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Month: December 2019

Five positive changes made by student societies this decade

Written by Kate MacLachlan on . Posted in Societies.

The University of Manchester has over 35 charity, campaign and fundraising societies. During this decade they have made many positive changes, both within the university and the community.

So, what are the positive changes that we should remember from the 2010s?

The university has become the 5,000th living wage employer

UoM Citizens Society campaigned to pay university workers a living wage for several years by holding events, but decided to switch their campaigning methods in November 2018. Through organising a successful rally, the Citizens Society started a discussion between the University Registrar and the Living Wage Foundation. This led to the university becoming the 5,000th Living Wage Employer in the UK in February 2018, and they estimate that this has positively affected hundreds of university staff whose wages have increased as a result.

40 mentors were trained to help support students with mental health conditions

Founded in 2016, Open Mind Manchester have been working to get rid of the stigma surrounding mental health through holding events such as Positivitea. They have also trained over 40 Peer Mentors in the past two years, by teaming up with mental health charity Mind. The mentors are assigned up to two students for six weeks, giving them support whilst they are waiting for mental health treatment.

Approximately eight lives were saved through 800 students signing up to the stem cell register

Approximately one in 100 people who sign up to the stem cell register go on to donate, with recipients often requiring a donation to survive. It is therefore likely that Manchester Marrow are responsible for saving the lives of at least eight people by signing up over 800 students to the register last year. They have also raised over £1000 through various events, and will continue to fundraise by holding a gig at Indigo on 9th December.

Co-President of the society Charlotte Mason found out last summer that a Manchester student had saved a life through donating.

“If we hadn’t held the event signing [donors] up, someone with blood cancer may have never found their lifesaving match,” she explained.

Sufficient funding raised to train a doctor to work in conflict affected areas

The Friends of David Knott Foundation (FDKF) was set up by Ellen Young in the Summer of 2019 to support the David Knott Foundation. The foundation, formed and led by surgeon David Knott, trains doctors from around the world in how to provide medical treatment in natural disaster and conflict affected environments. FDKF have since raised £517, which is enough money to fund the training of one doctor through the programme. This will ensure that medical care is available in an area with less resources.

Approximately 720 boxes filled with menstrual products were distributed to homeless women

Once A Month, a campaign started 12 months ago, has helped to reduce period poverty by filling boxes with period essentials and distributing them to homeless shelters. Their campaign has been a huge success with 60 boxes being packed at each session, helping women who would otherwise be unable to afford menstrual products.

“We decided to create the project as we saw a huge gap in volunteering projects for homeless women suffering from period poverty,” said project coordinator Gaby Hartfield. “The project grew a lot more than we ever imagined”.

Want to get involved?

Feeling inspired by the changes these societies have brought about? During refresher’s in semester two most societies will be welcoming new volunteers, and their contact details can be found through the SU website.

The Reading Agency Christmas appeal

Written by Shaheena on . Posted in Books.

The Reading Agency has been chosen for the Times’ Christmas Charity Appeal 2019.

The Reading Agency is a UK charity that promotes reading across age groups. The charity works closely with our public services to provide materials in schools, prisons and of course, libraries.

As Christmas dawns on us, it’s important to remember that Christmas joy isn’t universal. As the Reading Agency have outlined as a key issue in their campaign this winter, loneliness is a common experience during this period.

Loneliness is exacerbated by the constant marketing of the happy Christmas family, whether directly through ads or through more cultural Christmas elements. Books can help expand lonelier realities in the act of reading itself and through the social connections they can promote.

Its appeal is based around their scheme Reading Friends, which, according to their website, was first launched in 2017 to tackle “loneliness” and “social isolation”.

The Charity cites stats which reveal over nine million people in the UK are either always or often feeling lonely. With the Reading Friends scheme, the charity aims to connect people to others and to create social networks through the power of reading.

Reading is powerful, which was proven by another scheme of the Agency’s. The Agency is working with public libraries to create spaces for people who suffer from dementia and their carers, providing a ‘unique line of books’ that can make reading accessible once again for older people developing dementia.

So what can we do?

Well, there are a few things. You can share the Charity’s work on your socials via this article or by directly linking the Charity’s website.

You can also have a look at starting a local Reading Friends group in your area, information for which is provided on the website.

To donate, simply visit their donation page where guideline amounts are provided.

On a final note, whilst Christmas is an absolutely pivotal time of year for charities to receive donations, charities are necessary to the way we operate in society today. So if you value the work the Reading Agency does, try making a commitment. This doesn’t have to be anything massive from your side, maybe just a small donation for every book haul you do during the year.

Books remain important for us all, so I really do urge you to get involved in any way you can manage!

amanda wood@flickr

How could science affect the General Election?

Written by Shivani Kaura on . Posted in Science & Tech.

This year, the UK will get a present that is on top of all students’ Christmas lists: a general election. Science usually tends to play a huge role in voter turnout, which could be, the be all or end all of Johnsons’ time in charge.

This year will be the first December general election since 1923. Research by Ghent University in Belgium, found that the effect of warmer weather on US elections from 1960 to 2016 increased voter turnout by 1.4 per cent. Some may think that 1.4 per cent is a fractional margin, although in the last general election, Labour only won a seat in the constituency of Kensington and Chelsea by 20 votes. In the UK the days get shorter in the winter, resulting in complete darkness by 5pm which may cause a decrease, especially after working hours, in the number of people showing up to polling stations on December 12.

The flu also plays a big part in whether people show up to polling stations at all. This year, the NHS have stated that the flu will be one of the worst in a long time, with medical staff pushing people to get the flu jab more than ever before. The elderly also tend to stay in around this time of year, with symptoms for arthritis and osteoporosis worsening in the cold weather.

This year, Withington MP Jeff Smith, has got together a team that will be offering lifts for people to their local polling station, widening participation for this year’s election.

Researchers from The University of Cambridge found that rainy weather reduced people’s tolerance for risk. So if you live in up North and are extremely clumsy, the chances of you going to vote are lowered – so it could be a good idea to register for a postal vote, and get a friend to send it off for you, if you know what you’re like!

Christmas is usually the time for festive fun, which could include drowning yourself in mulled wine, and waking up with a hangover that is unbearable beyond belief. Research has shown that wine gives probably the worst hangovers; Professor Paul Wallace, Chief Medical Advisor to Drinkaware, speaking to Cosmopolitan Magazine has stated that: “The darker congeners (such as those in red wine, rum and brandy) tend to cause more severe hangovers.” This is because they are more likely to dehydrate you as they act a more potent diuretic, causing the toxins to remain in your body for longer. So ditch the booze the day before, and go sober for those Christmas work events.

Finally, December weather could affect campaigning operations. People tend to feel less safe opening their doors to strangers in the dark, which could mean that they have not bothered to invest in what their local MPs have to offer, if elected. This year, actor Hugh Grant joined campaigning MPs on their door-to-door visits; so if you’re lucky, you might catch a Mancunian celebrity on your door-step.

Even though over four million people have registered to vote this year, the likelihood of everyone turning up to cast their vote is less than expected, especially in the winter. Therefore this might mean that other methods like online and social media campaigning might be more important, and could result in the future possibility of online voting.

Photo: Lily Martin

Live Review: Fuzzy Sun at Academy 3

Written by Lily Martin on . Posted in Music.

Fuzzy Sun played to a packed room at Academy 3 last Friday, supported by Monks and Full Colour.

Whilst it feels like the Stockport-bred quintet sometimes get lost within the new-wave indie music being produced at the moment, this sold-out show demonstrated that they have gravitas that cannot be ignored.

Opening band Monks were a distinctive and sultry combination of catchy melodies, synth-led tracks and groovy bass. However, the looming disappointment of the evening was second support, Full Colour. Although the five-piece began to settle as their set progressed, at times I was confused about what exactly they were trying to achieve. Despite some obvious potential in the songwriting, vocals onstage struggled and they didn’t take to the crowd as well as anyone could have hoped. This culminated in a staggering lack of enthusiasm onstage, conveying itself as arrogance.

Proving that their character lies in their latest songwriting, Fuzzy Sun dragged the crowd back into the smooth richness of funk with their recent track ‘Gentleman’s Touch’.  Supported by trumpet-player Robbie Richardson, this multi-layered release is an impressive reflection of how new-wave indie is shifting back to the groove of the 70s and 80s.

The absence of keys-player Daisy failed to subtract from an excellent headline performance which engaged the crowd wholeheartedly. This was undoubtedly due to the hard work of the other members in maintaining their distinct sound through a carefully curated combination of guitar solos and driving synth melodies.

The set combined an eclectic combination of tracks, demonstrating Fuzzy Sun’s potential to push the boundaries of the genre into something both unique and staggering. ‘Eve’ successfully caught the emotion of the crowd, who were lively and engaged throughout the whole set.

When watching them live, however, you can’t help but think of their Stockport counterparts, Blossoms — the poster-boys of the North’s contemporary music scene and the jangly, synth-led indie rock that they have popularised. At times, the strong synth melodies felt a bit too much like something Blossoms would be writing and releasing, and lacked an individuality and identity of their own.

In Fuzzy Sun we could realistically be seeing the redefining of the indie-rock genre. The enthusiasm of the crowd and their engagement with the music being produced onstage was staggering. The audience was predominantly young, and at times rowdy, which was disheartening but as soon as the headliners took to the stage they seemed united by a love of the music which was reflected in the musicians onstage.

Fuzzy Sun revelled in their music and the crowd which was the essential segment of the performance ensuring an impressive stage presence that would rival even the biggest, most experienced performers. Their new single is a catchy and well-written summery anthem which is defined by both jangly melodies and rhythm-driven vocals. The backing vocals by drummer Mitch are well poised within the track to demonstrate the excellent writing behind it.

Overall, this was a gig that was difficult not to dance to. The crowd at times let the atmosphere down through their rowdiness, especially at the start of the gig, however this was a performance that reflected the potential Fuzzy Sun offer. Their infectious combination of lulling vocals and well-strung melodies are indicative of the movement the indie scene is making towards the iconic songwriting of the 70s and 80s and are a credit to the progression they have become a part of.

7/10.

Photo: Courtesy of HOME

In Review: The Best Films of the 2010s

Written by Tobias Soar on . Posted in Film.

The 2010s have been a decade for film to mature as a medium of storytelling. Animation has come a long way since the 2000s, darker dramas have unfolded, bolder stories have been told, the #MeToo movement changed both films and society, horror hit another golden age, the true power of streaming began, and superhero films reigned supreme at the box office.

Instead of ranking the best films of the decade, we’ve decided to invite writers of the film section and editors from other areas of the paper to write about their favourite film of the 2010s. From indie sleeper hits to box office smashers, there’s something for everyone on this list.

It will be fascinating to see where the medium goes next decade; how long will the horror golden age last? When will superhero fatigue set in? Will we finally see Avatar 2? How will the fight between streaming services and cinemas evolve? Whatever happens, it’ll be a hell of a lot of fun for film fans.

– Tobias Soar, Head Film Editor

 

Amour (2012) – Michal Wasilewski, writer

The plot of Amour is simple and straightforward: we follow an elderly couple’s ordeal after the wife suffers from a stroke and her husband decides to take full care of her. Raw, devastating and uncompromising, Michael Haneke’s masterpiece deserves praise for showing the transience of life and the power of true love in aspects which modern cinema seems to avoid.

 

A Separation (2011) – Alex Ferguson, writer

This Oscar-winning piece from Asghar Farhadi proves that all you need to make a brilliant film is a great script and some great actors. A Separation is a drama film in its purest sense — a profound and often confronting meditation on marriage, family and loss. It’s simple, but overwhelmingly effective.

 

Beasts of No Nation (2015) – James McCafferty, writer

Beasts of No Nation is simultaneously visually beautiful and emotionally disturbing. Abraham Attah gives a mature performance as child soldier Ague while Idris Elba displays a mesmerizingly toxic mixture of brutality, charisma, horror and frailty. Cary Fukunaga uses cinema to force his audience to confront deeply distressing realities about the human ability to inflict suffering in a way that leaves a deep and lasting impression.

 

Black Swan (2010) – Jay Darcy, Theatre Editor

A psychological horror and thriller, it follows a ballet dancer’s descent into madness as she struggles with the pressure of being the lead in Swan Lake. Life imitates art, with the plot of the film reflecting the plot of Swan Lake. It is a beautiful, disturbing masterpiece that gets your mind ticking.

 

Drive (2011) – Tobias Soar, Head Film Editor

Nicolas Winding Refn’s slow-burn character study starring Ryan Gosling is a masterclass in subtle visual storytelling. The protagonist, Driver, shows little emotion, so the lighting and editing are used to focus on who, or what, is important in the frame and conversation. The minimal synth soundtrack is the perfect companion to the nail-biting realistic car chases and emotional gut-punches. Call me a basic softboy, but I can’t get enough of this film — no matter how many times I watch it.

 

The Grand Budapest Hotel (2014) – Josh Sandy, Deputy Film Editor

The Grand Budapest Hotel is not only Wes Anderson’s magnum opus, but it is also the greatest film of this decade. Every single pastel-coloured frame of the film is a gorgeous painting, the acting is sublime, and its plot is pure genius. Its modest 100-minute run time takes you through the entire spectrum of emotions from utter joy to heartbreak — and every moment is an absolute pleasure.

 

Inside Llewyn Davis (2013) – James Shepherd, writer

The first time I saw Inside Llewyn Davis, I hated it.  But now, 5 years on, in my older and supposedly wiser age, this Coen Brothers flick seems the obvious choice for my film of the decade. My initial aversions to the picture’s dreary depiction of the life of an aspiring musician have transformed over time into deep appreciation as Llewyn’s artistic failures seem to increasingly resonate with my own.

 

Interstellar (2014) – Jade Yong, writer

Interstellar challenges the concept of time and the dimensions of science. It earns utmost praise for probing at the terrifying questions about our universe and its boundless spirit. The film’s poignant ending remains brilliant because it depicts a family destroyed by a father’s scientific ambition, with an ironic sense of idealism.

 

Lady Bird (2017) – Jasmine Bennett, writer

Lady Bird can be somewhat dismissed as the tale of an irritating, entitled coming-of-age experience. But for me it was different; like every girl, I’d met Kyles. I’d had fights over university entrance. I’d doubted my appearance, I longed for a different life and different class. It was the story of accepting that your relationship with your parents is not fairytale — often it’s full of dislike and frequent arguments. But in the end, it always ends with a phone call begging your mother for forgiveness without saying so. In that, I felt my film of the decade.

 

Loveless (2017) – Michal Wasilewski, writer

Loveless tells the story of a Russian middle-class family going through a divorce when, suddenly, their son runs away. The priorities of the neglectful parents need to change completely, but nobody seems to act the way they should. Andrey Zvyagintsev’s acclaimed feature is a metaphorical tale touching on the topics of a dysfunctional family, Russian society, and political careerists. It is wonderfully shot, soul crushing, and, most importantly, impactful on all of its levels.

 

Moonlight (2016) – Zofia Gryf-Łowczowska, writer

My film of the decade is, undoubtedly, Barry Jenkins’ Moonlight. Few films have dealt with the issue is oppressed sexuality with such empathy and sensitivity, depicting personal struggle and community suffering through a non-judgemental lens. Cinematographically beautiful and with outstanding acting, Moonlight stands out from the many social issue themed films I’ve seen this decade and is definitely a hallmark of 2010s cinema.

 

Nocturnal Animals (2016) – Ellis Coopey, writer

Tom Ford has proven to be a skilled filmmaker. Nocturnal Animals is a breath-taking psychological thriller; Ford gives us fashion ad. lustre which, rather than distracting us, enables us to focus on his character’s complex inner lives. Abel Korzeniowski’s score is the perfect partner, ensnaring us from the Hitchcockian opening credits.

 

Raw (2016) – Carl Fitzgerald, writer

Julia Docournau’s Raw is the best of all the 2010’s horror reinvention. The story of a vegetarian student who is coerced into eating meat and begins to exhibit cannibalistic tendencies provides the ultimate horror experience in exploring capitalism, misogyny and campus rape culture, with powerful performances and a killer soundtrack.

Gifts and reads for the New Year

Written by Shaheena on . Posted in Books.

The Mancunion books team has created a list of books that can be gifted for Christmas or taken through to the next year. We’ve narrowed it down to a few of the team’s favourites from the year and we hope this list is useful!

Where Reasons End, Yiyun Li

I think we’re at a general consensus now where we agree that mental health, with all its nuances and needs, is an important issue.

Yiyun Li’s Where Reasons End is a book that contemplates life through a mother’s grief for her son. We find that her son has taken his own life and the book takes the readers on a journey of the mother’s grief.

Li makes a beautiful narrative choice in having our grieving mother in conversation with her son, who remains alive with vibrancy and clarity in her own mind.

This story of a mother grieving her child is difficult to read and often difficult to digest as the grief sits uncomfortably with a reader – or at least that’s the feeling I experienced when I attentively, though not feverishly turned each page.

An Orchestra of Minorities, Chigozie Obioma 

Once Obiama’s An Orchestra of Minorities gets going, you’ve got to keep up. For as long as a book it actually is, the complex depiction of Igbo society and cultural ideas challenges you to restructure the way you see pressures of the world in relation to self. The novel itself is loosely based on a Greek classic, The Odyssey.

Our protagonist embarks on a rather typical quest, trying to win the hand of a woman he isn’t socially on par with. These ideas unfold in the first few chapters which, in all honesty, are a little slow. I didn’t mind the pace at which the narrative begins to flow after these chapters, but I probably wouldn’t have stuck with it if the pacing didn’t speed up. Spiritual elements of the novel, and narrative perspective intermingle with the plot to create exciting episodes, though they prove challenging for our protagonist.

Without giving anything much away, if you’re looking for a read that will challenge you throughout its 500 pages, An Orchestra of Minorities is a perfect read for the season.

Underland, Robert Macfarlane

Macfarlane’s Underland has already been reviewed by one of our writers, Will Stonier, this year, although I think it deserves a mention on this list. One of the most important things about the book is a reconsideration of how we look at the world underneath us to then reconsider how we interact with the earth.

Will’s review can be found on the Mancunion website.

The Book of Dust, Philip Pullman

The next instalment from Pullman’s universe has been released this year, for which we will have a review up in the new year. It’s a favourite for us at The Mancunion this year, with a couple of avid fans amongst our writers. It is a series immersed in fantastical world and with the presence of overarching authorities which makes for tantalising adventure. It would make the perfect gift for a relative or friend looking to get into an epic series with plenty of books to read, as there are links to Pullman’s His Dark Materials. 

That’s all for now, but keep an eye out for a reflection on the past decade’s books in the new semester, as we’ll have plenty to tell you about as a team.

But for now, we wish you a Merry Christmas and a promising New Year here from The Mancunion Books section!

Photo: Ellie Martin

Young political societies debate in run up to election

Written by Ellie Martin on . Posted in Societies.

In the run up to the election, Fuse FM brought representatives from the four big political societies on campus to debate issues relating to students.

Young Conservatives, Young Labour, Young Green and Young Liberal Democrats all sent delegates to discuss issues that matter to students. Josh Sandiford mediated the debate.

To start, each of the parties were given an opportunity to pitch their manifestos and set out why students should vote for them in particular.

The Tory delegate, Jake Feely, mainly spoke about Brexit and the importance of getting it out of the way to focus on other national issues.

Albie Mayo from the Greens stressed the importance of “urgent radical climate change action”. He also mentioned their stance against austerity, and their demand for a peoples vote on Brexit. “Only the Greens will fight against Brexit and climate chaos.”

Jamie Dwan was representing Young LibDems. Interestingly he is also standing in this election for the LibDems in Staybridge and Hyde. If elected, Dwan would be one of the youngest MPs in the country. He set out the strong anti-brexit position of the LibDems which he argues was in the best interests of students. He made it clear that he thought neither the Tories or Labour fit to run the country, calling them “stale”.

Aaron Watling from Young Labour spoke a lot about the incompetence of the Tories, naming austerity as a defining feature in the lives of young people. He stated that Labour were the only party who could “reverse” the damage done by the Tory and LibDem government.

One topic that was highly contested was the UCU strikes. Opinions varied amongst the parties, with Jake Feely expressing he would prefer it to be more difficult for workers to be able to strike. Aaron Watling from Labour was, predictably, far more supportive of the strikes, with Mayo and Dwan expressing sympathy for the UCU members.

Brexit was inevitably a large part of the discussion. Josh questioned Feely on the Tory position on Brexit. “All the other parties offer a choice or a way out of Brexit, whereas the Conservative stance is firmly leave. Students overwhelmingly want to stay in the EU, so why should they vote Tory?”.

Feely responded: “Well, it depends if you’re a democrat or not. The majority of people voted to leave in 2016. As I’m aware, of 18-25 year olds, only 20-something per cent of people turned out. If students felt so passionately about this issue maybe they should have turned out and voted.”

This response was met with the three other delegates shaking their heads. Albie from the Greens immediately pointed out that many of the young people who feel so strongly about Brexit did not have the right to vote in the referendum.

The tension surrounding Brexit is strongly felt by all parties, and the effect it will have on students was a highly contested issue during the debate.

At the end of the debate, Sandiford mentioned a perceived hostility towards student conservatives. A question was put to each of the non-Tory representatives – could you live with a Tory? And in turn, the opposite question was posed to Feely – could he live with a staunch Labour supporter?

The debate was broadcast on Fuse News on Friday 6th of December, and is still available to listen to.

Review: Plant Fetish

Written by Anna Jin on . Posted in Theatre.

Plant Fetish is an emotional rollercoaster of a play created and performed by Chanje Kunda. It is part of HOME’s new theatre season called PUSH Festival.

Kunda collaborated with faculty members of University of Central Lancaster, who are researching mental health conditions within the BAME community and arts sector, for this one-woman-show about her complex PTSD. In the play, she candidly narrates her life story, recounting to the audience her many failed attempts at dating, with explicit sexual references, and her experiences with public mental health services. She also criticises social media and its negative effects on her mental wellbeing. She does not attempt to tell a comprehensive narrative about women and race, but only to tell her own story that is inherently informed by these important themes.

The provocative title is inspired by a true story of a group of women in South America who married trees as an environmental act and a feminist protest against the way women’s status is often defined by their marital status. Kunda was inspired by these women to embrace her own power and independence. Though she admits to being broken, she is hopeful and believes that things that have been broken and put back together can become even more beautiful.

Plant Fetish is based in Manchester, and places in the city are often referenced, such as the Whitworth Museum, the Aquatics centre, and the Shack in the Northern Quarter.

The design elements of this one-woman-show establish an enlivening mood that suited its optimistic theme. The theatre was small, and the stage was set on the ground level and decorated like a home-like living room. A diverse set of convincing plants was placed all over the stage, a snug red sofa was situated in the centre, and a beautiful display of flower garlands were hung on the background. The stage allowed the audience to feel close to the performer, as if she had invited everybody to her house to tell them a story.

This relaxed atmosphere was emphasised by Kunda’s costume. For most of the performance, she was barefoot and wore simple lounge wear, with a green floral dressing gown to blend in with her green environment. The only visible make-up she had was green eyeshadow, which matched her green finger nails and toe nails. In the final scene, she put on an African crown and neck jewellery to celebrate her heritage.

Most of the props contributed to the development of the plot in some way, for example, a wine pitcher and glass related to her dependency on wine as a result of her mental illness. For most of the performance, before the climatic ending, Kunda sat on the same spot on the sofa while narrating her story.

The background music was ambient and relaxing, and no sound effects were used. The set design never changed during the performance, but the variation in lighting actively contributed to Kunda’s storytelling. The lighting was strong or faint depending on the setting or tone, often changed colours to illustrate the protagonist’s mental landscape, and drew attention to important props. In one particularly powerful scene, fairy lights lit up in the background to symbolise stars in the beautiful African desert.

The production’s only flaw was having too many plants onstage. Towards the end, Kunda stood up to dance provocatively in front of her plants. However, there were so many plants onstage that it hindered her movement, adding awkwardness to her brilliant dance number.

This revealing show about mental health in the modern world ran at HOME Theatre from 27 November to 30 November.

This decade’s fashion is undefinable because it was obsessed with the past

Written by Alice Porter on . Posted in Fashion & Beauty.

Considering the world in terms of decades is characteristic of the fashion industry. Every ten-year period is defined by a trend, then filed away for future reference. The 60s gave us tonal co-ords and a-line midi skirts. The 70s is defined by flared trousers and bell-sleeved tops. 80s fashion is remembered for neon colours and denim everything, while the 90s is distinguished by a slinky slip dress and pair of mom jeans. The noughties were where things got a little less straightforward, but this period can still be defined by a number of items, including low-cut pants and velour tracksuits.

However, it’s very difficult to define the 2010s in this way, because its uniqueness comes, paradoxically, from borrowing the trends of every other decade. By so consistently defining new clothes in terms of old trends, have we prevented the 2010s from becoming its own fashion era? More importantly, has this reliance curbed innovation within the fashion industry? Alternatively, one could argue that by blending together different eras, the decade has surpassed its more one-dimensional predecessors. In that case, has the 2010s actually been the most exciting fashion-era yet?

While it’s hard to define the time that you’re living through, during the last ten years the fashion industry has become more nostalgic than ever. Runway reviews increasingly pigeonhole collections into the most similar decade, and even on the high-street there are adverts for  ‘70s flares’ or ‘80s club dresses’.

The democratisation of fashion is one reason that contemporary fashion is hard to define. Fast fashion, despite its drastic ethical and environmental effects, has undoubtedly made things more accessible in the West. People have more choice, follow trends less and, consequently, we can’t slap an easy label on what they wear. On top of this, there are more fashion designers and from a greater diversity of backgrounds. In previous decades, particularly in high fashion, a small group of influential designers were aware of each other and, unconsciously or not, were influenced by one another. Coherent trends materialised in this way. But the circle of influence has now been penetrated by a greater number of small designers, leading to diverse directions that resist broad definition. 

What they can be defined by, though, is nostalgia. It’s difficult to look at a collection, high-end or high-street, without pinpointing the elements that represent a certain era. Even if parts of it are innovative and modern, what we seem to be interested in are the reflections of the past. Perhaps this shows a longing for a simpler time, in which the only option was some low-rise bootcuts and a crop top, because that’s what everyone was wearing and that’s all you could buy. We look to the past, it seems, to subdue the overwhelming consumer choice offered by this decade, to define ourselves in a time when nothing is definable. 

We may look back on the 2010s as an era of confused fashion, when trends were non-existent, with so many people interested in fashion, but nobody wearing the same thing. Going into the 2020s, perhaps the fashion industry needs to revolutionise, embracing modernity and defining itself decisively. 

Or perhaps the 2010s was the fashion revolution. Doing away with trends through democratisation, fashion has been a great promoter of diversity and encouraged self-expression in a way that makes the industry safer for people of colour and the LGBTQ+ community. This has  largely been the result of social media, which has provided a platform for everyone to learn and get involved. It is also a result of the fast fashion boom, which comes at the cost of the environment and the people making our clothes, for whom the fashion industry has not diversified or democratised but instead seriously regressed.

The 2010s has been a complicated decade for fashion in so many ways and its unwillingness to define itself reflects this. Perhaps fashion’s obsession with the past can be used productively in the 2020s, as we look to an older model of ‘buying less but better’, in order to slow down an industry that has dangerously accelerated during the new millennium. So far, we have failed to combine accessibility with social and environmental justice across and this must be resolved in the new decade.

Review: Elvis in Concert

Written by Jay Darcy on . Posted in Music, Theatre.

Whilst he passed decades ago, he will live on in our memories, and in our hearts, until the end of time. He’s an icon, a legend, frozen in time, immortalised, eternalised, and eternally loved and appreciated. He’s Elvis Presley, the King, and the King is back!

I love music. I particularly love old music. And I love going to concerts and gigs. I was lucky enough to see (and review) Cher on her farewell tour in October, and Shakespears Sister on their reunion (and farewell?) tour in November, and I’ve splashed some cash to see Diana Ross on hers in July.

But there are so many musicians who it is impossible for me to see. The likes of Dusty Springfield, Whitney Houston, and, of course, Elvis Presley. I saw the musical Dusty last year, the musical This is Elvis (featuring the incredible impersonator Steve Michaels) the year before, and I’ll be seeing the musical adaptation of The Bodyguard (starring Alexandra Burke) next week. Impersonators don’t appeal to me quite so much, but I am seeing the controversial Whitney Houston hologram tour in February.

Steve Michaels is an incredible Elvis impersonator, but, alas, he is not Elvis. Indeed, whilst all of these shows arouse controversy and debate, Elvis in Concert is free from any of that drama. At its core, it’s just a celebration of Elvis’ music and his live concert performances. No holograms. No CGI. Just Elvis.

Elvis in Concert (even called “Elvis Presley 2019 tour” on the programme) is billed as the closest thing, and the next best thing, to seeing the real thing in concert. What makes it extra special is two of Elvis’ biggest dreams were to perform in the UK and to perform with a live orchestra. These two dreams died with him. But if his legacy lives on, why can’t his dreams? And If I Can Dream… can’t my dreams come true?

The tour uses video footage of Elvis performing at different concerts, singing some of his greatest hits, like Jailhouse Rock and Suspicious Minds. Whilst we’ve all seen some of these videos before, to see it on huge screens in an arena – an arena that Elvis should have had the honour of performing at – was particularly special.

Elvis was joined by the Royal Philharmonic Concert Orchestra; the Royal Philharmonic Orchestra have recorded three platinum albums with Elvis’ music. They are one of the most renowned orchestras in the world; every note they created was divine, and it was wonderful seeing an orchestral take on some of the world’s most iconic songs.

As well as the RPCO, the legendary TCB Band was also there. They performed and toured with Elvis back in the day, so it was very touching and special to see them, now all old men, reliving their younger years and honouring their friend. There were also three live singers who provided Elvis with some fantastic backing vocals. They were both talented and enthusiastic. I particularly enjoyed their jazz movements to Hound Dog.

The event was “hosted” by Elvis’ ex-wife, the iconic Priscilla Presley, who previously performed in Manchester as the Wicked Queen in Snow White and the Seven Dwarfs at the Opera House. I will go to the grave regretting I did not go to see that pantomime (I’m not a big fan of pantos but I adore Priscilla). She came across as humble and modest; she was not flashy or showy. She seemed thankful and grateful that so many people are still so in love with her ex-husband, and she clearly still loves him very much, too.

She was joined by Jerry Schilling, a close associate of the Presleys. When they showed some unseen video footage of their younger years with Elvis, they had a small disagreement over whether one video was before or after Elvis and Priscilla’s wedding, which was funny. They appeared unrehearsed and natural, which was charming. They also chatted to the TCB Band, which was sweet.

Elvis has a stellar legacy, and people will be Jailhouse Rockin’ to his music until the end of time. Elvis in Concert is a worthy tribute to the King. It’s nostalgic and cathartic. It left me feeling a little bitter that, unlike so many of my other favourite artists, it is literally impossible for me to ever see Elvis in concert… but I did see Elvis in Concert, and, boy, was it swell!

Photo: Julio Enriquez @ Flickr

Live Review: Vampire Weekend at O2 Victoria Warehouse

Written by Emma Heslington on . Posted in Music.

Vampire Weekend are a band who have really evolved over the years.

Their early wide-eyed naivety is now matched with the more politically conscious themes covered in their latest studio album Father of the Bride. Yet, they have always maintained their signature musical style, drawing on world music to produce a unique sound that is filled with optimism. After a lineup change, which sees the band expand their on-stage presence, their return to Manchester delivered a hit-laden show to a sold-out Victoria Warehouse.

Opener ‘Bambina’ immediately demonstrated the band’s confidence in their recent material, but with a modest backdrop and a vast space to fill, initial efforts seemed lightweight and somewhat hollow. The high ceiling and wide stature of Victoria Warehouse makes it difficult to generate a captivating atmosphere without flawless assistance from a willing crowd. However, as the band followed up with more familiar numbers, including 2008’s ‘Cape Cod Kwassa Kwassa’, the audience rose to the occasion.

With the band powering through a well-rehearsed set, we became increasingly impressed by the number of sure-fire crowd pleasers Vampire Weekend had at their disposal. From ‘A-Punk’s’ unmistakable hook to the frantic vocals of ‘Diane Young’, the band really proved why they deserve the huge audiences they consistently attract. Ezra Koenig, Vampire Weekend’s frontman, has an undeniable ability to harness the energy of the crowd, shown as he radiated an air of absolute confidence.

Half-way through the set, the band’s melodic rendition of ‘Horchata’ inspired us to assume a more prominent position in the audience. Our relocation from the back of the hollow hall to the middle of the animated crowd was well timed for the beginning of ‘NEW DORP NEW YORK’. Koenig’s feature on SBTRKT’s track demonstrated a somewhat different side to him. We feared the song had a too sharp sound that would be lost in the warehouse’s cavernous expanse. However, in the thick of the crowd, the song’s catchy bassline and natural groove took full effect driving every spectator into a euphoric frenzy.

The audience were given a slightly delayed greeting from Koenig: “Hi Manchester, it’s been a while”. Vampire Weekend’s Manchester fans have grown accustomed to a long wait as they have not performed in the UK’s third largest city in 6 years. It appeared their UK tour was well worth the wait.

Entering the latter half of the show, the band began to really up the tempo, consecutively reeling off hits ‘Cousins’ and ‘Oxford Comma’. An ever-present sense of optimism was held throughout, by the on-stage interactions between band members. They definitely looked as if they relished this performance just as much as the crowd did.

The encore became one of the most memorable moments of the set. We were treated to five final songs: three of which were requests taken from the crowd. There was an undeniable buzz in the room as Koenig hand-picked requests from hardcore fans at the front of the crowd. Those wearing the band’s oldest merch faired best in the selection process, and their dedication was exemplified by the range of old school requests. ‘Boston (Ladies of Cambridge)’, ‘Don’t Dream It’s Over’ (a Crowded House cover) and ‘Campus’ set up an excellent finale.

Long-time fan-favourite ‘Walcott’ closed the set an impressive two hours after Vampire Weekend took to the stage. The infamous, explosive ‘Walcott’ intro allowed the crowd to go absolutely wild one last time. Adding to the chaos, two Father of the Bride globe inflatables were released. Vampire Weekend’s final exit from the stage was met with an excellent response from a clearly captivated audience.

Although the venue was at times disappointing, Vampire Weekend certainly were not. Their festival-worthy performance left us hoping for a 2020 UK festival headline spot. Taking a six-year hiatus between albums is not something many bands can survive, but Vampire Weekend returned stronger and bolder than ever.

8/10

Photo: Simon Emmet

Preview: Dido at Manchester O2 Apollo

Written by Bella Fleming on . Posted in Music.

Embarking on her first tour in 15 years, English down-tempo pop singer Dido is set to perform at Manchester’s O2 Apollo on Tuesday 3rd December.

It is clear that 2019 has been a huge year for the singer. In the same year that her hugely successful debut album No Angel turns 20, Dido has also shared her latest album Still on My Mind – the first new music from the singer in five years.

The release of Still On My Mind has led to Dido being crowned the best-selling UK solo female artist of the year. The deluxe edition of her latest album also features new acoustic recordings of her biggest hits ‘Thank You’ and ‘White Flag.’

Having sold out every show on her UK tour earlier in May this year, the second UK tour has been anticipated highly and features dates in cities such as Manchester, Birmingham, Glasgow, and London. The tour will feature performances of her new album as well as classic hits such as ‘Thank You’, ‘Here With Me’, ‘Life For Rent’ and ‘White Flag.’

Tickets for Dido’s ‘Still on My Mind’ tour can be found here: https://www.gigsandtours.com/tour/dido

‘I have no time to eat, shower or look after myself’ – Life as a student nurse in Manchester

Written by Ruby Stephenson on . Posted in Investigations.

The NHS is facing its biggest crisis ever, with waiting times reaching record highs, serious staffing shortages, and alarming levels of poverty and suicide rates among staff. 

This is the state of affairs in the institution that will employ many of our University’s aspiring nurses and midwives. 

Students have told The Mancunion of extreme difficulties in balancing their placements, academic work, social life, self-care, and part-time jobs. Many have said they believe the university should be offering more support.

The NHS previously covered the majority of costs for aspiring healthcare professionals, with tuition fees completely paid for and bursaries provided to help with the cost of living.

The government replaced this system with student loans in 2017, arguing it would increase the number of nurses, as places were previously capped by what the NHS could afford. But applications have fallen by 29% since 2016, according to figures from the Universities and Colleges Admissions Service (UCAS).

Coupled with long, gruelling and unpaid work placements, some students expressed the opinion that they feel they are essentially paying to work in the NHS for free. 

Photos: Garry Knight @ Flickr

One nurse who qualified from Manchester last year even told The Mancunion she had to use food banks during her final year. 

The nurse, who chose not to be named, had applied for the University’s ‘hardship fund’ but was originally rejected because she had a part-time job and was told to work more hours. 

She was also told she had to provide medical evidence that she couldn’t physically work anymore – despite doing around 60 hours and being in and out of the hospital for severe migraines. 

She eventually got £700 which was just enough to cover her last two months of rent, but proving she was worthy of the fund was a long and difficult process. 

 The nurse said: “I was severely stressed and ended up in a financial crisis, even though I worked two jobs on top of my placement and had to live off food banks.

“I had to stay on into August to make up my hours and only had a one-week break between finishing university and starting full-time work.

“I made an appointment with the Students’ Union and after months of fighting I got £700 from the hardship fund, which was just enough to cover my last two months of rent.”

A second-year child nursing student also spoke to The Mancunion about the difficulties in finding a balance in university life during her course. 

“My friends and I find it impossible to attend uni, do assignments, revise, go to our placement, go to our part-time jobs and our extra-curricular activities, as well as having a social life,” she said. 

“Placement is tiring and everyone needs someone to talk to. I believe our lecturers could be that person but they honestly do not care. We witness horrible things day in and day out and there’s just no support whatsoever.”

Jenny Corcoran, a second-year child nursing student, said placement work is both rewarding and draining: “On some shifts, you go in and have a hectic day running around with not a minute to stop. On those days I have no time to eat, shower or look after myself – I’m too tired. It’s mentally draining.”

The structure of the nursing course gives its students a longer Easter break of around seven weeks and their final semester starts and finishes later than the majority of courses. 

This means that with the final instalments of maintenance loans arriving in student’s bank accounts towards the end of April, student nurses have to make their loan last around two months longer than most students whose courses finish in early June. 

Many contracts for university halls and student housing finish in late June or early July, forcing students to take on additional accommodation costs to attend their placement and complete the semester.

Sophie Loone, a second-year mental health nursing student, said: “I had to pay an extra £448.50 for four weeks in Oak House because my placement carried on until the end of July. 

“This was £10 more than the normal weekly rate I was paying for Oak House. We all agree that we’d rather have just one week at Easter instead of seven so that placement starts earlier, meaning we finish earlier and don’t have to take on additional costs.” 

Igor Placzkiewicz, a third-year adult nursing student, thinks the University should do more to support student nurses: “I think the University should support and push for student nurses to get some sort of payment for their work, even if it is just £3 an hour. This would reduce the stress of university so much, and would lead to more students signing up to study nursing and therefore more qualified nurses.” 

A University of Manchester spokesperson said: “We wouldn’t dispute that this programme is academically and clinically challenging, but note the immense rewards that a career in nursing can offer.

“The University offers significant support mechanisms and also in Clinical Practice by our practice partners. It is also worth indicating that the nursing programme is planned around ensuring that nursing students have annual leave at times commensurate with the other undergraduate students; at Christmas, Easter and over the Summer. This is not always the case for students on nursing programmes elsewhere.

“Student nurses are not working for the NHS for free – they are receiving clinically based training – [they are] not working and are supernumerary. These outcomes are laid down in the 2018 NMC standards which all providers of nursing education need to subscribe and this is regulated by the professional body.

“Manchester offers specific additional funding which since 2017 nursing and midwifery students are eligible to apply for. Students can apply for funding for the additional weeks they work.

“We have a very robust student support mechanism which does signpost students to a range of sources of support.”

Photos: Garry Knight @ Flickr

Review: Teabags in the Sink and A Room in Upper Slaughter

Written by Alexia Pieretti on . Posted in Theatre.

As part of their experimental Autumn Fringe, the Drama Society put on two short plays written by students, back to back.

The first of these was Teabags in the Sink by Imogen Chillington, directed by Alice Eaves. The play concerned a normal family of four. Their domestic dramas were narrated to us by sardonic teenager daughter Billie (Maddie Webster-Harris).

As the name suggests, the play featured recognizable aspects of middle class life; the parents argued over whether they would make “chickpea surprise” or a stir-fry for dinner, the hungover older daughter wandered downstairs to fix herself a snack before disappearing to watch another episode on Netflix, the father hummed The Archers theme tune.

Lerato Mokate’s design was the highlight of the play. Projected onto a back screen were photos of a kitchen which had cute animations superimposed on top of them.

The show was performed in a cramped space that could barely contain the four actors, to illustrate the pressures of living in such a home. But the problem with this configuration was that if you were not in the front row (and I was in the back row) it was very difficult to see what was taking place, especially because for much of the play, Billie was seated on the floor.

I was sad as well to miss out on many of the creative animations projected onto the screen because of the angle I was facing the stage at.

The directors can be congratulated for finding a cast who actually looked like a family. The mother (Olivia Downing) resembled older daughter Emily (Josephine Rogers) and the likeness between Webster-Harris and Monty Ashley as the father was remarkable. It was so remarkable in fact that after leaving the show, I realized that the poster for the show was a photo of their two faces merged together and I had not even noticed because they looked so similar.

There seemed to be a subtext in the play about mental health and running with this message, I think Teabags in the Sink could be extended into a full length play, packed with more bad dad jokes and sisterly bickering.

After a break, we were welcomed into an entirely new stage space for A Room in Upper Slaughter by Lara Biller, directed by Sofia Armella and Mariella Dyckhoff.

Two assassins lay in wait in a hotel room, sucking on lollipops as a thunderstorm boomed outside. These two women were menacing, apathetic Florence (Daisy Shuttleworth) and nervous, fidgety Ash (Lauren Owen).

While waiting for their target to arrive, they were plagued by obsessive phone calls from Ash’s ex-girlfriend Greta (May Brittenden). Gay female assassins? I was sold!

The tension was high throughout with two such opposing personalities placed in a room together. The suspense in the room was palpable when Greta herself showed up at the hotel despite the location supposedly being top secret. Every moment of this play was gripping as we were left baffled for what would occur next.

Shuttleworth and Owen were the driving forces of the play. With slow, confident movements, Shuttleworth brought across a woman who was not to be messed with, whom we felt threatened by even sitting safely in the audience.

Owen’s on the other hand was a highly emotive, tender performance. She paced and anxiously bit her nails and delivered a powerful monologue about how in love she and Greta had been. The two actresses had great chemistry together, as did Owen and Brittenden who did not even have to make physical contact with each other to show how deeply Ash and Greta cared for each other.

Dyckhoff and Armella also choreographed an effective fight sequence which all the performers put high energy into.

Despite being a play about murder, the script was packed with witty one-liners. “You look like a ninja,” Florence said to Ash, as Ash put on a hotel staff uniform as a disguise. Later, Ash blurted out explicit details of hers and Greta’s sex life while Florence uncomfortably looked on. The dialogue felt natural while still allowing for a play that explored a topic which is out of the ordinary.

In a hilarious twist, their male target, the driving force of the action and the reason the three women were gathered there that night, was a very small role. This was a wonderfully feminist inversion of tropes in the spy genre where one-dimensional female characters are often killed off to further the leading man’s narrative arc. Suddenly, this voiceless male character became a canvas to tell a female-driven queer love story.

The only aspect I was at all disappointed by was the ending. In a play with such twists and turns, that always kept us wondering what would occur next, the last moments to me felt predictable.

Without giving too much away, there seemed an awareness in the writing of the ‘Bury Your Gays’ trope, where LGBTQ characters are killed at disproportionately high rates in the media. There was an attempt to avoid this trope while also trying not to give the piece a neat, happy ending.

As a result, the ending was left ambiguous which just felt like an attempt to satisfy everyone in the audience rather than for the author to provide her own voice on the matter. Nevertheless, I can imagine seeing this play again in the future on a professional stage and I look forward to that day.

Photo: DeSha Metschke

Live Review: Amanda Palmer at Albert Hall

Written by alexwalker on . Posted in Music.

There Will Be No Intermission is an album tour of Palmer’s latest crowdfunded album of the same name. The show itself was about the difficult subject area of abortion, miscarriage, the Disney hit film Frozen, death, love, motherhood, hope, and despair. It was as heavy as it sounds.

Palmer entered the show from behind the audience in the cavernous Albert Hall, coming to stand at the front of the crowd singing with her ukulele. Such an intimate moment set the tone for the show to come.

Taking just over three and a half hours, it felt almost like a drunken, emotional evening on the couch with an old friend, as you each open up to the absolute depths of being and self — except the living room was instead a venue full of a couple of thousand other people.

The crowd was diverse and full of committed fans. When Amanda asked who in the room were amongst her Patreon Supporters, the overwhelming majority of people raised their hands. This is testament to her reconfiguration of the artist/audience relationship, that such a large majority of those in attendance participated in her crowdfunding projects.

This spirit of community and solidarity permeated every moment of the evening. The essence of it was that life can be awful sometimes, but it is awful to everyone, and we are not alone.

Structured as a series of stories explaining some of her latest songs, the show allowed every member of the audience to unite and share the raw grief of life. The stories she told were harrowing and dark, unlike stories I had ever heard before.

She spoke of date rape and abortion; of the crippling indecision involved in choosing motherhood; the complexities and controversy of practicing radical compassion towards terrorists and murderers; the trauma of having a miscarriage alone on Christmas night; those closest to you dying; the lynch mob of the internet; and, worst of all, accidental squirrel death.

Punctuating these stories were her long, winding songs that were so lyrically honest that, at times, it hurt to listen.

During every song, Palmer radiated emotion, unlike any artist I have seen. One of the most poignant moments for me came as the audience, on their feet in unison, sang “at least the baby didn’t die” during her track ‘A Mothers Confession’ over and over. And as I looked to the adjacent row I saw a woman weeping.

This show dared to mention the unmentionable – I thought I knew about why abortion was so important and that I understood how big that decision was for women. In actual fact, I was constantly surprised by how complicated it was, and by the number of people who had experienced it.

Palmer again asked audience members to raise their hands if they, or someone they know, had experienced an abortion. Again, the overwhelming majority of people raised their hands.

Written amid the Irish Abortion Referendum, her rendition of ‘Voicemail for Jill’ allowed everyone in that room to be felt and heard and understood for the grief that they had experienced. And every single song did this, it allowed people to feel.

I cannot overstate how much of an impact this show had on me. Never before has music been so honest or truthful. It allowed me to radically empathise with everyone in that room, and feel the weight of the world in a new way.

As Amanda promised at the outset, this show was not comfortable and it was not easy. But it was important, and I implore everyone to listen to this album and let themselves feel all the things that we try all to often to ignore.

Endnote: I cannot give this show a numerical value, because it was, in essence, a woman talking about abortion and miscarriage and it seems pretty wrong to rate that out of ten.

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Live Review: Matthew Halsall at YES (Basement)

Written by Will Stonier on . Posted in Music.

In May 1966 John Coltrane—alongside Alice Coltrane, Pharoah Sanders, Jimmy Garrison, Rashied Ali—recorded Live At The Village Vanguard Again! on Impulse! records. This was a quintessential live recording that I take as a prime rendering of spiritual jazz performance with ethereal whispering solos and sonic experimentation.

Fast forward to the present day—a glum Mancunian evening, far removed from the jazz clubs in Greenwich Village, NYC—and we arrive at Matthew Halsall at YES. This gig follows the release of the albums Sending My Love and Colour Yes with his label Gondwana, as well as an autumnal stint of previous sold-out live sessions at YES basement; a venue to serve as my spiritual snorkel for the evening as I would try to resist the lure of flat lager.

With Halsall on trumpet, the band included Alan Taylor and Jack McCarthy on percussion, Gavin Barras on bass, Matt Cliffe on reeds, Livui Gheorghe on keys, and Manchester University’s own Maddie Herbert on harp – whose upcoming show will take place at the Students’ Union on Wednesday 11th December.

The session was to be split between two sets, with the first half based around familiar material. Halsall introduced the session with tracks from Fletcher Moss Park to begin the occasion.

Stand out moments included Cliffe’s haunting solo on ‘Together’—taken from the new album—a track approached by Cliffe with the lyricism and breathless phrasing of Coleman Hawkins, but with the modern edge of Chris Potter.

The crowd—half seated—took awhile to warm to the first set. I imagine, though, like myself, they were rapt by the sonic unravelling at the hands of Herbert’s harp and her interplay between Halsall’s trumpet.

The second half was more expansive, with Halsall announcing that all tracks—bar ‘When The World Was One’—consisted of unreleased material, allowing for the second half of the show to serve as a public laboratory for Halsall.

Here Halsall’s band put a bit of a donk on it, with Cliffe’s soloing leaning away from modal sensibilities heard in the first set, moving toward territory reserved by charged ferocity of Albert Ayler.

Halsall’s solos, too, had their own diegetic impulses and his sound constantly opened new horizons. Halsall is a trumpeter who doesn’t exude hubris, despite the fact his solos are intermittently interrupted with vigorous snarls and growls.

A fault I did have was that I did not feel as though Livui Gheorghe on keys was given enough time or space to build on his own ideas, and I’d have liked to know more of what he could do—but this is a minor footnote to the performance.

Whilst there has been a lot of hot air in the music press about this newly conceived notion of the UK jazz explosion—with London as the epicenter for the emergence of this New-Sort-Of-Jazz-That-Is-Not-Like-That-Other-Jazz-Anywhere-Else—Halsall has been around for a while.

I don’t lump his music in with this ‘new’ generation of musicians (his seminal record On The Go was released in 2011). What’s more, Halsall’s music is distinctly Mancunian; it is informed by the spangled dampness of Mancunian rain, an impulse that London jazz cannot encapsulate—nor does it try to, in fairness. 

Nonetheless, as well as a soundscape indebted to Manchester’s dismal weather record, Halsall’s sonic world is also haunted by the spectres and apparitions of ‘60s spiritual jazz, with this series of incredible basement sessions acting as the exorcism. 

4/5

Photo: Tobias Soar

In Conversation with Pizzagirl

Written by Bella Fleming on . Posted in Music.

Despite being only 21 years old, Pizzagirl’s music takes listeners straight to the 80s.

Whether it’s through the heavily distorted guitars on ‘dennis’ or the synth-pop dream that is ‘ball’s gonna keep on rollin’ his music is strongly reminiscent of a classic episode of Top of The Pops. In 2019, this silly, fun, and reckless music is extremely refreshing.

His humorous approach to music is evident in many of his songs. Take ‘body biology’, a track about being terrible at his job in the supermarket, or ‘daytrip’ which narrates a fantasy about running away from responsibilities.

The naivety in Pizzagirl’s lyrics is extremely relatable and is what makes him so likeable; he’s not pretending to be grown-up, mature or responsible.

The moniker of Liverpool-based Liam Brown, Pizzagirl was born out of the bedroom-slash-recording studio in Liam’s family house. His long-awaited debut album first timer dropped last month and is full of “lots of weird and quite different songs.”

“Everything was [made] in the bedroom, I never went anywhere else,” he explains, detailing how he takes DIY music to another level by also being responsible for the business side of everything he does, “I want it to be a hands-on thing.”

Despite this hands on approach, he notes the difference between creating music and marketing music, admitting honestly his dislike for the business side of the industry. “Writing songs is fine, but it’s the album design and PR that makes me stress out,” he explains, “when you have to design an album cover, CDs, posters, and take all the press shots, it’s just so much work.”

Despite first timer being his debut album, the process of making it wasn’t overwhelming for Pizzagirl, who claimed it consisted largely of him “sitting in a room making a lot of songs and deciding that they could go in an album.”

However, creating and producing all the music on his own did come with its disadvantages: “I get bored quite easily” he laughed, “it wasn’t that fun to listen back [to the music] a thousand times — that was super mind-numbing.”

“I’m proud because the album is all me, but it’s definitely an album I’m going to have to live with for a bit of time before I enjoy it.”

Liam’s laidback and goofy character is perfectly portrayed in the name Pizzagirl. “I wanted [my name] to be something fun and silly,” he laughed, “if I’m going to change my name from Liam, then I’m going to do it in the most cheesy and loud way possible.”

The origins of the name came when he was 19 years old and exploring his future in music. When he decided to adopt the name Pizzagirl, his mum strongly disagreed. “I called my mum and she said it was silly, so I said you know what mum, screw you,” Liam explains, noting that deciding to stick with the name Pizzagirl was largely motivated by wanting to rebel against his mum’s opinion.

The topic of how Liam came to be known as Pizzagirl is far from his favourite topic of conversation. “I’m bored of pizza, I’m not even a big pizza fan, everyone thinks it’s my favourite food.” What is his favourite food then? “Cheesy chips are, to be honest.”

UoM quietly report £40m surplus amid staff strike over pay

Written by Josh Sandiford on . Posted in News.

The Manchester branch of the University and College Union (UCU) has condemned the University for posting an ‘operating surplus’ of over £40 million while staff are striking over pay, calling it an “absolute scandal”.

In a new document outlining Manchester’s financial position for the year ending 31st of July 2019, the University reported an operating surplus of £40.8 million.

As a percentage of income, the operating surplus increased from 2.4% in 2017/18 to 3.7% in 2018/19, on a like-for-like basis.

David Swanson, the branch President of the Manchester UCU said: “This is an absolute scandal when our lowest-paid members are working for under minimum wage in terms of the hours they are doing.

“Our staff are told that there isn’t enough money for them, their pay has fallen in the last 10 years and people want to know where that money has gone. On average, our staff work 50 hours a week, education should not be about making profits.”

In the report, Vice-Chancellor Dame Professor Nancy Rothwell described the financial year as “challenging” for the higher education sector, adding the University reported a “reasonable financial performance”.

“Our priority, as in previous years, was to consolidate the financial position of the University by generating an operating surplus, which is essential for ongoing investment,” she added.

The Vice-Chancellor stated that while the operating surplus “shows a year-on-year improvement, it falls short of our aim of delivering an operating surplus in the 5–7%.”

Strikes are set to continue until Wednesday in a row over pay and pensions. Many teaching staff have talked of being on precarious contracts and believe they do not get paid enough for their work.

Academic staff have been leading protests every day on campus, with other student groups such as People and Planet and BDS standing in solidarity.

Students recently launched the Manchester Students Strike Support Network, which aims to educate students on why they should support the UCU’s industrial action.

David Swanson added: “This [reported surplus] is on top of all the money the University spends on things like buildings. Buildings don’t teach anybody anything, education is about human relationships and the relationships between staff and students on the picket lines have shown that.

“The University is in crisis and its staff are in meltdown. University leadership need to spend more time to work out how to resolve this issue. They should talk to staff and act now, not wait for something to happen nationally. They need to act now.”

A University of Manchester spokesperson said: “As always, we want to be open and transparent about where we get our income from and how we spend it.

“Overall our Financial Statements show an improved operating performance, as defined as measuring results relative to the assets used to achieve those results, with a rise in income from tuition fees, education contracts and research.

“We have reported an increased operating surplus of £40.8m (3.7% of income) compared to £24.7m (2.3%) in 2017/18. However, whilst we have improved our operating performance, our total comprehensive income has decreased from £102.2m surplus to a deficit of £110.5m. This is due to pensions accounting including one-off charges of £143.3m.

“It’s important to note that more than 95% of our income is spent on our staff and students, research, education, infrastructure projects and social responsibility. The remainder is invested in the long-term sustainability of our University.”

The University has also made clear that any money not paid to striking lecturers will go back into the student experience.

Operating performance is defined as measuring results relative to the assets used to achieve those
results. 

All photos: UMUCU Via Twitter.