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Month: May 2019

Photo: UMSU

Pangaea “cancelled for good”

Written by Ethan Davies on . Posted in News.

Pangaea, the student-run festival held at the Students’ Union (SU), has been “cancelled for good”, according to SU Activities Officer Lizzy Haughton.

Haughton told The Mancunion: “The cancellation of Pangaea, while it is sad to see it go, was the right decision.  Based on the feedback that we’d received and declining ticket sales it’s right to call it a day.

“However we’re committed to working with students to creating something bigger and better for next year.  Personally, I’m interested in working with the University to create a more educational side to it, as well as getting workshops from the founders of some of the biggest festivals in the UK.

“We would like to take this opportunity to thank everyone who made Pangaea special, and to ask all students, especially those for whom this would have been their last Pangea, to join the team in creating something new and incredible next summer.”

Haughton, in her regular report to student Senate, added: “One of our options at the very beginning of the year was looking at whether the branding of the festival had died a while ago, and what we could do to revive it, one of the options being to call it off entirely and create something new. We thought we’d give a go at reviving it but it became apparent that there was no interest – the students who had once enjoyed it had all graduated.”

Haughton continued: “With a heavy heart we say goodbye to Pangaea as we once knew it – and we’re making way for an incredible opportunity for students to create their own festival”.

At Senate, she also indicated a new student-run festival for next year with a different name and format will be planned and held.

Pangaea has previously been beset with controversy, after The Mancunion revealed back in early 2018 the festival had lost £120,000 in 18 months. At that time, SU staff warned that if Pangaea continued to lose money at the same rate from summer 2018 onwards, the festival was in real trouble – which has proved correct.

The festival has been running since 2006, and has played host to notable acts over the years such as Example, Craig Charles, and Voodoo Ray.

Chloe Hatton, final year English Lit and French student said: “I think it’s really sad it’s gone as it’s a cultural institution. It’s a shame to see it go. I have some fond memories from there.”

Shivani Kaura took a different view: “Pangea always had a mediocre line up, it was great if you wanted to make friends in freshers’ but why spend so much money when you could probably get the same night out in a club in town, with cheaper drinks, and without having to wear silly outfits.

“It might be fun for some, but £40 a ticket was ridiculous when you could see a great act at the likes of Warehouse Project for sometimes cheaper and the night would last longer.”

Photo: Kieran Hanson

Review: The Soldier’s Tale

Written by ellamarsden1 on . Posted in Theatre.

The Soldier’s Tale unfolded with an instantaneous grip on its audience. Stravinsky’s dance score was paired with C.F Ramuz’s poetic libretto to soul warming effect. This blend of music, dance and drama was not only memorable, but a charitable performance (all profits to The Royal British Legion).

A soldier (Matthew Quinn) trades in his life, soul and joy in the form of his violin to the devil (Rosie Thackeray), for a book that can provide him with endless wealth and success … or so he thinks. Exploring the subject of human greed and our incessant attempts to ‘have it all’, The Soldier’s Tale has a mysterious timelessness and feels strikingly relevant in an age of Trump and technology.

Stravinksy and C. F Ramuz devised this play intending it to be a cheap, easily portrayable re-working of Afanasyev’s Russian folk story. This stripped-down form of theatre leaves plenty of potential for innovative dramatic re-working, and director and choreographer Eleanor Lang did not disappoint.

The actors moved deftly in and out of the performance space, often sat with the audience who were in rows at both sides of the room. From the offset, the inclusive staging and bright open space was fresh and involved, giving the performers no room to hide (which they absolutely had no need of anyway).

Photo: Kieran Hanson
Stills from the filmed performance, credit: Kieran Hanson

 

Despite the abstract rhythmic script, the naturalistic performances gave an accessibility and shrewdness to the characters, providing the text with the weight and nuance it needed and deserved. Freya Parry’s excellent narrative voice was calm and collected, yet equally emotionally invested in proceedings. Matthew Quinn gave the dissolute soldier a sort of naïve charm. Rosie Thackery’s cunning devil scarily suggested that character is the most intelligent of them all. As the princess, Eleanor Lang stunned with her dance solo. Her balletic poise throughout the contemporary dance was broken at moments to great effect. Her expression and emotion shone through the movement.

It was clear that conductor James Gillett led the score skilfully and precisely. The music, played with gravitas, was infused with raw melodic fragments and driving rhythms. The brilliance of the performance lay in the starkness and darkness created by the music and the performers. This atmosphere was needed for a tale of a man who sells his soul to the devil, yet the production still retained elements of sarcasm and tongue in cheek. The witty moments of the play lifted it above its own darkness for a moment, before plunging back down, taking the audience with it.

The simplicity of the dramatic trappings and interesting choreography was enough to give the story everything it needs. A lavish performance of The Soldier’s Tale would miss the point that this rendition demonstrates so beautifully.  Sharp, biting and brilliant – The Soldier’s Tale left nothing and everything to the imagination.

 

Photo: Josh Telles ' Manchester International Festival.

MIF19: David Lynch Preview

Written by sassholmes on . Posted in Film.

“I was talking to Auntie Em, and she said there’s no place like HOME.”

It’s nearly summer in Manchester, which means the city is gearing up for its biggest biennial arts event of the year: Manchester International Festival – a feast of theatre, film, music, and art. This year sees influential collaborators from all walks of creative life, including Maxine Peake, Skepta, and excitingly, David Lynch – the very person who remarked at the power of home.

David Lynch is an awe-inspiring artist whose work fuses sound and image to create uneasy atmospheres and conjure an experience for the spectator, one that’s both unnerving and intriguing. Over all artistic platforms Lynch regularly pushes at the boundaries of an audience’s expectation and transports us to a place buried on the cusp of dreams. Known extensively for his films and the 90’s television series Twin Peaks, Lynch has created a gargantuan catalogue of art that will be appreciated, displayed, and absorbed during this summer, when his work takes over multi-arts complex HOME from July right through to September.

Lynch began his creative endeavours as a painter in art school, studying fine art and exploring the use of mixed media canvas work. Throughout his career, David Lynch has continued experimenting with visual art, utilising texture and contrasting colour with darkness to depict landscapes, the human body, and interior spaces (both within indoor structures, and the human mind).

The takeover at HOME will harbour art exhibition My Head Is Disconnected, the first major UK exhibition featuring sculptures and wall-art exploring industry, dreams and the dark, that will be free to explore until September 29th. Professor Sarah Perks, the curator of My Head is Disconnected said: “David is an artist in the widest sense, whilst curating his prolific and fascinating body of visual art work, I became more and more conscious of his tight relationship between forms, and the importance of
sound and music in his oeuvre”.

At art school, Lynch first discovered his love for the moving image, and in the late 60’s created moving projection Six Men Getting Sick. This projection loops the visceral abjection of six men with a blaring siren, a loud and vivid piece that began his journey into film-making. During the takeover at HOME you will be able to catch rare screenings of Lynch’s short films, and discover where it all began.

But how did this transpire into the films we know and love today? Inspired by the likes of The Wizard of Oz and Sunset Boulevard, Lynch’s cinematic works shows a preoccupation with the paper thin partition between fantasy and reality, exploring the seedy underbelly of life and what happens when our world slips into a realm of unease.

Throughout the takeover, HOME will be showcasing a season of Lynch’s True Favorites, a selection of movies displaying his inspirations, as well as all of his own films, stretching from 1977 debut Eraserhead, to 2006’s digital beast Inland Empire. If you’re dipping your toes into the David Lynch pond for the first time, on Sunday 18th August there is screening of Blue Velvet (1986) with a post-screening discussion, and on Saturday 24th of August a showing of Mulholland Drive with an introduction – both of these films alongside intelligent and exciting conversation being a great gateway into his world.

Perhaps most exciting for the festival are the three consecutive evenings of live music mid-July, inspired by Lynch’s work. All evenings have the pleasure of staging Chrysta Bell, longtime artistic collaborator with Lynch, who has appeared as FBI Tammy Preston in Twin Peaks: The Return and has produced the most beautiful studio albums. A voice both haunting and sensual, Chrysta Bell’s vocals seem to audibly take us to a realm like Lynch’s films do, somewhere new, strange and beautiful. Not only is her voice incredible, Chrysta Bell puts on a show as she commands the stage and holds all attention, and is one not to miss. Anna Calvi will also perform tracks from across her career in a rare, intimate solo show, joined by Dorset singer-songwriter
Douglas Dare (Friday 12 July).

The Lynch takeover is guaranteed to be a banquet of peculiar and uncanny delights, and with such an array of events taking place over the upcoming three months it would be hard to not get submerged under the wave of mystery and intrigue that his art creates. In the words of Special Agent Dale Cooper; “I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange”.

Links to all the events, with dates and ticket prices, can be found here. By Sass Holmes.

Photo: Shanker Pur @ Wikimedia Commons

Reparations won’t help tackle slavery

Written by alexandercandlin on . Posted in Opinion.

The University of Cambridge has announced that it will begin an inquiry into whether the educational institution profited from slavery, and as Vice-Chancellor Stephen Toope said, “it is only right that Cambridge should look into its own exposure to the profits of coerced labour.”

The Atlantic slave trade took place between the 16th and 19th centuries, transporting an estimated 12 million Black people to the United States, the United Kingdom, and around the continent of Europe, amongst other places. In 1807, the passing of an act of Parliament abolished slavery in the British Empire. It was only fully concluded in 1838 as it continued in some parts of the colonies. Of course slavery continued illegally after this, and is still prevalent around the world.

Don’t get me wrong − this investigation will make a fine piece of academic research. It has also re-energised the conversation around slavery reparations. For example, the chair of governors of the University of East London has subsequently called for universities that have a link to slavery to contribute to a £100m reparation fund, in order to support students from ethnic minority backgrounds.

Aside from the practical issues regarding precisely who owes what to whom and for what, however, there is also the moral argument. Why is one person getting money for something that did not happen to them, and why is another person repenting for an evil they did not perpetuate?

As someone who lost six family members to war, I feel no urge and have zero justification in demanding my six pounds of flesh in penance from their killers’ descendants. To pass the sins of the father onto his son is, in my opinion, a reprehensible stance to take, even more so when dealing with someone’s distant ancestor.

Earlier this year, for comic relief Stacey Dooley was lambasted for perpetuating the ‘white saviour’ narrative whilst taking photographs with children in Uganda. A rejection of the ‘white saviour’ seems to fly in the face of the notion of slavery reparations. If we do not accept ones help, we surely will not ask them to open their wallet instead.

Furthermore, we as a society should have no moral standing to discuss slavery reparations whilst 24.9 million people still live in slavery worldwide − the highest being 18 million in India. The North Korean government is the single biggest holder of slaves in the world.

We honour our ancestors by learning from the past, not using their memory for financial gain.

Photo: Marc Nozell @ Flickr

Joe Biden should keep his hands off the presidential race

Written by jackgreeney on . Posted in Opinion.

On 25th April 2019, Biden announced his third Presidential run with the Democratic Party, having never made it beyond the primaries. His first, in 1988, ended in scandal, getting caught plagiarising speeches and lying about his academic record. In his second, he described Obama as “the first mainstream African-American who is articulate and bright and clean”. His latest announcement aimed to unite the nation’s “core values” – but do Biden’s values match with Democratic voters today?

His voting record says no. Biden has a lifetime of indefensible politics to defend, and he’s been proven wrong more times than your average friendly climate denier.

In the 1970s, Biden fiercely opposed racial desegregation measures, voting against school bussing aimed at integration. In the 1980s, he voted against abortion rights, allowing states to effectively overturn Roe v Wade, refusing the idea a woman should have the “sole right to say what should happen to her body”.

In the 1990s, Biden authored the Violent Crime Control Act encouraging capital punishment and mass incarceration disproportionately impacting minorities, voted against same-sex marriage, and dismissed Anita Hill’s sexual assault claims against Supreme Court Justice Clarence Thomas as “he said, she said” and “character assassination”. In the 2000s, he voted for the Secure Fence Act constructing 700 miles of Mexican border fencing, sponsored bankruptcy legislation as “the senator from MBNA” to defeat amendments protecting veterans and students from debt, and then voted to invade Iraq for good measure.

Of course, past and present can be separated. Biden has since changed his mind on some of these measures, including gay marriage. Sure, people can realise they were wrong and change, but do those people really need to be elected as president? It’s difficult to ignore the millions who have suffered from the acts Biden has authored, advocated, and loudly voted for.

Not only do Biden’s policies make him a terrible 2020 candidate; the announcement of a Biden candidacy completely ignores the advances against sexual assault the #metoo movement has made. Accusations such as those made by State Legislator Lucy Flores, display Biden as someone intrusive towards women and their space. The internet is awash with accusations of him being far too ‘touchy-feely’, far surpassing the supposed excuse of generational difference.

Biden, who famously said he has “no empathy for millennials”, is contesting for nomination in a party increasingly dependent on younger voters. Does he even understand what is at stake in 2020? If the Democrats fail again, the consequences are mortal; another four years of Trump and the Republicans.

All of this totals a campaign reeking of ego. What else can explain it? There is no policy rationale; the Democratic base today is more on board with the policies of Sanders and Warren. Voters rejected the candidate of war, incarceration, and corporatism in 2016. Just like Clinton, Biden is running for president for no one but himself.

People are done with empty talk that ‘America’s an idea’. They want some new ideas for America. And Status Quo Joe isn’t it.

Photo: The Mancunion.

May Senate Preview: Reclaim The Night reform proposed

Written by Ethan Davies on . Posted in News.

The final edition of Students’ Union (SU) Senate this academic year takes place on Thursday 16th May and, as ever, there are some hot topics on the agenda.

A draft agenda seen by The Mancunion contains a policy proposal which, if passed, would mandate the implementation official blocs for LGBTQ+ people, women of colour, disabled people, and Muslim women at the Reclaim The Night (RTN), following the 2018 decision to only have three blocs: One for women, one for families, and a mixed bloc.

This may prove to be a contentious issue, given Sara Khan’s decision to not march at Reclaim The Night 2019 over concerns the march was “cis-normative” and the 2019 march’s call to increase police presence in student areas, saying that “the police as an institution systematically abuses women of colour and trans women on the daily.’’

Women’s Officer Sara Heddi at the time defended the decision not to directly organise an LGBTQ+ bloc by claiming members of that community had felt it was inappropriate for her to speak, and organise, on their behalf.

Sara Heddi commented: “Reclaim The Night has always been a student led initiative.  Last year I received backlash for attempting to organise the blocs myself.  This year all the blocs that were organised were advertised on our two channels both website and Facebook.

“Everyone will have different opinions on how RTN should be run and I am here to try and facilitate and support everyone but I am only one person and can only do so much. In future, if people have suggestions, it’s important for this to be communicated to me beforehand so we can make preparations. I can’t help people if I don’t know anything about it.

“Also should be noted that the Liberation and Access Officer & Part-Time Officers have not spoken to me since RTN and have had no communication with them. In short, in the words of Albus Dumbledore, help is always given at Manchester SU, to those who ask for it”.

Sara Khan and Daz Skubrich, part of the committee which proposed the motion, said: “In many ways, Reclaim the Night is a very safe space, mostly due to the incredible hard work put in by the volunteer team and the Women’s Officers – for example, this year, women of colour were very visible in the marketing of the march, and an accessibility policy was developed.

“With regards to the policy that we have proposed, we are talking less about safety, and more about accessibility and inclusion. We believe that the Reclaim the Night campaign – both here in Manchester and on a national level – can do more to centre the most marginalised groups (such as sex workers, trans women, and women of colour) in their narrative, and do more to demonstrate that they offer an exclusive space, through getting rid of cis-normative slogans such as ‘viva la vulva’.

“The minority groups mentioned in the policy would be as safe as anyone else in attendance at the march if they felt welcome to attend, but at the moment, many of them do not. This is the problem that our policy is addressing, in order to make this very important campaign can grow and become even better.”

What’s also noteworthy of this meeting is the actual date of Senate itself – originally scheduled for the 9th, it was pushed back by a week to prevent staff burnout during celebrate week.

The agenda also includes a motion for the SU to officially oppose any changes to ResLife, and another to implement a permanent clothes swap for Trans Students, proposed by the Students’ Union Trans Campaign.

The opposition to ResLife has been borne out of student and staff concerns over a proposed restructure to the current Halls’ pastoral support system, which has since been delayed by a year by the University amid more staff consultation.

The Mancunion understands that senior SU officials see this delay as an opportunity to negotiate with the University over the changes. However, the draft Senate motion outright opposes “any changes” to the current ResLife system – which would effectively end any opportunity for the SU to have its voice heard during the ResLife consultation.

Officers have since added an amend to the policy which changes the motion from blocking “all changes” to ResLife and “maintaining its current system” to “work[ing] collaboratively with the Accommodation Services, the Residents Life team and students who live in University halls, ensuring that any and all future proposals for changes to the ResLife restructure are to the benefit of students”.

If passed, this could prove to be a major source of work for the incoming Communities Officer.

Photo: HBO

28 questions from Game of Thrones’ ‘The Bells’

Written by Amy Wei on . Posted in Film.

As Game of Thrones begins to draw to its final conclusion after eight seasons and 73 episodes, Amy Wei has a few questions…

  1. Where is Bran?
  2. What has Daenerys recently done to prompt Varys’ betrayal, after he’s been loyal to her and her sadist brother Viserys for eight seasons?
  3. Why does Tyrion argue Varys ‘needed to know’ about Jon, ten seconds after admitting he’s a traitor?
  4. Why doesn’t Tyrion believe Sansa might have had ulterior motives when telling him about Jon?
  5. What is Bran doing?
  6. Why did Varys straight up walk up to Jon and basically tell him, ‘I am a traitor’.
  7. Why did Jon look at Daenerys like she’d gone mad after executing Varys, when every ruler, including Jon Snow himself, executes traitors?
  8. What makes Jaime, after finally completing his redemption arc and moving on from Cersei with Brienne for a couple weeks, somersault 360° in the middle of the night to die in Cersei’s arms?
  9. Is it treason to release your Queen’s prisoner behind her back?
  10. How did Qyburn’s scorpions go from 99% accuracy to 0% accuracy in the span of one episode?
  11. When victorious, why does Daenerys decide to ignore an exposed Cersei and instead burn all of Kings’ Landing’s peasantry for no reason?
  12. Is Bran asleep?
  13. Why is Euron such a weirdo?
  14. Why is Daenerys still zig-zagging her F-16 over random civilians?
  15. Is Euron and Jaime stabbing each other meant to be this hilarious?
  16. How much time is Cersei getting to run away while Daenerys procrastinates?
  17. Don’t tell me this is how Jaime dies.
  18. Why does the Hound pat Arya, Night-Kingslayer and most over-powered fighter on the show, on the head and tell her to go home because the Red Keep is ToO dAnGeROuS fOr A giRL.
  19. Why does Arya say ‘thank you’ and run, after travelling hundreds of miles on a death mission to kill Cersei?
  20. Is Bran still a seer?
  21. Who would’ve guessed Cleganebowl would be the one thing the writers get right this episode?
  22. How did Miguel Sapochnik, Fabian Wagner, and the crew make this shit look so good?
  23. How is Jaime still alive after Euron stabbed him?
  24. Why does Cersei trust Jaime wholeheartedly, after he’d already betrayed her, and she’d paid someone to kill him?
  25. Where did Arya get fire immunity?
  26. How come Arya could sneak past concentric circles of white walkers without being noticed, but can’t run through a street without getting knocked over and nearly dying every two seconds?
  27. Re Question 19: I wish that was how Jaime died.
  28. Where is Bran?
Photo: Summer Sexuality School

Queer Dialogues: Manchester’s Sexuality Summer School

Written by Catrin Stewart on . Posted in Lifestyle.

On 20th May, the University of Manchester will welcome international guests including academics, artists and activists, to their Sexuality Summer School. This year, a course of public lectures and events held over five days across the city will create a dynamic conversation around the theme of Queer Dialogues.

The school is held by the University’s School of Arts, Languages and Cultures and is chaired by Professor Jackie Stacey. The summer school was founded in 2008 and has brought multiple aspects of Manchester’s thriving culture scene together to create a celebration of diversity and inclusivity. 

American performance artist Dan Fishback said of his experience at the Summer School in 2018, “I think it speaks really well of this programme that it’s bringing academics and practicing artists… into a really generative mix.”

The events are open and accessible to anyone, with many of the lectures free and unticketed. However, for the events that are ticketed, students get a fantastic discount – typical prices range from £3 to £5. This includes the opportunity to see some internationally famous scholars and artists on stage in Manchester.

Highlights of the summer school include a comedy performance written and performed by Lois Weaver and Peggy Shaw, cleverly named Retro(per)spective. The legendary lesbian feminist company Split Britches revisit their best works over the past three decades in a hilarious double act performance. Their show proves that their work remains as vitally relevant as ever. It will surely be a side splitting, and warmly nostalgic evening.

Closing the event is a conversation between Cheddar Gorgeous and Kate O’Donnell chaired by Superbia’s Greg Thorpe. Cheddar; the international drag superstar and Kate; the founder of the UK’s first transgender-led theatre company TransCreative, will discuss what trans and drag have meant to them both personally and professionally. The talk promises to provoke interesting debate over the history of both trans and drag, and provide a fascinating look across both their colourful and impressive careers. Both of which have spanned Manchester and beyond.

Other highlights include a talk given by Madhavi Menon on sexuality and gender in India, with a focus on her well-known novel Infinite Variety: A History Of Desire in India and a symposium for the influential intellect Eve Sedgwick.

Events Schedule

20th May:

  1. A Conversation with Elizabeth Freeman @ Ellen Wilkinson Building, 12:00 pm. Opening of SSS 2019, Freeman in conversation with Jackie Stacey. No ticket required (free).
  2. Dial(ogue) D for Dyke Disruption @HOMEmcr, 18:30-20:00. Part of HOME’s ‘Celebrating Women in Global Cinema’ series. Tickets = £6 full price / £5 concession.

21st May:

  1. Split Britches: Retro(per)spective @ Martin Harris Centre, 19:00-20:30. Lesbian feminist company Split Britches revisit over three decades of work in their comedic and accessible production. Tickets = £12 full price / £6 concession / £3 student.

22nd May:

  1. Eve Sedgwick Symposium @ Martin Harris Centre, 10:00 – 17:00: Dialogues on Eve Kosofsky Sedgwick’s A Dialogue on Love. 19:00-21:00: Evening roundtable. No ticket required (free).
  2. Split Britches: Retro(per)spective @ Martin Harris Centre, 19:00-20:30. Lesbian feminist company Split Britches revisit over three decades of work in their comedic and accessible production. Tickets = £12 full price / £6 concession / £3 student.

23rd May:

  1. Madhavi Menon: The History of Desire in India @ Martin Harris Centre, 17:30-19:00. Madhavi Menon speaks publicly on her research into India’s queer history and about her book, Infinite Variety: A History Of Desire in India. No ticket required (free).
  2. The Hidden Pin Up @ Samuel Alexander Building, 19:15-20:00. House of Ghetto team up with artist Gemma Parker to look at the fetishisation of the black female body, from the hidden history of the pin up girl to the legacy of racial stereotypes still found in modern day life. No ticket required (free).

24th May:

  1. Cheddar Gorgeous & Kate O’Donnell: A Queer Dialogue @ HOMEmcr, 18:30-20:00. ‘A queer dialogue on trans and drag’ in the final SSS event. Tickets = £5 full price / £4 concession.

The official website for the Sexuality Summer School can be found here.

Preview: Boomtown Line Up 2019

Written by owentrimming on . Posted in Music.

The renowned Boomtown Fair boasts an impressive line up of acts spanning an array of eclectic genres. Hundreds of artists span across fourteen unique districts to create this year’s ‘Radical City’. The surreal expanse of this festival is easy to get lost in, so let me give you a quick tour.

First stop: The headliners. Last year featured high quality performances from Limp Bizkit, Die Antwoord, and in particular Gorillaz. Although certainly hard to follow on from last year, this year promises to deliver.

R&B singer songwriter Ms Lauren Hill takes to the ‘Lions Den’ stage where you can expect an empowering performance. On the same stage, listen to the sound of The Streets, proving garage music to be well and truly alive in the year 2019 as they continue to reign. Finally, super-group Prophets of Rage take over the ‘Town Centre’ stage. Composed of members from Rage Against The Machine, Cyprus Hill, and Public Enemy, the mix of rap and rock will be sure to scramble your brains in the best way possible.

The ‘Lion’s Den’ sits in a natural amphitheatre, with an impressive stage acting as a temple for jungle, reggae, and dancehall. As well as hosting two of the headliners, the district is home to many of this years biggest names. For one, Groove Armada are set to deliver big beats to the Boomtown crowd. General Levy’s performance will not be one to miss, a legend on the jungle scene. On the lighter side, UB40 and Chronixx bring some excellent reggae to the mix.

Naturally, the ‘Town Centre’ is at the heart of this festival. Prepare to be immersed into the city, with the creative staging that Boomtown is known for. This district is a real melting pot, ranging from classic hip hop from Salt-N-Pepa to unapologetically aggressive punk from Slaves. The Boomtown experience is incomplete without a trip here.

Although new to this year, ‘Area 404’ hosts some of the strongest talent. Featuring here, mesmerising electronica from Four Tet, hardcore techno from Carl Cox and another jungle master: Congo Natty. Embodying this years theme of environment,  Whistlers Green will provide a number of workshops as well as performances by Little Dragon and Kate Tempest.  The ‘Relic’ district is also worth a gander with drum and bass sets from Chase and Status and Shy FX.

There certainly seems to be something for everyone at Boomtown this year, with this snapshot not even coming close to covering half of it.

To explore the city yourself and for ticket and travel info go to the Boomtown website. Boomtown festival is happening on Matterley Estate near Winchester, Hamshire, on August 7th to the 12th. Don’t miss out on the chance to be a a part of Boomtown’s Chapter Eleven, A Radical City.

Preview: Boomtown Festival 2019

Written by owentrimming on . Posted in Music.

Arguably the UK’s most outrageous festival, the infamous Boomtown fair returns this August for an eleventh chapter.

The saga so far would certainly make an impressive novel, with a decade of chapters brimming with music, art, and theatrics. The creative scope of this festival is beyond that of many of its competitors. As always the creators aim to push these boundaries further, and excitement is building around Boomtown 2019: ‘A Radical City’.

Last years festival met all the expectations. An impressive line up included huge headliners Gorillaz, Die Antwoord, and Limp Bizkit.

This summer’s festival offers the same calibre of talent. A trio of headliners features The Streets, Ms Lauren Hill, and Prophets of Rage. A huge variety of artists populates all twelve districts of the festival, giving those in attendance a whole city to get lost in.

Boomtown aims to do more than just put on a weekend of music, with a focus on the environment and sustainability. The ‘green mission’ encourages festival goers to reduce, reuse, recycle as well as travelling in a more ecologically friendly way. The organisers have also pledged to plant a tree for every person attending. In ten years the population of the fair has grown from 1,000 to over 60,000, so Boomtown will certainly be doing their part in aiding its illustrious rural landscape.

Split into 14 different areas, Boomtown certainly hosts an array of experiences and fun for everyone as you can “Explore the City” through the “Old Town”, take a wander through the “Forest” or even keep your younger members of the family entertained with “Kidztown”.

So if you fancy a trip to the fair, find yourself at Matterley Estate near Winchester, Hamshire, on August 7th to the 12th. Don’t miss the chance to part of the next installment in the surreal story that is Boomtown.

Find out more about tickets, travel, and acts at The Boomtown Website. 

İbrahimferhadli@WikimediaCommons

Revitalised Valtteri reclaims top spot in Baku

Written by jackgreeney on . Posted in Sport.

Valtteri Bottas clung on to finish first at the Azerbaijan Grand Prix after a close start and finish with Lewis Hamilton as Mercedes scored a record fourth consecutive one-two finish to start the season. The victory took Bottas back to the top of the championship, only one point ahead of his teammate, leaving the pair over thirty points ahead of the closest Ferrari.

The win in Baku was certainly satisfying for the man who lost here in direly unfortunate circumstances last year, after suffering a puncture from first place late in the race. There was no such bad luck this year however, as the seemingly rejuvenated Bottas confidently fended off five-time world champion Hamilton side-by-side at the start and outran his challenger in the final laps to secure his fifth career victory.

The story could have been a different one had Hamilton taken pole on the Saturday, who almost atoned for early lap errors on cold tires to lose out to Bottas by just 0.059 seconds. Even Hamilton acknowledged that Bottas’ win was deserved however, praising the Finn for having “really, clearly stepped up this year”.

Sebastian Vettel came home third, never too far down the road from Mercedes but never truly challenging. After the race, the German admitted Ferrari were struggling to “extract grip” from the tyres, despite bringing aerodynamic efficiency upgrades to Azerbaijan.

Ferrari’s woes were not over. Weeks after engine sickness robbed Leclerc of victory in Bahrain, again the Monegasque was held back through no fault of his own. Despite a qualifying crash reducing the 21-year old to starting eighth, on better tyres Leclerc lit up the timing screens until Ferrari strategists were caught napping, needlessly leaving him out after being passed by the leaders. The fastest lap bonus point will prove little consolation to losing 4th to Red Bull’s Max Verstappen.

In the midfield, street circuit specialist Sergio Perez delivered in qualifying and held his own in the race to finish best of the rest in 6th, even spending the early laps ahead of Verstappen. McLaren drivers Carlos Sainz Jnr and Lando Norris both drove well to come home 7th and 8th respectively ahead of Perez’s Racing Point teammate Lance Stroll in 9th. The final point was awarded to Alfa Romeo’s Kimi Raikkonen, who cleared Kevin Magnussen and Daniil Kvyat to finish 10th.

Other than one bizarre incident, Renault’s Daniel Ricciardo reversing into Toro Rosso’s Daniil Kvyat to retire both cars after overshooting Turn 3, the race around Baku’s beautiful tight streets and castle walls passed by without incident. Unfortunately, the race this year certainly failed to live up to the intense media hype, after the close racing and spectacular crashes of previous years.

The Spanish Grand Prix in two weeks’ time could prove decisive for the rest of the season – if Ferrari fail to get their act together and launch a real challenge against Mercedes here, the Silver Arrows might already have 2019 in the bag.

Photo: Gage Skidmore @ Wikimedia Commons.

Review: Dumbo

Written by carlfitzgerald on . Posted in Film.

If Disney is planning to release three of their ‘live action’ – you can’t convince me to call such heavily CGI based films as such without quotation marks – remakes of animated classics this year, then starting with Tim Burton’s Dumbo sees them tripping on their shoelaces after jumping over the starting line.

That might be a little harsh when the film itself isn’t terrible. It falls somewhere between the ‘meh’ of Cinderella and the ‘no’ of Beauty and the Beast. But either way it provides little hope for the onslaught of these things we’re expecting.

Maybe one can attest the film’s problems not to Disney, but to Burton himself, as it manages to fall into the central common issue of his weakest films. Burton is fantastic in his enviously unique ability to create these vast and intricate worlds and characters for viewers to get lost in. But he falls short in films (Alice in Wonderland, Planet of the Apes, etc.) where he attempts to fill those worlds with too much story and plot.

And Dumbo is no exception, from its opening moments we’re first introduced to Colin Farrell’s Holt Farrier as he returns to his home in the Medicini Bros circus, disabled from the war to be immediately reunited with his kids, find out his wife has died, be given the job of caring for Ms Jumbo, and nurturing young Dumbo once he’s born. All of this heavy story is delivered in the first ten-to-twenty minutes.

The film is just constantly on the move, dashing to get from one plot point to another. And at the expense of this we lose moments which could be genuinely hard hitting, even including the tear-jerking ‘baby of mine’ sequence from the original, which are skimmed over for the sake of driving the film forwards. And an impressive cast including Danny DeVito, Eva Green, and a gloriously snickering Michael Keaton is barely able to properly shine amongst all the clutter.

That’s all before we’ve even gotten to Dumbo himself, who’s made into a side character in a film named after him. Most of the conflict instead rests with the human characters and their interactions with the little elephant. This could’ve been a fantastic opportunity for Burton to really explore his unique visuals and tell a story from the perspective of a non-verbal animal. But instead he plays it disappointingly straight.

There are some admirable qualities: Dumbo does manage to sneak in decent nods and inclusions of more fantastical element from the original film – i.e. the magic feather, the stalks – and Dumbo himself has eyes to melt any heart.

I can at least credit any blockbuster with something resembling an animal rights message, but it’s all wrapped up in a film that’s too big in all the wrong places. Burton takes what could be a perfectly intimate character study within his expertly constructed sets, but he over-stuffs it, leaving little hope for this year’s string of ‘live action’ remakes.

2.5/5.

Photo: Daniel Benavides @WikimediaCommons

Review: Us

Written by Tobias Soar on . Posted in Film.

Right off the bat, I’ll tell you that this review has spoilers ahead. Riding off a wave of expectation and hype following his incredibly successful debut film Get Out, Jordan Peele returns to the silver screen with Us. Part-home invasion horror, part-psychological horror, and all-entrancing, Peele’s second film is a monumental achievement which springs to mind one word, above all: clever.

The cast were impressive – being their characters as humans and as doppelgängers, being not-quite the same character, must have been tremendously hard — but it paid off and was done convincingly. Every single second of acting by every member of the cast is impeccable and undoubtedly one for the books. Clean camerawork and a chilling score further enhanced the stellar acting of the cast.

Us is a clever film. From the storytelling, to the visual language and soundtrack, Peele has carefully crafted a piece of cinema that goes beyond the two-dimensional world it could belong to. Themes of trauma, fear of the unknown and the fear of confronting our (quite literal) demons are scattered throughout.

It’s clear that the mind of a horror fan constructed the world of Us, a myriad of classic horror tropes are used correctly for maximum effect while laying out clues for the audience to piece together during the film, after the credits roll and once more when they inevitably return to it.

A couple examples of these clues are: the shot of the dead twins being a carbon copy to the dead twins in Kubrick’s The Shining, and secondly, the song to which the ballet flashback is set to is a composition which plays on the melody of the hip hop classic “I Got 5 On It” which plays during the car trip in Act One. In an interview with Slate, composer Michael Abels explained the aforementioned musical in-joke and detailed the mystery behind the opening track – its nonsensical lyrics are meant to emulate the basic sounds of Latin while residing in an auditive uncanny valley.

Peele knows he’s clever and treats his audience as he would expect to be treated himself. The astounding attention to detail which challenges my knowledge of the world of Us and the world of horror as a whole simultaneously is something which I greatly appreciate.

Comparing Us to Get Out is unfair, they’re two completely different stories with different objectives. I will note, however, that I feel that Peele has made the racial commentary, which was evident in Get Out, more nuanced. While his debut was a case of ‘right time, right place’ in the state of affairs in American politics, Us goes beyond this for a horror which transcends national, and racial lines.

In the days after watching Us I kept coming up with theories as to what it all meant — I have yet to settle on one. This is what makes Peele’s film special; the universe established in the film leaves arcs slightly incomplete but with enough context as to allow for infinite speculation. Perfect horror is hard to come by, but Peele might have achieved it.

5/5.

Photo: John Bauer @WikimediaCommons

Review: Border

Written by carlfitzgerald on . Posted in Film.

Ali Abassi’s new film, Border, deals with its titular subject in both a literal and metaphorical sense. A physical border is clearly present from the opening moments, in which we follow Tina, a customs officer with the ability to sniff out illegal items on travellers from underage alcohol to child pornography. However, as the movie goes on we begin to examine the border in a more philosophical sense, and we begin to examine where the border lies between humanity and monstrosity.

We follow Tina as, at work, she meets Vore, a man with eerily similar facial features to herself who she seems to smell something distinguishing on but can’t quite deduce what. Overtime the two develop a close relationship stemming from various shared characteristics, including a love of nature – through exploring the forest Tina lives in – as well as a similar physicality and life experiences.

It’s also here where the film draws a more distinct contrast between the natural world of the forest and suburban housing in cities. For example, Tina’s abilities result in her being called in by detectives to investigate a young couple’s apartment who supposedly are operating a paedophile ring. This subplot works to unveil the deeply veiled bestial nature of contemporary living, and the underlying horror beneath the surface. In contrast, Tina goes out by herself into the completely inhuman forests and shares gentle touching moments with foxes, stags, rabbits, and even the rivers.

But the film doesn’t just cut and dry claim ‘natural world good, humans bad,’ especially when Vore turns out to have their own similar brutal tendencies, and an exclusive worldview which he believes permits him to commit gross crimes. From this, we have a film which is able to see the beauty of the natural world alongside the underpinning evil of man infecting a polished suburbia. But at the same time also explores how those two things can interweave and impact one another.

Tragically however, there’s not a whole lot more that can be said about Border without spoiling a first-time viewer’s experience. I went into it with even less idea of what it’s about that this review gives.

Fans of the original Let The Right One In might be intrigued to learn it’s co-written and based on a story by that books original author, and explores similar themes of isolation and humanity’s relationship with monsters, both in an internal and mythical sense. But beyond that, it’s a story that once must experience for themselves.

All I can say is that it’s fantastic. It’s thought provoking and well-acted, visually interesting and with a clear distinct vision.

5/5.

Photo: Sean Davis @ Flickr

Review: Wild Rose

Written by elliebmartin on . Posted in Film.

Wild Rose tells the tale of Rose-Lynn Harlan (Jessie Buckley), a young, talented, aspiring country singer who dreams of making it to Nashville, Tennessee to make it big. The problem? Rose-Lynn has just served 12 months in prison and has come out equipped with a tag and a curfew, and returns to no money, no job, no house, and two kids to raise. Oh, and she lives in Glasgow, roughly 4,000 miles from Nashville.

From the first moment we see her, triumphantly leaving prison with a raised fist and a cocky one-liner or two, Rose-Lynn is a vibrant, dynamic character. She’s funny, confident, loud, fearless. Someone you definitely won’t mind spending nearly two hours with.

However, what becomes increasingly apparent is that Rose-Lynn is also infuriatingly, heart-breakingly flawed. She is prone to fits of anger, she is inconsistent, struggles to face up to responsibility and behind her confidence is a deeply rooted anxiety. The decision to reveal Rose-Lynn’s human frailty is a wise one and adds a depth and complexity consummately captured by Buckley – who is a tour-de-force in the role. She inhabits every facet of this character and manages to express more in a single silence than most actors can express in an entire scene.

Where the film goes particularly deep into the heart of the character are in the interactions between Rose-Lynn and her mother, Marion (Julie Walters) who tries to get her daughter to face her responsibilities, get back on her feet, get a job, and most importantly, support and raise her two young children. The performances by these two great actresses, one an established legend, and the other a legend-in-the-making, are a delight to watch – the two are perfect together.

But again, the film does not simply reduce them to simple archetypes of antagonism. Rose-Lynn frequently makes bad decisions, prioritising her music career over her kids. And Marion is not simply the tyrannical parent who doesn’t understand Rose-Lynn’s dream.

Wild Rose isn’t necessarily anything new. Its basic structure is formulaic, Rose-Lynn’s highs and lows are predictable and its character and scene beats are familiar. Indeed, the apparent foundation of the film – country music – even feels a bit arbitrary at times.

Substitute country music for another genre, even substitute music for another creative industry and you have roughly the same film. Nevertheless, what makes Wild Rose stand-out from the crowd of similar films is its handling of the stuff behind the music. Because what is at the heart of this film isn’t country music at all but a whole host of other issues including motherhood, class, and gender. How can you balance personal ambitions and dreams with responsibility to family, to children? When people rely on you can you ever be selfish or even ever be truly you?

Wild Rose weaves these questions and many more seamlessly into its, at times, generic story-line and in so doing almost succeeds in lifting the film up to the heights worthy of the staggering performance of its lead actress.

4/5.

Photo: Harald Krichel @WikimediaCommons

Review: Mid90s

Written by erinmckay on . Posted in Film.

Growing up is never easy, and this is made abundantly clear in Jonah Hill’s directorial debut, Mid90s.  It’s a heartfelt and raw coming-of-age movie that takes an honest, and reflective look back at what it’s like to be a teenager. Set in – you guessed it – the mid-1990s, the film follows 13-year-old latchkey kid Stevie (Sunny Suljic) and his turbulent ascent into adolescence.   

During the first moments of the film, we see Stevie exploring his older brother’s bedroom, which he sees as a theme park of teenage-hood. He ogles the posters and pinups on the walls, obsessively studies his brother’s towering music collection, and rummages through his wardrobe trying on his clothes. As he comes to the realisation that he’s outgrown his old identity, he excitedly searches for a new, better one.

While out riding his bike one day, his eyes fix on a local skate crew across the street, and he’s immediately entranced. He gets a hold of his brother’s chunky, hand-me-down skateboard and gets to work ingratiating himself with the gang, trying relentlessly to impress the older boys. While running with the pack of nomadic skaters, he’s given a crash course in drinking, smoking, fighting, and sex. This rebellion opens up rifts between Stevie and his moody older brother, as well as his overworked single mother.

The cast give compelling, authentic performances across the board. They possess a rare kind of chemistry that isn’t often seen in cinema, all thanks to Hill’s bare-bones storytelling and dialogue, as well as his fantastic direction.  Though he has casually put down comparisons of the film in interviews to works such as Slacker by Richard Linklater and Larry Clark’s legendary portrait of urban youth, Kids, their influence is unmistakable. In an adorably obvious nod to his inspiration, Kids scriptwriter Harmony Korine appears on screen stumbling out of Stevie’s mother’s bedroom, zipping up his trousers. It’s clear that Hill borrowed the gritty realism of Kids and skillfully replicated it’s feeling of youth run amok. However, in spite of the similarities between the two films, he set out to do something very different with Mid90s.

While Kids might be the artistic equivalent of a nature documentary about feral teenagers in New York, Mid90s stands as a deeply personal love letter to being a kid in the 90s, informed by the director’s own experiences. He superbly captures that yearning ache of a kid wanting to grow up, and the sense of turmoil, wonder and excitement that is wrapped up in the journey of self-discovery. The fantastic original score by Trent Reznor and Atticus Ross channels these feelings into a sentimental gut punch. Low-key, yet powerful, it stirs and rumbles in moments of budding curiosity, screeches in moments of teenage angst, and it almost twinkles in moments of that special, simple meaningfulness you find in being young and aimless, hanging out with your friends – the stuff nostalgia is made of.

Mid90s is an impressive first work, to say the least. With it, Jonah Hill has shown that he is deserving of your attention when he chooses to step behind the camera.

5/5.

Photo: Josh Sandiford.

Extinction Rebellion graffiti appears at Oak House

Written by Ethan Davies on . Posted in News.

Fallowfield students have woken up to Extinction Rebellion (XR) graffiti at Oak House this morning.

The messages, which have since been removed by University staff, encouraged students to join the climate activist group, which recently brought parts of central London to a standstill.

Their demands include the Government to make the UK carbon-free by 2025.

Oscar Thorpe, an Oak House resident and also a recent recruit of the movement, was involved in the direct action in London, and said “many were inspired by how XR managed to bring climate change back into the public discourse”.

“This is a great way of breaking the student bubble and showing that we love and care for this planet and the people living on it.”

The chalk messages also called on the University to divest from fossil fuel companies, with a Mancunion investigation revealing the University had almost £10 million invested in firms such as BG Group, BP, Royal Dutch Shell, Imperial Oil, REPSOL, Rio Tinto, and Exxon Mobil.

Photo: Josh Sandiford.

On April Fools’ day, the group performed a similar stunt on Main Campus, with the University quickly cleaning and quashing the protest due to “one swear word”, according to Students’ Union (SU) Activities Officer Lizzy Haughton – a member of the group.

Haughton has been arrested for “wilfully obstructing the highway” at a previous protest in November 2018.

The graffiti also pleaded students to ‘Save Our Planet’, and to ‘Boycott Barclays’ – which was scrawled next to the Owens Park cash machine.

Photo: Josh Sandiford.
Photo: Josh Sandiford.

An Extinction Rebellion spokesperson said: “The chalking is our first action as a group with the intention of sending a wake-up call to students, encouraging them to join the rebellion.

“Some of the graffiti was aimed at Barclays bank and UoM divestment. These institutions are both drivers of fossil fuels and will be on the wrong side of history unless they divest now.

“The board of governors meet on the 22nd of May, we hope many will join us in protesting for divestment outside. Similarly, there is a national protest against Barclays bank and it’s huge investments in fossil fuels on the 25th. While we appreciate students are very busy with exams, everyone is welcome to join us at these events.”

A University of Manchester spokesperson said: “The University of Manchester no longer invests in companies with significant coal and oil sands revenues.

“Following an update to the University’s Socially Responsible Investment Policy (SRIP) our investment managers have been instructed not to invest in in companies that generate more than 5% of their revenue from thermal coal (the type of coal used in power plants) or oil sands (also known as tar sands).

“Both of these are associated with producing high levels of carbon emissions and air pollution. We understand climate change is a global problem and as a University we have a role to play in bringing our influence to bear.

“This update to the SRIP reinforces our approach that seeks to pursue a responsible investment, whilst minimising any potential negative impact on our investment returns.”

Photo: Graciela García Romero @WikimediaCommons

¡Viva! 2019: El Ángel

Written by Josh Sandy on . Posted in Film.

The biopic is perhaps the kingmaker of film genres — a genre with ability to test the mettle of any director and challenge them to transpose real-life events onto the big screen. In his 2018 crime thriller, El Ángel, Argentine director Luis Ortega has managed to navigate these potentially choppy waters with relative safety to deliver a true highlight of HOME’s ¡Viva! Festival.

Inspired by the life of Argentina’s longest serving prisoner, Carlos Robledo Puch (Lorenzo Ferro), the film follows his journey from his origin as a petty criminal to becoming one of South America’s most notorious serial killers. Although this is itself worthy of a film, the tale becomes all the more disturbing when considering Puch was merely 20 years-old during the course of his year-long crime spree. This aspect of the story is heightened on-screen by the casting of then-19-year-old Lorenzo Ferro in the lead role. Ferro totally inhabits the character and perfectly illustrates the discordance of a seemingly polite and conventionally attractive teenager committing extreme acts of violence.

However, despite Ferro’s excellence in the lead role, the film is at its most compelling when examining the complex relationship between Puch and his accomplice, Ramón Peralta (Chino Darín). The chemistry between Ferro and Darín throughout the film is mesmerising to watch and makes their character’s journeys from friendship to infatuation and unrequited sexual desire even more captivating.

Another of the film’s greatest strengths is Julián Apezteguia’s gorgeous cinematography; favouring a bright and breezy retro vision of 1970s Argentina, the visuals are another stark contrast with the dark subject matter. One particular scene, involving Peralta appearing on a Stars in Their Eyes-esque TV show whilst Puch watches from their hotel room, is bizarrely surreal, but expertly demonstrates the changing dynamic of their relationship.

The film’s cinematography is also beautifully complimented by the film’s summery soundtrack which features a host of classic “rock en Español” songs. The most stunning of which is Palito Ortega’s cover of the classic US folk song ‘The House of the Rising Sun’. The use of this track is an excellent film-music pairing and provides a pitch perfect accompaniment to the chaos unfolding on-screen.

However, despite the film’s excellence in cinematography and music, they are both heavily implicated in the film’s ultimate failing — a considerable feeling of style over substance. Throughout the film, there were moments where the lack of cohesive storytelling leads to confusion. This is especially clear in the film’s third act which, without having looked up Puch’s real-life story, makes little-to-no sense.

There is also the issue of how far the film challenges Puch’s heinous crimes. In particular, the revelation that during his crime spree he had committed a number of violent sex crimes which are not addressed in the film. Ultimately, the knowledge of this leaves a slightly bad taste when considering the film’s relative lack of moral judgement.

Overall, despite its flaws, El Ángel is a stunning piece of film-making from a director who is clearly reaching the height of their talents. The film stands out as one of the most stylish retro crime thrillers in recent memory and is a testament to the underrated brilliance of Latin American cinema.

3.5/5.

Photo: www.manchestermargaritarumble.com

Manchester’s Margarita Rumble takes on Victoria Warehouse

Written by Felix Hanif-Banks on . Posted in Food & Drink.

At the best of times, being invited to something branded a ‘Rumble’ at a warehouse raises some eyebrows – epecially when it’s fuelled almost entirely by tequila.

Thankfully, there were also some delicious tacos on the menu. This year’s edition of the Manchester Margarita Rumble was a buzzing, cheerful celebration of everything a margarita can and should be.

Returning for its second year, now at the well-loved Victoria Warehouse, the Margarita Rumble promised a selection of Manchester’s finest tequila concoctions. They featured all manner of ingredients, from avocado and cucumber to orange and cinnamon. Ruby Bannerman and I were on hand to give our incredibly uninformed opinions, while trying not to get too drunk to write in the process.

The tone was immediately set on entry. After following some bare steps down into the Rumble’s concrete basement venue, we were entertained by a Day Of The Dead sugar skull-headed man. He certainly ensured all guests were adequately festive with his smooth moves.

There wasn’t a dull moment or any escape from something eye-catching. Attendees filled the space chatting, dancing, and eyeing up the next drink to try. Every direction had some new treat in store, as flag-adorned tables were lined with drinks as colourful as they were confusing. It was all brought together by one simple thing, which most punters present gave as their main reason for attending: “Tequila!”

The majority of the drinks were sweet and fruity, and definitely strong enough to make the whole occasion worthwhile. Ruby and I opened our margarita adventure with some light cocktails, one with guava and the other a summer berry mix. It gave us a nice, welcoming entry into the margarita world. Both were not too far from some delicious fresh fruit juice, but had enough of a kick to get our feet moving to the Latin-inspired rhythms laid down by the two DJs.

From then on it became a contest to see who could pretend to know the most about tequila. El Taquero’s avocado, citrus, and cucumber concoction had an intriguing flavour profile, but lacked the body to truly compliment the sharp tequila. Tapeo & Wine’s interesting combination of spiced Spanish liquor, orange, and cinnamon struck Ruby as unexpectedly delicious. It was the kind of drink that would be appropriate for a very boozy Christmas afternoon. Its gingerbread-esque flavour surprised us both.

Other favourites came from Ruby’s personal victor of the Margarita Rumble, Handmade Burger Co. Their cocktail offering was thankfully more handmade than beefy. It provided the best take on the ‘fruity cocktail on a summer’s day’ approach that many opted for. Hints of strawberry, kiwi, and citrus proved a great success. A small strawberry adorning the edge of the glass was a nice touch. The cocktail’s creator, Dean (who conveniently had his name tattooed on his forearm in case we forgot it) told us of the lengthy process that went into fine-tuning their margarita, playing with the fine balance of many fruity ingredients.

Sadly it wasn’t all a room of winners. As hard as we tried in the interests of journalistic integrity, there was one drink neither me nor Ruby could finish. One (slightly too) adventurous combination of mango, coconut, almond, and a-Haribo-Tangfastics-rivalling quantity of sugar around the rim was too much. The bitter taste for contrast sadly failed to really hit any of the notes it attempted.

Everyone in attendance – from the guests to the organisers – were in high spirits. I’m sure this had nothing to do with the vast quantities of readily available tequila. Every stall we went to had multiple smiling bartenders ready to dissect their drink for you.

A pair of bartenders summed up their mission for the day as “good vibes” which I strongly supported, as they went to tell us more about their organisation – an innovative mix of a restaurant-cum-bar and an ‘Urban Virtual-Golf Club’ named Albatross & Arnold. There was no shortage of stories to be told about these drinks, the people behind them and the organisations they represented. Each new stall felt like a short exhibition of someone’s full creative vision. No matter the contents of the cup in front of you, it was always an enriching and interesting experience.

Even the event’s organisers were on hand throughout the day to share in the festivities. Nick Brian is just one of the men behind the Rumble. He saw the event mainly as a celebration of the “beautiful thing” that is the margarita, but also as an opportunity to put smiles on peoples faces, creating good times between friends and strangers alike.

Nick recounted the undeniably wholesome story of how the event brings together himself and two other long-time friends. They rarely see each other save for the organising of the Rumble, which now takes place in Manchester, London, Bristol, and the US. Nick showed such a genuine love for the event he’d helped create, persuading me and Ruby to stay for another few margaritas. This was probably the easiest thing he’d done all day.

The Manchester Margarita Rumble was a thoroughly enjoyable event. Rarely would you see a room of people so drunk at 3pm and it not be at all tragic. Nick and friends truly delivered on the celebration of the margarita. This event gave me an excuse to say “let’s get ready to rumble” to Ruby an irritating amount of times. A Sunday afternoon can’t get much better than that.

Photo: tiziana di sora @ Flickr.

Something smells fishy

Written by Sophia Ashby on . Posted in Lifestyle.

This is a gentle reminder that one-in-20 young adults have chlamydia. Although the infection is simple and quick to treat, there are rarely any symptoms. According to a new research study, 40% of women in Manchester have never had an STI check. The stigma surrounding sexually transmitted infections couple with a wealth of false information means that younger women are unlikely to get tested.

The only way to ensure you are free from infection is to take a test. This is usually a urine sample, a vaginal swab, or in some cases such as HIV testing blood sample. The recommendation is that people should have an annual check. You should also take a test at the beginning of any new sexual relationship. However, only 18% of women nationally follow this advice. The statistics for millennial women are more promising, with 29% of young women having a check yearly.

The most common issue is women misdiagnosing themselves. 61% of women said they could confidently tell the difference between symptoms of thrush and an STI. Yet, when put to the test, less than a third of women were able to accurately identify thrush symptoms. For clarification, these include:

  1. Itching, soreness or irritation of the vulva
  2. Vulva and vagina redness
  3. Odourless discharge which is often white, and off a cottage-cheese consistency
  4. Pain or discomfort during sex
  5. Pain when passing urine.

Many campaigners believe that poor sex education in schools plays a part in the spreading of misinformation. Stigmas surrounding sexual health deter people from getting tested, and many people are unaware of what to look out for. In order for women to spot changes in their sexual health, they have to first become acquainted with what constitutes normal vaginal health.

This latest study reveals the lengths our education system still needs to go to open up conversations about sexual health and STIs. Many women do not know who to talk to, or how to treat infections. If you think you may have an STI, visit a sexual health clinic or your GP.

Many women are concerned about discussing their sexual health or activity, but home-testing options are available too. RUClear can provide a free home testing kit for chlamydia and gonorrhoea, HIV, and syphilis, on request. You will receive a text message or call with your test results less than a week after sending back your urine sample or vaginal swab.