Month: November 2019

blueberries Photo: Andrew Welch @Unsplash

Nutritionist vs. Dietitian: know the difference

Written by canselhashim on 7th November 2019. Posted in Lifestyle.

If you have ever wondered what the difference between a nutritionist and a dietitian is you are not alone. Nowadays, it is not uncommon to encounter either of these titles on social media profiles of fitness and healthy lifestyle enthusiasts whose dietary recommendations we seldom question. However insignificant taking a small piece of advice regarding your diet may seem, it is important to make sure it is given by the right person – someone who is qualified to do so.

It is worth noting that both nutritionists and dietitians are individuals with a scientific academic background and are qualified to deliver evidence-based nutritional advice, and are able to participate in nutritional research. The major difference is that dietitians are legally recognized and therefore are regulated healthcare professionals who diagnose and treat diet-related health problems. They often work in both private and public clinics including hospitals, public health departments or pharmaceutical companies.

Nutritionists are not trained to diagnose, treat or manage medical conditions. They can provide information and advice about food and healthy eating, but not for special dietary requirements or digestive conditions. Nutritionists tend to work in non-clinical settings like public health institutions, the food industry, freelance consultancy or public relations such as in media positions. In many cases, nutritionists work under the supervision of a dietitian or another qualified healthcare professional.

The qualifications and training of nutritionists and dietitians vary. There are two paths one can follow to become a dietitian; either by earning a BSc Hons in Dietetics or BSc in a related science degree followed by a postgraduate diploma in Dietetics. Either path requires significant background in core sciences and a certain number of hours worked in a professional setting to be eligible to be approved as a registered dietitian by The British Dietetic Association.

Similarly, whilst nutritionists are required to obtain a BSc or MSc in nutrition, however not all nutrition degrees are accredited by the Association for Nutrition (AfN). While graduates of degree courses accredited by AfN are able to register with the UK Voluntary Register of Nutritionists (UKVRN), it is not a legal requirement for a nutritionist to be approved by this central body to work in the UK. The title ‘nutritionist’ is not protected by law, meaning anyone could, in theory, call themselves a nutritionist – even your favourite Instagram lifestyle influencer. Individuals who are not registered with the association may not meet the recognized professional standards. Regardless they can still be called a nutritionist, which is the case with many online nutrition courses that have become increasingly popular.

To put it briefly, dietitians are healthcare professionals qualified to diagnose and treat diet-related health conditions with the appropriate nutritional recommendations. Nutritionists are professionals who are well-grounded in related scientific subjects, and aim to improve health by promoting a healthy diet and lifestyle. The professional needed will depend on the individual’s requirements and reasons for seeking dietary advice. However, always ensure that either professional meets the minimum qualifications set by a statutory body. Qualified nutritionists or dietitians can be found on the UKVRN or The British Dietetic Association website.

Manchester’s young political societies respond to general election

Written by Ellie Martin on 7th November 2019. Posted in Societies.

In light of the recent call for a general election, we spoke to the four main political party affiliate societies on campus.

Manchester Labour Students, Manchester Young Conservatives, Manchester Young Liberals and Manchester Young Greens commented on their plans to engage students in the run-up to the Christmas election. They also commented on Boris Johnson’s performance as PM so far and the election itself.

Manchester Labour Students (MLS) were critical of Johnson’s performance. A spokesperson from the society said: “Boris Johnson has been in power since July and in that short time he has proven what many of us already knew; that he is a liar, a bully and has nobody’s interests in mind except those of himself and his rich mates. Whether it be in Doncaster or Morley or Cambridge, Boris Johnson has proven himself to be extremely unpopular with the public. Contrast that with Jeremy Corbyn, who has been delivering Labour’s message of hope across the country at rally’s, public meetings and campaign sessions.”

Unsurprisingly, Manchester Young Conservatives had a much more positive outlook on Johnson’s time as PM.

“If you roll back the clock six months things were looking pretty bleak for the Conservative party. We had lifelong Tory voter after lifelong Tory voter saying that they probably wouldn’t be able to bring themselves to vote conservative, because of their handling of Brexit and the lack of leadership shown by the last administration. But, six months later the tables have turned. In just under four months Boris Johnson appears to have rejuvenated the party completely.”

They also commented on Jeremy Corbyn’s ability to take on the role should he be elected, describing him as “unpatriotic”. They said he “has used his 36 years in parliament to side with terrorists and those who are ultimately opposed to the core values that our great country stands for.”

Young Conservatives had the most positive outlook on Brexit, describing Johnson’s Brexit deal as “an improved” version, but didn’t speak about it any further. Interestingly, Young Labour didn’t speak about Brexit in their comments at all, other than stating that “this election is too important to solely be about Brexit”.

Young Greens were equally as scathing of Johnson as MLS, saying it was “clear [he] should never have been Prime Minister in the first place: from his record of racist remarks to involvement with the Vote Leave campaign that broke the law he was always entirely unfit for the job. This record of dishonesty has continued throughout his time as PM, with his unlawful prorogation designed to prevent democratic scrutiny and rhetoric that incites division.”

Young Liberals responded similarly, saying “Boris Johnson is not fit to be Prime Minister. On top of Islamaphobic and homophobic comments designed to divide us, he is taking us to a cliff edge with his disastrous Brexit deal.”

Both of these societies did comment on Brexit however. Young Liberals called Johnson’s deal “disastrous”, and said that it would have a detrimental effect on workers rights. They were equally pessimistic about Corbyn’s potential as PM. They said that “the country deserves better than a binary choice between these two stale men.”

Young Greens were sceptical about the effect a general election would have on the country’s divided opinions surrounding Brexit; “a general election under our broken electoral system will not deliver clarity on this. The Green Party has always argued for a People’s Vote before a general election – the question of how Brexit is carried out should have been directly put to the people so we could have an election that focuses on the real issues facing the UK today: climate breakdown and deep inequality.”

Labour were the only ones to comment on what could be gained by students in their response to questions. They commented that “this election is incredibly important for students. After a decade of austerity, the trebling of our tuition fees and an all-out assault on the working class”, they are looking to elect a candidate who will reverse the policies of the Tory government that they feel will affect students.

Similarly, Young Greens were the only party to talk about climate change and how the electorate in Manchester, especially amongst students, will vote with this in mind.

“With more than half of voters saying the climate emergency will influence how they vote, this has to be a climate election that delivers not only climate justice but crucially social justice to those have been hit hardest by austerity and will bear the brunt of the effects of climate breakdown.”

All of the societies reported to ramping up their campaigning efforts over the coming weeks. They all mentioned student engagement as essential, and are looking to register as many new voters as possible.

Brexit has clearly dominated the discourse surrounding this election, and it’s likely that people will be voting based on what Brexit outcome they want. The question for the political party affiliate societies in Manchester will be whether that will be the focus for students. For some students, especially international students eligible to vote, students planning on doing years abroad in Europe and students from Northern Ireland, Brexit will have a bigger impact in the short term, and therefore they may vote based on Brexit outcomes. However, it seems that all four societies are looking to engage with students about topics outside of the ‘B’ word.

Each of the four main political societies will be campaigning for votes based on domestic policies as well as Brexit resolutions. National issues such as homelessness, education, and poverty to name a few have fallen by the wayside. The political societies will be looking to engage with students about these issues as well as Brexit in order to break the stalemate over leave or remain, and make sure students are voting on issues they are passionate about.

Information about all their campaigns can be found on their Facebook pages.

Manchester students turn to tactical voting

Written by Josh Sandiford on 7th November 2019. Posted in Investigations.

Before the 2017 General Election, few predicted that students and young voters could have a significant impact on the electoral makeup of Westminster.

There are still opposing views on the extent to which students can influence election results, but in 2017 a handful of seats with large student populations helped Labour’s vote share rocket – ultimately stripping Theresa May of her majority.

Two years on, the country finds itself at a crossroads once again, gearing up for the ‘most important election in a generation’.

But things are slightly different this time. It’s the first December election since 1923, and in most parts of the country, it will start to go dark at 4 pm.

Jeremy Corbyn won’t be able to make appearances at summer festivals and be greeted by rapturous applause, and many students will be thinking of packing their bags and heading home for Christmas.

Amid a huge national push to get students and young people on the electoral roll, it’s unclear just how many will turn out.

For this reason, some Manchester students are turning to tactical voting to get their voices heard, believing it’s more important to stop the parties they don’t want than to support the ones they actually do.

Becca Windsor De Taboada, a third-year law with politics student, said her peers should think about voting tactically to strip the Conservatives of power.

“I think what the Tories have done over the past few years should be prosecuted … the UN has criticised [the UK] for having an abnormally high child poverty rate for a developed country. These are problems that are relatively easy to solve but Tory policies are exacerbating them,” she said.

But Manchester’s young Conservatives have made it clear that tactical voting works both ways and urged student Tories to also vote tactically.

Jake Feeley, a second-year Geography student who chairs Manchester Young Conservatives, said: “My message to people in my society is that if your seat back home is marginal, register there and do a postal vote to try and get a tory elected there. I know a lot of people have [already] been doing that.”

Feeley said it hadn’t been a challenge campaigning for the Conservatives in left-leaning Manchester and that it was important to make sure all sides campaigned in a “respectable and decent” way.

“All students who are interested in politics, wherever they fall on the political spectrum, should never be afraid to contact their local association because, when it comes to elections, you really can make a difference on the ground,” he added.

“We’re always prepared to have a nice, decent conversation with people and people are always really friendly when you actually sit them down and explain why you vote the way you do. The best thing we can do on our side is to make sure we have a presence, are respectable, and [campaign] in a decent way.”

Another student who was considering voting tactically spoke to The Mancunion anonymously, fearing Labour Party rules would see them kicked out for advocating voting for other parties.

They said: “I’m voting tactically because I’m tired of a decade of Conservative government that has devastated the schools and youth services I use. A majority Labour government would be great, but simply keeping the Conservatives – and specifically, Boris – from power any longer is the goal.”

Luke Collinson, a 2nd-year mechanical engineering student who supports the Green Party, said he couldn’t see students flocking from the two main parties:

“Most political parties only focus on the small picture, the Green Party focuses on 50 years from now and wants to implement environmental changes. I’m doubtful students will come to the Greens because they’re all caught up in the bandwagon of Labour vs Tory. Few people are considering the future.”

But there are also died in wool Labour supporters who are unlikely to vote any other way.

Alex Ferguson, a first-year English Literature student, said that Labour was “the only major party that seems committed to ending austerity and tackling inequality”.

“I think that austerity under the Conservative party (and Lib Dems) has been one of the most catastrophic things to happen to this country,” he added.

Manchester Students’ Union General Secretary Kwame Asamoah Kwarteng said: “This upcoming general election will be a generation-defining election. Our future, dreams, aspirations are unfortunately vulnerable to politics and political decisions.

“So this is the reason why we need as many students to register. Students will still be able to register to vote until 26th November, and you can still be registered in Manchester or your home address if you live elsewhere out of term time. You can also register for a postal vote until the 3rd December. We want all of our members to register to vote, to take part in shaping our future and to make sure our voices will be heard.”

In conversation: BenDeLaCreme and Jinkx Monsoon

Written by Evie Appleson on 6th November 2019. Posted in Theatre.

Preview and interview with Jinkx Monsoon, by Jay Darcy

‘DeLa is all sugar and Jinkx is all spice – but how do these two very different gals deal with the stress of the holidays? A little song, a lot of eggnog, and theaters full of people looking at them… Yup – all they want for Christmas is attention!’

All I Want for Christmas is Attention, which is presented by Contact, Soho Theatre and ATG, is a new Christmas-themed (obvs) show from drag superstars Jinkx Monsoon and BenDeLaCreme. Jinkx is best-known for winning season 5 of RuPaul’s Drag Race, whilst DeLa was Miss Congeniality in season 6, also appearing in the third season of RuPaul’s Drag Race: All Stars.

Both stars have performed in Manchester previously, with Jinkx performing here so frequently that she could change her name to Jinkx Monsoonchester, but this show sounds like it might just be their best one yet!

I last saw Jinkx perform in the spectacular Hocus Pocus parody, Hocum Pokem, at Contact Theatre, alongside the show’s creator, Peaches Christ, and Holestar, the UK’s (female drag queen) guest-star, and several top Manchester drag queens. So, I’m expecting Attention to be another triumph.

DeLa has also performed in Hocum Pokem but, unfortunately, not when it toured the UK. She did perform here with Jinkx, however, in Peaches Christ’s Drag Becomes Her, alongside Major Scales. It was a huge hit with drag fans, so I imagine they are all uber excited to see them reunite in a city with one of the best drag scenes in the world!

Jinkx told me that creating a new show with her long-time friend, BenDeLaCreme, is a ‘dream come true’. Whilst she and DeLa have very different performing styles, they have ‘very similar sensibilities’ when it comes to what makes ‘good drag’.

Last year, they created the holiday show, To Jesus, Thanks for Everything, which, unfortunately, did not come to the UK. Jinkx and Ben were very proud of this ‘entertaining and poignant’ show, which ‘summed up our complicated feelings towards the holiday season’.

However, this has created the ‘special challenge’ of trying to top what they created last year. But Jinkx is sure that, given she and DeLa are ‘perfectionists,’ All I Want for Christmas is going to be spectacular – even if it kills them!

Interview with BenDeLaCreme, by Evie Appleson

The interview began with confirmation that BenDeLaCreme is just as charming off-screen as she is on-screen. The delightful drag queen, who first captivated UK audiences during her appearance on season 6 of RuPaul’s Drag Race, answered the phone to my rambling flusters about trying to find the right dialling code to call Seattle. She graciously comforted me that she was once stuck in a London airport for an hour having not understood UK phone numbers correctly. This immediately assured me that her considerate nature, which comes across in all of her work, is entirely genuine.

She proceeded to let me know what audiences can expect from her upcoming UK show with Jinx Monsoon – All I Want For Christmas is Attention which will be exploding on to The Palace stage on the 1^st December. Her description promised a full spectacle production combining music and humour with impressive visual impact. The fun, camp aspects of the show will encapsulate both the drag tradition with UK pantomime. This makes it the perfect show to welcome the Christmas season to Manchester.

I was touched by DeLa’s comments that the show would also explore some of the more difficult parts of the holiday season. With great sincerity, she explained that Christmas, with the focus it puts on family and Christianity, can be challenging for some queer people. She stressed that comedy has always been central to Jinx and her’s language: they see it as the best mode to convey more serious messages to their audience. I am certain that this show will be not only be funny but also provide a compassionate reflection on significant issues.

All I Want For Christmas is Attention marks BenDeLaCreme’s first international producing credit. Her determined, tenacious attitude was evident as she told me about the process of taking the show from a local Seattle audience, to a national, and now an international audience. She expressed how empowering it is, as a queer artist, to have full agency and control over her own work.

Finally, I asked her about her hopes and predictions for the future of drag. She eloquently explained how drag in all its iterations (comedy, theatre, music and art) has always functioned as a magnifying glass over society. She believes that drag is and will continue to be a sharp, witty commentary on the world around it. Drag breaks rules and boundaries whilst warmly welcoming anyone who wants to form their own connection to it. After having the pleasure to talk to BenDeLaCreme, I am sure that All I Want For Christmas is Attention will be no exception, and I for one cannot wait to see it.

All I Want For Christmas is Attention will play at the Palace Theatre on 1st Dec.

Review: Nuclear Future

Written by Dolly Busby on 6th November 2019. Posted in Theatre.

‘I too have a Nuclear Button, but it is a much bigger & more powerful one than his. And my Button works!’

Donald Trump’s Tweets, such as this one from January 2018, are a reminder that the threat of nuclear war is ever-present. And yet the destructiveness of nuclear weapons is so hard to comprehend that the fear of nuclear war rarely keeps us awake at night. Humanity keeps ticking over, and society bites its nails over menial worries.

Gameshow’s Nuclear Future throws a spotlight onto this paradox by depicting quotidian events against a backdrop of nuclear destruction. The play follows the storyline of a tumultuous relationship between Astrid (Leda Douglas) and her young daughter. The progression of their relationship is steered by their surrounding situation: a world on the brink of nuclear war.

The breakdown of familial relations acts as a lens through which the audience can witness everyday life under nuclear conditions. The narrative is disrupted by sterile scenes in which Douglas dons a scientific persona and proceeds to explain the background of nuclear energy and its destructive abilities.

This is a multifaceted play that both educates the audience on the science behind nuclear energy, but also how this science will affect their personal lives.

On walking into the theatre, I was struck by the simplicity of the set. Merely two white gauze sheets placed in a V shape and a bare stage. The play relied heavily on lighting and sound to create atmosphere and suggest setting. I was impressed by the creative and symbolic use of lighting, sound, and projections; its simplicity complimented the play’s message and lent power to it as a piece of theatre.

The artistic style of Joshua Pharo, the lighting and video designer, demonstrated lighting’s ability to singlehandedly create setting and atmosphere. I was fascinated by how just a combination of colours – red, yellow and blue – moving across the gauze could instantly create a moving bus.

Keeping the lighting and set simple and ambiguous meant that the storyline was not grounded to one specific space or to one specific person. Lack of situational detail meant that the play cannot be related to concerns such as class, race or gender. This reinforced the idea that none are exempt from the destructive effects of Nuclear War: it will be a universal disaster.

Douglas’ performance supported this idea of simplicity in her characterisation of Astrid. The struggle Astrid faced was made clear: how to protect your child from minor dangers when you are living in the midst of a nuclear disaster.

But I found, at times, Douglas’ portrayal of Astrid to be rather one-dimensional. Perhaps it was the lack of physical embodiment of the character that was missing from the performance. Douglas stood neutral throughout, relying on mostly facial expression to portray emotion. I found this meant it was harder to empathise with her character, as the audience could only relate to her through the given text. I appreciate, however, being the only actor onstage, that movement can be minimal when there is no one else to interact with. Douglas’ intention with the shortage of characterisation could be read as creating a generic figure, like the setting, for the audience to project themselves onto.

Nuclear Future asserts that the world has the potential to end through the same means that it began: nuclear energy. In the face of this knowledge, it asks us how we are going to respond. Do we waste life by busying ourselves with menial trivialities? Or should we value what’s important in life? Some may find this message clichéd, but the play punches you in the face with hard facts about a very real danger from which we cannot shy away. And in asking us to reflect on existential issues and pose ourselves searching questions, it is doing its job as a piece of drama.

Review: On Your Feet!

Written by Jay Darcy on 6th November 2019. Posted in Theatre.

On your Feet! is a jukebox musical that uses the music of Gloria Estefan, the Queen of Latin Pop, and her band, Miami Sound Machine. It tells the story of Gloria and her husband Emilio’s rise to stardom and features hits such as 1-2-3 and the titular Get On Your Feet.

Philippa Stefani (Gloria) and George Ionnidis (Emilio) had fiery energy and chemistry, and they were clearly passionate about their roles. Standout performances came from Madelan Alberto as Gloria’s strict mami, Gloria Fajardo, and Karen Mann as her hilarious abuelita, Consuelo.

Alberta is a West End star, who won acclaim for playing the titular role in Evita. She then played the role on the international tour, and I had the privilege of seeing her in Manchester, also at the Palace Theatre.

She portrayed Gloria as tough but loving; the audience seemed to understand and appreciate her toughness as that of a caring and concerned mother. Her performance of Mi Tierra (My Homeland) was stunning. It had a Don’t Cry for Me Argentina vibe to it (only, it was much more genuine, and Gloria Fajardo wasn’t a megalomaniac like Evita…).

In fact, the show didn’t really get that interesting until that performance, which took place in a flashback. The scene ended with the beginning of the Cuban Revolution. We later saw another flashback to these years, in which Emilio is forced to leave his family behind. This, combined with the racism and prejudice of music executives, added density and emotion to an otherwise fun and upbeat show. And whilst the story takes place decades in the past, it still felt very relevant.

Indeed, whilst it is a feel-good musical, the show still had its fair share of emotional moments. Early on in the show, we saw Gloria Fajardo cosying up with her veteran husband, who suffered from multiple sclerosis. Whilst she was a strict parent, we were shown a softer, warmer side to her and made to understand why she was so worried about her daughter.

The scene where she was reunited, after two years, with her unconscious daughter, who had just been in a traffic accident, was heart-wrenching, as were the following scenes: Gloria’s surgery dream, where she was reunited with her deceased abuelita and papi, and the scene where Emilio devoted himself to helping Gloria recover.

The Act 1 finale was one of the best Act 1 finales I have ever seen. A broken-up version of the hit song Conga, it saw Emilio try to persuade Phil, a music executive (Robert Oliver), to come and watch Gloria perform the song at different events. The first event was at a bat mitzvah and saw Gloria dance with a Jewish mother and son. Next was an Italian wedding, where Gloria danced with a bride and her bridesmaids. Both times, Phil refused to join. Eventually, when Gloria performed at a Shriner’s convention in Las Vegas, and Phil wanted to get away from his angry wife, he agreed to attend. The bride and bridesmaids ripped off the bottoms of their dresses and joined Gloria, the mother and son, and men in fezzes for one last Conga. As Gloria took centre-stage, the rest of the cast came down the aisles and got audience-members up to dance with them. It was such a fun, entertaining way to end the act.

The end of the show was wonderful. Gloria had a triumphant return to the stage after her accident. Whilst it would have been nice to be shown what happened afterwards – after all, it has been decades since that AMA performance – it was a sweet, cathartic end to such a wild journey.

Following this, we were treated to a medley, which included the hit songs Rhythm is Gonna Get You and Everlasting Laugh. Whilst it was fun to get up and dance to these bangers, it was disappointing to only hear snippets of them, whilst they had given us whole performances of lesser known songs that nobody was that fussed about hearing.

On Your Feet! is a wonderful musical. You might not be blown away by some of the vocal performances, but you will love the aesthetic, the dance-numbers, and the energy. It will have you laughing, crying, and on your feet dancing! It finished at the Palace Theatre on the 2^nd November, but will be continuing its tour around the UK.

Review: Christopher Wheeldon’s Cinderella (English National Ballet)

Written by Sam Bronheim on 6th November 2019. Posted in Theatre.

Ballet isn’t most people’s thing, and I get that. Sitting through hours of no talking makes it easy to get lost or bored. If you go to see Christopher Wheeldon’s production of Cinderella (English National Ballet), however, this won’t be the case.

I found Cinderella to be very plot focussed and, therefore, easy to follow. The scenes, especially in the first act, were concise and brief, meaning you weren’t sat watching people dance for too long at a time. Due to the nature of ballet, it is never anything less than beautiful to watch.

I did feel though that the actual choreography limited the dancers from really wowing the audience. The dancers were undoubtedly talented, but I didn’t find myself sitting there with my jaw on the floor. Instead, I was thinking: “I could probably do that twirl” (which obviously I could not; it just looked simple instead of mind-blowingly difficult).

On the other hand, the less complicated dance moves meant I wasn’t overwhelmed trying to follow the dancers. I was able to appreciate the dancing as well as focus on the plot. This made it more engaging and, at times, I even forgot there was no speaking. In between the scenes, there was always an exciting set-change, which helped to break up the show.

Actually, the sets and staging were probably my favourite aspect of the show. They were creative, unique and reflected the magic of the story perfectly. For example, at the start of Act Three, the Prince (Joseph Caley) and his friend Benjamin (Jeffrey Cirio) are trying to discover the owner of the lost golden slipper (if you don’t know the story of Cinderella by now, what are you doing?).

A row of chairs were set up downstage; the ensemble dancers played a sort of organised musical chairs on them, each moving up a seat when the slipper didn’t fit the person before. Then, after not finding the perfect fit, the dancers cleared the stage and the chairs were mysteriously and slowly pulled up by transparent strings and suspended above the stage in an arch for the rest of the show.

The most creative scene, and probably my favourite, was at the end of Act One, when Cinderella (Erina Takahashi) prepares for the ball. Instead of the classic fairy godmother, we were introduced to spirits of Lightness, Fluidity, Generosity and Mystery. Each cluster of spirits wore a different colour, so when they all merged for a group number, the stage transformed into a kaleidoscope of colours.

The act closed with the dancers joining together to form a human carriage. Some held spinning wheels, others wore elaborate horse masks, and the rest held up Cinderella. She had a massive attachment to her dress, and from the help of some wind machines, it billowed outwards, creating the appearance of a round pumpkin-like carriage. Absolutely magical.

This performance as a whole ticks all the boxes for an accessible and enjoyable show to ease you into more serious ballet. Aside from the aforementioned easy-to-follow plot, there were also some comical aspects, which is unusual for ballet, but definitely makes it less serious and great for all ages.

Congratulations to all the performers and the impressive orchestra; I wish them the best for the continuation of their tour – Cinderella runs from the 23rd until the 26th October in Southampton.

Live Review: Chastity Belt at YES

Written by owentrimming on 6th November 2019. Posted in Music.

Chastity Belt are a band of honest self-expression. Listening to their music makes for an intimate affair, and their live shows mirror that feeling. The warmth of the YES pink room provided a setting perfect for an emotive performance that showcased the group’s growth.

The 2017 album I Used to Spend So Much Time Alone marked a real turning point for the band. Whilst retaining their intelligent song writing, satire was swapped for sombreness. A risky move perhaps, but one that delivered a far more mature and refined style. The fourth self-titled record very much picks up where the third left off. Chastity Belt makes for an encapsulating listen and it’s obvious why they were keen to show off this new material live.

Opening track ‘It Takes Time’ proved to be the strongest from their latest release. Slow melodic guitar matched perfectly to harmonies that left the audience in a trance. This mood was maintained throughout the next two tracks ‘Elena’ and ‘Drown’. The new material manages to waver around the same motif without becoming boring. Each song relates to the next as a sister, not a twin – sisters that got on incredibly well on stage.

Chastity Belt managed to keep the atmosphere light, despite darker themes. It really seemed like they were there to have a good time. Drummer Gretchen Grimm swapped with Julia Shapiro on vocals for a couple songs, matching her in quality. Grimm was reduced to giggling at one point, setting off the whole band. You would think this would withdraw from the performance rather than add to it. However, moments like this seemed to reflect the group’s genuine nature, that which makes their music so heartfelt.

‘This Time of Night’ stood out in the setlist, providing a welcome change of pace. More aggressive rifts paired to mellower moments collect into an impactful track. ‘Used to Spend’, also from the 2017 album, proved to be a highlight. This track, in particular, embodies Chastity Belt’s powerful lyricism, centring on overcoming very personal struggles. The stillness of the room said it all.

The performance of ‘Different Now’ cemented why this remains the band’s most popular track. Even the very first chord of the distinctive intro was met with cheers. Beautifully melancholic and self-reflective, its delivery sent shivers throughout the audience. Following ‘Pissed Pants’ was just as poignant in its words. Matching that, a guitar solo descending into mania finished the set. Certainly, an ending that left an impression, although leaving it on the better known previous song might have fitted better.

Resounding cheers led on to a more upbeat encore. From the debut, ‘Seattle Party’ was far more playful in both its melody and lyrics. The fan favourite was received excellently by the crowd, with them taking the opportunity to sing along. Finally, Chastity Belt closed with ‘Joke’, rather suitably from the 2015 LP Time to Go Home. In contrast to many of the themes explored throughout the evening, ‘Joke’ is a song about getting stoned. Ironic and fun, it lifted everyone’s spirits at the end of the night.

After four albums, Chastity Belt delivered the quality performance you would expect from them. Conveying a range of emotions throughout, the band was able to evoke strong feelings from the audience. I could have only asked for more from them, with the set being kept to a strict hour. In addition, reports from audience members at the back were that the sound was not nearly loud enough – minor blips in an otherwise outstanding performance. Chasity Belt only seem to be developing as a band and the future is definitely promising for them.

8/10

Live Review: Swim Deep at Band On The Wall

Written by freyathomson on 6th November 2019. Posted in Music.

Returning to Manchester on Saturday, Swim Deep entertained a rowdy bunch in sold out show at the Northern Quarter’s Band on the Wall.

The tour follows on from the release of the band’s third studio album Emerald Classics which was released earlier this month on RCA Records. The record, much like Swim Deep’s performance that night, featured an eclectic range of styles drawing from the indie and dreampop influences that found them success with their first album Where The Heaven Are We?, to the acid and rave vibe that inspired second album Mothers (2015). This unique collection of genres meant the Birmingham outfit delivered a crowd pleasing set as they played their most loved hits from the last five years.

Swim Deep got the gig off to a lively start as they performed debut album classics ‘Francisco’ and ‘Honey’ to a throng of youthful and excitable students, before raising the energy with the synth loaded dance track ‘To My Brother’, setting the tone for an evening of up-beat and energetic music. After settling the audience in with some of the bands more recognisable and established songs, Swim Deep took the opportunity to debut the new tracks from their new album. First to be aired was ‘0121 Desire’, a song that joyfully celebrates the band’s hometown of Birmingham. It was a well-received ensemble, especially when frontman Austin Williams amended the words to ‘0161 Desire’ (Manchester’s phone code).

Swim Deep continued to display their new material throughout a set that contained a more or less even split of a discography spanning five years. The combination of high tempo pop melodies, drum and base inspired drum beats and a synth section reminiscent of contemporary indie giants LCD Soundsystem meant that the selection of songs were ideal for the live performance setting. Swim Deep established an excellent energy between band and audience as they simultaneously sang and danced their way through the set in a tightly packed venue.

Swim Deep closed the set with ‘Fueiho Boogie’, which the band describe as “an eight minute rave song about how dancing used to be illegal in Japan”. The tune emanated an atmosphere more akin to that of a rave than a gig by an indie guitar based five-piece, which was only intensified by the acid-house smiley face visuals.

Swim Deep vacated the stage but were quick to return with a three song encore beginning with the lead single from Emerald Classics ‘To Feel Good’. This particular song details frontman William’s formative years in Birmingham while trying to make it in music. He recounts his struggles in the spoken word verses before delivering a positive message in the triumphant chorus “Everybody’s free to feel good”. Swim Deep closed the concert with fan favourites ‘She Changes the Weather’ and ‘King City’ which provided a perfect finish to a solid show.

The aspect of the band’s performance that stuck out the most was the visible enjoyment of each of the band’s members while playing music. This is a vital trait to bands whose music is laced with positive imagery, a sense of optimism and feel-good anthems.

7/10

In conversation with Porridge Radio

Written by Bella Fleming on 6th November 2019. Posted in Music.

London-based, soft-rock band Porridge Radio are one of the most exciting bands emerging on the DIY scene.

Lead singer and guitarist Dana, “like Hannah but with a D,” discussed all about the band’s upcoming projects with me.

With upcoming shows in Manchester, Dana informs me that the band “love Manchester so much.” She tells me that when she “thinks about cities that [she] love[s] in the UK [she] thinks about Manchester.” When asking what her favourite part of the city is, the answer comes as a bit of a surprise: “Manchester has the best charity shops.”

Charity shopping has become somewhat of a ritual for the band when they’re on tour. “We love going charity shopping,” Dana tells me. The band’s moral conscience towards reducing fast fashion has meant that Dana would “feel guilty if [she] bought new clothes.” She lets me know that if she “buys things second hand from charity shops it’s all okay.”

With one tour over October and another over November, every band member is working in their spare hours to help make ends meet. Perhaps it’s the band’s DIY roots that are part of their determination. Having met whilst at university in Brighton, arguably the city with one of the biggest DIY music scenes, Dana admits that at the beginning Porridge Radio “were a fairly chaotic band and [they] didn’t know what [they] were doing.”

Elaborating further on Brighton’s DIY scene, Dana admits that “the word ‘community’ doesn’t really explain the DIY scene.” Instead, she reveals that Brighton’s music scene was made up of one big friendship group, and it was tough for Porridge Radio to be noticed. With the large majority of local bands studying at the British Institute of Music (BIM), “that scene was quite cliquey.” However, without this vibrant scene, they “wouldn’t have been able to play a lot of shows.”

When delving deeper into how the band met, Dana’s honesty was refreshing: “I could tell you how I met each of my bandmates but it’s really long and boring. We’re just people who know each other,” she explains further. “I find it a really hard question to answer.”

However, being in a band is something Dana has always wanted to do: “I’ve always loved music and wanted to write songs.” She jokes about how she “didn’t even know how to play instruments or perform until [they] started the band.” She notes that the encouragement of her friends was the push she needed to finally form Porridge Radio.

The interview comes to an end as Dana arrives home to her two “rescue dogs from Romania.” She laughed as she told me how “they chewed up a letter [she] got from the DVLA.”

Assuring me that Porridge Radio have loads of “cool stuff coming soon” she makes a note that all Porridge Radio fans need to “watch this space.”

Live Review: Mura Masa at Warehouse Project

Written by Bella Fleming on 6th November 2019. Posted in Music.

As the current Warehouse Project season rolls on, London-based, chart-topping DJ, Mura Masa stopped by to play a set of infectious dance hits.

A surprise name on this event’s line up was the experimental math-rock group Black Midi. Off the back of their standout debut album Schlagenheim, as well as making the Hyundai Mercury Prize final shortlist, the hype surrounding this young London-based rock band is huge, to say the least.

However, despite a 40-minute set, they failed to impress. Their set consisted largely of wailing guitar instrumentals, and it was a shame to hear almost no vocals from lead singer Geordie Greep, whose uniquely nasal vocals provide so much depth to their music. Morgan Simpson on the drums had to be the highlight of the band, acting as the backbone of the whole group with his impressive, and largely improvised, drumming.

Nao took to the stage shortly after, having the crowd hooked from the minute she emerged. Her set of catchy synth-pop songs was so polar opposite to that of Black Midi’s experimental post-punk that it was hard to remember it was the same event. Her stage presence and willingness to dance with the crowd definitely helped improve the slightly dry atmosphere at Depot. Having also made the Hyundai Mercury Prize shortlist, her ability to engage with the crowd showed her true performance talent, and the amazing live falsetto vocals made her set better than expected.

Perhaps the standout feature of the new Warehouse Project venue, Depot at Mayfield, is the accessibility for everyone. The venue stays on one level, meaning it is easy to move around between the different stages. Furthermore, for ticket holders with limited mobility, there is a raised platform overlooking the main stage, away from the main crowd. This means everyone can enjoy and get the most out of their night, and puts Depot as a venue further ahead in terms of accessibility and inclusion than many of Manchester’s other venues.

Headliner Mura Masa took to the stage at midnight to play an hour set of chart-topping dance tunes. As his set developed, it was clear he was the main reason why people had come to the event. Despite the small crowd, the main room at Depot was the most energetic of the night as Mura Masa reeled off his hits, including ‘1 Night’ and ‘Nuggets.’ As his set came to a close, Nao came back out on stage to perform their hit ‘Firefly.’ Her charisma and great energy on stage ensured the set ended on a high.

Ultimately, the complete genre-mash of this Warehouse Project did not work well. Black Midi seemed so irrelevant to the event as a whole and were disappointingly dull given their current hype. Mura Masa and Nao both played impressive sets, but it was not enough to get rid of the general dull atmosphere of the small crowd.

6/10

How to sell pre-loved clothes online

Written by Alexandra Bikard on 6th November 2019. Posted in Fashion & Beauty.

Has Marie Kondo convinced you to clear out your wardrobe? You could bring in some serious cash by selling the clothes that no longer ‘spark joy’ online.

Where should I sell my second-hand clothes?

There are so many options for selling clothes online nowadays, it can be a little overwhelming. It’s important to pick the site that is right for you and the types of clothes you’re selling. Here’s a rundown of some of our recommendations.

Despite being the most traditional way of selling clothes online, eBay is still a popular choice. It’s great because you can literally sell anything and everything on there. There are two different selling options: either ‘Buy It Now’ which allows you to have a set-price, or an auction where buyers can place bids. eBay collects 10% for each sale.

If you have any vintage, eccentric or on-trend items to sell, Depop is your answer. The app is designed like Instagram whereby you upload a picture of the item you’re selling with a caption underneath. You then tag it with other useful information such as size, brand and price. There’s also the option to swap items which can be really fun and a great way to refresh your wardrobe. Like eBay, they charge you 10% and PayPal fees for each sale.

It isn’t the most conventional option but selling your clothes on Instagram Stories is worth considering. It could be the best solution for you if you aim to sell your clothes quickly, as you can simply upload images of your clothes to your stories with the price you’d like to sell them for. It must be noted that it works better if you have a larger following. On the other hand, if your only followers are friends and family, you can probably hand over items in person, avoiding postage costs as well as the fees that come with some of the aforementioned methods.

If you’re looking to sell designer or more high-end items, your best bet is to sell them on a site that specialises in that category, such as Vestiaire Collective. This site is great because it acts as a third party between sellers and customers. This does come with a cost, which is included in the displayed price of the item, but it’s arguably worth it to ensure there are no issues with authenticity.

Finally, Vinted is a great site for reselling high-street brands. Buyers are thirsty for deals so don’t expect to sell your items at high price points. But, on the plus side, there are no added fees, they take care of the postage price (which the buyer pays for) and it’s really easy to use. Vinted is pretty similar to Depop but the audience is slightly older and more conservative so this is the place to take your simple and classic pieces.

How do I get people to actually buy the clothes I’m selling?

The online second-hand market is incredibly oversaturated. In order to sell your clothes as quickly as possible, and for the best price, you need to stand out.

Photos are the most important element to selling your clothes online. Make sure to have a contrasting background so the item is clear to see and take the photos with the best camera you have available to you. Take several pictures of the front, back, label and any relevant details and, if you can, take a photo of you wearing the item in order to help the buyers visualise the piece (its true size and its styling potential).

Additionally, reputation is important! Be quick to answer messages, be polite and truthful, and send the items as soon as you can and in good condition. Alongside this, describe the item as accurately as possible. Point out any flaws the item may have (stains, rips etc.) and specify any differences between the size on the label and the true fit. Also, try and sell your items seasonally. Although someone might be looking for swimsuits in the middle of December, they’re a lot more likely to be after a Christmas Jumper or a winter coat.

Finally, be realistic with prices. Unless it’s a coveted item, a dress that you bought for £50 is never going to resell for the same price, even if it is brand new with tags. Accept that you’re only going to make back a fraction of the price you bought the item for. Saying this, it is worth considering the resale value of clothes when initially buying them. For example, designer clothing and classic pieces tend to have a higher resale value whereas the resale value of trend-driven pieces from fast fashion companies tends to be lower. This is a thought-process that will not only ensure you make money back on the items you buy, but will also help you shop more responsibly and make circular fashion possible.

Get excited for Manchester’s very own Peruvian pop-up, Peru Perdu

Written by Elena Meritxell Bradley on 6th November 2019. Posted in Food & Drink.

The food of Peru is one that in recent years has been popularized in both restaurants and food media. From Pisco Sours to causa and ceviche, Peruvian cuisine is one of zingy, punchy flavours and fresh zesty combinations of sweet, savoury and sour.

In London, Peruvian cuisine has been reinvigorated with the very instagram-worthy ‘Chicama’. Bringing the humble food to the tables of the Made in Chelsea crowd saw a recent spike in passion for all things Peru. Manchester is about to get it’s own sexy Peruvian food spot. To get you excited, here’s a rundown of one of Peru’s most famous dishes; ‘ceviche’.

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In the UK, Peruvian food has followed many other cuisines, making it both exciting and slightly unknown to a lot of us. The success of Chicama and others alike has seen an increase in Peruvian restaurants, elevating the humble cuisine to high-end ceviche and cocktails.

For those of you who are unfamiliar with the classic dishes of Peru, ceviche is the process of cooking raw seafood and fish like seabass, tuna, salmon, prawn and crab with the acid of lime. Traditionally, ceviche is made solely with lime and salt. However, over time this dish has been elaborated regionally to create some amazing interpretations, mostly with additions such as coriander, red onion, chilli and fruits like pomelo, mango or pineappple.

Classic ceviche however, is made by liberally salting raw, skinned and chopped seabass. The salt allows the fish’s ‘pores’ to open to the introduction of flavour. Next, a lot of lime juice to ‘cook’ the fish. Traditionally, the fish should only be in the lime and salt for around 60 seconds before the addition of fish stock. This fish stock slows down the curing process and gives you the textural difference of the cooked outside and raw middle. Plus, the combination of the lime and fish-stock creates ‘Tiger Milk’, the name given to the absolutely delicious ceviche liquid.

If you haven’t tried ceviche, you should. It’s both zingy and fresh, and due to the curing from the acid is less ‘raw’ than sashimi or tartar which is what puts some people off.

If this has made you feel the urge to give Peruvian cuisine a go, you’re in luck! Manchester’s very own Cotton Factory in Whitworth Locke has just opened it’s doors to Peru Perdu, a six-month residency restaurant. Peru Perdu boasts a colourful and vibrant Peruvian-inspired restaurant in the heart of central Manchester, offering all the right ingredients for a memorable culinary experience.

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Online, it’s menu is divided into four main provisions: Cocteles, Ceviche, U.W.A Steak and Plant-based. U.W.A refers to Uruguayan Wet-aged steak which can be bought in three different sizes of the three traditional cuts; fillet, rib eye and rump. Considering the menu is relatively small, there are six plant-based small plates, including a green papaya salad, and three different types of quinoa bowl. ‘Red’ with avocado, pomelo, roast aubergine and spinach. ‘White’ with roast corn, orange, yam, coriander and seeds. And, ‘Black’ with peas, broad beans, asparagus, prune and pomegranate.

They also offer five different kinds of ceviche with tuna, seabass, salmon, salt cod and crab. The two that sound the most delicious to me are the sebass with samphire, asparagus, tomato and macadamia nuts and the crab with rice noodles, pomelo, chilli, sweet potato and coriander.

You’re looking at around £8 for a small plate of ceviche, which is pricey but not dissimilar to the standard restaurant prices around Spinningfields and Deansgate. And, if the fish is fresh and the ceviche is good that’s certainly worth it.

I’m very excited to see how this restaurant is enjoyed by Mancunians and whether it’s six-month residency introduces the beautiful cuisine of Peru to Manchester in a way that makes it unforgettable. Stay tuned for the next issue of The Mancunion where I’ll be visiting Peru Perdu and letting you know what I think of it’s food and decor.

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“I trusted the University… but I just feel really let down”: Navigating mitigating circumstances

Written by Ethan Davies on 6th November 2019. Posted in Features.

If you surveyed every recent graduate from the University of Manchester, most would name their final year the most stressful. That could be down to the pressure of that year being the most important for your overall degree result, the agitation in searching for a job after you finish uni, or just the knowledge that your life is about to go through a meaningful period of change.

However for Asha Owen-Adams, a recent law graduate from Camden, her final year was far more stressful than most.

Not only did she have to contend with her mother’s cancer diagnosis, but has also had to navigate the University’s mitigating circumstances process – one which she describes as “brutal” – only to be told that she wasn’t eligible for special consideration as she scored 67 in her final year, despite recording an average of 74 in her first two years of her degree.

Asha with her mum. Photo: Asha Owen-Adams.

Asha’s journey through the process began at the end of her second year, when her mum told her about the diagnosis she had received. Asha’s mum stayed strong when she had that conversation, not “crying or getting upset” – which is something that made her future tears even more “shocking” to Asha.

From there, Asha approached her academic advisor early on in her first semester – October 2018 – who “reassured me that I should apply for mitigating circumstances”, Asha says, and then was told by a Law School representative “that mitigating circumstances were created for situations just like mine and that I’d get it and it’d be fine.”

“After that I didn’t really hear anything until January or February when they told me that my mitigating circumstances had been accepted for the first semester, so that was good. My academic advisor knew what was going on, she knew my situation and everything.

“Fast forward to exam period of this year, [summer] 2019, and I submitted mitigating circumstances again for semester 2. I emailed my academic advisor asking if I would hear anything about being accepted and she said I wouldn’t hear anything until I got my results, and that’s what happened.”

It was only at this point that Asha learned how her application had gone: “There was nothing on there, all of my grades were normal.

“I emailed the law school and [they replied] with a letter briefly stating that ‘your mitigating circumstances had not been accepted’… said because I wasn’t in the ‘zone’ for my mark to be moved that they weren’t going to do anything about it and that was basically it.”

When Asha then asked if she could appeal the decision, she was told she could, but that the mitigating circumstances process is usually final unless new evidence comes to light. The law school then refused to tell her what kind of evidence she’d need to provide, because her appeal would be against it.

Asha with Marvin. An angel. Photo: Asha Owen-Adams.

Naturally, Asha’s mental health deteriorated throughout the year, saying she felt like she was “carrying a tonne of bricks on her shoulders.”

“I was so blase about everything – which isn’t really me. Anyone who knows me knows that I push myself probably too much with uni work, I get really invested in it – but I was feeling quite disconnected.”

Whilst Asha visited the counselling service and used the Students’ Union Advice Service, certain requests from the University exacerbated her mental state.

Those included being asked to get a letter from her GP proving her mum’s condition was affecting her mental health – a moment which she calls “one of the worst parts of the ordeal.”

One aspect in which Asha was fortunate was the support she received from her family and friends. She grew up in London, part of a small home with only her mum and dog, Marvin, under the same roof, making for a “very close” family unit, Asha adds, even saying that she was told she was “really alike” her mum from a young age.

Not everyone is in such a position, however. That might be part of the reason Asha says she knows “so many other people who’ve been put off applying for it in situations where mitigating circumstances was made for it”, which is worrying for University figures.

Although some parts of the University have been “really supportive” – such as her academic advisor and the Students’ Union Advice Service – she believes that the mitigating circumstances system is “definitely not user-friendly” and has been “brutal” on her well-being.

“I was just caught off-guard, because I trusted the University to have my best interests at heart and that I’d be supported, but I just feel really let down,” she adds.

Asha’s also keen for the system to change, saying that the University “needs to take into more consideration [peoples’] individual circumstances, so obviously with my case it was they recognised my circumstances but they didn’t meet their perfect threshold to change.

“I think they really need to put themselves into the shoes of the student and you know your mum having cancer will affect your brain, so it’s just being able to support students in that way.”

The ultimate question in terms of the student experience, though, is would she advise her friends to go through the process if they were eligible?

“It’s worth doing to get an extension. But if you’re doing it not for the extension, just to support your overall grade, it’s probably not worth it.

“The time and the emotional stress that I put into [mitigating circumstances], I could have spent more time doing my work.”

When The Mancunion contacted the University about Asha’s criticisms of the system, a spokesperson said: “The University cannot comment on individual cases, but the physical and mental wellbeing of our students is always of the utmost importance to us.

“We recognise that individuals have different circumstances and that is why our mitigating circumstances process is designed to be as comprehensive as possible so students can provide us with all the relevant information we need to best help and support them.

“Our policies are regularly reviewed and we welcome all feedback from staff and students on ways we can improve them.”

Chloe Salins, SU Education Officer, added: “This situation highlights the current issue of the Mitigating Circumstances Policy at the University of Manchester, the process is designed to support students however cases such as this show when the policy disadvantages students.

“Although this does not happen for all students, this situation does show the inconsistencies and the variance of how the policy is implemented across the University. If any students are currently having any issues with mitigating circumstances or academic appeals you can always contact our advice service based in the Students’ Union for free impartial advice.”

Photo: LornaMCampbell @ Wikimedia Commons

UCU announce plans for eight days of strikes in UK universities

Written by Nicole Wootton-Cane on 5th November 2019. Posted in News.

Academics and lecturers at the University of Manchester are set to join staff at 60 UK universities going on strike later this month.

Members of the University and College Union (UCU) have announced industrial action starting on the 25^thof November and lasting for eight days, saying universities must act “positively and quickly” to avoid this.

The University of Manchester called the decision “regrettable,” and said that they will seek to ensure that disruption to students is kept at a minimum.

Last week, UCU members voted in favour of industrial action in two separate ballots over pension and pay disputes. The action follows extended strikes in 2018 after UCU and Universities UK (UUK) failed to come to a resolution over similar issues.

Members of the University of Manchester UCU (UMUCU) voted 83% in favour of strikes over the Universities Superannuation Scheme (USS), and 79% in favour of strikes over pay and equality, with a branch turnout of 51%.

In a statement, UCU general secretary Jo Grady said: “The first wave of strikes will hit universities later this month unless the employers start talking to us seriously about how they are going to deal with rising pension costs and declining pay and conditions.

“Any general election candidate would be over the moon with a result along the lines of what we achieved last week. Universities can be in no doubt about the strength of feeling on these issues and we will be consulting branches whose desire to strike was frustrated by anti-union laws about reballoting.”

Many students voiced support for those striking, but did express concern over the impact strikes would have on their education. Third-year Law and Politics student Becca Windsor De Taboada told The Mancunion: “A lot of us who have experienced strikes already are very anxious because we know how it has previously affected our education. There’s a lot of talk about ‘don’t be a scab’ and ‘support your lecturers’ which is entirely reasonable and understandable, but I feel like the underlying fears of students aren’t respected enough.

“And I KNOW that this isn’t the teacher’s fault – it’s the fault of the administrative staff who are cutting their pay and their pension. But we are being caught in the cross-fire.

“Lastly, if the strikes last year didn’t do enough, what’s to say the ones this year will? Are there no more effective ways to hold people to account than holding our education hostage?”

Second-year PPE student Sam Cox Griffiths said: “If it impacts on us it’s because the University are treating the staff unfairly. These people want to work and if they’re striking it’s the University’s responsibility to treat their staff fairly to avoid interruptions to our study.

“It benefits us as students to have lecturers who have a higher level of financial security. It will also mean the university is more attractive to potential lecturers in the future so the standard of teaching will most likely improve.”

Chris Waugh, a teaching assistant at the University who voted in favour of industrial action, called the proposed pension changes “ludicrous”, but cited them as only one of a number of factors that motivated his decision.

“I would hope that it [a strike] will bring universities back to the table. I hope it will be a chance to draw attention to the issue around pensions, pay, and most importantly mental health.”

A University of Manchester spokesperson told The Mancunion: “This is most regrettable and while we recognise that pensions and pay are incredibly important to our staff, there is no easy solution to these issues as all have adverse impacts.

“Added to this, while we fully recognise the right of our staff who are UCU members to take industrial action, we will seek to ensure that disruption, especially to our students, is kept to a minimum and we will be advising them to work on the basis that their studies will continue as normal unless they are told otherwise.

“This means that they should attend scheduled teaching, complete and submit assessments by the relevant deadlines, and continue to plan for any examinations. The University will not benefit from strike pay deducted from staff and will use it to the benefit of students.

“Information about the industrial action for staff and students will be made available and will be regularly updated.”

Album Review: Jesus is King by Kanye West

Written by harrythorfinn on 5th November 2019. Posted in Music.

Kanye West has finally released his long awaited album, Jesus is King.

A new Kanye album is always big news, but this time things are different. See, Kanye is a new man, a born again Christian who is done with secular music. There is not a curse word to be heard across this album. Oh, and he asked everyone working on the album to refrain from premarital sex. Yeah.

But for all it’s God talk, this is not an album about God – it’s about Kanye. Despite claiming that “Jesus saved me, now I’m sane” on ‘God Is’, it’s clear that we are still dealing with the aftermath of a very public breakdown. Some would say that this has been going on since he snatched a VMA out of Taylor Swift’s hands, but others would say it began sometime during the Saint Pablo tour in 2016.

A particularly bad 2018 saw Kanye hospitalized, ranting in TMZ about slavery and wearing a lopsided MAGA hat tweeting about “dragon energy”. The year culminated in Kanye releasing his first lackluster solo album, Ye. Shortly thereafter, he promised a new album, Yandhi, and began his quasi-religious gospel sessions with his Sunday Service Choir. It’s clear that Jesus Is King is a “Frankenstein” creation of leaked songs from the scrapped Yandhi album, glossed over with the religious zealousness of a recent convert. Whilst the album does have intriguing moments, it cannot mask the fact that it is inherently vapid and, as a follow up to Ye, it confirms that the once great album maker has put music on the backburner.

Kanye’s immersion in Christianity is both a long time coming and seemingly out of the blue. ‘Jesus Walks’ was the breakout single of his debut album The College Dropout. In 2013 Kanye became one with the Messiah, crowning himself Yeezus. Religion runs throughout Kanye’s work, but Kanye himself is always at the center. ‘Jesus Walks’ wasn’t a song about Jesus, it was about Kanye defying radio stations: “But if I talk about God my record won’t get played, huh?”. Kanye’s conversation with Jesus on the Yeezus cut ‘I Am a God’ is not a particularly religious moment either: “I just talked to Jesus/ he said what up Yeezus?/ I said shit I’m chillin”. On the scrapped Yandhi, there was ‘New Body’, a song about plastic surgery: “new ass, new tits, new bitch, true this”, Kanye raps. Yet a few months later he is a devout Christian, a quick turnaround which has left everyone, including himself, little time to try and understand his new world view.

Unfortunately, Kanye’s take on new found faith is expressed solely in platitudes: “I bow down to the King upon the throne/My life is his, I’m no longer my own”, he wails on ‘God Is’. “Jesus, flow through us/ Jesus heal the bruises/ Jesus clean the music” he rambles on ‘Water’, a low point of the album. “King of Kings, Lords of Lords, all the things He has in store/ from the rich to the poor, all are welcome through the door”, he sings with the rhyming scheme of a tired Sunday school teacher.

Kanye exploring religion could be fascinating, but he has embraced religion with a zealousness that eliminates nuance or lets any of his signature charisma shine through.

However, this is still a Kanye album so it undeniably sounds great. Kanye wields the enormous choir at his disposal well and it is filled with expensive and intricate instrumentals. The Pierre Bourne assisted ‘On God’ is fascinating and sounds like a church organ racing down Rainbow Road. Bars like “that’s why I charge the prices that I charge/ I can’t be out here dancing with the stars/ no I cannot let my family starve”, are frustrating, however. Kanye, you’re a billionaire, selling £50 Jesus socks isn’t exactly virtuous.

‘Follow God’ is a banger though, showing he’s still got the magic touch when it comes to chopping up a sample. ‘Selah’ is another high point. Whilst it sounds like a Yeezus instrumental diluted in Holy water, it’s still powerful. But on Jesus Is King, the sum of its parts are greater than the whole, and these songs feel like sketches. ‘Everything We Need’ has a slick Ty Dolla Sign intro but amounts to very little. Similarly, ‘Water’ and ‘Hands On’ meander aimlessly and only a few songs even pass the 3-minute mark.

It is said that Kanye spent 5000 hours mixing and mastering ‘POWER’ on his magnum opus My Beautiful Dark Twisted Fantasy. That focus and perfectionism is nowhere to be heard on Jesus Is King. It is an undercooked, confused album, and it’s hard to shake the feeling that Kanye is lost. But hey, at least there wasn’t a 6ix9ine verse or a duet with Donald Trump on here.

6/10

Live Review: slowthai at Manchester Academy

Written by Alan Thomas on 5th November 2019. Posted in Music.

Earlier this year, Northampton rapper slowthai released his debut studio album, Nothing Great About Britain, pondering over Britain’s current atmosphere to critical acclaim.

Straight off the “Coming to America” tour in the States, slowthai embarked on the “Bet Ya A £5er” tour across 5 of the UK’s biggest cities. Selling out Manchester Academy, he enlisted the support of P-rallel and Hak Baker to treat Manchester’s residents to a brilliant show.

Doors opened at 7pm with fans flowing in, buying merchandise, and crowding around the stage as early as possible, eager to be in the thick of things. Tour DJ P-rallel provided an engaging introductory set, warming the crowd up with a variety of the biggest hits from UK grime and American trap — mainly from Travis Scott.

Hak Baker, an indie-folk singer-songwriter from East London, followed up with a mediocre set mainly due to the poor sound mix. The backing band featured an awfully out of place trumpeter but a noteworthy performance from the drummer. He played his biggest hits ‘Conundrums’ and ‘Thirsty Thursday’ and previewed an upcoming song. Clashing with the crowd’s restlessness, the performance was nothing special and could easily be provided by any street busker outside the Arndale centre.

Academy was nearly full at this point and P-rallel returned to raise the crowd’s energy levels. Highlights included Octavian’s ‘Bet’, a remix of ‘That’s Not Me’, and a trio of Playboi Carti songs which had the crowd bumping elbows already.

Finally, at 9pm, the time came for slowthai to grace the stage. Middle finger raised, he encouraged the crowd to shout “Fuck Boris” at the top of their lungs. The chants continued as he began his set with heavy album opener ‘Nothing Great About Britain’, painting a vivid contrast between royalty and poverty in the UK. Hypeman Kwes Darkom was joined by an amusing crack rabbit in energizing the crowd as slowthai performed ‘Drug Dealer’. At this stage, the crowd was brimming with energy and slowthai took off his shirt. Drenched in sweat already.

Nothing Great About Britain varies between hard-hitting, gritty bangers, and more relaxed, emotional cuts and slowthai’s set managed to balance the two sides to his music. The terrifying strings from his latest Denzel Curry collaboration ‘Psycho’ rang abruptly and the crowd began knocking into each other before calming down in time to sing along to ‘Gorgeous’ and ‘Crack’. T-shirts were often thrown out and, more humorously, members of his entourage frequently blasted sweaty audience members with a water pistol in between tracks. Song transitions were typically marked throughout by blasts from the smoke machine and a change of colour in the set lighting.

It’s no doubt that 2019 has been a big year for slowthai, as he earned collaborations with bigger artists like Flume and Tyler, The Creator. On BROCKHAMPTON’s Ginger, he was permitted a whole interlude of ‘Heaven Belongs to You’, which the crowd sang every word to. He also performed backing vocals on IGOR’s ‘What’s Good’ and played the track live with the crowd roaring ‘I see the light’. Sandwiched between these two collaborations was another tune for the pit, but more importantly for his oldest fans as he performed ‘IDGAF’ from his debut EP released in 2017.

Being in Manchester prompted slowthai to perform a rendition of Oasis’ ‘Wonderwall’ between tracks. Other highlights included the live performance of ‘Ladies’, an ode to women inspired by his mother. ‘Inglorious’ is slowthai’s biggest hit on the UK charts and, after much contemplation, he picked out a lucky audience member who did a brilliant job in performing Skepta’s verse. Chants of ‘inglorious bastards’ continued as the crowd demanded an encore, but he was onto the next song, aiming to get through his whole discography.

‘Northampton’s Child’, a brief autobiographical account of his upbringing, held the crowd captivated as slowthai closed his eyes and gave, probably, his most passionate performance of the night. Before the last song, which the crowd had been anticipating for a while, slowthai instructed the crowd to form the biggest circle of the night and issued a warning to the audience, telling them to pick up anyone who would be trampled in the upcoming track. By now, plenty of the crowd were shirtless too and when the punk-influenced Mura Masa beat for ‘Doorman’ began playing, it spurred the most violent, energetic moshpit of the night.

slowthai thanked Manchester and left the stage but almost the entire crowd stayed for an encore of ‘Doorman’ before spilling out into the cold streets. It was a brilliant show but it could be argued that the crowd was much more eager for slowthai’s high-energy bangers compared to his slower tracks. As he returns to America to support BROCKHAMPTON on their tour, one can only expect bigger things from slowthai in the future.

9/10

Live Review: Freddie Gibbs at Manchester Academy

Written by anishachana on 5th November 2019. Posted in Music.

Indiana-born rapper, Freddie Gibbs, gave his raucous fans at Manchester Academy the performance they anticipated, demonstrating some of America’s best, but underrated, talent of the moment.

Freddie Gibbs and prolific hip-hop producer Madlib released their latest collaborative album, Bandana, earlier this year. The album’s widespread success and critical acclaim definitely gave Gibbs’ current world tour a high standard to live up to. However, as someone with a fairly extensive knowledge of hip-hop as a genre, it’s safe to say that Gibbs exceeded my expectations.

Despite Manchester Academy 2’s notorious reputation for its bad acoustics, I was pleasantly surprised by the sound quality of UK rapper Jay Prince’s support act. Freddie Gibbs’ DJ then set the tone of his set with a seamless mix of current hip-hop favourites ranging from Chance the Rapper to Kendrick Lamar. Once the crowd was sufficiently energised, the lights turned off and Freddie Gibbs was greeted by a sea of phone torches as he bounded on stage to his first song ‘Crime Pays’.

It’s safe to say that to begin with, I felt a little out of place. I had been fairly unfamiliar with the artist prior to the event and was one of the few females in a rowdy, male-dominated crowd. Yet, Gibbs’ articulate and lyrical flow, along with his contagious hooks, allowed me to soon understand the cult-following he has attracted. The rapper’s incredible rhythmic skill allowed you to feel a sense of his beat even when unaccompanied. Moreover, his poignant lyricism was emphasised by a crowd that confidently seemed to know the words to every single one of his raps. Since every song received such an excitable response, it seemed to me that every song could well have been his biggest hit single. Therefore, the energy did not dwindle especially due to Gibbs’ exceptional audience rapport between numbers. Here, he played up to the charm of the classic ‘gangsta rapper’ persona as he took swigs from a bottle of Hennessy and stripped off layer by layer to eventually reveal his masculine, tattooed torso.

Highlights included ‘Still Living’ in which Gibbs threw his water into the raving mosh-pit below, politically emotive ‘Alexys’ and the undoubtable climax of the set, ‘Death Row’, where the rapper actually entered the sea of fans below. He concluded his set with his highly-demanded encore number ‘BFK’. The entire venue was left chanting his name as he paused in front of his audience with a smile of gratitude before graciously leaving the stage.

What I think makes Freddie Gibbs so intriguing is the fact that his performance style is somewhat reminiscent of hip-hop’s authentic, old-school roots. Whether it be flawless streams of unaccompanied freestyle, hyper-political chants or his ‘gangsta’ image, Gibbs’ appeal lies in his ability to break from the overly-commercial norm of current mainstream rap. He creates a sense of nostalgia through unmediated rhythm, flow and uncensored storytelling which was central to the genre’s forefathers. Yet at the same time, he keeps his classic rap style vibrant with innovative sampling and production. It is refreshing to see such rawness and authenticity at a time when hip-hop is so often dominated by capitalist self-interest and the intent of mainstream success.

9/10

Album Review: Pony by Rex Orange County

Written by susannaheley on 5th November 2019. Posted in Music.

Pony was an eagerly anticipated album for the rapidly growing fanbase of Rex Orange County, a 21 year old, Surrey-born singer-songwriter, whose lyrics in the closing track, ‘it’s not the same as before, it’s better’, can happily be used to describe this record.

That we were not to expect simply more of the same with this artist became clear with the early release of the album’s debut single ‘10/10’ in September. A typically upbeat song accompanied by jokey lyrics, as we have come to expect from Rex Orange County, also introduced a new sound full of auto tune and heavy synth which he plays with at various moments in the album. If this unnerved some fans, who, witnessing his extraordinarily rapid rise to stardom, feared that the modest bedroom artist they had grown to love was a thing of the past, they should be reassured by the arrival of the album. Pony doubtlessly experiments with creative vocal and instrumental effects, but nevertheless maintains all the humble charm of ‘Apricot Princess’ and ‘Bcos U Will Never Be Free’.

If he showed us a glimpse of skin in his early albums, candidly confessing in ‘A Song About Being Sad’ (2016) that he ‘even started sitting down in the shower’, in Pony Alexander O’Connor strips down and lays himself bare. The romantic optimism of some of his most-loved hits, ‘Loving is Easy’ and ‘Sunflower’, for example, has given way to a heartrending honesty about dealing with mental health and a nostalgia for his youth. The album really centres around ‘Pluto Projector’, a slow and poignant ballad in which Rex questions the way we understand ourselves, experimenting with pitch-manipulated, echoey vocals that draw the song, like ‘Stressed Out’ and ‘Laser Lights’, towards the era of Frank Ocean’s Blonde. He also dedicates ‘Every Way’ and ‘It Gets Better’ to his long-term partner in a far more committed way than we have seen before, singing openly in ‘Face to Face’ about the pain of being apart from her, and isolating himself from his old friends.

This does not, however, make the album depressing, as the recurring message, which is lucidly titled in the penultimate track ‘It Gets Better’, is that he has moved out of the worst years and into a new era. In many ways Pony is a sort of cathartic project; without artist features or collaborations, it is an album written entirely by and for himself. The best thing about it, then, is the way he is able to express quite dark and unhappy thoughts so frankly and honestly, while effectively partnering these lyrics with positive-sounding melodies and harmonies so that the overall effect of the music is uplifting for the listener.

Rex Orange County sung in his 2019 single ‘New House’ that he had not been inspired since he was eighteen; Pony clearly demonstrates that a new phase has begun. It is creative, poignant and hopeful, and gives us much to expect from this young artist in the coming years.

7/10

Concerns raised over UoM’s racism reporting process

Written by nimoomer on 1st November 2019. Posted in Investigations.

Students have expressed concern over the University of Manchester’s racism reporting process.

Several current students and a recent graduate have spoken to The Mancunion about their experiences, heavily criticising the process and saying it felt like a “damage control exercise” for the University.

The University has been accused of making students of colour feel like an “afterthought” with a complex complaints procedure that can be difficult for them to navigate.

Aisha* and Halima* complained when a student allegedly began a ‘racist’ rant during a lecture on Islamaphobia.

They told The Mancunion they were extremely concerned about the University’s response, with Aisha feeling University leadership were more worried about the institution’s reputation than the substance of the complaint.

Aisha explained that she found the complaints procedure difficult to navigate, describing it as “vague”, “inaccessible, and “poorly advertised”.

Halima felt unsatisfied by the outcome of the reporting process as she felt “nothing would be done”. Abdullah*, another student, echoed this sentiment, questioning the sincerity of the university and claiming the process felt like “damage control”.

The University of Manchester insists it takes racism on campus extremely seriously and has outlined its commitment towards diversity and inclusion within its policies and annual strategy reports.

The University points to its Report and Support platform – a ‘clear and comprehensive’ support website outlining the ways students can report incidents.

There have been 22 complaints from students relating to ethnicity since the Report and Support platform was launched, with 11 anonymous reports and 11 students asking to speak to an adviser. It is however, difficult to ascertain how many incidents go unreported.

Students also raised concerns about a lack of transparency regarding the total number of racist incidents on campus, as no public figures are currently available.

Abbie*, a recent graduate at The University of Manchester questioned how genuine the institution was in dealing with racism on campus. She said that she personally feels, “people of colour are an afterthought” in almost all facets of the university, from the curriculum to who is prioritised.

The reporting procedure to her seemed informal and unclear, and she thinks it contradicts the image of inclusion and diversity that the University of Manchester has been championing for several years now.

The main channels that are available to students to report incidents of racist harassment are either the ‘report and support’ system, an online service whereby students can put anonymous complaints or in more serious instances be referred to an advisor who will help them. Or students can go directly to their school or faculty and report the incident to senior staff who will in turn review the incident at hand and try to find the most appropriate course of action.

However whilst the ‘report and support’ website, points to different forms of harassment an FOI investigation by the Guardian that has revealed that the University of Manchester does not actually record racist incidents as a separate forms of harassment.

In the past few months, reports such as ‘Tackling racial harassment: Universities challenged’, carried out by the Equality and Human Rights Commission, exposed and analysed the inadequacies of many universities in their handling of racist incidents.

Goldsmiths has been the most recent university in the spotlight. It was revealed that even with a 45% ethnic minority student body, people of colour were still routinely experiencing racist harassment which the administration was not adequately dealing with.

Sara Khan, Liberation and Access Officer at Manchester Students’ Union, said: “Once again, Universities are failing to engage with the roots of racial harassment. This is likely because they believe it reflects poorly on them to acknowledge that they are inherently, historically racist institutions, or perhaps [they] genuinely don’t understand that they are.

“The complaints process for racial harassment on our campus does indeed need to be improved, and I have no doubt that the vast majority of incidents go unreported, but we need to do something about the racism that students face in their daily lives, which is part of the way our Universities are built and structured. If not, the problem will never go away.”

A University of Manchester spokesperson said: “We take the issue of racism on campus extremely seriously. We work very closely with our staff, students, Students’ Union and all relevant parties to try and tackle all forms of harassment and hate crime.

“We want all communities at the University to feel they are a part of our institution and any concerns they have are listened to and addressed.

“Our policies are regularly reviewed and updated and we will continue to listen to feedback from staff and students on ways we can improve them. The last thing we want is for these procedures to alienate staff and students.

“We have made some great recent progress, but we recognise there is always more that needs to be done and we will always hold ourselves to the highest standards.

“We also highly encourage all members of our community to report any harassment and hate crime both online and in person. To change the culture we need a whole community approach.”

Manchester is one of the most diverse cities in the UK and has a high proportion of BAME and international students.

*All students have been made anonymous.

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Month: November 2019

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