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Month: May 2019

Photo: EU2017EE @ Flickr

The darling fees of May

Written by Ethan Davies on . Posted in Opinion.

It’s suddenly been decided that tuition fees are too high. It’s suddenly been decided that students from low income backgrounds struggle to afford university and that some need grants not just loans.

Is this a rare attack of conscience? Are the tears Theresa May was so criticised for in her resignation speech actually transferring into action? I wish I could say that they were.

It’s unfair to say that somebody has ‘suddenly’ decided that tuition fees are too high: Over the past few years it has become increasingly evident that student loans never get repaid. None of the suggestions in the recent Augar report on tuition are based around concerns for student finances.

The suggestions may include reducing the maximum tuition fee to £7,500 per year, but it also extends the length of time people will be repaying them for – graduates could still be making payments as they near retirement in their sixties. Or rather, as they begin to think about retirement – it will probably the case that these graduates won’t be able to dream of a state pension at 68.

Not only will payments extend for longer, but they will begin earlier. The threshold moving from £25,725 yearly earnings to £23,000 comes at a time when wages are falling, especially for graduate jobs, this is a distinctly unwelcome proposal. One that is going to have ‘psychological’ effects, but they could hardly be called ‘benefits’.

Fees are falling, but the burden of their payments are getting heavier.

Having said that, the report does suggest some positive changes, like re-instating a £3,000 non-repayable maintenance grant. The key word here, however, is re-instating. It was scrapped when George Osbourne was Chancellor of Exchequer, on the grounds that it was “too expensive”. Clearly, the only way to provide basic provision for working class young people from going to University is to make them have to pay back more of their tuition loan. I mean after all there is no magic money tree to pay for silly fripperies like food, rent, or a social life.

The report also came with proposals to increase funding to Universities to make up for the loss of income. Now, I hate to be a cynic, but can you see any Tory government in the near future committing to a major injection of cash into the public sector? Especially one which has been so pesky with these darn strikes and protests and the like?

Claiming that tuition fees should be lowered to £7,500 is like saying we should really dress-up cholera, make it a bit sexier. They shouldn’t exist in the first place. To those who were put off by amassing a minimum of £27,000 worth of debt over three years, £22,500 is still going to dissuade them.

May is not trying to do something good with her last few weeks. Whether it is implemented or not, this falls directly in line with her history of socially damaging policies, hiding under the a rhetoric of paternalism.

Courtesy of Sundance Institute

Sundance London 2019: Corporate Animals

Written by Tobias Soar on . Posted in Film.

Silicon Valley’s startup culture has been satirised over and over and over, yet Patrick Brice’s tale of teambuilding and cannibalism is fresh and funny — it’s a shame that the presentation is so bland for most of the film.

While on a team building exercise in New Mexico, the staff of a startup company whose specialty is edible cutlery gets caved in after their insatiably demanding boss (Demi Moore) forces them into a cave system. Stuck with no phone signal and limited resources, tensions rise and power dynamics spiral out of control as backstabbing and cannibalism ensue. The idea isn’t groundbreaking but it is presented with a clever script that had the whole room laughing and audibly gasping at the shocking gore intertwined with pristine comedic timing. The cast carries the film of their backs, as the visual presentation left a lot to be desired.

Corporate Animals unfortunately lacks the visual flair that Brice’s found-footage Creep series had. Most of the film plays it safe with boring camera angles, yet some moments of brilliance shine through; as each day passes, we are presented with a giant text which reads “DAY X” accompanied by a deep, loud bell chime. As the third act commences, Freddie (Karan Soni) has a fever dream which brings neon colours and cartoon drawings to his dreamscape — it’s a hilarious scene but it has the unfortunate effect of reminding you of how bland the rest of the film looks.

Despite its underwhelming visual presentation, Corporate Animals is a hilarious dark comedy which might make you squirm in your seat.

 

3.5/5.

Courtesy of Sundance Institute

Sundance London 2019: Apollo 11

Written by Tobias Soar on . Posted in Film.

TIME: 09:00 / DISTANCE FROM EARTH: 0 NM / BPM: 73

 

The Apollo 11 mission was monumental. It cemented itself in the collective memory of the West as the event that marked the beginning of a new era: an era which proved that humans can reach territories beyond Earth’s atmosphere. Despite being a reality, humans landing on the moon still seemed like a dream to me — until I saw Apollo 11.

Documentary director and editor Todd Douglas Miller cracks open NASA’s archives to pull stunning 70mm footage of the Apollo 11 mission. The documentary follows the mission starting the night before liftoff up to the day of landing. The focus of the narrative, as told by recordings of NASA comms and newscasts, is on three places: the mission control room, the three astronauts and the crowd at the Kennedy Space Centre. Over the course of the 6 day mission, the pace ranges from explosive to slow, accurately expressing the feeling of the mission itself.

The most striking and moving part of this documentary, however, isn’t the narrative itself — it’s the visual experience it presents. The images are crisp, colourful and full of life. Unlike the distancing effect grainy documentaries tend to cause, Apollo 11 makes you feel like the mission is unfolding before your eyes. Footage of the crowds watching the launch, the rocket standing in all its glory and the space walk itself, every shot is breathtaking. Accompanying the sublime imagery is the impeccable sound design; the silence of space underlined by the beeping of the lander’s instruments or the boom of the rockets, the way Apollo 11 is presented gave me literal goosebumps at times.

Although the space race ended long ago, Apollo 11 breathes new life into the milestone of human ingenuity. An audiovisual spectacle to behold, it’s a documentary like no other.

 

5/5.

Photo: Henry Yeomans

Live Review: Couples

Written by Olivia White on . Posted in Music.

Hailing from London are the explosive alternative psyche rock 5-piece Couples. Armed with a confident swagger and distinct tenacity, despite only attracting a modest number of followers, Couples are undoubtedly on the cusp of a whirlwind pilgrimage into the depths of the alternative industry.

After playing at Manchester’s Jimmys and Bristol’s Exchange, Couples returned to the South to play a hometown show for another Benumu Sunday session.

Taking to the stage of the blue bespeckled Camden Assembly, the captivating creatives are a wave of spirit in their unique style with fervent frontman Connor adding an element of eccentricity, not only in his theatrical vocal style but also through his peculiar prancing. However, it is the band’s ability to collectively conjure such a roaring reel of tight, dynamic and catchy tracks that is so impressive.

With rhythm guitarist Tamsin and Jaime on lead, Couples can be defined by their multi-layered, immersive and swirling riffs, particularly on their latest releases. ‘Rip ‘Em Out’, the unreleased ‘COAHTR’, and the band’s latest, unnamed track they are currently touring with are truly representative of the quintet’s talent in instilling a tingling ambience. With intricate licks, pounding drum beats and bracing bass, vocalist Connor has a polished platform on which to deliver his sermons.

Leaning forwards with outstretched arms, Connor is surprisingly a consistent grounding stage visual that you can barely tear your eyes from. His charged counterparts however are flickering left to right, allowing their soundscape to blend together, creating a hypnotic performance leaving you powerless to the groove. Before the band had even begun, the audience had tripled in size with the very front section swaying to every introductory note, making it clear that Couples are beginning to culminate a cult following.

The repetition of “I’m just waiting for the click” in ‘COAHTR’ and the eerily jangling lead riff in ‘The C******* Song’ are still bouncing around my head days later. This alt-rock, punk-inspired, indie outfit certainly know how to write songs that linger.

What really does make Couples so exciting is their stark potential. Having seen the band play The Gunners Pub last year and twice just over the last two weeks, Couples just get better and better. As the industry continues to (finally) pay attention to the emerging ‘guitar music’ that is so rife again, I believe Couples possess all the essential enigma to carry them through with their peers.

Catch Couples at Liverpool’s EGBGs this Friday (31st) or the Windmill Brixton on 3rdJune.

9/10

In Conversation with A Certain Ratio

Written by freyathomson on . Posted in Music.

To celebrate their 40th anniversary, A Certain Ratio (ACR) took over YES for a mini two-day festival over 24th and 25th May following the release of ACR: Box, a mix of singles and unreleased material.  The ACR fest saw various bands and DJs scattered across the four floors of YES and included Shadowparty and an Orielles DJ set.

The festival saw ACR play three different sets over the two nights; the penultimate performance saw two of the original members Peter Terrell and Simon Topping join the band for a special reunion.

Donned in a £10 suit from a charity shop, front-man Jez Kerr told me YES had been an appealing choice of venue because “a new place was very interesting to (them)”.  Having played most of Manchester’s venues over the 40 years, it makes sense that ACR would want to celebrate the band’s longevity somewhere new and upcoming.

ACR have always looked forward to the future when making music, and so by hosting a festival in a hip venue and inviting other bands to play alongside them, the band were opening up their music younger generations. Despite their best efforts, the crowd was unsurprisingly and overwhelmingly middle-aged for ACR’s sets.

As a young person, it was interesting to see such an experimental band that have been inspired by genres as far ranging as punk, funk, jazz, disco, and dub, however, I found the first set of the Saturday night a little too avant-garde. But there were certainly some crowd pleasers such as ‘Do the Du’ and ‘Lucinda’.  Their second set was definitely more enjoyable and included favourites such as ‘Shack up’ and a Talking Heads cover of ‘Houses in Motion’.

To fully appreciate and enjoy ACR, having a real grasp of their place in music history is vital as is probably a long-standing relationship with the band as a fan. As I looked about at the older fans who seemed to be lapping every moment up with real adoration for the band, I felt as if I was observing something I could not be fully part of.  Unfortunately for ACR, it is too late for them to attract many younger fans.

The ACR: Box is made up of 53 songs comprising singles, B-sides and some alternative covers of tracks. Jez tells me, “it’s a view of ACR over the 40 years and it’s a really good view”.  The “singles are in chronological order” and the “next 23 tunes are rarities, things that we’d forgotten about”.

Most people, myself included, might assume at first glance that the ACR: Box is everything the band has ever produced, a sort of ‘Greatest Hits’, but in typical ACR style it is clearly much more than that.  The Box offers an overview, which looks back at ACR’s successes while also putting out new tunes for fans to enjoy. It’s more of a statement piece for the band.

40 years is a long time, much longer than most marriages.  When I question Jez about the secret to the longevity of ACR he laughs and tells me “it’s very much like a marriage, you’re sort of stuck in it” but also “we really need each other to produce what we do”.

ACR seems to have a clear ethos when it comes to music: looking forwards and never backwards. And when it comes to running a band: “we’ve always split everything equal”.  Jez believes “it’s the clashes of egos” and “big money” that can make things go sour.  Fortunately for ACR, a strong bond, fairness, and a sole desire to continue to make music have kept the band going strong.

So, what does the future hold for ACR? Rather succinctly, Jez informs me a “new album and just continue doing it until you drop dead”.  After the success of their first 40 years, I don’t doubt it.

ACR’s new album is being paid for entirely by the band members themselves.  As far as I am aware the band are still in the process of producing it so it is currently without a title or a date of release.

6/10

The University of Manchester Photo: Johsua Poh@Flickr

Government report recommends tuition fee cut

Written by Ethan Davies on . Posted in News.

The Augar Review, a report commissioned by Theresa May into Higher Education funding, has recommended tuition fees be cut to £7,500 per year, but to lower the income threshold when graduates re-pay their student debt.

The report also recommends an extension to the debt ‘write-off’ period, from 30 to 40 years. This could mean graduates would have to repay their university debt until nearing retirement in their sixties.

Whilst tuition fees would be cut to £7,500, this rate would only be frozen until the 2023-24 academic year – after this, tuition fees would rise with inflation.

Currently, graduates begin to repay their student loans when they earn £25,725, and can do so for up to 30 years, when their debt is written off. The new report would lower the threshold to £23,000 and extend the re-payment period to 40 years.

Another key recommendation of the report is the re-introduction of maintenance grants, which were scrapped under David Cameron’s government in 2016.

Although the report was commissioned by Theresa May, it will be up to her successor to decide on the future of the proposals, as any tuition fee changes must be passed in Parliament.

In a statement President and Vice-Chancellor of the University of Manchester, Professor Dame Nancy Rothwell, said: “

“The Augar Review of Post-18 Education and Funding in England makes some important and potentially far-reaching recommendations.

“Some of these are welcome, such as support for further education and the recommendation to reintroduce the maintenance grant for disadvantaged students.

“It recommends reducing the cap on undergraduate UK/EU fees to £7,500 (vs the current cap of £9,250) but states that the major gap in funding this would create must be made up by additional Government funding. Failure to create these funds in full would have a significant negative impact on all our students, but especially for those from low income households.

“We were also disappointed to see a proposed freeze on the fees cap until 2023/24. This would have a detrimental effect on universities’ ability to deliver and improve an excellent service for our students in the face of rising costs. The impact of the Review will not be known until it is clarified whether any cut in fee cap will be fully matched by direct Government funding, so this creates some ongoing uncertainties. We will continue to participate in ongoing discussions on this important issue.”

Fatima Abid, General Secretary of the Students’ Union, said: “While the headlines might look good, it’s the details that matter and at the moment it looks like students might be worse off because of these recommendations.

“A cut in tuition fee is meaningless if it means less resources and support for students from the University, and poorer students paying back more money over a longer period.  But I welcome the idea about bringing back the maintenance grant but like many of the reports good ideas it doesn’t go far enough.”

Kashmala Carys, a Molecular Biology with IE student, said: “I do think it is a good idea, or at least a better situation than we have currently. In a government bound by Brexit, it’s nice to know that haven’t forgotten about other important matters which resonate with younger members of the population.

“This is important because we will one day be in their shoes running the country and deserve a right to know enough about the world and thus access to education. This will ultimately help to improve society for the better in the future.”

Photo: yagisu @flickr

Review: The Good, the Bad and the Ugly (Manchester Classic Films)

Written by Tobias Soar on . Posted in Film.

Enio Morricone’s score for Sergio Leone’s 1968 masterpiece The Good, the Bad and the Ugly could easily be one of the most recognisable soundtracks in cinematic history. As epic as it is catchy, it’s the perfect soundtrack to the most famous western of all time — and I’m glad my first viewing of it was on the big screen.

The Good, the Bad and the Ugly is a tale of three gunslingers, Blondie (Clint Eastwood), Tuco (Eli Wallach), and Angel Eyes (Lee Van Cleef), with questionable moral compasses as they race each other to a buried treasure of 200,000 dollars. All three characters are given time to develop, interact and go through complete character arcs over the almost four-hour-long film.

Loud, bombastic set-pieces are contrasted by quiet, sprawling sequences of a gunslinger riding across the desert on their horse. Visually, the film is stunning, using wide angle establishing shots, close-ups on characters, and quick zooms onto objects to tell the story mainly through landscapes and body language.

The importance of the visual and the musical is underlined by the fact that every line dubbed over the English or Italian-speaking actors is ever so slightly out of sync with the image. These lines, however, are clever and sarcastic, bringing legendary quotes such as: “There are two kinds of people in the world those with guns and those that dig. You dig.”

The editing of the film is slow. Fast cuts are used effectively when needed but most shots are long and slow, allowing the action (or lack thereof) to unfold in real time, a directorial decision which I believe adds to the tense atmosphere.

Some of these scenes were shockingly violent and caught be off guard; Angel Eyes beats a prostitute early on in the film and then gets a soldier to torture Tuco in brutal fashion. Sure, the execution is a bit cheesy by today’s standards but the concepts alone are enough to make you squirm in your seat. The climax of the film is the legendary three-way Mexican standoff. The build up is almost unbearable, and the resolution is explosive and satisfying.

Despite being almost three hours long, I loved every minute of the picture. I didn’t know what do expect — or guess who would survive the next gunshot. Leone’s film has stood the test of time and is a definite classic. A masterclass in character dynamics, storytelling and editing, The Good, the Bad and the Ugly has to be seen by any movie buff — I waited way too long to see it, despite my brother pestering me about it for years.

The screening at the Odeon Great Northern was hosted by Manchester Classic Films, run by Fergus Higginson. Through the magic of crowdfunding, Fergus is able to fill a cinema room with classic film lovers. Coming up in June are screenings of Starship Troopers and Big Trouble in Little China. Films were made to be seen on the big screen; for the love of cinema, go like the Facebook page, check their events out and join in the fun!

5/5.

Live Review: Dermot Kennedy

Written by oliviablinn on . Posted in Music.

As the last bit of daylight lit the stained glass windows of Albert Hall, singer-songwriter Dermot Kennedy took the stage with an energetic cheer from the crowd, which continued as he began ‘All My Friends.’ Kennedy originally released the song in 2017 but included it again on his recently-released self-titled album.

Despite having mostly released singles and EPs over the last few years, the Irish musician played a sold out show on Saturday night. Luca Fogale, a Canadian singer-songwriter, supported the night with a folksy opening set.

The show continued with ‘Lost’ — Kennedy’s most recent single — and once the chorus hit, the crowd played their part in belting out the hook, “I am lost this time.” The energy was high in the room, and upon the song ending, spontaneous chanting broke out. “Der-mot! Der-mot!” the crowd repeated, as Kennedy smiled somewhat sheepishly from the stage.

This perhaps fuelled Kennedy’s commanding performance on stage, full of both confidence and humility. With an impressive amount of power, his gravely, passionate voice would fill the hall, but his eyes often remained closed. This small act displayed the connection that he feels to his songs and the sincerity with which he performs. His stage presence felt carefully crafted while remaining authentic.

Supported by a three-piece band, Kennedy’s music combines a variety of elements. His soulful tunes are often infused with hip-hop beats and verses that border spoken word. Often regarding the challenges of the human condition, his poetic lyrics skillfully combine artistry and relatability.

Despite the raw enthusiasm in the room, the crowd’s energy was often misplaced. Pockets of chatter often continued between songs, making it difficult to hear Kennedy’s explanations of his next selection. Conversations often continued no matter what was happening on stage, which put a damper on the experience for other concert-goers.

It is difficult to fault Kennedy for such behaviour, though, as he put on an energetic performance. It would be curious to see if the crowd would have behaved similarly on a different night of the weekend, perhaps with professional responsibilities the next day keeping them in check.

Toward the end of the night, Kennedy broke into ‘Power Over Me’, his most-streamed song. Its popularity was evidenced by the sheer volume with which the crowd belted out the opening line — “I want to be king in your story, I want to know who you are.” With its driving beat and catchy chorus, the song grabbed the attention of the once-distracted room. With the final notes, loud cheering erupted throughout the room. The sustained cheering eventually broke into chants of “olé, olé, olé.”

Kennedy closed out the night with ‘After Rain,’ a song which opened with a simple acoustic guitar. However, as the song built, it provided an opportunity for the singer to display his musical chops once more. Kennedy poured every last ounce of his energy into the driving melody and shredding an acoustic guitar.

The song’s repeating refrain of “you won’t go lonely here” encapsulates what makes Kennedy’s work so compelling. His music provides an opportunity for the listener to sing at the top of their lungs and get caught up in lyrics that remind them they are not alone in their experiences.

8/10.

Cover Art by Hannah Teeger

Review: ‘Truth and Other Associated Works’ by the Creative Writing Society

Written by Urussa Malik on . Posted in Books.

Finished just before the dreaded second semester essays and exams loom, Truth and Other Associated Works, a zine showcasing the work of the Creative Writing Society, is a dynamic representation of over 20 pieces of student literature. The zine is a great format for the work and a digital archive will follow soon after.

One standout short story is ‘That’s Just the Shape of My Earth’ by Jack Greeney, full of conspiracy theories and great one-liners. Based around a conversation between Winstone, the protagonist, and The Agent, it could effectively be converted into a two-act play, and many of its details lend themselves to the stage.

Speaking of visuals, throughout the zine, photographs of Manchester and surrounding areas are interweaved with the written work. I was particularly struck by Harley Weng U Pun’s head-turning images of Manchester, especially ‘The Towers, Owen Park’.

A similar cinematic technique is employed in Lena Horak’s poem ‘Somewhere Else’: ‘Cut. To a scene where the sand is the witness’. The poem moves between the image of the desert and ‘a sea that can’t let go of the shore’.

Now, for a quick run-through of some other pieces: Ellen Garard’s story ‘Three Months Before He Left’ is about the ‘parody of romance’, an ailing attempt at seduction in a tired marriage filled with concise phrases, for example, ‘with all the realism of canned laughter’.

‘Mandala’ by Youssef (Yassin) Abdelwahab is a rhyming poem, loosely based around the structure of a sonnet. My favourite line is ‘Their names are carved on stones while ours endure the sand’ which captures the running emotion of fragility and its connection to legacy in this poem.

Adam Collinge’s poem ‘The Regimen’ captures the quotidian nature of routine which impacts positively on breaking from an addiction through subtle but affecting details like a ‘T-shirt / one size to big’.

The zine begins with a foreword by Chair of the Creative Writing Society, Toreh O’Garro, and ends with one of his poems ‘Sonnet 4: Silent Oh’s’. And it is clear from the quality of the zine, that O’Garro has led the society in a good direction.

The zine was launched at HOME on the 3rd of May, with live readings by the zine’s wide-range of writers. It was a lovely evening of literature and was great to see the zine out in the world, read aloud. And of course there needs to be a big shout out to the editors of the zine, Calvin Cheng, Adrian Kanyoli and Toreh O’Garro, who have clearly worked hard to make all these pieces really shine.

Photo credit: The Guardian online

Pornography: BBC Three lays it bare

Written by joecarroll on . Posted in Lifestyle.

Whether you consider yourself a none-user, casual viewer, heavy consumer or avid abuser of pornography, it’s safe to assume that we have all observed some form of pornographic material in our lifetimes.

With the advent of the World Wide Web in the 1990s and the subsequent development of the multi-billion-dollar adult film industry, many believe pornography is a relatively modern phenomenon. However, images of an erotic nature predate recorded history.  To put it simply, erotic imagery has probably existed for as long as humans have been able to farm – if not longer.

For many, such a widespread societal phenomenon is a source of great intrigue. It raises several questions about the effects of pornography on society: Are certain types of pornography too extreme or unethical? Does pornography affect young peoples’ perceptions of sex and relationships? Are women portrayed as sexual objects in pornography? And what are the ethical implications of certain porn genres?

A recent UK survey shed light on these questions. It revealed that 77% of young men and 47% of young women had watched porn online in the last month. More distressingly, 55% of men admitted that porn was their “main source of sex education”. 50% of the female participants agreed pornography “dehumanises women” and 51% of participants said pornography centres on “male pleasure”.

A recent BBC documentary, Porn Laid Bare tackles these issues in much more detail. The show follows six young people, of differing opinions and viewing habits of pornography, travel to Spain. For two weeks they explore the ins and outs of the Spanish porn industry. I had the opportunity to catch up with one of the six, 21-year-old Cameron Dale – a “casual viewer” of pornography.  He regales me with some of the more disturbing stories from his trip.

One scene showed Cameron and two others witness a group sex scene. It featured a 19 year old girl have sex with 20 men, whom she had never met before. All male participants wore a variety of strange masks to conceal their identities and only one man was willing to speak to the crew. Cameron confesses that it was “one of the worst things” he has ever seen.

The film was produced by a notorious Spanish porn kingpin, Torbe, a man previously accused of harassment and distributing child pornography. Torbe’s irritation grew as the group stopped the filming to question the feelings of the female actress, as did his reluctance to comment on the implications of his type of porn on viewers. Cameron also mentions how, off camera, some of the men in the film began to get confused about the nature of the group’s questions, becoming more and more irritated as they stopped filming to verify the girl’s identity.

He suggests to me that he thought there was “more going on than meets the eye” and tells me that the 19 year old girl expected half that number of men on the shoot. He also tells me about seeing a “seedy, small room” where the actress stayed in the hours leading up to the shoot.

On the trip, the group also met Rob Diesel, another adult film producer and actor. During the documentary he appears to adhere to ethical standards of porn production as he demonstrates to the group on their initial visit. However, we later find out that he creates and stars in adult films referred to as “public disgrace videos”.

These types of films generally involve humiliation and degradation of one of the actors, who are usually female, in a public area. When questioned about this kind of porn, Diesel says that he “doesn’t think this type of porn is harmful” and that “the film crew are careful to avoid families seeing the filming”.

Despite his claims, Diesel’s public disgrace videos show onlookers on one of the documentary clips. Cameron had the chance to visit one of the filming locations post-filming. He confirms “there were lots of people, even children there”.

The trip also revealed the feminist potential of the porn industry. The group had the opportunity to meet a female porn producer “Erika Lust” who  specialises in “ethical pornography”. Lust’s films focus as much on female pleasure as on male pleasure. She tells the group that she wants to “empower” women and to promote greater equality amongst the porn-viewing community. Certain genres of adult film are a potential solution to the largely male-centric depictions in pornography.

Cameron expressed his feelings regarding pornography after having witnessed it first-hand. Like many other commodities, pornography seems “largely ethical” but there is “a darker side and potential for abuse”. Cameron reminds me of the harassment that can happen behind the scenes, as well as risk of STIs from improper screening of actors.

In addition, Cameron expressed worry about the impact of pornography on the viewer. He felt that “pornography is being used as sexual education” rather than simply a “stimulus”. He voiced his concern about the effects on “young men and women” who “may see porn and think it is what real sex should be”.

“Men and women may compare themselves to the actors in the film or harm their sexual partners, mentally or physically”. This stems from “watching more aggressive types of pornography”.

Three episodes of the documentary are available to view on BBC iPlayer. Each explores a different issues related to pornography. As well as the varying viewpoints of the six colourful characters in the show. Laughs are shared, tears are shed, and perspectives are transformed at every turn.

Photo: No attribution required

Green, yellow, red?

Written by oliverstorey on . Posted in Opinion.

Although one cannot dismiss the significance of the recent council elections, the EU elections approaching are of much graver importance. Beyond the various talking points of regular European elections, the 23 May election is practically, if not actually, a second referendum – which is forcing us to prioritise the issue of Brexit above all others.

Voters on both the right and the left are deciding their allegiances based on this polarising issue, pushing them away from the two main parties. The right vote is unevenly divided between the Brexit Party and UKIP. The left vote, more-well spread, is split mainly between the Liberal Democrats, the Greens, Plaid Cymru, and the Scottish National Party.

The left’s diverse opinions are a disadvantage in these circumstances as we fail to represent a united opposition, leaving the Brexit Party polling in the lead ahead of the elections. In this case, our Remain leadership has failed to summon the political acumen necessary to oppose this rapidly advancing far-right surge. Instead of being so split, the left should stand together on a single ticket and aggregate their collective electoral power. The incompetency of the part of the remain parties is glaring; vastly improving the chances of the Brexit Party.

Now Remain voters, such as myself, are wondering how we can most effectively oppose Brexit in this next election.

Labour’s flimsy Brexit stance is adding fuel to the flames of distrust, which are fanned so eagerly by Nigel Farage and heating our public discourse to dangerous temperatures. Never mind the Parliamentary arithmetic, they should not be abstaining in as a Leave-Remain limbo and allow a second referendum to happen accidentally. Their lack of a firm position on Brexit has not been mirrored by their commitments to other matters such as austerity.

Remain voters are therefore left with a narrowing scope of choice. The Liberal Democrats and the Greens, and the Scottish and Welsh national parties are the only viable options on the left, yet with stark policy differences. Whilst the first two openly support a second referendum, the SNP have a particularly agenda which could mean another independence vote ad further national division.

I personally have had my attention drawn to the Green Party, with our looming climate breakdown threat, it is their party that speaks the loudest. And it is pleasant to see Labour warming to their radical policies, and perhaps a vote for Labour would be more effective; carrying more weight given their size compared to the Greens.

However, in this election, my primary consideration has been over-ridden by Brexit and the immediate crisis of surging far-right extremism in politics and the fascistic tendencies this has brought up. These facts make opposing Nigel Farage’s anonymous, and unaccountable political machine imperative if we wish to reverse this rot in our democracy and society.

Similar to the council vote, the outcome of these EU elections will be interpreted as either a legitimisation, or not, of Brexit. It is imperative the Remain bloc, as the anti-Tory vote did in the 2017 General Election, employ our vote as powerfully as possible.

Casting my vote on the 23 May, these pressing issues and which party answers them most effectively will be in my mind. Which party commands the votes Labour are losing? The Greens, although represented equitably under the Proportional Representation system, will not pose the electoral weight of say, the Lib Dems, unfortunately.

Lending the Liberal Democrats your vote will ensure it is most effective, boosting Liberal Democrat majorities and challenging an explosive Brexit Party, which is consuming a nationalistic swell of electoral support. We must prevent this party from damaging our democratic interests in Brussels and at home; we must show by our public vote that this country’s public does not condone the growing far-right tendencies of Nigel Farage and his supporters.

Photo: The Mancunion

Breakfast brilliance: Dishoom reviewed

Written by Ethan Davies on . Posted in Food & Drink.

Dishoom is a relatively new Indian restaurant in Spinningfields, attempting to provide a tradition Irani cafe dining experience. Irani cafes have thrived in the Indian sub-continent since British colonial rule, when Iranian immigrants were fleeing Islamic intolerance of their Zoroastrianism in other parts of Asia.

Centuries on, the legacy of the Irani cafe has come to Manchester, where Dishoom opened their first venue in the UK outside of London. They created a huge buzz around their evening menu in the latter stages of 2018. Some months on, Dishoom have introduced a re-vitalised breakfast menu. The morning selection aims at replicating the same Irani cafe experience for your earlier routine. Whilst Indian food is no stranger to the UK, it’s fair to say breakfasts from the country haven’t quite got the same mass-market penetration as an evening curry. Could this be the start of a new movement?

On arrival, we were welcomed by a warm smell of burning incense. A nice touch, acting as a sort of olfactory palette cleanser as you stepped away from dirty bus fumes and smouldering cigarette-ends. The atmosphere was casual and understated but lively enough. On entry, a small business meeting was in full swing, as was a Made In Chelsea style post-yoga catch up.

Having been led to our table by friendly and polite staff, we were knowledgeably talked through the menu by our waiter, who proposed we order the chai hot chocolate to sip on.

It was a fantastic recommendation.

Full of flavour and a well-balanced kick, the chai hot chocolate was a great way to start off the meal.  Perhaps a drink more suited to winter months, it was nevertheless delicious enough to excite our tastebuds in anticipation of the food which had just been ordered.

We also tried a monsooned catuai coffee. Again, this was well-balanced and didn’t fall foul of the bitterness that some ‘authentic’ coffee beans can provide. The addition of coffee cream was a welcome one.

For food, we decided to cover our bases by selecting something adventurous, and another with a more Anglo feel. The egg naan roll provided a Brit-inspired balance compared to the soy keemu per eedu – both were peerless.

The egg naan roll was as much as one would expect, but succeeded in this simplicity. Saffron-coloured yolks were encased in a beautifully baked naan to combine to provide a meal of good consistency. The naan soaked up the yolk well, and also didn’t crumble at first sight of any moisture like your usual store-bought affair.

Photo: The Mancunion
Photo: The Mancunion

The egg naan roll was also served with tomato ketchup on the side, and I would encourage anyone ordering it to make use of it. Certainly not something you’d find in a sachet. The tomato sauce added a level of sweetness to match the savoury nature of the egg and naan. It made for a dish which made your taste buds pop and also filled you up – the hallmark of any quality breakfast.

Onto the soy keemu per eedu. This dish was the equivalent of a hug from your mum. Warm, full of heart, and something you can’t really say no to.

Spiced soy keema (a mince-like texture) beneath two fried eggs was combined with a helping of crunchy sali crisp-chips for a terrific taste. The spice added to the keemu kicked you hard enough to wake you up, but not so hard that you’re aching for the next half hour. This was achieved with the eggs, which were fried just as well as they were in the naan roll. They not only kept the keemu warm throughout, but dolloped in some welcome familiarity. The mellow flavour of the eggs also tamed the keemu’s spice to a level whereby even madras-avoiders such as myself could wolf down plates of the stuff.

Photo: The Mancunion
Photo: The Mancunion

Freshly toasted buns were the perfect side dish. These provided the foolproof mopping agent for all the flavour come the end of the plate.

A truly brilliant breakfast, complimented by knowledgeable, polite staff who left no stone unturned in the dining experience.

10/10.

Photo: The Mancunion

Oxford Road re-opens after traffic collision

Written by Ethan Davies on . Posted in News.

A section of Oxford Road near to the University of Manchester has reopened following a collision involving a bus.

A police cordon was in place outside University Place.

Transport for Greater Manchetser tweeted the news of the re-opening just after 5.30pm on Tuesday afternoon.

In a statement, Greater Manchester Police said: “[Police were] called at 4.10pm to a report of a collision between pedestrian and bus at St Peter’s House, Oxford Road.”

A “woman was taken to hospital with serious a injury that’s not believed to be life threatening”.

Stagecoach Greater Manchester tweeted about the incident, saying numerous services had been diverted in both directions in and out of the city centre, with services travelling down Hathersage Road and Upper Brook Street. First buses had also issued a service update on Twitter.

Student, Shivani Kaura, said: “Two ambulances arrived at the scene really quickly, but one left very quickly. Everyone got off the buses because people were told they wouldn’t be moving any time soon.

“The buses in the queue were told to turn around and head down the other way.”

Photo: Gareth Rees, Madlug

Madlug: Life goes inside

Written by Victoria Evans on . Posted in Lifestyle.

In 2015, Dave Linton registered Madlug as a social enterprise. With a small sum of £500 to finance such a quest, Madlug luggage brand was born with a vision; to give dignity to children in care.

Dave’s background as a youth worker and respite foster carer prompted him to conceptualise the brand ‘Madlug’. After seeing first hand many children transporting their belongings in bin bags, he knew he had to do something to fix the problem. Madlug’s strategy is simple: ‘Buy One, Give One’.  With every bag purchased, they give a bag to a child in care.

An acronym for ‘Make a Difference Luggage’, Madlug is quickly becoming a recognisable brand and an effective way to communicate a story. Surprisingly, only two people currently run this enterprise. Dave Linton and Gareth Rees’ work is touching with a phenomenal goal in mind. This is undoubtedly how they have seen so much success in the first four years.

Northern Ireland is not known as a hub for brand innovations, so it has been a creative working progress to date. Part of the manufacturing process takes place in Belfast, allowing for the production of local and more ethical stock. With the help of Queen’s University, Belfast (QUB) students and various pilot schemes, Madlug has expanded since 2015 to create and give more bags in Northern Ireland and the UK.

To date, Madlug has produced over 5,000 bags across the UK with current finances set in place for the distribution of 10,000 bags. To put these figures into perspective: there are 90,000 children in care in the UK; 3,000 of which are in Northern Ireland. So far, Madlug has donated over 1,000 of the bags to kids in the Northern Irish care system. Dave and Gareth are about to send 1,000 more bags to a local authority in England.

And, with plans to go into charity partnership, the brand shall continue to multiply its distribution. Although the company gives the bags directly to local authorities, young people and foster carers can also request bags directly from the website. Bags are unbranded to avoid stigma, but say “you’re incredible” when folded up – exactly the message the brand seeks to promote.

For purchasers, a plethora of backpacks, gym bags, luggage, and smaller day-packs are available. They come in a variety of colours, making the brand a versatile and worthwhile choice. There is something to suit everyone’s tastes.

Madlug’s marketing success owes much to the impact of social media – Instagram in particular. Dave told me in four years they have spent no more than £8,000 on marketing. This is a comparatively small sum to that of other businesses. Instagram has allowed the brand to expand, offering a platform for organic marketing. The increased content of #madlug posts capture travellers and their Madlug bags, far beyond the UK. The virtual and physical worlds are thus exposed to Madlug, creating further opportunities for dialogue.

The objective of the first four years was to begin to tackle the bin bag situation. Dave and Gareth want to continue to grow. Their goal for the next five years exceeds raising the funds in order to do so.  There is a focus on growing the brand as a non-verbal symbol of communication. As a visible marker of empowerment, it is not just about funding the bags. It is about ensuring the brand becomes a physical metaphor displaying care.

There is one child in care moving every fifteen minutes. By purchasing a Madlug bag you will be helping to minimise the amount of kids transporting their few belongings in bin bags. By dually giving and conveying a message, you will be ensuring that every child in care is helped to feel valued and incredible.

Photo: courtesy of HOMEmcr

Review: Thunder Road + Q&A

Written by Luca Mariani on . Posted in Film.

Thunder Road is a wild journey through the grief riddled unravelling of a police officer’s life. This may seem unlikely, but the film is a comedy – the shift in tones from sad to comedic throughout the film is amazingly balanced.

Jim Cummings, the actor, director and producer of the film, is a phenomenal actor for a man who claims not be one by trade. His use of body language and facial expressions really help set the tone in scenes. The film, at its core, explores the idea of dealing with grief and toxic masculinity.

Originally a Sundance-winning short about a police officer dealing with grief, the film turned into a Kickstarter-backed production which was filmed in 14 days in Texas. Now, the film is a box office hit in France. Thunder Road is definitely a DIY project, with Jim Cummings making the movie poster, soundtrack and trailer by himself on his laptop. In the Q&A session which followed the film Jim spoke about how he wanted to see how far one artist could go with just a laptop and their own creativity.

 

Writer Luca Mariani posing with director, producer and star of Thunder Road, Jim Cummings
Luca Mariani posing with director, producer and star of Thunder Road, Jim Cummings

The soundtrack has a sombre cello which helped to add a greater sense of grief throughout the film — the choice of a string instrument was inspired by Moonlight — and it also features Cummings playing the ukulele. The recording studio was a mic in a fortress of mattresses, adding to the DIY production style. The song Thunder Road, where the film gets its name from, is not included in the feature; this was directorial decision which I believe made the film more powerful.

The movie was constructed of multiple long shots with short scenes sprinkled in the middle. This was done intentionally for it to feel more like a police officer’s job – long stretches of boring periods and then quick action. Cummings also favoured long shots due to them being something which can only be captured once and are full of natural emotion. He didn’t want to have to edit scenes together to artificially make the audience feel a certain way.

Cummings’ inspiration for the sad and funny tones in the film were Pixar films. He enjoyed the way they were able to teach a powerful message and also remain funny to keep the audience engaged — the film definitely keeps the viewer engaged, particularly in those awkward moments when they don’t know whether it is okay to laugh at certain points as they feel so bad for the main character.

Cummings plays a character flipping from a façade of “everything is okay”, to depressed and on verge of a breakdown in a matter seconds. This performance brings out a lot of emotion and will having you laughing to tears at points.

The supporting actors also did a great job of keeping the tone of the film. Cummings spoke about how he records the whole script for the movies he produces as podcasts to help his crew and actors understand the emotion in different scenes, which has resulted in a film witch switches between sad and funny tones smoothly.

Thunder Road is a must see, which will keep you captivated from start to finish.

4/5.

Photo: Tobias Soar

Review: Grimmfest “Alien Invasion” Double Bill

Written by Tobias Soar on . Posted in Film.

It’s fair to assume that the alien invasion sub-genre of sci-fi/horror is perfect for trashy, late-night film channel programming — but the genre is also home to some of the best films in horror.

From The Thing to Invasion of the Bodysnatchers, the alien invasion trope has some true gems in it, however it’s a real shame that trash films, like the 2005 Steven Spielberg remake of War of the Worlds, have tainted the legacy of the genre. The Grimmfest crew paid homage to two of the best alien invasion films at the Plaza, Stockport.

The first film on offer was The Faculty. The premise is cliché: aliens slowly infiltrate an American high school and our protagonists have to put an end to it to save their school and the world. The protagonists are also stereotypical — and their dialogue is too — but there’s some charming self-awareness to the 90s alt-rock soundtracked story featuring Elijah Wood pre-Lord of the Rings fame.

The Faculty is dumb, predictable, and a damn good time. I was laughing out loud for some scenes and it left me feeling fuzzy and warm.

To contrast the stereotypical American flick, Attack the Block was shown next. These two films couldn’t be more different from each other, Joe Cornish’s 2011 film is a clever yet accurate portrayal of South London street life.

Right off the bat, the film opens with a gang of teenagers, led by John Boyega, whose mugging is rudely interrupted by an alien falling out of the sky. Instead of running, the cocky youngsters hunt the alien down, killing it and presenting it to the block. As hundreds upon hundreds of aliens crash down into London, the classic trope of “the hunter becomes the hunted” is broken as a mutual hunt ensues.

Well-written, beautifully shot and well-paced, Attack the Block is a true testament to fine British horror, proving that a haunted old house in the middle of the countryside might be safer than a South London council estate.

Grimmfest monthly screenings return on 23rd May with the “Killer Thriller Double-Bill”, a back-to-back night of American Psycho chased by the classic Psycho.

The Faculty: 3/5.

Attack the Block: 4/5.

Photo: Authorised Press Shot

Preview: Slam Dunk 2019 NORTH

Written by Georgina Davidson on . Posted in Music.

A newly located, fantastic, and future proof festival for all things punk, metal, and rock is finally hitting the North in the bustling and busy student town of Leeds.

Slam Dunk Festival arrives this year in a brand new location at Temple Newsam Park. This new location takes the festival out of its original home in the city centre venues within Leeds. It is a similar move to the likes of Tramlines Festival (re-located to Hillsborough Park for the 2018 season) which will see an expansive number of stages located on one single site.

The Monster stage holds host to some huge names in pop-punk such as Baltimore quartet All Time Low who are set to perform a highly anticipated set this year.

Their set will feature an array of tracks across their vast discography spanning over a decade’s worth of work. From their first full length studio album, 2005’s The Party Scene all the way to the later releases such 2017 Last Young Renegade it becomes clear that there is a lot of material to work with and get stuck into.

Many people are quick to question their positioning on the bill but if ‘Dear Maria, Count Me In’ does not stir some pop-punk nostalgia then I would argue nothing will. I would be lying if I said that I would not be singing just a little from the back of a no-doubt raucous crowd. No matter how far their sound changes, there will still be a dedicated fan base in attendance, so I would recommend getting there early to bag a decent spot – as with many of the other headliners.

At this stage, you will also find punk band Neckdeep, Simple Plan, and the likes of Boston Manor. A band that is at the top of my pick list here though is electropop-punk band Waterparks. The group’s second full-length album, 2018’s Entertainment, is full of punchy and anthemic pop-punk tracks that combine the raging force of punk ferocity with vocoder vocals to create frankly stunning results. I am intrigued to see if the quality translates live.

Another stage that is set to host some exciting bands is the Jagermeister stage with headliners Bullet for My Valentine, Story of the year, and Silverstein to watch out for. At the Impericon stage, you will find headliners New York’s alternative metal band Glassjaw. This band combines relatively light rock sound guitar riffs with gritty metallic vocals. Highlights at this stage include Turnstiles and the purely explosive energy of Knocked Loose earlier in the afternoon.

Over at the Marshall stage, you will find new wave pop punk band Trophy Eyes. Their blend of extremely literal lyricism and pop-punk with a contentious brand of narcissism is highly entertaining and their new releases look very promising.

Another highly entertaining act that can be found at Dickies stage is Milk Teeth. Fresh from their latest tour with the phenomenal punk rock band PUP, they are more than ready to take this fantastic spot. Tracks such as ‘Owning your Okayness’ and new release ‘Stain’ sound great live and only time will tell if their fantastic group dynamic shines in the festival environment.

For more information on the other stages and bands, and ticket information, head over to the Slum Dunk website.

Photo: The Mancunion.

UoM confirm end of ResLife Officers

Written by Ethan Davies on . Posted in News.

Residential Life (ResLife) Officers and their Deputies are to be scrapped this summer, The Mancunion has learned.

The news comes just weeks after the proposed restructure to ResLife was delayed by a year, pending further consultation with University staff.

This could effectively mean those ResLife Officers (RLOs) and Deputy ResLife Officers (DRLOs) in post currently could be left without housing by the end of summer. They will be replaced by ten ResLife Co-Ordinators (RLCs), which will all “be open ended positions”, employed by the University.

The RLCs will not follow the same system as RLOs and DRLOs did, whereby each Hall had their own RLO/DRLO. Instead, the ten RLCs will share the responsibilities of looking after the 17 Halls between them.

In a document explaining the changes to ResLife staff seen by The Mancunion, the University confirmed the RLCs’ “hours of work will not be fixed in order to ensure that they are available to support our students as and when required”.

The RLOs and DRLOs replaced the wardens and deputy wardens in the summer of 2016, in an effort to standardise the way pastoral care is delivered in Halls.

The document also confirmed the end of NRLAs – Non-Residential Life Advisors.

The original restructure proposals outlined plans to have ‘engagement’ ResLife staff, who could have been  made up of both undergraduate and postgraduate students, living-in with first years.

This drew fears from current ResLife staff that undergraduate engagement staff could be overwhelmed by the support needs of first-year students, pointing to the fact that they could be as young as 19, and in some cases younger than the very students they are meant to support.

The document additionally addresses concerns of older Halls’ staff, who feared the changes would bring to an end their unique customs and cultures, by saying: “Each catered hall will have a named RLC and/or member of the senior Res Life Team associated with it and there will be an expectation that this individual participates in the wider life of the hall as appropriate”.

Alongside this, the document says the University will launch a pilot of ‘SafeZone App’ from September 2019:

“This allows for students to ‘check in’ with someone 24/7 across campus areas quickly and discretely call for assistance. This will also ensure the University can keep students up to date as it received notifications in case of an incident”.

The document also reveals that it is “in advanced discussions to implement an online out of hours mental health support service from this from September 2019”.

Additional training is also hinted at for staff.

At the final edition of SU Senate, members voted to consult with the University over the plans, rather than oppose ‘all’ changes as was originally proposed.

Robert Boddy, who proposed the original motion and Chair of the St Anselm’s JCR, said: “I think it’s very unfortunate the direction the University is going down. Not only are they losing a wealth of experience of people who have been living and working in halls but they are changing the role of ResLife from something that people sign up to voluntarily, something they do to contribute to student communities, to just an ordinary job.

“Much of what made ResLife successful was that the people in RLO and DRLO positions had experiences outside of halls, such as being academic or administrative staff, that enabled them to give better care to students in halls. With these changes I’m not sure that the care will be quite the same quality.

“There was a clear voice from students, staff, and alumni that there were major concerns about these changes but obviously the University has gone ahead with them anyway.”

Shamima Khonat, SU Communities, Citizenship, and Campaigns Officer, said: “The SU does support the change to full time residential life positions. We received the news late last week that they have decided to increase the amount of these positions to 10. This is great news for the SU and we think this will benefit students. However, we need to ensure the staff members recruited are able to build a rapport with students.

“We are aware the RLA changes have been put on hold until 2020. This gives us more time to influence Brendon [Jones, ResLife Manager]. We’ll be speaking to him again to see where the discussions are at and relaying the feedback we’ve received through working in collaboration with stakeholders.”

When asked if the end of RLOs meant some staff would be effectively left homeless in August, a University of Manchester spokesperson said: “RLOs and DRLOs have been offered three options in relation to their accommodation. We will continue to work with the team to ensure they are able to source appropriate accommodation. Whilst their contracts will end on August 31st the options offered allow for extensions in relation to their accommodation to either end of December 2019 or end of March 2020.

“The proposed changes to SRLAs and RLAs have been postponed with further consultation and focus groups being planned with a view to making any proposed changes for September 2020 intake.”

Students' Union

Final Senate of the year ends abruptly

Written by Ethan Davies on . Posted in News.

The final Senate of the year ended abruptly last night after a number of attendees left halfway through.

Six key proposals, such as Reclaim The Night reform, could not be voted on and will now be considered in September.

Senate is the highest decision making body in the Students’ Union (SU) and operates a system of quoracy, meaning attendance must meet a threshold before anything is voted on.

The only policy of the night that was voted on by Senate related to the controversial new ResLife changes and would have bound the SU to oppose all proposed reforms.

The policy passed by 76% but not before an amendment was laid down by General Secretary Fatima Abid that effectively changed the whole motion. The amendment also passed by 72%.

Community Officer Shamima Khonat presented the amendment, which argued that the SU should not oppose ‘all’ proposed changes but instead aim for a ‘collaborative’ approach. General Secretary Fatima Abid argued that the SU would “shoot itself in the foot” if it had to oppose ‘all changes’ – as it would effectively tie the hands of the 2019/20 Exec Officer team into not being able to negotiate with the University over ResLife’s reforms for the good of students.

The SU will no longer oppose all changes, but demand that students who live in halls have “input into any and all future proposals” for changes to ResLife and “any other matters” that related to halls.

Meanwhile, during her final State of the Union address to Senate, Fatima Abid gave an update on the letter sent to the NUS Returning Officer asking to re-open elections for candidates accused of misconduct. In March, Senate held an indicative vote asking her to send such a letter.

The NUS Returning Officer rejected calls to re-open elections, due to an absence of evidence of wrongdoing. This means that all winning candidates will join the Exec Officer team as planned in the Summer.

The Scrutiny Committee also presented its report into the conduct of Executive Officers throughout the year. It noted that whilst the vast majority of officers had done a good job throughout the year, some officers lacked a basic level of professionalism in not sending apologies when declining to an interview.

It was noted that some officers were doing things that were outside of their remit and recommended that officer responsibilities should be more clearly defined and stuck to.

Other newsworthy announcements made by executive officers included the cancellation of Manchester’s student-run festival Pangaea and the relocation of the International Society back into the SU.

In the run-up to this edition of Senate, it was revealed that two Exec Officers – Women’s Officer Sara Heddi and Liberation and Access Officer Sara Khan – had not spoken to one another since Khan claimed February’s Reclaim The Night (RTN) march, organised by Heddi, was “cis-normative”.

However, as there was no time to debate and vote on the Reclaim The Night motion, it remains to be seen if the issues will be resolved before September. As Heddi leaves the SU in the summer, it remains to be seen who will defend the existing organisation of Reclaim The Night, if indeed anyone will at all.

This edition of Senate was pushed by a week from its original 9th May date, due to fears of staff burnout during celebrate week.

You can read The Mancunion’s full Senate coverage, as it happened, here.

By www.vitastudent.com via Flickr

Manchester Students’ Union May Senate: As it happened

Written by Josh Sandiford on . Posted in News.

Hello and welcome to The Mancunion‘s May Senate Liveblog.

Senate is the highest decision-making body in the SU and we’ll be here to bring you all the news as it happens.

On the agenda tonight we have: Reclaim The Night reform, plans to oppose ResLife, potential changes to joint degrees, and a motion proposing more support for BME students amongst others.

It could be a controversial one, an amendment to the ResLife bill could effectively change the whole motion if passed. The amendment is proposed by Fatima Abid, General Secretary which could prove to be her lasting influence on UoM as she leaves in Summer. The Mancunion understands that Community Officer Shamima Khonat could present it.

Stay with us and catch all our updates below.

Mobile users can view the updates on our Twitter page.