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Month: February 2019

Photo: Wikimedia Commons

The students ready to fight back: does Fallowfield need a ‘first response’ group?

Written by Emily Broncz on . Posted in Investigations.

A post on Fallowfield Students Group quickly gathered over 600 reacts after calling for a ‘first response’ group to help victims of crime in the area. Daniel Richards, a third-year undergraduate student at The University of Manchester, created the post on 25thJanuary, voicing concerns over the increasing number of posts featuring on the Facebook group detailing experiences of burglaries or attempted break-ins.

Daniel described how FSG acts as an important public forum for students to speak out about different aspects of criminal activity, likening the group to a “rolling news feed” of reports from students themselves. The stories represented through these posts illustrate a rich variety of outcomes, as further explained by Daniel: “I have heard some great stories of responsive, fast, kind, and caring police officers and I’ve heard stories in which the police fail to turn up.”

Speaking about his motivation to publish the post, Daniel shared his interactions with personal accounts from his peers, both those who were friends as well as strangers: “Part of the reason I decided to question whether there was something we could do about it was that a friend told me recently that they’d been broken into for the second time in 6 weeks; they feel watched in their own home and often hear people throwing rocks at their windows to see if they’re in.”

The Mancunion contacted Katrina Monk, a Drama student at the University of Manchester, who had recently used the platform to inform others about her frightening experience with a burglar.

She said: “It was 4 am and four or five residents were in the house. Someone kicked the front door down and attempted to get [into] my housemates’ room by seeing if it was unlocked. When he realised that it was locked, he did a run up to my room — down the hall — which was also locked and kicked the frame in. I woke up to the noise of this and he threw my [close-by] bin at me after I screamed alerting the rest of my housemates.”

She added: “He also appeared really manic like he was on drugs and screamed at me in another language. I had my laptop next to me on my bed, so I handed it [to] him and he ran out slamming the front door behind him.”

Katrina says the police did not arrive at her house until 18 hours later, despite calling them immediately after the incident. She said that even though her landlord did all they could to ensure the safety of her ground room floor, she “definitely doesn’t feel safe” living in Fallowfield.

With cases like Katrina’s, where the first steps towards a solution have been received nearly a day later, a demand has been allowed to develop for a more instant response. This is one of the most compelling factors which motivated Daniel to call for the creation of a ‘first response’ group. Examples like these show that there is little to no support currently in place for distressed students experiencing very real and shocking crime.

Opportunist thieves often look for houses which show clear signs of poor levels of security. Daniel stated that one of the most common factors seemed to be the “bare minimum security” which some landlords offered their tenants. Recounting just a few anecdotes he had read on FSG, he recalled some of the most frequent methods used by criminals: “old doors being kicked in or flimsy, glass-panelled doors being smashed, gates kicked down, and even people climbing through really poorly placed windows.” The police offer advice on their website as to how to improve security around doors and windows. Bars offer a greater level of strength when combined with locks on doors, laminated glass can aid in making glass panes on doors less vulnerable, and key operated locks can be fitted to most windows.

A concern shared by many students is what can they do in the window between the crime taking place and the matter being taken into the hands of the police, council, and their landlord. According to GMP, burglaries in the Fallowfield area made up 15.5% of all reported crimes committed in the area in 2018, with 1405 cases altogether being recorded. Worryingly, out of a total of the 6636 reported cases, which also includes robbery and theft as well as sexual violence, 86.04% received no further action. Only 123 offenders were dealt with at court, which amounted to 1.59% of reported criminal acts ending in this outcome.

Daniel shared his view that it was important to offer help to students for who had not been afforded the luxury of having a support network around them: “…most people who are victims of crime would call friends, talk to housemates…some people don’t have this…especially at the beginning and end of terms when there might only be one or two people in a large house.” In outlining his main objectives for the project, he was keen to stress that the central idea behind the group was not “to take over the role of policing,” but instead “be there to give support and advice to victims.”

In a statement released to The Mancunion by GMP, Chief Inspector Fahar Zaman stressed that as such a project like this had not fully been “organised in conjunction with the police,” they were not in a position to “advocate people taking the law into their own hands.” Speaking further on the matter, Zaman explained that whilst “intelligence-led community policing” is useful to the police and that they “appreciate” the fact that many students in the area wish to help, these projects would first have to clear any “appropriate safeguarding protocols.”

This was an issue which Daniel also fully acknowledged: “sufficient checks and balances [are needed] to ensure that we do not put potentially dangerous or badly intentioned volunteers in positions where they have access to vulnerable people or victims of crime.”

The police also claimed that having student volunteers working alongside the police would be a possible method of allowing them to “work closer with the community.” Daniel suggested that there may be opportunities to blend the work of previously established projects, such as the University’s Nightline, a student-operated nighttime telephone service, and local renter’s union ACORN. He also commented that a “public meeting” could be hosted in the coming weeks to see which facilities are used and what could be implemented to further help students.

Photo: Isla Den - Press Release (permission granted)

EP Review: Isla Den – Water Signs / Navi.6

Written by Jake Oliver on . Posted in Music.

There are few acts around that are able to deliver such exquisitely immersive soundscapes from such an early stage of their career, but the Toronto-based electronica duo Isla Den manage to do so in a way that places them lightyears ahead of their contemporaries. Comprised of Ellie Manning (vocals) and Michael Reale (percussion), the few releases they have to date have been nothing short of genius.

Water Signs, their first EP which dropped in April of last year, was a phenomenal debut – one that was immediately innovative whilst simultaneously brimming with potential. Opener, ‘We’re All Leaving’ ushers listeners in to the world of Isla Den, aided by Manning’s dreamy narration — “When the world broke apart, in to a million different pieces, this is where we came” – before plummeting in to an intricately layered crescendo of synths and pan pipes; a combination you wouldn’t expect to work, but it does.  Themes of nostalgia, even melancholy, are consistently presented, which complement the tranquillity and stillness of production, particularly on ‘Indigo League’

The highlight of Water Signs (although choosing one is near impossible), is the track ‘Sunless’. Somewhat of a slow burner, the track graciously moves along with a series of delicate pads and hi-hat snares, creating an all-encompassing hypnotic atmosphere before reaching a dramatic climax. The glitchy ambient track ‘xixi’ at the end of the EP is as soothing as it is jarring and manages to round off the journey and the atmosphere perfectly, returning once again to those wistful samplings of waves and birdsong that greets listeners on ‘We’re All Leaving’.

For a debut project, it is staggering how genuinely impressive Water Signs is. The level and quality of production from Manning and Reale is executed so perfectly that they’ve successfully managed to create an enveloping atmosphere and immersive aesthetic in a way that few young artists can. The narrative is never lost to the music, and conversely, their soundscape is never overshadowed by the lyrical and vocal ability of Manning – it’s a perfect, symbiotic relationship.

After a few months of silence, Isla Den have returned, with their latest release ‘Navi.6’. It stands as both an elegant continuation and preservation of what made their Water Signs EP so beautiful, whilst also showcasing their ability to develop and explore newer avenues both lyrically and musically.

The familiar use of birdsong sampling is an excellent call-back to their previous work and it’s pleasing to see a definitive extension of the aesthetic. Manning’s vocals on ‘Navi.6’ come across as crisper, cleaner, and more elevated above the instrumentation, made more prominent through echoing and pitch manipulations. In turn, production and mixing here is a huge advancement, allowing the track to be brimmed with energy and pop power. It’s a pleasure to see the duo develop their lyrical prowess, too. Whilst the lyrics on Water Signs were gorgeous and well suited to that tranquil atmosphere, on ‘Navi.6’ they are perfectly matched to the more expansive melodies and seem to carry a deeper weight to them. It’s a track that certainly would not seem out of place in the charts.

A clear ethos runs through everything Isla Den do – there exists a sincere desire to detach from the chaotic contexts of our modern lives, to retreat to nature and most importantly, reconnect with those around us. And in our current political and social climate, this is needed now more than ever.  If you listen to anything new this week, I urge you to check these guys out.

With each release, the duo are only getting stronger and one can only imagine what stratospheric heights they’ll be at by the time their sophomore EP drops in the summer.

10/10

Single Review: Morning Rain/ Photo Booth by The Rills

Written by Yasmin Duggal on . Posted in Music.

Hailing from Lincolnshire but currently tackling the London gig scene, The Rills are Charlie, Mitch, Callum, and Mason, and they are still oozing with punk swagger, an undertone of politics, and an indie camaraderie. With a cracking gig at The Water Rats in London’s King’s Cross under their belts last Saturday, The Rills are set to release a new single next month and are excited to play The New Cross Inn on 18th March.

‘Morning Rain’ reveals a full sound from the off, a Libertines quality creeping into the vocals in the way that they remain a bold focal point but never overshadow the strength of the instrumental. What is so addictive about the track is its commitment to the rough and ready, drawing on punk influences but never falling into the cliché of working class guitar templates. The originality and rawness of updating old sounds really packs a punch here.

B-side ‘Photobooth’ follows suit, with lyrics and music just as complimentary. Don’t be fooled into thinking the second track is in any way inferior. Reminiscent of the best side of noughties indie in its approach to conversational lyricism with the added bonus of an 80s bite, ‘Photobooth’ is just as heavy, attractive, and exciting.

 

Photo: @danhope1998 and Martha Bolton

Manchester Charity Fashion Show looks for models

Written by Chloe Hatton on . Posted in Societies.

If you’ve ever wanted to get into fashion, do something for charity, or even just fancy yourself as the next Kendall Jenner, we’ve got the opportunity for you.

The Manchester Charity Fashion Show, a local student-run charity initiative, is hosting two casting days for prospective amateur and professional models of all genders, sizes, and shapes to help raise money for Manchester-based homeless charity Lifeshare.

The casting days will be on the 8th and 10th February at University of Manchester Students’ Union Building on Oxford Road between 12pm and 3pm. The Manchester Charity Fashion Show aims to celebrate Manchester’s diverse culture and, in line with this, they wish to highlight that the model casting is entirely body positive and inclusive; potential models will be judged on their confidence, stage presence, and style.

They’re looking to encourage students and young people from all degrees, departments, and universities, as well as those from diverse backgrounds to take part, so why not give it a shot?

Vice-Chair Martha Bolton said “inclusivity is incredibly important to us. We want to promote positive body image over the outdated and frankly unhealthy traditional catwalk standards. At the end of the day we’re here to have fun and raise money, the measurements of our models are irrelevant.”

The fashion show will be take place in March, in collaboration with Fuse FM. As part of the show, featuring models chosen at the casting, Fuse DJs will also be playing some of their best tunes. In the preceding and succeeding weeks, other events will also take place, all aiming to fundraise for Lifeshare and promote involvement and awareness in the local community about the issue of homelessness and its related vulnerabilities.

Lifeshare is a voluntary organisation which works to help meet the needs of homeless and vulnerable people in Manchester and Salford. By offering practical assistance, support, and information to those in need, Lifeshare hopes to “identify street homelessness and offer assistance in obtaining emergency accommodation, alleviate aspects of poverty and hardship through the redistribution of resources, and to assist people to access Primary Health Care and promote health and harm reduction”.

Martha added: “The number of rough sleepers in Manchester has grown exponentially over the past few years. The support offered by Lifeshare and similar charities is particularly invaluable, as their hands on approach can directly improve the lives of the homeless. We want to raise as much as possible to support their cause.”

For more information, visit the Manchester Charity Fashion Show’s event page.

Photo: EU2017EE @ Flickr

Listen to your Public!- Where Party leadership is going wrong

Written by Luke Keohane on . Posted in Opinion.

Since Brexit, leaders of the two major parties have repeatedly demonstrated a lack of interest in the concerns of their own supporters and the general public as a whole.

Since triggering Article 50, the Governments’ talks with Michel Barnier have been closely kept under wraps. Theresa May has not listened or been communicating with her colleagues, her enemies or her country. Parliamentarians have constantly highlighted the lack of attentiveness from the Prime Minister. They have heckled her in the Commons, they have written her letters, they have called her out on national TV. Yet, she does not budge.

May has held meetings with Union leaders, opposition leaders and the devolved administrations. This, however, was only after Parliament inflicted upon her the largest defeat in History. This has led journalists to rightfully argue why she had not done this earlier?

The UK’s position would be clearer to the European Union if she had done this.  In return, the agreement would perhaps pass through parliament with fewer difficulties and put the political discontent to bed. Yes, this revolutionary idea of listening is proving to be rocket science for our  Prime Minister. While Brexit has highlighted this phenomenon, it was not unheard of before.

On many occasions Theresa May has shown a “couldn’t care less” attitude. The 2017 election was called  to enable certainty and stability for the path ahead.  Yet, in my eyes, Theresa May’s election call appears to be only a shameful reach for power. I suggest that voters saw through this and that it is part of the reason that they gave her a minority. It is therefore bizarre that the Prime Minister has not learnt from past mistakes.

Moreover, it is not just the Prime Minister that has been inattentive to the public.

Jeremy Corbyn, the supposed great advocate of Labour party democracy, has repeatedly not listened to party members and his own MPs with regards to Brexit. Polls have suggested that 72% of Labour party members want their leader to back the idea of people’s vote. In addition, even after losing the vote of no confidence, the Labour leadership still has failed to campaign for a people’s vote.

I simply cannot understand the fact that a man whose political beliefs rely on democracy and public engagement repeatedly neglects to listen to his own members and his fellow MPs. Furthermore, he seems to fail to realise that this change in position might actually win him a few more votes.

One of the main culprits of a lack of political engagement is how out of touch politicians can be. They seem to be too concerned with their own parties and evidently not their own country. There is nothing that repulses the electorate more than this.

Photo: Keegan Evans @ Pexels

Packed lunches: quick, simple, healthy

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

It’s only week two of the semester, but we’re already realising we might have spent a little too much of our student loans already…

One of the prime suspects for our decreasing bank balances are those dreaded £3.50 meal deals. They seem cheap, but one every day of the week sure does add up.

So we’ve put together our best tips for making packed lunches to send you into the final semester healthy, satisfied and with a few extra coins in your pocket. I know – the words ‘packed lunch’ make me die a little inside. I’m remembering soggy sandwiches with crushed packets of crisps and leaking water bottles. But trust me: these lunches are far from those primary school nightmares.

The basic premise is a combination of protein, carbs, leaves, and a dressing.

Prepping one or two dressings or dips at the beginning of the week takes away the most work and is the part of the lunch that makes it extra tasty. My favourite dips are the classics: hummus, salsa, and guacamole. With dressings, I like to make one from tahini or yoghurt mixed with lemon juice and salt, or a spicy peanut dressing from blending peanut butter, water, soy sauce, and chilli powder.

You can experiment with these as you go to find your favourites.

On the protein side of things, go for cheap pulses like chickpeas, lentils, or beans that you can cook up and season ready to throw into your Tupperware. Meats and cheeses are obvious choices but a bit more expensive, and if you’re a veggie but want something substantial, frying up some Quorn strips or cooking a meat replacement at the beginning of the week can also save you time and effort.

I tend to roast a mixture of vegetables that I can then throw in with any combination of ingredients. Also – stick to carbs that don’t take much cooking time, such as bread or rice. Brown rice is better cold than white, just FYI. If you have the time, why not make a bigger portion of roast vegetables, then buy a packet of microwave rice to share with a friend. The Students’ Union has free to use microwaves, and a ‘packed picnic’ can really help your well-being by slowing down and taking a break midway through your day.

Once you have all your ingredients – remembering that preparation is key – you’re sorted for the week. Mix and match what you already have prepped for simple lunches that don’t lack variation.

I’ll list some of my best combinations for inspiration here:

  • Chickpeas and cauliflower roasted in spices, mixed with brown rice, rocket and the yoghurt and lemon dip.
  • Black beans, roasted sweet potato, and lettuce with salsa and/or guacamole.
  • Tofu (baked) with roasted broccoli, quinoa, and the spicy peanut dressing.
  • A sandwich made from mashed chickpeas, the yoghurt dressing, grated carrot, and lettuce.
  • Halloumi, roasted tomato, and courgette wrap with hummus.

I know they’re all vegetarian (mainly because I am) so feel free to add in meat if that’s your thing. But bear in mind that vegetarian tends to be cheaper and easier to cook.

Happy lunching!

Dilly Dally Photo: Authorised Press Shot

Live Review: Dilly Dally

Written by daniellaveneziale on . Posted in Music.

Canadian alt-rock four-piece Dilly Dally returned to Manchester for the first time in three years with a spine-tingling show at Night People on Saturday night. Formed in 2009, the band’s discography boasts a plethora of singles plus two studio albums, both of which were met with critical acclaim.

It’s not difficult to see where critics’ infatuation for the band comes from. An endearing bunch, singer Katie Monks leads the way with husky vocals and heartfelt lyrics. Adorning a white shredded dress, Monks is the image of corrupted innocence, a theme much encapsulated by her verses.

Don’t be fooled by her sweet and humble demeanour. Monks’ stage presence is striking as she dominates the room, and you couldn’t move for the sea of heads bobbing along to her every move and melody.

The crowd’s gender make-up was somewhat interesting, and what was unanticipated was the higher ratio of men to women, somewhat refreshing given the band’s unmistakable feminist agenda. This reflects a wider shift within rock music still taking place, where female musicians of all genres are unashamedly expressing their sexuality as well as their own definition of femininity – whatever that may be. This isn’t a new phenomenon, with bands such as Hole and Bikini Kill in the early 1990s paving the way for the riot grrrl sound and aesthetic, a theme which is ever present in the band’s tracks as well as stage presence.

The audience were however tamer than initially expected, with just a few shaggy-haired teens attempting to get a pit going. This, however, can be attributed to the venue. Night People itself is arguably inhibiting, its layout restricting any real movement or audience participation. It has a higher capacity than The Castle, which the band played when they were last in Manchester, however, this doesn’t always make for a better gig. Dilly Dally’s ability to mesmerise and captivate was therefore somewhat restrained, and ultimately, this let them down.

This didn’t affect morale however, as the band tore into fan-favourite ‘Desire’. At this point, the atmosphere was electric as it had been pretty much throughout the whole gig, and you definitely got the sense that there were some long-time fans in the room. This created a sort of familial feel to the gig, which, as well as ensuring a sense of safety and inclusivity within the audience, was particularly unique and rare for bands of this genre. Even those like myself who were less familiar with the band were enamoured by the end of the gig, wanting to know more about them and going home to scour Spotify for every song they’ve ever made.

The end of the gig was unusual, with a rather abrupt closing sign off as well as finishing with ten minutes to spare. This was a mildly disappointing end to such a lively and spirited gig, as well as slightly anti-climactic, as the audience were left confused as to whether to remain where they were in the hopes of an encore or head for the merch stand to meet the band.

Ultimately, the band themselves did not disappoint, and for the limited amount of time they did play, the audience were thoroughly captivated. However, the venue let them down, with both its excessive size and inhibiting layout proving counterproductive to Dilly Dally’s unique brand of ’90s feminist riot grrrl grunge adapted for the 21st century.

7/10.

photo: Juliette Urquiza @flickr

How To Train Your Dragon 3: The Hidden World

Written by Katy Taylor on . Posted in Film.

With any iconic franchise – yes, iconic – there is the lingering worry whether new releases will live up to their predecessors. With DreamWorks’ How to Train Your Dragon 3: The Hidden World, this was a looming fear. For their latest comeback, however, the child within me had eyes closed tight and fingers crossed that they would claw it back, recapturing the charm once again. And, after all this pain-staking tension, it’s safe to say it did.

Dean DeBlois’ How to Train Your Dragon 3 is the final part to the trilogy following Hiccup, the awkward teenager that develops into a leader alongside his pet dragon, Toothless. This feature continues the narrative, with Hiccup protecting the newly unified people of Berk and their many dragons, whilst facing evil forces and challenges within his personal relationships, especially with his dragon Night Fury.

The film follows not one, but two heterosexual narratives, continuing that of Hiccup and love interest Astrid, and that of Toothless and his first ‘crush’ – a blue-eyed female dragon, dubbed as a Light Fury. It could be criticised that this, alongside the representation of a typical masculine antagonist, Grimmel, results in a narrative that is familiar and too predictable. Although the film does tackle serious societal topics, such as social expectation and fear of abandonment, this is for children and I am an adult – in denial – shamelessly grasping onto childhood and the predictability of the story is justified when considering the general target audience.

Regardless, diversity is still heavily present across the How to Train Your Dragon franchise, with Hiccup’s disability of a lost leg and the acknowledgement of Gobber the Belch as a homosexual. Even if the heterosexual narratives are overworked and a bit of an eye-roller, it is a children’s film with the cutest fantasy pet in existence which becomes even more adorable as he finds puppy love.

Beyond this, the film’s score is similar to the previous films and demands attention. Consistently the music is magnetising, intensifying, and always seamlessly laced with the narrative. However, the film’s biggest surprise was the visual capacity it reached, and is at the peak of the franchise. From the opening sequence to the subtle changes in character detailing across time, the attention to detail is undeniably impeccable.

Above all else though – regardless of the embarrassing extent of my emotional-investment – How to Train Your Dragon 3 had me a wreck, even when fighting to conceal my tears from the surrounding seven-year-olds. I do believe that this reaction is something only an emotionally-conscious film can do, and for this to come from a children’s animation displays its heart-warming power.

Once again, the How to Train Your Dragon franchise has perfected the balance of depictions of friendship, loyalty, comic relief and stellar audio-visual merit, making it a film that definitely did not disappoint. And hopefully it will smash the box-office – so long as the other far-too-invested adults watch it. And kids too, I suppose.

4.5/5.

Photo: Lily Mae Kroese

Review: It’s always 5pm somewhere

Written by evagerretsen on . Posted in Arts.

It’s no short order putting on an art exhibition in the Art School – the pressure to distinguish yourself, your curatorship, your chosen theme, or just to make an impression is something which must weigh down heavily on any who try.

The curators and artists featured in the exhibition It’s always 5pm somewhere, are refreshingly unfazed by this tendency. In fact, there isn’t even a theme; speaking to the show’s curator Montaine Coriton Cassan, an Erasmus student from Paris, she tells me that her and the team did consider making the show about something but in the end, they decided to scrap it. Instead, they formed a motley group of artists to display the work they were making, and to see what natural dialogues formed between the works.

The unintentionally cohesive exhibition runs through Manchester Metropolitan University’s link gallery in the Benzie building – located on Oxford Road – which takes the viewer into interesting nooks and unexplored spaces. Her intuitive use of the space means there’s hardly a disjoint between short film and sculpture, or embroidered tapestry and painted poem.

One piece of work leads you to a seemingly dead-end, but hoisted up on the wall lies an embroidered wall hanging by illustration student Lily Mae Kroese. Something of an ode to Quaker wall tapestries, her work reads ‘Holy, Holy Holy’ – not as any direct biblical reference but rather a line from Ginsberg’s ‘Footnotes to Howl’. Three embroidered hands hang above the words on green cloth. What’s clear is that the intertextual dialogue extends beyond the exhibition but into the work itself, drawing connections between time and place, holy and profane, a caress or touch between discrete temporalities.

Not three metres away from Kroese’s embroidery, Jasper Howard immortalises the show’s title as a large-scale meme (including the meme-maker watermarks). Howard’s stake in the temporal interactions within the show seems to be highlighting the absurd, gesturing towards our propensity for nonsensical profundity – how the internet can make something momentous out of a ‘throw-away phrase’ – as Montaine calls the show’s title.

The sheer range of media reflects a desire to subvert expectations of what an exhibition ought to be, and at every turn you’re greeted with the next part of the conversation, a dialogue that is wrought in and around the gallery walls. For their first show, this group of artists have generated quite a stir, the opening evening gathering a whole host of students and artists alike.

I hope they do more, and gather more talented and passionate artists to be part of this ‘no-theme’ approach to curatorship. Montaine and her eclectic group handed us a fresh perspective, let us create connections between pieces ourselves instead of handing us pre-packaged and digestible themes and meanings.

If you’re interested in going to student-run experimental exhibitions, keep an eye out for things happening in the Manchester School of Art gallery space, which not only features incredible art, but also offers free wine).

Photo: Kate Fawcett

Review: The Bar

Written by Kate Fawcett on . Posted in Food & Drink.

In mid-December last year The Font in Fallowfield closed its doors for good. However, it was quickly replaced by The Bar, which opened on the 17th of January.

The Bar has managed to retain the essence of The Font, with its famous cheap cocktails and freshly made food. They also offer a weekly pub quiz and a host of board games for people to enjoy. Many of the staff from The Font are now working there, which means that there is a lovely sense of familiarity for Font fans. The old drawings on the walls have now been painted over. In replacement, one of the walls has been covered head to toe in nature paintings. Above it hangs an impressive chandelier; this elegant interior makes it a lovely, relaxing space to spend your time.

Photo: Kate Fawcett
Photo: Kate Fawcett

But The Bar is not just a pretty face. Whether you’re meeting your friends for a drink or trying to finish an essay the day that it’s due, The Bar is there to provide you with what you need. Cocktails for a celebration, or coffee to fuel your essay panic.

The menu is much more limited than what it used to be, in terms of food and drink. But, there are still over 20 classic cocktails and food options for vegetarians, vegans and those who are gluten free.

The new name and logo might not be the most sophisticated or eye catching, but we don’t really mind. One thing is for sure: The Bar has filled the Font-shaped hole in our hearts. It is providing us with the much needed social space and a place to study right in the heart of Fallowfield.

8/10.

Photo: Creativity103 @ Flickr

UoM researchers develop cheap graphene inks

Written by Anand Knox on . Posted in Science & Tech, News.

A Manchester-based research group has developed a new, potentially ground-breaking method for producing graphene ink by utilising the environmentally safe and sustainable solvent: Cyrene.

Windows that act as solar panels; plasters that monitor wounds in real time and apply dressing to aid healing when necessary; military uniforms capable of detecting threats, monitoring health, and adapting camouflage…

These inventions may seem like sci-fi, but they are in fact rapidly becoming a reality thanks to new developments in the field of printed electronics.

Printed electronics are just what they sound like – electrical devices created by printing in conductive ink. They can be printed onto almost any surface: glass, plastic, or even skin. These circuits make it possible to connect everyday objects to each other, allowing them to be remotely monitored and controlled via the internet. This idea of connecting inanimate objects is broadly referred to as the ‘Internet of Things’. It is already seeing much application in industry, with experts predicting over 50% of new businesses being run on the Internet of Things by 2020. But traditionally connecting these objects has required the use of expensive microchips.

Printed electronics potentially provide a much cheaper and quicker alternative. The rapidly growing sector of printed electronics is expected to be worth around $43 billion (£33 billion) by 2020. Printed electronics work by printing with ink that can conduct electricity. Most conductive inks currently in use rely on metal nano-particles for their high electrical conductivity. These inks can be expensive to manufacture, and are often prone to decomposition.

Graphene-based inks offer greater electrical conductivity and are less prone to the defects of typical conductive inks. Graphene, first isolated by the research group of Andre Geim and Konstantin Novoselov in 2006, has a unique structure. It exists as a giant 2D sheet of carbon atoms, one atom thick. This structure results in remarkable properties such as high tensile strength and high conductivity. These properties mean graphene is the focus of much research aimed at creating so-called ‘next generation’ materials.

Unfortunately, graphene only has these properties when in sheet form. In bulk, it tends to clump together and lose these desired properties. The development of conductive inks and other graphene-based technologies has been subdued because it is currently impossible to produce sheet graphene on a mass scale. Most production methods require the use of industrial solvents, many of which are highly toxic, and are potentially very harmful to the environment. These solvents allow graphene sheets to be separated out in solution.

The Manchester-based study utilises a much more environmentally friendly solvent: Cyrene. Published in the journal Nature Communications, the study found that using this recently developed solvent, ink containing a high concentration of pure sheet graphene can be produced.

Cyrene can be easily and cheaply produced from biomass, and it exhibits none of the hazardous drawbacks that its industrial equivalents display. The study shows that Cyrene performs the same (if not better) than traditional chemical solvents in the production of graphene. This means by using Cyrene, graphene inks can be produced in larger quantities, requiring less waste management. Researcher Professor Zhiurn Hu stated that, “this work demonstrates that printed graphene technology can be low cost, sustainable, and environmentally friendly.”

Graphene technology development has also been held back by a general lack of market uptake. Simply put, a product has not yet been invented that is exciting enough to bring graphene-based technologies into the mainstream. The paper’s lead author, Kewen Pan, suggests that their method could be “a significant step towards commercialisation of printed graphene technology”. While the technology still has a way to go before becoming commercially viable, this study is a big step in the right direction.

Photo: @Chris Payne

Review: Ladybones

Written by Camila Florencia Rusailh on . Posted in Theatre.

Ladybones was a refreshing take on mental health and the process of recovery that invited the audience to understand the reality of life with OCD (Obsessive-Compulsive Disorder) and depression without it ever seeming an afterthought to conceal any cracks in the script’s authenticity. The play followed Nuala’s life as an archaeologist following her discovery of a young girl’s skeleton, her own search for identity and recovery slowly entwining with the remains.

Sorcha McCaffrey’s performance as Nuala directed by Lucia Cox was endearing throughout. There was a constant sense that we were watching her character organically filter through memories, daily events and thoughts rather than a scripted performance.

The small venue of the King’s Arms in Salford lent itself to the play’s intimate appeal and worked exceptionally well with McCaffrey’s solo performance, having no elaborate stage or props to distract from her character’s endearing nature. As the audience began to take their seats, McCaffrey bounced over in her red dungarees, introducing herself in character and asking our names one by one. We were offered a yellow sticker to opt-in during moments of audience participation. She reassured us that this was optional and that we could otherwise “chill out”; this calm invitation rather than uncomfortable obligation being the start of the play’s informal yet captivating experience.

As McCaffrey continued to search the crowd with bulging and flickering eyes and a beaming smile on her face, it became increasingly apparent that we were not about to experience an hour’s worth of passive theatre lecturing us about the obvious problems of mental health disorders, but more so invited to participate and reflect upon a person’s story.

Ladybones’ depiction of mental health disorders refreshingly had no intent to distress or shock us, but to give us brief insights into the numbing reality of depression, the all-consuming anxiety of OCD. This is not to say that there weren’t uncomfortable flickers of insight into Nuala’s mind, but the play’s fundamental intent seemed to be trying to expose the bare bones, trying to make sense of the world around her.

There was not a single moment in the play in which I felt that her character had been reduced to her mental health disorder. This cannot be said for many other plays that have attempted to deal with the same subject matter that I have seen prior to this.

I was apprehensive before seeing this play due to its partnership with the national charity OCD-UK that the production could have fallen into the classic pitfall of feeling obliged to make mental health the focus of the piece. Refreshingly, Ladybones successfully balanced a realistic depiction of the daily impacts of Nuala’s disorders without overpowering the focus on her human experience. In doing so, the play ardently avoided being yet another bleak, exploitative, and distressing depiction of suffering, but an acknowledgement of its difficulties with hope for recovery.

McCaffrey’s performance was peppered with comic anecdotes and witty observations of the mundane, her multi-roleplaying as her therapist leaving the audience in ruptures of laughter. McCaffrey’s authentic delivery of Nuala’s wit in illuminating proverbial mundanity with a beady eye for detail and fragments of poetic observance, mean the play was surprisingly hilarious, considering its not-so-hilarious subject matter. 

Overall, Ladybones was an uplifting search for identity that acknowledged the grinding salt of daily tribulations from awkward sexual encounters to the blinding ache of loneliness without ever losing hope. It was nice to see an exploration of mental health that did not try to give its audience answers or solutions, but a reminder that life cannot be read as easily as the maps of a medieval skull’s cracks and dents.

Photo: Olivia White @ Mancunion

Live Review: Heavy Lungs

Written by Olivia White on . Posted in Music.

Hailing from Bristol, the riotous quartet Heavy Lungs landed in the sold-out Manchester’s Castle Hotel for their 7thdate of the new year. After relishing in a meteoric 2018, touring with punk’s beloved IDLES on a string of sold-out UK dates, Heavy Lungs are hell-bent on not only pushing the door open that they’ve so firmly got their foot in but kicking it down.

Kicking off the evening were the tormented underdog’s Vulgarians who managed to make a tiny 70-person capacity venue feel so much larger. The sheer vigour that they had accumulated together made for a slightly unnerving yet thrilling and explosive set which had the audience perfectly primed for the remainder of the evening.

The venue’s dark-panelled walls glistened with condensation while the ceiling dripped with pellets of water, providing the perfect backdrop for Heavy Lungs to take their positions on the cramped ‘stage’. At least a quarter of the audience were trimmed in IDLES merchandise as Talbot’s famed friend Danny Nedelko took centre stage with a wide-eyed stroke of madness.

Opening with the band’s unreleased track ‘Half full’, Heavy Lungs immediately instilled a profound sense of confidence as drummer George perfectly matched Danny’s fervent demeanour. Frontman Danny’s presence was brought to life with his dramatic prancing which quirkily remained out of time with the main beat of the band’s setlist. With his arms splayed out at each side with a brisk strut, Danny mirrored the commanding presence of an orchestral conductor.

However, presumably due to technical issues, the frontman’s vocals were often drowned out amongst his musical counterparts making for a fuzzy, comprehensible noise rather than a stimulating sermon. As the set progressed, this, unfortunately, didn’t improve and the only speech I could make out was George’s comedic interruption of screaming “Isn’t it cold outside?” repeatedly mid-way through their performance. Not that you’d have known with George stripped down to a pair of (Umbro?) sports shorts and Danny’s bare chest.

Despite the growing frustration of not being able to hear the vocals, Nedelko and his dynamic quartet certainly kept their audience’s attention in their clutches as the band unrelentingly powered through their more famous tracks ‘Poster Boy’, and ‘Stutter’. Nedelko’s determination for a riot culminated with a launch into the crowd, staining his pristine white roll up trousers.

Heavy Lungs are perhaps on the verge of becoming a common name within the re-emerging ‘underground’ punk scene alongside Lice, YOWL, and Hotel Lux. I certainly hope so – despite the technical issue and slightly disappointing crowd reception, there is a very strong potential that can be found in this Bristol quartet, especially when you remember they only formed in 2017.

Heavy Lungs are certainly ones to watch. Armed with plenty of potential and attitude, 2019 undoubtedly holds an exciting year for the Bristol boys.

7/10.

Photo: Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019

Leonardo da Vinci: A Life in Drawing

Written by Bella Jewell on . Posted in Arts.

I ventured in to a dimly lit room on the first floor of the Manchester Art Gallery. After adjusting to the low lighting, having arrived from the rare Manchester sun, my eyes were drawn to the walls. Warm spotlights brought a collection of rectangular frames of paper drawings to my attention.

I was at the press preview of the gallery’s latest exhibition – Leonardo da Vinci: A Life in Drawing – a homage to one of the world’s most treasured artists in the build-up to the 500th anniversary of his death. This exhibition is one of 12 that are taking place across the UK, and is made up of works from the Royal Collection. Each gallery has been loaned 12 of the Renaissance master’s drawings, in a celebration of the sheer diversity and innovation of his art.

What makes this project particularly special is the sense of geographical inclusion; by running 12 shows concurrently, it is estimated that over half the population of the UK is no more than an hour’s drive away from witnessing these intricate masterpieces. Given the usually London-centric approach to displaying works of The Masters, these attempts to improve accessibility of this exhibit marks a refreshing moment of unity in a time of profound discord.

Curator of the Manchester Art Gallery, Natasha Howes, describes how the mancunian embodiment of this project is slightly different to that of the 11 other exhibitions.Ten years ago, the gallery displayed an exhibition of da Vinci’s drawings from the Royal Collection, so this time round was looking to do something a bit different. Whilst the other shows are made up of drawings spanning a range of da Vinci’s themes, this exhibition is thematically curated; the 12 drawings are all based around the human body.

Be it meticulous anatomical sketches, or portrayals of idealised beauty and ugliness, Leonardo da Vinci: A Life in Drawing is an exciting insight into the mind of a genius. The works on show provide a snapshot of his artistic career, with the earliest of the drawings dating to 1480, whilst the latest is thought to have been produced just before his death. Looking at this collection of drawings, one notes his artistic progression, as his style develops in his pursuit of anatomical perfection.

Howes excitedly leads us to two of the drawings near the centre of the room, which are displayed in double-sided frames and portray da Vinci’s passion for anatomy. The drawings depict intensely scientific sketches of the foetus and female organs and are enveloped with scrawling notes in black ink.

“What’s so brilliant [about the works] is they’re double sided, so we’ve ended up with 14 for the price of 12”, says Howes. What is striking about these works is how the entire surface of the paper has been covered with annotation and sketches. Da Vinci has written in a slanted mirror script, which despite seeming intensely cryptic, was rather to avoid smudging his work as he was left handed.

Howes informs us that these drawings were never made to be displayed on a wall, but are in fact working sketches to establish a greater understanding of the human body. In fact, in comparison to an earlier drawing on show, which was completed before da Vinci undertook any scientific exploration of the human body, these later sketches reflect the impact of dissections da Vinci attended in the winter of 1510-11 at the University of Pavia had on his work. His sense of proportion and understanding of the inner workings of the human body is clear.

However, this exhibition reaches beyond the purely anatomical. There are works which explore the movement of the human body, a drapery study for his famous ‘Last Supper’ fresco, and a curious image of an almost supernatural woman.

When I asked Howes about this latter drawing, she beckoned us over to the piece. Howes recounts the mysterious nature of the drawing in question, describing how Martin Clayton (Head of Prints and Drawings at the Royal Collection Trust) deemed it “a real puzzle”.

The theory is that this drawing is an imagined scene from Dante’s ‘Divine Comedy’, specifically of the character Matelda. Howes describes how the figure appears to have been “conjured out of the air, she’s not solid, she’s totally ethereal”. The curious sketch, which was one of his last pieces of work, serves as an example of the diversity of da Vinci’s craft; he was a scientist, an inventor, a dreamer.

I then discover why the room is so dark, Howes tells us that these drawings are incredibly sensitive to light and can therefore only be displayed every few years to preserve them. However, their remarkable fragility is also evident in their journey into the hands of the Royal Collection. Despite there only being 20 da Vinci paintings still in existence, 5,000 of his sketches survive. After his death, da Vinci passed these sketches onto his favourite pupil who numbered and bound them all in one book – a decision which treads a thin line between intelligent pragmatism and an act of total irresponsibility. Whilst this decision inevitably is the reason these works are still in existence, they could have so easily been lost in a single fire.

Howes described the long journey that the collection took before becoming a part of the Royal Collection, travelling from Italy, to Spain, and eventually to England. This journey, however, raises several questions over the true claim of the Royal Collection to these works. I presented this question to the curator, who replied that this was is an interesting problem. She explained to me that there currently exists a dispute taking place between The Louvre and the Italian Government over its refusal to lend works of da Vinci to an exhibition in France, citing national ownership of the Italian artist.

Howes strongly stated that “this is an age when we need to collaborate”, given the increasing tensions following Brexit. She described how collaborating with our European counterparts is “one way we as an institution feel we can still connect with the world, that we can do the opposite of Brexit.”

Leonardo da Vinci: A Life in Drawing is an exhibition which shines a light on the enigmatic artist, capturing his artistic development and exploration of the human form. Howes restates the importance of these sketches, describing how “you get much closer to the man… because there are only 20 paintings that exist of his in the world, this is how we know Leonardo.”

The exhibition runs from Friday 1st February 2019 to Monday 6th May 2019 at the Manchester Art Gallery

Photo: Public domain.

Review: We Must Be Brave by Frances Liardet

Written by Robert Boddy on . Posted in Books.

We Must Be Brave opens on an evacuation bus after an air raid on Southampton. “She was fast asleep on the back seat of the bus. Curled up, thumb in mouth. Four, maybe five years old.” This is how the 400 page, decade-spanning story begins.

The narrator is Ellen, just eighteen in 1940, and the girl is Pamela – a sleeping toddler unaccompanied on an evacuation bus to the safety of Upton, a small village in the south of England. In a sense the novel never leaves these two characters as they greatly influence every thought and action the other takes. The novel, so the description says, is about the fierce love we feel for our children, and the ability of that love to endure, and this description is partially accurate. Pamela is not Ellen’s child and this is the centerpiece of the story – the conflict faced by Ellen and her husband in taking in a child that is not their own, their growing affection, and their, particularly Ellen’s, fears of the disruption of their new family life. With Ellen’s narration we hear the developments of her thoughts and feelings towards Pamela, her caution at first and then her dread of being separated from her new daughter. The story begins in 1940 but moves through time, first turning back to paint a picture of Depression-era Britain in the 1930s, then forward to the 1970s and the present day, showing the affect of time on people as well as place.

I don’t wish to give a full synopsis of the story of We Must Be Brave, but I feel that its starting point might give you the idea that this is the kind of story you might have heard before. In some senses that would be correct; We Must Be Brave falls into becoming a fairly standard Home Front Second World War story with the typical cast of characters – the well meaning and loving husband, the eccentric country house owners, the gossipy women of the village, the humble and honest farmhands – and many of the story beats are going to be familiar to many readers. The story is not unoriginal but strays a little too close to familiar on too many occasions meaning that some plot points, that are supposed to have great emotional intensity, are spotted from chapters away, which rather diffuses their impact.

However this is not true for the entirety of the book and the fact that some aspects of the novel seem like a typical World War Two story only helps to sharpen the places in which We Must Be Brave cuts into fresh territory. Through some familiarity it enhances the novel’s differences. For example, the sections set in the 1930s show Ellen’s difficult childhood coping with abject poverty of Britain during The Great Depression, giving the novel a real historical and emotional vitality. With Ellen’s narration we’re able to experience, in real terms, what life is like to be barely making ends meet in a pre-welfare state Britain.

There is a slow start to the novel, with some of the dialogue seeming a bit clunky at the beginning, but once the story gets going and the book gets some steam behind it these problems are ironed out producing some very effective prose. This prose produces some great moments where the nuances of emotions, which are often difficult to convey accurately and convincingly, wash forth from the pages and the reader is granted a real connection with the text. However there are some moments which miss the mark. Later in the novel there is a reveal which could have been a lot more significant than it actually amounts to. This is a problem with much of the novel in that beyond a maximum of three characters, two of which are missing from large amounts of the novel, the sub-characters suffer from a lack of development. They are largely one note pieces in a larger scene and they tend to enter the stage, say their limited lines, and then go off leaving no real lasting impact. This is not to say that they are not interesting characters, just that their interesting features are left only as surface level items that are not delved into enough detail or depth to be satisfying for me. While they are in the story they are fantastic decorations on a stunning tableau that the novel creates at times. Following their appearances, the after-effect of their presence is fleeting.

We Must Be Brave is an interesting book. It has both the elements of something readers will have seen a dozen times before and new and fresh ideas, branching into areas that have previously been left unexplored. In this the novel can be intensely rich and rewarding to read, despite some of its shortcomings. Readers will find something to like in this novel, held up by a functional story, if a little familiar one.

We Must Be Brave is out in hardback in February 2019, with a paperback version available later in the year.

Photo: Donn Dughi / State Archives of Florida, Florida Memory @wikimedia

True Crime Story: The People vs. Film-Makers

Written by Josh Sandy on . Posted in Film.

It is hard to think of a genre that defines this decade more than true crime. Over the past nine years numerous TV series, books, and podcasts have brought the darkest sides of the human condition to the forefront of our minds. However, this true crime obsession has brought with it significant controversy surrounding the balance between respect for a crime’s victims and their families and film-makers’ rights to tell these stories.

This controversy has received renewed media attention recently following the release of the trailer for Joe Berlinger’s Extremely Wicked, Shockingly Evil and Vile. Berlinger’s film tells the story of US serial killer Ted Bundy, who committed at least 30 murders throughout the 1970s, through the eyes of his on-off-girlfriend Elizabeth Kloepfer.

The trailer courted controversy for its upbeat tone, stylised ’70s aesthetic and Zac Efron’s charming performance as Bundy which critics claim portray him as an unlikely heart-throb. However, those who attended the film’s premiere at the Sundance Film Festival have rebutted these accusations and claim the finished film far from glorifies Bundy’s actions.

Even one of Bundy’s surviving victims, Kathy Kleiner-Rubin, has weighed in on the controversy. Whilst acknowledging that the film does glorify him more than it should, Kleiner-Rubin explained that Bundy’s charm and good-looks were the main factors that allowed him to escape justice for so long.

A similar controversy has also arisen following the nomination of Vincent Lambe’s Detainment for Best Live Action Short Film at the 2019 Academy Awards. The film, based on the 1993 murder of 3-year-old James Bulger, drew widespread criticism for Lambe’s failure to inform Bulger’s parents of his intentions to dramatise the police interviews with both 10-year-old perpetrators John Venables and Robert Thompson.

Following the backlash, and a petition to disqualify the film reaching over 200,000 signatures, Lambe conceded that he should have consulted the victim’s parents, but still maintained his right to independence in telling the story.

In both cases, particularly in the latter, it is easy to understand people’s concerns regarding a perceived lack of respect towards those that have suffered greatly. However, this also brings up an important question surrounding the length of time between tragedy and film.

Films such as The Boy in Striped Pyjamas and Schindler’s List have been credited as historically important in keeping the horrors of the Holocaust, one of the most shameful events in human history, within our minds. This shows that these kinds of films can often be teaching moments and aid us in avoiding making the same mistakes in the future. Of course, respect and consent should be paramount for film-makers and it is hard to find Lambe’s actions anything less than negligent, if not downright thoughtless.

Ultimately, there is an unwritten social contract between film-makers and audiences that acts as a clear check and balance. Film-makers are free to express themselves through their films, and we as an audience always have the opportunity to vote with our feet and choose to not support those who we feel have overstepped the mark.

photo:clockedindk @pixabay

Review: Escape Room

Written by carlfitzgerald on . Posted in Film.

Escape Room is a modern day post-Saw thriller driven entirely by coincidence, contrivance, and convenience. The acting is average and the script is confused. It is absolutely dumb as a sack of bricks — and I love it.

The story follows a group of six people who’ve been brought together, seemingly at random, to partake in an apparently impossible escape room challenge. But things take a dark turn when they find themselves going through room after room loaded with complicated puzzles and traps which they must work together to solve.

We see three of the group (the most important characters) set up before they arrive: Zoe, an introverted physics student coping with plane crash trauma; Ben, a recovering alcoholic; and Jason, a monopolistic businessman who also has a dark secret. In fact, all of the characters seem to have some kind of tragic backstory that is the reason for their selection, except for one character who is the first of the group to die, and you do start to think maybe this is building up to something with him — but no, he’s basically only there to fill out the body count.

Generally, the writing remains that clunky throughout. Details of character backstory largely have little relevance to the plot overall and are only revealed when the information is convenient to solve a deadly puzzle. The characters also speak unnatural, forced movie dialogue which the actors try their best to make sound natural but it doesn’t always work.

However, Escape Room benefits purely from its morbid sense of humour and imagination. The disorientating and interesting set design of each individual room makes for something that glues you to your seat through any, and all rough, lines of dialogue. Particular standout moments are an upside-down bar which gives new meaning to the phrase ‘the floor is lava’ and a gloriously trippy ‘you have been poisoned, find the antidote’ scenario which, in an ideal world, will launch a thousand memes.

The film is not as tightly characterised as something like Cube — which it desperately wants to be. By all means, it has problems that will make people hate it but, beneath the generally poor writing and narrow efforts on the actors’ part to salvage their characters, there is some creativity to it that will hold you to the end. This is the third outing from director Adam Robitel, whose previous efforts include The Taking of Deborah Logan and Insidious 4. Once again he proves he can do a decent job directing a movie. He knows where to put the camera, when to cut, and how to pace a scary scene to keep you invested. He just needs to find a perfect script to really sink his teeth into.

But on the whole, Escape Room is no masterpiece, you could even argue it’s not even good. However, while I wouldn’t watch it again, it’s short and sweet enough to make for guilty pleasure material at most and dumb date night horror at least.

2.5/5

Photo: The Mancunion.

Stagecoach accounts show increase in pre-tax profits

Written by Josh Sandiford on . Posted in News.

New financial statements released by Stagecoach Greater Manchester show a significant increase in pre-tax profits for the financial year 2017-18.

The new figures, which account for all Stagecoach services in the south of Manchester, show that pre-tax profits have increased by 14% to £17.6m. Stagecoach’s revenues also increased by almost 3% to £119.6m.

Director pay appears to be steadily rising: according to the statements, the highest paid director earned £211,000 in the period ending April 2018. In 2017, this figure was £199,000, a 6% increase.

Stagecoach is one of the largest bus operators in Manchester and their blue and yellow ‘Magic Buses’ are instantly recognisable to most students in the city. According to its website, Stagecoach Manchester invested £4.5 million in new buses and carried 106 million passengers in 2017/2018.

The increase in profits comes after passengers faced a fare increase in the new year, in which the ‘dayrider’ ticket went up from £4.50 to £4.80 and the seven-day ‘megarider’ ticket increased from £15 to £16.

Meanwhile, a ‘Fight the Fat Cats’ rally is due to be held by campaign group ‘Better Buses for Greater Manchester’ next week. The event description on Facebook invites people to attend the public meeting and “find out more about how we can win, and join the campaign to take action for better buses.”

When asked by The Mancunion if Greater Manchester students were getting value for money when using Stagecoach services, a spokesperson for the company said: “Students attending the universities on Oxford Road have access to one of the most frequent bus services in the country; operating every few minutes throughout the day and with services running 24 hours a day, seven days a week. Manchester students also have the option to purchase heavily discounted tickets that are up to half the price of our usual adult fares.

“Our ticket, that runs throughout an academic year, offers unlimited travel on any Stagecoach bus throughout Greater Manchester from just 83p per day, which is great value for money.

“The most popular £1.50 Magic Bus single has been frozen for several years. In January, our night fares were also held or reduced and our evening fares have been capped at £2, a price which also hasn’t changed for a couple of years. There have been changes to the price of some of our longer duration tickets but overall our average fares are in line with general inflation.”

Stagecoach also highlighted the fact that their own costs are rising faster than inflation and pointed to declining traffic speeds increasing wage-related costs.

Angela Chen, a first-year Economics student said: “As a student, I find it unfair that profits are increasing, yet little of the extra profits are being invested into a better service or cheaper tickets for customers. This is just another example of corporate greed overriding the well-being of customers.”

Cjc13 @ Wikimedia Commons

Exclusive: Little Court, big problem as Owens Park infestation strikes again

Written by Sam Honey on . Posted in News.

Students claim cockroaches and mice are roaming one of the University of Manchester’s halls of residence – four months after they first complained of an infestation.

In September, The Mancunion revealed students in Owens Park were “living in fear” over the problems. They also reported sewage leaks.

At the time, the University responded by claiming that a full refurbishment of the accommodation had been undertaken during the summer of 2018.

Following the latest round of complaints a spokesman said the University had been working with pest control contractors to eradicate the problem.

There have also been claims that rats have been spotted in Oak House, and another student reported seeing mice in the Alan Gilbert Learning Commons on Main Campus.

One Oak House resident said: ”If people have cockroaches and rats in their accommodation it is an absolute disgrace and the University has a duty to help them. It’s time for [the University] to do something about the appalling conditions some students in Fallowfield are subject to.”

Another said: “How are you charging us almost £6,000 a year? The University has got better with dealing with [the problem], but it’s taken four months to reach this point.”

Owens Park is home to roughly 600 students, and with prices starting at £144 a week, some feel they are not getting value for money.

One Little Court resident, who wished to remain anonymous, said their flatmates were tackling the problem themselves by blocking holes in their walls with tissue paper, and using cockroach spray.

The same student added that some flats in Little Court had been infested with mice “for a while”. They added that the University had used a pest control service to curb the problems – by filling gaps and cracks in the walls – but no guarantees were given about how successful these measures would be.

The Little Court students say they should be “treated with more respect”, and that the University’s system had not approached the problems properly, with only individual ResLife officers showing concern.

The same students said that no rent reduction had been offered, but they had been given the opportunity to switch halls. However, the Little Court occupants who first spoke to The Mancunion remarked that students should not be forced to compromise the social experience of halls by moving out.

A University spokesman said: “Since reports of pest activity first surfaced, we have been working proactively with our pest control contractors to eradicate the problem. We have invoked a regime of continuous monitoring and eradication of pests and have implemented a regime of cleaning kitchens on weekdays daily and removing excessive waste and recycling.

“We scheduled a one-off bedroom clean to all rooms in Little Court commencing on January 28, followed by a room inspection with our pest control contractor to ensure there are no further building remedial measures required.

“Residents are able to report issues on the buildings maintenance system so they can be tracked easily and reported on for action to our contractor.”

Plans have been outlined for a new accommodation development near Richmond Park and the Armitage Centre, which will open in September 2019 as Unsworth Park, housing 1,100 students in en-suite bedrooms.

Photo: The Tutor Trust

Weathering the ‘perfect storm’ in education

Written by Felix Hanif-Banks on . Posted in Investigations.

An Oxfam report recently described a “perfect storm” of hardship experienced by many across the country as austerity has led to lower spending on key public services gradually since 2010. Education sits near the top of the list of areas most harshly affected by cuts, with schools nationwide forced to cut staff and increase class sizes in the wake of ever-changing targets and expectations. Private tuition has never been more present in our society, but with the work of charities like The Tutor Trust, high-quality tuition is becoming increasingly available to all.

The harsh reality of this country’s education system is all too apparent – a quarter of secondary schools are running at a deficit and funding will have dropped by 4.6% since 2015 as of next year (The Guardian). Evidence from any source points to a crisis, but as the targets for grades rise and exams increase in difficulty, schools, pupils, and parents alike find themselves struggling to keep up. The infinitely-edged sword of austerity only furthers these issues, as those from suffering poorer communities fall behind those more affluent who have the luxury of affording private tutors.

The private tutoring industry is now worth an estimated £2bn and can be found in all parts of the country as parents seek to give their children the best possible advantage in a hyper-competitive education system. Private tutoring centres, such as Explore Learning which has 139 centres across England, come at a great cost to many families but are equally seen as a necessity as schools cut back in services while rolling on greater expectations.

Explore Learning exemplifies the new form of private tutoring we see frequently today, with branches mainly in shopping centres offering tuition for one to six pupils at a time. It’s far from the somewhat antiquated image of a one-to-one tutor in a luxurious family home drilling times-tables into a middle class 5-year-old’s head, but tuition remains far from accessible for all.

Services such as Explore Learning carry substantial fees, with a £119 per month subscription fee plus a £50 registration fee which allows up to nine sessions a month. Despite wider consumption and appeal of these tutoring services, there still remains a great need for the democratisation of addition education provision, as the advancement of this existing system leads to huge gaps in attainment across social classes and families living beyond their means in an attempt to bridge the gaps.

The work required to change the face of tuition on a national basis is huge, but charities such as The Tutor Trust are making crucial steps to bring high-quality tutoring to those who need it most and would otherwise have no access to it.

Now into its eighth academic year, The Tutor Trust is a Manchester-based organisation set on helping the transformation of the attainment and aspirations of disadvantaged young people across the country. They offer one to three tuition in primary and secondary schools as well as Further Education colleges and centres for alternative education provision.

A recent EEF (Education Endowment Fund) report praised The Tutor Trust as an excellent provider of tuition, hailing their services as “gold standard” and a “cost effective way to boost attainment for struggling pupils.” The report showed an average 3 months extra progress in maths after just 12 hours of tuition, with an increase of 52% more students tutored achieving their age-related expected grades following tuition.

In its mission to transform tuition and the culture surrounding it, The Tutor Trust specifically aims to provide tuition for those students deemed most in need of it. Pupils are three times more likely to be on free school meals than the national average, and 58% of tutees receive Pupil Premium in comparison to just 28% across England.

The process of democratising tuition has still maintained evidently high standards and at a much lower cost. Private tuition averages at £27 per hour, whereas The Tutor Trust’s intervention studied by the EEF came to just £9.33 per pupil per hour, none of which was paid by the students’ families.

Even in a wider context, organisations such as The Tutor Trust can provide great benefits to a community. Many of the tutors are local university students, which provides young, motivated mentors for children to look up to and emulate, while also helping university students unfamiliar with Manchester become more ingrained in local communities.

One student tutor commented: “Working for The Tutor Trust is the most rewarding job I’ve ever had. It can be challenging at times but those challenges are always worth it when your students achieve their goals and open up opportunities for themselves they never could have imagined.”

Student tutors are passionate about the work they do and the services provide, with the charitable and equitable ethos of The Tutor Trust a major selling point. As an organisation it’s ever-growing, recently receiving a £500,000 grant from the Department of Education to establish a network of alternative provision tuition. This desired transformation in tuition and the wider culture of education is charging ahead, with the work of organisations like The Tutor Trust at the forefront.

If you want to further the mission of The Tutor Trust and support young, disadvantaged people across Manchester, applications to become a tutor end February 8th and can be found on their website.