A recent study, conducted by scientists at the University of Manchester suggests that the birth weights for the babies conceived using in-vitro fertilisation (IVF) have increased by an average of 180g over the past 25 years.
This cross-sectional research, led by Professor Daniel Brison and published in the Human Reproduction Journal, included the data analysis of a population sample of 2780 singleton babies conceived using IVF or ICSI born at St Mary’s Hospital in Manchester from 1991 to 2015. It attempted to underline the potential differences between early IVF births and the more recent ones.
Previous existing studies show that the children born via IVF in the first 20-30 years of this technique had lower birth weights, which could be a risk factor, according to the studies conducted on non-IVF children.
An earlier national register-based study in November 2018, also led by Professor Daniel Brison, showed for the first time that IVF babies not only have low birth weights, but they also indicate a rapid post-natal catch-up growth which added to the risk.
This study linked the HEFA register of all IVF children to maternity databases in Scotland with records of birth weights and early child growths for 5000 IVF children.
Throughout this study, scientists also suggested freezing embryos as a possible solution to offsetting the possible harms and having a baby with a higher birth weight and an early growth. This is contrasts to how most embryos are implanted fresh. However, the reason behind the difference in birth weights using fresh versus frozen embryos still remains unclear.
But as indicated by the latest study, IVF birth weights have increased about 180g on average – which is approximately 10% – irrespective of the method. Regarding his recent study, Professor Daniel Brison said, “Although it is too soon to know if there will be any long term health impact on earlier IVF children, such effects would in any case be small. But we do feel it is important to continue to monitor the health of all IVF children and alter IVF practices to make the treatments as safe as possible.”
“Our research further suggests that the newest generation of IVF children may be at lower risk. We believe that is likely to be because IVF techniques have changed markedly over the past 25 years – though it’s hard to pin point exactly which changes might be important.”
Thus according to the most recent studies, not only there is an increase in IVF birth rate success but also the birth weights are markedly higher, which is a very promising improvement for women looking to give birth at any older age or require fertility treatment to aid conception.
When Rose Marie Bentley decided to donate her body to a nearby university for science, she did not suspect that she would become the focus of international interest. The 99-year-old woman was found to have internal organs on the wrong side of her body, yet she nor her family, or her family’s doctor knew.
The discovery was made when medical students at the Oregon Health and Science University were dissecting her cadaver and found abnormalities in the heart’s blood vessels. Further investigation revealed that all of the organs in Mrs Bentley’s abdominal cavity were positioned on the wrong side of her body, except for her heart. This is known as ‘situs inversus with levocardia,’ a congenital condition where the abdominal organs are mirrored from their normal position, but the heart’s position remains unaffected.
It is usually accompanied by severe heart defects and a shortened life span, but these factors did not affect Mrs Bentley. She died of natural causes at the age of 99. Doctors suspect the vascular arrangements that perplexed medical students allowed Mrs Bentley’s heart to compensate for her anatomical abnormality. This might have been the reason why she was entirely asymptomatic throughout her life, even though the condition has always been thought to be highly debilitating.
Situs inversus with levocardia occurs in roughly one out of every 22,000 births with merely 5-13% of afflicted individuals surviving beyond five years. Fatalities are usually due to heart disease or other conditions associated with organ misalignment. Reduced splenic functioning, intestinal malrotation, and polysplenia (a disorder where multiple dwarf spleens form instead of one normal sized spleen) are three such conditions.
Little is understood about the cause of situs inversus with levocardia, but many suspect that answer lies in embryonic development. Asymmetric organs (like the heart) begin to gain left-right differentiation in the embryonic stage. The heart’s growth is controlled by a different signalling system than other internal organs. Usually, communication between the two systems ensures that correct orientation is achieved in all organs. However, if this communication is interrupted or damaged, then such coordination cannot occur. This could explain the abnormalities see in situs inversus with levocardia.
Incorrect organ orientation causes problems to such an extent that Dr Walker from Oregon Health and Science University estimates that merely one in 50 million people born with the condition make it to adulthood. In fact, researchers are only aware of two cases where patients born with the condition have reached the age of 70.
So how did no one know about Mrs Bentley? Well, there were some signs. When she was in her 50s doctors tried to remove her appendix but could not find it. Years later she underwent surgery to remove her gallbladder only to discover the organ on the other side of her body. Yet no alarm bells were ever raised. Surgeons simply shrugged their shoulders and stitched the incisions leaving Mrs Bentley and her family none the wiser. Louise Allee, Mrs Bentley’s daughter, told Oregon Health and Science University that her mother would have been very pleased to know that her body has enabled others to be “educated with something unusual.”
Perhaps this is not the only lesson to be learnt from Mrs Bentley. Multiple medical professionals observed her atypical, and potentially harmful, anatomy yet nothing was ever said to the patient. A simple x-ray would have provided clear evidence of situs inversus but professional curiosity fell short. The lack of post-procedure investigation, it could be argued, is an example of the medical profession being overstretched and underfunded to the detriment of patients. In the UK over 3,700 procedures were cancelled at, or shortly before, their scheduled time slot last March, leaving patients with discomfort and uncertainty.
Both Mrs Bentley and her husband decided to donate their bodies to science after being inspired by a Robert Test poem ‘To Remember Me,’ which ends with “let my body be taken from it to help others lead fuller lives.” Hopefully not only education will be gained from these bodies, but also an increased drive for healthcare reform.
The city of Manchester, home to some of the finest and world renowned rock groups, continues its legacy with the “quintet rock outfit”, Yang Sweeps.
As Dolly Parton once remarked, the 9-5 shift constitutes “making a living.” Yang Sweeps, however, work off hours alongside their studies in an attempt to crawl out of their rapidly depleting overdrafts, and various debts to loan companies.
While the aspiration to make some ‘bags’ is part of the agenda, Yang Sweeps’ music strives to move away from the recurring and repetitive melodies of rock/pop music by exploring the genres of psyche rock to execute an alternative feel – the Yang Sweeps sound.
The Dad Rock EP, released earlier this year, echoes this distinct sound which gets feet moving and heads banging. The song ‘405’ appears to yield to an aspect of the band’s struggle, balancing work for the girl at home is something us students may not quite understand, however, this band knows the struggle, or appears to. Maybe they are actually dads who have seen it all and have returned to retell the tale…
Nevertheless, Yang Sweeps’ inspiration is somewhat contemporary, for those who are fans of Black Moth Super Rainbow, and Tyler the Creator, Yang Sweeps blend the new with classic guitar and chest-thumping drums. For those Manchester students who race around Soup Kitchen on vodka red bulls for Monday’s ‘Remake Remodel’ night, Yang Sweeps also finds inspiration in Prince, Ty Segall, Supertramp, and Slash.
After performing at a range of top venues such as Jimmy’s, Manchester Academy 3, Night and Day Cafe, and many more, it is only correct that the Yang Sweeps’ right of passage is to perform at the iconic Antwerp Mansion.
As a Manchester-based student band, Yang Sweeps humbly embraces their ‘meme’-ish nature. But guys, give yourself a break, we’ve all gotta start somewhere.
I have no doubt Yang Sweeps will end up featured on Soup’s Monday Night playlist, as my own dad remarked, “these guys sound like they should be way bigger than they are.”
Want to check out Yang Sweeps? The Dad Rock EP is available on Apple Music and Spotify, and follow them on Instagram here to explore their quest to fame.
A broadcast from far away You traced lines across my chest in BBC World Service hours Ancient paths, scorched earth Ancestral song I listened
Deep breathing rose and fell Hard grip, body heat My lips followed your contours down Until you arched your back
We lay in sweat and silence Russian doll layers stripped Secrets slowly dripping
The BBC World Service hours were long In my mind’s eye, I saw the blackness of oceans Lighthouses on islands that flashed in the dark
But a bin-lid broke the silence Like a crashing wave And we were foam Spindrift The wind blew us to air And by the time a mayfly died We were finished
Frank Radcliffe-Adams is a French and Spanish student at the University of Manchester and one of Manchester’s finest up-and-coming poetry talents. His writing is tethered in the real, close-cut narratives of scenes which spill out people’s lives. Much of Frank’s work maintains a narrative style that flows effortlessly, particularly during its spoken performance, which can then be suitably clashed with sudden comments, twists and turns, keeping the audiences on his hook.
Frank has performed at a variety of poetry and spoken word shows around Manchester, including SPEAK Poetry, Word War, Stirred Poetry, One Mic Stand, Oxjam, Gathering Speed, Too Shy, and most recently, Punk in Drublic’s 2nd birthday party. He has also appeared and read his poetry on Fuse FM’s State of the Arts radio show and podcast.
After competing at the Slam of the North in 2018, this February, Frank travelled to Birmingham to compete at ‘UniSlam’, the national university spoken word competition, for the University of Manchester team. Frank earned particular praise after performing his piece ‘The Makers of Our History’ at the semi-final of the competition, with poetry judge Dizraeli (Rowan Alexander Sawday) praising him as a “fantastic writer”. He has since competed in the poetry slam at the Huddersfield Literature Festival.
Frank is an artist who is very obviously committed to pushing his writing abilities with new challenges. In addition to having written poetry which bounces between multiple languages in poems such as ‘La Tierra Mala’, Frank has also written a uni-vocalic poem, a type of lipogrammatic-constrained writing which only uses a single vowel throughout, called ‘Odd Socks’.
Writing a piece that holds a coherent narrative and plenty of humour whilst having his hands tied to this extent is a real showcase of Frank’s writing talents, an idea that has audiences listening to every nook and cranny of the poem.
Odd Socks By Frank Radcliffe-Adams
Boy looks lost Odd socks on Old books, torn photos on floor Odd socks on floor Boy’s room pongs – Wow
Crows roost Dogs howl old songs of loss Boy knows Now, nobody to hold on to Nobody to go down on Odd socks rot on floor.
Boy knows not to throw socks on floor Do not drop socks! Socks do not go on floor! Boy’s brow grows hot Cold drops of shock Odd socks own sprogs born on floor.
Go to town, boy! To crowds, to throngs of folk Don’t worry for tomorrow’s lot Go now
Don’t slowly rot from sorrow No Don’t slowly rot from sorrow For crowns of thorns do no good, no Nor do odd socks on floor
Frank is also the host of the spoken word event he organises, ‘Turn Up the Speaker’ at Antwerp Mansion, drawing in an eclectic array of Northern poetry talent and raw writing, the likes of which are not often seen at other events in the city centre. The last show, headlined by local spoken word poet Thick Richard, was held outdoors, with a large wood fire burning close by.
One of Frank’s most well-known poems is ‘The Broken Arms’, a fantastic narrative of a middle England pub scene, heaving with characters and their snapshot backgrounds. Pieced together in a rambling, rhyming, fast-paced prose, these two-line life glimpses paint a coherent and hilarious picture of the sort of people you might find in your old local at any given time. Recently, Frank has written a second part for the poem in a contrasting narrative style, from after the closure of the pub.
The Broken Arms By Frank Radcliffe-Adams
I
The bell rings for last orders like the working of a charm In a pub beside the quays they call ‘The Broken Arms’
The band are finishing their drinks, their amplifiers shriek They start another of the songs that they play every week
There’s ‘Mustang (fucking) Sally,’ one called ‘Give a Dog a Bone’ And a fairly un-PC one written by the Rolling Stones
There used to be a folk singer who played on Tuesday nights Dressed as a sixteenth century paige in shocking yellow tights
Who drank pints from his own tankard, kept in a shoulder bag When he started singing everyone went for a fag
But one Tuesday five years ago he left the pub at ten Leaving his set unfinished, and was never seen again
And only one person can know if he’s alive or dead, A pale man in the corner who goes by the name of Ted
Who runs a fast food van that caters for you your every need Burgers, hot dogs, hot and cold drinks, ketamine and speed, and says: “Well … to be fair, mate, this stuff is less likely to kill you than these fucking burgers”
Tonight his chin rests on his palm, a glazed look in his eyes He can’t block out the crowded room however hard he tries
Whilst Lynne, who played for West Ham ladies, watches him and thinks: “The bastard never had a chance, it’s no wonder he drinks”
Ted’s yearning for his younger days, he’s getting old and slow He tried it on with Lynne last week but she knows taekwondo
But their thoughts are interrupted by loud voices at the door The drum and bass boys swagger in, Ted knows they want to score…
“It’s Johnny P the gypsy MC! Lock up your daughters and your auntie! Hold tight Fat Tim – the baddest selectah! Man like us we ain’t here to protect ya!”
Meanwhile Colin walks in, clutching posters to his chest His dogs been missing since last night, today has been a test
Sandra, Colin’s neighbour, hiccoughs, whisky on her breath – Last night she jumped the fence and beat the dog to death
And Ted is in the toilets doing lines with the lads It’s the best they’ve ever had.
The three emerge, sniffing, as the barman wipes his brow Then rings the bell again, calling: “Right! Everyone out now!”
II
You hear voices carried on the wind sometimes They echo in the alleys, and say strange things, like:
“What? This town has a drug problem? Too right it does, there’s fuck all to be found But you know me, I keep my ear to the ground I can pick up bits and pieces here and there if I’m lucky But I used to buy smack in the bookies!”
You may hear Ted say this to himself, as an eastern wind blows in from the marsh, As he turns away to light his fag and plumes of smoke float over the creek
He’s been coming here a lot since the pub closed down, A spit and sawdust shit-hole that they called ‘The Broken Arms’ Where the regulars drank every afternoon and evening As if they were crafted there from clay, someone said Ted forgets who
And now the terra-cotta army of piss-heads has fallen Their dust has been carried by the winds of change
Someone said this town is moving up in the world Though figures of the past are still scattered here and there Scratching their heads as the prices go up and the queue at the food bank gets longer
Ted graduated from the terraces at Upton Park He earned his masters at the raves on Canvey Island But he was not prepared for this strange new world Of benefit sanctions and five pound pints And the kids buy their drugs on the internet now – Ted doesn’t even have a computer
So, as business was going to shit he burnt down the fast-food van He thought he’d get an insurance pay out Turns out that it wasn’t insured
So now he sleeps in his boots on his sister’s settee He drinks by himself at the quay side He breaths in the stench of the creek at low-tide And sometimes says to himself:
“I blame Maggie Thatcher… miserable old cow I survived the eighties but I’m just existing now I drank away my chances and I pissed them up the wall – But, if could go back now, I’d change nothing at all”
Following his successful performance at Punk in Drublic’s 2nd birthday party, Frank is set to perform at the next Punk in Drublic poetry and comedy show in aid of Mustard Tree homeless charity, on Thursday 6th June 2019.
Frank will also be performing at the Art in Mancunia student-led exhibition of art, photography, poetry, and music, which will be hosted at Antwerp Mansion on Wednesday the 9th of May. The event will run from 6pm – 10pm and tickets will be sold on the door for a price of £2, with refreshments also provided.
When people ask me, “how’s Manchester?”, my appreciation for the music scene is always top of the list and is certainly a lengthy conversation to be had.
From the consistent Indie rock scene, DnB, Disco House, and Techno, we all know a student DJ. Indeed, somewhere between going to lectures and regular pints at the pub, student DJs have sprouted across Owens Park all the way through to Withington. They, unlike the rest of us who don’t have our music to rely on if our degree goes to the dogs, should be commended for sustaining the Manchester student music scene – enter, Hal Dixon and Hector O’Shea.
Dixon and O’Shea began their musical adventure in a band called Red Kyte. In 2015 Red Kyte were supported by CM sounds, at a concert for young people, held at the Albert Hall in London and took home the win of the bands.
During this time with Red Kyte, Dixon realised the potential of various sounds and genres, and with the assistance of mixing decks, he discovered the limitlessness of music and technology. With this new revamped frame of thinking, Dixon used this to vary his sets in tempo and genre. Dixon knows about ambient Techno blended with disco and heavy dance music, so for those Fallow gals stomping in their platforms, Hal and Hector have got you.
Hal sleeping
So Dixon is experimental with his music, but his creativity and entrepreneurship doesn’t stop there. Did you know that Dixon co-founded the ‘Late Night Shopper’ event which started last September? Dixon has also played a pivotal role in organising various DJs from NTS/Dimension’s directory circle, who too, support an ethos of bringing a variety of genres into intimate spaces which never leave the crowd behind.
‘Late Night Shopper’ appears to have found a prevalent place within Manchester, collaborating with Hector O’Shea the bassist of Red Kyte, ‘Late Night Shopper’ also appears as a show on Fuse FM radio show since 2017. Here, Hal and Hector discuss the up-and-coming artists making flashing appearances amongst Manchester’s vibrant nightlife.
Hal and Hector pick the mixes which have played at outstanding events, and also give lesser-known producers a chance to have their music exposure to Fuse FM listeners. This April passed, ‘Late Night Shopper’ performed a guest set for ‘Slow Dance’ record company’s radio, and are soon to be joining Limbo Radio on 10th May.
As the saying goes, “behind every great man there is a great women”, Bella Middleton and her artwork is certainly not forgotten amongst the various forces behind some of Dixon’s musical collectives. Indeed, Middleton designs the various brands and promotions for their events.
Inclusivity of art is something that ‘Art in Mancunia’ promotes, and this value is held strongly by the artists who have applied for this exhibition.
To quote its creator, “a juxtaposition of tension and intimacy” is one of the qualities that characterises the work of student artist, Jas Sykes. This sense of duality, of emotions at an odds with one another, comes across in her use of both hot and cold colours side by side, and in the boldness of the black outlines of her figures on top of the more washed out, murky background.
Intimacy is conjured in these paintings in the way that Jas depicts her subjects nude, anonymous and yet with lines, bumps and textures upon the body accentuated, breathing life into the figures. The lack of a face on either of these subjects removes any sense of identity and allows us to focus on the body itself, and urges us to look in different places to where we might be accustomed to with portraits to find ways of emotionally connecting with the paintings.
Jas Sykes
In spite of this, it’s hard not to feel a sense of melancholy and isolation when looking upon the image of the blue, faceless figure sitting, curled up, almost in a foetal position. These are feelings with which we’re all familiar. Whether intentional or not, I find something quite androgynous about this figure in particular, possibly allowing for a kind of universal relatability to the emotions expressed through its body language.
Jas Sykes
Jas’s art succeeds in coming across as fresh, being eye-catching with its employment of bright colours.
Come catch it in its full 1m x 1m glory at the Art in Mancunia exhibition at Antwerp Mansion on Thursday 9th May.
For their final production of the year, the university’s Musical Theatre Society chose to perform Spring Awakening. The musical was written by Steven Slater and Duncan Sheik, adapted from the German play by Frank Wedekind. It has a smooth blend of folk and rock music and is frequently censored in television performances (I mean, who can blame them a song called ‘Totally Fucked’?). It explores themes such as abuse, adolescent sexuality, suicide, abortion and rape. In other words, it is the polar opposite of UMMTS’s last musical, Seussical.
It is a musical I am very familiar with and subject matter that can easily be treated insensitively. The Society entrusted it with Director Grace Johnstone, Oonagh Johnson (assistant director) and musical director Zoë Kondu. It was also choreographed by Hannah Blau and produced by Sophie Procter. So does this production do it justice? Absolutely!
Spring Awakening follows a group of teenagers in late nineteenth century Germany. Amongst them are Wendla Bergman (Kate Gabriel), an innocent girl who just wants her mother to tell her how babies are made, Melchior Gabor (Zahid Siddiqui), a rebel who knows very much about how babies are made, and Moritz Stiefel (Jack McCartney) who is too worried about his sexual dreams to focus on his school work. The musical is relevant today with young people still being denied knowledge of their own bodies.
A number that especially resonated with me was ‘The Dark I Know Well’. In this song, two of the girls, Martha (Esme Wade) and Ilse (Catriona Darroch) sing about the sexual abuse they face from their fathers. The music is heart-wrenching and I found myself in tears. Wade has an astoundingly unique, soulful voice, well-suited to folk music, and this made her very memorable despite her role being minor.
What was so excellent about this song was how much was left implicit. The lyrics do not describe the abuse graphically and Blau’s choreography used the metaphor of them ballroom dancing with their respective fathers. Similarly, when one major character shoots himself in the head, this was not shown onstage and when several characters beat each other with sticks, they always stood a great distance apart and the sticks never physically hit them. There is a great problem in the media of traumatic scenes that may deeply disturb viewers being shown in graphic detail for shock value. It was wonderful that this production did not resort to such cheap tactics as it allowed the topics to be treated carefully and given the emotional depth they deserved.
I did find one decision made by Johnstone and Johnson rather interesting: the sex between Melchior and Wendla at the end of act one was presented as entirely consensual. In the original play, this was an explicit rape scene and productions of the musical tend to have Wendla resist several times, only consenting after a struggle. The act finished calmly with Melchior softly asking “Yes?” and Wendla responding “Yes” in an equally calm tone. It was refreshing to see such a tender moment in an age wherein we hear so many horror stories about lack of consent. However, an issue emerges in that Wendla does not know what sex is whereas Melchior is very knowledgeable, and this creates a power imbalance that any director of the musical must consider.
While every actor showcased their incredible vocal abilities, the standout performance was from McCartney as Moritz. The role could not have been more perfectly cast with McCartney’s natural nervousness and wide, innocent eyes. His vocals really shone through during his powerful solo in ‘Don’t Do Sadness.’ I was astounded to find this was the first time he had acted with the University.
Annoyingly, this production revealed another problem with the world of theatre. In act two, male students Ernst (Gary Gannon) and Hänschen (Cali Nice) sung a love duet together, ‘The Word of Your Body (Reprise)’. Through no fault of the production crew at all, the audience laughed throughout, when they did not laugh at its almost identical predecessor which was sung by Wendla and Melchior. It is time that theatre and its audiences stopped treating romantic relationships between men as a punchline.
Spring Awakening is a relevant show that is hopeful for the future, that condemns censorship and adults who stifle the minds of the young and warns of the fatal consequences of criminalizing abortion. This production hones in on these delicate themes and does not let its audience be distracted from them. And it also boasts a cast of very talented singers!
Reinventing itself as Manchester’s newest and versatile venue, the Fairfield Social Club located a 2-minute walk away from Manchester Piccadilly Train Station has opened its arches to a new era of entertainment, events, and celebration.
Temperance Street has established itself as a cultural hotspot for art, music and some seriously tasty street food with GRUB being firmly rooted in the reminiscent ‘cottonopolis’ viaduct. Fitting for the backbone of industrial history that Manchester’s cityscape visuals are particularly prominent for, the sense of authenticity, rawness, and independence provide a backdrop for this ‘new’ space.
Fairfield Social Club has embraced its bare, brick walls and concrete brutalist structure yet swells with welcome and excitement. After a few years of priding itself as a home for some of Manchester’s most delicious street food and a cluster of craft ales, Fairfield Social Club have recognised its optimal potential in widening its gaze to match the ambition of the cities’ music scene.
Manchester promoter’s Strange Days are at the forefront of Fairfield’s frame and they have been a leading team throughout Manchester’s music scene of the past half-decade. Working on Fairfield’s Launch Party duo, Strange Days organised a pelting line-up seeing the alt-punk eccentrics Snapped Ankles as headliners for their private launch and critic favourites Dream Wife for their official public launch on the Friday.
As you enter Fairfield’s vast space, it’s hard to not be thrilled by the prospects of its future. With high ceilings, metal framed circular windows, a railed staircase leading to a lounge area fit with retro videogames, Fairfield has something for everyone. Whether you just want to hang in their tucked away corners that are fitted with comfy sofas or quench your hipster thirst, this trendy Temperance street hideaway will be your new go-to.
Although a bit on the chilly side given the space’s tall and hard structure, Strange Days certainly knew how to warm up their awaiting audience on the Thursday night. Kicking things off were the energetic punk 3-piece All Girls Arson Club who were refreshingly confident and polished given they are still very much rooted in their DIY start-up. Following the tempestuous trio were a breath of tropical-infused shimmer Intergalactic Republic of Kongo. Despite having a small online following, I.R.O.K are in no way fit for a small audience. Bringing an extensive repertoire of influences ranging from hip hop to world music to garage rock, I.R.O.K are simply undefinable, but it doesn’t matter. They took to Fairfield’s stage and had every single member of the crowd’s gaze entranced to the irresistible groove.
Ending a whirlwind of an evening were cult-followed Snapped Ankles who are also, not easily classified within the industry. Snapped Ankles effortlessly conjured all of the woodland pixies and etched a new dimension with their heavy, synth-infused vigour. However, I was slightly underwhelmed given their live performance, at times, strayed quite far away from the studio versions meaning vocals were often missed and fans found it difficult to engage with the lyrics.
The air hung low and heavy with haze on the Friday evening which created an atmospheric and a cozier environment for the first support act, Mealtime. This quintet combined a mixture of dance infused electronic sounds to create a musically dynamic and experimental set. The set rested heavily on repetitive electronic sounds which although fun at points, they did become massively overused. The lack of movement amongst the band was stark as they seemed to take up the stage space in a line, making little movement between or during songs. Although this was likely due to the set-up of their instruments it made the really dulled the visual aspects of an otherwise experimental set.
The venue’s sound and lighting weren’t sufficient enough during the performances. There were sudden bursts of coloured light that became disorientating and seemed a little unnecessary. Furthermore, the lack of speakers on the left-hand side towards the back of the room meant that the sound was easily absorbed and even lost in some parts. This was frustrating as some beautiful vocal performances became muffled across an uneasy balance and control of sound in the room. However, it seemed that some of these issues were improved as the evening progressed.
Glaswegian three-piece The Ninth Wave took to the bare stage. After a high energy and frankly ferocious run as supports for The Blinders recent UK tour, it was interesting to see a significantly more stripped back performance brought to the stage here. Featuring their standard synth and keyboard set up alongside a customised sound box they breezed through dreamily. Stand out track ‘This Broken Design’ showcased lead vocalist, Haydn Park-Patterson’s hauntingly, low vocals which cut bitterly through the synth-infused tracks with a stunning echoed quality.
This unique group bring a visually effective and well-honed sound that will be exciting to watch unfold as more tracks are released later this year. Luckily, The Ninth Wave are going on tour again soon supporting the equally epic YONAKA in July across The UK before a stint in Manchester this November. One to watch.
Finally, headliners Dream Wife burst onto the stage performing a smattering of new and old across a high octane, electronically charged setlist. Highlights include explosively energetic versions of popular tracks ‘Hey Heartbreaker’ and the provocative ‘F.U.U’ in which lead vocalist, Rakel invited everyone to move in closer and encouraged inclusivity amongst her crowd of affectionately termed “bad bitches”. The band’s statement, no matter how provocative stands testament to new attitudes towards gig safety and support for all in attendance, no matter age, gender or race. It felt exciting to be amongst a crowd that seemed all in for the fun of the experience.
After two thoroughly enjoyable evenings with Fairfield Social Club, we have no doubts that it will soon follow the hype and greeting that YES received. It a space for tasty food, quenching pints, relaxation, all the while showcasing some of the music industry’s hottest acts.
Live At Leeds (LAL) returned to the streets of Leeds for its 12thyear representing the current music industry’s most exciting up-and-coming acts. Boasting a line-up seeing Metronomy, Sundara Karma and Tom Grennan as its headliners, LAL certainly held its own amongst a weekend that rivalled with both Liverpool’s Sound City and Hitthenorth Festival.
However, unsurprisingly, it is always the lesser known acts of festivals such this as that are interwoven throughout the day that really drive home the thriving music scene the UK currently possesses. Given a critic obsession with the resurgence of punk and alternative rock bands, it was important to head down to see what the raucous really was about.
With a backdrop of Brexit looming and a growing feeling of unrest at the treatment of social difference, LAL provided the perfect residence for expression and dialogue.
Sports Team
London-born indie sextet Sports Team announced a ‘secret’ set right in the heart of Leeds’ shopping parade, Briggate, five hours ahead of their slot at The Wardrobe. Armed with a punk inspired attitude, cropped trousers and doc martens, this hotly-tipped six-piece stopped both festival go-ers and passers-by in their tracks. Frontman Alex Rice oozes confidence and eccentricity as he flamboyantly struts across the stage itching with muted monologues between his vocal queues in a very Jagger-like fashion.
Sports Team are dynamic performers with Rice’s dramatic upper body flinches that are matched by the rest of the band’s counterparts, but an element of comedy is added with synth player Ben’s total seriousness. Ben doesn’t even flinch.
Drenge
Taking to the biggest stage LAL showcased this year were alternative rock favourites Drenge. Having released their latest album Strange Creatures just three months ago, the Derbyshire-derived band were certainly equipped with enough material to hold their own. With strobes of lightning and an eerie, period film-roll playing on the screen behind, Drenge instantly instilled a potent atmosphere. Their heavily guitar-led setlist whipped the audience into a frenzied onslaught of movement.
Despite certainly exhibiting a polished and confident performance, Drenge risked a series of repetitive sounding songs that, particularly in the final quarter of their set blurred into one despite having new material. It was clear fans favoured tracks performed from Undertow and Autonomy.
Hotel Lux
After a fairly traumatic last trip to Leeds with Hotel Lux having to pull out of their support slot with Dilly Dally due to a van crash, the Portsmouth born boys made it to Hyde Park Book Club. Admittedly, I had been a little concerned about the exposure Lux would receive so far out of the city centre, but I was pleasantly surprised to see the space was full by the time they took to the stage.
Lux are a concoction of lousy licks, forceful drum beats and harrowing spoken vocals. Quiet confidence circulates the alt punk five-piece as they strut about the harshly lit stage in the basement of the book club. With a frontman suited in a check collared wax coat and booted in oxblood Hey Dude shoes, Lux’s minimalistic but undeniably stylish aesthetic fits their musical style.
The band’s unique and animated personas come to life particularly in tracks such as ‘Daddy’ and their latest single ‘English Disease’ as they narrate dark stories with a strangely upbeat melody. Hotel Lux were one of the best at this year’s LAL although I was disappointed, they didn’t play my personal favourite ‘The Last Hangman’.
Heavy Lungs
Heavy Lungs are one of the most captivating performers in the current industry. Their heavy-footed lunges, flailing arms and rigorous presence as a cohesive quartet make for a live show you can’t tear your gaze away from. Although I have now come to the conclusion that it is not the band’s priority that their audience hears every lyric sung, it doesn’t matter when you’re seeing them live.
It was so refreshing to see that the band’s front row was a group of young boys (around 12 years) adorned in long sleeves under a t-shirt and cropped trousers with docs in typical new wave punk-like fashion. As frontman Danny Nedelko delivered his sermon, the entire front half of the crowd thrashed back and forth.
Sundara Karma
Oscar Lulu and his band of indie, intergalactic androgynous folk have returned on top of the indie scene once again with their technicoloured latest album Ulfila’s Alphabet. Taking to a surreal set-up for a stage that was embellished with pan’s labyrinth-esque trims with extra glamour, it was clear this reigning indie quartet were to put on a show to remember.
Ulfila’s Alphabet, although staying to Sundara roots in its vibrancy, the new record is a far more out-reaching, ambitious eclectic mix of genres with Oscar confiding in his lower frequencies as opposed to his usual higher pitched notes. As a result, it’s hard not to compare his newfound vocal style to the likes of Bowie. It is also clear that Lulu has also finally embraced his unique identity as he owns his bleached short mullet, eyebrows, and lashes that radiate confidence.
As a live band, Sundara Karma are polished, thrilling and utterly ethereal. Speckling their setlist with fan favorites ‘Flame’ and ‘She Said’ but doing their new release justice, Sundara have perhaps aimed for a more mature audience with Ulfila’s Alphabet. Rather than relying on indie ‘bangers’, the depth and emotional landscape of their new album is profound and swells with every listen.
Who knows what the final form for Sundara Karma will be but they’re possibly the only band that were firmly rooted in the indie scene that have exceeded my expectations and have outgrown the stagnant indie landfill.
I’m just hoping other indie acts still creating the material they have been for the past four years watch and take inspiration from the risks they’ve taken.
Once again, LAL has put on a thoroughly enjoyable festival showcasing the music industry’s most diverse and exciting new acts. Be sure to keep your eyes on their social media pages as it won’t be long before their 2020 lineup teasing shall begin!
From 6 friends to a capacity of 10,000 people, 2000trees festival has certainly increased in size since its inception in 2007. Now turning 12, the festival continues to display the same music that its audience has always enjoyed, with both established artists and lesser-known rock and indie acts. In fact, some of the music is identical – this year sees Frank Turner, an artist who played at the very first 2000trees, amongst its headliners, along with his band The Sleeping Souls. Other headliners include You Me At Six and Deaf Havana, along with appearances from artists including While She Sleeps, Frank Iero and the Future Violents, As It Is, Every Time I Die, and Hands Like Houses.
Taking place from the 11th to the 13th of July at Upcote Farm near Cheltenham, the event has seen the likes of Enter Shikari, Nothing But Thieves, Twin Atlantic, Lower Than Atlantis and Wolf Alice take to the stage in previous years. This year will be no less impressive; with over 120 acts attending, they’ve certainly pulled out all the stops. Even for those just as interested in the atmosphere of the festival itself as the music, the food stalls and locally produced alcohol, as well as the silent disco on the Friday and Saturday nights, hold a definite appeal.
For those fearing the infamous mud of festival sites, there is no need to panic – 2000trees offers so-called ‘glamping’ facilities, with an assortment of tents available, and toilet facilities which are often shortlisted for a ‘Best Toilets Award’! This should come as no surprise – with the event’s creators being festival veterans themselves, they’re fully prepared for the shortcomings often encountered. Even transport has been taken into consideration: those arriving at Cheltenham Spa train station can catch a coach, and there’s even a direct bus straight from London for those traveling from the big city.
In short, it’s truly astounding that a festival put together with enthusiasm and no experience at all has transformed into something so incredible, but at the same time, it’s unsurprising. Taking the festival-goers into account has been proven time and again by those at 2000trees to be the real secret behind an incredible experience.
It’s a warm Sunday night in Manchester and Stella Donnelly graces the stage of Yes’ Pink Room like an old friend dropping by for a cup of tea and a catch up. Naturally confident without a hint of arrogance she immediately engages the crowd with a dialogue that is neither patronising nor superficial. She tells us how she is happy to return to the city that hosted her in the Soup Kitchen on her last visit and introduces her first song of the night, ‘Grey’.
In the song, Donnelly toils with the emotions involved with trying to be everything your partner wants without knowing what that exactly is. It’s a short and sweet song with a lovely piano medley supplied by George Foster, a member of her touring band and a straight man for Donnelly’s relentlessly quick and witty remarks that often make light of the taboo and sensitive topics of her songs.
She goes on to speak fondly of her hometown of Fremantle, Australia, and remarks on its beauty. Delving deeper into this topic she launches into her next song of the night ‘Beware of the Dogs’ the title track of her debut album. The song tackles the Australian environmental issue with the passionately sung lines “There’s no parliament worthy of this countryside, all these pious fucks taking from the ninety-nine”. It is wrapped together by the powerful imagery Donnelly indicts when she describes an architect setting fire to her own house.
Its power is totally understated by Donnelly alone with just her guitar on stage, yet it still manages to be incredibly moving. The message of the song could not be more relevant with the recent Extinction Rebellion protests in London and Donnelly seems to continuously prove herself as socially aware and contemporarily resonates with the topics she deals with. She showed this again with the introduction of one of her most sensitive songs ‘Boys Will Be Boys’.
First warning the crowd of what could be potentially triggering lyrics, she proceeded to tell how her video of the song had been uploaded to Facebook just three days before the Harvey Weinstein allegations came to light. Sharing the story of the song she tells of a friend who confided in her after being a victim of sexual assault. She goes on further to talk of the responsibility we all have to not only respect victims but to also dismantle ideas of toxic masculinity present in tropes such as ‘boys will be boys’ that can be incredibly damaging to young men and lead to a culture of rape.
Moving on from arguably the most powerful song of the night, she now welcomes the full band onto the stage. Jumping into the sway inducing sunshine indie of ‘Old Man’ she effortlessly ushers the night into a lighter yet still engaging tone. It’s a catchy upbeat take on figures such as Weinstein in the media and contains the brilliant line “Oh are you scared of me old man, or are you scared of what I’ll do?”.
The set continues in a refreshingly fun and engaging manner as Donnelly continues to move the set along with her humour. It’s delighting to see an artist deal with such serious topics in a light-hearted way whilst still managing to engage with these themes and address them appropriately. In doing so she creates an atmosphere of unity and there is no sense of unease in any corner of the room. This is illustrated perfectly by her often-cynical commentaries after certain lyrics that encouraged some laughter from fans.
Closing her full band segment was the highly energetic ‘Tricks’. By this point of the night, the connection between the stage and the audience is at its peak with dancing and smiles all around as Donnelly belts out the final tongue in cheek chorus. It’s a moment of pure joy for the band as they dance jokingly around the stage and appear to put everything they have into their last performance.
Donnelly ends the show by bringing us all back down to earth with the return back to the arrangement of herself, her guitar and a microphone. She delivers the lesser known ‘Mechanical Bull’ before asking the crowd if they know the Cyndi Lauper classic ‘Time After Time’, a question that is met by a resounding yes. Warning the audience to wait for it, Donnelly brings in the chorus and the unity in the room is now fully audible.
For anyone not already convinced of her talent as both an artist and a performer, this final performance was undeniable proof.
It is hard to call an artist to mind who is both musically and lyrically accomplished that manages to talk on social issues with such genuineness. Stella Donnelly shows us exactly why the future of guitar music is female and leaves the cynics speechless.
Cage The Elephant have broken back into the music scene with their fifth studio album, Social Cues, an energetic 13-track LP detailing the ends of relationships and the fragility of fame. The distinctive sound of Cage’s guitars combined with their extensively detailed lyrics continues on this album and it is a joy to hear. Jaunty beats combine with the stories of lead vocalist Matt Schultz’s collapsed marriage that gives a juxtaposing experience on first listen that feels both exciting and unsettling.
Cage The Elephant have released their fifth album on the back of extraordinary amounts of success: ‘Ain’t No Rest For The Wicked’ and ‘Cigarette Daydreams’ have become classic alternative tracks closely associated with the indie/alternative rock genre itself. With such a legacy already existent, it is hard for a band to continue to progress and develop. Despite this, Cage The Elephant have produced something that sounds delightfully fresh while maintaining their usual style. The opening track ‘Broken Boy’ introduces us to this combination of joy and upset immediately – the rapid guitar riffs laid over the repetitive pre-chorus of “I was born on the wrong side of the train tracks” is a brilliant beginning.
Transitioning into the title track of ‘Social Cues’, the theme continues. A personal favourite that begins with almost whisper-like verses provides an introspective on the issues that come with finding yourself in the spotlight. Glitzy in its catchiness, the album’s opening is one of the best I’ve heard yet. Another highlight comes in the leading single ‘Ready To Let Go’. Using the historical event of Pompeii as an analogy for the downfall of his marriage gives a sense of awful tragedy, but again we are treated to surprisingly uplifting tones in the beat. Once more, the band combines happiness and tragedy in the same space and this combative clash of mood only adds to the overall feeling of introspection. There’s something in Social Cues that feels a lot more mature than prior work, but it is still very much a Cage The Elephant album.
In technical production, the album shines, as one would expect. The layers of guitars combined with drums and vocals do become occasionally cacophonous and overwhelming – such is the case on ‘House Of Glass’ – but this is then balanced out by the likes of ‘Love’s The Only Way’, a haunting and strings-driven ballad that is nothing short of beautiful. As always, the band display a knack for spanning not only moods but genres, and their ability to conjure up delicate, whispery ballads alongside heavy rock anthems is astounding.
The album closes with ‘Goodbye’, another song detailing the fallout of a relationship. In a manner akin to ‘Love’s The Only Way’, the ending is almost papery in its fragile sound set over low violins. It relies on the instrumental skill of the band more so than the vocals but provides a soaring ending to an album spanning genre and tone with ease. The album is easily their most advanced and careful yet, showing the band’s emotional maturity and the effect external events can have upon music.
Exams are done, Parklife is a long-forgotten memory and it’s time to shuffle. What better place to satisfying those grooving needs than the northern Welsh countryside?
Gottwood is back for its 10th-anniversary and what a lineup it’s got to go with it. Sitting in Anglesey in North Wales- this 5,000 person, boutique festival has got the views as well as the music to make for a cracking weekend. The lineup spans far and wide: the Rush Hour regulars, Antal and Hunee, a rare jungle set from Enzo Siragusa and Houghton curator Craig Richards to name a few. Debutants include Shanti Celeste, the not-so-boring Dj Boring and the ever-rising Peach. A number of regulars at Manchester’s much-loved White Hotel, who could say no to a chance to see them do what they do best in a remote, Welsh field?
It’d be hard to write a preview without giving some form of a nod to Gottwood’s remarkable 10 years of being a festival. Opting not to sell themselves out as a mass market event, they have kept the same intimate capacity for a number of years. Gottwood has managed to remain committed to putting on a festival that has a family-feel, justifying the fame they have achieved for their care-free crowd and serene atmosphere. This unique festival has become something of a rite of passage for music lovers and so what a chance to come to enjoy this in its 10th year of existence. It looks set to be an unforgettable weekend.
Who to look out for? Peach has to be an obvious go to with a Gottwood debut, Move D with what has become his regular Disco set out on the Welsh coast. Fresh out of the Asylum, Crazy P is sure to bring some insane house, and who can wait for Seth Troxler, who is, in a word, American, and in another, male. Lenzman is going back to back with LSB, for those afflicted with a genuine enjoyment of drum and bass. My thoughts and prayers got out to you at this time.
Time’s running out to get your Gottwood ticket – https://www.gottwood.co.uk/tickets/. And no, it isn’t a coincidence you’re reading this the same time your student loan has just dropped. Go do what you know you want to.
The world’s first ever revision powered vending machine is coming to Manchester next week.
Pot Noodle have created a vending machine that tests your knowledge across all subjects, from history to physics. If you’re smart enough, you can unlock free snacks including the classic Pot Noodle students know and love. Other prizes include a month’s worth of tuition fees. Not quite making up for the three years, but we’ll take it.
The vending machine is set to appear at the University of Manchester on the 7th May, and the University of Salford on the 9th May.
There will also be other events happening around the campuses. In the ‘Reach For Your Dreams Run’ you will be able to race your friends in a bungee run down an inflatable course. As a reward for striving and running towards your dreams, you will get the chance to win some of the craziest and most exciting internships the world has to offer. Think assisting in an extreme sports competition, delving into the world of 3D printing, or picking elderflower for production of gin.
Pot Noodle want to give students a taste of the unconventional.
Brand Manager Lena Portchmouth said: “At Pot Noodle, we’re always looking for new ways to help students make it, encouraging them to reach for their dreams.”
So keep an eye out for some noodley goodness on campus, and test our your brains for the chance to win some revision snacks, cash or even the internship of your dreams!
In the midst of deadlines and exams, it is the break we all needed. It’s just a shame it can’t be around every day.
Greater Manchester Police (GMP) have confirmed that they do not believe the package which led to the evacuation of Piccadilly Gardens is ‘viable’.
Having initially lifted the cordon, reports from the Manchester Evening News suggest now that the Police are re-evacuating the area once more.
The Gardens, in Manchester city centre, were sealed off due to reports of a ‘suspicious package’ at around 1:30 pm. A 26-year-old man remains in police custody for questioning.
OldhamLibrary was alsoevacuatedafterreportsofasuspicious package, with officers “keeping an open mind and are exploring the possibility the incidents are linked”.
Assessors and the Fire Service were on the scene in Piccadilly Gardens, with emergency services working hard to conclude their investigation and lift the cordon.
Buses and trams were evacuated and unable to move on the news of the package, with Manchester Metrolink confirming there were no services operating in Piccadilly due to the ‘police incident’ during cordon.
A large section of the city centre was cordoned off, with shops evacuated and a heavy police presence in the surrounding areas.
People working in and around the city centre were asked to stay indoors and await further information from the Police.
Iconic as it is, The King and I is a controversial and problematic musical. From its embrace of yellowface to its caricatures of East-Asians, there’s a debate whether it is a timeless classic or an ancient relic. However, this most recent production has made a clear effort to stray away from orientalism. Its set (Michael Yeargan) and costumes (Catherine Zuber), though neither lacking in majesty, are less pantomime-like and more realistic than previous productions.
After seeing this production on the West End, I worried I’d be dissatisfied by a touring version. However, I was impressed by the continued perfection of the musical. The ensemble had largely the same cast as the West End production, so they’d had plenty of time to perfect their roles. Annalene Beechey shone as the main character, Anna. Beechey was the understudy for Kelli O’Hara on the West End, who won a Tony Award for the role on Broadway. O’Hara is ‘Broadway’s undisputed Queen’ (The Times), yet, thanks to Beechey’s equally angelic performance, I quickly stopped comparing the two. Beechey did not disappoint with the classic songs ‘Getting to Know You’ and ‘Shall We Dance?’, the latter of which received a roaring applause.
The eponymous King, most famously played by Yul Brynner onstage and onscreen, was played by Jose Llana. Llana’s performance was grand and royal. He added sympathy and likeability to a ruthless character, and he somehow managed to both infuriate and humour the audience.
My favourite character was Lady Thiang, the King’s Head Wife (Cezarah Bonner). Thiang’s devotion to her difficult and tyrannical husband invoked frustration, sympathy and admiration, with her solo ‘Something Wonderful’ softening the character and making us understand her viewpoint.
Even better, though, was the wives’ performance of ‘Western People Funny,’ which is sang when Anna instructs everybody to dress and act “Western”. Whilst the song has been removed from other productions for being offensive, this production presented it as Lady Thiang and the wives sticking a middle-finger up to Anna’s cultural colonialism. As the wives say, ‘to prove we’re not barbarians, they dress us up like savages…’ The King and Thiang may be flawed, but so is Anna, yet the musical seems to present her as completely genuine and kind-hearted. Well-intended she may be, but she’s just as problematic as the other characters.
The costumes (Zuber) were a stand-out of this musical: Anna’s dramatic purple ball-gown was simply divine and a great piece of nostalgia for anyone who’s seen the classic films. The orchestra was incredible; the show opened with a long overture, a great way to transport the audience into the historic, foreign land of Siam.
The King and I is a musical masterpiece, and I’d definitely see it again! Though dated, I appreciate the effort made to politically modernise the musical.
Fine Art and Curating student, Georgia Charlton-Briggs, is challenging the taboo surrounding female body hair. In her striking photographic series ‘Exploring boundaries within body and facial hair within a contemporary society’, she depicts body hair in different settings, both male and female, in order to examine “the role of hair within different genders.”
Georgia Charlton-BriggsGeorgia Charlton-Briggs
Georgia poses the questions, “why, as women, must we strive for a bare, smaller appearance, mimicking that of a child? Why is hair considered a sign of power and sexuality when shown on men?” Indeed, the depiction of both male and female body hair places this double-standard under the spotlight.
Georgia Charlton-Briggs
Georgia characterises the societal pressure to remove body hair as something which “stunts our development within feminism while removing parts of ourselves we are also adding barriers to ideologies people have surrounding our rights.”
By focusing on this recent cultural phenomenon, Georgia reflects on how this normalised part of many women’s beauty regimes is “a trend that started through the fantasy of pornography,” she further states that “it is expected, so much so that women’s body in its natural state has become a fetish of its own.”
The ritualised hair removal process creates disturbing connotations surrounding the natural female condition. Georgia describes how the process represents “a ‘preparation’ for sexual activity” as if one must be hairless to be sexually appealing, “or to achieve ‘cleanliness,” when in reality it is leaving your body at risk and is distinctly associating hair growth with dirtiness.
In calling for societal and legal changes surrounding both the representation of body hair and pornography, Georgia rejects this “perverse ideal” of hairlessness, describing it as “a direct hyper-sexualisation of women and children.”
Yet body hair isn’t the only feminist issue that the student artist confronts in her work, in another photographic series – ‘Exploring Femininity / De Humanisation / Hyper-sexualisation of women today’ — Georgia explores how these three societal outlooks of women intersect. The black and white photographs are curious in the way they capture all three ‘values’, highlighting how women are cast as anything but autonomous individuals.
Georgia Charlton-Briggs
In other works, Georgia questions the modern pressures of ‘dating culture’ and rejection of protected sex, reflecting on her own personal experiences.
Overall Georgia’s frank photography directly focuses upon taboo subjects which tend to remain unquestioned. By using her feminist lens, she brings to light the modern challenges that women face in a society which has been warped by porn.
With 70 pages of poetry and prose written by over 22 student writers, the Creative Writing Society’s latest zine – ‘Truth and Other Assorted Works’ – promises to be a thought-provoking exploration into the idea of ‘truth’. With the modern understanding of truth becoming increasingly confuddled, in part due to the rise of social media and ‘fake news’, this Society does not shy away from tackling the salient issues of our time.
The zine, however, is not only a collection of creative writing, but it also contains beautiful photos which capture the palimpsest that is Manchester’s urban environment, taken by photographers Harley Weng U Pun and Tobias Soar. The zine also collaborated with Hannah Teeger, a student illustrator who has designed the alluring front and back cover; it is an undeniable truth that you’ll want this zine on your coffee table!
The works in the zine which explore the concept of ‘truth’ through a fictional or biographical perspective are the efforts of a vast array of student writers who attend the Society. One writer, Calvin Cheng, reflected on his membership of the group: “The Creative Writing society was really helpful to help me improve as a writer in the weekly workshops, but I also received opportunities to give back and contribute my experiences to writers.”
Asides from the personal benefits the group provides, another writer describes how the Society is “a bastion of free expression. It provides confidence and security for novice writers and literary geniuses. Silence is often how marginalised communities have been kept down. The Soc reminds us we each have a unique voice and give us a platform to use it” (Adrian Kanyoli).
Perhaps it is this platform of expression that is integral to upholding the truth; when powerful figures seek to distort reality and dismiss opposing opinions as ‘fake news’, we cannot simply shy away. The Creative Writing Society is reclaiming ‘truth’ and looking at it through the medium of creativity.
The Society will be launching their zine on the 3rd May at Manchester’s favourite homage to the arts – HOMEmcr – and will be selling the anthology for a reasonable £6. The launch will take place between 6-8pm in the ‘Event Space’ on the second floor.
