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Month: November 2019

Photo: Robin McPherson @ Pexels

Record Store Day: With the ever-looming climate crisis, how sustainable is the vinyl revival?

Written by Jemma Harris on . Posted in Music.

Record Store Day is an event that quite rightfully celebrates independent record stores like Manchester’s Piccadilly Records which has been open since 1978. With special releases by artists from Lizzo to Jimi Hendrix, it’s an exciting day for any vinyl enthusiast, whatever their music taste may be.

Record sales have increased exponentially over the last decade or two with a wide range of people collecting for a variety of reasons. Some are reliving their childhood and buying back records they sold during vinyl’s decline. Some get a deeper appreciation for the music from the extra effort vinyl requires compared to digital music. Some simply see vinyl as another piece of merchandise for an artist and display them rather than playing them. This is just one example of the wasteful attitude that some people have towards vinyl. The Guardian quoted figures from ICM saying that 7% of collectors don’t own a turntable, 41% have a turntable they don’t use and almost 50% haven’t listened to an album a month after buying it. These behaviours are in part why vinyl is environmentally damaging.

From the record itself to its shipment, there are many issues with the way that records are produced. Records are made of polyvinyl chloride (PVC), which is a synthetic plastic polymer. PVC is made of refined oil which comes from fossil fuels and although PVC can be recycled, records can’t, and they can take up to 1,000 years to break down in landfill. However, used records can and should be resold whenever possible to reduce the amount going to landfill. PVC is mixed with either black carbon for traditional black vinyl or with dyes for coloured vinyl. Black carbon contributes to global warming and has been suggested as a significant contributor to Arctic ice melting. PVC is also pressed to make the grooves in the record that produce the music. Traditional pressers are steam-powered which requires fossil fuels to produce the steam and anti-corrosives in the water to prevent rusting. These are both environmentally damaging by contributing to greenhouse gas emissions and producing wastewater respectively.

Then there’s the packaging. The sleeve requires cutting down trees which are helping to reduce greenhouse gases in the atmosphere by trapping molecules such as CO2. Solvent-based inks are used for the cover art on the sleeve and the liner notes and can produce ozone, a harmful chemical that can damage the lungs and airways and acts as a greenhouse gas. The records are then wrapped in plastic shrink wrap which again takes years and years to break down in landfills. Then the records are distributed which releases even more CO2 by using ships and trucks that are fuelled by yet more fossil fuels.

There is some hope in all the gloom though. There are biodegradable alternatives to plastic shrink wrap which reduces the amount of plastic dumped into the environment, as well as the time it spends in landfill. Ideally, no wrapping would be used at all but there are some areas in Europe where it will be added further down the production line. Some companies such as TC Transcontinental use recycled or sustainable card for the sleeves but unfortunately, there are no regulations to ensure that all manufacturers do this. Other companies such as Viryl Technologies are producing electric pressers to use instead of steam pressers. These are far more sustainable, can be fitted onto old machines to reduce waste and can be powered by renewable energy sources such as solar or wind power. The steamless pressers have a slightly longer runtime but this a minor compromise for its environmental benefit.

Manufacturers, distributors, artists, and consumers all have a responsibility to make records more sustainable. Manufacturers can opt for sustainable machinery and production methods, distributors can use transport that runs on renewable/sustainable energy sources like biofuel or electricity, artists can promote and produce eco-friendly vinyl that consumers can then choose to buy eco-friendly vinyl. Although, this may not always be possible as eco-friendly solutions tend not to be cheap and this is a bigger problem for smaller companies and artists and those with less disposable income. Jayda G is an example of an artist trying to produce sustainable vinyl. She is a producer and environmental toxicologist and released her album Significant Changes in March this year. The packaging for the vinyl of this album was carbon neutral. The emissions caused by the production of the vinyl were counteracted by providing clean water in India which prevented open fires being used to purify water.

Sadly, almost every aspect of the production and distribution of records is environmentally unfriendly but hopefully, as time goes on there will be more and more sustainable and affordable solutions.

Live Review: Tinariwen at Manchester Cathedral

Written by kitdelamain on . Posted in Music.

I was confused when I first saw this concert was at Manchester Cathedral. I knew there had been events there before, but logistically, so many questions remained: would the pews be cleared away to allow the holy spirit to imbue our limbs with dance? Would there be drinking permitted to allow for some ecclesiastical debauchery? Would there be additional lighting to add to the magnificence of the already breath-taking architecture?

The answer to all three was a resounding yes. There wasn’t a seat in sight (painful and wooden or otherwise), drinking was not only permitted but encouraged (IPAs alongside the more traditional glasses of blood o’ Christ), and there was a full technicolour light show that wouldn’t look out of place in the more hostile stages of Boomtown.

Surprised, excited, and slightly concerned that I might burst into flames at any moment, I reflected on what the night had in store. The support group Stranded Horse were on first and if I’m going to be perfectly honest, all I previously knew about them was their name, and that they would be on before the main act. Sorry.

The event everyone had come to see was, in fact, the bad boy rebels from the Saharan Desert, Tinariwen. The group hails from the Tuareg region of Northern Mali and Algeria; a family of revolutionaries, exposed to the deaths of their loved ones and forced from their homes, this band of brothers brings every ounce of their experience to their playing. Their touring line up is never quite the same, and they have performed some 1200 concerts worldwide, but their individual sound stays true.

I was intrigued to see what melange of people this unique tone of desert blues would attract, and just as I predicted, it was the hippies and the over 60’s. This joyous collection either didn’t believe in phones, or didn’t know how to use them, and the effect was a highly engaged crowd, not distracted by screens or notifications.

There was a rather hesitant round of applause for Stranded Horse’s equally hesitant lead singer, as he was joined on stage by his fellow bandmates. Their melodies and music were peaceful and serene; the kind you would want playing while receiving a back massage or trying to avoid your fourth emotional breakdown of the day.

Soon enough their time was up, and they were replaced by the turbaned main event. Tinariwen always look the part when they perform, and the colourful robes, if anything, added to the neo-Christian house of fun this cathedral had become.

Their set started with some low key ‘noodling’ on an acoustic, but as the traditional percussion and steeple-shattering bass kicked in, the slow shifting from foot to foot, turned into a more deliberate attempt at dancing. The dreadlocked vanguard at the very front of the crowd, of course, set the tempo for this jamboree.

Acoustic guitars were soon dropped for more heavy-duty electrics, and the simple rhythms on the drums at the back were ramped up to impossible-to-clap-along-to foot stompers.

The melodies became faster and more exciting and before long this journey through the eye of the sandstorm was complete. Clearly, these men were masters at work, with a professional performing career for the founding members spanning over 40 years.

To get a hallowed room of Mancunians on their feet for a couple of hours, to songs they couldn’t fathom trying to sing along to, is no mean feat. For years to come they will spread their message of resistance and rebellion, showing that instruments do not belong to genres, but to musicians; that adversity and pain can sculpt art and beauty.

4/5

Photo courtesy of Phoebe Moore @The Mancunion

Will your heart go on without ‘likes’ on Instagram?

Written by Phoebe Moore on . Posted in Lifestyle.

It’s of no question that Instagram is both our friend and foe. Since 2010, we’ve been able to share our most-loved photos, get inspired by other’s content and keep up to date with what friends and celebrities have been up to. However, as time has gone on, we’ve become increasingly aware of the negative effects of this prominent social media platform on its users, around 75% of which are aged between 18 and 24.

Since the very first post (curiously a stray dog at a taco stand in Mexico, posted by co-founder Kevin Systrom in 2010), our collective bad habits and spiralling thought processes have increased. Instagram has given us multiple ways to compare ourselves with other’s lifestyles, appearances, successes and possessions, as we scroll through content presented to us via algorithms, which ultimately takes advantage of our insecurities.

Nevertheless, Instagram may now be in the process of getting rid of one of its most harmful features, originally brought to us by mother company Facebook; the infamous ‘like’ button.

The dopamine-infused red heart, which seems to give the simple indication that somebody ‘likes’ a post you’ve published, is now being questioned and as of mid-November 2019, some UK users have been subject to the testing of its removal. The trials began in May with Canadian users of the app, widening in July to include users in Australia, Brazil, Ireland, Italy, Japan, and New Zealand. Now, selected individuals in the US and UK have experienced a change involving the ‘like’ display of posts, meaning they cannot see the number of people that have liked other people’s photos with only the ‘like’ quantity of their own posts being visible.

CEO Adam Mosseri spoke at the Wired 25 Conference. “The big idea is to try and make Instagram feel less pressurised, to make it less of a competition.” He makes reference to us measuring and building our self worth in relation to others, through “a flimsy sense of digital approval”, as penned by the High Low Podcast’s Pandora Sykes. In 2017, ex-president of Facebook, Sean Parker, admitted that the ‘like’, amongst other features, was specifically designed to exploit our vulnerability in order to make considerable amounts of cash. It then begs the question of is this proposed change of its removal really to improve users’ wellbeing or does it have other business motives? Could it be a way to pivot criticism amid increasing pressure regarding connections between mental health and social media?

The ‘like’ itself holds such a prominent position in our Instagram experience, and many dedicate an unhealthy amount of time to chasing as many likes as possible. Both good and bad experiences of posting a photo can fuel the compulsion to post more and more, either hoping to get the same dopamine-hit or with a disappointed determination to do better next time. Either way, the ‘like’ fuels a certain compulsion to check the app again and again, to see the metrics of our ‘success’ or ‘failure’ in a quantitative manner, causing anxiety and resulting in a waste of our precious time.

We’ve probably all been guilty of these Instagram-fuelled habits, myself included. But does this digital icon of approval hold real meaning? A genuine source of validation surely can’t be numerical, involving a simple button press. Self-esteem is boosted by compliments in person or via a message, anything that verbally expresses partiality, kindness, or encouragement. Our self worth should never rely upon the impersonal, and ultimately meaningless, touch of a button.

Without the ‘like’, Instagram would be a more genuine space for self-expression and social interaction. Photos would be freely chosen because of their meaning to the user, rather than everyone else’s perception of them. The moment we post, we make ourselves vulnerable to the judgement of others. Our collective wellbeing would be better off without this phenomenon of numerically-defined ‘success’, directly causing insecurity, popularity contests and comparison-fuelled anxiety.

Obviously, for the risk of feeling inadequate on Instagram to disappear, only removing the visibility of other users’ like counts and not those on our own images will not cut it — the whole feature must be scrapped to make a real difference. Whilst brands and influencers benefit from the likes-to-funds model, ordinary people who use Instagram for purely frivolous and personal reasons need a change. We now have a generation of teenagers who don’t know life without social media; do we really want new generations to see these practices and insecurities as the norm and part of everyday life?

Removing the ‘like’ function is a step in the right direction, but would it leave behind the myriad of other issues arising from social media? Issues such as body image and confidence or lifestyle envy, even though we know nobody’s feed is a realistic portrayal of their life, have all been negatively affected by the increased use of Instagram. Removing the ‘like’ function is not enough if follower counts remain visible as this is yet another numerical indication of popularity, continuing to generate comparisons with other users.

Nevertheless, no matter what features end up being universally removed or not, being mindful of our habits and motives on Instagram on an individual level is the way to go. As with most things, it’s important to always use it in moderation for the sake of our own wellbeing and self-esteem. Whilst some may hope for the disappearance of this little red button of doom, let’s honour our authentic selves and not let these meaningless numbers get to us — we are worth so much more than that.

Is it art?: Nancy Rothwell looking at things

Written by Chess Bradley on . Posted in Arts.

Confession: I don’t know what a Vice-Chancellor does, and at this point, I’m afraid to ask.

All I know is Nancy Rothwell earns a wage that even a Question Time audience member in Bolton would consider being in the top 50% of earnings.

A short-lived Tumblr blog (RIP) from May 2012, however, has confirmed my suspicions: Nancy Rothwell is paid over a quarter of a million quid per annum (!!!!!) to look at things.

Nancy Rothwell looking at things demonstrates that curation is an art. The blog begins with her ‘looking at boxes’, an image I personally find baffling. Where was this image taken? Is this workshop on campus? It looks like a truly horrifying place. Are these the kind of places that STEM students have to spend their time? A dingy basement-like room with half-arsed Halloween decorations and boomboxes on the wall? I’m digressing, but I’m also concerned.

https://nancyrothwelllookingatthing-blog.tumblr.com/post/23007721645/boxes

This blog also demonstrates that our own Professor Dame Nancy is a rather stoic character, most of the time only slightly upturning her mouth to express (probably) positive emotions to what she sees, whether that be a tractor or a table. Only twice does she give us a full smile. One: when directly facing a camera (a PR dream). Two: When facing a selection of cupcakes. The only possible conclusion is this: the only true joy for Nance is a calorific cake. And babes, I’m with you there.

https://nancyrothwelllookingatthing-blog.tumblr.com/post/23108107310/looking-at-a-camera

https://nancyrothwelllookingatthing-blog.tumblr.com/post/23285822004/looking-at-cupcakes

The blog concludes with an image of the Dame prof in front of the Queen. Is this a curational choice; that the grandest of things to look at is our head of state? Or is it that the blog has been silenced by the University, explaining the consistent lack of notes (not one pornbot like? I find that truly suspicious)? All I know is that our Nance sure does a lot of looking.

https://nancyrothwelllookingatthing-blog.tumblr.com/post/24058248325/looking-at-the-queen

Verdict: 100% no doubt, pure, unadulterated art.

Photo: bm.iphone @flickr

A Film Lover’s Guide to Christmas

Written by Tobias Soar on . Posted in Film.

Christmas, the most wonderful time of the year to argue about whether Die Hard is or isn’t a Christmas film. With an overwhelming selection of Christmas-themed visual media out there, we asked our writers to pick their favourites — all you have to do is trust their opinion.

 

Black Christmas – Carl Fitzgerald, writer

To this day, 1974’s Black Christmas is one of few amazing horror films set during the holidays. Telling a bare and basic story of a serial killer stalking a sorority house, based loosely on the “babysitter and the man upstairs” urban legend, the film goes above and beyond what could be a dumb schlockfest thanks to its characters and pacing.

The main women all feel three dimensional and realistic, while the film’s slow-burn atmosphere makes it one of the most suspenseful watches of the seventies. Not only that, but it has one of the scariest endings in cinema history.

 

Die Hard – Josh Sandy, editor

Firstly, yes it is a Christmas film.

It is simply a classic tale of one man’s attempts to spend Christmas with his family, just one with gun-toting terrorists, brutally graphic violence and immensely quotable profanity-laden dialogue. Featuring iconic and career-defining performances from both Bruce Willis and Alan Rickman, Die Hard is a pitch-perfect blend of adrenaline-fuelled action and ruthless dark humour with more than enough heart to deck your halls with boughs of holly.

It redefined the entire action movie genre upon its release, and it’s the perfect opportunity to open a box of Quality Streets and end your Christmas Day with a bang.

 

Elf – Bec Oakes, online editor

Elf is the greatest Christmas film ever. This is not something to be debated. It is a fact. Elf celebrates the most wonderful time of the year without any of the cynicism, sarcasm or horror of its competitors. It is pure festive joy; filled with romance, humour and a healthy dose of Christmas carols. After all, “The best way to spread Christmas cheer is singing loud for all to hear!”

It’s also endlessly quotable with arguably some of the funniest lines in film history. There’s just something about Will Ferrell running frantically around the North Pole in tights screaming, “Not now, Arctic Puffin!” that will never not be funny. Speaking of Will Ferrell, he is absolute perfection as Buddy the Elf. I dare you to try and think of a better casting choice. He is equal parts adorable and hysterical and his positive attitude is an inspiration to us all. Elf is hilarious, heart-warming and without a doubt the best Christmas film of all time.

Disagree? You’re a “cotton-headed ninnymuggins” and “you sit on a throne of lies!”

 

Home Alone – Michal Wasilewski, writer

The 1990 family comedy has achieved cult status in my home country of Poland, being shown on TV every Christmas for almost 20 years with around 5 million people tuning in every year.

What makes it so special? It is indeed a simple, humorous film full of absurdities. Yet, on the other hand, it presents an uplifting story about fighting for yourself even when the odds are against you. This may be why little Kevin (Macaulay Culkin) has become a symbol of hope for so many people in the hard times of political and economic transformation.

Regardless, Home Alone remains a cultural phenomenon in Poland and I simply cannot imagine Christmas without seeing it on TV with my dear ones.

 

It’s a Wonderful Life – Patrick Jones-O’Brien, writer

Frank Capra’s 1946 masterpiece is as American as it is filled with Chrismas cheer.Faced with the seemingly inevitable collapse of the small-time building society he runs, a workaholic hometown hero is driven to attempt suicide. He’s rescued by his guardian angel who shows him how better off everyone in his community is thanks to him.

It was a non-starter at the box office but has since become the gold standard of nostalgic American cinema. Its populist, community-driven theme and healing messaging combine with its Christmastime setting ensure warm fuzzy feelings in any viewer.

 

Jingle All The Way – Tobias Soar, editor

I have a love-hate relationship with Christmas; sure, I love the spirit of it all but it seems to be overshadowed by the mad crowds and the anxiety caused by shopping for presents. Those very reasons are why I understand Arnold Schwarzenegger’s character in Jingle All the Way on a spiritual level.

The film boils down to a man’s quest to purchase a highly-requested action figure for his son. He wades through crowds, he loses his temper, and he comes up with a cunning plan which all comes together in the final act.

It may not be Arnie’s finest work, but I simply adore it. The timeless anxieties present in the story and Schwarzenegger’s knack for comedy get me every time.

 

Love Actually – Will Johnston, writer

The pangs of unrequited love. The thrill of a first kiss. The emptiness of loss. This film, set at Christmas, a time of family, friends and all that we hold dear, is a raw display of the spectrum of human emotion.

I hurt with laughter at Hugh Grant dancing to “Jump”, I sob with sympathy at Emma Thompson as Joni Mitchell’s vocals haunts her scene and I smile with utter joy as the innocent love between Colin Firth and Lucia Moniz grows. And I’m sure every other living room around the world does the same during every iconic scene this movie has to offer.

Richard Curtis is a genius.

 

The Muppet Christmas Carol – James McCafferty, writer

Featuring starring roles for cinematic legends Michael Caine, Gonzo the Great and Kermit the Frog, The Muppet Christmas Carol is everything that should be celebrated in a Christmas film.

It engages with the important themes of compassion and redemption that characterise the classic Charles Dickens novel it’s based on, while at the same time having all the delight and absurdity expected from the Muppets.

From the brilliant musical numbers to the timeless sense of humour, the film captures the spirit of Christmas perfectly.

 

Nativity! – Katy Taylor, writer

Christmas is about experiencing unadulterated joy away from the non-festive trials of the adult world. There’s nothing my family love more than to watch films that we can quote all December, that remind us of better days. Some films keep that feeling alive beyond the festive season – one being Nativity!, which we quote even in mid-May.

There’s no escaping the charm of the pint-sized cast, the iconic Mr Poppy (Marc Wootton) and his one-liners, or even that of uptight Mr Maddens (Martin Freeman). You can’t help but sense that warm nostalgia of your own childhood, and that dodgy nativity in Year 3 (I personally can’t avoid my dad bringing up when I, Mary, dragged Baby Jesus out the manger by his plastic hair making all the parents crease. I was mortified.) And in Nativity! their performance is far from dodgy — 10-year-old Angel Gabriel on a death-slide? What’s not to adore?

But, above all, this film wraps “feel-good” and Christmas perfectly, encapsulating everything lovely about it – sing-song, family and a good old-fashioned happy ending. And in the bleak adult world which clouds this December (let’s not mention the E-word), now more than ever, stick on Nativity! and forget about it all for an hour or so.

 

The Nightmare Before Christmas – Georgina Davidson, writer

A spooky tale that despite being marketed as a Tim Burton film was in fact directed by Henry Selick!

The film has a beautiful blue shaded colour scheme. Distinctive animation makes the film stand out from the crowd, with the iconic figure of Jack Skellington taking centre stage and making active use of Chris Sarandon vocals. The Nightmare Before Christmas seals the deal with a Danny Elfman score that tracks the characters along their adventure and features on many Christmas soundtracks.

 

Seinfeld: Festivus – Patrick Jones-O’Brien, writer

Perhaps one of the greatest episodes of television ever to air, ‘The Strike’ is not, strictly speaking, about Christmas. The father of the most neurotic main character, an odd man prone to very loud speeches making very odd points, skips Christmas in favour of a holiday of his own creation.

It’s an anti-consumerist holiday, featuring a Festivus dinner, feats of strength, and the airing of grievances, along with an aluminum pole to replace the Christmas tree. The celebration of the holiday is the culmination of the episode’s zany plot, centred on one character’s coming off a 12-year strike from a bagel store.

Photo: Duncan Hill @ Flickr

Uni students pessimistic about Brexit and the UK’s future

Written by Hannah Connery on . Posted in News.

Nearly two-thirds of UK university students are unhappy with Brexit and 53% are pessimistic about the UK’s future, according to a new survey by Dig In.

The research-based company revealed that of the 35,000 student opinions they collected in September and October this year, 38% said they ‘hate’ the idea of Britain leaving the EU, with a further 24% saying they ‘dislike’ it, while a mere 9% ‘like’ or ‘love’ the prospect of Brexit. 28% of students said they are indifferent.

The survey showed that optimism about the UK’s immediate future was down and ‘hate’ was up.  7% of those surveyed said they were optimistic about the UK’s future, down by 20% since last year, while 20% of those questioned claimed they ‘hate’ the thought of it.

Chris Platt, CEO of Dig In, said that these findings revealed “just how opposed to Brexit these young people – the potential leaders of this country – feel”, and hoped that their feelings would be “carefully considered by whichever government is in power” next.

With the general election looming, it is unclear whether students would be content under any leadership. 84% of students distrust Boris Johnson and, following his failure to meet the Brexit deadline of October 31st, 68% think the Conservative leader should resign, the survey reported.

Nevertheless, students appear to have little more faith in Jeremy Corbyn, with 76% saying they do not trust the Labour leader. 65% agree they would prefer him in the position of Prime Minister over a no-deal Brexit, however.

Despite this, leaving the EU appeared to be the main priority for only 17% of students. Climate change was voted the top priority of 53% of students, followed by healthcare, which 21% said should be the main focus for leaders. UoM Nursing student, Sizzle Benson, echoed these views:

“A number one priority should be the NHS and I believe it will be negatively impacted by Brexit. It is the most important part of our country and if nothing else can be saved, it should.”

Timothy Smith@unsplash

Think before you ink

Written by Victoria Evans on . Posted in Features.

The law in the UK currently allows those who are 18 or over to have a tattoo anywhere on their body. The law on workplace equality does not cover tattoos as a protected characteristic, giving employers the right to ban tattoos on the hands, face or above the neckline. Others object to tattoos which are discriminatory or intimidating. This means potential employers are free to base their recruitment decisions on body art alone.

According to studies carried out in recent years, tattoos are still a major obstacle to career progression.
Tattoos have been in the news recently, after the boss of the Apprentice, Lord Sugar, called out Lewis Ellis – a contestant from the show – for having tattoos on his chest and one arm.

A YouGov poll in 2015 suggested that nearly a fifth of UK adults have had tattoos, with those under 40 significantly more likely to have them. There is much-divided opinion over tattoos in general, and whether they are socially acceptable or not. Many of the stereotypes surrounding tattoos are outdated, but there still remains a stigma around visible hand and face tattoos.

The BBC recently published an article with testimonies from various inked people. Common opinion showed they didn’t regret their body art, but urged anyone to think carefully before going for a full-on sleeve, neck or hand tattoos as it will more than likely result in a loss of job opportunities. Although it may be an outdated opinion, the world still judges those with visible tattoos; employers may associate tattoos with being a ‘thug’ or ‘rough’.

Having a visible tattoo at work has been frowned upon in certain professions such as law, healthcare, and finance. However, tattoos can sometimes set people apart in employment – making them stand out and be remembered. In some creative industries marketing to a younger clientele, tattoos could help individuals advance in the workplace as they can be deemed a conversation starter.

There has traditionally been a strict approach to appearance in the airline industry, with the fear that tattoos put off customers and clients. However, Air New Zealand said it would end a ban on tattoos, allowing employees to express their individuality and cultural heritage. London’s Metropolitan Police partially relaxed a ban on recruiting candidates with body art, saying tattoos would now be considered on a “case by case basis”.

We cannot deny the more sinister meanings of tattoos; they have long served as symbols of and allegiance to criminal organisations. Although the teardrop tattoo has been popularised by celebrities and rappers, it remains one of the most widely recognised prison tattoos. In some places it can mean a lengthy prison sentence, while in others it signifies that the wearer has committed murder.

In North and Central America, tattoos often represent cartel membership. Tattoos known to public intelligence help to identify individuals and well-known gangs. The tattoos can depict geographic origin through numeric designs, Spanish words and ancient Aztec designs.

In light of the Rugby World Cup in Japan, visitors with visible tattoos were made aware they would attract stares and signs of disapproval in public places. The cultural significance of tattoos in modern Japan is closely associated with members of the Yakuza, a criminal organisation that is equivalent to the Japanese Mafia. The Yakuza are involved in criminal activity such as prostitution, organised gambling, and racketeering. Tatted ex-pats may find themselves excluded from swimming pools, gyms or other public places. This form of discrimination is not aimed specifically at those with tattoos, but a way of excluding Yakuza members from polite society. Visitors in Japan are urged to cover up their tattoos to avoid offending some people.

Young people everywhere use tattoos as a sign of identity. Body art that once seemed like a good idea when everything was tight and supple, often gives away the age of someone. Each decade has its own tattoo trends, largely influenced by celebrities of the time. Looking back to the 90s, the barbed-wire armband was hugely popular as were sun tattoos, Chinese letters and tribal designs placed on the upper arm.

Who can forget Sporty Spice’s iconic designs? The noughties saw lower back tattoos explode onto the scene. Butterflies, yin-yangs were popular designs, as were the coloured stars on the back of the neck. The last decade has been all about the strategic placement of body art. Small finger tattoos are popular, leaving room for creativity. Current trends include infinity designs, feathers and a modern rework on 90s tribal designs. Sleeves are popular, especially amongst the male population. Celebrities such as Post Malone have inspired face tattoos, but for the everyday Joe Bloggs is this really a sensible choice?

After the May 2017 Manchester Terror Attack, Ariana Grande shared a picture of her bee tattoo; a small piece of art placed behind her ear. The worker bee, as a symbol of Manchester, paid tribute to the victims of the Manchester Arena Attack. Ariana’s tattoo created a tidal wave across the city. Many tattoo shops across the city held special events to raise money for victims and their families. Many Mancunians were inked with this symbolic bee; a sign of unity and solidarity for the city of Manchester.

Young people who ink themselves on their travels in Thailand or holidays in Malia often regret their decision with the realisation their body art might hinder them in job opportunities. Tattoos can be beautiful pieces of art and creative sources of individuality. Regardless of how artistic and wonderful they seem at the time, they are permanently etched on your skin, and potential employers may not be so understanding, so think before you ink.

Photo: Stinglehammer @wikimedia commons

UCU strikes could affect university exams in January

Written by Joe Manock on . Posted in News.

The University and College Union (UCU) has warned that a second wave of strikes could go ahead if the disputes over pensions, pay, and working conditions are not resolved.

Jo Grady, general secretary of the University and College Union, has issued warnings that strikes could continue after Christmas, which may affect January exams if concerns are not aptly addressed. Dr. Grady said: “There could be a second wave if we don’t get a sustainable, long-term and fair offer from employers.”

The current spate of strike action is estimated to have impacted at least one million students. Over 43,000 members of university staff spread across 60 UK institutions are partaking in the eight days of strike action.

Dr Grady highlighted that, while the higher education sector had “made a lot of money over the past 10 years”, the spending on staff in the same period had decreased. Pension reforms mean university staff will pay about £40,000 more into their pension but receive nearly £200,000 less in retirement, the UCU says. Research by UCU states that average academic pay has fallen by 17% in real terms since 2009.

The ongoing strike action is a partial hangover from the events of last year, when staff at 65 universities voted to strike over pension changes in February. However, the strikes have expanded to include stagnating pay, insecure contracts, and a spiraling workload driven by demanding targets. The strikes represent a challenge to the marketisation process that has resulted in investment priorities being diverted elsewhere.
The strikes have received a broadly encouraging level of support from students, with the consensus constituting a mixture of sympathy and frustration. Many students have demanded refunds for lost teaching and learning time.
Eoin Stothart, a History and Politics student at the University of Manchester, said: “Although I support lecturers protecting their livelihood, reimbursement would stop students being unfairly affected”.
Photo: Pete Linforth @ Pixabay

Review: Frozen 2

Written by carlfitzgerald on . Posted in Film.

There’s a joke in Frozen 2 where Olaf recounts the events of the first film to some new characters. He’s dramatic, emotional, funny and investing, bringing his audience to tears and engagement. Then when he comes to explaining what’s happened in the sequel so far up to that point he’s comically rushed and abrupt, leaving his audience confused.

If that joke isn’t the biggest own goal of a way to express how disappointing this sequel is, I really don’t know what is.

I adored the first Frozen. It was funny, touching, well written and had great songs. So its sequel is highly promising – Elsa beginning to hear the call of a distant siren, eventually driving her, Anna, Kristoff, Sven and Olaf to an adventure in a mystical hidden forest ruled by spirits of the four elements.

That’s a setup for a Toy Story 2 equivalent as a sequel, expanding the lore, seeing where the characters go and getting some new songs. But these are key elements where the film falls way off base.

For starters, the pacing is awful. While it wasn’t the first film’s strongest point, scenes were at least constructed in a way to cover the story efficiently whilst still feeling the emotional beats. Frozen 2 moves at a pace that’s too quick to feel anything. Elsa and Anna are the biggest losers here, with their emotional reactions being put aside to keep the story moving, making their dynamic feel forced and out of character when they become heated.

One of the first film’s strongest points for relaying information quickly was also the use of music, getting across heavy character developments and backstories through song. But the backbone of this was it had great songs that fit the narrative.

Frozen 2 tries something similar (the big single, Into the Unknown marks Elsa choosing to follow the siren’s call). But none of the songs work quite as well. Each one is well performed and sung, but none of them struck me as particularly catchy or emotive when they aren’t being forced.

For example, Olaf has a comedy song about how he’ll understand scary things when he’s older as the dark forest swells with evil creatures. This song is not only unfunny, but also could be cut completely without any huge loss.

These don’t necessarily go along with just poor character development. Anna and Kristoff have little to do, so are given a generic subplot of him trying to propose and failing that is just cringe-inducing, while Olaf being given beefed-up screen-time leaves his jokes feeling stale. Not to mention Elsa is given a self-discovery plot that feels repetitive of the first film.

It is not necessarily the worst thing ever. The animation is expectedly gorgeous, with specific credit to whoever had to render water and Elsa’s powers, arguably things that all make the film worth a one-time watch. Tragically, this also works against it by making it look like a particularly early 2000’s direct–to–DVD Disney sequel.

2.5/5. 

Charley Hull and Tommy Fleetwood come close to golfing riches

Written by Harry Deacon on . Posted in Sport.

English golfing stars Charley Hull and Tommy Fleetwood were both pipped to victory by the narrowest of margins in their respective recent tournaments.

Hull shot an impressive final round of 66, dramatically closing the gap with the leader Kim Sei-young.

The 23-year-old Englishwoman, who entered the tournament ranked at 51 out of the 60 competitors, managed to birdie her final three holes, seemingly forcing a play-off with the South Korean pacesetter.

However, an exquisite 25-foot putt on the crucial 18th green gave Kim the birdie she needed to take home the final Tour Championship of the season, and the £1.17m in prize money.

The vast prize pot was the biggest in the history of women’s golf, and not the only sign that the game is becoming increasingly richer.

The Ladies Tour Order of Merit is receiving an injection of cash as it will be revamped as the Race to Costa del Sol from 2020 onwards, mirroring the men’s European Tour Race to Dubai.

The new format will land the top player an added £107,000, with second and third also receiving bonus funds of £64,000 and £43,000, respectively.

As for the men’s already existing Race to Dubai, Jon Rahm sunk a three-foot putt on the final green of the final day to edge victory over Fleetwood.

The victory meant that Rahm also beat his English opponent in the season-long standings, landing the Spaniard with both the £2.34m prize for winning the tournament in Dubai and the £1.56m for ending on top in the final Race to Dubai table.

The defeat for Fleetwood would have been agonising, but his consistency in the European Tour is commendable. 2019’s second-place finish means that the 28-year-old has come in the top three for each of the past three years, proving him to be one of the best and set to stay near the top.

It seems that English golf, and golf in general, have many more exciting times on the horizon.

The Mexican smackdown: Which tacos tick boxes?

Written by Elena Meritxell Bradley on . Posted in Food & Drink.

There are many places in Manchester to get Mexican food. From cheap and cheerful classics to more sophisticated renditions; this city has it all. This week, Food Editor Elena Bradley and Writer Anneliese Murray have worked together to give you a rundown of three of our favourites: El Capo, Luck, Lust, Liquor & Burn, and Wahaca.

El Capo, Northern Quarter

There’s a reason that El Capo is the restaurant I visit most in Manchester. It has a great vibe without compromising on anything else. The space is dark and gothic – think red LED signs and Dia de Los Muertos candy skulls. Cool and a bit different, this is a good warm up to a night out, thanks in part to the extensive cocktail menu. The cocktails are excellent, from classic margaritas to bespoke creations like ‘Skull F*ck,’ a mix of Don Julio, guava, pineapple, lemon and agave all served in a porcelain day of the dead skull. Big brownie points also go to El Capo for offering Micheladas; beer with lime, salt and hot sauce – insanely good. 

Of course, what makes any good restaurant is the food and service, and El Capo consistently delivers on both. Going down the route of small plates always goes well, a little like Mexican tapas.

Their highlights for me are the jalapeño poppers, the tacos – especially the steak and blue cheese, because duh – and the nachos. A small portion of nachos is still a very generous serving, enough to go between two as a side. I’ve tried them with the chilli beef topping, but I’d actually recommend the pulled jackfruit more. This brings me onto another positive: El Capo has a separate substantial vegan menu.

A final reason I am an El Capo regular (and you should be too) is the generous offers they put on, both year-round and seasonally. Tacos Tuesday (£1 tacos from 4pm) is a good place to start. Wing Wednesdays offer 50p wings from 4pm and Vegan Thursdays offer three vegan tapas, one vegan burrito, three vegan tacos and a bottle of wine for £16 a head.

I also sampled their Valentines menu in February, and was once again pleasantly surprised by the value for money; £20 a head for a steak dinner, chocolate fondue dessert and wine. El Capo is my staple, my trusty favourite, the one that never lets me down. Now give it a try and thank me later.

Luck, Lust, Liquor & Burn, Northern Quarter

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A sister branch of the popular Almost Famous, Luck, Lust, Liquor & Burn (LLLB) is Mexican food gone BIG. This is one for when you fancy switching it up and are stuck choosing between rich Mexican flavours and greasy American carbs.

It’s Mexican inspired, but way less conventional, which is to be expected with this boundary-pushing brand’s track record. Maybe you’re feeling a dirty burger, but with that extra Mexican kick to it. Or you’re sticking with the classic burrito but edging away from the typical fillings – think tater tots, crispy beef, halloumi and chorizo.

It doesn’t stop with mains; the nacho offerings are similarly out there, with bacon double cheeseburger nachos bound to turn heads. I must also express my appreciation for the Korean BBQ cauli-wings with a blue cheese dip. I’m not sure how they earned their place on this Mexican-American menu mishmash, but they really were a delight.

Once again, LLLB isn’t shy of a bargain, offering up a rivalry to El Capo with their matching £1 Taco Tuesdays deal. Or, if you’re feeling naughty head down on a weekday for the Killer Happy Hour (5-8pm) for £5 margaritas. On the topic of cocktails, LLLB have some pretty exciting takes on Margaritas; ‘Cherry and Hibiscus’, ‘Watermelon and Mint’ and ‘Pineapple and Jalapeño’ to name a few.

The only question is, which one will you choose? The trusty, reliable favourite, or the chaotic yet harmonious collision of two worlds? Regardless, Manchester’s Mexican scene has a little something for everyone.

Wahaca, Corn Exchange

Finally, we come to the most commercial of our three Mexican’s: Wahaca. Unlike the other two, Wahaca doesn’t have the charm of being independent, it’s a massive chain company and with this, there are pros and cons. The personality of the restaurant feels less genuine, although the decor and layout are open, fresh and stylish.

The business-baby of Masterchef-winner, Thomasina Miers, Wahaca has been on the restaurant scene for just over 12 years now. The menu is minimalist and based on fresh and authentic Mexican flavours, with a 50/50 balance of meat and veggie options. In my opinion, their two best tacos are the orange-braised pork pibil with pink pickled onions and the plantain taco with hibiscus and crumbled feta. Delicious!

Wahaca is the most upmarket of the three, offering a full sit-down experience with a more formal (although still relatively relaxed) style of service than the other two. They also offer three set menus at different price points, allowing you to try some dishes you wouldn’t ordinarily order. For example, their classic menu is £15 a head, with six dishes between two.

Wahaca presents less of a naughty cheat meal and more of a conscious, fresh Mexican meal. The advantage of it being a chain means the food is more consistent over time, which is something I’d say that El Capo specifically tends to lose out on.

Review: Jack and the Beanstalk

Written by Anna Jin on . Posted in Theatre.

Oldham Coliseum’s Jack and the Beanstalk is a traditional panto with a modern twist, created by Fine Time Fontayne and Chris Lawson.

It is loosely based on the traditional fairy tale of the same name. The evil witch, Mavis, and her husband Malcolm, who pretends to be a giant inside a large mechanical robotic suit, terrorises the village by stealing people’s electronic devices. It is up to the heroes, Jack Trott, Jill Grabbmuch and their eccentric family members, to stop them.

This light-hearted pantomime is distinctly simple, with a binary distinction of good and evil, a quick resolution of threats, and on the nose moral lessons. Jack and the Beanstalk is effective in its simplicity. It has all the traditional ingredients of pantomime: distinctly British humour, wordplay, slapstick comedy, adult jokes, and rhyming dialogue. It stays true to its genre and is focused on having a lot of fun.

The dialogue has a distinctively modern vocabulary and briefly refers to many political topics. Witch Mavis criticises “extinction rebellion”, while Jack and Jill have this brilliant interaction:
“I could kiss you!”
“No.”
“I respect that.”

My biggest praise goes to the cast, all of whom executed their roles brilliantly. The actors’ amazing acting immersed the audience in the insane, silly plot. In traditional pantomime manner, the fourth wall does not need to be broken as it does not exist. The performers actively engaged and addressed the audience, inviting them to clap along to the songs, or to shout the traditional phrases such as “he’s behind you!”. The audience played an active role and contributed to the plot.

The cast had believable chemistry with each other, and their interplay was very interesting to watch. Even though they all wore extravagant, panto-worthy costumes, and they had exaggerated body language and gestures, they managed to play their characters as relatable. Each actor managed to catch and hold the attention of the audience while they were on stage, and they all brought something extra to the stock characters they play.

Some actors played multiple roles that were completely different from each other. Jenny Platt played both the good and evil fairy, and the two characters appeared in scenes immediately after each other. It was amazing how quickly she shifted between two distinctly different personalities and two equally complicated costumes. Another such actor was Mitesh Soni, who played the two unique characters: ‘Hazy the hippy vegan cow’ and ‘Malcom the cowardly giant’.

The theatre went all out for the set and the props. Everything on stage was exquisitely designed and looked like they had come right out of a fairytale book. The theatre was medium-sized and was divided into many detailed scenes by artistically painted curtains. There were so many different three dimensional elements on stage and many new additions during the performance. The props were painted in brilliant colours and established a mood of fun and enjoyment.

The only complaint I had about the performance was the minor awkwardness of sound. The musical arrangements were cheerful and suited the theme of the performance. The performers sang many songs from diverse genres, and a team of sound technicians sat before the stage, one of whom played a beautiful live accompaniment from an electric keyboard. However, the background music was often louder than the actors’ voice, and I was not able to hear their dialogue or live singing. Sometimes, the actors’ articulation suggested that they were aware of this defect because they sounded like they were shouting rather than talking. Other than the sound element, the show was near faultless.

Jack and the Beanstalk runs until 11 January 2020 at Oldham Coliseum Theatre.

Review: The Marriage of Kim K

Written by Jay Darcy on . Posted in Theatre.

The Marriage of Kim K is a blend between a Kardashian musical and a Mozart opera. A fabulously outlandish idea, it had me wondering both: how has nobody ever thought of something like this before? And why would anybody think of something like this?!

The Gogglebox-inspired musical comes from music/theatre duo Leoe & Hyde, who, evidently, like to make musicals for the 21st century.

The story follows a young couple, Mike and Amanda, fighting over what to watch: Keeping Up with the Kardashians, or The Marriage of Figaro? This was pretty straightforward in the first act, with focus being shifted between the three couples: Mike and Amanda, Kim Kardashian and Kris Humphries, and the Count and the Countess. Something I loved was how similarities were drawn between the three very different couples.

The second act is where things really went wild – mostly a success. The first act ended on a cliffhanger, suggesting a complete genre change – and I don’t mean between musical comedy and opera, but from real-life to sci-fi!? Whilst the show’s ideas were awesome, and I enjoyed most individual scenes, the second act did feel a little clunky at times, jumping from one thing to the next. This also resulted in it sometimes being a little perplexing, though that, no doubt, drew the audience in further.

The scene changes could be a bit awkward and should be worked on a little. There were several blackouts and pauses, which felt out of place. This is a musical – scene changes could have involved song, dance, or anything, really. The musical had a real fantastical, whimsical feel to it, so the simple scene changes did feel a little out-of-place.

The staging was great. There was a sofa in the middle and two large frames, representing TV screens, at either side, with the Kardashians in one and the Count and Countess in the other. In the second act, this was flipped around, with the audience now facing the back of the sofa, and the TV screens having swapped around. Indeed, this musical had great attention to detail.

Undoubtedly, the musical’s greatest success was its music – both the brilliant music itself and the masterful lyrical content. There was not a single song that I did not like; most of them had me delightfully amused. The songs were witty and catchy, and I had the words “I’m Kim Kardashian” in my head the whole way home!

Jack Herauville did a great job of playing the male lead. I laughed both with and at him; he was likeable and funny. I felt that leading lady Rebecca McAuley’s performance, however, lacked energy. I get that she was supposed to be a simple everywoman, but it did seem, at times, that she was not giving it her all. It did not matter that she did not have a stellar singing voice like the opera stars; her character did not require that, but she did need a little more enthusiasm. She is clearly a talented actress, she just needs to have a bit more vavavoom!

The Count (John Ieuan Jones) and Countess (award-winning actress Charlotte Trepess) were both fantastic. Their operatic skills were mind-blowing. They seemed too operatically talented to feature in a musical comedy, but I’m glad to have been blessed with their beautiful singing voices.

Ben Storey also gave a good performance as Kris Humphries; he looks nothing like him, but that did not matter, because he did a great job of playing the archetypal gym-obsessed, dumb jock.

The star of the show was the woman who played the star in the show; Megan Postle’s performance of Kim Kardashian was absolutely hilarious. It reminded me of Nasim Pedrad’s acclaimed impression of her on SNL. Her nasally voice was brilliant. Perhaps my favourite scene was when Postle screeched “noooooo,” and the remote kept rewinding, resulting in that same scene being shown over and over again, as part of a song. It was superb.

Indeed, the musical had many of these fantastic scenes. It was flawed, but the positives far outweighed the negatives; things such as the wonderful writing, sassy songs and, of course, the marvellous and perfectly-casted Megan Postle, would make audience members who are not there to review the show forget about its faults. I will end by saying The Marriage of Kim K has superb potential, and I could really see it being a full-scale musical one day.

Tattoo photo: Silvana Carlos @Unsplash

Opinion: A note on cultural appropriation of tattoos

Written by isabellalock on . Posted in Lifestyle.

Cultural appropriation is the adoption of cultural elements belonging to a minority group by members of a dominant culture. It has become hugely relevant in our society, sparking a range of discussions and strong opinions. It’s a controversial and personal topic where some feel angered by the thought of it and others are largely indifferent.

At sixteen years old I decided that I wanted a tattoo of the Yin and Yang symbol, which represents a concept of dualism in Chinese philosophy. I thought the tattoo would make me seem deep and spiritual, which showed “who I really was” at the ripe-old age of sixteen.

My parents were not so supportive of their sixteen-year-old daughter getting a tattoo of a Chinese symbol simply because “it just vibed with her.” I soon got over this disappointment as I realised how ignorant this tattoo could have appeared, especially since I don’t understand the entire cultural meaning of the tattoo. I just thought it looked and sounded cool.

But there are individuals who do end up getting tattoos of symbols which are taken from cultures and communities that are not their own; ones they haven’t learned about either. There are a number of popular tattoos that are often taken from different cultures or scripts, including symbols, words, and phrases such as the Kanji character for ‘love.’

In other words, people take important symbols from another’s culture and use it as decoration on their body, often without researching the meaning behind the symbol. This may cause offence to those who have a personal connection to the symbol or words and, of course, who do know what it represents.

In one extreme case in 2015, an Australian tourist was visiting India and was harassed by locals due to a tattoo he had of the Hindu goddess Yellamma, the goddess of fertility, and was arrested.

The tattoo was placed on the tourist’s shin which was seen as disrespectful to the religion of the local people and, in their eyes, to the sacred goddess. Whilst the tourist felt he was mistreated simply for having this tattoo, the locals felt he had mistreated their culture and beliefs.

When it comes to cultural appropriation it’s difficult to know where the boundaries are and who gets to decide when those lines are crossed.

Besides a lack of research, another issue that arises with the cultural appropriation of tattoos is that, often, they are taken from cultures that have been oppressed. It might be the sugar skull from Mexico or the Hindu swastika sign, but these symbols were once used against minorities, and showed they were ‘different’.

These symbols are now, however, being used by people without respecting their history or origin, and without crediting the communities from which they came from. This shows little respect and has the potential to cause incidences similar to that experienced by the Australian tourist.

While many designs are undoubtedly beautiful, they are more than just art; they come with a story that should be learned and respected before it is permanently placed on your body for all to see.

Appropriation goes beyond tattoos, and it is worth reading about experiences and thoughts on this. Regardless of our opinion on cultural appropriation, we must always treat everyone’s cultures and traditions with the same level as respect that we would like others to treat ours.

Review: Education, Education, Education

Written by Dolly Busby on . Posted in Theatre.

The play’s title, Education, Education, Education, is a phrase taken from Tony Blair’s famous speech in the run-up to the 1997 election, in which he states his top three priorities for government.

But have no fear: the play is not a screaming political farce drowning an audience in excessive political content. Rather, it settles itself in Wordsworth Comprehensive School, where ‘muck-up day’ is soon approaching, and the year 11s are departing for study-leave. Transported back to an era of ‘Shagbands’ and Tamagotchis, with staffroom dramas and schoolchildren antics, the audience is left feeling somewhat nostalgic for their youthful days.

Effectively choreographed disco scenes, accompanied by flashing lights and fast-paced music, interject the narrative, maintaining a fun, upbeat atmosphere throughout. It is through this lens that the audience experiences life under a hopeful new Labour Government. 

Directed by Eleanor Hicks and Aaron Cliff, I found the play thoroughly entertaining and the political intimations were subtly woven into a predominantly light-hearted and comical play. The choreography, accompanied by recognisable 20th-century dance music, was impressive, including comical disco dancing, ensemble movement to depict chaotic school halls, and dramatic lifts enabling the play to shift from one scene to the next. High credit must be given to the choreographer. The use of props and setting was simple but imaginative, with merely a few blocks to create scenes, yet the actors worked with and around them to clearly situate the audience within the confines of an elementary school.

We were introduced to the school through the eyes of the new German exchange teacher (Lenny O’Sullivan, with a notably convincing German accent) providing a fresh outsider’s perspective, pointing out the flaws within the school system and structure, subsequently reflecting on the previous government’s neglect. Another character who highlighted this was Emily (Amber Sparshott), the ‘problem’ child; a staple example of a child who fights the education system. Since being denied going on a school trip, Emily rounded up her peers with a rousing speech, one reminiscent of a political pledge, and got them to sign a petition to reinstate her place, revealing the world of politics being both imposed within and upon the school itself.  

Great chemistry existed between the actors, which proved to create some comical and some touching moments between characters. Through these relationships, the audience bore witness to the trials and hardships experienced by those within the school community and subsequently understood the desire for a reformed education system.

Notable performances included Maisie Bagley, who played the recognisable character of a passionate English teacher struggling with the belief in engaging the children rather than simply pushing them through exams. Similarly, Laura Brunk played the useless headteacher with boundless and charming energy throughout the play. Although there were perhaps moments of arguably cheesy overacting, this can be easily overlooked as part of the fun, we’re-all-in-this-together camaraderie that the play exuded.

As a Freshers play, I thought its fun and enjoyable atmosphere was a pleasure to watch and endearing to see. It was well-choreographed, and there were indeed some potential rising stars amongst the cast. This play was a light watch without much challenge to the audience, so if you are looking to be entertained for an hour and half, I highly recommend it.

Photo: Espos@Flickr

Manchester to host series of drug legalisation events

Written by Aya-Zoe Atallah on . Posted in News.

Over the next couple of days, a series of events raising awareness of the problems of British drug policy will be held across Manchester.

Hosted by ‘Anyone’s Child: Families for Safer Drug Control’ as part of a campaign for the Transform Drug Policy Foundation, the public events will take place on the 28th and 29th of November and are free to attend.

The events will include various talks, panel discussions, and Q&A’s with those directly affected by current drug policies, politicians who believe in the need for policy change, and other professionals, including University of Manchester Professor of Criminology Judith Aldridge.

On Friday there will also be a walk with bereaved families and activists in order to call for the legal regulation of the drug market.

The main focus of this series of events is to raise awareness of the beneficial effects that improved drug policy and legalisation could have on young people. Event organisers argue that the drug business can be made safer by removing the involvement of criminal networks; a change that would potentially save lives.

Anyone’s Child found that, in 2018, the death count from drug-related issues increased by 16% from the previous year. They state that the number of deaths reached an all time high amounting to 4359 last year – 494 of which were in Manchester.

Jane Slater, a spokesperson for the campaign, said: “Come to hear what our speakers have to say, because the drug laws can harm anyone’s child. Keeping drugs illegal isn’t keeping our children safe, it’s putting them in danger. Our voices must be heard and our politicians must listen. We need to put governments in control of the drugs market, so that families are better protected.”

Visit the Anyone’s Child website to find out more information on the events taking place and to book a free ticket.

Photo: Duncal Hill @Wikimedia Commons

Manchester Sports Awards 2019: The future looks bright

Written by Will Stonier on . Posted in Sport.

As the moon waxed over a crisp October evening, Manchester’s sporting stars made their way into the Hilton Hotel to honour the clubs, organisations, and volunteers that make this city’s sporting community the best and brightest in the country. GB athlete Katharine Merry and former netball coach Tracey Neville MBE oversaw the proceedings.

The awards covered sporting excellence as well as contributions to the community: Junior Sports Person, MEN People’s Champion, Changing Lifestyle, Club/Organisation of the Year, Young Volunteer, Community Coach/Leader, School of the Year, Community Project of the Year. 

The MEN People’s Champion award, presented by England cricketer Keaton Jennings, was given to Terry Surridge who, since 1973, has promoted weightlifting in Gorton schools, leading children to compete at an international level. Even in retirement, Surridge works tirelessly for the sport he loves, which, thanks to him, has been able to thrive in his community.

Winners also included Success Eduan for Junior Sports Achiever, who broke a 33-year old record set by Katharine Merry in the U15G 200m outdoor championships. She has been praised for her work ethic, always pushing herself further: a professional attitude that puts her on the way to performing not only in Manchester but internationally. For Eduan, it seems, the sky is the limit.

Manchester Thunder picked up a prize for Outstanding Contribution to Sport and was awarded by Tracy Neville MBE and the Major Sports Events Manager, Juliet Williams.  The netball team are the only members of the Superleague to make the playoffs for ten years running, taking the title in 2012, 2014, and 2019. This makes them not only the team of the year, but one of the best teams of the decade.

Manchester’s sporting community has never looked brighter. The night proved that this city recognises and cherishes the talent it produces.

UCU urges Brian Cox not to cross picket line

Written by Anja Samy on . Posted in News.

Striking staff are appealing to Brian Cox not to lead a lecture at the University of Manchester during the UCU strikes this week.

The celebrity Professor of Particle Physics is due to lecture tomorrow despite ongoing industrial action at 60 universities across the UK in protest of pension cuts, pay inequality and job insecurity.

Wendy Olsen, an Executive of UCU and Professor of Socio-Economics at UoM, spoke to The Mancunion about the matter:

“We would appeal to Brian Cox not to cross the picket line. We ask him to delay his talk or give the talk in the union teaching schedule. And I myself would like to ask him to change the date of this talk and join the union and, if he joins the union, he can give the talk at the UCU Strike Teach-Out.”

The University of Manchester branch of UCU describes the Teach-Out as ‘an alternative education programme of talks, discussion and participatory events’ which are in place of regular teaching during the strikes.

According to striking lecturers at UoM, Professor Cox’s lecture is “not a union activity” which constitutes as “breaking the strike by crossing the picket line”.

“If another academic – it doesn’t matter if they’re a union member or not – crosses a picket line, they are a ‘scab’,” one UCU member said.

Professor Olsen told The Mancunion that UCU members are “very concerned about the number of people who are teaching”. However, she added that she understands “if they have chosen not to join the strike as this might be for personal reasons or political reasons. They have the right to continue going to work.”

Professor Brian Cox is not the only high profile lecturer to cross the picket line during the various University strikes this decade. In 2014 Tristram Hunt, former shadow education secretary and lecturer at Queen Mary University of London, was criticised by UCU members for breaking the strike to lecture undergraduates taking his unit on ‘Marx, Engels and the making of Marxism’.

At the time he defended his own decision for crossing the picket line to teach a lecture on socialism: “I support the right to strike for those who have balloted to picket. I have chosen not to join the strike.” Hunt added that his “personal commitment remained to the students” he teaches.

UoM students who wish to attend the UCU alternative education programme during the strikes can find the timetable on the Teach-Out! Facebook event page.

Update: Since this article was published The Mancunion has recieved information that Professor Brian Cox cancelled his lecture this morning (Thursday November 28th). 

Photo: UoM Beauty Society

Review: Sustainable beauty workshop with LUSH

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

On the 27th of November, the University of Manchester Beauty Society collaborated with LUSH Market Street to host an informative event (the first of its kind) on sustainability in skincare and beauty. It consisted of two workshops run by knowledgeable Lush employees, who clearly loved their work and believed in their message.

The Society was founded in September 2019 by a group of third-year friends. President Joelene, a makeup lover keen on avoiding the generic, wanted to create a “society with a mission”. Sara and Aditi (Heads of Events and Finance, respectively) broadened the Society’s scope to include skincare. If its original aim was to spread awareness about sustainability in the beauty industry, and to support local British brands, that now includes educating people about alternative products and on waste-reduction.

The first workshop focused on LUSH’s beauty range. These products take their style from the 1950s, as well as the beautiful places from which they are sourced. Workshop leader Roxy emphasised that LUSH always knows where it source its ingredients, and ensures, if possible, that it is sustainable. Priding itself on being “people led and people run”, LUSH pays its employees a living wage and claims to include them in its decision-making. Its profits, Roxy explained, are directed back towards the community, which “not only serves ourselves, but also serves others”.

Market Street, which hosted the event, is the UK’s first plastic-packaging-free store. This is a strategy from the environmentally conscious brand to reduce its waste and carbon footprint. It aims to “address the cosmetics industry by setting an example”. Their stores are made up of 50% naked products (plastic packaging-free), with further reductions promised, and what plastic they do use is recycled.

Roxy explained that getting rid of plastic packaging is much easier than people believe: all it takes is to make the liquid products solid by removing water. This also reduces the need for synthetic ingredients such as preservatives, since bacteria can only survive in a wet environment. In all LUSH products, synthetic chemicals make up the smallest percentage of the ingredient list, and in solid products the number is even smaller.

Another of LUSH’s sustainable practices is versatility, making products “for every need, not every want”. Rather than cluttering your makeup and skincare collection with limited products, why not try things with more than one function? For example, LUSH’s new solid moisturiser range can work for different occasions depending on how much water you add: more liquid for a lightweight day lotion, less for a nourishing night cream.

The second workshop expanded on the brand’s environmental efforts, with special attention to their (lack of) packaging. In the gifting season, the store sells beautiful ‘knot wraps’, inspired by the Japanese tradition of fabric wrapping, in a variety of colours and patterns. These are made from environmentally conscious materials, including recycled plastic bottles, organic cotton (free from GMOs and pesticides), and vintage scarves. The latter is good, workshop leader Ivy explained, because a lot of clothing ends up in landfills, while the textile industry is a large source of carbon emissions.

In addition, the store sells various high-quality cases for its ‘naked’ packaging-free products. A bestseller is the metal case sporting a LUSH logo. Metal is not only durable and long-lasting, but can be recycled an infinite number of times. Attractive cork containers are another alternative, which are both carbon-negative and completely biodegradable.

Ivy spoke about LUSH’s use of the synthetic preservatives known as parabens. These are often talked about negatively, but only because they have been around long enough for scientists to know precisely their harmful effects on the body. LUSH’s position is, rather than risk a different synthetic chemical, to use parabens in some of their products, while working to cut out preservatives altogether. Many of its products are already ‘self-preserving’, meaning they are solid, or use natural ingredients, such as honey.

Ivy argued that parabens are relatively safe compared to other synthetic chemicals, and that when a product boasts of being paraben-free, it often means an alternative, less-well researched chemical has been used. When it comes to gaining more information on the beauty industry, she recommended reading from a breadth of sources. The message was that, while no company is perfect, LUSH at least tries to be honest. Their products list all their ingredients, which many cosmetics companies do not do, since the law only compels them to list substances above a certain percentage.

The workshop concluded with Ivy urging everyone to use their consumer “voice” to make known what change they want to see in the world.

Interview with the cast of Priscilla Queen of the Desert

Written by Jay Darcy on . Posted in Theatre.

Priscilla Queen of the Desert is a hit jukebox musical based on the film, The Adventures of Priscilla, Queen of the Desert. Joe McFadden (Heartbeat, Holby City and Strictly Come Dancing) leads the cast, alongside Nick Hayes and Miles Western.

Whilst these Queens bring the heat to the stage every night, press day was held at the freezing Tiki Bar at the Ice Village. We posed for a few photos, sipped some cocktails, and then decided to do the interviews outside. It was a very weird feeling walking outside, into the cold, and feeling warmer than it did indoors! But alas, we’re not here to discuss the Ice Village.

I asked the cast what it is like playing drag queens, given the current increase in gender fluidity, as well as the success of RuPaul’s Drag Race (which recently came to the UK). Hayes is ‘loving’ this chance to explore gender, especially as the world is slowly allowing people to ‘be who they want to be’.

McFadden said it is ‘lovely’ that people will be able to ‘relate’ to this musical, and he feels a sense of responsibility playing this role. He also told me that they met the insanely talented Divina De Campo a few weeks ago when she came to see the show in Liverpool. Divina is best known for being a contestant on RuPaul’s Drag Race UK, after previously auditioning for The Voice UK and being one of the 100 judges (alongside Geri Horner) on All Together Now, which I went to see last year. I previously saw her in the musical Dancing Bear, which was also shown at the Palace Theatre. She is incredible, and if she thinks Priscilla is worth watching, it must be!

Western wants audiences to know that they are not ‘jumping on the bandwagon’, rather, ‘the bandwagon jumped on this show,’ as the show is based on a film that is 25-years-old.

Whilst the drag queens both live sing and lip-sync, McFadden told me that all of the singing, minus the opera, is sung live – “the Queens” mime to “the Divas,” who are singing live. Hayes stated that this new production has decided to give each Diva a corresponding Queen, so when one Diva sings, her corresponding Queen will lip-sync. Hayes even named all three of the “incredible” Divas, showing clear appreciation for them and their “giant, diva, belt-y voices”.

According to Western, having to match up with the live singing, which of course can change slightly each night (unlike pre-recorded tracks, which most lip-syncing drag queens use), can be a “bit tricky”, but they have worked hard to manage this, and when I commented that “practice makes perfect”, he replied: “practice has made perfect”.

The three actors also have their own favourite parts of the show. Western loves the finale, which is a “heart-warming” moment for the characters, the cast, and the audience. He believes he, Hayes and McFadden will struggle to get through the number on the final show of the tour.

McFadden loves True Colours, which comes at a time when the Queens have encountered “real homophobia” and come together and find friendship.

Hayes finished by calling Priscilla “a crazy, fun show with huge pop musicals” – he later laughed at his error; he obviously meant “music” – but it also sparks conversations. He stated that they have talked to people from smaller towns and spoke to audiences after the show; he believes that the show is opening people’s minds, which is “quite special”.

Priscilla Queen of the Desert runs at the Palace Theatre until 30th November, before continuing its UK tour through 2020.