two most profound scenes involve exploring the setting of Howl’s garden. This location not only makes for a quaint change of pace from the story’s madness, but is an absolute masterclass in Miyazaki’s ability to animate nature. Every blade of grass seems to move with the film, and its use in the later stages develops into one of the most breath-taking sequences of animation ever played in a movie.

But Miyazaki never loses track of his story and characters amongst the sheer size of the thing. He keeps it fairly simple and focused, but with enough twists and turns to the point where you never know what to expect and are always enthralled. I’d encourage anyone to see a Studio Ghibli picture on the big screen whenever the chance comes knocking. But Howl’s Moving Castle is such a magical and perfect piece of art, that I’d implore you to see it in the cinema.

5/5

Photo: @PxHere

Food and Film: A Banquet of Symbolism

Written by Harry Peate on . Posted in Film, Food & Drink.

Like many other student procrastinators of late, I have found myself falling down the rabbit hole of food-related YouTube, hence coming across the most classic and noteworthy foody film scenes that will leave you simultaneously love-struck, feeling the pressure of the kitchen and, most of all, hungry.

Look no further than the wholesome father-son love that Jon Favreau treats us to in Chef as proof of food’s power over a relationship. One could spend the best part of a thousand words just talking about the sandwich assembly in this cheerful portrait of Chef Karl Caspar but, instead, you should focus on how food can become more than sustenance or art. Favreau goes to great pains in his role as writer/director/star to demonstrate how the food enjoyed by America can evoke memories and sensations related to specific places and people. Karl is seen enjoying Cuban sandwiches together with his son in Little Havana Miami and fresh Beignets from Café Dumont in New Orleans. Here they are finally sharing in new experiences together after so far being starved of a functioning relationship and shared interests. We see this flourish into a new creative flair for Chef Caspar and as the beginnings of a passion for real food and culinary culture in his son. There is true magic in the way Favreau lets the deliciously framed food and boogaloo soundtrack become perfection on the silver screen, who’s to say some excellent munch can’t mend a broken home?

In my quest through culinary flicks, I stumbled across a new addition on Netflix. Starring Bradley Cooper, Burnt promised to be the intense journey of an amazing chef with a chequered past. Cooper spends the film striving for a third Michelin star and avoiding the consequences of his past mistakes and indiscretions. The film is barely worthy of its meagre IMDb rating, yet the experience can be salvaged through one sequence featuring the arrival of the much-revered Michelin men. Spoken of as something near supernatural folklore, their arrival triggers an intense 2 minutes sequence in which the 3rd Michelin star hangs in the balance. Cooper is seen frantically dashing between stations, dishing out understated affirmations or a shrill scolding while the camera shakes and shot changes become jarring, reminiscent of a sequence by Bourne director Paul Greengrass. Once the elements of the dish are complete it is time to plate up, soft keys increase in tempo as the Chef anxiously arranges them on a delicate plate while stealing last minute tastes. The call for service comes as a respite from the intense fine-dining environment, the ambition fuelled fire and brimstone from Cooper finally gaining salvation.

Now, it would be remiss to not mention the countless significant instances of the culinary craft across the genres of film, with the role of traditional Italian food in the Mob films of the mid-to-late 20th century hold a special place in this hungry viewer’s heart. Goodfellas is permeated by the sights of marinara with braised meatballs and then a meat or a with course, like during the prison sauce scene which is a razor-sharp stand out. The impromptu supper prepared by Tommy’s mother in the middle of the disposal of Billy Bat’s corpse and the readiness of the gangsters to gorge themselves on the cold cuts while a corpse rots in the boot is, however, the most effective use of food. It highlights the deep-seated ruthlessness of the main characters in the film. Pesci and De Niro deftly lie about the hitting of a deer to explain away the blood, sprinkling in compliments to the chef and applying sauce.

Feast your eyes on any of the above suggestions and a new respect for food’s relevance in film may come to a simmer.

 

photo: Thomas Wolf @wikipedia

Is gender equality close to being achieved in Hollywood?

Written by emilywain on . Posted in Film.

Ever since that infamous visual expression of unity through wearing all black at the Oscars in 2018, the question of gender equality has been at the forefront of much cultural debate in Hollywood, especially given the lack of celebrated female directors in the industry.

Dua Lipa, whose excellent songs have been used in films such as Bay Watch, made an acceptance speech at the Brits in 2018. Her speech began by encouraging equality within the entertainment industry, giving her speech a positive moral message unlike the other self-centred acceptance speeches of the awards night. However, she concluded her speech by claiming that women should ‘take over the world’, which surely contradicts the whole ideology of feminism and the #MeToo campaign. Women should not be aiming to become ‘better’ than men in any industry, they should aim to become equal. But, has this notion of equality since been achieved in the film industry?

If I were to ask you to think of famous directors, who would spring into your mind? Steven Spielberg? Chris Columbus? Many of us can think of numerous male directors; however, the task of thinking of female directors appears much harder. A factor which is not surprising considering that women make up just 4% of Hollywood directors.

The British female film-maker considered to be one of the most well-known is Sam Taylor Johnson, who claimed fame for producing Fifty Shades of Grey in 2015. Despite society growing more welcoming towards female directors, Sam Taylor Johnson was replaced by a male producer, Michel de Luca, who then produced Fifty Shades Darker.

This clearly shows that gaining equality is necessary for the ‘best directors’ category of various film awards. Take this years’ Golden Globe nominees for this category; all five of the nominees were male and have been for the past four years. This suggests the need for more opportunities for women to become directors to diversify this male-dominated category.

There has been significant progress towards gender equality made in the domain of acting. Award ceremonies separate the categories for ‘best actress’ and ‘best actor’ due to women having gained equal standing to men in regard to acting. A necessary solution to achieve equality in the ‘best director’ category of awards ceremonies could be for this awards category to evolve. They should include a ‘best male director’ and ‘best female director’ category, just like the already established approach to ‘best actor’ and ‘best actress’.

Having gendered director categories would ensure that progress is being made across all aspects of film-making in order to achieve gender equality in this industry.

Ted Bundy

Review: Conversations with a Killer: The Ted Bundy Tapes

Written by Ella Broadbent on . Posted in Film.

Ted Bundy was one of America’s most infamous serial killers, and 30 years after his death the horrific story of his crimes have yet again taken the media by storm. Netflix’s four-part documentary Conversations with a killer: The Ted Bundy Tapes gives viewers a sickening account of his crimes, trial and eventual execution, using a shifting timeline to navigate between the different parts of Bundy’s life. The documentary comes from the perspective of many including journalists, detectives, witnesses, victims, but most shockingly from the killer himself.

In interviews with journalists and a confession just days before his execution, Ted Bundy confessed to over 30 murders, multiple rapes and necrophilia; his victims were mostly young women, particularly brunette college students. The gruesome and savage nature of his crimes is what was most appalling, and after escaping prison twice he was eventually convicted and charged with three separate death sentences. The documentary follows both the crimes he committed and the investigations into them, as well as giving insight into his life and possible causes for his twisted criminal state of mind.

The documentary gives a unique perspective into the crimes, as viewers can actually hear the killer’s description of his crimes and thought processes. Footage of interviews and court hearings, in addition to a well put together series of photographs and camerawork, expertly enhances the narrative and helps viewers to clearly understand the information presented. The documentary directly confronts the truth about Ted Bundy and his story, and ultimately shows that despite extensive psychological analysis, the serial killer had nothing but a monstrous void inside of him which will never be fully understood.

The trailer for the upcoming film  Extremely Wicked, Shockingly Evil, and Vile with Zac Efron, and the documentary have received criticism for their portrayal of Bundy, with claims of them sexualising the criminal. However, it was Bundy’s persona of confidence, charm and charisma, along with his apparent good looks, which allowed him to avoid being caught or suspected, and also allowed him to entice his victims. Therefore, this portrayal although extremely unsettling, is the most realistic way that the documentary and film could have presented him.

Conversations with a Killer: The Ted Bundy Tapes is a documentary which is fascinating, gripping, but most of all terrifying, and gives viewers an important message and warning about being misled by appearances.  While I would without a doubt recommend watching it, I warn you: it’s not one to watch alone in the dark.

4.5/5

Photo: Claire Harrison Photography

The rise of communal dining

Written by Catrin Stewart on . Posted in Food & Drink.

In recent years I have seen a shift in Britain’s eating style. Restaurants are changing from white-linen and silver service to a more laid back, communal and inclusive approach. Whether rustic furniture, mismatched plates and bowls or friendly, approachable wait staff – the hospitality industry seems to be competing for customer affection by creating the cosiest, most relaxed experience they can.

Most significantly, I have noticed a rise in the experience of communal eating. Entering a restaurant and sitting down on a bench or long table with a group of strangers. Whether you talk to them, well, that’s up to you. But you’re certainly going to watch them eat.

Thinking back, it seems to have started with large, chain, Asian restaurants. Think Wagamama or Yo Sushi. Some of the smaller street food style Indian restaurants in Manchester like This n That also adopt the same system.

So – has the rise in communal eating come hand in hand with the expansion of the British food scene and embrace of new cuisines?

Possibly. But we seem to be going an extra step further. Establishments such as Hatch or Mackie Mayor provide this casual style dining, with the added option of multiple food vendors for the customer to choose from.

I spoke to Gail Titchener from the Northern Quarter’s Mackie Mayor. She said that Mackie was “designed for everyone to enjoy […] from hipsters to mums with prams, to young families, to city workers, to retirees” so that everyone feels at home when they walk through the door.

Their focus is on food provenance, supplying from small local businesses. Gail says that customers should treat Mackie “exactly like a market place – like a giant ‘pick n mix’, if you like”. This caters for everyone’s needs.

Whilst there might be concern over the random nature of the vendors or a lack of coherence in ordering food. Mackie Mayor aims to provide both difference and cohesion. Menus change regularly, from bao buns to rotisserie chicken or cakes, pastries and coffee. But Gail assured me that “there is great cohesion in that everyone involved is a great stickler for detail; ensuring that the food, the waiting staff, the whole experience, is of the same exacting quality each time you come.’

It really is a matter of preference. But in our busy lifestyles, quick ‘street food’ or restaurants with communal tables are perfect to save time but still enjoy a great meal. The atmosphere is lively and celebrates the joy that we all find in good food. I see huge advantages in the inclusive nature of these establishments, but – I must admit – I do hope not all fine dining restaurants are lost.

Photo: Gage Skidmore @ Flickr.

Review: Alita: Battle Angel

Written by Charlie Harrison on . Posted in Film.

Alita: Battle Angel answers the question: what happens when someone sacrifices a directorial role on their passion project just to get it into cinemas? James Cameron announced the film over 15 years ago, in 2003. However, after Avatar (and its sequels) took precedence, he handed over role of director to Robert Rodriguez in 2016. To me, this seems like the main reason the film didn’t quite reach its expectations. It was almost great but somehow managed to fall short at nearly every hurdle.

The story begins in a quasi-post-apocalyptic 25th Century, following on from what is only described in this film as ‘the fall’. Dr Ido (Christoph Waltz) comes across the remains of a cyborg resembling a teenage girl. As the town’s local mechanical doctor, he combines the cyborg with a spare body, and we are introduced to Alita (Rosa Salazar). We follow Alita’s rediscovery of who she was before being found in the junkyard while she fights other cyborgs and ‘hunter-killers’. As well as her ascension through the ranks of a sport called Motorball, which can only be described as a mix between pod racing and basketball.

All of these set it up to be quite an exciting movie but here is why it flopped: the battles were really exciting but every time they were just getting started, they were over. On top of this, Alita never really faced a challenge from the film’s antagonists. Grewishka (Jackie Earle Haley) comes closest to beating her but within moments of her seeming to be in trouble, she triumphs again. There is no doubt this is done to highlight her power, but it just makes the whole film quite unsatisfying and repetitive. My greatest issue with Alita: Battle Angel is that the two love interests had absolutely no chemistry; they didn’t even seem to be good friends. This might be down to an unconvincing performance from Keean Johnson but it was more likely to be caused by the lazy dialogue which at times seemed like it was pulled straight from a corny American high school movie.

Nevertheless, this wasn’t a waste of time. The film itself was beautiful, and rarely reminded me that it was teeming with computer generated characters and landscapes. The relationship between Dr. Ido and Alita was actually quite touching, despite the poor script; this can definitely be attributed to Waltz’s convincing portrayal of a consistently worried paternal figure. In the final 20 minutes of the film we are treated to an exhilarating game of Motorball, which could perhaps have been extended, but provided a ton of entertainment while it lasted.

Despite these compliments, Alita: Battle Angel just missed the mark completely, which is now being reflected by a massive loss in the box office. This will make it interesting to see if Rodriguez is kept on for the sequel, having been set up with loose ends and a cliffhanger.

2.5/5.

Photo: igorovsyannykov @ Pixabay

Feed your mind: finding food in all the right places

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

Social media is a minefield of dangerous potential. From ‘haters’, cinnamon challenges, and cat-fishing – to Instagram vanity and influencer advertisements – it’s a web of superficiality. However, in this anxious sea of networking there is an oasis: wholesome, pure food accounts.

So here, to offer some light relief, The Mancunion has rounded up some of our favourite podcasts, YouTube channels, and social media pages where you can find amazing food and drink. From inspiring recipes to wholesome discussions about how much we all just simply love food.

  1. Binging with Babish: The creation of Andrew Rea, Binging With Babish sees food from your favourite TV shows and film come to life. From The Office and Michael Scott’s pretzel with all the toppings, to Rick and Morty’s Szechuan Sauce. And, (bonus) learn the basics of cooking with his new videos, Basics with Babish.
  2. Bon Appetit: Where do we even start with Bon Appetit? The American food magazine has become a YouTube channel and Instagram account, offering a whole host of platforms. From their spin-off account @healthy_ish on Instagram, you can find simple and mouth watering recipes. Highlights have to be the hilarious ‘It’s Alive with Brad’ series on YouTube and ‘Gourmet Makes’. Chefs attempts to re-create your favourite foods like Pringles, Skittles and Oreos.
  3. Sorted Food: Sorted Food is a group of friends (two of which are professional chefs) who turned their love into food into a full blown franchise!  They follow themes such as ultimate battles; where you watch the boys compete to cook the best dish for a category such as ultimate brownie battle or ultimate breakfast battle. They also do full blown recipe videos, food reviews and gadget reviews whilst having the rapport and banter of genuine friends! Very entertaining to watch but also very well researched recipes and full of information that you can use yourself; as the professional chef element is tempered down by the other 3 boys being amateurs.
  4. Jake Cohen:@jakecohen on Instagram is a chef and food journalist, but we recommend you follow him for the most perfect pasta swirls you’ve ever laid your eyes on. Prepare to drool.
  5. Food Wishes: If there were one word to describe this YouTube account it would be wholesome. Like the girl-next-door but with dads, Chef John’s DIY food videos are the perfect way to learn cookery. You’ll be taught by a chuckling, pun-using classically trained chef. From simple recipes for one-pot Greek chicken, lemon, and potato bakes – to more complex demonstrations of pastel de natas (Portuguese custard tarts), this man is an angel. Each recipe is accompanied by full online written recipes and discussions of substitutions for his recipes. My personal favourite recipes are his pourable easy pizza dough, lobster mac and cheese, baklava, and Korean fried chicken. He’ll become your new dad and favourite chef in no time.
  6. Table Manners: Singer Jessie Ware sits down with her mum, Lennie, and various celebrities to talk food over a home cooked meal. Not only are the two hosts excellent chefs, their mother-daughter relationship makes the show hilarious and heartwarming. The podcast features guests such as Nigella Lawson, Alan Carr and Loyle Carner.
  7. Devour Power: Sometimes all you need is to watch someone else eat criminally unhealthy ‘cheat’ foods. This satisfies that craving. An American couple who document their travels on Instagram showcasing the best of extreme American indulgence! Aesthetically pleasing, regular posting, and so unhealthy that it makes you feel like a saint. Think laughably excessive stringy cheese, massive burgers and eye-rollingly sinful foods. Enjoy at your own peril…
Photo: The Mancunion

GUSTO: Manchester’s authentic Italian

Written by luciacannizzaro on . Posted in Food & Drink.

Gusto. Literally translating to “taste”, it’s probably the first Italian restaurant I’ve been to in Manchester where the food feels, well, authentically Italian. Okay, I haven’t gone to many because as we all know, student finances are scarce. But I was lucky enough to go dine at Gusto in Didsbury for a friend’s birthday.

It was a very trendy, tasteful, and cozy place. Every member of staff was friendly and professional  – one of them even spoke Italian to me, making me feel so much closer to home. Prices were hit a medium range, obviously depending on what you were getting – at the top end, a tuna steak was almost £19. But I chose a delicious pizza for only £12.95.

What I received in exchange was a mouth watering, crusty, fuming, large descent to paradise, better known as “Truffled Funghi” pizza. Mushrooms were laid down on the dough, drowned in a superb truffle oil and accompanied by fresh, perfectly-matured prosciutto crudo and rocket. I savoured each and every single slice. I would have asked for a second-serving if only it had been possible!

The meal was also accompanied by some of the most famous and renowned Italian wines, and we had a few. We tasted the dry, firm scent of the red, Montepulciano d’Abruzzo, as well as the fresh, bittersweet rosè Pinot Grigio, Pietra Antica coming from Veneto.

As for my friends, they tried the other mains such as Pasta all’Arrabbiata. The famous pasta dish was slightly revisited with the addition of chicken, but it was still perfectly al dente. Others ordered the Fico pizza: a masterpiece with a creamy, fresh burrata at its centre that also hosted the most genuine of Italian products. The crab, king prawn and mussels spaghetti tasted as if the seafood had just come out of the sea.

Gusto is definitely worth a visit and I recommend to  start off with the Nocellara Olives to prepare your palate. They are authentic, juicy and soft and you won’t find them anywhere else in Manchester.

9/10.

Photo: Luigi Chiesa @ Wikimedia commons

Want Not Waste: The SU’s eco-venture

Written by Catrin Stewart on . Posted in Food & Drink.

Want Not Waste opened in our Students’ Union last semester. But on the 11th of February it formally launched, opening its doors to students with friendly smiles and a buffet of vegan mezze food provided by Global Source Kitchen.

The zero-waste store stocks spices, pulses, grains, and sugar among other food produce that you can take home in you own jar or a compostable paper bag. They also offer laundry detergent, dishwasher liquid, and fabric softener to refill your empty containers with. Want Not Waste not only supplies you with produce that doesn’t come in excess plastic packaging, it also saves you money – particularly with dried fruits and nuts, which can often be very expensive in supermarkets.

In the UK, 1.9 million tonnes of food is wasted by the food industry every year. And that’s not even counting the food waste that we produce at home. By shopping at vendors like Want Not Waste, you can choose exactly how much of a product you want to take home. This saves you having to buy a whole kilogram of an ingredient you’ll only use a tenth of. The concept reduces waste and cost for the consumer. Think about the amount of food you throw away at the end of term because you don’t have the space to take it back home with you. Buying in smaller quantities when you need to would eliminate that possibility.

Want Not Waste have definitely impressed a whole host of university students here at Manchester, judging by the success of their launch. Ran by an SU Officer and selling jewellery and other products made by students, Want Not Waste is a zero-waste store that definitely has the student population in mind. And with it on your doorstop in the SU, why not take full advantage?

Save your money and save the planet.

Photo: @DecoyMedia

Preview: David Judge’s Sparkplug at HOME

Written by Anuli Changa on . Posted in Theatre.

“My black father left before I was born, my mother left when I was seven to chase her own sexuality”.

Self-described “first generation, light brown Mancunian”, David Judge was raised by a “working class white man (named Dave) from a council estate in Manchester, with tattoos on his knuckles and ‘Mum’ on his arm”.

Judge explained to me that he was encouraged to create Sparkplug by theatre company Box of Tricks. He was adamant he wanted to tell his story without agendas, often feeling that black companies want him to hate and shun the white man, in direct conflict with his own upbringing.

Judge expressed the need not to segregate himself, “the heart of this play is about seeing the individual” rather than wider racial agendas. He explained to me that growing up, he didn’t focus on connecting to black culture because this limited him. More importantly, he defines himself as a Mancunian; “Manchester is both gay, black, football and music,” and more.

Hannah Tyrrell-Pinder and David Judge knew each other before this project and this personal connection was evident in speaking to them, both at ease in conversation as Tyrrell-Pinder explained creating the boundaries and “balance between the character onstage and the truth behind it all”, Judge’s personal story. Their creative connection was clear in their ability to share and develop each other’s thought processes.

Originally Sparkplug had been planned to be played by a white actor telling the story, but then shifted to Judge telling the story and framing the “metatheatrics” of his own experiences. Tyrrell-Pinder acknowledged that this made the process “Both simpler and more complicated”, again returning to boundary laying in this autobiographical performance.

Uniquely, Judge explained that he has written the piece with“two beginnings depending on the casting”, whether it is performed in the future by a white or mixed race actor. He noted that the “British mixed race” experience is unique, as it is such a broad term and he is keen for to make it possible for this story to “be told by other people.”

Judge smilingly explained the childhood confusion of growing up in the 80s “comfortable using the word half-caste” to describe himself until political correctness changed the rules and suddenly he was “not allowed to say” half-caste at “eight years old.” We discussed the different ways the term mixed race can be interpreted and Judge expressed his impatience with auditioning for generic BAME characters and he also stated that mixed race “means nothing, it’s lazy”.

So, why is it called Sparkplug? To my delight, David pulled out an answer in the form of a spoken word piece. “My job as my dad’s son would be to clean the sparkplug” which creates the spark for the engine. “There was always a sparkplug lying around, in the garden, toolbox, toybox, in my memory” and “David is Dave’s sparkplug”.

This story is unique an unapologetically individual; I cannot wait to see it brought to life onstage.

Photo: @Philip Tull

Review: Trial by Laughter

Written by louiseavey on . Posted in Theatre.

Ian Hislop and Nick Newman’s Trial by Laughter is a traditional play set in 1817 and portraying the story of William Hone, the unsung hero of free speech. Hone was a bookseller, publisher, and satirist, accused of parodying and posing threat to religious texts. In 1817, he stood trial for ‘impious blasphemy and seditious libel’. The only crime he had committed was his sense of humour.

The actual subject matter and plot is interesting and tense, a story of scandal and satire. However, the delivery does not portray this story with the level of interest that is anticipated and desired. The beautiful Lowry stage and technical benefits of the theatre could definitely have been better utilised. The brief moments that they were used effectively, such as in scene changes when the clock would light up and the hands moved anti-clockwise to signify time passing, it was awe-inducing. This dramatic scene change was well received and would have been great if other scenes could have been illuminated and brought to life with the use of similar creative ideas.

The artistic devices such as how the audience were addressed as the jury, seemed interactive and progressive, but didn’t fit with the formal and structured delivery of the play. Although it had pace, this pace consisted of Hone (played by Joseph Prowen), as Hone, racing through an extremely wordy monologue.

Undoubtedly, there were some great moments of good old-fashioned comedy. The most humorous moments were certainly in the sub-text, as class and gender politics notably simmered under the surface, only to be revealed in jest.

Overall, this play was enjoyable and clearly targeted at an experienced audience of seasoned theatre-goers as opposed to a modern family friendly play or one exploring contemporary issues. It is clear that Trial by Laughter is a play that will remain popular, for many reasons such as its comedy, portrayal of traditional English ideals, masculinity, chivalry, but it will not become popular amongst the masses.

Photo: Pxhere

Review: Thai Smiles Café

Written by alicecstephenson on . Posted in Food & Drink.

As rising rent prices diminish the crop of profitable restaurants in the city centre, Great Northern on Deansgate has offered a less expensive refuge for critically acclaimed Thai venture Siam Smiles. The restaurant formally resided in a Thai supermarket in Chinatown. Buoyed by rave reviews and a curiosity at how Great Northern provides for its fledgling businesses, I make my way through the labyrinth of industrial warehouses and vast apartment blocks. I eventually find an off centre strip along which a few small eateries hold out against the comparative desertion of this wing of the project’s vast mass.

On arrival, our waiter directed us to his favourite dishes at my request. He was disappointingly unfazed by my proud wielding of a notebook I bought explicitly for writing down tasting notes. To my slight chagrin, his recommendations were both Thai stalwarts I’ve come across before. A variation of Tom Yum and Pad Thai. I ordered both anyway while Patrick opted for Thai Green Curry. As we waited for our food our eyes surveyed the decor of the restaurant. The grey-brown interior of a Victorian shell was pleasingly lent a somewhat fluorescent treatment by bright flashes of fuchsia and turquoise inflicted upon it by fresh garlands of flowers and a feature wall.

Our food arrived in good time. My soup was an advert; hearty slabs of pork were accompanied by an anything but frugal patter of fresh coriander. The noodles seduced me through the translucent gauze of the broth. Patrick’s green curry looked prosaic, but a charming terracotta bowl with serrated edges redeemed it.

We began, green curry up first for demolition due to the boiling temperature of my soup. One bite and I was hooked. Sharp, sweet spiciness soothed by an embrace of coconut milk perfectly balanced. It was a biting contrast to the stodgy, flavourless shortcomings of my attempts to make the dish at home. There was a little too much rice, and it was presented as a kind of fallen hay bale instead of the elegant white domes I came across in Thailand. However, this failed to usurp my relentless passion. Patrick was forced to suffer me pillaging spoonfuls from him throughout our meal.

As it settled to a hospitable temperature, I moved on to the Thom Yum. I was surprised with pork, although it was included in the description on the menu. Thom Yum is, to my mind, strictly fish based. Researching after my meal, however, I discovered the dish, ‘Kuai Tiao Thom Yum’, is in fact an amalgamation of two different dishes. ‘Kai Tiao’ is a pork broth, its name translating roughly as ‘Boat Curry’. I can offer no conclusion other than that this is a Siam Smiles invention. And what an invention it is.

Soft, glutenous noodles were submerged in punchy brine. Fish balls and tofu offered a surprisingly sweet dimension as I liberated them from the depths of the bowl. There is none of the aggressive, brute force of chilli here. Instead, more a constant buzz of feverish hotness staking its claim over a dish otherwise dictated to by sharp, mouthwatering lime. I couldn’t get enough, and was delighted by Patrick’s miserable refusal to partake in flesh-eating when it was this rewarding.

As we collected the bill, I looked out upon our barren surroundings smugly. A small part of me hopes Great Northern stays deserted, as Siam Smiles’ capacity is low. Selfishly, I wish always to find a free table for myself nestled amongst this post-industrial sprawl.

9/10.

Social responsibility is recognised by the award Photo: Yuriysak @ Wikimedia Commons

The Lion for Change: Recognising brands’ ability to facilitate social change

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

Watching TV means that every 15 minutes there’s an interruption from a stream of ads. I tend to roll my eyes at the awkward perfume adverts, but there are occasionally ones which do engage me.

The Cannes Lions International Festival of Creativity celebrates innovative adverts. The Lion for Change award focuses on how adverts can create positive social change. This year I’m unexpectedly excited to see what advertisements will be celebrated.

Gillette’s recent advert on toxic masculinity gained a lot of publicity on social media. I never thought I would go out of my way to watch an advert, but I did, along with many others. The video had more than four million views in its first 48-hours, according to a report by The Guardian.

This more socially-aware advert was a change from Gillette’s usual marketing, and whilst this was something I welcomed, it was also met with fistfuls of negative comments.

Some said brands do not have a role to play in social activism. However, as adverts are easily accessed, this wide-reaching capability should be used to engage the audience and start conversations around topics affecting our society and normalise them – like women with hairy armpits, men doing the dishes and multi-ethnic families.

The legendary John Lewis Christmas adverts show that advertising can involve beautiful forms of storytelling that results in emotional responses that are beyond – and in addition to – a desire to buy what is being marketed.

Last year’s winner of the Lion for Change category was Libresse, known as BodyForm in the UK, a sanitary products company. Its #bloodnormal campaign aimed to normalise periods and remove the stigma surrounding them.

The advert acknowledged that period cramps exist and hurt and shows a man buying pads. It was the first TV advert to depict period blood as red, and not blue as is normally the case.

Despite having a period, I must admit I initially found this uncomfortable to watch but is precisely why the advert is needed. Many women are still made to feel ashamed and dirty of menstruating, but by explicitly showing this in an advert and celebrating it, it makes these topics unavoidable and will hopefully help shatter the taboos.

This festival – and the recognition it gives through awards – encourages brands to continue to make engaging and progressive content. There is still a long way to go, but there has certainly been a shift in the right direction, and now there is an increased pressure on brands to be socially responsible and engaging.

Photo: Joka Madruga @ Flickr

Guaido in Venezuela is undemocratic, so is supporting him

Written by George Walker on . Posted in Opinion.

President Maduro of Venezuela has presided over a humanitarian and economic crisis, mismanagement, and corruption. His election win in 2018 was denounced as fraudulent, and in January 2019, leader of the opposition Juan Guaido during an anti-Maduro protest declared himself interim president of Venezuela.

President Maduro, however, is refusing to step down; with the support of the military he seems intent on retaining power. He has told the US to keep its hands off Venezuela. Yet, more and more nations have come out in favour of Guaido, including the European Union and the United Kingdom.

Critics of Maduro such as Foreign Secretary Jeremy Hunt have said that “the oppression of the illegitimate, kleptocratic Maduro regime must end”. The US has similarly ramped up the rhetoric with Vice President Mike Pence saying of Venezuela that “There is no time for dialogue” and that “it is time to end the Maduro regime”.

The threatening dogma of Pence and Hunt is emblematic of something they both proclaim to denounce: anti-democratic practice.

Maduro is the democratically elected president of Venezuela, yet under the auspices of democracy and liberty for the Venezuelan people, the West threatens the very process they claim to uphold. This seductive game of emancipation of people in a foreign state for their own greater good has been seen before; the UK’s involvement in Iraq against Hussein, or the US support for General Pinochet’s coup in Chile. Such interventions did not lead to positive or democratic outcomes for the peoples of Iraq and Chile.

Intervention is also not always obvious, with the US also having a history of utilising its unmatched levels of economic capital to destabilise governments. For example, it began an embargo against Cuba in 1960 when the latter nationalised US-owned oil refineries without any compensation. This embargo covered almost all exports and remained in place with adjustments here and there ever since.

The parallels are clear when looking at the contemporary example of Venezuela; the economic interventionism has already begun. As of late January, the US announced the decision to impose sanctions on Venezuela’s state-owned oil firm PDVSA. Treasury Secretary Steven Mnuchin stated that the proceeds of the purchase of Venezuelan oil would be withheld from Maduro’s government until he agrees to elections.

This becomes particularly chilling in light of national security advisor John Bolton’s comments who spoke about the advantages to the US of the vast Venezuelan oil resources during an interview on Fox News.

Furthermore, the man appointed as advisor to the mission in Venezuela, Elliott Abrams, is a notorious neoconservative who bloodied his hands with innocent lives in the South American wars in the 1980s. This is a man who helped coordinate US support for the likes of Efrain Rios Montt, the Guatemalan dictator from 1982-83 who was convicted of genocide.

Prevailing evidence points to the fact that the militarism and imperialism of US rhetoric and action in Venezuela has no democratic precedent whatsoever.

By no means do I here attempt to condone the damage Maduro has done to Venezuela. However, the fight for international democracy has to be applied equally to all situations, therefore, international support for Guaido must be condemned in the strongest possible terms.

Photo: Ilovetheeu @ Wikimedia Commons

The other side of a Brexit no-deal

Written by alexandercandlin on . Posted in Opinion.

On 29th March 2019, the United Kingdom will officially end its membership of the European Union.

Since the vote on 23rd June 2016, the political landscape has been dominated by the EU negotiations and fears of a possible no-deal scenario have been echoed throughout the media. Although MPs have voted against a no-deal, it will always be a possibility, but have we lost the potential usefulness of it in the bargaining process?

In Greater Manchester, Council leader Richard Leese has begun emergency preparations – in particular stockpiling, to deal with the possibility of Britain leaving the EU without a trade deal.

In the event of Britain walking away from the EU negotiations without any trade deal, the government would fall back on the rules of the World Trading Organisation (WTO). Britain already deals with 111 other non-EU countries under WTO, and this would give us the ability to strike new trade deals with any country. Crucially, this will give businesses the certainty they have been pleading for since the referendum.

If the UK and Europe halted trade completely, the country would no longer receive 44% of its overall imports. This could be worth more than £274 billion. The EU would lose out up to £341 billion in profit by severing trade with Britain, as well as forfeiting the ‘divorce bill’ of £39 billion.

Currently, there are no checks performed on EU goods at Dover. However, if no trade deal is reached then all goods would be subject to checks. This would put perishable goods, such as food and medicine, at risk of delays. Contrary to this, Felixstowe Port has no issues processing goods on a much larger scale than Dover, and without endangering perishable goods despite performing checks.

Britain would take back control of its borders if it left without a deal but this isn’t the whole story. There are fears that there will be a shortage of workers in some areas that rely heavily on migrant workers. In particular, health and social care systems depend heavily on foreign employees. However, could this also be an opportunity for Britain to get its own people to fill in these jobs?

The chief concern of a no-deal scenario was that a hard border in Northern Ireland would be put in place. With the absence of a trade agreement, checks would be implemented by the EU in accordance with its rules.

The negotiations have thus far secured a two-year transitional period, secured the rights of EU citizens and have finalised a ‘divorce bill’. Issues around the border and future trade remain outstanding.

Dr. Sonia Bussu, a lecturer in politics and public administration, described some effects a no-deal may have, she felt “that in order to protect the future of the EU project, Brussels will feel it needs to be firm and not give mixed signals by giving the UK too much ground. They will want their £40 billion settlement before any conversations about trade deals can start”.

Without the threat to walk away from the negotiations, it will be very difficult to take a firm stance against Brussels and achieve a good deal. By ruling out the possibility of a no-deal, it has signaled to the EU that any deal will be accepted because they know eventually it cannot be refused.

A no-deal is a cause of great concern in Britain, but despite its posturing, the EU fear it as well. Without the threat of a no-deal in the negotiations, Britain may well now have to settle with a bad deal.