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Month: March 2019

Photo: Authorised Press Shot

Record Reappraisal: Brutalism by IDLES

Written by Olivia White on . Posted in Music.

Pioneering punk prodigy Idles have certainly caused quite the commotion in the music industry since the release of their impassioned landmark debut album Brutalism which reaches its 2nd birthday this March.

This 13-track fervent anthology profusely secretes attitude, dissatisfaction, and frustration. Frustration at the government and society as well as showing clear attempts to deal with inner demons that continue to torment eccentric frontman, Joe Talbot. Brimmed with stirring riffs, armed with chest-pounding drum beats and embellished with Talbot’s soul-searching vocals, Brutalism is undoubtedly one of the greatest alternative albums of the 21stcentury.

Kicking off Brutalism is one of the album’s most notable tracks, ‘Heel/Heal’. The fairly minimalistic song structure which is brought to life with the intrusive repetition of “I’m not saying I’m not like you, I’m just saying I don’t like you” really captures the tone for the record in its entirety. After catching up with Talbot and Bowen at Manchester’s Gorilla on their 2018 tour, it quickly became clear that, despite Brutalismcertainly being a pivotal turning point in the band’s career, the Bristol-born 5-piece certainly didn’t complete it without their fair share of grievances. However, if anything such dynamics and head-strong attitudes expressed in the studio will have been a major fire behind the album’s brutal honesty and angst.

 As you journey through Brutalism, ‘Well Done’, ‘Mother’, ‘Faith in the City’, ‘1049 Gotho’, ‘Divide & Conquer’ and ‘Exeter’ stand out as the band’s leading tracks. Each following the same burning urgency yet remaining unique in narrative covering class divides, the NHS, injustice and mental health. Yet again, punk appears to be the prominent genre using their platform in discussing the most important issues, despite preconceptions of its image.

After being awarded a 4.5/5-star rating by Allmusic, a 4/5 by DIY and a slightly underwhelming Loud and Quiet rating of 7/10 (well it’s not the first time critics have got it wrong is it?) Brutalism has earned its place firmly seated in the rock community. Even closer to the heart, Idles have single-handedly formed one of the most heart-warming and open-minded online communities you could ever imagine under the title All Is Love: AF Gang. The Facebook group have forged a new era of total unity, tolerance, and positivity.

Since Idles’ debut, the band exceeded expectations just last year with the release of sophomore album Joy as An Act of Resistance which arguably matched the same intensity as Brutalismbut demonstrated a more mature and diverse record. Joy earned the lads a no. 5 placement in the UK Album’s Chart and put them on the more mainstream map to be nominated for a Brit Award at the start of 2019. Although it has to be said, the Brits didn’t greatly mask their lack of humility for the lads who received no air time at all throughout the evening. Perhaps they echoed the views of  The Daily Mail who knows.

Nevertheless, the purpose of Brutalism remains a festering, blistering wound that needs extracting and dressing. The need for cleansing, relief, and healing is even more necessary in today’s political climate.

I think there’s a more promising future with bands like Idles taking some limelight in the media once again. I guess this isn’t as far as you go boys.

Photo: Tony Shek @Wikimedia Commons

Feature: The Future of Pop Is Female

Written by Jasmine Bennett on . Posted in Music.

Upon surface glance, it is easy to dismiss pop. Often associated with the charts, pop draws connotations of carefully constructed bands like Little Mix and even the recently revived Jonas Brothers. Pop isn’t known for its authenticity – one of the biggest criticisms of the Spice Girls back in the 90s was that they weren’t ‘real’ enough in their origins. But under the bright, bopping façade we have come to associate pop with is a thrumming underground of innovative female artists creating a new kind of pop, deeply associated with electronic production, sexuality and making the genre fundamentally theirs.

Pop is being widely reclaimed with a rise in electronica, to an extent where the music coming out in the genre feels almost dependent on its production to gain success. The best example lies in the brilliant, frenzied work of Grammy-nominee SOPHIE. One of the best producers of the last decade, her work revolves around deeply layered soundwaves mixed in with the giddy beats of classic pop music. Simultaneously surreal and danceable, her tracks offer an insight into this new and unfamiliar realm of pop. Upon being asked her genre by Billboard, Sophie replied ‘advertising’, and perhaps this sums up the new world of pop music well: it revolves, predominantly, around making music purely to sell it. It’s commercial, it’s broadly appealing, and it’s satisfyingly pure pop. In the rise of this marketable and yet simultaneously innovative and new style of music, we are introduced to a realm which is not created by managerial executives and men in offices but by the artists themselves. This production-focused artistry can also be seen in other members of the PC music scene such as Hannah Diamond and GFOTY.

The rise of women making the scene their own can be seen again in the likes of Charli XCX. A well-known collaborator of SOPHIE, the singer appears to be everywhere at the moment while still not attracting the same attention as her male counterparts arguably would – and yet, this claim lies uncertain. Because there are no male counterparts, which is what strikes me as most interesting about this emerging pop scene. The work of Charli XCX is inherently female – it dictates a world of female empowerment and sexuality. Songs like ‘Babygirl’ and ‘Femmebot’ are inherently songs written for women, by women. It wouldn’t be possible for a man to make the same style of music. In a similar manner, friend and co-worker of Charli XCX, Tommy Genesis drenches her songs with female empowerment such as on ‘You Know Me’, which croons “I’ll leave you, cause that’s what girls do”. Whether or not men are involved feels a little irrelevant. In the way male singers have been doing for a long time, these women are discussing sex as something that belongs to them.

Again, we are introduced to this candied and synthetic new world in the form of Slayyyter, who began her career on Soundcloud. An appropriately self-made pop queen, it seems only right that some of the most innovative music I’ve heard this year has its basis online. With a sound that feels simultaneously 90s and ultra-modern, Slayyyter sings bubblegum-drenched bops revolving around sex and love and technology. It’s not full of deep meaning – it’s a simplistic formula that revolves around the idea of a good time. Likewise, musician Tove Lo has made a career on simple pop songs about sex from the female perspective. Her most well-known hit ‘Cool Girl’ is about the no-label relationships that seem to be so commonly only discussed by male artists, while recent single ‘bitches’ is engrained with tales of female sexuality. The normalisation of sex as something not only for men but women is deeply important in the world we currently live in, and to see these young artists taking it upon themselves to project that message feels authentic and groundbreaking.

As this world of new pop emerges, it feels like we’re on the cusp of some of the biggest and brightest female artists’ career breakthroughs. This a world created for women like them – it’s fundamentally young, authentic and refreshingly honest. These artists – and they are artists  – are making music that revolves around our lives, our sexual experience, our nights out. It might all be wrapped in an inherently pop bubble drenched in production but ultimately? This one’s for the girls.

Photo: Newton Faulkner (press release)

In Conversation with Newton Faulkner

Written by owentrimming on . Posted in Music.

Twelve years on from his debut album Hand Built By Humans we got a chance to catch up with Newton Faulkner ahead of his latest release.  A more retrospective LP featuring The Best of…So Far in his career. In addition, fans have been treated to three new tracks as well as a selection of covers that often feature in his live shows.

Faulkner felt that after his sixth album Hit the Ground Running he had reached “the end of that journey”, finding what he was searching for in his previous releases. The record was an admittance that “I have no idea what I’m doing” which lead to an acceptance of doing what he loves with his music. A suitable time it seems, to release a “best of” album.

With over a decade of releases narrowing down a career to a single album is a daunting task. Understandably so then, when pressured to pick just one favoured track, Faulkner could go only so far as two. That pairing consisted of ‘There Is Still Time’ and ‘Up Up and Away’. The former as it sums up “pin drop moments” in his shows, each guitar string having full impact in the silence. With that in mind it’s disappointing to see that this track didn’t make the best of despite its clear importance to the artist.  ‘Up Up and Away’ made the cut for very different reasons, representing the high production tracks that provide a more energetic experience.

Faulkner certainly seems to have many to have many strings to his bow, proving proficient in many styles from folk rock to more mainstream pop. More unusually though he has also had roles in the musicals ‘American Idiot’ and ‘War Of The Worlds’. ‘American Idiot’ seems especially appropriate as his first ever band was indeed a Green Day cover group, who’s music provides the soundtrack to this show. Faulkner’s experience in these performances had him performing to “some of the biggest crowds he’s dealt with” which was something he relished. However, Faulkner commented that these roles were simply “the right parts” for him and he is unlikely to make another appearance in another musical anytime soon. Rather he prefers being on stage as musician, where you can break the fourth wall with the audience to create a more casual atmosphere.

Like many musicians, on the road is where Faulkner is in his element. His upcoming tour starts on the 26th of April, including a date in Manchester’s Albert Hall on May 4th. Faulkner teased that he will be using a new “duel set up” in these shows in order to recreate tracks solo that were recorded with a whole band. He commented that although the loop pedal has its place, he himself is much more a “one-man band” instead of “one of the loopy people”. Performing is his motivation for being in the business, stating that “Live is why I record”. Faulkner definitely seems keen to share new material in a live context.

The ‘…So Far’ in his new album’s title implies more to come from Faulkner. The three new tracks are a hint of a fresh style with an eighth album “in the works” following his best of. ‘Don’t Leave Me Waiting’ is especially promising, a striking track that makes the most of Faulkner’s powerful vocals.

The decision to include covers is questionable in a best of, however Faulkner’s stylings on these songs are an entraining listen. He aimed to make other artists tracks “sound as cool as possible” and is partially successful with this. Ultimately though there’s only so much merit in covering other artists work and you would expect more from such an experienced musician.

The new album is out March 15th and is worth the purchase if you are a fan of Faulkner. It is a nostalgic experience and certainly enjoyable to re-listen to songs from across the years. Hits like ‘Dream Catch Me’ and ‘Write It On Your Skin’ have more than retained their charm. Beyond that you cannot expect much more. The covers and new tracks are a welcome bonus, but the album is limited to its nature of being a “best of”.

7/10

Photo: Federickethow @Wikimedia Commons

Album Review: Foals – Everything Not Saved Will Be Lost, Part 1

Written by Josh Sandy on . Posted in Music.

The start of an end of an era. That’s how to best summarise Cambridge-based quartet Foals’ latest release. Starting from their debut, 2008’s math-rock inspired Antidotes, Foals have taken listeners on a wild ride through the realms of synth pop, funk and even a brief flirtation with dance to land at the anthemic stadium rock of 2015’s What Went Down, and now feel like their time to bring everything together.

Their album does just this, taking cues from their best experimentations and marrying them together with some new influences to create a career-defining collection of tracks. It expertly guides the listener through this treasure trove of eclectic influences, from the frenetic Antidotes-esque ‘White Onions’ to the funky Holy Fire-inspired ‘On The Luna’. However, despite these nostalgic call-backs, the album skilfully avoids becoming a glorified ‘Best-Of’ record using unexpected flairs and stylish genre-inverting transitions.

The best example of this comes during the seemingly laidback and ambient ‘Sunday’ which, almost out of nowhere, descends into a ‘90s-esque trance mix. Similarly, the album’s final flourish, ‘I’m Done With The World (& It’s Done With Me)’ provides another never-before-heard sound from Foals – piano-backed jazz. This level of experimentation, of course, wouldn’t be possible without the vocal talents of Yannis Philippakis, who is perhaps one of the most underrated polymath-like frontmen of this generation.

Alongside the musical variety, thematically the album explores the expansive collective angst of the current younger generation about the state of the world. Tackling themes like climate change, mass surveillance, and the atrocious state of global politics, is certainly a bold move, but the record avoids preaching and allows the listener to draw their own conclusions from Philippakis’ often cryptic lyricism. These themes also allow for the album to invite the listener on a journey, with the tracks becoming bleaker, and the lyrics more cynical, as the album progresses, finishing with the genuinely heart-breaking ‘I’m Done With The World (& It’s Done With Me)’.

This journey also allows the band to perfectly set up, as implied by its title, the album’s companion piece, which is set to be released during the autumn. Of course, there will be naysayers who consider this a publicity stunt and the odd luddite lamenting the loss of the double album. However, this choice has led to the album existing as possibly the most perfect contradiction. A record which feels so utterly comprehensive, but still somehow achingly incomplete. Exemplifying this is the instrumental track ‘Surf Pt.1’ which, standing at a mere 45 seconds, is a dreamy interlude, but yearns for a conclusion.

Everything Not Saved Will Be Lost (Part 1) is everything you’ve come to expect from a Foal’s album – an unusual, exhilarating and thought-provoking experience and although it feels like the beginning of the close of this chapter, it makes you even more excited for the next one.

Rating: 9/10

Photo: Mac Downey @Flickr

Live Review: YUNGBLUD

Written by Lily Martin on . Posted in Music.

In the wake of his latest release, ’11 Minutes’, Yungblud (aka. Dominic Harrison) has been proving to the wider music industry that his impressive on-stage energy and driven, politically empowered tracks have a place in the current protest alt-rock revival.

It’s not often that I find myself in the world of anything gracing prime-time radio, but Yungblud’s sold out Academy 2 gig seemed an appropriate entrance into the rap-rock singer’s mindset, supported by American Carlie Hanson. The Doncaster-bred artist has risen the ranks recently into a favourite of the pop music scene, with his gritty Yorkshire accent, politically fuelled protest rap and distinctively rock-based songs. These artists are receiving the kind of media coverage and publicity that is sky-rocketing their careers from grassroots to world-famous. Which would be satisfyingly refreshing if it didn’t feel as though it had come at the expense of their artistic integrity and musical quality.

There’s this horrible rhetoric in the music industry that success isn’t conducive to talent. It’s all about marketing. And unfortunately the whole night felt like the result of a fine-tuned marketing exercise rather than a display of art. Which, believe it or not, is what music is supposed to be. The crowd demographic was firmly reflective of this too. I felt ancient compared to the plethora of early-teen girls, squealing in excitement in the corridors before the gig. Stood at the back of the venue, I was surrounded by slightly impatient looking parents, checking their phones or watches every ten minutes, wondering what the fuss was all about.

Carlie Hanson took to the stage first, supported by a duo of guitarist and half-naked drummer. At first, I was optimistic; seeing a female singer thrive is after all what we like to see in a industry plagued with misogynistic tendencies. However, as much as I am willing to support a fellow woman, as her set progressed, all I could think about is how much she reminded me of a cruder, vocally flatter version of much better bands, like POLO’s Kat Hughes. Her latest releases ‘Numb’ and ‘Only One’ received coverage on Billboard and VEVO, and apparently Taylor Swift listens to her. If that’s true, then I’m fiercely disappointed. Carlie seems to be representative of the American music industry at the moment, which is monopolising the radio waves with cheap, poorly written, over-produced ‘summer-anthems’ which convey little lyrically and fail to progress the industry past the commercialism that plagues it.

In one song, Hanson broke into spontaneous beatboxing, which was both confusing and agonising to watch. Then there was the awkward moment that she spoke to the audience between songs. In a short speech laced with an astounding level of use of the F word, she demonstrated exactly how swearing demeans a good argument. Despite attempting to make an excellent point about self-empowerment, all I could think was – aren’t there other words in her diction apart from f**k? Finally, we come to the songwriting. Which felt non-existent. Each track was full of slightly confusing anti-climaxes and a shocking lack of structure inviting the generic set that critics dread; in the wake of all this, the crowd loved it. And that was the most horrifying part of all.

Next up was headliner Yungblud, who took to the stage with a staggering energy for which he has become renowned for. Never have I seen an artist with such a consuming stage presence. The set opened with spoken word poetry, which set the dynamic of the evening with a firm nod to a political commentary that has become more present in music coming out of the North at the moment. The opening track combined a musically impressive synthesis of rap, rock and reggae which is testament to the songwriter. However throughout each track, his punk roots were evident and resounding. The crowd’s involvement was incredible, and for a brief moment, Yungblud seemed to be in awe of it himself, taking a step back and watching with a slight shake of his head as the audience sang his lyrics back to him. Despite the confidence and ego that comes across onstage, it is clear that Yungblud is still very much the Yorkshire artist he started out as.

A combination of radio-hits and politically driven protest raps provide an eclectic and impressive portfolio from Yungblud. His stage presence is to be commended, providing an enthusiasm and passion which draws in both fans and newcomers alike in a way which is reminiscent of Freddie Mercury in Queen’s early years. If only he was sticking true to his local roots, instead of being dragged into the commercialised vision found in America.

5/10

Hot Right Now: A Pint With Bill

Written by Tilda Gratton on . Posted in Music.

Formed out of the ashes of a society plagued by decadence and debauchery, pundits have likened the aesthetics of A Pint With Bill to the emotional sensitivity of Frank Ocean, as well as to the raucous spirit of Bakar and King Krule. A Pint With Bill follows the life of a fictional student struggling with split personality disorder, with each song portraying a distinctly zany event that takes place as a result.

One of the strongest points of A Pint With Bill is their ability to bring so many different emotional feelings to the listener through their eclectically diverse discography. This develops emotionally from sensitive lo-fi ballads such as ‘rain.’, to the gut-wrenchingly distorted anger of “umakemeblue”, all the way to the almost ironically cheerful poppiness of “lips closed shut” with each song showcasing a distinct event in the student’s life.

The band truly shine the most when seen live, as this is when audiences can experience the wildly dynamic personalities of the two frontmen. This could be seen first-hand at their sold-out headline show at Indigo, which was only the beginning for the mysterious trio.

Lead singer of the band, Sam Robins, describes his band as “Writing songs based around the lives of everyday students here at Manchester. And because life experiences are so diverse, our songs reflect that sometimes you’ll be floating like a butterfly, but also stinging like a bee.”

A Pint With Bill are set to play a number of gigs soon, with the nearest one being a free gig in Fallowfield on the 22nd of March (details of which can be found on the bands Facebook). https://www.facebook.com/apintwithbill/.

Check them out on SoundCloud https://soundcloud.com/apintwithbill

Photo: Ellie Martin

Swapping social media for Harry Potter: how reading killed my phone addiction

Written by Ellie Martin on . Posted in Lifestyle.

Over the past few years I have found that I am often not home for the run up to Christmas. This is due to moving to uni and placement years abroad. Being away for that month or so before the 25th made me realise how much of Christmas was wrapped up in the preparation, the anticipation, and the traditions.  

I loved decorating my various flats over the past few years with paper snowflakes made from old lecture notes and making a Christmas tree from tinsel stuck to the wall — but it’s not quite the same as the collection of gradually accumulated decorations that come down from the attic each year, which really signify the beginning of the festive period. It is not the same as missing your cat attack the tree. Nor the stark difference between the amount and quality of Christmas songs being played on French radio stations compared to UK ones.

I decided that to make Christmas feel like Christmas no matter where I was, I needed some personal and, most importantly, portable Christmas traditions of my own. This is where the idea of re-reading the Harry Potter series for Christmas every year came from. It seemed like a really indulgent thing to do, which suited my idea of Christmas perfectly. So from the 1st November (a bit early for Christmas I know, but there are seven books!) I started with Harry Potter and the Philosopher’s Stone, and tried to get as far into the series as I could before New Year.

And it really worked; I felt the cosy buzz of Christmas cheer and familiarity throughout the whole run up to the holidays, despite being in France and away from most of my family and friends. Success! But another, and more important, change had occurred that I hadn’t expected in these two months. My screen time was down from averaging around five hours, to under one hour a day.

I hadn’t realised I had such a problem with my phone, but having a reading challenge highlighted how extreme my addiction was. Every time I had a spare moment during my day I was reading. Partly as I wanted to get the books finished, but also because I was enjoying them so much. This was what alerted me to how much time I spent on my phone. Every time I had the urge to check Instagram or Facebook, I picked up my book and read it instead. I was truly shocked to see how absentmindedly I looked at my phone.

Swapping social media for Harry Potter was like being woken up from a daze. I was suddenly switching a passive habit for an active one. The only thing social media related that I spent time on was messaging, which I think is a great reason to use your phone, especially for me as it meant I was keeping in touch with friends back home. Other than that I had a quick scroll at the end of the day, but it wasn’t nearly as interesting. Honestly, I don’t think it ever was.

I love keeping up with friends and seeing what they’re doing, but passively watching from afar turned into messaging directly and having real, meaningful conversation. Now I always have a book with me, and my desire to check my phone has remained relatively low. I’m not as strict now as I’m not reading to a deadline.

If you want to try this, I recommend you start with something really addictive and enjoyable. Crack out your favourite YA that you might feel a bit too old for, or your guilty pleasure romance novel. Just enjoy it! The itch for something to do is much better scratched by a good book than by a phone.

Adrian Maidment@flickr.com

Team GB women set to outnumber men

Written by Harry Deacon on . Posted in Sport.

Tokyo 2020 could represent a welcome milestone for Team GB and our Olympic endeavours, as for the first time ever, the number of women set to represent Great Britain is on course to being higher than the number of men.

The rise in female competitors can be attributed to the London 2012 Olympics and the legacy it has left behind, according to Mark England, Team GB’s Chef de Mission.

He said: “For the first time it looks like we might have more women than men in the Great Britain team for Tokyo as we see the fruition of some fabulous athletic talent.”

London 2012 saw a female participation rate of 48% for Team GB. However, that fell to 44% four years later in Rio.

Although the female participation rate fell from London, the medals most certainly did not. Great Britain stormed their way to second in the overall medals table with 27 gold, 23 silver, and 17 bronze medals.

England conceded that “we have tough shoes to fill from Rio.” But did follow up by stating “we are hugely confident that the investment by UK Sport and the work that has been undertaken by the home countries.”

The increasing contribution of female athletes to Team GB undoubtedly stems from the examples set by some of Britain’s best athletes.

Jessica Ennis-Hill, Helen Glover, and Nicola Adams are just a few names out of many that have acted as exemplary role models, inspiring young female athletes to push to the levels that they are now beginning to show.

As Team GB strives for a fifty-fifty ratio in its competitors, Tokyo could be a monumental step in ensuring that this target is sustained for many Olympics to come.

Photo: EU Civil Protection and Humanitarian Aid Operations @ Flickr

Baryons, beakers, and Brexit

Written by Jacklin Kwan on . Posted in Science & Tech.

Research and science have always relied on thin surfaces on governmental goodwill. A slash to funding, or a reduction in access to resources and labour, could be devastating for years of innovation and an entire generation of aspiring young scientists. Brexit, as the majority of the UK’s academic community agrees, will likely cost the UK invaluable brain power, research funding, and global competitiveness.

Currently, the UK is a net beneficiary in science. The country disproportionately receives EU grants and structural funding, receiving a net income of £2.9 billion from 2007-2013. In 2013, researchers based in UK institutions received 1000 more grants than any other EU member state. Note that a lot of expensive research infrastructure also heavily relies on structural investment fund. The National Graphene Institute received £23 million in funding, and the Engineering and Physical Sciences Research Unit received £38 million. The University of Manchester, specifically, also has two major research programmes funded by the EU’s Horizon 2020 programme: the human brain supercomputer project and the development of graphene. If the UK exits the EU, it is no longer entitled to such funds, and its access to research grants is highly uncertain.

Unlike most developed countries, the UK actually lags behind in research intensity. In 2015, only 1.63% of the UK’s GDP was dedicated to research (compared to the EU average of 2.02%). Two-thirds of that funding was sourced from the country’s businesses. This is where things get even more dicey. Continued private R&D is highly subject to the UK’s continued competitiveness as a research destination, dependent on factors such as access to a talented labour pool and a dense web of universities, other businesses, and government institutions to create a thriving ecosystem for innovation. It is this concentrated network that made Manchester such an attractive location for private enterprise. Insecurity in Britain’s economic competitiveness has already caused a fall in business investment by 2.2%.

Whether medium-to-high technology industries continue to find cities like Manchester attractive when compared to other destinations is questionable, especially when the differing laws and regulations governing research may mean their products can never access the continental market without significant delay. The EU, after all, has strict policies that govern market access. Leaving the single market may mean that the UK has to renegotiate every treaty that concerns patent protection, product standards, and potential tariff barriers to high-tech trade. And it’s not like the UK can depend on its home-grown industries to carry it through the storm. Dyson, a British manufacturer, has already announced that it will relocate its headquarters to Singapore after Singapore concluded a free trade agreement with the EU.

Since the UK will have to comply to many of the EU regulations regarding research and trade anyway, the only comparative is that the UK loses a say in what those regulations are. This has profound implications on the future challenges that face sectors such as agriculture, environmental sustainability, data security, and pharmaceuticals.

Along with facilitating trans-national business investment and flexibility, the EU also helps facilitate cutting-edge blue skies research. Some of the most exciting research in the entire world is explicitly tied to EU-affiliated organisations such as Euratom’s ITER project. In 2017, Theresa May announced the UK’s intention to withdraw from the European Atomic Energy Community. This could mean that the country’s supply of nuclear materials may be jeopardised, along with its high participation in research.  Other independent research communities that are supported by the EU, such as CERN or the European Space Agency, may be similarly affected.

After all, international science collaboration relies on a dynamic exchange of information and talent. This has perhaps been the most highlighted impact of Brexit. EU academics make up 17% of university teaching and research posts in the UK. Though both the EU and the UK have reassured that EU nationals currently in the UK will be secure, it’s not clear whether Britain will continue to pull in the best brains in Europe to help power its faculties.

Experts say to negotiate from a position of strength. However, the overwhelming consensus seems to be that the UK’s strength relied on it being team player. The chips are not in Brexit’s favour. Toby James, a 3rd Year Physics student at the University, says, “The EU is the biscuit base to the cheesecake of European science. It is one of the world’s key facilitators of science by offering grants and crucially allowing freedom of movement, enabling scientists to work on projects across the continent, and Brexit will be (not might be) disastrous for science in the UK.”

Photo: MANIFF

MANIFF 2019: Public Figure

Written by Josh Sandy on . Posted in Film.

Named after the infamous title that countless Instagram ‘influencers’ bestow upon themselves, Brian Corso’s directorial debut Public Figure is a visually stylish and extremely nuanced look at the public’s growing obsession with social media.

The documentary opens looking at the seemingly opulent world in which social media superstars inhabit, and features revealing interviews with creators from across the globe. This is followed by a surprisingly detailed look at the science behind the growing problem of social media addiction. The film makes excellent use of professional psychologists and masterfully guides the audience to both reflect on their own social media habits and consider the actual lives of the people behind the accounts.

Finally, Corso returns to the creators and particularly focuses on New-York based ‘professional memer’, Sebastian Tribbie. Despite his often outlandish and showboating behaviour in public, during the private vox-pops Tribbie comes across as a genuinely likeable character. This change stands out as the perfect case study for the often blurred line between these people’s true personalities and their carefully curated online personas.

Overall, Public Figure is a fantastic example of documentary’s abilities to not only inform, but also to induce contemplation and spark important conversations.

4.5/5.

The 5th Manchester Film Festival is taking place at the ODEON Great Northern from 2nd March to 10th March 2019.

Photo Credit: robert mason @ Wikimedia Commons

Visit Hull: Culture, history, and Dead Bod

Written by Cachella Smith on . Posted in Lifestyle.

Potentially approaching the most controversial opinion we have had all year, I plan to spend the next 500 words or so suggesting that Manchester does not in fact have it all, and fully advocating a trip to Hull instead. So, if you were wondering how to make the most of the Spring sunshine this weekend, please read on.

I have recently been convinced by our Editor-in-Chief that Hull really is the place to be right now. Certainly, typing into Google ‘what to do in Hull’, I cannot deny that there are a solid few result pages listing articles ranging from ’10 things to do in Hull’ to ’24 things to do in Hull’. Turns out then, that there are things to do in Hull. So, I dug a little deeper.

One article cites activities “from trampolining to learning about the past,” and I have to say I’m intrigued.

In all seriousness, Hull actively promotes its submarium ‘The Deep’, its Streetlife Museum of Transport, and of course, the infamous Humber Bridge. The latter, apparently, was once the world’s longest suspension bridge, and ‘offers stunning vistas of the Humber estuary.’

Hull’s street art, it seems, could be a potential rival for Manchester’s Northern Quarter. Featuring a 2018 piece from Banksy on Scott Street Bridge, ‘Draw the Raised Bridge’ alongside other Banksy-style pieces which, however, remain unclaimed by the artist.

Banksy’s work is not the only highly-valued piece of street art featured in Hull. ‘Dead Bod’, a white graffiti work from the 60s featuring a starkly drawn bird, of the on-its-back, legs-in-the-air kind, ominously hovers over the unfortunate and brutal description of its current state, the phrase ‘Dead Bod.’

The work is not only an outstanding piece of art, but reveals a deeper history, that of a man named Pongo, his friend Gordon, and the skipper William Valentine Hopper trawler ship. The latter nursed a seagull with a broken wing back to health, demonstrating attentive care to the extent of providing ice-lolly splints, before another crewman heavily kicked the box the bird was in. The very crewman, trying to make light of the situation uttered the phrase that inspired the creation of art – “all this fuss over a dead bod.”

The piece of art, featured on a canvas of corrugated iron, has become something of an emblem for the city. Having played its part guiding fishermen home, it is now Hull’s logo for T-shirts and burger vans. Residents even swung into protest when a movement was announced to remove the sheds on which the painting is found. Thankfully, however, they saved the poor dead bird.

So, there we go, in my short space in print I hope I’ve managed to convince you that Hull deserves a number on your bucket list. Situated roughly two-thirds of the way up England, and quite close to the right-hand side, I hope you manage to find Hull [insert adjective here].

Photo: Ellie Martin

Here to dance, not to drink

Written by Ellie Martin on . Posted in Societies.

Drinking is often seen as one of the pillars of university culture. It’s such a huge part of uni life for some – I knew people who made their decision about which university to head to based on its nightlife reputation. And fair enough, you wouldn’t want to head to somewhere out in the sticks if you’re planning on raving every night.

But there’s a large amount of students who head to uni with no plans to drink, who have to navigate new relationships without the common ground of drinking together. So the questions is: Are societies doing enough to make both drinkers and non-drinkers feel welcome at socials?

Tee-total students who come to university are usually well prepared for situation where they may be the only one not drinking, and probably already have experience with staying sober on nights out. People decide not to drink for many different reasons; it may be cultural, religious, having had a bad experience with alcohol in the past, simply not enjoying the taste or the feeling, or a whole host of other things.  

Many students choose to stop drinking for the sake of their mental health, as one Physics student told me: “It just takes me days to recover from a night out, drinking is fun at the time but my headspace is not a good place to be in the day after. [Drinking] stopped being worth the fun after a while, so now I enjoy my time with my friends with a coke, and it’s benefited my mental health greatly.”

Another English Literature student said that “one of the worst things to happen on a night out when you’re not drinking is to be with someone who can’t just accept the fact that you’re not. You lose the whole night explaining yourself and justifying your reasons, which sometimes can be quite personal and not something you want to get into when you’ve come out for a good time.

“I’ve been on nights out where someone has found out that I wasn’t drinking and then literally not left my side the entire night, constantly questioning me and trying to get me to drink. It’s not what I’ve come out for, I just want to dance with my friends!”

One of the first things societies can do to help include those who choose not to drink is just not make a big deal out of it. They’ve come out for just as good a night as everybody else, ready to cut some crazy moves on the dance floor, just without a drink in-hand. One of the best ways I’ve ever seen this done at a society social was at the Choir and Orchestra Society (CAOS) post end-of-year-concert party, where there is always the traditional ‘Boat Race’. In the Boat Race, teams compete to down four pints as fast as possible, with up to four members in each team.

Without any prompting or questions asked, the committee announced the event, including acceptable non-alcoholic options for competitors, which were a pint of milk or tonic water (gross). There was no special announcement, no framing the options as ‘alternatives’, just these are what you have to drink to win. It was refreshing to see the sober options normalised rather than alienated as ‘alternate to the real thing’.

Societies can incorporate things like this into drinking socials to give sober members a chance to participate without feeling alienated. Drinking games are great fun, and societies can add sober options to the game to include everyone.

These changes work well for students who don’t drink personally, but still enjoy a good night out.

Others however choose to avoid being around alcohol or environments where a lot of heavy drinking is taking place all together. This can present problems when most, or all, of a society’s socials are based around drinking. A classic bar crawl is always a good night, but it doesn’t have to be the only social in your society’s roster. There are endless possibilities for good socials in non-alcoholic spaces, or socials that aren’t completely based on drinking. Everyone loves a good night at Dog Bowl, cinema trips, karaoke, ice skating, or even a good movie night for some smaller societies. Add a little creativity to your society’s social calendar and you’ll find that you have a much wider attendance from members, and some fun stories to tell other than “we were so wasted”.

There’s loads that societies can be doing to include sober members, and making it not a big deal is the first step. If your society has a wide variety of socials, it will normalise a non-drinking lifestyle for students who choose to follow it, and make uni much more fun for everyone.

Photo: @Natalie Hillman

MIFTA Season: Abandon Ship

Written by Alexia Pieretti on . Posted in Theatre.

Abandon Ship is a dark comedy by Edmund Phillips which tells the story of Rex (Sam Easton). In the real world, he is a captain on a ferry crossing from England to Spain. His ship is falling apart, food is not being served, his entertainers are constantly at each other’s throats, and he is hostile to the dissatisfied passengers, much to the disdain of the ship’s chief officer, Eliza (Grainne Flynn). However, he is descending into madness. Beginning with childish daydreams of being a traditional sailor (or possibly pirate), these progress into dark, twisted illusions which set the audience on edge.

The play was ingeniously directed by Tom Thacker (assisted by Natalie Hillman) and produced by Katie Rooney. It was performed at the Three Minute Theatre (3MT). This was the third MIFTA show this season I have seen at the venue, and yet an entirely different atmosphere was evoked to that of the prior two. Before the play began, dim blue lights, harsh shadows and the creaking noises of a ship unsettled the audience.

I was astonished by the energy and dedication displayed by every actor. From his first appearance on stage, Easton captivated our attention with his powerful movements and voice and would often turn to snarl at audience members. It was his descent into madness that really displayed his physical talents as he suddenly collapsed to the floor at my feet – causing me to jump! From here, he slowly crawled along the floor on his stomach, growling and croaking and when he finally stood up, he hunched himself over and spoke in an utterly transformed voice, becoming a kind of ‘Gollum’ creature.

Megan Shone and Jacob Liam McGoldrick also deserve a mention for their commitment. Initially, they played a middle class married couple, Margaret and Walter, who politely complained to the captain about the standards aboard the ship. Shone particularly showed her talents when Margaret tried to have a friendly conversation with the Captain and began a personal anecdote. This was entirely drowned out as the sound effect of screaming from the depths of Rex’s mind filled the stage, but Shone continued miming while making melodramatic facial expressions and gestures, still telling the story even though Rex was not paying attention to her, my attention stayed fixed on her.

Meanwhile, McGoldrick’s blank facial expressions were perfect for portraying a rather absent-minded, harmless man whom Rex began to envision as his abusive father. At the peak of Rex’s madness, McGoldrick entered half dressed as a policeman and half in red lingerie, representing a hallucination of Rex’s parents and – there’s no other way of putting this – he began to have sex with himself, a testament to his talent. In such a disturbing moment, I did not know whether to laugh or shudder.

The play was not without other funny moments. For example, in an early hallucination, Rex told his sailors they were to fight the kraken and equipped them with plastic swords and pistols, exposing the childish nature of these fantasies. However, when the kraken entered, it turned out to be a manifestation of Jane (Scarlett Gorman), the children’s entertainer on the ship, dressed in a truly ridiculous octopus costume.

Phillips’ bizarre script also incorporated songs for the sailors/barbershop quartet to sing, which Phillips wrote himself. These were filled with crude images and innuendos and from the opening, provided the light-hearted tone the play needed to counteract its grotesqueness. The outstanding direction of Thacker and Hillman combined with this abstract script to make a matchless show without a dull moment.

Photo: No attribution required

‘Putting the Great back in Great Britain’?

Written by tallulahbrennan on . Posted in Opinion.

Celebrating a Leave campaign victory on the 24th June 2016, the front page of The Sun read “Independence Day, Britain’s Resurgence”. The Daily Telegraph read “The Empire Strikes Back”. This ‘post-colonial melancholia’ as Paul Gilroy puts it, has not been fuelled by the far-right alone.

In January 2017, Boris Johnson began to recite the colonial era poetry of Rudyard Kipling in one of Myanmar’s sacred Buddhist temple. Theresa May spoke of the EU ‘queue jumpers’ in one speech, while Jeremy Corbyn’s Labour party made a promise to end free movement in the 2017 manifesto.

A popular argument amongst Baby Boomers is that if Britain managed to win a World War, then leaving the EU will be a walk in the park. Apparently the term ‘Allies’ has been lost on them. For the ‘left behind’ leave voters, who are frankly, tired of feeling they are last in the queue, Brexit equates to a return to the golden age of empire and to British interests being placed first.

It is the post-colonial attitude that ‘whiteness’ and, more importantly, ‘Englishness’ makes us more deserving of being first in the queue that made race such a dividing line in the referendum. For the likes of Farage and Johnson, it is simpler to direct blame at migrants and refugees, rather than a broken economic model. As it stands, the non-English speaking pose a threat to the intrinsic privileges that whiteness once guaranteed.

Through the image of Nigel Farage standing in front of a poster of non-white refugees and migrants with the slogan ‘Take Back Control’, the Leave campaign enabled the colonial positioning of Brexit. The rise in hate crime and a louder far-right presence in Westminster also serve as reminders that imperial nostalgia is ever-present.

Having to turn to India and Africa for new trade deals, Britain should use this time to reconcile with its colonial past. Instead, post-Brexit policy will consist of strengthening ties with Commonwealth States, with Liam Fox intending to brand the strategy as ‘Empire 2.0’.

The decision to trigger Article 50 without a set plan for the Northern Irish border reveals how the Conservatives seem stuck in the Winston Churchill attitude that “We have always found the Irish a bit odd. They refuse to be English.”

In a recent debate, a Conservative MP told an SNP MP to “Go back to the Isle of Skye“. As you may know, Scotland voted to remain in the EU, with a percentage of 62%, and as Ian Blackford remarked, the Scottish people hear this attitude loud and clear. Forgetting the commitment, it has to the Union, the Conservative party is in danger of severing the ties that are so intrinsic to our advancement. Additionally, it would seem that there is no sign of reconciling with the colonial crimes for which we are responsible.

According to EU negotiators, May “does not live on planet Mars but rather in a galaxy very far away”. Brexit has revealed that Britain is determined not only to conserve but live its imperial image. However, as the saying goes, pride always comes before a fall.

Photo: @Nathan Chandler

Review: RAGS

Written by Kayleigh Crawford on . Posted in Theatre.

This new, re-imagined version of the musical RAGS is painfully relevant in today’s political climate. Set in 1911 and spanning the course of a year, RAGS details the journey of a group of Jewish immigrants living in New York City and the struggles that they encounter whilst searching for a happy life.

This version, with lyrics from Stephen Schwartz (Wicked) and a revised book by David Thompson, highlights the ongoing relevance of RAGS by drawing reference to issues that are still prevalent now. With cleverly crafted lyrics and one-liners that resonated across the audience, RAGS is a spectacular example of a show which breaks down the barriers between past and present.

Shifting between poignant and uplifting, RAGS was masterfully crafted, with a stage and set design that became both a crowded tenement and the spacious skyline of New York City. Lydia White shone in her professional debut role as Bella, a young girl who makes the journey from Russia to New York to be with her father, remaining optimistic despite the hard times. White’s portrayal was incredibly moving, especially as Bella’s relationship with Ben (Sam Peggs) developed as the play progressed; the couple became a force that everyone was rooting for.

Photo: @Nathan Chandler
Robert Tripolino as Sal, Rebecca Trehearn as Rebecca and the cast of RAGS. Photo: @Nathan Chandler

Robert Tripolino was excellent in his fast-paced and funny portrayal of Sal, an Italian worker leading the cause for strike action. Hopping between comedic one-liners, inspiring insights, and revolutionary fervour, Tripolino’s ability to change between playfulness and righteous anger was captivating, and quickly established him as an audience favourite.

Rebecca Trehearn also deserves a mention for her spectacular performance as the lead role Rebecca. Along with her son David (George Varley/Lochlan White), Rebecca must navigate a new life in New York City with no money to her name. Trehearn’s portrayal of a woman desperate to guarantee a good life for her child was heartbreaking, and yet at times uplifting.

The music itself, inspired by American Ragtime Performances, was lively and upbeat throughout most of the first act but abruptly shifted to melancholic and violin-heavy within the second act. This was a contrast which served to highlight the highs and lows that the characters face throughout the course of the performance. Having members of the band not only onstage but integrated into the action as New York City street performers highlighted the excellent design and directors. The presence of the musicians onstage created a busy atmosphere and cleverly showcased the talents of the musicians who were playing, whilst also following the rapid choreography and movement of the musical numbers.

RAGS is a story about immigration and struggling to fit in, but it is centred around themes of love and hope. Family, friends, romance: RAGS emphasised the importance of human connection in hard times, focused through the lens of Jewish community values, yet applicable and relevant to everyone. In RAGS, tragedy and hope collide to produce a bittersweet, emotional upheaval of a performance, creating laughter and tears in equal measure.

Photo: @IsasiFoto

Review: Kourtney Kardashian

Written by ellamarsden1 on . Posted in Theatre.

A scathing indictment of popular culture, Kourtney Kardashian was undeniably bold and vivacious, yet somehow understated at the same time. Through the structure of an opera, the play demonstrates both a love and a hatred of the high art form and provides its audience with an insightful contemplation of society constantly losing its grip on reality. The Sleepwalk Collective truly live up to their reputation as masters of experimental theatre, although it can be, at times, difficult to process.

Undeniably this is a play of contrasts. A confusing sentiment of both agonising simplicity and overwhelming complexity consumed the stage as the pair of actresses manipulated the boundaries of reality and fantasy to almost perfection. The use of vocal expression by both actresses was highly effective as the calm and soothing voices both put the audience at ease and also created a sense of tension. Both actresses, dressed in metallic crinkled gold dresses and white painted faces, were totally aware of the audience. This was both refreshing and unnerving.

The language was beautiful, like watching living poetry. You could shut your eyes throughout the performance and still feel just as connected to the performers. I did, however, feel that the communication with the audience was lost at certain points and the meaning felt slightly out of reach. This was perhaps due to the constant both physical and metaphorical breakdown of the theatrical elements.

The multi-speaker sound system chorus and an orchestra of laptops was the first striking feature of this play. Again, the direction plays on contrasts as the soothing, natural orchestral music was played harshly and loudly through the speakers, a total attack of the senses, sometimes to the point of discomfort. By having recorded noises of the audience, we were denied our expected role within the play and replaced by machines, an idea that feels as if it has come straight out of a Black Mirror episode. Our role in Kourtney Kardashian was no longer audience member, but friend and fellow human.

The final words resonated strongly as they gently reminded us “the world outside the theatre is never tidy or kind”, a reminder of the reality that awaits beyond this ethereal experience. Never has a play felt more like a dream land, yet so pertinent and real at the same time. Kourtney Kardashian did well to embody the danger and thrill of living in contemporary culture.

Photo: Jennifer Mei

Chris Ofili’s ‘The Holy Virgin Mary’

Written by saoirseakhtarfarren on . Posted in Arts.

Elephant dung and pornographic buttocks situated in and around a glittering Virgin Mary? Damn right.

Manchester born Chris Ofili, was displayed alongside famously controversial artists such as Tracy Emin, Damien Hirst, and Marcus Harvey, in the infamous 1997 exhibition ‘Sensation’. It was here that Charles Saatchi, who exhibited his collection of ‘visual culture’, caused more than just tabloid controversy. Alongside Harvey’s canvas of Myra Hindley, and Hirst’s preserved tiger shark in formaldehyde, Chris Ofili’s ‘Black Madonna’ was also displayed.

From the offset, this exhibition did more than provoke scandalised gasps, indeed it laid the path for questioning the very definition of ‘art’. I look to relate this exhibition to scholarly discourse which develops terms like ‘visual culture’ to replace terms like ‘art’ in a modern age.

‘Visual culture’ is the forming of a cultural entity from singular artefacts to a particular medium, which can include, visual perception, communication, or consumption (according to Christoph Uehlinger’s ‘Approaches to Visual Culture and Religion’). The relationship between ‘visual culture’ and ‘popular culture’ is linear and suggests that by addressing art as ‘visual culture’ one uses imagery from the visual to understand the social culture in its contemporary society.

Whilst some may argue that the term ‘art’ is ambiguous and thus can facilitiate new ‘art’ forms, terms like ‘visual culture’ attempt to challenge conventional thought by appreciating the drastic changes in society from the days of classical 15th-century acrylic paint pieces. In a modern age where technology and capitalism have become an integral part of daily life, questions surrounding the appropriateness of terms like ‘art’ are being raised for a lack of inclusion in the world of ‘art’ today.

Photo: Gazanfarulla Khan @ Flickr
Photo: Gazanfarulla Khan @ Flickr

I come back to Ofili’s thought-provoking ‘The Holy Virgin Mary’ which was slated for disrespecting the sanctity of the Virgin Mary with elephant dung and pornographic cutouts. The role of cultural influence and racial identity has always been a prevailing feature in ‘art’, and Ofili’s work is no different. Ofili’s ‘Black Madonna’ is innovative for the challenging use of materials within a mainstream contemporary platform, and for exposing the cultural ignorance and dismissal shown by white critics.

Ofili’s Nigerian heritage plays a fundamental role in the use of elephant dung with the Virgin Mary, for dung has a symbolic relationship with fertility. The Virgin’s teat is sculpted into a pinnacle made from elephant dung, whilst the painting of the ‘Black Madonna’ is balanced on two balls of dung. It is important to note that dung has been used for centuries, and still is used, to create the foundations of people’s homes beyond Europe, thus representing more than mere waste.

While the exhibition ‘Sensation’ was on tour in New York, Cardinal O’Connor claimed that Ofili’s work was not only “an attack on religion itself” but also “on the Catholic Church.” Mayor Rudy Giuliani of New York remarked that the painting was personally offensive, threatening to withdraw public funding from the Brooklyn Museum of Art, and accusing Ofili of “throwing elephant dung” at the Virgin Mary.

Despite the fact that ‘Sensation’ took place over two decades ago, I was drawn to this exhibition and the ‘Black Madonna’ piece in particular; the questions raised then are still being answered today. In the same way Cardinal O’Connor and Mayor Rudy perceived Ofili’s ‘The Holy Virgin Mary’ as blasphemy for the use of pornographic cut outs to juxtapose the notion of the angel Gabriel, we ourselves have automated assumptions based on stereotypes formulated from socialization.

Making blind assumptions can perpetuate cultural and racial ignorance that prevents understanding and enhance animosity. Terms like ‘modernity’ and ‘progression’ are de facto rather futile, and to suggest that something is ‘wrong’ because it does not fit within conventional thought, I believe is a form of Western Imperialism all over again. As spectators of ‘art’ and ‘visual culture’, a wall of respect should be the only divider of opinion, not anger. In fact, Ofili poignantly stated that “the people who are attacking this painting are attacking their own interpretation” not his.

Chris Ofili’s ‘The Holy Virgin Mary’ was eventually sold for 95.6 million pounds in 2015. Damn right.

 

Photo: MANIFF

MANIFF 2019: The Evolution of Testicles VR

Written by Luca Mariani on . Posted in Film.

My adventure to VR film began in Virtual Hideout; a store focussed on bringing you the best VR gaming experience. I was kindly allowed to play some VR games before my film session. VR Fruit Ninja is a game everyone should play at least once in their life. After the VR gaming session it was time to experience a VR film.

The film I watched was The Evolution of Testicles. The title may lead you to believe you will finally get to experience what Riley Reid experiences in her field of work. In reality, the film is being used to raise awareness about testicular cancer. The comedic and emotional elements are brought by Chris O’Dowd. The film is a journey through the stories of male cancer survivors. It focuses on the awkwardness of self examination and how to get rid of stigma of men going to the doctor to help in the fight against testicular cancer.

Unfortunately, the VR experience can’t yet beat the big screen in overall screen quality, but it is a fun tool for short films. I definitely hope to see more VR short films in the near future.

3/5.

The 5th Manchester Film Festival is taking place at the ODEON Great Northern from 2nd March to 10th March 2019.

Photo: Hawwa Alam

The Impact of Reclaim the Night

Written by Rebecca Rommen on . Posted in Features.

Reclaim the Night 2019 took place on Thursday 21st February. Women and men alike took to the streets brandishing banners and chanting “Whose streets? Our streets!” in unison. The annual march is run by the University of Manchester’s Students’ Union to campaign for public safety and protest violence against women. The campaign condemns street harassment, sexual assault, and victim blaming.

This year’s campaign aimed to increase and improve lighting in populous student neighbourhoods such as Fallowfield and Rusholme, as well as increase awareness of ways through which people can report incidents of sexual assault and harassment. It also urged people to lobby the Manchester City Council to expand funding for local services and reverse budget cuts to women’s shelters. These aims were publicised via social media campaigns, petitions, and posters adorning campus.

An estimated 3,500 people are said to have marched from Owens Park to the Students’ Union.

Owens Park’s Students’ Association’s president, Caroline Baigrie, shared on behalf of halls committees that “although the Reclaim the Night March happens once a year, it is important to always remember Reclaim the Night’s purpose, calling for greater measures to be taken in Manchester to keep us safe at night, whether by greater police presence or better-lit streets. Residents deserve to feel safe and student representatives should improve this by making structures more known such as the Manchester SU Safe Taxi Scheme.” This scheme enables students to call a taxi if they’ve run out of money and pay for it the following day.

On how Reclaim the Night has impacted her personally and the wider community, Baigrie added that it brings attention to the topic of safety at night in Manchester: “something that everyone is conscious of all year round.” Inspired, she noted the campaign’s success in encouraging people to demand to be kept safe. “There is a clear angle of Reclaim the Night towards women’s safety, and despite the campaign being relevant to all, it makes clear that at the centre of the issue of safety at night is female safety and victimisation of women, whether sexually or just being made to feel uncomfortable.”

Teodóra Gombos, first-year History & Economics student, felt encouraged after the march and spoke of the inspiration amassed by rallying as a community. “I felt empowered marching alongside thousands of other people who support each other. That in itself can create an impact – we all have different experiences and backgrounds, but we all want to feel safer on the streets and lift each other up.” Knowing you’re not alone is a good place to start when fighting for change.

An anonymous post on Facebook, which has garnered over 400 likes, had someone stating that Reclaim the Night gave them hope for women like themselves who have been subjected to sexual harassment and assault, in Manchester and elsewhere.

“None of my friends that marched with me know that I am a victim of severe sexual assault but coming out today seeing everyone in support of safer streets in Manchester gave me the power to not give a fuck, live in my truth, and empower others. Thank you so much to Sara Heddi, the fab organisers, stewards, volunteers, and everyone who showed up. We RECLAIMED THE NIGHT and will continue to do so. Mark our words.”

The unidentified then shared a link to the petition lobbying the City Council. The anonymity of the post highlights the ubiquity of women’s experiences tackling sexual harassment and assault. Although every individual has a unique story, the movement reflects the greater shared adversity of womanhood, much like how the #MeToo movement demonstrated the widespread prevalence of sexual harassment and assault.

The Mancunion reached out to Manchester City Council to find out how local authorities feel about Reclaim the Night and how they are tackling the ongoing problem of violence against women.

Councillor Nigel Murphy, Deputy Leader of Manchester City Council, said that the safety of Manchester residents is of paramount importance to City Council and that they want to “reassure the public that this city is a safe place to work, study and visit.”

He expressed that: “it is unacceptable that anyone should be the victim of crime and our advice first and foremost would be to always call the police if you or someone you know is the victim of a crime. Manchester City Council works closely with Greater Manchester Police, the Universities, and other partners to address student safety across the city.”

The Council wished to clarify that although one of the objectives listed by the 2019 Reclaim the Night campaign was to: “lobby the council to stop cuts to Women’s Shelters”; provision for women’s refuges has remained unchanged since 2014 — there are still six centres open in Greater Manchester, despite the fact that Manchester City Council has faced more than £300m in government cuts since 2010.

The councillor was aware of Reclaim the Night’s mission to create a more secure infrastructure and affirmed that street lighting in student areas meets the national standards in terms of brightness and coverage but that the Council is “always open to discussing with students where and how [they] can improve.”

Councillor Murphy concluded by saying that the Council would continue to work closely with their partners in GMP as well as the charity and voluntary sector to support any and all victims and work with communities to deliver effective support services.

Photo: Emilia Jenkins

Emilia Jenkins on Women’s support: ‘A reminder that people care’

Written by Cachella Smith on . Posted in Features.

Emilia Jenkins, the Student Union’s part-time women’s officer, sat across from me in Starbucks last week as we discussed all things gender, female, support, and education. Having actively advocated and been involved with women’s causes, Emilia, since her election last October, has balanced being a mouthpiece for women on campus, and all those who identify as such — alongside her final year studies.

We begin of course with Reclaim the Night. After all, when discussing support for women and the challenges women face, what better way to open up the conversation than with Sara Heddi’s recent outstanding continuation of the march that annually sweeps women along in support, all the way down Oxford Road. It was at Reclaim the Night, an event that occurs all around the country, that I met Emilia chanting, shouting, and cheering for the very cause she has been so actively promoting all year.

A key aim for Emilia and at the centre of all her work is improving support for women having fallen victim to sexual assault. She explains to me that the very importance of the march is centred around the fact that people just “do not realise how endemic the problem is.” She believes there to have been an increase in publicity for the event this year, and that its very essence is “a demonstration of the level of the problem.”

It is “not just a march but a gathering of people,” for all to see and recognise. Often in this situation, she explains, women feel “alone” like they are the only one in that situation. This makes it difficult for them to come to terms with their assault. Such a protest and demonstration really showcases the level of support and can be a source of encouragement for those who are struggling to ask for help and “open up conversations.”

Not only has Emilia participated in long-standing traditions promoting the support and safety of women, but she has actively founded four separate projects primarily focused upon the cause that she is so passionate about, support following sexual assault.

The first project Emilia tells me about is Survivors Unite a student-led support group that organises weekly Wednesday sessions at varying locations on campus. The sessions are designed as a safe space both for victims of sexual assault and domestic violence regardless of gender or age. Each session mixes support and community with, of course, nice food and reassuring company. The location for the sessions changes on a weekly basis in order to protect the safety of the participants. To find out the location, email [email protected].

Second on Emilia’s list is a website she set up NOW.US (Network of Officers for Women across Unions of Students), a website that works as a database containing the details of all of the women and gender officers around the UK, organised by region. Its purpose is to provide women across the country with the contact details of the women’s officers at their University, should they need support and or advice. It is also a way for the officers themselves to keep in touch and to share ideas. When researching for the network, Emilia tells me “I have come across so many gender officers, and I think it would be nice that at Manchester instead of having two part-time women’s officers, if we had a part-time women’s officer and a part-time gender officer.” A gender officer might deal specifically with the communication, an “intermediary” between the transgender officers and the women’s officer, she suggests.

The HOPE project, which she terms “an education initiative,” is one that she is hoping to pass through the next Student Union Senate. At the minute it is approved by the University, if successful at the Senate, it would be “first joint initiative for this particular issue.” Its role is to provide information for those regarding what steps to take following an assault. She explains that the most common advice given, including by the University itself, is to speak with the people concerned and attempt to sort through things informally. For Emilia, however, she does not believe that this is always the best course of action.

Her final project is a survey she is currently working on. Its aim is to assess the level of support provided by the University regarding sexual assault cases in an attempt to identify areas that could be improved or considered more closely.

After having passionately spoken about her four projects, four projects that she has got off the ground herself and worked to sustain, I walked away confident in the message that Emilia gave me at the start. I was well and truly reminded that people care.