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Month: February 2019

Photo: pjayofficial @ Flickr

Opinion: Separating artist and art in the music industry

Written by Eleanor Roberts on . Posted in Music.

Ethics and the entertainment industry are often seen as being in conflict with one another; scandals arise based on charges which can vary in seriousness from minor to major. Social media platforms allow public outcry against the actions of musical artists no matter the genre of their music. Thus, the question must be asked: How far can the music be separated from its creator?

Criticisms are often met with a response which is disproportionate to the purported crime, be it an over-reaction to a minor incident or a dismissal of a more serious situation. Accusations of deep-seated racism are met with the argument that good music is just that, regardless of its creator, whilst a song designed to parody the media’s interpretation of the artist is met with unbridled hatred. Admittedly, this is an issue across the entertainment industry, but music’s inherent link with the expression of the musician’s self makes it a particularly difficult job to differentiate between art and its creator.

Kanye West’s lack of tact has resulted in backlash from some, particularly from fans of Taylor Swift, on numerous occasions, and others have been deterred from listening to his music as a result of knowledge of his personal life. R-Kelly has recently had his music removed from playlists on Spotify following a plethora of sexual assault allegations against the singer. In the notable case of ‘Blurred Lines’, Robin Thicke was accused of lyrics suggestive of rape, which alienated a large number of listeners, despite his own personal life remaining mainly obscure. Interestingly, his then-wife filed for divorce soon after, citing abuse and infidelity as causes.

Yet, in all of these cases, the artists have remained popular. Kanye West’s most recent album Ye became the 50th most popular album of the year, and ‘Blurred Lines’ spent 33 weeks on the Billboard charts. Many fans even appear to thrive on the controversy, rallying further behind the artist of their choice. Indeed, in the now-infamous feud between West and Taylor Swift, many vehemently supported Kanye West based solely on a personal dislike of Swift, as well as vice versa. In the cases of such solo artists, questionable actions, particularly more minor ones, are often defended and the artists remain popular.

In the case of bands rather than solo artists, however, the standards appear to change. In September of 2018, Panic! At The Disco’s touring guitarist Kenneth Harris was quickly and quietly removed, following allegations of sexual misconduct, in a Twitter announcement which cited only “a personal matter”. Similarly, Pierce The Veil’s drummer Mike Fuentes left the band following statements from two women which included suggestions of sexual activity with a minor. However, in the latter instance, Fuentes explicitly addressed the accusations, stating that he was taking the allegations seriously, and stepped back from the band in order to prevent the situation reflecting poorly on the band and the music.

On the other hand, such decisive action from bands is not universal. For example, Falling In Reverse’s Ronnie Radke has been accused on various occasions of battery, domestic abuse, sexual assault, and assault (the latter of which is cited as the cause of the ban preventing hard rock and heavy metal bands from performing at Six Flags entertainment park). Despite the accusations against Radke, the band still enjoys moderate success in its genre circles, indicating an example of a band whose controversies have had little effect on their success.

Although the ethical dilemma of whether to support an artist through allegations of misconduct is now new, it is now seen in a world which judges the alleged perpetrators more harshly – as indicated by the conviction of Rolf Harris around two decades after the sexual misconduct for which he was tried.

Whilst the choice of response when considering the actions of an artist remains up to the individual fan, should any accusations be proven true, in an ideal world the artist should be treated with a reaction of the appropriate magnitude.

photo: Thomas Wolf @wikipedia

Oscars 2019 Predictions

Written by Tom Chambers on . Posted in Film.

What are The Oscars really about these days? After wading through the morass of controversy surrounding The 91st Oscars, it’s a question that’s becoming increasingly difficult to answer. Are the Oscars simply an extension of Hollywood’s mass-marketing juggernaut? Are they a vehicle used to display Hollywood’s political correctness? Or are they truly dedicated to recognising the work of the most outstanding artists working in cinema?

These debates distract from what The Oscars should be about: the celebration of cinematic artistry in the year that’s passed, so without further ado here are my 2019 Oscar predictions.

Best Actor looks to be a lock in for first time nominee Rami Malek and his portrayal of Freddie Mercury in Bohemian Rhapsody; Malek’s performance, gaudy fake teeth aside, does carry Bohemian Rhapsody which is at best a glorified Wikipedia entry on the making of Queen’s songs.

Best Actress is a little less straight forward. Glenn Close (The Wife) will most likely take home the honour but she faces stern competition from Peep Show’s Olivia Coleman, whose child-like performance as Queen Anne in The Favourite is brilliant and Lady Gaga (A Star is Born) who burst onto the silver screen with a performance that captures the zeitgeist of today’s music industry.

The Oscar for Best Director is undoubtedly ending up in the hands of Alfonso Cuarón. His film Roma demonstrates through gripping long takes, perfectly designed compositions and docu-realistic performances that Cuarón is not only a master of the craft but also one of the best directors working in Hollywood today. He also has the $25million backing of Netflix’s Oscars campaign which surely won’t harm his hopes.

This year’s Best Picture contest is one of the most unpredictable in decades. As always there have been some surprising omissions from this year’s nominees. Barry Jenkins and Damien Chazelle, whose films Moonlight and La La Land, respectively, were dead centre of the infamous Oscars gaffe two years ago, failed to secure nominations for their films If Beale Street Could Talk and First Man. Perhaps more worrying is that Spider-Man: Into the Spider-Verse a wonderful animation which gave a sense of vitality to the superhero genre was snubbed ahead of the formulaic Black Panther, which became the first superhero film nominated for Best Picture. Green Book and A Star is Born are both strong contenders, however I believe that The Academy, which has shown a lot of love to Mexican filmmakers in Hollywood in the past seven years, is ready to make history by giving the award to Roma, making it the first foreign film to win Best Picture and also Netflix’s first Best Picture win, potentially ominous news for the future of theatrical distribution, but nonetheless a win for great cinema as Roma is the best film of 2018.

The Oscars will be held on Sunday 24th of February at 12am U.K time

photo: Justin Hoch @wikimedia commons

Review: A Private War

Written by williamjohnston on . Posted in Film.

Going in to the film, most of us will know A Private War follows the journalist Marie Colvin as she was killed whilst covering the Syrian Civil War. What most of us don’t know, however, is the anguish Colvin experienced in her pursuit of exposing atrocious truths that were hidden from the world. The film explores her career and personal life, with her words “I see it so you don’t have to” ringing in the audience’s ears.

The film is eerily cyclical, beginning and ending in Homs, Syria in 2011, with the real voice of Colvin echoing as the camera pans over the hazy war zone. The 10-year jump back in time creates an ominous countdown until Homs, as the film chronologically navigates various foreign tragedies Colvin (Rosamund Pike) visited. The back and forth between London and foreign tragedies succeeds in gently revealing Colvin’s addiction to her adrenaline-fuelled work, while also stressing the lasting effects such experiences had on her personal life. As one of her companions in the film says, Colvin saw “more than most soldiers”.

Flashbacks are used throughout as a representation of the PTSD Colvin experienced during her career. There are harrowing scenes of deformed and bloodied bodies interspersed with scenes of heavy drinking, breathing, smoking, and sex, all to create the frantic coping mechanisms of her PTSD. It also reinforces how this fuelled her work; amidst all of this chaos, she continued writing her front page articles for The Sunday Times. However, it would have been useful to show more of Colvin’s relationships with friends and colleagues, as the film brushes over opportunities of further character development in exchange for moving the story along.

The complexity of her character is gradually unveiled throughout the film, and Pike plays this superbly. She not only captures the fearlessness in Colvin, witnessed when she interrogates Colonel Gadaffi, but her vulnerability too. In a sincere scene with her personal photographer (Jamie Dornan), Colvin reveals her desire to have had children and a normal life. While Dornan’s performance is solid, Pike brings energy to her role, not just in speech but in physical embodiment, which is captivating. Tom Hollander, who plays the foreign editor Sean Ryan, also gives a nuanced, and at times impassioned, performance, which serves a powerful purpose of highlighting the dispensability of Colvin’s wellbeing for greater newspaper circulation. 

There are times when director Matthew Heineman, previously a documentary maker, attempts to fuse documentary style to feature film, with hasty and crude camera work, and it doesn’t quite work. It creates a realism and sense of breaking the fourth wall that disrupts the film’s flow. Having said that, when Colvin interviews Syrian civilians, the intimate focus on the subjects forges an intensity which perfectly reflects their situation.

If there was one takeaway from this artistic dedication to the extraordinary life of Marie Colvin, it is that uncovering true human stories was not her job, but a way of life. 

4/5

Photo: Thomas Crenshaw @Flickr

The Art of the Bromantic Comedy: Starring I love You, Man

Written by Harry Peate on . Posted in Film.

To study the themes of wholesome male relationships in film one can look no further than 2009’s I Love You, Man. While admittedly little more than a glorious B-movie nestled in the comforting categories of Netflix, the Paul Rudd and Jason Segel helmed flick seems to reveal some deeper qualities after a ludicrous number of repeated viewings.

The story follows newly engaged Peter (Rudd) who is suddenly forced into an increasingly cringe-worthy search for some male friends to fill out his lacking wedding party. “Girlfriend-guy” Peter goes on a series of awkward “man dates” until he meets his one true “bro montana” Sydney Fife (Segel) while trying to sell a former Hulk actor’s humble abode.

The simple joy of this bromantic comedy is the subversion of rom-com norms while maintaining the age-old structure of cute meeting, conflict/breakup, ultimate reunion. Making two male friends the subject of the comedy allows for a funny and endearing exploration of male intimacy while allowing a constant joke about something more than heterosexuality to exist in every scene. A perfect example of this is their shared love of the band Rush which is at the heart of the relationship — the two will sing lyrics down the phone to one another, leading to the fiancée Zoe (Rashida Jones) questioning why Peter is “licking Sydney’s air guitar?”

Honestly, the true joy of the bromantic romp is the opposing trajectories and personalities of the two best friends. Peter is a “straight arrow” estate agent who is pleased by “adult things”: Sunday night programming on HBO and a glass of wine, watching Chocolat with Johnny Depp, or fencing practice. When he meets Sydney, we see Peter devolve to enjoy the immature, unambitious activities he missed out on without male friends: cutting loose in the mancave, slapping some bass when playing countless Rush anthems and learning to express himself animalistically with screaming practice on Venice Beach.

Conflict comes when Sydney fails to at least partly move towards an adult lifestyle. His comically public hint that Zoe should initiate more fellatio throws up red flags and Sydney struggles to keep up with his old mates because he’s too childish to hang out with their families or to negotiate full-time careers. However, part of the resolution is Segel’s character seeing value in a simple night in with a loved one and a Johnny Depp flick over a one-night stand with a divorcée.

The Bromantic Comedy’s bread and butter is providing the easy watching of a rom-com with more immature stabs at humour at the purity of a best friend dynamic. I Love You, Man is perhaps the crème of the crop in this area but bromantic themes can be found in anything from Pineapple Express all the way to Good Will Hunting.

‘Slow’ by Gizzi Erskine: A Cookbook Review

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

Gizzi Erskine is a name you won’t forget and nor will you forget this book. She is a female food-writer-come-chef who became popular from her TV series ‘Seoul Food’. The show explored the best of Korea’s kimchi, gochuchang, and fried chicken. Gizzi is not only eccentric by name but also does most of her cooking and TV exploring with an immaculately hair-sprayed beehive — which alone is a huge achievement. The philosophy of ‘Slow’ is a stark departure from most of the cookbooks finding success today; Erskine champions “food worth taking time over”. In her introduction, she remarks bitterly that most consumer cookery now is aimed at creating something flavourful in the least time possible, and while this is possible — Erskine beckons us back to classical recipes that take hours but also take you to another planet from their incomparable taste!

The very immediate drawback of this cookbook is that it’s not very student friendly. Whilst it is practical in terms of a few pans and slow cooking, Erskine is quite demanding with the ingredients… The prospect of nipping round Fallowfield with my B&M stationary scissors to chance upon some wild garlic leaves seems a tad unlikely. Equally, even though I’m the one person on the planet who eats celery as a snack by choice — buying a whole bulb of celery to use ‘a handful’ of leaves for a stew seems irritatingly wasteful.

However! Whilst this book is incompatible with student life it is the perfect companion to any foodie or aspiring cook. If I want flavour or anything close to the theme of wholesome; I will turn to ‘Slow’. With recipes like ‘Blonde Veal and Sage Ragu’, ‘Lemon Sherbet Meringue Pie’, ‘Roast Duck with Blood Orange Gravy’, and a ‘Sustainable, Vegan Bolognese’, this book is full of delicious food. These recipes genuinely look like something I’d take home and introduce to my family. Equally, for the superficial people out there like me who’d only buy a cookbook for it to look sexy on a shelf, ‘Slow’ will not fail you. A light grey book with foiled copper writing and classic botanical-style sketches of ingredients; she’s a beauty.

Ultimately, this book will become the bible of anyone who loves truly flavourful food. She’s a mindful, progressive chef who has recently opened a ‘dirty’ vegan burger bar in London but who still acknowledges the ‘middle way’ of moderation with meat-eating and indulgence. Her recipes, whilst sometimes extensive in ingredient list, will not fail to present you with something show-stopping. This book not only provides you with inspiration but also love. Recently, a love interest challenged me to a bolognese-cook-off (wild, I know). With Gizzi Erskine’s recipe, he will be eating his words (and my incredibly tender mince).  For that reason alone, ‘Slow’ tops every cookbook recommendation I’ve been making in 2019 so far.

8.5/10

 

Photo: Wikimedia Commons

The dark truth of the Windrush Deportation

Written by laurafinn on . Posted in Features.

The first charter flight to Jamaica following the Windrush scandal departed on 6th February; whilst fifty people were due to be deported, five had their deportation delayed. Though many have been here since they were children, and given indefinite leave to remain, they had this right revoked after they were found guilty of a crime. The threat of deportation has hung over them since.

Father-of-three, Owen Haisley was one of those due to be deported. Haisley, a.k.a. MC Madrush is big on the Manchester music scene; he has performed at Warehouse Project and Parklife, as well as acting as a music mentor to young children. However, Haisley was told his deportation was delayed an hour before the day he was meant to board the plane, and he is still awaiting his fate.

The 45-year-old travelled here in 1977 on his mother’s passport, as was the case with many of the charter flight passengers. Living here since the age of four, he was granted indefinite leave to remain when he was eleven. However, following a domestic assault charge in 2015, this right was taken away. He has been appealing this ever since but was arrested when signing on to an immigration centre in Salford. He was detained and told that he was due to fly back to Jamaica, a country he has not been to for 41 years, “in the coming weeks.”

The passengers on what has been labelled the “convict flight” by Jamaican national newspaper, The Gleaner, have been described by the Home Office as “serious criminals” who have “abused the UK’s hospitality”. Whilst politicians such as Sajid Javid have labelled these passengers as such, it has been reported that some of the charges against these passengers include drug possession and drunken bar fights, and he has since been urged by Haisley and others to apologise for these extravagant claims.

The passengers have all served time for their crimes. This has led to Movement for Justice, an organisation that works with migrants, to call the deportations a “double punishment”, and Stephen Shaw, former prisoner ombudsmen, to call it “entirely disproportionate”. As Haisley told the Independent, “I did wrong — I deserved to be locked up for that. And I’ve done my sentence. I did all the rehabilitation classes, I did anger management, I did restorative justice. I used my time positively and reconstructively.”

The scandal brings up important questions about the fairness of the legal system and citizenship in Britain. As Haisley comments to the Independent, “I let myself down in a big way, but while offenders with a British passport can go to prison, repeat offend and get given chance after chance, I’ve not even got a second chance.” For a man who held British citizenship for so long, to be sent to a country which he has no ties, and nowhere to go as a punishment for a crime he has already served time for, seems grossly unfair.

Furthermore, when questioning the future of raising his two British children, Haisley was told he could keep in contact with his children via Skype. “How can you say that?” he commented to Manchester Evening News, “I’m worried for my boys. […] Problems happen when families get split up or fathers get taken away. Children are more likely to get in trouble.” He highlights the far-reaching effects these deportations have on families: tearing them apart and hugely affecting young children.

MP for Manchester Central, Lucy Powell, has said that the government would be making her constituent effectively “stateless” and asked why Javid could not use his discretion as he has done before in similar cases. MPs and the public have questioned the integrity and thoroughness of the deportations as the shambolic policy has already seen the resignation of former Home Secretary Amber Rudd MP, as well as many wrongful deportations and deaths. David Lammy MP, who has been extremely vocal on his disdain at the scandal, has accused the government of “pandering to the far-right”. He highlighted the 11 deaths of those who had been wrongly deported to the Caribbean, as well as the 36 British children who would be without a parent if this particular flight were to go ahead.

There has been mass outcry from Parliament, the Windrush generation and deportees themselves, helped along with protesting and petitions from the public (the petition to get Haisley to stay received over 100,000 signatures). This has urged the government to reconsider this policy, but not without exposing the deep wounds potent in current British society and government.

Photo: Allie Liu

Preview: Women in Media 2019

Written by isabeloldman on . Posted in Features.

In March 2019, The People’s History Museum will once again be hosting  the Women in Media conference. Now in its fourth year, the weekend-long event will be showcasing the best and brightest women working in media today and will be offering expertise from women from a variety of backgrounds.  The conference, which made its debut in 2016, is entirely organised by students from the University of Manchester, all of whom are members of Manchester Media Group, based in the Students’ Union.

The conference is open to all those interested in pursuing a career in media and as Co-Chair Bella Jewell explains the conference is not just for those looking for a role in journalism. “We pride ourselves on the sheer variety of events we have to offer [and] there will be a mixture of panels, workshops, and speeches, which cover a diverse range of media-related careers, for example, PR and Comms, Cinematography, Presenting, Radio, and Music, among others.”

This year’s conference boasts a varied line-up of women from a diverse range of industries and will include interviews with guests such as the BBC’s Deputy Editor of Social News, Ciara Riordan. In addition, it will be welcoming other industry professionals such as Tina Moran, the training manager at Press Association, Social Media influencer and blogger, Sophia Rosemary and CEO of Art of Podcast Emma Houlton.

The team have also organised panels filled to the brim with industry knowledge, and those attending the conference this March will have the opportunity to watch discussions on a wide range of media-related topics, including a guide to self-publishing, a discussion of LGBTQI+, Women in Tech and Investigative News.

Events at the Women in Media Conference this year have also been streamlined to ensure their attendees can gain as much possible from the event.  They have even added a CV writing workshop to take place over the lunch break, perfect for those who wish to polish up on the more practical aspects of finding a job.

“Our keynote speaker this year, Clare Rewcastle Brown, will be a fantastic addition” adds Bella “Her work, investigating the deforestation of Sarawak, Borneo, and the dispossession of its people, led her to follow a trail of corruption taking her to the heart of Malaysian politics and to Prime Minister Najib Razak himself. Determined that the public should know the truth, she started a blog, which became Malaysia’s go-to news outlet for information that the government was trying to suppress – and whistleblowers wanted to get out.”

For those looking to get a leg up in the industry, to make contacts and connections or to simply find out more about the world of media, The Women in Media conference will be an excellent placed opportunity and one not to be missed.  

Alongside being an excellent space for learning and mingling, Women in Media also has the power to inspire. A previous attendee of the event, Kizzy Bray, says that the conference “was an important step for [her] in coming to terms with what it means to be a woman in the media.” She was particularly impressed with a previous guest, war journalist Alex Crawford, “she challenged every preconception I had about serious war journalism. She spoke about how becoming a mother made her a better journalist because it made her understand the importance of care and responsibility. It really was something I’d never heard before, especially in journalism.”

Lucas Hill-Paul, who also attended the event last year, spoke to me about how empowering the event is, and that men can be just as involved; “Women in Media was a crucial, eye-opening event as a male student who has consistently experienced the perspective from my own gender at these kind of conferences.”  He was particularly impressed by the high standards of the event, “each year the team attracts compelling speakers to remind you that women in all fields of media still have some of the strongest voices in a male-dominated landscape. The MMG’s work to provide a platform to educate and inspire the next generation of journalists, editors, and documentarians was undoubtedly among the most enriching events I had the pleasure of being a part of.”

“The conference is important as it places female talent at the centre” explains Bella “something unusual in an industry which tends to be male-dominated. The annual conference celebrates female media talent to the aim of empowering the next generation of aspiring women in media. Not only will it allow the best women in their industry to have a platform to speak, but it will also provide vital networking opportunities to women interested in media careers, to learn from those who have made it, and to meet other like-minded attendees. Students will gain the opportunity to interact with and learn from the experiences of nationally acclaimed and influential women in the industry.”

The Women in Media Conference will take place at the People’s History Museum on the 2nd and 3rd of March 2019. Tickets are available at https://www.womeninmediacon.co.uk/tickets and all proceeds go to MASH.  

 

Photo: freestocks.org @ Flickr

Review: That’s What She Said MCR ft. Jess Green

Written by miaedwards on . Posted in Arts.

‘That’s What She Said MCR ft Jess Green’ took place in Tribeca, a bar in central Manchester. I was confused when I entered. While representatives of the spoken word event had stated that tickets were sold out weeks ago, the bar in which I stood was sparse with an empty stage. We scoured the building until we stumbled across a concealed entrance down some stairs. As we entered we were greeted by around 100 excitable audience members in a small basement.

The feminist poetry night has been lauded for its diverse showcasing of female and non-binary creatives, varying from amateur to experienced performers. The event is held in Bristol, Manchester, and London and is organised by the charity ‘For Books’ Sake’. An organisation which strives to unite women from all walks of life in confronting inequality through creative expression.

The evening was comprised of an open mic section, followed by featured and headline performers. The more amateur artists, a couple of whom were performing for the first time, were encouraged by the supportive audience. The gentle pride and forgiveness for any word stumbles and the consequential blushes generated a feeling of community. A community of women bonded by their affinity for womankind and their passion for bettering the world around them. It was heartening.

This type of poetry helps to promote gender equality. Many of the poets chose to detail their experiences of sexism, ranging from body shaming to accounts of their own rapes. The intimacy of the venue reflected the personal nature of the subject matter; spoken word provides a platform for stark honesty. This was evident throughout and a quiet but apparent power was exuded by the poets whose portrayals of their darkest moments could silence and astound a congregation of strangers.  It was a beautiful rendition of hope and charm.

This rawness was contrasted by witty, dead-pan poems about politics, relationships, and confidence. Headline poet Jess Green, BBC Slam Champion and Edinburgh Fringe performer, delivered some humorous verse complaining about her loud neighbours and another satirising the unjust expectations that Corbynites have of their favourite politician.

‘That’s What She Said’ exhibited exactly the kind of art that the world currently needs. There was little ambiguity in the poems’ messages, and this blunt ferocity was empowering. It was a stark presentation of how feminism is developing; in the satisfaction of honesty, and in the courage of creativity. Spoken word is art at its rawest. A Thursday evening gorgeously spent with a pint and a roomful of passion.

For those brave enough to tackle it, the event returns to Manchester on 7th March and its open mic format allows performers at any level to give it a go! If you simply enjoy an evening in a basement with laughter, lament and – of course – poetry, tickets are now on sale.  

Photo: psoe extremadura @ Flickr

Franco’s Demons, Spain’s new right and VOX

Written by Jake Dunn on . Posted in Opinion.

Pedro Sánchez’s decision to trigger a snap election should come as no surprise. His centre-left PSOE minority government has just 84 out of Spain’s 350-seat Congress of Deputies, and has been propped up by an informal coalition of the radical left and Catalan regionalists. It was these ‘allies’ who pulled the plug on his government by rejecting his first budget.

Now Spain heads towards new elections, and the real victors won’t be Sánchez or his main conservative rivals, but the far-right VOX party. This will change Spain’s political landscape forever and it is a change very few even thought possible.

Spanish politics has been dominated by the centre-left PSOE and the right-wing or Popular Party (PP). Power has alternated between the two since Spain’s transition to democracy after Franco’s death. However, since the Eurozone Crisis, Spain’s party politics has become more unstable and fragmented.

First came the far-left ‘Podemos’ who took a vast number of votes away from the PSOE. They were followed by the centre-right Ciudadanos who have taken voters from the PP and presented themselves as a new centrist party.

However, it was not the Eurozone Crisis that has brought VOX to the forefront of Spanish politics. Instead, it was Catalonia and it’s the ongoing crisis in Spain. The Catalonia Crisis that started in 2017 has already bought down one Spanish prime minister, and potentially it could bring down yet another. Sánchez’s more compromising style towards the pro-independence government in Catalonia has come under heavy fire from the Spanish right.

This is where both Ciudadanos and VOX have emerged strongly. Both are pro-union parties and have been able to portray Sánchez as giving into the separatists. For Spain, Catalonia has become the defining and toxic issue occupying politics.

Ciudadanos, however, is remarkably different from VOX in a significant number of ways. It is a ‘post-nationalist’ party, and probably the most pro-EU party in Spain. Many have drawn comparisons to Emmanuel Marcon’s En Marche in France.

This fundamental shift that is taking place cannot be understated, with new minor parties draining votes from the traditional parties.

VOX’s rise in comparison to other far-right in Europe has been remarkable. It first made a name for itself by entering the regional parliament in Andalusia in 2018, where it gained 11% of the vote. Since then it has been on the rise across other parts of Spain and polling 11% nationally.

As things stand, Sánchez’s PSOE is likely to become the largest single party in the Congress of Deputies. However, its potential coalition allies are unlikely to be able to gain enough seats to form a minority or majority government. Podemos, once the PSOE’s main adversary but now turned ally, is ravaged by infighting and has lost its charm on the political scene, with the emergence of Citizens and more recently VOX.

Just like the rest of much of the EU, Spain, once the role model, now looks set to become a role model for instability, fragmentation, and uncertainty. This is the next test for Spain’s fragile democracy and the upcoming elections will serve as an indicator of this. It looks like Spain’s golden age for stable politics is over.

Photo: Fossil Free Manchester

Student activists storm UoM governors meeting

Written by Josh Sandiford on . Posted in News.

Several student activists interrupted a meeting of the University of Manchester’s governors this afternoon.

Climate change group ‘People and Planet’ burst into the meeting in the Students’ Union (SU) to campaign against the University’s investment in fossil fuels, members of the pro-Palestine BDS (Boycott, Divestment, Sanctions) group are also believed to have stormed the meeting.

A live video posted by the People and Planet group of their entrance into the meeting quickly gathered hundreds of views online.

In November, The Mancunion revealed that the University has nearly £10m invested in fossil fuel companies, despite priding itself on being the first English Russell Group university to join the United Nation’s Principles for Responsible Investment (PRI).

People and Planet commented on the protest saying: “We’re part of the campaign that’s been ongoing for seven years and we’ve tried all sorts of tactics to reach the governors.

“From petitions to protests, to putting papers into the governors themselves, and they haven’t listened. We feel like we have no other option at this stage.

“With the meeting being in the SU, we felt it important to have our voice heard because it hasn’t been for the last seven years.”

Photo: Fossil Free Manchester.
Shocked governors look on as student activists disrupt the meeting in the SU. Photo: Fossil Free Manchester.

The group believe their target of a wholesale University of Manchester divestment is achievable, given the University of Liverpool’s decision to do similar in November 2018.

The activists also claim that they were told by a finance board member to “use the vehicles” available to them in order to get their voices heard.

In a November interview, People and Planet’s publicity officer told The Mancunion that there had been little effort by the University to comprehensively review their investment portfolio and prevent future investment into fossil fuels.

A University Spokesperson said: “The Board of Governors meeting was briefly interrupted by a small group of students protesting the University’s current Socially Responsible Investment (SRI) policy. Those present at the meeting actively engaged with the students and listened to their concerns.

“Our Board Finance Committee, which determines our investment policy, will continue its considerations of ethical investments. As a university, we work closely with our investment managers to ensure our portfolio complies with our published SRI policy and considers Environmental, Social and Governance (ESG) issues as well as financial factors.

“The SRI policy we have developed allows the University, as a charity, to pursue an ethical investment approach, whilst minimising any potential negative impact on its investment returns.

“In relation to the protest itself, as usual, the University recognises students’ right to protest peacefully, providing that this does not unduly disrupt the conduct of the University’s normal business.”

Photo: 'The night is darkening around me' @ Maya Sharp

Art in Mancunia: Maya Sharp

Written by saoirseakhtarfarren on . Posted in Arts.

Maya Sharp is a second year student at Manchester Metropolitan University. Her photographic work finds inspiration in a range of literature based disciplines, and brings to life female poetry and religious historical figures through the modern photographic lens.

Emily Bronte, a significant and prevalent figure in classical literature, has certainly been at the crux of inspiration in two of Sharp’s pieces. ‘The Night is Darkening Round Me’ is an example of how Sharp channels her interest in poetic literature to create a series of images which express themes and moments from Bronte’s poem ‘Spellbound’.

The images captured are light and ambiguous, to such an extent I’d argue some look as though they have been painted. The contrast of the eerie dark night with the piercing whiteness of the moon illuminates the shadow of the clouds to create a feel of acrylic paint strokes. Through a blend of slow shutter speed and some texture from photoshop, the images curated are truthful to the camera and the vast character of the Yorkshire Moors.

The inspiration of Emily Bronte in Sharp’s work derives from a nostalgic relationship that both Sharp and Bronte share. The moors that feature in the novel ‘Wuthering Heights’ is an area close to Sharp’s home where frequent trips were made as a child. While there is a depth of interest in expressing the hypnotic powers of the Yorkshire moors at night, a sense of spirituality is heightened in arguably one of the most haunted places in the Northern Hemisphere.

Historical figures such as Joan of Arc also feature in Sharpe’s photographic work, which blends a compilation of religion and literature in a series of modified photographic images.

Through contrasting the old with the new, Sharp’s photography incorporates traditional literature in a range of forms and allows people to reconnect with works and stories that are often deemed ‘dated’.

‘The night is darkening around me’, Maya Sharp, 2019

 

‘Joanni’, Maya Sharp, 2019

 

‘The night is darkening around me’, Maya Sharp, 2019
Photo: Michael Liu @ Flickr

Sexpression: The Relationship Between Sex and Art

Written by saoirseakhtarfarren on . Posted in Arts.

‘Jupiter and lo’ by Antonio da Correggio depicts Venus thrust upon the transformed body of Zeus, the Greek God of Jupiter. The narrative running through the oil painting captures the chaotic and volatile character of the shapeshifting Zeus during a moment of sexual lust for Venus. As a misty, grey arm engulfs Venus’ face, the painting depicts Zeus as a thunder cloud, exchanging a kiss; or is it?

Photo: Wikimedia Commons

‘The Relationship Between Sex and Art’ talk, held at the Manchester Student Union promised to raise such questions when trying to determine the emotions expressed in art with sexual overtones. The talk explored how renaissance art can speak to society today, despite the contextual conflicts of values in 15th-16th century thinking with regard to the topic of sex. Running parallel to this, another goal of enabling students to make informed decisions on their reproductive health was also desired.

Delivering the discussion was 15th to 16th century Art Historian Sara Riccardi, who was approached by MA Gender, Sexuality and Culture student and manager of ‘Sex Week 2019’, Isabella Rooke-Ley, at at the Whitworth Gallery after giving a separate talk on sex and art. Riccardi explained that some audience members criticized aspects of her talk for using renaissance paintings by men, and focusing on their sexual arousement. The theme of challenging the ‘male gaze’ thus progressed to become the prime point of discussion in the debate surrounding the relationship between art and sex.

Riccardi described art as being eternal, and that her artistic lens is largely emotive and aims to interpret the painting in isolation, which extends its capacity to be understood in modernity. From the outset, the discussion was dominated by feminist dialogue, criticising the blatant androcentrism of the paintings. But what unfolded among the largely female audience was a conversation regarding the positive aspects of the paint strokes, rather than those that suggested patriarchal sentiments.

Within the discussions, it was empowering to hear other students talk openly about their own experiences in sex to unpack the meaning behind the body language of the paintings presented to us. The ice was undoubtedly broken when audience members opened up about consent, to what real people look like in orgasm.

Riccardi explained her awareness of the patriarchal motivations behind the renaissance paintings, however, she also highlighted how our preconceived negative associations with these images cloud our mind and prevent us from interpreting art in different ways.

One of the final images was Picasso’s ‘Minotaur Caressing a Sleeping Woman’. An audience member remarked that this could be yielding to the ‘beast’ of the male identity which I thought could reflect the movement against ‘toxic masculinity’, as depicted in Gillet’s recent ad campaign.

While there is a theme of female objectification in renaissance pieces and even in modern advertising, ‘masculinity’ also needs to be dismantled. Sex in art highlights that perspectives are infinite and we need to talk about them at length in order to come to equilibrium in gender and the ultimate goal of progression.

Exhibition review: Simeon Barclay – Life Room

Written by Theo Bennett on . Posted in Arts.

Simeon Barclay is a Huddersfield-raised, Leeds-based artist whose most recent exhibition, Life Room, is currently on display at The Holden Gallery in Manchester School of Art. The exhibition offers a fairly eclectic mix of work, even when looked at simply from a material standpoint – a quick glance around the room and you’ll notice acrylic panels, engravings upon aluminium, and a couple of instances of glowing neon lights being employed in the presented pieces.

This seeming adaptability when it comes to using different materials perhaps makes sense considering Barclay’s background in manufacturing. Indeed, many of the pieces in Life Room seem to possess a somewhat industrial feel and aesthetic. The square and rectangular shapes, the use of metal, the pervasive colour palette of greys, silvers, and blues, and the prevalence of stencilled text create an overall sense that the environments of factories and workrooms are a source of inspiration for Barclay.

The objective of Life Room, according to Barclay himself, is to draw on “an ongoing interest in how we develop our sense of self, how culture and tradition, as well as personal experience, shape our identities.” The exhibition incorporates images from a diverse range of sources. Vogue magazine models, soap actors, footballers, characters from comics such as The Viz and The Beano. The seeming lack of an immediately apparent relatedness between the figures we see represented is actually the strongest contributing factor in providing Life Room with its sense of individuality and personality. Taken as a whole, they construct an image of a person, of the artist.

Each work can be seen as a snapshot of a memory or experience from Barclay’s past, an image imprinted on his consciousness, which are brought together to create a kind of abstract self-portrait, defined in terms of the culture he’s absorbed throughout his life. It’s interesting to come across art which defines identity in relation to imagery and culture created by others. Barclay’s work succeeds in paying tribute to the work of creators that have come before him whilst also being undeniably personal in its own right.

Despite this, there still appears to be a lot that Barclay leaves unsaid in his work. Barclay is a black man from a predominantly working-class West Yorkshire town, and his art certainly explores all of these different facets that make up a person’s identity: race, gender, social, and regional background. However, generally, this is done in a way that’s more implicit than explicit. Barclay leaves a lot of scope for audiences to form their own interpretations of the pieces on show. It’s an exhibition that’s more rewarding the more time you spend thinking about it and is certainly worth viewing.

In Conversation With Beans On Toast

Written by Bella Fleming on . Posted in Music.

Beans On Toast is currently halfway through his latest tour, and seemed very excited to be back in Manchester, stating that he has “got a lot of love for Gorilla as a venue, and Manchester as a city.”

Beans On Toast has released an album a year for the past ten years, claiming that it is “a natural output” for himself to continuously write and release records. One main motivation behind this is that he can “constantly keep touring and playing festivals, and (he) play(s) them year in and year out.” Although with releasing an album on the same date for a decade comes the worry for Beans On Toast that there is a “gimmick aspect” and the pressure that coincides in fans expectations. Beans does hide this well though as he presents himself as a casual and off-the-cuff musician despite his expression that the thought of predictability rests uneasily for him.

When asked what inspires him to keep writing so many songs, and whether he struggles to write on the road, Beans responded that tours were a great time to gather inspiration and ideas for songs, but most of the writing happens when he’s at home, with Beans stating “generally I write songs when I smoke weed and I don’t smoke much weed on tour!” Beans reminisces that he first tried his hand at songwriting at the age of just sixteen and “really liked creating something out of nothing and I’ve literally never stopped.”

With a die-hard Beatle Maniac for a mum, and a country-western super fan for a dad, Beans On Toast had an abundance of musical influences since being young and seemed destined for a life as a performer, claiming that “at school when they asked me what I wanted to be when I grew up I’d say, Michael Jackson.” Beans continued his love for music and performing as he grew up, which is evident from when he started his first band “before (he) could play an instrument.”

Music clearly continued to play a vital part in shaping Beans’ adolescent years and the North London venue The Garage was a big part of that. Having grown up in Essex, Beans recalls going to The Garage for the first time when he was 17 and having his first experience of an indie night club. Beans immediately grew fond of the venue and “used to bunk the train up every Friday night.” Beans went on to host his first club night at The Garage, and even admitted to having had “sex on the stage a few times” which he went on to describe as “weird knowing there were 300 people dancing on the other side.” The Garage venue seems to be an incredibly nostalgic and influential venue for Beans and retrospectively revealed the significance of his first trip to the venue when he was just 17, stating that it “changed (his) life.”

Beans On Toast will be touring until the end of August and it wouldn’t surprise me if there’s another album released at the end of this year seeing as Beans revealed he’s already “got loads of new songs in my head and I’m thinking about the new record.”

However, I can officially confirm that Beans On Toast is in fact not a fan of the delicious delicacy himself. He is, and I quote, “more of a spaghetti hoops man.”

For more information and tickets, visit https://www.seetickets.com/tour/beans-on-toast

Live Review: Pete Doherty & The Puta Madres

Written by freyathomson on . Posted in Music.

Stopping off at York on Doherty’s 8-date UK tour stretch, the ex-Libertine legend appeared to be greying yet undeniably much healthier and less bloated as he took to the stage with his band The Puta Madres to a crowd of eagerly waiting fans.

The cramped Fibbers in York provided a perfectly intimate space for Doherty and his fellow band members to enthuse his fanbase upon his return with new material. The incessant chanting of “PETE! PETE! PETE!” ensued, even before the impulsive frontman took to the stage. Pete began his set with ‘Hell to Pay at the Gates of Heaven’ from his highly-favoured solo album Hamburg Demonstrations which had been released back in 2016.

The Puta Madres mainly played songs off the band’s new, yet still unreleased album, including hotly-tipped single ‘Who’s Been Having You Over’.  In true Doherty style, it appeared the band often seemed slightly mystified as to what song Pete was going to play next.  However, with it being the first night of the tour playing this particular set, minor issues such as these were only to be expected.  Given Doherty’s track-record, conventional performance is not exactly Pete’s style, and I’m sure fans wouldn’t have expected any less – his own dogs made it to the stage!  In fact, Pete’s well-known tendency to improvise only added to the alluring performance and kept the audience captivated with every movement.

Physically, Pete looked much thinner and cleaner which was refreshing to see.  As Pete and now-girlfriend, Katia de Vidas, performed together, occasional doting glances were shared displaying their love for each other, and this was not the only connection made that night…  Perhaps it was the proximity of Valentine’s Day, or Pete’s evocative songs and performance that led one member of the audience to ask her boyfriend to marry her at the gig.  As she went down upon one knee on the stage, he said yes (to everyone’s relief!), and Pete dedicated ‘For Lovers’ to the happy couple following the proposal.

‘You’re My Waterloo’  had to be the highlight of the night, perhaps most of all because it was one of the few songs I knew due to the sheer amount of new material Pete played. Admittedly, this did mean the crowd was restricted to how involved they could be. Regardless, the song was well-delivered, is lyrically beautiful, and reminded me of the pleasures of hearing one of your favourite songs live and not just through headphones. Towards the end of the set, the band played ‘Fuck Forever’ by the Babyshambles.  This was undoubtedly the crowd pleaser of the night and a boisterous mosh pit soon formed.  It seemed like this was the moment lots of the crowd had been waiting for, and perhaps for many there, it was the more upbeat songs such as this that they wanted to hear.

It would have been nice to hear more familiar songs such as those by the Libertines, yet at the same time, it was stimulating to hear new music by Pete Doherty.  Pete could easily entertain crowd after crowd with a Libertines dominated setlist, but instead, chose to venture down various avenues, from the Babyshambles to his solo career to his most recent musical pursuit, Pete Doherty & The Puta Madres, which appears to be a promising one.

8/10

Photo: Beans on Toast (contributors photo)

Live Review: Beans on Toast

Written by alexwain on . Posted in Music.

Jay McAllister, also known as Beans on Toast, the well-loved English folk-singer took to the stage at Manchester’s unique space, Gorilla on Wednesday. Despite being sceptical about both the act and the venue, it turned out to be one of the most eye-opening gigs I’ve been to. Known for his appearances at festivals across the UK such as Glastonbury and Boomtown, he and his newly formed band provided both an immersive and strikingly, intimate set. Although the crowd was slow to start, it didn’t take long for Jay to encourage strangers to embrace in swaying arms.

He performed the majority of his set alone, with the band only joining for some of his newer tracks. Even though the bulk of his discography does sound similar sonically, each is defined through different unique political messages. The set began with a few songs from his latest album, A Bird in the Hand, which were mainly about his wife and new-born daughter, before announcing that he was going on to sing some “soppy love songs” including the ever-popular ‘MDMAmazing’. The performance of these particular tracks provided a connection between him and the crowd and really set the tone for the remainder of the evening.

Jay then went onto play some of his more political songs such as ‘The Chicken Song’, highlighting the mass slaughter of chickens and ‘Bamboo Toothbrush’ which gave an insight into the current plastic epidemic. He used this song to advertise bamboo toothbrushes as a sustainable alternative to plastic. A very respectable move.

Between some of his songs, Beans took some time to speak to the crowd, using humour to further support the messages within his songs. This added yet another level of warm rapport to the experience and also gave a break from the music every now and then.

Towards the end of his set, he allowed Sunflower Bill (a resident member of bar staff at Gorilla) onto the stage to perform some of her own spoken poetry – focusing on the political climate of America. Perhaps not being the most common experience, this interlude made for a stronger faith in Beans on Toast and the views he possesses — making for an emotional end to the evening. He aptly concluded his set with the song ‘The Price of Rice’ with a message about inflation and our current economic issues.

Overall, it was a very heart-warming and illuminating evening; full of eye-opening political messages which really hit home. At face value, his music may at first, appear boring but within a smaller gig setting, his captivating personality truly came through — it became about a lot more than just the music and more about the messages he was presenting.

After his performance, Jay stood alongside his impressive merch stall along with 2 of his band members. He signed tickets and t-shirts as well as chatted to his fans, even giving the odd hug to those that wanted one. It was a fantastic end to a very enjoyable night, ending on a humbling note.

Beans on Toast gave a very impressive set and not one person left without a smile on their face. If you are looking for an evening of insight, comedy, music, and beer, catch him on his next date!

8/10

Live Review: Glass Caves

Written by Olivia White on . Posted in Music.

Suited, booted, and synth-rock rooted — Glass Caves are finally getting the recognition they deserve after years on the grind as they smash their headline gig at Manchester Academy 2.

Glass Caves are a synth-pop-rock quartet who have recently taken the alternative scene by storm. Last year proved to be a busy year for the Pontefract-born band, seeing the release of their EP (I Do) as well as two new singles ‘Taipei Nights’ and ‘Gold’. Both of which are strong and impressive indications for the band’s new creative direction putting them on the radar tipped to be one of indie’s hottest new acts.

After joining the Scruff of the Neck team, it was fitting that the lads would play to their “biggest audience yet” at a crowd of over 800 in Manchester’s Academy 2 on their Trilogy Tour which covered 8 dates spanning from the bitter winds of Glasgow down to London’s Oslo in Hackney. Since the band’s release of their debut album Alive back in 2014, it is clear the lads have taken a more experimental approach to their new material resulting in not only a far more confident, authentic, and polished sound but also live performance.

While still staying true to elements of their previously gritty guitar-led sound, Glass Caves have focused more of their energy into a freer, more vibrant and eclectic range of influences, producing a refreshing disco frenzy. Frontman Matt Hallas remains true to his strong and raspy, rockier vocals which are brought to life by both his choice of floral attire but also his blatant ease at being in the spotlight. Despite having a change in line-up seeing the leaving of long-time bassist Will Groves, Glass Caves indicated no sense of vacancy with the arrival of synth-master and keyboard player Eddie Clayton.

Armed with a backdrop, lightsabre-esque stage visuals, and a merciless attitude, Glass Caves entered the stage to a surprising, techno-inspired rendition of London Grammar’s ‘Nightcall’ which sent fans into an electrified surge forward. As the quartet took their places and began their hypnotic-hit single ‘Taipei Nights’, there was a clear tone set for the remainder of the evening. Manchester was in for a night of nifty guitar licks and a light-hearted set that left you at the mercy of the groove. The setlist proved to be a real testament to the work of the lively 4-piece thus far, with a backbone comprising of their debut tracks ‘Why Stay?’ ‘Go’ and ‘Out of Control’ which was then embroidered with band’s more recent material.

It was no surprise that their latest single ‘Common Tongue’ which featured on Spotify’s ‘Indie List’ was undeniably one of the strongest of the evening alongside personal favourites ‘Alive’ and ‘Swim’.  After hosting the single’s launch party at Fibbers in York, a city that no doubt holds great fondness for the band given their devotion to playing its streets, lead guitarist Connor Thorpe enthused it was his “absolute favourite gig so far.” However, it’s clear that the lads have a strong fanbase in Manchester and their influence on the local scene will continue to grow as their discography does.

After catching up with frontman Matt and lead guitarist Connor Thorpe after the gig, they highlighted how they’d love to work with Max Martin, a songwriter who has worked with Britney Spears, The Backstreet Boys, and most recently Ariana Grande.  Clearly, Glass Caves hold high hopes for the future now that they’ve established a large part of their team in Manchester, the musical hotspot of the North.

For a band that has worked tirelessly over the best part of the last decade, gigging and busking to earn a living and fund their musical aspirations, Glass Caves are certainly a pleasure to see finally in the spotlight that they so rightfully deserve. Their debut Alive was funded through any money they earned busking and after seeing the boys on the streets of Briggate in Leeds and outside York’s Cathedral multiple times over 5 years ago, I take great pride in seeing where their journey has taken them so far.

Glass Caves will play Y Not Festival this July and venture out to Texas in March for SXSW to celebrate 10 years of Scruff of the Neck.

8/10

Photo: HOME

Girls on Film live at HOME

Written by Tobias Soar on . Posted in Film.

Film journalist Anna Smith brings her podcast Girls on Film to HOME for a live recording. Anna will be discussing new films, HOME’s own Celebrating Women in Global Cinema season and the Oscar’s and BAFTA’s recognition of women in film, or lack thereof . Guests Miranda Sawyer and Francine Stock join the podcast and an audience Q&A is on the cards too, of course.

Girls on Film’s live recording at HOME is happening on Wednesday 27 February at 18.30.

Tickets: £6 full / £5 concessions

Photo: Darren Robinson Photography

Las Iguanas: a chain restaurant like no other

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

Following a re-decoration of the Manchester branch, Las Iguanas invited me down to Deansgate to try out some food and participate in a cocktail masterclass.
Having never been to a Las Iguanas before, I was somewhat skeptical as to the quality of the food. But how wrong I was! Unlike many successful chain restaurants, the menu felt cultivated and had a personality, rather than simply producing recognisable dishes that customers would blindly choose.
Separated into sections by locations such as Mexico, Peru, or Argentina, the menu offered plenty of choices for any tastes or dietary requirements. I ordered halloumi skewers to start, with a vegetarian enchilada main, and churros for dessert.
The halloumi skewers, although difficult to get wrong, (who doesn’t love halloumi?) were divine. Griddled to achieve the classic crispy outside, but served fast enough to still be piping hot and retain the soft, melty centre. They were also drizzled with a sweet chilli sauce and topped with sprigs of fresh oregano that made for a surprising but enjoyable contrast of flavours. Oregano is a regular ingredient in Mexican food. Many people, however, don’t know this as it often doesn’t feature heavily in English Mexican restaurants.
My main course — the enchilada — was a refreshing take on the dish. Instead of being drenched in cheese like others I have had, there was a perfect scattering. It was served on a bed of refried beans and rice — again, a good amount. Mexican food is filling and I often find portions far too big, especially in chain restaurants. The vegetarian filling offered a lighter enchilada, but the butternut squash was just as satisfying and flavourful as meat options. (I imagine!) The refried beans, however, were the best surprise. Contrary to the usual pale coloured, tasteless mush that fills enchiladas, the beans were spicy, salty, and still retained some structure. This made them look so much more appealing on the plate, too.
Finally, the churros. Oh, the churros. Crispy and coated in cinnamon sugar, the deep fried doughnuts were accompanied by dulce de lece and chocolate ganache. The ganache was so delicious that I ended up eating it with a spoon — much to the shock of my waiter. When he came to collect our plates he politely said he’d “give us some more time.”
The new decor features a larger bar, with good reason it seems! The cocktail masterclass taught us to make a classic Caipirinha using Las Iguana’s own cahaça — a Brazilian white spirit. It also showed off the skill and knowledge of the bar staff. We also tried the piña colada which was creamy, fruity, and delicious without being overpowering.
Las Iguanas might be easy to dismiss alongside other chain restaurants that dominate city centres but the food was impressive and the atmosphere was a lot calmer and relaxing than most. And with 2-4-1 cocktails all day every day, how can you say no? Look out for the new menu, launching on the 2nd of April.
8/10
Photo: WhitePaperGames

Preview: The Occupation

Written by Jeremy Bijl on . Posted in Games.

“The phrase I like to use is real-time political thriller.”

I was talking to Pete Bottomley, co-founder of White Paper Games. Having started the interview by suggesting similarities between The Occupation and the 1993 film Groundhog Day, Pete was quick to delineate the differences between the two creations.

“It’s not necessarily that you have to keep repeating the events over and over, or that you’ll have to keep replaying a certain environment to perfect your playthrough or anything like that.”

“Some people can play it over and over again – the game definitely has re-playability – whereas some people will think ‘that was my story.’”

The Occupation is a first-person narrative driven game set over the course of four real-time hours in a fictionalised 1980s Manchester. Essentially a contained wedge of space-time set at the epicentre of a major political event (the passing of a controversial bill called The Union Act), the game casts you as an investigative journalist tasked with finding out the truth at the heart of things.

Having been in development for around four years, I came to Pete with my own red-hot journalistic take that this equated to one year per hour of gameplay. Far from being a reflection of inefficiency, Pete told me that this was a testament to the depth and richness of the game’s world: “It’s hard to quantify detail, but we spend so much time on the universe and we love putting little story threads in that make the world feel like a real and lived in place.”

In an era of gaming dominated by open-world leviathans (often populated primarily by empty expanses), this commitment to making a game that is focused and deep, rather than sprawling and shallow, was something Pete clearly felt was integral to the vision of the studio:

“We’re really inspired by the immersive sim approach to games. Some events are not necessarily directly related to gameplay, just for the sake of flavour. I personally enjoy just getting lost in those types of games.”

Key to this depth in The Occupation, Pete told me, was its North-West inspired geographical and political setting.

“The fictional town in The Occupation, Turing, is loosely based in a Liverpool/Manchester. So we were inspired by the gardens in Liverpool, the Manchester library. In the centre is a courtyard called the Whitworth gardens and we’ve got a library kind of based around the architecture in Manchester.”

photo:WhitePaperGames
Recognise this building? The Occupation is based on 1980s Manchester. Photo: WhitePaperGames

“If you give the world a foundation and background and kind of build your story on top of that, it just helps build a richer world.”

Pete went on to tell me about the narrative setting and the political moorings of The Union Act.

“The game is based around this thing, The Union Act, which is happening on a very specific day, giving that context to the world where everyone is talking about it and what’s right and wrong.”

Key to this idea, however, was that White Paper – as Martin and James had told me in our previous interview – are not trying to create a game which is itself overbearingly political, choosing instead to convey the sense of a conflicted and nuanced society attempting to make sense of obfuscated political happenings.

“It’s not that we need to tip-toe around anything because that’s the setting. But what we do aim to do is create characters in the world that have conflicting views on immigration or data collection or whatever the theme might be.”

“Those conversations are happening regardless so it gives the game a good foundation.”

On top of this, The Occupation will also exist in a shared universe with White Paper’s previous game, Ether One: “We want to create this larger collective universe so you’ll definitely see that.”

“Hopefully, the more games we create – and hopefully it won’t take four years to make another one – you’ll get that sense of a shared universe. They are standalone but it just helps build that world.”

Pete then told me a bit more about what navigating Turing as a player would involve: “The core gameplay loop is you enter an area, you follow these different leads, find some evidence to question someone on, and challenge their answers.”

“Today you came to interview me with a set of questions; the kind of questions that without talking to me about were just things that you were interested in.”

“But if you’d snuck in before this and found a note on my desk saying, ‘The Occupation will never be in VR’, and I’d told you VR was a distinct possibility, you’d be able to call me out on it.”

Photo: WhitePaperGames

Whilst the roadworks around Salford had prevented me from arriving early enough to do any snooping, I could see through the glass door of the conference room the rest of the team – some seven or eight people – working in earnest on their upcoming project.

Speaking about that more personal side of reaching the end of a game that has dominated the lives of White Paper’s employees for the last four years, Pete said: “At the back end of Ether, everyone was completely wiped out so we had to take a couple of months off just to decompress. On a personal level, that was a massive and emotional thing to put out.”

“I think The Occupation’s different because we’ve been slowly growing the team and tried to help get processes in place, and we’ve built this great momentum.”

“I think everyone will be proud of what we’ve created. No matter what the critical reception is like, we’ll all know that we’ve made a cool game.”

The Occupation, then, is shaping up to a fascinating title when it releases next month. As a fixed-length game, there’s plenty of scope for things to go awry when put into the hands of players not intimately familiar with its design. However, White Paper’s commitment to keenly focused, tightly curated design, immersive and contextualised world-building, and dynamic artificial intelligence should make this one of the indie titles to watch out for this year.

The Occupation will be available on PS4, Xbox One, and PC on 5th March for £19.99.