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Month: February 2020

Manchester Council adopt Grenfell building safety review

Manchester City Council has agreed to the recommendations of the Review of Building Regulations and Fire Safety. The review aims to protect high-rise properties and ensure residents feel that the buildings they live in are safe.

The agreement reveals how public bodies will work with the private sector to ensure high safety standards within the building and development industry. The Review was commissioned in reaction to the Grenfell tower fire and aims to prevent similar occurrences. Slack fire regulations are a national problem. There are still 79 tower blocks in Greater Manchester which do not meet fire safety standards, 30 of which are covered in the same material as Grenfell tower.

Manchester is the fourth council to join the movement, alongside Birmingham city council and Camden borough council. The council’s role as an ‘early adopter’ means it must champion building safety and act as a forerunner to cultural change. Structural reform on council-owned buildings will occur before legislation makes such changes mandatory.

Dame Judith Hackitt spearheaded the review, which prioritises safety ahead of all other building priorities. The existing private sector members include Willmott Dixon and Kier and significant housing associations, such as L&Q, are committed to implementing the guidance provided by the Hackitt Review.

Suzanne Richards, Manchester City Council’s member for Housing and Regeneration, said: “Manchester residents in private high-rise blocks are still feeling the impact of the Grenfell tragedy. Too many buildings still haven’t been remediated and the costs are being unfairly heaped onto leaseholders.

Emmanuella Ejsase-Tobrise a third-year history and sociology student, who lives in a newly built tower build told The Mancunion: “My building is pretty new, I think there are safety measures put in place and are adequate, but it annoys me that there are new regulations only coming out now, Grenfell Tower was years ago and it took them this long to come up with preventative measures?

“The fact that there could be buildings that are still unsafe is very scary, the Bolton fire was also completely irresponsible of the university they put their students lives in danger, it was an incident that could easily be avoided.”

New London style congestion zone in talks for Manchester

Manchester councillors have begun to discuss the possible implementation of a new clean air zone in the city. The zone, mirroring the one currently operating in London, proposes to charge older cars when entering the city centre in a bid to reduce air pollution.

The decision comes after this year’s first full meeting of councillors, in which the issue of congestion in the city was tackled. The suggestion proposed by city centre councillors Jon-Connor Lyons and Marcus Johns attempts to improve Manchester’s emissions. The proposal was backed by Labour and Liberal Democrat members.

Although the specific details regarding how this zone would function and the amount to be charged are not yet known, Johns showed determination to follow London’s success with the project. According to Manchester Evening News, the introduction of a clean air zone in London was successful in reducing emissions by a third in a matter of months.

Regarding the positive outcomes in relation to health and wellbeing of this implementation, Johns claimed: “I’ve not heard one reason not to act.” Lyons also adds that this project “will help to tackle this, but only if the government will work with us”.

Previously critical of the environmental group Extinction Rebellion’s closure of Deansgate, City Centre spokesman Pat Karney expressed his support for the plan. He stated that the issue of climate change “needs people like me and Richard Leese to catch up”.

However, the decision surprised many after Greater Manchester Mayor Andy Burnham’s promise to never introduce fees on drivers in the process of tackling congestion in 2o17. In conversation with Manchester Evening News, he said: “I’m not going to implement that charge on car users. I want to make this really clear – there will never be any charge on individual motorists.”

Uncertainty surrounding the proposal continues, with concerns that the public may not accept the change. A similar proposal that suggested charging individual drivers was rejected back in 2008.

The current plan put in place by Andy Burnham only imposes fees on the most polluting vehicles and does not include individual drivers.

It is unknown whether this proposal will come to fruition or when this matter is to be decided.

Rail Minister: nationalisation of Northern Rail will not provide instant improvements

In an interview with the Manchester Evening News, Rail Minister Chris Heaton-Harris has suggested that Manchester may receive upgrades to it’s rail network, and hints that the upcoming budget may allow for the construction of high-speed rail links in the North.  His comments come several weeks after the government announced its plans to nationalise Northern Rail due to persistent poor performance.

During the interview, the Minister claimed that nationalisation will not act as a “silver bullet” for the problems with railways in the North and meaningful changes would not manifest immediately, suggesting that significant change can only come from greater changes to infrastructure.  He claims the plan of the Government is to now regain the trust of the public and “reset” the rail network in the region following the meltdown of services which occurred in May 2018 after the imposition of new timetables.

When asked about potential service cuts, the Minister did not rule them out completely but suggested they would not happen yet, claiming “it’s really early days”.

The Minister expressed his confidence in Operator of Last Resort – the government team tasked with running Northern’s services – in delivering improvements to rail networks in the North as part of a 100 day-plan.  The specifics of this plan were not divulged in interview but the Minister mentioned that a deep-clean of existing train stock would be taking place.

Plans that aim to improve the rail services which currently cause delays in the centre of the Manchester Rail Network were originally drawn five years prior but have subsequently gone nowhere. Heaton-Harris claimed the government intends to invest significant amounts of money to improve an “infrastructure that is stretched to its limits”.

The Rail Minister also spoke optimistically about the Northern Powerhouse Rail, a £39 billion plan for high speed rail links across the North. He was “sure that the ambition is absolutely there” and that more information regarding the project would be revealed after the Chancellor’s budget is released in March.

The Tory Government’s election manifesto only promised to fund one section of this speed rail project, running between Manchester and Leeds, and is so far the only line to have been green lit by the Government for development. However, Chancellor Sajid Javid has claimed that the government could afford to fund the entire project.

UCU announces new wave of strikes

University and College Union have announced that 14 days of industrial action will take place across 74 higher educational institutions over February and March this year.

These upcoming strikes will be the second round of industrial action to hit the University of Manchester this academic year, following on from eight days of strikes in November and December 2019.

The ongoing industrial action is the result of two major disputes between the UCU and University senior leadership, which are still unresolved as of winter 2019.

These disputes at the centre of the action are in regard to the sustainability of the Universities Superannuation Scheme (USS) and rising costs for members, and on universities’ failure to make significant improvements on pay, equality, casualisation and workloads.

The full strike dates are as follows:

Week one – Thursday 20 & Friday 21 February
Week two – Monday 24, Tuesday 25 & Wednesday 26 February
Week three – Monday 2, Tuesday 3, Wednesday 4 & Thursday 5 March
Week four – Monday 9, Tuesday 10, Wednesday 11, Thursday 12 & Friday 13 March

UCU members across 60 universities including The University of Manchester also took strike action earlier on in the academic year that affected millions of students up and down the country.

The University of Manchester told The Mancunion: “In view of the progress in the negotiations it had been our hope that further action would not be taken. We are surprised and very disappointed with this decision while all sides are still involved in discussions to resolve the issues, and indeed UCU has fed back positively on these discussions.

“While we recognise the rights of UCU members to take industrial action our priority remains to minimise any impact on our students.

“Information for staff and students will be made available and we will provide them with regular updates.”

The upcoming industrial action will affect an added 14 universities as more UCU branches crossed a 50% turnout threshold required by law for them to take industrial action. This increased participation means the total of affected students across the UK will rise by 20,000.

Josie, a third year undergraduate at the University of Manchester, told The Mancunion that she feels the strikes are having a negative impact on the student experience, with little being done to compensate for the lost teaching hours:

“It makes it very difficult to support the lecturers because out of the six semesters I have been studying at UoM, half of them have been or will be affected by strikes and students have had no compensation for this.”

UCU has also issued a warning that if the current disputes are not resolved that strike action could continue until the end of the academic year. However, as mandates are valid for no more than 6 months, branches like Manchester that took strike action would be required to secure fresh mandates to continue industrial action in April

The Union also reports that alongside strike days, union members are taking part in “action short of a strike”. This initiative means that union workers will be working strictly to contract, not covering for absent colleagues and refusing to reschedule lectures lost to strike action.

UCU general secretary Jo Grady said: “We have seen more members back strikes since the winter walkouts and this next wave of action will affect even more universities and students. If universities want to avoid further disruption they need to deal with rising pension costs, and address the problems over pay and conditions.

“We have been clear from the outset that we would take serious and sustained industrial action if that was what was needed. As well as the strikes next month, we are going to ballot members to ensure that we have a fresh mandate for further action to cover the rest of the academic year if these disputes are not resolved.”

The commercialisation of coffee: style over substance at Pot Kettle Black

Its hardly news that coffee shops are moving further and further from the traditional format of coffee-centric espresso bar. In many ways, I’m comfortable with the transition. A favourite pastime of mine is spending an afternoon in a chic café, with brunch and cake options only an order away and often the option to get a bit of work done (depending on the scene).

That said, as coffee shops become less about the caffeine and more about the whole ‘experience’ of the venue, the value for money seems to be ever decreasing. The main feature that seems to be most important now is how ‘Instagrammable’ a coffee shop’s plates and location are.

Pot Kettle Black is, for me, a solid example of a coffee shop monopolising on the demand for these new features yet not delivering on the value of their products. It’s the perfect example of style over substance.

https://www.instagram.com/p/B3y2pJEgbI7/

I really wanted to like Pot, Kettle, Black – after all, it’s a Manchester favourite, winning the 2018 Manchester Food and Drink Awards with ‘Best Coffee Shop’.  It’s a well-known hot spot for brunch, coffee, and everything in between. I even visited twice, just to be sure of my verdict. But my overwhelming impression both times was that, despite a decent atmosphere and fresh food, what I was really paying for was their solid marketing efforts and fancy-sounding menu.

The brunch dishes both times actually left quite a lot to be desired for me. The menu seems innovative and different, yet the reality was that I paid £10 for their ‘Goats Cheese Toast with chilli, avocado, sliced radish, heirloom tomato and pickled red onion’. I’d expected something hearty and flavoursome, and was essentially served a glorified, singular slice of avocado toast.

Maybe I’m just missing something, maybe I ordered wrong, but the price I paid seems disproportionate to the fairly average and small (although, of course, pretty) dish I received.

https://www.instagram.com/p/B5-vG-3gB_Y/?utm_source=ig_embed

This brings me onto their coffee and cake menu, another element of their offerings which looked beautiful but just wasn’t up to scratch.

I ordered a latte and their salted caramel cake – which, according to a sign I was shamefully influenced by, is their best seller. The cake itself was passable, although inordinately salty (perhaps my pallet is not sophisticated enough?), but the most obvious thing about it was its dryness. At £3.50 odd a slice, I expect a cake to be freshly baked and moist, but this one had the texture of a cake baked days earlier.

Similarly lacklustre was my latte – or should I say flat white? I ordered the latte expecting a long drink, as it traditionally should be, but was served something that was not an awful lot bigger than a shot glass. Again, it came complete with beautiful latte art and a wafer, all served on a rustic metal tray. Ideal for the ‘gram. But where was the rest of my overpriced coffee? Admittedly, it was good coffee, but if I’d wanted a short drink, I would have ordered one.

Overall, this place isn’t bad. The ingredients are fresh, the coffee is decent, and it’s a nice venue tucked conveniently in Barton Arcade, just off Market Street so ideal if you’ve been doing a spot of shopping. However, I couldn’t help but write quite a damning review, because I’m disappointed that the café industry is so quickly giving way to style over substance in lieu of their Instagramming customers, charging a premium along the way. Pot Kettle Black sadly falls into this category.

2.5/5

Review: The Strange Tale of Charlie Chaplin and Stan Laurel

From my seat the stage was filled with different wooden levels, one of which held up a small red velvet curtain, a drum set on top of that, and a piano off to the side of the set. Other than that, you could see all the walls of the stage, all black.

It felt simple somehow.

This is exactly how I would describe The Strange Tale of Charlie Chaplin and Stan Laurel; simple yet dynamic, with only four cast members and an ever-shifting rotation of characters.

While there were some moments of speech, or rather singing, the night was mostly silent, other than the theatrical music reminiscent of a Chaplin film itself, performed by Sara Alexander on piano. Impressively, she had no sheet music and interacted with each character, even becoming Charlie’s mother for a scene which she performed with such effortlessness whilst still continuing to create a soundtrack for the night.

The show was based on the 1910 ship on course for New York, aboard, Charlie Chaplin (played by Amalia Vitale) and Stan Laurel (Jerone Marsh-Reid), both unknown acts at the time and both a part of Fred Karno’s musical hall troupe.

Throughout the play, scenes play out of their meeting and interactions, but then diverge to show Charlie’s childhood, Stan meeting his comedy-partner Oliver Hardy, and Stan trying to reconnect with Charlie years beyond their fame with a framed picture of them from the 1910 ship venture.

The lack of dialogue felt odd for a moment but it was remedied by the amount of physical use of the stage and versatility of the cast which kept those thoughts at bay. Unlike the charm of a Chaplin film, the show did not carry this atmosphere the entire way through.

At times, the physical comedy felt too forced, making me wonder whether I was part of a generation beyond silent films and physical comedy. Other moments, though, were so well done that I felt transported into another world.

This is partly due to Amalia Vitale’s beautiful characterization of Chaplin himself, even having the distinct walk of the comedy star. There were aspects featured the familiar Chaplin charm, like a brilliant scene in which Vitale magically lights a candelabra, and when one light does not turn on, the actor aggressively pushes down the prop light and winks at the audience.

My favorite elements of the show were times when the show was aware of itself and what time it was in. During a scene where Charlie is in need of assistance lifting a heavy body, he calls the pianist, bribing her with money after she refuses the first time. She immediately leaves her post, only then for both characters to realize their need for the music to continue the scene.

On the red velvet curtain, the projector, which was used to show some dialogue throughout the night, shows ‘does anyone in the audience know piano? One of you must have learned in school.’

A brave and giggling woman from the back row was taken on stage and gracefully played a song for the two performers to carry on. This, I thought, was perfection, bringing an element in for a generation of interactive instagramers and twitter posters.

A stand-out performance of the night was Nick Haverson (playing Fred Karno, Charlie’s dad, Oliver Hardy, among other characters). He had the ability to transform into his new characters so well beyond himself, it felt like a new actor on stage. In one scene, he physically puts a mustache on and stuffs a pillow under his shirt to become Oliver Hardy. It was so brilliant to watch.

The show ended with the song ‘Smile’, not Nat King Cole’s version but another I could not identify. Based on the instrumental theme used in Chaplin’s 1936 film Modern Times, the song felt a little on-the-nose for the show, but upon reflection it fit perfectly with what the show was trying to accomplish.

A night reminiscent of an era when no words were needed to make someone laugh or feel. Though there were moments that did not quite work, I certainly appreciated the message and enjoyed what it was trying to do.

The Strange Tale of Charlie Chaplin and Stan Laurel runs at HOME until 8th February before continuing its UK tour.

Review: The Lighthouse

If you’ve done so much as glance at ‘Film Twitter’ in the last few months, you’ll no doubt have seen heaps of praise dumped over Robert Eggers’ sophomore feature, The Lighthouse. Now that it’s finally seen a wide release in the UK, I come graciously with the shocking news that, yeah, it really is just as good as you’ve heard.

A young man (Robert Pattinson) joins an old sailor (Willem Defoe) for four weeks working a lighthouse on a small island. Over the course of their time, tensions brew, the boat that was meant to pick them up at the end of their stay never turns up, and it’s a fight between both men for safety and sanity from that point onwards. The Lighthouse is a difficult film to talk about without spoiling, and not because the story takes unexpected turns (although it does). You get what you expect: two men on an island, they go crazy. But, much like Eggers’ debut film The Witch, it explores so many different ideas and issues, from masculinity to environmentalism to morality in such a way that concretely categorising it is rendered almost impossible.

What’s not impossible, though, is talking about what is very good in it. The starting point has to be the cinematography; this was the only category in which the film has been nominated for an Oscar, and while it definitely deserved more Academy recognition, it’s not difficult to see why. Eggers and cinematographer Jarin Blaschke make fantastic use of high contrast black and white and an aspect ratio squeezed to a square to make you feel the isolation and claustrophobia of the characters, while using vertical space and clever lighting techniques to creatively capture the rich details of the production design.

 

 

What absolutely carries the film is its two leads; Robert Pattinson and Willem Defoe bring their absolute all to these demanding parts. Pattinson throws himself into the film’s most physical acting, all while performing a man with a mysterious past. Meanwhile, Defoe shines as a straight-talking superstitious sailor, whose now-famous booming monologue cursing his colleague deserves to go down in screen performance history. Much like The Witch, Eggers’ screenplay, co-written with his brother Max, pays close attention to painstaking time and dialect accuracy. This is then translated like poetry by the performers, creating arguably the most quotable film in which half the dialogue is 1890s sailor slang.

The Lighthouse is as much a mood film as it is a think-piece about various issues; it’s also one of those rare films in which all elements of its cinematic language come together, to soak you in that mood for two hours. Its pure surreality combined with the painstaking historical accuracy makes for an off-setting uncanny experience, while the spectacular performances and cinematography draw you in and entrap you in its atmosphere. It’s the kind of film you want to be over soon, for all the right reasons.

4/5.

Art in Mancunia: Alice Goad

Halfway through her third year of her Manchester School of Art undergraduate photography course, Alice Goad is a multidisciplinary artist who enjoys a self-described ‘hands-on approach’ to her practice. It would be easy for Goad to use this degree to focus primarily on her work as a photographer, but instead, she uses it as a means to incorporate other mediums that she enjoys and excels in. When you delve deeper into her selected works, you see not only evidence of this, but also of a constant flow of creativity that does not just use photography as a base but intertwines and imbeds it, along with other mediums, into her processes. Distancing herself from modern-digital techniques, Goad uses more traditional methods of photography, preferring to shoot on film and do her own prints within the darkroom, honing her technique over years of study. Combined with her use and understanding of other disciplines such as painting and performance art, Goad has built up a portfolio that boasts many different talents but also demonstrates her specific style as an artist.

Photo: Alice Goad

In her most recent project, Goad uses photography as a tool to visualize the trauma of an operation that she had when she was a baby. Photographing herself using a medium format camera and a cable release, she is able to create self-portraits with props as aesthetic signifiers to explore the complex feelings that come with living with the knowledge of something that she can’t even remember. Artists such as Jo Spence, Ana Mendieta, and María Evelia Marmolejo have inspired Goad to explore this event through the use of her own body in a performance-like piece. Alice explains how she feels disconnected from this event but is aware of the effects it has had on her family and the people she loves:

“When I started the project it centered around the idea that my transplant had physically happened to me, but not emotionally. I have no memory of what happened as I was a baby, so it’s almost as if it didn’t happen to me, but to the people around me. Covering my face, but bearing my body to the viewer is a way of visually translating these feelings.” 

These images are uninhibited and truthful – they come from a place that is hidden even from Alice’s own memory and therefore demonstrates her vulnerability at this time through her references to birth and a lack of remembrance, crawling through a slashed canvas and a gown concealing her face. However, in being so open and transparent the images become incredibly empowering, through this project she can take back ownership of something that she has experienced but does not remember with such bold and raw honesty. Goad allows the viewer to be a part of this intimate narrative on something that is deeply personal, and in doing so this project shows us the power that art can have in regards of ‘coming to terms’ and expressing things that may be difficult to address in just a normal day to day life. Opening up this discussion through her work, there is now a platform to communicate about these traumas and the impact they can have.img159.jpegimg159.jpeg

You can find more of Alice’s work on her Instagram @goadalice or on her website.

Shift in priorities for Duke of Edinburgh award

Duke of Edinburgh (DofE) Society committee members claim that the organisation is moving towards building character instead of being challenging to complete.

Society Chair, Caitlin Fotheringham claimed that DofE “does seem to be changing towards character building… instead of just … a really challenging award.”

This was said in response to the DofE Award’s most recent campaign, ‘The Experience List’, which was launched last month with the aim of helping young people “build confidence, resilience and independence.” Consisting of 25 activities, it is described as “a definitive list of character hacks for teenagers today.”

Fotheringham described her reaction to the list as mixed.

“If you tick all [the activities on the list] off, you’re then a resilient person – I feel like that’s very much not true. Some things here you wouldn’t need to do at all.”

However, she acknowledged that some activities on the list overlapped with those done as part of the DofE award, such as spending time getting to know to an older person – a worthwhile activity. She explained that she had benefited from volunteering with older people during her Gold Award residential with Revitalise, a charity providing holidays for disabled people and carers.

Fotheringham explained that the list and the award may be “very different but they can also complement each other.”

“I think [the list] could achieve different aims because the award looks at long term commitments, whereas some of these [activities on the list]… they’re kind of short term commitments that you would experience and then grow from that.”

She also responded to claims that the list reflects a move away from the grueling expedition section altogether. The Chair emphasized the expedition section’s importance, stating that “it’s what makes [the award] a challenge.” However, she highlighted that “the challenge level is not the same [between centres offering the award] – some people do really suffer, whereas some people don’t … and that’s what needs to be looked at.” Inclusion Officer, Imogen Davies agreed and described her school’s refusal to make adjustments during her expedition despite her congenital heart defect.

“I had to go [carrying] 16 kg over a mountain, which not many people would turn around and say “yes, we are going to do”, because that was ridiculously challenging.”

“The level of the expedition should challenge the level that group is at. It shouldn’t be beyond them.”

However, as part of their shift towards character building, committee members agreed that DofE were taking more steps to challenge participants at the correct level.

“They are leaning more towards that in the rules which are coming through now,” said Society Treasurer, Tia Jobbins.

Is it Art?: Sh*t London Guinness

I like London. I like going down on the train, visiting my friends, bemusedly stand on the left side of the tube escalator just to see the horror on their faces at the thought that I might get in the way of the hurried, briefcase-toting bourgeoise. I like the buzz of the metropolis, the endless art galleries, a Pret on every corner.

And then, after about a day or so, the cracks in my newly imagined London life start to show. I’ll see a rat on the tube, spend all my cash at M&M world, think about rent prices.

But the kicker, the real kicker, is that instead of finding solace in a pub, you can end up spending five whole British pounds to be served something that looks like this.

https://www.instagram.com/p/B5QcI8EHEyt/?utm_source=ig_web_copy_link

The account, shitlondonguinness, demonstrates that the Brits are still out to destroy the Irish and their culture. From no foam to half a glass of foam, from murky, grey pints, to tops that’d make a trypophobic nauseous, the Instagram demonstrates the very worst of London.

Now, you’re probably wondering how I have the gall to suggest that this is art. And the pints themselves can’t be considered art, unless you’re considering the creative ability to manage to make a pint of Guinness look like the world’s most heinous coke float. But art can expose the ugliness that underpins our society.

There is a strange sense of community in shitlondonguinness. A run through the account shows that individuals share their traumatic pints. And isn’t that what art is about? Coming together to declare that a pint deserves the bin.

There is a beauty to the account, too. Like my trips to London, I look at shitlondonguinness and begin to appreciate the good things in life when I’ve got them. When I see a perfectly pulled pint, I value the beauty of not having to lug through 8 inches of foam. Sometimes you’ve got to be exposed to the ugly to appreciate the beauty.

Verdict: Coming together to rag on terrible pints? It’d be a crime not to call it art.

Greater Manchester’s zero-carbon by 2038 pledge: a disappointing start?

Over a year ago, Manchester City Council announced plans to become a zero-carbon city by 2038 – 12 years ahead of the UK’s national target of 2050. Last summer, Manchester also joined multiple other UK cities in declaring a climate emergency. One year into the 18-year plan, the council’s self-titled ‘radical plan’ is being scrutinised for having a rather lacklustre start.

The year 2038 was arrived at based on Greater Manchester’s current use of its allocated carbon budget; 15 million tonnes of CO2 between 2018 and 2100. If the city continues with ‘business as usual’, Manchester will tear through this carbon budget in just 7 years.

Speaking to the Mancunian Matters, the Programme Director for the Manchester Climate Change Agency, Jonny Sadler, likened the current scenario to “getting paid your salary on Monday 1st of the month, and then spending it all by 2 o’clock on Wednesday of the first week”.

To achieve the task in hand, substantial revisions to the city’s current way of life will be needed. This will require substantial reductions in energy use and a swift move away from fossil fuels to renewable energy sources. However, what changes, when, and what they will mean for Manchester’s residents, visitors and workers remain somewhat dubious.

A key area of transformation will likely be in the transport sector: greener transport systems, investment in walking and cycling infrastructure, and the remodelling of the city’s buses. Akin to Transport for London, the operation of bus services could be handed over to Greater Manchester and the combined authority, allowing for services that serve more people and the removal of profit as a driving force for decisions.

Other likely initiatives could include utilising Manchester’s expanse of rooftop space for solar panels and wide-scale retrofitting of properties to increase energy efficiency. Alongside planning city-wide initiatives, the council has also created plans to cut its emissions which account for roughly 2% of the city’s annual emissions.

The council has already boasted substantial progress in emissions reductions, claiming to have halved annual emissions between 2009/2010 and 2018/2019. However, this claim has been challenged by Climate Emergency Manchester (CEM) who suggest that such changes are largely the result of a national switch from coal to gas and renewable energy alongside government cuts to council workforces as opposed to any wildly successful changes made by the council.

CEM has also highlighted hypocrisies within the council. Through a freedom of information request, CEM found that council staff have taken short-haul flights to Southampton, Exeter, and Edinburgh since the climate emergency was announced. In response, the council has stated that flights are only taken when no other feasible option is available.

After reviewing the council’s draft plan, CEM highlighted the council’s lack of ambition. For example, the council has set a target to plant 1,000 trees annually. Yet, when averaged out for each ward in Greater Manchester this would see just 30 new trees popping up across the likes of Withington and City Centre every year.

Further criticisms lie in the council’s zero-carbon plan conveniently excluding Manchester Airport, which currently has plans to build a new 7,500 capacity car park. CEM also voiced frustrations with the council’s apparent lack of emergency planning, particularly for areas at risk from flooding.

Chloe Jeffries from CEM said: “A year ago the council promised a comprehensive plan to 2038. Instead, the citizens of Manchester have been given uncosted and unquantified aspirations for the next 5 years.”

Activists who initially campaigned for the council to declare a climate emergency also called for a 2030 zero-carbon target. Other councils such as Birmingham and Leeds have committed to 2030 zero-carbon targets and Nottingham City Council have recently unveiled plans to become zero-carbon in 2028, a decade ahead of Manchester, placing Manchester’s 2038 zero-carbon target as perhaps a rather conservative, unambitious goal.

The council’s official plans are expected to become clearer and more detailed over the coming months as the official Climate Change Action Plan for 2020-2025 documents are released. In the meantime, environmental groups encourage residents to maintain pressure on the council to deliver their promises and be ambitious as possible in such a crucial commitment.

The council says it is, “100% committed, as a matter of urgency, to get to a position where the push for zero carbon is at the heart of both the Council’s day-to-day operations, and its decision-making.”

Inclusivity in children’s literature

A recent BBC piece on Lupita Nyong’o’s visit to a British school made me think about the importance of representation in children’s literature, and what is at stake when it comes to inclusivity in children’s books.

We’ve all read Roald Dahl and love the absurd universes he creates in an otherwise recognisable setting. We’ve read Jeremy Strong and Enid Blyton, J.K. Rowling, C.S. Lewis, and had the privilege of befriending characters we often envied.

It’s important to recognise and celebrate the fact that popular children’s literature has increasingly diversified over recent years, with books remembering historically important and inspiring women, representing LGBT families and the diversity of society. These books are generally available in libraries and book stores. 

For a lot of kids though, as Lupita points out, there’s a difficulty to connect with literary characters at a young age. There are fewer than necessary characters whose lives express the diversity of growing up in this world.

Lupita comments that ‘books don’t have to be about white people.’ And it’s true, they don’t have to be. But a lot of the books we are exposed to as children prioritise white audiences. This leads to a deficit of literature that connects in the same way to younger BAME audiences. This is an issue Lupita points to when she says “not a lot of books that I was reading were relevant to my immediate life”. 

The importance of recognisable figures or settings in the books we read isn’t just to do with enjoyment, but also the confidence gained from reading. If you’re able to find similarities with a protagonist who inspires you, you’re compelled to invest yourself in their progress, therefore committing to the journey of reading and, as a kid, the difficulties of reading.

It’s important to consider how a lack of reflection for young people can affect feelings of acceptance within the world of literature. Discussions about representation are prevalent in the film industry, as they should be. But it’s also important to realise that literature should provide exciting and relatable content for any person looking to spend time reading.

A few titles stood out for me as I researched children’s books that celebrate difference.

Alexander Penfold’s All Are Welcome, illustrated by Suzanne Kaufman, takes place in a classroom recognisable for most: one with cultural representation from all backgrounds. It creates a space for children to understand and appreciate the diversity of their society.

Yangsook Choi’s The Name Jar conveys the difficulties of negotiating identity for Unhei, a girl who has recently moved from Korea to the USA. The story shows a young girl struggling with acceptance, and the complex issues surrounding assimilation in a way that is tentative to questions surrounding friendship, self-identity, and cultural acceptance.

Lisa Tompkins is another writer who has prioritised inclusivity and  understanding in her book Why Are You Looking at Me?: I Just Have Down Syndrome. This book is fantastic in explaining how Down Syndrome does not preclude a child from having the same likes, dislikes, and desire for friends as every other child. It teaches us how to embrace and celebrate differences.

Lupita Nyong’o has also made her mark on the children’s literary world. Her picture book Sulwe wasreleased in October last year. The book sensitively connects with issues of colourism in format, narrative, and tone. The story allows children to access and reconcile anxieties existent in a world that often forgets to reflect positively, and accept the ways in which we are different.

It’s encouraging to find that strides are being taken to celebrate our differences in children’s literature so that more children can feel welcome in the literary world.

Review: Gorillaz: Reject False Icons

Throughout the history of ‘rock ‘n’ roll’ culture in indie rock, some features have appeared to remain and continue to be central to its primary existence. An undeniable feature that seems to date as far back as the earliest incarnations of rock in ’60s is the focal point of the ‘icon’.

This distinction can be found in a singular creator or creative symbolic feature which goes on to represents a certain movement or style. The Britpop era – a ’90s music movement – kept this ritualistic tradition alive. At this time, many of the “iconic” members of rock fusion mega-band Gorillaz took their first crucial steps into the music industry and into the fame that came with it.

As we fast-forward to 2019, a new animated art film documentary has emerged to offer an insight into the world of this band with the provocative title that invites us to “reject false icons” – perhaps in an act of rebellion to their own previous conceptualisation.

It seems quite fittingly bizarre of Gorillaz to introduce and quite blatantly claim the destruction of iconography. It is, after all, something that is becoming a huge point of scrutiny through discussions of creative development in musical styles and sounds, as well as the societal impact that the music industry has.

It is no secret that Gorillaz are a great amelioration of various indie rockers coming together to create an intriguing and often surprising discography of tracks. Since the collective’s initial conception in 1998, guided by Blur frontman Damon Albarn and artist Jamie Hewlett, the sounds they have created has consistently weaved and changed direction – seeming to explore almost every genre and the outer limits of indie rock to a different extent than previously understood.

No longer bound by the limitation of Britpop, the band has an ever-changing line-up, represented by animated counterparts. The members of the virtual band are known as 2-D, Murdoc Niccals, Russel Hobbs and Noodle.

These characters are crucial to Hewlett’s creative input and in the film’s opening sequences we are treated to a dizzying display of the group in various mad-hat, terrifying and sometimes hilarious scenarios from across the years – both entertaining and a total credit to the magic that has allowed the band to thrive for so long. It seems that for them the image and music work together in an infinite loop of over 100 musicians and creatives. At least until now.

https://www.youtube.com/watch?v=Dx5Ty1FzgvU

Gorillaz: Reject False Icons is filmed almost entirely in edgy black-and-white. Like a strange attempt at throwing a nostalgia filter over the film, this aspect of the production ultimately seems to exist simply for the sake of it.  A lot of the screen time is used to detail an incredibly harmonious look into the studio and producing sessions as Albarn brings together a whole bunch of new artists for their then-latest album, 2018’s The Now Now.

The variant combinations of rap artist, soul singers, punk performers seem to be endless – it really appears that there is no one that cannot be interwoven within the ongoing projections.

The interactions that Albarn shares with each of the artists is endearing, engaging and most importantly shows human connection through music in a really organic and easy to understand way. At no point is the language or behaviour of the artist overtly elitist which is refreshing and creates a far more revealing, honest appearance to the documentary.

If anything is proved by this film, it is that collaboration is everything and there is still experimentation to be explored. However, this is the second documentary about the band’s production process. I cannot help but yearn to see a few more full length animated films that make full use of Hewlett’s incredible talents and feature the same collaborative structuring that the music side has to offer stylistically.

Another sticking point is the way in which the film has been distributed. The film was initially given a very underground and exclusive one-off-event feel and then went on to be a completely free two-part feature-length on YouTube. Perhaps this was a statement to convey a decision to value accessibility over audience, but it does come over as slightly confusing. Did they want people to see it on a big scale or for it to be stumbled upon? It does rather give the appearance that the collective, transient group of creators have equally transient and perhaps conflicting views on the way in which their work is shown.

Overall, the icons haven’t been rejected. In fact, the symbolism of the collective has taken its place and with it, creative chaos continues to be at its heart. Although the film does come off as ‘art for art’s sake’ in places, it can certainly be credited as quite the expression of creativity at its truly most unbounded.

3.5/5.

A note on burnout culture

Back in 1869, Dr. George Miller Beard – an American neurologist – identified a new illness called ‘neurosthenia’. He described this illness as “a disorder of modernity, caused by the fast pace of urban life that puts excessive demands on people’s brains.” It wasn’t until 1974 when the word ‘burnout’ was used for the first time by psychologist Herbert Freudenberg in his book Burnout: The High Cost of High Achievement. Gradually, the neurasthenia diagnosis lost its popularity due to its lack of specificity as a diagnostic tool, and was eventually replaced by the ‘burnout syndrome’.

In his book, Freudenberg describes burnout as a “demon, born of the society and times we live in and our ongoing struggle to invest our lives with the meaning.” But how and when exactly have we, as a society, ended up building this demon and why do we keep nurturing it?

In a recent paper published in 2017 about the socio-cultural history of burnout, the emergence of the burnout concept is claimed to date back to early 1960s America. This was a period when a big number of idealistically motivated young people started a ‘War on Poverty’ aiming to eradicate poverty within a decade. However, the failure to achieve this ambitious goal arguably led to big disappointments, despair, and cynicism, the by-product of which is generations of ‘burnt-out’ people. This paper also argues that the transformation of traditional occupations into a formalised job, as well as the weakened authority of some prestigious professions seen during the same period, further promoted burnout. These speculations show that three main psychological factors contribute to developing burnout syndrome: idealism, disparity, and the lack of reciprocity, i.e. not receiving the recognition and gratitude one believes they deserve given what they offer to the community or the effort they spend.

Fast forward to the present day, we can see that this ‘demon’ is still alive and it keeps growing day by day. Statistics show that in 2018, 602,000 people in the UK claimed to have suffered due to workplace stress, and 12.8 million working days have been lost for the same reason. The leading reasons for these striking numbers were reported to be the workload (44%), lack of support by and communication with managers (14%) and violence in the workplace (13%). Risk factors like time pressure and unfair treatment are also reported to greatly increase one’s chance of burnout. Regardless of whether you are an employee or a student, you are likely to experience one or more of these events at a certain point in your journey.

Surprisingly, or maybe not so, among the majority of our success-oriented generation the ‘burnout diagnosis’ is worn with pride and honour. Pushing one’s limits to exhaustion is frequently applauded, and aiming for the highest achievement is admired by many. Having been raised with ‘the sky is the limit’ fairy tales, the past few generations, including ours, have grown up to potentially be the highest achievers in history, especially due to a growing middle class meaning more of us continue to higher education. Every day we are witnessing the achievements of people like Elon Musk, Jeff Bezos and Mark Zuckerberg, and how they turn their dreams into reality. Although these success stories are often deemed inspirational, we cannot disregard the fact that they normalise success and set the threshold way too high.

Growing up with this idea that anyone can achieve anything if they work hard enough creates enormous pressure on individuals. Being the best, the strongest or the bravest one can possibly be is the ultimate goal, yet no one talks about the high cost of high achievements or teaches high achievers how to deal with the consequences. We, as a society, are good at raising boss girls and boys who are capable of changing the world. Are we equally good at teaching them how to remain healthy, peaceful, and happy while doing so?

Rehabilitation, crime and community in the wake of the Streatham stabbing

Many in south London would have been stunned by the terrorist attack which occurred on the 2nd of February. Streatham is, unfortunately, no stranger to violence, but the incident will raise alarm bells for those who felt that terror could never stray into the suburbs.

In the wake of such an attack, where the assailant had been released from prison just a week earlier, we must ask if the government is doing enough to rehabilitate criminals, or effectively monitor those posing an active threat to the country.

Terror-related arrests have fallen sharply since 2017. However, recent years have seen a number of high-profile attacks, including the bombing of Manchester Arena in 2017, two attacks on London Bridge in 2017 and 2019, and now the stabbing on Streatham High Road.

In the last six years, 260 people have been released from prison after serving for terrorist-related offences. Recidivism for this type of offence is quite low, contradicting Boris Johnson’s statement that “[rehabilitation of terrorists] can happen but the instances of success are really very few.” However, if two people can be stabbed in broad daylight by a man still under police surveillance, the process is clearly failing in some areas.

The existing terror rehabilitation programme is HII (Healthy Identity Intervention). It aims to reduce the risk of violent extremism by tackling a person’s relationship with a particular group, cause or ideology. A lack of offenders has rendered the government unable to effectively measure the programme’s success. Christopher Dean, a forensic psychologist who helped develop the programme, has highlighted the difficulties of ensuring positive results, on account of the emotional complexities of indoctrination. Yet he maintains that the scheme was backed by the best possible evidence.

2019 London Bridge attacker, Usman Khan was involved in HII during his 8 years in prison. He appeared to respond well to rehabilitation, and due to recent changes in legislation, was released with no oversight from the Parole Board. Less than a year later, Khan stabbed five people, killing two.

There must be effective aftercare if HII is to work. Mr Dean told the BBC of the importance of ensuring that police and probation officers know the results of schemes in prison, and monitor those at risk of falling back into extremism.

The role of prisons in radicalising people must also be considered. An independent report from 2015 into Islamist extremism in prisons declared radicalisation a “growing problem.” Ian Acheson, the former prison governor who led the review, told the Independent that a “lethal combination of arrogance and ineptitude at the top meant that the scale of the problem was not remotely understood.”

Ultimately, there remains much uncertainty over what governments and prisons can do to ensure inmates are properly rehabilitated, especially with regard to extremism. Even Acheson stated, “we have no clear idea what impact long-term custody will have on the ideological commitment of these people.”

If governments cannot offer adequate support, perhaps we should look to community-focused approaches to combat extremism. Isolation and disillusionment are common catalysts of extremist behaviour. Acheson’s report highlights the ‘Plastic Muslims’ whose involvement with prison extremism is motivated by problems of identity and community.

In the case of Sudesh Amman, the Streatham attacker, isolation and loss of community may well have contributed to his recidivism. After being released from prison, he lived in a single hostel room, barely speaking to anyone. The hostel manager said of Amman: “I didn’t have much to do with him. Everyone has their own rooms in there. The last time I saw him I was doing his radiator, setting up his heating on Friday. He didn’t speak much.”

Additionally, Amman was subject to a curfew, restricted in his use of electronic devices, and prevented, via a GPS tag, from accessing ports and airports. Such a punitive approach and lack of any stable pathway following prison will do nothing to reintegrate people into society, the key principle of prison rehabilitation.

Salman Abedi, who carried out the 2017 Manchester Arena bombing, was part of a British-Libyan community highlighted for radicalisation. Senior community leaders and Salah Suhbi, an MP in Libya who grew up in Sheffield, warned about terrorist recruiters operating openly in Manchester. Similarly, the three men who carried out the 2017 London Bridge attack were brought to the attention of the police by senior figures at a local Mosque. These calls for action were ignored, however. 

There is a clear and dangerous disconnect between action at the top of politics, and the communities intimately involved with and affected by these issues. Following the Manchester Arena bombing, Chief of Police Ian Hopkins said the “big piece of work” for the future would be “working with our young people and trying to get to the heart of why people are feeling isolated and why they are subject to being influenced in this way and radicalised.”

The government’s Prevent scheme has attempted to fill the gap. But this has been widely criticised for promoting xenophobia and causing self-censorship among young Muslims, who are scared of being referred by their school, for example.

The Guardian reported a case of a 13-year-old boy quizzed by school and government officials on his views on ISIS, after using the term ‘eco-terrorist’ in a French lesson. Other Prevent referrals include an 8-year-old whose t-shirt was mistaken for ISIS propaganda, and a 17-year-old wearing a ‘Free Palestine’ badge. Such a programme can only alienate those already alienated, creating a culture of fear and division in which radicalisation thrives.

The Prevent scheme has many prominent critics, such as Yasmine Ahmed, Director of NGO Rights Watch UK. She claims the scheme has “alienated and marginalised the community who are now mistrustful of the security apparatus that needs them to work with them.” The Muslim Council of Britain has also criticised the scheme for its lack of supporting evidence.

Community-directed schemes may be more effective in the long term. In 2018, a former senior police officer now working with the Muslim Council of Britain launched Safe and Secure. This initiative works within Mosques to tackle similar issues to Prevent, but without the stigma. It will cover radicalisation, as well as gang violence and child exploitation, issues the MCB feels are linked to vulnerability and low self-esteem. Schemes like Safe and Secure highlight issues in a more relatable setting and allow them to be handled sensitively.

Wider studies of crime across the UK show that community service and therapy after release greatly reduce rates of reoffending. They also show that current support is poor. Only 43 per cent of prisons were given a positive rating for ‘purposeful activity work’, which includes training, education and work inside of prisons. Following release, ex-offenders find it incredibly hard to reintegrate. Only one in five hold a job for six months or more, and one in seven are homeless upon release, with the latter jumping to one in five for sentences of six months or less.

Viewed in light of prison overpopulation (a result of short sentences for petty and non-violent crime), these statistics make it abundantly clear that the government’s current approach to crime and rehabilitation does not work. We need a shift towards community-focused policies that teach young people to resist radicalisation. Such pressure can never be eradicated, but it can be contained.

This, in turn, demands greater spending and investment across the board. It is no surprise so many feel isolated when the budgets of schools and youth services have been repeatedly slashed. Schools receive £2bn less in overall funding than they did in 2015. Investment in youth services has fallen 69 per cent over the last decade and is now at its lowest point in a generation. Knife crime, on the other hand, is at its highest since 2011.

Our government is failing the most vulnerable in society and leaving entire communities behind. The futures of so many young people have been written off in the name of austerity. If this weren’t enough, reckless budgets and uninformed policies endanger our society and, sadly, those shopping on a Sunday afternoon.

Sonny Bill Williams: the most expensive man in world rugby

Last weekend saw round one of the 2020 Betfred Super League season. One of the most eagerly anticipated games in the first round was that of the Toronto Wolfpack against the Castleford Tigers, as Toronto welcomed the most expensive man in world rugby, Sonny Bill Williams.

SBW’s latest code switch marks the fifth major code switch in his career. Across both codes he is arguably one of the most decorated and accomplished stars, boasting World Cups, Premierships and even Olympic medals. Unfortunately, however, he was unable to make a difference on his debut in the Wolfpack’s 28-10 defeat on Sunday.

Fans were eager to see the 34-year-old as he has made headlines around the world for this latest switch, becoming the most expensive player in both the league and union. In the off season, the New Zealander signed a two-year £9m contract, making him the highest played player in both the rugby league and union. Williams’ landmark contract was made possible as he was signed as a ‘marquee player’, a rule created in 2016 in order to attract major talent from the National Rugby League in Australia and the rugby union.

Although the expense at which Williams has been attracted to Super League is unprecedented, he is one of many large signings that have been made in this year. Amongst them is the highly controversial signing of Israel Folau to Catalan Dragons. Folau lost his position in the team for club and country for homophobic remarks made in 2019 and his return to league action comes after other leagues and organisations have distanced themselves from him. Folau will join the Australian superstar James Maloney in France.

This new influx of Southern Hemisphere talent is sure to attract a new set of fans to Super League. However, many fear that smaller teams will be unable to compete.

What to wear when you’re bored of winter fashion

The key to winter fashion, especially by dreary February, is the coat. Once you have your staple coat, styling outfits for dull days gets far easier.

Consider going oversized – a large coat is easy to throw on over anything and everything. Hoodies under big coats give the feeling of being blanketed, perfect for those days when you just don’t know what to wear. Take inspiration from European brands like Raey, who have perfected this layering staple. The slight androgynous edge of their designs gives a clean and polished look. Don’t be scared of the bulky largeness of slightly bigger coat – when belted and layered, it can create a perfectly chic look. One large item also means there is less need for layers, creating an easy fix for day-to-day.

https://www.instagram.com/p/B7vzS4nnktf/

Equally, Max Mara’s iconic wool coats provide the perfect dream outfit to replicate. Consider incorporating colour when purchasing a coat – pastels and cool tones are perfect for winter dressing when you’re yearning for spring.

Throwing on a bold coat over an all black outfit suddenly brightens up the outfit, allowing winter to become playful and exciting. Winter doesn’t necessarily mean dark tones. Just because it’s dull outside doesn’t mean your outfit has to be.

https://www.instagram.com/p/B7BNqOlgtyA/

And, you can also play with your accessories. For example, try a bright scarf to liven up your outfit. Checks are always versatile and classic for scarves. If you have a neutral coloured coat, a scarf is the perfect way to experiment with prints and patterns.

Bags are another way to do this – a quirky or detailed bag can suddenly liven up an outfit. If your wardrobe tends to stay dark or neutral during winter, this can be a great way to add some colour and fun.

Similarly, the key to changing up a winter look is combinations: a large hoodie with a pair of well-cut trousers can bring a certain slickness, or a cropped cardigan with a mini skirt and knee highs oozes 90s influence. Big cardigans – cozy and warm – thrown over t-shirts or vest tops provide easy layering options.

Treat yourself to good quality knitwear that you’ll want to wear again and again: sustainable brands like Nobody’s Child have a variety of good quality jumpers and cardigans that are perfect for these cold nights. Have fun with your knits – playful pinks and bright yellows can brighten up even the coldest of days.

https://www.instagram.com/p/B7mC3afBwDh/?utm_source=ig_web_copy_link

Lastly, when you’re particularly bored with winter, skirts can be your new best friend. Mess around with length – a mini skirt combined with patterned tights can have interesting effects (look to Gucci for hosiery envy), while a midi or maxi skirt combined with printed socks and a cropped jumper is a staple go-to ensemble.

In summary, winter’s lifelessness can be conquered through a floral print and a hint of something bright. Remember your accessories, and above all remember a staple coat that you never want to take off is the best antidote to the winter blues.

Go join your local library!

I can’t remember a time where I wasn’t a member of my local library; I still have my library card from when I was in primary school that has my name spelt wrong. Becoming a library member was one of the first things I did when I moved to Manchester in my first year. They feel so reliable and predictable – I know what to expect when I walk through the doors no matter which city or country I’m in.

There are few cards in my wallet that I can get so much without exchanging money. I can go to a library and take out countless books, scan my card and walk out without spending a penny. Even if you don’t have a card, or don’t want books, you can still sit in a library for free and use the many facilities they provide.

I used to go to a craft club in my local library on the weekends, which is where I learnt how to crochet and knit, again, for free. I used to sign up to their summer reading challenges and was filled with pride when I read six books over the six weeks of the summer holiday. I remember teenagers used to sit and play on games consoles and hang out. And this support and engagement is provided throughout adulthood, with classes teaching adults how to use computers and set up email accounts.

Because the university library supplies most of our needs as it holds the textbooks we need among plenty of other services, I think it’s easy to live within the University of Manchester instead of the city of Manchester. Whilst the local libraries may not have the books for your degree, I do think it’s important to get a membership. There are no points to collect and there are no annoying spam emails, as there are with many other loyalty cards, so for me it’s a win-win.

A report in 2019 showed that 800 libraries have closed since 2010, and many more have had to reduce their opening hours because there just isn’t the funding for them anymore. But libraries are essential and I struggle to think of another public building that provides for local communities in the same way. The Central Library in Manchester was reported to have 8.3 million visitors since 2014, and 250,000 people have visited for special events and activities, as well as millions of books being on loan. It’s a hub for students from schools to university, and adults to study and work, and is also safe haven for younger children to play or enjoy reading a book. There are few places in our community which doesn’t discriminate on age-groups and for that I love them, and they can serve so many purposes.

Public libraries are an undervalued establishment, often forgotten when we can get books delivered to our door from Amazon or other online retailers. We can forget they provide more then a world of books to discover, so forget they offer more then books (but in a society where we need to be concerned about sustainability why not get a book from a library instead of buying it and reading it once).

Head down to the Withington Library and sign-up, or go to the Central Library and become a member. Public libraries do so much for the community, and it’s important to remember and acknowledge that, and, ultimately, use their facilities.

Art in Mancunia: Sebastian Schmidt

For many artists in Manchester, our once charcoaled streets are a breeding ground for artistic inspiration. Although Manchester prides itself on its diverse population, prominent LGBTQI+ community, and nationally famous music scene, the industrial backdrop our city was built upon is more than just a thing of the past. 

 

Image courtesy of Sebastian Schmidt

As technology and music have met in marriage, so has the experimentation with industrial electronic sounds found in recent genres of rave music. This is the theme found in Schmidt’s ‘Final DJ Mix 2019’ of minimal and hard techno. The rave music genre is one of which Schmidt, our first official DJ for Art in Mancunia 2020, will be exploring. 

Schmidt’s musical journey began outside of Manchester, specifically in South Africa. After moving across the globe to North Wales, Schmidt met an inspirational music teacher, Mr Pete Williams, who motivated him to take the leap which evolved into his dynamic musical talent. 

The dream began as a guitarist for a metal band, but the University of Manchester captivated Schmidt’s dreams and translated this into a love for electronic music. It was here that classic rave artists such as The Prodigy, The Chemical Brothers and Aphex Twin began to inspire him. Within the broadness of electronic music, DJs like Schmidt frequently contribute to new sub-genres of techno.

Image courtesy of Sebastian Schmidt

Like many student DJs who taught themselves under the dim lighting of their uni accommodation, Schmidt created a name for himself by hopping on the decks at house parties and messy afters. Nonetheless, after three years of fun, games, and freedom, Schmidt knuckled down and proceeded to remain in Manchester by taking up a Masters degree in Electroacoustic Composition.

Schmidt uses forums such as SoundCloud, Fuse FM Radio Station, and Mixcloud to produce a creative fusion between dance music, and his own specialty of ambient electroacoustic which he currently produces. Aside from creating a collaborative EP with Twin Complex, and playing a DJ residency in 532 Bar at the SU, he will also be performing his own music at MANTIS festival in the near future.

DJs like Schmidt demonstrate that consistent practice and sincere love for music can get you places, evident in his goal to release his second album in 2020.

Feel inspired? Check out his Mixcloud and Instagram for upcoming performances @sebschmidtmusic.

The problem with normalising ‘situationships’

Reality shows depict people and situations which are supposed to be relatable. However, it is near impossible to name a reality show in which there is not an ‘on-off’ couple, one person yearning for an established relationship, while the other refuses ever to name the situation, which can only be called a ‘situationship’. And despite the unfulfilled, unhappy half, the audience will remain gripped to this ‘couple’, cheering them on. In this way, we risk romanticising toxic relationships and normalising harmful behaviour.

Love Island, for example, promotes disposable relationships. Individuals couple up, but the mentality is: ‘keep your options open’. Afraid of being ‘mugged off’, the contestants fail to commit and are always ready for pastures new. Audience tweets show that they encourage re-couplings, shuffling the deck of kings and queens, and normalising a disposable mentality.

Relationships in the villa often come with the labels removed. As a result, contestants never know where they stand. Those in a couple will witness someone try to change the mind of their ‘partner’. Instead of leaving the situation, they rise to meet their competitor. How would you feel having to compete for your bae? Would you fight or flight? Actually, it seems that millennials are becoming more tolerant of non-committed relationships. Few escape the ‘what are we?’ predicament and many are happy to settle for an almost-relationship.

Yes, sometimes these ‘situationships’ become something more, but what about the side that television programmes don’t illuminate—when both individuals are in fact on different pages and one never intends to commit. There can be many reasons for this. Some people are scared of getting hurt because of past relationships. Some want to keep their options open. Some just do not want to settle down.

TV shows present unlabelled relationships as the result of a lack of communication, yet they are glorified all the same. The message being conveyed seems to be this: tolerate an unhappy ‘situationship’ in the hope that, one day, the feeling will be mutual. Our society should not treat people so disposably.