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Month: October 2019

autumn winter wardrobe staples

Four autumn/winter wardrobe staples all students should own

Written by Anna Jin on . Posted in Fashion & Beauty.

As a busy student, the last thing you want to do is spend time worrying about what you are going to wear to lectures or the library. Therefore, it is important to have some key pieces in your wardrobe that are comfortable to wear and easy to throw on, so that you can look effortlessly fashionable every day. Here are four autumn/winter wardrobe staples that will never go out of style.

Trench coat

Nicknamed the “fashion editor coat”, this classic jacket has never gone out of style, and probably never will. A good trench coat is lightweight, comfortable to wear, and will protect you against wind and rain. Manchester weather is so unforgiving that a student can rarely leave their home without a coat. When you are outside, it is often the only part of your outfit people can see. So, invest in an ultra-flattering trench coat that looks good with everything and be protected from the elements in style.

Wool coat

A wool coat is essential to your winter wardrobe, especially for the colder months when a trench just won’t cut it. A lined wool coat ensures you always look chic and put together no matter what you’re wearing underneath. Wool is the warmest of all the natural fibres, and, unlike synthetic fibres, won’t make you feel sweaty when you pile on to a busy Magic Bus. Wool is also naturally water resistant, although it will need time to air out following a heavy downpour. The wool coat is both stylish and warm, the perfect coat to wear in winter for those early morning lectures.

Knits

Say goodbye to the lightweight linen and cotton fabrics of and summer! During the colder months, chunky knits are your new best friend.

When choosing knits, a crew neck is the perfect option for the autumn month. However, when it gets to the coldest winter months, opt for a higher neck so as little skin as possible is exposed to the cold air. Knitted jumpers are a great starting point for any winter outfit. They can be dressed up or down. They look casual and relaxed with denim jeans for an everyday uni outfit, or pair them with a midi skirt for a formal occasion.

Ankle boots

As a student, you will spend a lot of time walking on campus, therefore, good footwear is indispensable. Like a coat, your shoes are there to protect you from the wild and unpredictable weather winter in Manchester throws at you. A good pair of ankle boots are a great choice. They come in a wide variety of styles and colours, and everybody can find a pair to suit their personal style.

For those with a feminine taste in fashion, a pair of Chelsea boots will never go out of style. Dr. Martens are perfect for those who prefer something a little edgier. Pair your boots with a skirt for a night out or some wide leg trousers for long study sessions in the library.

Cheap eats without the trek: Lazy casual dining

Written by Anneliese Murray on . Posted in Food & Drink.

If you’re a Fallowfield or Withington dweller, these restaurants are for you. Casual dining and quality hangover food when you just can’t face getting on the bus.

Photo: Anneliese Murray

Fuzion Noodle Bar, Fallowfield

Fuzion is a classic, but I never get bored of it and it tends to go down well when I introduce it to visitors. Long rows of seating facing the open kitchen area give this place a communal casual dining feel. The menu is a varied affair of Pan-Asian classics and innovations. At this point, I’ve tried plenty of it, but I have my favourites. Start with the spicy prawn crackers, then order the salt and pepper squid. It’s my favourite of its kind – big chunks of squid in a crisp batter with a red and green chilli-pepper garnish. Be sure to ask for sweet chilli sauce, as oddly it doesn’t come by default. For the main event, a favourite of mine is the Malaysian Laksa curry with king prawns. A creamy, coconut curry with plenty of sauce, served with sticky rice. Veggies and vegans are also accommodated for, and the Vietnamese veggie braised rice is tasty. Reasonable prices and good food make Fuzion a Sunday favourite.

 

Photo: Anneliese Murray

Kosmos, Fallowfield 

Kosmos is a long-established student favourite for its impressive deals. Head in Sunday to Friday for a two-course Greek menu with a glass of wine for just £10.50. The food was so good that we couldn’t resist an extra starter and a dessert, too. A special shout out to the Melintzanes, battered aubergine slices with a creamy tzatziki dip, as well as the deep-fried halloumi. Admittedly the wine is a conservative pour, but with lovely staff and decent food, this offer is not one to be scoffed at.

 

Photo: Anneliese Murray

Kyotoya, Withington

Family-run Kyotoya might be my favourite inclusion in this list. Tucked away on Copson Street in Withington, this sushi restaurant has all the quality of a city joint, without the inflated prices. Only a stone’s throw from a lot of student housing, it’s well worth a visit. The restaurant and its staff are homely and welcoming. You can watch your sushi being prepared in front of you, assuring its freshness. We ordered the 16-piece mixed sushi, which delightfully comes served in a wooden boat, complete with maki, uramaki, sashimi, nigiri, and the all-important wasabi and ginger. Alongside this we shared the chicken katsu curry and the tempura prawns. I’m not sure I’d rush to order the tempura again but the katsu definitely deserves a special mention. For such good Japanese food, this really won’t set you back much, and I highly recommend it for sushi lovers on a budget.

Photo: Anneliese Murray

This rundown is only a nod to some of the casual dining on offer in South Manchester. So, next time you fancy a bite, consider staying a little closer to home.

Rainbow Noir: Here: Celebrating LGBTQI people of colour at HOME

Written by Chess Bradley on . Posted in Arts.

How often do you see LGBTQI people of colour represented? How often are those stories and images positive?

When marginalised communities are represented in the mainstream media, often it is the tragedy and violence that is captured.

Tom Quaye’s portraits of the volunteers for Rainbow Noir, a group that celebrates and connects LGBTI people of colour around Manchester, defy this narrative. The ten images (displayed in the Inspire Gallery at Home) are gorgeous and portray pure unadulterated joy. Each portrait is taken in front of a black backdrop, allowing the radiance of each volunteer to take centre stage. These images are overwhelmingly happy, the smiles of the volunteers are contagious.

Sen. Photo credit: Tom Quaye

Some of these portraits are joyously silly. The portrait of Sen, for example, sees him in glasses with unicorns. The image of Toni-Dee shows her with her hand resting on her chin, a pose demonstrating a superbly fun energy.

Toni Dee. Photo credits: Tom Quaye

This display at HOME is undoubtedly important. It tells us that LGBTQI people are here, queer, and full of happiness and love.

Rainbow Noir: Here will be displayed at HOME until 14th October. Rainbow Noir meet every second Thursday of the month at Milk and Honey café on Oxford Road, from 7pm til late.

chronic fatigue syndrome photo: Bec Oakes

Living with Chronic Fatigue Syndrome

Written by Bec Oakes on . Posted in Lifestyle.

We all bend the truth slightly on dating apps to put the best version of ourselves forward. My profile details how I’m an international athlete and features pictures of me at Instagrammable restaurants in New York, in a minuscule bikini on a spa retreat, and skiing in the French Alps with friends. However, if I were being truly honest, it’d read something more like this.

24 year old Linguistics student loves Italian food, getting 12 hours of sleep per night, and spending too much money on clothing in order to temporarily forget about her chronic illness. Potential suitors must be tall, patient when she cancels dates at the last minute, and physically strong enough to support the weight of a 120lb girl when her muscles give in and she’s struggling to walk.

I have myalgic encephalomyelitis (ME), more commonly known as chronic fatigue syndrome (CFS). CFS is a fluctuating long-term health condition, and its main symptom is extreme physical and mental fatigue that doesn’t go away with rest or sleep. This can make it difficult to carry out everyday tasks and activities, as the amount of energy available to do so is much lower than in the average person. Other common symptoms include; muscle and joint pain, sleep disorders, memory and concentration issues, headaches, sore throats, dizziness, balance issues, digestive issues, nausea, and flu-like symptoms.

Because of the nature of its symptoms, which are found in a number of other conditions, CFS can be difficult to diagnose. I’d shown symptoms for over eight years before being diagnosed with CFS. In the years prior to my diagnosis I’d had over 30 blood tests, was tested for tumours, visited multiple specialists to test for the likes of lupus and rheumatoid arthritis, and was put on every nutrient supplement available at Holland and Barrett until every other possibility could be ruled out.

My condition is moderate. On a scale from 1 to 10, I’d say it’s a 6.5 – but this can fluctuate from day to day. On a good day, I go to lectures, do my French homework, and attend cheerleading training. I just about cope. But, it’s not easy. After about 45 minutes in a lecture, mental fatigue starts to kick in. My brain starts to fog and I lose the ability to concentrate, no matter how hard I try. Sometimes I fall asleep in lecture theatres. Or, I’ll simply sit there in a daze, completely unaware of what’s happening around me, then make a note to catch up on the podcast when I’m feeling better.

A few hours into an intense training session at cheerleading, a similar situation occurs. My body struggles to hit the motions, jumps and turns it needs to. Choreography I was performing perfectly 30 minutes ago has become physically impossible and any chance of picking up or memorising new choreography is at zero percent. I’ve lost count of the number of times I’ve struggled to keep my emotions in control – waiting until I arrive home from training to lock my bedroom door behind me and call my mum in tears because of the pain and how useless I feel.

But that’s not the worst of it. On a bad day, I’m pretty much bed-bound. It feels like a post-WHP hangover (not that I go out more than once or twice a month) that no amount of Fanta or Deliveroo can fix. Earlier this month, I had a bad day (which I like to call ‘crashes’) and didn’t wake up until 2.30 pm, despite falling asleep the previous night at half 10. That’s 17 hours sleep, yet I wasn’t at all refreshed. Every muscle in my lower body ached, my eyelids felt like they were being dragged down by lead bricks and I was hypersensitive to light, noise, smell, and touch. The only thing I could do was lie in bed in the dark, watching Grey’s Anatomy on minimum volume and brightness on my laptop, and wait for it to pass.

Then there’s the nausea. Another prolific symptom of chronic fatigue syndrome is digestive issues and, as a result, my stomach is sensitive to a number of foods, including egg and anything with a high-fat content. I went to a burger restaurant in London last summer and the food was far too rich for my stomach to handle. I consequently spent four hours vomiting into the toilet of my then-partner’s grandfather’s flat. People ask me why I’m so skinny. The not-so-pretty fact of the matter is because anything with a high fat content gets expelled very quickly from my body.

But, I think the worst thing is the way people perceive the condition. Before my diagnosis, my parents would constantly call me lazy for napping during the afternoon – now they call me Sleeping Beauty. I told a friend about my condition and he told me it was all in my head and I just needed to get over it. I’ll never forget the condescending tone of a previous cheer captain telling me to ‘get it together’ when I messed up because my brain and body just couldn’t sync up. There’s the disapproving looks I get when I don’t stand up on the bus for a middle-aged woman – remember not all disabilities are visible. Then there’s the fear. The fear that it’s only going to get harder when I graduate and move into the world of full-time employment. The fear that my future employers won’t be as understanding and caring as the University is about my condition.

Regardless, I like to look on the bright side. I might not be able to go on nights out, or buy standing tickets for concerts, or binge on Domino’s Pizza and Strongbow Dark Fruits. But, because of my chronic fatigue syndrome, I’m an international disabled athlete on Team England Adaptive Abilities Freestyle Pom. I’ll be representing my country with the back-to-back world champions in the USA in April. And, much to my absolute delight, I’ll never have to attend another 9 am seminar again if other options are available. If that’s not a silver lining, I don’t know what is.

For more information and support about CFS check the NHS Inform website. 

Review: Pizza Shop Heroes

Written by Claudia Langley-Mills on . Posted in Theatre.

After a fantastic run of highly rated and sold-out shows at the Fringe Festival this year, Pizza Shop Heroes was brought to HOME by Phosphoros Theatre, with the intention of “bringing unseen stories to light”.

The performers are not institutionally trained actors, but refugees, who sought asylum from their home countries and finally settled in the UK. After the tremendous and heroic journeys they endured alone, this production gives these men a platform for their stories to be rightfully heard.

The stripped-back set, composed of a countertop in an Indian/Italian pizza takeaway, allows for the performers to gain the main focus of the audience. They are frantically answering calls from customers and loved ones, sandwiched between a montage of ringtones and enough silence to share some of their stories.

Though English is not their first language, the cast do an incredible job at voicing their experiences. Their tales are recited from the third person perspective of ‘a young boy’, which dissociates their narrative viewpoint and poetically transcribes the horrific events which these men endured at such a young age.

I was initially unsure about the role of Kate within the production, however, after speaking to Liam and Dawn the following day, I felt more understanding towards her presence onstage.

Actors Teddy and Syed commanded the stage with ease and composure throughout their performances, and Emirjon added much comedic value. Captivating singing and instrumentals occur later in the performance from Goitom Fesshaye.

At times, all actors could have benefitted the audience by speaking a little slower, as regular-paced dialect can be difficult to pick up. The presence of microphones, however, seemed to give the individual performer a further sense of ownership over their speech.

Understandably, stage direction was kept fairly minimal as to not distract from the stories of the performers. However, I felt there could have been more creative input to aid the visual elements and lyrical nature of the monologues.

There was a beautiful moment in the piece involving creative use of aprons, forming a straight jacket with the actor being entangled and manipulated like a puppet; wrapped up within the confines of their working environment, these individuals spend all day answering calls and taking orders from people who never ask their name.

Scene seven saw a pizza board inscribed with the title: ‘Things You Need to Know About Coming to the UK’ grace the stage. This scene is undoubtedly funny, but has audience members realising the sad existence of prejudice, ignorance and assumption within the UK. The ending statement is powerful: “We will not be ignored. We have a right to life, to equality, to freedom from torture”, though it is unsettling to recognise that we live in times where a demand for basic human rights is still relevant.

At the end of the show, every member of the audience was invited onstage for 15 minutes to speak to the performers. Whilst people were getting out of their seats and heading towards the stage – everyone wanted a chance to say something to them, which was wonderful to see – I briefly spoke to the gentlemen sat behind me: he told me he was from the same country as one of the actors, and his words had really resonated with him. I wanted to ask if he could give me some more feedback towards my review, but he was so eager to congratulate the cast-members that he sped over before I had chance to.

I felt enlightened to see a theatre piece – with intentions of spreading awareness about issues we need to know more about – resonate so strongly with audience members.

Art is about making a statement on behalf of a cause which needs to be widespread knowledge. This is a piece of theatre which should be seen by all. We laugh, cry but, most importantly, we stand with them.

I won’t order a pizza again without asking the Pizza-boy’s name.

Pizza Shop Heroes will continue its tour until the end of November.

If you would like to know even more about Pizza Shop Heroes and how you can do your bit for the refugee crisis, please keep an eye out for my interview with Dawn Harrison and Liam Duffy.

Review: & Juliet

Written by Jay Darcy on . Posted in Theatre.

& Juliet is the first jukebox musical to use a songwriter’s music (Max Martin). A reimagining of Shakespeare’s Romeo and Juliet, it asks, what happens when Juliet picks up the dagger and… gets a life?

The set (Soutra Gilmour) was majestic. From continental streets to multi-coloured chandeliers, it left nothing to the imagination – it threw in everything including the kitchen-sink! Hilariously, the show’s press event was held elsewhere because the theatre was taken over by set…

The cast of & Juliet. Photo: Johan Persson.

Whilst Miriam-Teak Lee (Stage Debut Award winner) is right that “anybody” could play Juliet, the casting of a black woman didn’t go unnoticed. How incredible to see an iconic character played by a BAME actor!?

Lee was born to be a leading-lady. Her performance of Katy Perry’s Roar was especially cathartic; she made it known she was in Hamilton…

The cast was very diverse, including Melanie La Barrie, who played the nurse. At the press event she revealed, in contrast to the very different take on other characters, she was playing the “quintessential” nurse, though she would develop it, and, hell, did she! She was a real sasspot. Her relationship with Lance (2 x Olivier winner David Bedella) was tear-inducingly funny, especially when they mixed Katy Perry’s Teenage Dream and Ariana Grande’s Break Free. Also, La Barrie’s performance of P!nk’s F**kin’ Perfect was just that…

I adored the addition of queer characters. May (Arun Blair-Mangat) struggles with their gender-identity. Their rendition of Britney’s I’m Not a Girl, Not Yet a Woman was a divine interpretation.

Tim Mahendran played Juliet and May’s love-interest, Francois. His gradual acceptance of his sexuality resonates with anybody who has struggled with identity. So, to thine own self be true…

Wait, wrong Shakespeare play…

The pair gave a fabulous rendition of Katy Perry’s I Kissed a Girl (the musical should be renamed & Katy & Katy & Katy again…).

I generally feel awkward clapping enthusiastically, worried I will appear obnoxious, but I clapped, whooped, sashayed, shantayed, vogued and partayed for these lovebirds.

Arun Blair-Mangat as May. Photo: Johan Persson.

Anne Hathaway, Shakespeare’s wife (though after the show, Shakespeare was her husband!) was the audience’s favourite character. Brit-nominee Cassidy Janson played Anne as insistent, defiant, and unashamedly feminist.

It is she who encourages Shakespeare to rewrite (and let her rewrite) his famous tragedy. They fight over the development of the play, both throwing curveballs (and plot twists) at each other (Act 1 ends with a Dynasty-style twist!).

Anne hilariously gives Juliet a queer best-friend, May, before inserting herself into the play as Juliet’s other best friend – April. Get it? April, May and July-et!

Shakespeare eventually gives in to Anne’s request, stating, whilst there will be more tragedies, there will never be another Anne Hathaway… Well, while that one won an Oscar, this one deserves an Olivier…

Oliver Tompsett told me he wasn’t afraid of playing Shakespeare. He really made this iconic figure his own.

I unfortunately did not see Bat Out of Hell before it closed, so it was amazing seeing the fantastic Jordan Luke Gage onstage. He’s a real Romeo.

He was perfect as the vain, dumb playboy, who is very different to Bat Out of Hell‘s Strat – Jordan can seemingly do it all…

Whilst the audience stood beside Juliet as she put Romeo in his place (below her – it’s Juliet & Romeo now!), we all loved him really.

Jordan Luke Gage as Romeo. Photo: Johan Persson.

Oh, what else?! Lighting, sound, music – all superb! The costumes (Paloma Young) deserve particular praise for splendidly blending Shakespearean and modern fashion: hoodies, jeans, trainers, and corsets! A standout scene was the Dubois’ take on Backstreet Boys’ Everybody! Oh, I wish I had more words…

The only (small) fault is impossible to fix. The show masterfully transformed recognisable pop songs into emotional ballads, unsurprisingly prompting some laughter from audience members. Whilst this was fine at first, and I laughed too, it became tiresome and took away from the touching emotion of the songs.

This problem lies within the immaturity of some audience members, those people who still laugh at jokes the 17th time they’re uttered… Yes, they’ve slowed down and added meaning to Britney – 2 hours in, have you only just realised that, are you easily amused, or do you just want to be heard? ‘Cause ain’t nobody here to listen to you, Sandra…

I’ve seen (and reviewed) lots of shows, and I can honestly say that & Juliet is one of the best I’ve ever seen. So, go buyeth oneself a ticket to the hottest musical in town, before it transfers to the West End – or forever wish you had!

Or, go and see it in London for double the price (seats are as cheap as £13 here in Manchester!).

& Juliet runs at the Opera House, Manchester until 12th October, before transferring to the Shaftesbury Theatre, London from 2nd November.

Photo: globochem3x1minus1 @ Flickr

Preview: MK, Diplo and Gorgon City at Mayfield Depot

Written by Matthew Nottidge on . Posted in Music.

On October 11th, the Warehouse Project joins forces with the BBC Radio 1 Dance Stage to present a colossal lineup of house and techno music. Headliners American heavyweights MK and Diplo will also be joined by North London production duo Gorgon City. 

For the Radio 1 Dance Stage’s first stand-alone event outside of Ibiza, there could be no better location than the Warehouse Project’s new and improved location of the Depot at Mayfield.

Los Angeles based DJ and producer Diplo will return to the Warehouse Project six years after his last performance in 2013. During the last decade Diplo has shot to superstardom, leading electronic dancehall music project Major Lazer, acting as a member of the supergroup LSD, alongside Sia and Labrinth, and as one half of the electronic duo Jack Ü, with DJ and producer Skrillex. 

Major Lazer’s track ‘Cold Water’ featuring Justin Bieber and MØ peaked on the Billboard Hot 100 at number-two, whilst Jack Ü’s ‘Where Are Ü Now’ featuring Justin Bieber secured the number-one spot on the Billboard Hot Dance/Electronic Chart.

Following one chart-topping artist with another, MK – real name Marc Kinchen – joins the night’s lineup. The American DJ, record producer, and remixer had several number-one hits in the 90s, including ‘Always’ and ‘Love Changes’. But, after his 2013 remix of Storm Queen’s ‘Look Right Through’ reached number-one on the UK Singles Chart, his success can be said to span the decades.

The house music veteran will be reuniting with another of the night’s acts, Lee Foss, and singer-songwriter Anabel Englund to perform as the musical group ‘Pleasure State’. 

Representing the UK for the night is London production duo Gorgon City, consisting of Matt Robson-Scott and Kye Gibbon. This year, they teamed up with fellow headliner MK on the track ‘There For You’, and last year saw the release of their Sophomore album ‘Escape’, the long-awaited follow up to the highly successful ‘Sirens’. 

With 17 support acts, such as Danny Howard, Riva Starr, and Low Steppa (making his Warehouse Project debut), this international lineup of electronic artists lays out all the prospects of a night to remember.

Full lineup includes Lee Foss, Danny Howard, Weiss, Leftwing:Kody, KC Lights, Meduza, Dom Dolla, PAX, Nightlapse, Understate Biscits, Haze and Nghtwrk.

The Warehouse Project and the BBC R1 Dance Stage presents MK, Diplo and Gorgon City at the Mayfield Railway Station Depot on October 11th. Tickets are on sale now.

Photo: Paul Hudson @ wikimedia commons

Album Review: The Talkies by Girl Band

Written by Sam Dynes on . Posted in Music.

After an indefinite hiatus began in 2017, coupled with very little engagement with the public on the reasons why, there was little expectation of any kind of comeback from the Dublin-based noise-rock quartet, Girl Band.

But alas, almost two years after their last live performance, they announced the upcoming release of a single, ‘Shoulderblades’ – a sprawling, industrial, almost techno sounding track that acted as a reaffirmation of the iconoclastic nature of the band. The track combined the buildup-breakdown elements of some of their most iconic songs with a strange cavernous production, which ultimately results in what is perhaps their best track to date, hinting at what was to come.

Given the fact that the band took a hiatus to address the mental wellbeing of lead singer Dara, the fact that The Talkies seemingly represents the process of an extended mental breakdown fits very appropriately. The first track, ‘Prolix’, immediately tells you this is going to be an unsettling experience, consisting of Dara struggling to breathe during a recorded panic attack over an ambient soundscape.

This is then followed up by two of the album’s singles: ‘Going Norway’ and the previously mentioned ‘Shoulderblades’. The former is a noisy, chaotic mess that manages to remain rhythmically entangled despite the bizarre instrumental choices. In the latter half of the track, there appears to be a power drill in the mix which resembles some of the experimentations of No-Wave artists from New York in the 1970s.

Following the singles is ‘Couch Combover’, featuring Dara’s trademark nonsensical lyrics – “Got a semi in a hot topic sauna” –  in a surprisingly melodic delivery over a pulsating, raucous performance from the rest of the band, whose performances are equally commendable over the whole record.

‘Aibohphobia’ is a rather amusing moment on an album that sounds like the soundtrack to a haunted mansion. With lyrics exclusively in palindromes, the track title referring to the phobia of said palindromes, and the minimal instrumental seemingly being equally palindromic: a simple drum beat that becomes increasingly more cavernous and distorted as the track goes on. It is clear that the band have lost none of their wit that brings them above complete, abject chaos.

‘Salmon of Knowledge’ has an almost jazzy foundation with very laid-back drumming compared to the rest of the record, and indiscernible guitar/bass echoing in the background. Whilst it stretches itself over a monolithic 6 minute 20 second runtime, including a false finish, it doesn’t find itself slumping, and in the context of the record works phenomenally well. ‘Akineton’ follows, and is a caustic, noisy collage of various elements of the previous tracks combined with a jarring synth pattern. Before you can even become accustomed to the aural assault, it ends.

‘Amygdala’ is another short track, trading witty lyricism for complete babbling and nonsensical noises. The track pushes the limits of the listener in a similar vein to another acclaimed, deconstructionist release this year, Schlagenheim by Black Midi, albeit much more abrasively, with even less accessible instrumental qualities. Whether this appeals to the person listening, however, is a completely different issue.

Later track ‘Caveat’ is an eccentric combination of surprisingly groovy drumming and their trademark noisy whirls, showcasing their strange aptitude of creating danceable songs that sound completely unapproachable. This then suddenly transitions into ‘Laggard’, a droning track that once again echoes their No-Wave influences. An increasingly dissonant and intense buildup is paired with noisy stabbing interjections that then falls back to reintroduce Dara’s signature yelping, over a similarly unharmonious instrumental that again builds up in its intensity to a final abrasive finish. The somewhat discernible three-act structure of this track in particular really demonstrates what they’ve become known for in their brief music career, and shows that they most definitely are not willing to give it up.

‘Prefab Castle’ is the pinnacle of the album, a track which transitions multiple times over its near 8-minute runtime. Introducing itself with what sounds like the purring of a cat distorted into oblivion, it mutates into a glitched psychedelia, before shifting into a pounding noise-rock track. It then shifts again in its second half into nightmarish techno, sounding like it could have been taken straight off of the soundtrack to Gaspar Noé’s ‘Irreversible’. As this slowly fades away, we are greeted by the final track, ‘Ereignis:’ a calming, tropical sounding track, perhaps signifying the end of the mental turmoil that permeated the album.

The Talkies is a tour de force from Girl Band, taking the danceable, noisy grooves of their previous record Holding Hands With Jamie, but utilising them in the most coherent release from the band to date: a haunting, nightmarish exorcism of an album that hopefully establishes them as a figurehead of the current alternative wave, a title they already deserved half a decade ago.

10/10.

Live Review: Marika Hackman

Written by Alexander Corns on . Posted in Music.

Though it might at first appear that way as she tenderly sauntered onto Band on the Wall’s somewhat cramped stage to perform ‘wanderlust’, the opening track of her new album Any Human Friend, there is certainly no timidity about Marika Hackman.

Joined by her band she launched straight into ‘the one’, a slowly crescendoing track with seething lyrics. She mentioned later that she visited her old school and performed a few songs for the students. Deadpanning the words “all you fuckers want my dick” to a bunch of cross-legged students was a slightly strange experience, but the “best day of my life,” she joked. That line is indicative of a great deal of Hackman’s music: there are no prizes for guessing what the song ‘all night’ is about, nor ‘hand solo’. Her music is unashamedly and, it must be said, hilariously, horny.

Perhaps paradoxically, the fact that her songs are so impenitent is in itself an indicator of her maturity. Her put-down of casually homophobic men in ‘boyfriend’, narrated in the lines “you came to me for entropy and I gave you all I had / he makes a better man than me so I know he won’t feel bad / it’s fine ‘cause I am just a girl “it doesn’t count” / He knows a woman needs a man to make her shout”,  is thrillingly acerbic, delightfully contrasting the tempered, closer-to-affable-than-assertive voice that sings it. The song, incidentally, is endlessly quotable: “I held his girl in my hands (I know he doesn’t mind) / She likes it ‘cause they’re softer than a man’s (I like to moisturise)”.

These songs spark a smile even when making serious points, but Hackman can be fully sincere too. As well as ‘wanderlust’, she performed her first encore track ‘Cigarette’ from her 2017 album I’m Not Your Man. She succeeded in silencing the room, her tender guitar strumming beckoning the audience in, as though she is about to reveal an intimate secret.

Dressed in a white boiler suit, Hackman requested that fans sign it post-show: a self-acknowledged ploy, in part, to lure them to the merch stand, but also a unique way of commemorating her biggest tour to date.

She closes with another song from I’m Not Your Man, the brooding ‘Blahblahblah’, again lyrically ambitious, finishing with the line ‘nice and quiet, we’ll behave, I’m alright’. However, the show displayed a singer delightfully unwilling to behave, to conform, and her music was all the more captivating for it.

Whilst her setlist would possibly benefit from a few more upbeat songs like the beautifully performed ‘I’m not where you are’, her lack of any one distinct sound can only be a positive. She certainly isn’t playing a character, as a brief exchange with an excitable audience member illustrates. Presented with the bizarre, yet wonderfully Mancunian, heckle of “what did you have for breakfast?” Hackman took a moment to recall. “I had a panini,” she eventually replied, bemused, “rock ‘n’ roll”.

 

8/10.

 

We’re only ‘children’ when middle-aged men don’t like our ideas

Written by Kate Jackson on . Posted in Opinion.

Greta Thunberg has been at the receiving end of seething middle-aged fury since her appearance at the United Nations climate summit. Her speech to world leaders condemned their sluggish approach to climate change and labelled their inaction a betrayal of young people. Thunberg is pushing for vital change that is extremely time-sensitive, yet many sought to attack her age rather than take heed of her warnings.

Jeremy Clarkson is one in a long line of baby-boomers – Piers Morgan being another – who think Thunberg should go back to school. In the case of Clarkson, he believes that Thunberg missing out on school is the real detriment to the climate change effort because it is the science, and the science lessons she is ‘missing’, that will resolve the issue, not speeches.

This argument from Clarkson is quite ironic given his annual results day tweet that boasts of all the money he has despite his poor exam results. His argument also implies that scientists are being given all the help that they need to solve the climate crisis, when, in reality, their warnings are ignored on almost a daily basis. Hence, Thunberg’s intervention.

It is also worrying that Clarkson believes that Thunberg has no right to ‘lecture’ the generation who have given us – the younger generation – the internet, social media, and the technology with which to use it. We should not, in their opinion, challenge our elders because they have bestowed on us so many important ideas and inventions. Never mind the problems with the economy, the environment or the growing social division that they have caused. In their eyes, we will (eventually) get to deal with these issues when we are ‘old enough’ – but by then it may be too late.

It would, perhaps, be easier to ‘respect our elders’, and wait to speak up about the problems of the world, if baby-boomers didn’t pick and choose when to treat us like adults. They don’t mind us making the decision to be saddled with (at least) thirty grand of debt at the age of seventeen; getting married and having children at sixteen (or younger depending on where you are); or even joining the army (you can start the application process in the UK at fifteen years and 7 months old). These life-altering decisions are fine to make before we reach the age of eighteen, and are encouraged in some cases, but heaven forbid we vote in a referendum that is going to disproportionately affect us.

Our age, lack of life-experience, or ‘immaturity’ only becomes relevant when we are saying something that they don’t like.

Perhaps, some might argue, that in criticising Thunberg (or other teenage activists) they are treating her, and her ideas, seriously and aren’t mollycoddling her. Calling someone a ‘spoilt brat’ and telling them to shut up like a ‘good girl’ – as Clarkson did in his column piece – is not legitimate criticism, however. The use of this condescending and, in this case, sexist language towards a teenage activist is not evidence of good critical engagement. Language such as this is being used only to demean Thunberg and call attention to her age as a way to belittle the work she is doing.

It is important to note that, while it is an uphill struggle, Greta Thunberg’s efforts – and that of other young climate change activists, such as Extinction Rebellion – are, in fact, making a difference. Following Thunberg’s speech at the UN, climate change scientists spoke about the difference her campaign is making, the momentum the movement is gaining and, most importantly, their belief that climate change warnings are finally being listened to in a serious way.

In America, the survivors of the 2017 mass-shooting in Parkland have experienced a similar uphill struggle in their attempts to push for stronger gun-control laws. Not only is gun-control a notoriously dividing issue in America, but the students of Marjory Stoneman Douglas high school have also had to struggle to be heard as teenage activists. Despite this, their committee group Never Again MSD had, at their March for Our Lives campaign in 2018, hundreds of thousands of people marching in protest of gun violence. Their efforts led to the passing of a gun-control bill in Florida – raising the minimum age for buying firearms to 21 – which was named in honour of their activism. This was the first time in thirty years that Florida had passed any laws restricting access to guns.

Whether or not middle-aged men are taking teenage activists seriously; whether or not they are pointing to age in order to avoid having a serious discussion about the issues we are facing; or whether or not they are just being controversial for the sake of it – the rest of us are taking these activists seriously, and they are making a difference whether the likes of Piers Morgan and Jeremy Clarkson like it or not.

the social impacts of fast fashion

Opinion: Fast fashion is destroying the integrity of the fashion industry

Written by Bec Oakes on . Posted in Fashion & Beauty.

One of BBC Three’s latest documentary series, Breaking Fashion, takes viewers behind the scenes at Salford-based fast fashion company, In the Style. Company CEO, Adam Frisby, founded the business in 2013 and has since turned it into a £30 million turnover company, utilising social media influencers and celebrities to do so.

The series, which is available on BBC iPlayer, follows Frisby and his team throughout their summer season, during which they launch a new collection every two weeks. But, with ridiculously quick turnarounds and environmentally and ethically dubious practices, I couldn’t help but wonder about how fast fashion companies such as In the Style are affecting the integrity of the fashion industry.

The first obvious thing I noticed was a distinct lack of passion for the creative process. The first episode of the series shows the build-up to the launch of a collection with social media influencer, Lorna Luxe. Described by Frisby as: “Low-cost glamour at high speed”, the collection was designed, made and launched within just a few weeks in order to keep up with current trends. Lorna’s previous collection was a sell-out hit and the company wanted the new range to top it.

It’s clear that In the Style churns out collections with one solitary goal in mind – profit. There is little care or integrity in the design process. It is simply a money-making scheme that grabs onto each micro-trend it can profit from. Compare this to traditional ateliers and design houses who produce a maximum of six collections per year, spending months to design and produce works of art, often with much bigger goals in mind than just making money.

An example of this is the Christian Dior Spring/Summer 2017 collection, in which the brand’s creative director, Maria Grazia Chiuri spelt out a clear feminist message with slogan tees bearing the title of Chimamanda Ngozi Adichie’s Beyonce-sampled TED talk: “We should all be feminists.”

But it isn’t just In the Style, and similar brands, who are favouring profit over integrity. It’s also the influencers who ‘collaborate’ with them. I use the term collaborate loosely because, in the series’ second episode, Lottie Tomlinson (beauty and fashion influencer and sister of One Direction member, Louis) has very little to do with the design process beyond asking for: “like an Ibiza rave party vibe.” In fact, the first time she sees the collection is once samples have already been made.

In the case of Lorna Luxe, it seems odd that an influencer, who has built an 800k strong following on social media flaunting high-end goods, is now creating collections with the average item price of £30, with product quality far from the likes of the Balenciaga sweater she’s shown wearing during the programme. Admittedly, influencers’ primary income comes from brand collaborations and sponsored content, but it seems like some influencers are selling out in order to make fast money.

Then, there’s the issue surrounding the environmental impact of fast fashion. In 2015, the fashion industry produced 1.2 billion tonnes of carbon emissions, British shoppers are buying twice as much as they did a decade ago, and over £300,000 worth of clothing ends up in landfill sites every year.

If this current rate of consumption continues, it’s estimated that by 2050, it will account for more than a quarter of our total impact on climate change. Fast fashion companies are producing collections at such a fast rate that trending items die down in the time it takes for their campaign images to be pushed down a few spots on the brand’s Instagram grid. Then, the consumer, in a desperate attempt to stay fashionable, feels pressured to purchase from the newest collection, often released just a few short weeks later and a cycle of overconsumption and waste begins.

In a report published by the EAC (Environmental Audit Committee), two of In the Style’s competitors, Boohoo and Missguided, were named amongst the least sustainable fashion brands in the UK. Referring to In the Style, Frisby says: “When people think ‘Oh, it’s fast fashion, that means they’re not sustainable, they don’t care’, I like to challenge that.” However, two episodes in, we are yet to see how the company is doing so.

Lastly, there is much debate regarding the treatment and payment of factory workers within garment production. EAC’s report also found that neither Boohoo nor Missguided had signed up to the Action, Collaboration, Transformation labour agreement that is working towards getting a living wage for all garment workers, highly suggesting a profit before humanity approach to business.

In Breaking Fashion, we are informed that a sizable proportion of In the Style’s clothing is made in factories in China, where the minimum hourly wage sits at just 24 yuan (£2.73) as opposed to the UK’s £8.21 for workers aged 25 and over, allowing for much lower production costs. It’s clear that, in companies like this, business and profitability takes priority over everything, even the wellbeing of its workers.

This idea of profit above everything comes to a head at the end of the first episode, one hour after the official launch of the Lorna Luxe collection. Frisby’s partner asks him, in terms of sales figures, “What actually would you be happy with?” Adam replies, “Well the thing is, I already know I’ll never be happy. Like, I will never be happy because, if it does well, I’ll just think it could have been better.”

And, that’s the thing with fast fashion; it’s created a rate of consumption that’s so fast and changing so constantly, that the demand will never be satisfied. Company leaders will never settle because, before they get the chance to celebrate their successes (the Lorna Luxe collection made £64,000 in sales in its first hour), they’re onto the next money move. No passion. Just business. And one that’s seriously damaging the environment and the integrity of the fashion industry.

Student doing laundry

How to take care of your clothes and make them last

Written by Anna Jin on . Posted in Fashion & Beauty.

With the current climate crisis, we’re all trying to do our bit to be more sustainable, whether that’s buying a reusable water bottle or becoming a smarter consumer of clothing. A big part of sustainable fashion is making your clothes last, so you’re not constantly throwing them away, buying new ones, and getting caught up in a neverending and harmful cycle. Additionally, looking after your clothes properly means they can still look brand new after months and years of wear.

The essence of washing your items correctly is to follow the care labels’ directions. In addition to this, there are a few rules that you should follow to take care of your clothes.

  • Do not let clothes stay dirty for long, wash them as soon as possible. Maybe set yourself a laundry schedule (weekly or bi-weekly)
  • Sort your laundry by their prescribed washing method and temperature and separate your whites and your coloured items
  • Always be careful of clothing items that have elements that will snag or catch on other items
  • For the best results do not over- or under-load the washing machine and mix items of various sizes in one load
  • Do not buy detergents that have added fabric softeners in them, as they can harm delicate fibres. Avoid any combination/all-in-one products in general. Purchase the substances you need separately and add them in the wash when required
  • Do not leave clean clothes to sit in the washing machine
  • Reduce fabric pilling by washing items inside out
  • If possible, avoid detergents with harmful chemical and opt for eco-friendly options, like Method’s products.

In terms of maintaining the appearance of your clothes, it helps to understand the materials they are made of. The basic component of fabrics can be separated into two categories: natural (cotton, wool, silk) and synthetic fibres (polyester, nylon, elastane).

Clothes made with natural fibres wrinkle easily, so always hang them up if possible. They will most likely need to be ironed often, or, in the case of wool and silk, gently steamed with a handheld steamer. These materials are not elastic so be careful not to stretch them out of their shape. Since natural fibres are water-absorbing and oil repellent, they don’t need much washing. It is better to spot treat them with a clean damp towel when the need arises. Wool is vulnerable to moths so avoid storing it in a dark and damp area. Silk stains easily but is also easy to get clean. However, try to avoid physical exercise when wearing silk, as acidic substances, such as sweat, can damage the material.

There are so many varieties of synthetic fibres out there that it is impossible to make a sweeping statement about what they all have in common. In general, they tend to be water-resistant and oil absorbent. This means that they become soiled easily and are also difficult to clean, so they need to be washed more often. These fibres also pill easily, so invest in a fabric shaver to reduce the pilling and keep them looking as good as new.

Review: Melanie Blake’s The Thunder Girls

Written by Claudia Langley-Mills on . Posted in Theatre.

The Thunder Girls is a reunion-turned-intervention between four ex-bandmates. Reformation cards are on the table, but with what intentions after all this time?

The play is directed by Joyce Branagh (Kenneth Branagh’s sister) and is based on the best-selling novel of the same name, by author, and former music manager, Melanie Blake.

Blake was thrilled to return to Salford, the city where she was once homeless, to put on a play that was twenty years in the making.

Blake, who could not afford to see much theatre growing up, bought 100 tickets to her own show to give to people who could not to afford to attend. A free bar (drinks and food) was provided for press. Every audience-member was given a free copy of the book. Blake is as generous as she is talented!

The play’s stage-design (created by Richard Foxton) spoke for itself, setting the scene for the events to follow. We looked into the living-room of a ‘very boujee’ abode (think crystal chandelier and winding staircase). This room is later described as a “shrine” by one character. Adorned with huge recurring portraits of the same face and framed golden records, it’s evident this house belongs to an esteemed pop-star.

The levels of staging were used instinctively by Foxton. The three characters present in the first scene took their positions in a clever hierarchical format, with the most affluent standing at the top of the staircase. Nobody in the cast ever had me questioning their placement within a scene; all the props were necessary additions to aid the nature of the story.

Each actor played their part throughout. It was clear they had fantastic offstage relationships, which leant itself to their performances and chemistry.

Sandra Marvin (Emmerdale) opened the show as Carly, with a belter of a live song – others were pre-recorded. Her character transcended into the ideal best-friend: funny, charismatic, loyal and bold.

With dry, bitchy remarks timed effortlessly to perfection, Beverley Callard (Coronation Street) gave hilarious comedic quality to the sardonic Roxanne, whilst down-playing her tender moments. She won over the audience, who leant their ears – and let their hearts go out – to her throughout.

Carol Harrison (Eastenders) made her entrance as the diva-ish Chrissie by lip-syncing her way down the winding staircase, which was fitting, given her notorious use of miming. An appropriate pout-game was maintained throughout for this self-absorbed sass-queen. This was some seriously good bad acting by Harrison, who we loved to hate!

Coleen Nolan (Loose Women; the Nolans) made an unbelievably confident stage-debut as Anita, who makes her first appearance at the end of Act One. Charged full of energy and wit, the presence of her character was worth the suspense. Nolan told us she was worried about making her acting debut, perhaps afraid she’d mess up like her character did at Eurovision, but she was a natural.

Gary Webster (Eastenders) brilliantly voiced the band’s ex-manager, who communicated with them Charlie’s Angels-style. He made a brief appearance at the end of the show.

A soap-like quality had the audience hooked with each character being undeniably relatable and understated. Each joke was perfectly timed for audience reaction and participation – so much so, there were ad-lib moments that made this performance one-of-a-kind. A precious moment saw a derogatory comment made towards Steps, prompting Claire Richards – of said band – to gasp at full pelt in her seat. This moment had us all in stitches; it was positively priceless.

Amongst the main themes of the play was an acceptance of ageing, friendship and how fame changes individuals. Chrissy and Roxanne are too mean to one another for their relationship to have always been sour. Nasty remarks such as, “Did you have a lift on both your faces?”, make it apparent that they were once very close companions. As the plot unfolds, the audience becomes aware of why their friendship took this unfortunate turn.

While the characters often referred to the effects of ageing, they still expressed honest sympathy towards the new generation having to keep up with social media presence and the beauty standards of today. The observations made, such as autographs morphing into selfies and botox being offered at the hairdressers, brings to light discussions on contemporary issues and how changing times may not always entail changes for the better.

The diversity of the characters is something that stood out to us. Surprisingly, no one else had commented on the play’s incredible diversity, as Blake told us, herself:

As the ending of the performance was nigh, I recognised I was feeling very humbled by the messages being portrayed through the history and relationships of these characters, leading me to re-think my own long-lost friendships, and whether a rekindling should be in order after all. In my eyes, if a piece of art is causing you to re-think, ask yourself questions and feel a certain way, then it’s doing its job correctly.

This play is at times (intentionally) cheesy, but there’s also no shortage of burger – it’s a real meaty play for you to dig into…

There are plans for The Thunder Girls to tour and head to the West End.

Tea bags contain micro-plastics which are contributing to the climate crisis and bad health

Written by Ella Gerry on . Posted in Science & Tech.

Tea drinkers are being advised to reconsider their choice of tea bag after a recent study suggested that a single plastic tea bag can shed billions of microscopic plastic particles into each cup of tea.

Since hitting the shelves, nylon mesh tea bags have been marketed as supreme to the traditional paper tea bag. However, a study by a group of scientists at McGill University in Canada, found that these fancy tea bags are releasing more than just greater flavour into our brews.

The study tested four different nylon mesh tea bags purchased in the Montreal area. After removing the tea, the team placed the bags in the water at a typical tea steeping temperature of 95 °C. Using electron microscopes and spectroscopy, the study found that, on average, each tea bag released approximately 11.6 billion micro-plastics – plastic particles ranging from 100 nanometres and 5 millimetres in size – into a single cup.

According to the study, the potential magnitude of plastic consumption from nylon mesh tea bags is considerably higher than the levels of micro-plastic consumption from other food items. The study attributes this to the high water temperatures degrading the supposedly ‘food-grade’ plastics used in the tea bags.

Scientists are concerned over the threat ingestion of micro-plastics may pose to human health. Various studies have recorded micro-plastics in fish, seafood, table salt, and drinking water. The team at McGill University carried out further experiments on water fleas to test the effect of the micro-plastics released from the nylon tea bags.

The team observed sublethal behavioural changes and developmental malformations in the water fleas with similar observations recorded in studies on fish and mice. However, research into the various impacts on humans remains in its infancy. Currently, the World Health Organisation suggests that there is little evidence of any major health risks from ingesting micro-plastics but acknowledges the substantial gaps in knowledge on the subject matter.

For the time being, to avoid ingesting billions of micro-plastics and reduce single-use plastic packaging, the best solution is to opt for traditional paper tea bags or loose-leaf tea.

The Circle: A Surprising Piece of Performance Art

Written by Chess Bradley on . Posted in Arts.

If you have watched anything on Channel 4 recently, you’ll have a seen an advert for The Circle. Appealing to the British tradition of detaching people from the outside world for the public to watch daily, the Circle sees each contestant fighting to become the most popular for a cash prize.

The Circle is similar to Big Brother, even down to its host, Emma Willis, who presented Big Brother from 2013 until its much needed death in 2018. The Circle, however, has a uniquely modern twist; whilst living in the same building, none of the participants meet, instead communicating through a social media platform named ‘The Circle’.

 

The Circle Apartment Building in Salford- Photo courtesy of Channel 4

This allows for the contestants to perform however they like, and however they believe they will be best received. Some, like the delightfully antiquated and eccentric Tim, play as themselves. Others catfish as completely different characters. For example, James takes on the role of single mother ‘Sammy’, inspired by his own mother. In an interesting parallel, Katie, a single mum, plays her son Jay.

However, most interestingly, is the way in which gender presents itself in the game. Last year, Alex Hobern, won through catfishing as ‘Kate’, using photos of his girlfriend Millie. Alex, who worked for UNILAD and is now, according to his LinkedIn, a ‘social media influencer’, catfishes as a woman because he knew that women were typically responded to better on the internet.

When asked, Alex seemed to emphasise that being likeable was more important than working out who is, or not, a catfish. But, as the first few episodes of the season has shown, there is a natural scepticism towards other people in the circle. Perceived authenticity, then, is a vital element of being popular.

It is no surprise that women are subject to some of the most scrutiny. This year saw four women within the circle, including the catfish ‘Sammy’. Each of these women are conventionally attractive, and each carefully construct their image on the Circle. Brooke, for example, considers in the first episode whether her profile picture shows too much of her body. She decides to crop it. Emmelle, a lesbian, decided to ‘play it straight’ on the show, deciding that being able to flirt with men would increase her popularity. The way in which women have to carefully construct their identities on the internet is reflected on the show.

In recent years, feminist art has taken on the issue of female representation on the internet. Gender, in a post Judith Butler world, is considered to be performative, and women on the internet are expected, and socialised, to conform to established narratives. This was the subject of Amalia Ulman’s Excellences and Perfections, which saw the rise and fall of a fictionalised version of Amalia, as observed to the voyeuristic delight of her audience. Similarly, Ann Hirsch’s Scandalish Project (2008-09) proceeded the Instagram generation, but demonstrated the way in which we respond to women on the internet.

The Circle may have as little pertinence to the way in which we use and respond to the internet as Big Brother did to the surveillance state. However, watching the way in which people perform as their own gender or another? That is what’s keeping me watching.

Review: Queens of Sheba

Written by Kayleigh Crawford on . Posted in Theatre.

Queens of Sheba follows four black women as they fight their way through everyday occurrences of misogynoir (the combination of racism and sexism in discrimination against black women).

Written by Jessica L Hagan and adapted for the stage by Ryan Calais Cameron, the production is based on a real-life event which saw a group of black women turned away from a nightclub for being ‘too black’. The production weaves the misogynoir of their everyday lives through the recreation of this singular event.

The production explores microaggressions in a way that lays clear the very real aggression they are based on. For example, being told to ‘smile and nod’ within the workplace as a result of black women being stereotyped as aggressive. This was repeated in a mantra throughout the performance, highlighting the way black women have to be passive in order to be seen as anything other than aggressive.

Despite the weight of the topic, the production balanced it out with humour, and the show of solidarity between women was uplifting.

A few mantras were repeated throughout the performance, spoken in unison by all women – perhaps the most powerful being: “he ask me where I’m from. I am a mix of racism and sexism; they lay equally upon my skin.”

The production was dynamic; the four women lively and energetic. The recreation of events demanded a lot of changes of persona as one or more of the women switched to be the oppressors they were confronting. Characters were swapped and exchanged between the women with effortless ease. Often, these personas were exaggerated, which made them all the more effective. The portrayal of men who would approach women in clubs and use awful pick-up lines had the audience in stitches (perhaps suggesting many of them could relate.)

The show was also not afraid to challenge its audience. At numerous points throughout the performance, the actors would make direct eye contact with, point at, or gesture towards audience-members as they verbalised their struggles as black women. In a mainly white audience, this was extremely effective, subverting the usual dynamics of who is allowed to speak, and who is supposed to listen.

Paying tribute to the music of powerful black female artists, the production opens and closes with reference to Aretha Franklin’s Respect. This was used to question who is deserving of respect and why we don’t give black women the same respect we give others.

The singing and dancing gave the performance an almost intimate feel, and it was heartening to see the tight-knit community the four women found with each other expressed through song and dance. The emphasis on solidarity and sisterhood between black women was inspiring, especially when referenced in relation to Diana Ross’ rendition of Ain’t No Mountain High Enough, with the women explaining: “Black women are always rising.”

Queens of Sheba is a powerful production with a strong cast and a strong message. Reflecting on the intersection between race and gender, it carried a heavy but necessary truth regarding the continuing discrimination of black women.

The production brings the harsh realities of misogynoir to centre stage; from job-seeking to relationships, microaggressions and intra-community discrimination, Queens of Sheba highlights just how far we still have to go in the struggle against the forces of racism and sexism.

Queens of Sheba runs at HOME until 5th October, as part of Orbit Festival 2019 and Black History Month at HOME, before continuing its UK tour until 29th November.

baby fever

Review: Baby Fever (SICK! Festival)

Written by Rosemary Russett on . Posted in Theatre.

Baby Fever: an intricately layered exploration of youth, fears, aspirations and milestones. Set against the turbulent backdrop of today’s political landscape, this sold-out play sought to answer the question, “What is the value of life?” (the theme of this year’s SICK! Festival).

Over the course of an hour and a half, we were guided through a series of compellingly angry monologues, a movement piece reflecting the innate trust we have in one another, and, finally, invited to join the players on their carpets, where each had a story to tell or a poem to read.

Walking into the studio, we felt an immediate sense of ease. The buzz of chatter and the soothing sounds of a neo-soul playlist created a comfortable environment.

Four benches boxed the space, leaving a square in the middle – in which we were invited by the actors to stand. The lights went down and assistant artist Miray Sidhom introduced the first chapter of the play.

The ‘players’ stood on the benches and began their speeches. The feeling of ease was undercut by a heightened tension as the players poignantly poured out their fears surrounding our generation. Impassioned monologues on climate change, Brexit, the NHS and capitalism ricocheted around the space, creating a 21st-century hellscape.

Venturing into chapter two, we were invited to sit down and switch places with the players, who were now in the centre, partaking in a mesmerising trust exercise. They wandered about the space with their eyes closed, gently bumping into each other, trying to find their way. A few times, there was a single figure striving for their own path, revelling in their own choreography, but despite many attempts to ‘wake up’, it took until the end of the act for the players to open their eyes and look around at the audience that surrounded them.

Finally, we reached chapter three, which was our favourite act of the evening. Small carpets were laid out, and the audience was told that the actors would be bringing us onstage. The feeling of apprehension in the room was quickly punctured by Miray jokingly saying, “Don’t worry; we will look after you.”

One of us was instantly grabbed by a smiling young woman who sat down cross-legged opposite me and asked: “When was the last time you were truly happy?”, “What is your favourite thing about yourself?”, and lastly, “What is the worst thing you have ever done?”.

Some of the audience looked on, some listened to the players’, words and others gave out advice.

The room grew into a layering of earnest interactions, rap, poetry, song and confessions. Unfortunately, this section came to a head all too soon, and the players were whisked from the stage.

In the after-show Q&A, the cast told us about how they had narrowed down the theme of “What is the value of life?” to focus on milestones and how impossible they are to reach, especially with the world changing as it is.

Despite the occasional hopelessness at points in the play, the cast were keen to emphasise their positive outlook. “[Our milestones] are sometimes […] things that take you by surprise.” The subtext here: “And that’s a good thing.”

Most of all, these young people want you to find inspiration in this piece and regain trust in people. Because if we don’t have each other, what hope is there?

Review: Under Three Moons

Written by Bayse Genc on . Posted in Theatre.

Under Three Moons, written by Daniel Kanaber, had its premiere at The Lowry in Salford. Kanaber had received great critical acclaim for his first debut play Shiver in 2014, and this new play did not disappoint.

The stage was adorned with minimal props, the only constant ones being the glowing moon and twinkling stars hanging from the ceiling. The production follows the lives of two friends, Paul and Michael (Mike), across three decades. The bildungsroman-esque production depicts the changing and evolving lives of the two protagonists in 70 minutes, starting at a sixth form field trip.

Under Three Moons begins with light-hearted, childish sentiments, which were heart-warming to witness. Actor Kyle Rowe (Mike) impressively worked with Kanaber’s warm and sympathetic writing to elicit many laughs from the audience. In contrast, Darren Kuppan brilliantly portrayed the at times awkward and impulsive character of Paul, who is reluctant to strike a friendship with Mike. In only the first section of the play, Kanaber manages to construct the beginning of a life-long friendship whilst simultaneously weaving in the personal struggles of the characters, and hints at how boys start to bottle their emotions.

Without a doubt, dialogue takes centre-stage in this production concerned with masculinity, mental health and communication. As the men get older, communication becomes a much more ambiguous and clouded route. However, their friendship is one which depicts the importance of honesty and communication; of understanding that nothing is as it seems at surface-level; that men must talk more about their sufferings, and that suffering in silence is no way to relieve pain.

Mike struggles to articulate how he feels about his ill mother, whereas Paul is haunted by his problematic and troublesome father. Each with their own demons, the audience is given an insight into the times in which they share them.

When there is no one else to turn to, the men have the rare opportunity to communicate their feelings with one another. Kanaber explains that “that’s what I wanted to write about, how men learn or try to unlearn this emotional obliqueness. And how despite it, there’s a tenderness in it too.”

The friendship of Paul and Mike is one which touches upon topics such as mental health, masculinity, drugs, familial attachments, death, depression, suicide and more. Their friendship remains solid and important, despite the challenges they face both within their friendship and in their personal lives.

Director Adam Quayle states that: “At turns funny and tender, the play explores how two men relate – or rather fail to relate – on three nights across three decades. Quietly, it asks big questions: how to live a life, how to be a good man, how to reach out to others.” Despite the hard-hitting concerns of the production, I was left feeling hopeful and light-hearted.

Mike, as a loveable rogue, provided a significant comic element to the play, through teasing Paul. Their surviving friendship made a very important point about male friendships and the necessity to be honest about struggles and feelings. It was a touching, genuine, and human play which I believe everyone will find a piece of themselves in.

The Mancunion talked to Rowe, Kuppan and Quayle earlier this month.

Under Three Moons tours around the UK until 2nd November. If you didn’t get chance to see it in Manchester, it will be stopping in nearby areas like Crewe, Huddersfield, Hull, Leeds, Liverpool, and more.

Why you should be wearing SPF every day, even in Manchester

Written by Matthew Nottidge on . Posted in Fashion & Beauty.

It is no secret that SPF is a must-have for the warm, summer months. For most, it would be unthinkable not to have a trusty sunscreen within arms reach when lounging on a sun-soaked beach, or aimlessly wandering the city’s streets during summer break. In those moments when the sun’s rays are almost impossible to ignore, the heat of summer acts as a perfect reminder to reapply a much-needed layer of sun cream.

Yet, even in the weeks when Manchester lives up to its reputation as the “rainy city”, SPF should still be a part of your daily skincare routine.

As we begin the journey into those infamously wet, cold and drab -ober and -ember months, it may feel that applying any sort of sun protection would be a futile and unnecessary act. Yet, ask any dermatologist, and they will confirm that SPF should be utilised in every season for long term protection against sun damage.

Just because the sun is not beaming down on your skin, it doesn’t mean that you’re protected from its damaging effects. Cloud coverage, fog, and rain block out the sun’s light, but cannot protect you from the true enemy: ultraviolet rays. Around 80% of UV rays can penetrate through such weather conditions.

Unlike beach towels and bikinis, UV rays aren’t tucked away during these winter months. They are present all year round and have an accumulative effect that leads to an increased rate of photoaging. This premature ageing leads to pigmentation, wrinkles, fine lines, and saggy skin.

Incidental exposure to UV rays, which racks up even while you are studying by the library window, depletes your natural levels of collagen, the key protein for skin elasticity, which reduces wrinkles and increases skin hydration.

Global warming has also made protection from the sun an increasingly modern issue. As a result of the depletion of the ozone layer, we are more at risk to sun damage than ever before. The World Health Organization predicts a 10% increase in skin cancer incidence by 2050 among the US population. 

Due to the global nature of climate change, we can be certain that the damaging effects of the reduced ozone layer will not bypass Manchester – the British Skin Foundation warns that skin cancer is the most common form of cancer in the UK. For years, one of sunscreen’s main selling points has been its ability to protect from melanoma, and now, more than ever, this is necessary all-year-round.

Luckily, implementing SPF into your daily skincare routine has never easier. If slathering a layer of sun cream on while the rain chucks down feels uncomfortable, many skincare and beauty products now have built-in sun protection.

Blushes, foundations, moisturisers and even setting sprays can be found with a label declaring they contain SPF. So, next time you’re at the local Boots, do yourself a favour and grab yourself a haul of SPF-loaded products, or even better, a specific SPF product that you can apply as the last step in your skincare routine and/or before your make-up.

Quarry Bank Mill River Bollin photo: Stacey MacNaught @flickr

Visiting Cheshire: Manchester’s neighbouring gem

Written by Phoebe Moore on . Posted in Lifestyle.

For freshers, final years and international students alike, exploring Manchester is an exciting and never-ending pursuit. The city is full of cosy cafés, inspiring shops and funky social spaces. However, if you are interested in going a little further afield and exploring Manchester’s greener surroundings, then look no further as the county of Cheshire awaits you.

Just a short train ride away, perfect to escape the urban hustle and bustle, here are some of my favourite spots to encourage you to see the surrounding area for yourself.

Alderley Edge

My top recommendation for an afternoon trip is Alderley Edge village which has a folklore history consisting of wizardry and magic, and a large woodland to explore. Local legend has it that Merlin made an appearance within its forest groves, but in recent times the only legends in Alderley have been a variety of Manchester footballers making it their home, such as David Beckham and Ronaldo during their United days.

As you wander down the central high street of local shops and eateries, stop at the Village Cafe for a hearty lunch, or perhaps the award-winning Fosters Fish and Chips. Here you can enjoy an English culinary classic at one of the top ten chippies in the UK! With Google Maps at the ready, you can walk to the woodlands, and the cliff-edge viewpoint – from which Alderly gets it’s name. It is a bit of a climb but it’s all worth it once you see the views of the rolling Cheshire countryside and, on a clearer day, the Manchester skyline.

Return train ticket prices from Piccadilly start at £12 (with railcard), £18 (without), and is a mere 24 minutes one-way.

View from Alderley Edge, Photo: Phoebe Moore @Mancunion

Wilmslow

Next-door to Alderley Edge is the larger town of Wilmslow, with a greater variety of high street shops, bars and restaurants. It’s a good place to end a day trip to Alderley, being one train stop closer to Manchester on the route back home. Here you can visit The Rex, an independent art-deco cinema, which shows the latest blockbuster releases just like any chain in Manchester, but with comfier plush seating and plenty of legroom in a theatre-like cinema hall.  It certainly makes for a more characteristic and atmospheric setting for a film viewing, along with a glass of wine to accompany your film of choice.

Check out The Rex Wilmslow website for screenings and to book. Student discount for standard seating starts at £8.

Return train ticket prices from Piccadilly start at £7.80 (with railcard), £12.60 (without), and is around 16 minutes one-way.

Styal Woods, Photo: Phoebe Moore @Mancunion

Styal

Close to Manchester Airport, Styal has ample woodland to explore. Arriving at the station, it’s a 15 minute walk to reach the historic centre of the woods – the grounds of Quarry Bank Mill. Once an important force of the Industrial Revolution, this old textile mill is now a museum with beautiful gardens and grounds, and a café to warm up from the autumnal temperatures. Another place to grab a hot drink and shelter from the cold is, near the station at the volunteer-run, Earlam’s Community Café.

Tickets for Quarry Bank Mill whole property access (museum and gardens) is a pricey £20.25, but definitely worth it. However, woodland access is completely free!

Return train ticket prices from Piccadilly start at £8.50 (with railcard), £12.80 (without), and is about 35 minutes one-way.

Next time you need a break and have a free day, explore further then the Northern Quarter and hop on a train to these easily accessible and idyllic gems.