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Month: March 2020

Student Photo by bantersnaps on Unsplash

UCU strikes and the impact on student wellbeing

Written by Phoebe Moore on . Posted in Lifestyle.

In the midst of the ongoing University and College Union (UCU) strike action, which culminates in a week-long walkout beginning Monday the 9th of March, student wellbeing is being affected in a variety of ways. Whilst I recognise the importance of the strikes as an urgent measure to oppose universities’ failure to significantly improve pay, equality, job security, and the workload for academics and tutors across the country, it is necessary to voice the consequences for student wellbeing that may be experienced during strike action.

As a result of strike action classes, have been cancelled and some students’ timetables have been considerably reduced with certain areas of course content being compromised, which is a critical issue for final years in particular. Structured day-to-day routines have been obliterated, which can lead to a decline in productivity and motivation to finish assignments with limited support on hand. As well as this, some students may experience a considerable decrease in chances for social interaction caused by a lack of lectures.

Obviously, this will vary depending on the student and how much they see their lectures as a way to interact with friends and peers, valuing this side of their time on campus knowingly or not. It is safe to say that conversation with others can become minimal on days of high workload, and scheduled classes may be the only opportunity to chat to somebody all day. Our sole companion to carry us through a day of a non-existent timetable might just be our laptop and notebook. The human interaction we can gain from attending lectures is an easy way to boost our mood and break up days of isolated self-study. Sometimes, at the height of academic demands – as we balance the forever difficult triangle of work, sleep, and a social life – lectures can serve as an effortless pre-arranged social meeting, providing an opportunity for the most trivial of conversations, whether our course mates are simply acquaintances or close friends.

Our wellbeing can be connected to the amount of social interaction that we experience on a day-to-day basis. Psychologist Emma Seppälä for TedX stresses the importance of even the most minimal greeting and acknowledgement leading to greater psychological wellbeing. Catching up with classmates or engaging in small talk before or after lectures is one way to boost our mood and to give us a sense of community and belonging when studying can become quite isolating.

Psychology professors Gilian Sandstrom and Elizabeth Dunn carried out an academic study on the relation between casual social interaction and individual wellbeing. Their experiment focused on people interacting with a Starbucks barista, instigating a small conversation much like the social interaction that can be gained in the lecture theatre with those around us. Sometimes we crave a little small talk when hunched over our books in the library or bundled up in blankets studying at home. Sandstrom and Dunn’s experiment on members of the public seeking human connection in Starbucks showed that even “trivial social experiences can shape belonging and wellbeing”. Those that might rely on human interaction at lectures for their daily dose of connectivity may then struggle with navigating their many lecture-free days during the strikes.

The upheaval of strike action doesn’t make the often stressful reality of student life any easier. Tom Cannon for Redbrick Research in 2017 identified the significant difficulties and stresses that students experience on a regular basis. Academic studies are balanced with social relationships, finances, the pressures of social media, and pursuits to boost prospects of entering the increasingly competitive job market. This is without the additional struggles of navigating the strikes and their accompanying sense of purpose and studies feeling a little ‘up in the air’ – we are here to gain an education after all.

At this critical point in the university year, with ever-increasing workloads and impending assessment deadlines, I stand in solidarity with lecturers, but I also advocate support and recognition by institutions towards their students at this time. All members of the lecture theatre, academics, and students alike need and deserve greater consideration in a multitude of ways. As students, let’s look out for each other, no matter the current degree of timetable fragmentation. Some may be feeling the effects of the strike more than others, not just on the academic side of life, but on the social side too. 

 

Photo: Images Money @Flickr

Almost two thirds of disabled students missing out on funding

Written by Megan Oyinka on . Posted in News.

A report has shown that 60% of students eligible for Disabled Students’ Allowance (DSA) had not heard of the bursary before.

Eligibility for the DSA is based on disability rather than household income and provides support for students with learning difficulties, mental health conditions, long term health conditions and physical disabilities.

However, according to the report by the Department for Education, many students who do qualify are missing out due to lack of awareness of the bursary and eligibility criteria.

“I had no idea that I was eligible in the first place…it wasn’t something that was widely broadcast to students,” said Annie Kate Knowles, a third-year Politics and Spanish student who was diagnosed with ADHD earlier this year. 

Speaking to The Mancunion, she also raised issues about the assessment process, adding that it was “very inconvenient when you can barely organise what you’re having for breakfast.”

Despite this she advised qualifying students to apply, telling them to “go for it …they [DSA assessors] are super accepting of everyone and every kind of disability.”

The DSA assessment uses a needs-based approach to determine what each student is eligible for. In some cases, a student may be given extra funding that acts like a “general allowance”. Others may be given a “non-medical helper” (for example a study skills tutor) that is paid for by the bursary. Some students may receive support in the form of specialist equipment or software to help them along with their studies.

Grace Bridgewater a former student at UoM explained that she wasn’t aware of the support available for her until she was hospitalised due to her mental health.

Once she became aware of the bursary she said that she remembers the process for getting DSA was easy. However, she told The Mancunion that she feels that universities could do more to increase awareness of invisible disabilities, suggesting that testimonials from fellow students on the university website could help more students with disabilities feel “valid”.

Both Grace and Annie praised UoM’s Disability Advisory and Support Service (DASS), with Annie saying they were “super helpful”.

The stigma of mental health and disability may also be affecting rates of application, with reports that some schools and colleges discourage university applicants from disclosing their disability to their prospective universities.

The report also suggested that only 13% of DSA beneficiaries were informed about it by their school or college.

If you think you might be eligible for the DSA, or need support with your disability at university, you can contact the SU Advice Service on [email protected], or get in touch with DASS by emailing [email protected].

Germany pipped at the post by impressive Dutch squad

Written by Iwan Hopkins on . Posted in Sport.

The worldwide panic over Coronavirus has begun to affect sporting events, but Germany were determined hosts, and the UCI Track Cycling World Championships went ahead.

Dutch racer Kirsten Wild took the first gold medal of the opening day, followed by the German sprint team, as the two nations began their week-long battle. There were 20 events, ranging from team pursuit to keirin, and all of the 21 nations that took part achieved at least one medal.

Two athletes particularly stood apart from the crowd, as they both won three gold medals. The feat was achieved by Dutchman, Harry Lavreysen, and the German youngster, Emma Hinze. Their individual prowess went a long way towards helping their countries, as they went toe to toe until the final day.

However, with the Tokyo Olympic Games only months away, this event served as a taster of what we can hope to see from individuals. This might prove alarming to fans of Team GB, as they took home only one gold medal.

This came from an impressive performance by two-time World Champion, Cardiff-born, Elinor Barker. At the age of 25, the MBE-holding cyclist will be hoping that she can build on her points race victory this summer.

When talking to the BBC, Katie Archibald claimed that Team GB’s underachieving is nothing to be concerned about. She stated the “margin for error is so small,” and that, by the time Tokyo rolls around, things will have been put right.

However, Sir Chris Hoy is not so convinced. He argues that Team GB have stagnated, whereas the “rest of the world have moved on.”  He went on to claim that this is not a feeling which the cyclists will be used to, as Britons have always been the ones to “raise the bar”.

Just how justifiable these concerns are will be revealed in July, it’s certainly one to keep an eye on!

Photo: pitpony.photography @ Wikimedia Commons

Can musicians tour sustainably?

Written by Jemma Harris on . Posted in Music.

Concerts and tours are likely one of the biggest energy consumers in the music industry. From the transport of artists, crew, management, equipment, and audiences to the huge volume of waste produced; the amount of energy used for one concert is enormous — let alone for world tours.

While most artists are aware of the impact, few appear to be trying to make a change. However, some are now beginning to take steps in the direction of sustainability. Coldplay took it to the extreme and announced in November 2019 that they would postpone touring until there could be an environmental benefit. The band aim to be carbon neutral, have no single-use plastics, and largely use solar power. Whilst halting touring is definitely the most effective way to be completely sustainable, finding sustainable solutions is preferable but a lot harder. This is why Massive Attack have decided to work with researchers from the University of Manchester’s Tyndall Centre for Climate Change Research to collect data on band and audience travel as well as production and venue outputs. They have previously tried to offset their impact on the environment but decided against it for moral reasons. The data collected will likely be incredibly useful and will give the music industry more direction in specifically how they can make a change.

On the other hand, some artists are more proactive in trying to make a change. From putting messages about climate action into their songs, including one featuring a speech by Greta Thunberg, to actually implementing some practices; The 1975 seem to be the most vocal and active within this group. Their biggest effort for sustainability in concerts is their Finsbury Park ‘mini-festival’ which they will be headlining along with some big names including Charli XCX. This show is planned to be paperless, run on hydrotreated vegetable oil, and have a tree planted for each ticket sold. This is a bold step and will hopefully promote and demonstrate the idea that concerts can be more sustainable.

Photo: The 1975 on Instagram

The band have also teamed up with Reverb to make changes backstage, focusing on recycling and removing disposable products. This has also extended to the audience as together they have produced reusable Nalgene water bottles. Whilst a great idea, these can only be bought after the show for safety reasons and cost an extortionate £15. This results in near-normal levels of single-use plastic and whilst an important measure, this method is still definitely flawed.

Further, The 1975 have been touring almost constantly since the release of their last album A Brief Inquiry Into Online Relationships in late 2018. These shows have involved extravagant lights displays with moving parts including a travellator which frontman Matty Healy walks and dances along. Whilst these are a crucial part of the band’s performance, a big selling point of their live shows, measures should be taken towards reducing their environmental impact — and this is where the venue comes in.

A lot can be done by the artists themselves, but it is not completely down to them and there are limitations on what they can do. Therefore, venues should also make an effort to be eco-friendly. Since a lot of energy is used, venues should switch to renewable energy sources such as solar power. Safety means that some disposable products are needed so where these are needed, venues should opt for biodegradable alternatives in place of plastic. Unfortunately, these changes may be difficult for smaller, independent venues to achieve as sustainable alternatives tend to be more expensive.

It is also the responsibility of the audience to make choices that are sustainable where possible. For example, in the queue for The 1975’s second O2 London show in February, there were a number of blankets left on the floor amongst the usual debris of empty bottles, packets, and wrappers. Hopefully, The O2 put them to good use but it seems unlikely. The same audience that produced so much waste later raised their fists in the air when The 1975 feat. Greta Thunberg was played. It’s easy to wonder how much these people that seemingly support this message actually do in their own lives to reduce their carbon footprint.

Overall, touring sustainably is currently very difficult but the pushes from artists, audiences, and venues will help to change this and make touring a much more sustainable endeavour. Hopefully, there will be systemic sustainability within the music industry and musicians can one day tour with a clean conscience.

Photo: JGroff13

Album Review: The Main Thing by Real Estate

Written by Reece Ritchie on . Posted in Music.

The Main Thing is the latest offering from New Jersey band Real Estate — a five-piece made up of Martin Courtney (vocals, guitar), Alex Bleeker (bass, vocals), Jackson Pollis (drums), Matt Kallman (keyboards), and Julian Lynch (guitar). Having never before listened to Real Estate, I went into this album blind (or deaf I should say) with no idea of what to expect.

The Main Thing is Real Estate’s fifth full-length release and I noted prior to listening that it had received much critical acclaim. Having said this, the prevailing opinion seemed to be that this album is enjoyable but forgettable; many noted that the album was melancholic but if I’m not going to remember it after listening, is there any point?

The album opens with ‘Friday’, an ultra-chilled track that seems the perfect fit to play through speakers in a dusty old record store. The album continues this trend of guitar melodies which are neither fast-paced nor slow — somewhere achingly in between. Whilst ‘Paper Cup’ enjoys the benefits from the addition of a female voice, the rest of the album sees no such varying relief.

The album features thirteen tracks, but by ‘Falling Down’, the sixth track on the album, it is likely to already be forgotten by most listeners. Sadly, the album does not pick up from here with simply more of the same soothing guitar melodies over gently rolling drum beats. This might appear a pleasant description, but even drying paint appears pleasant sometimes.

‘Also A But’ reminds me of The Magic Gang, if their tracks went nowhere, building up to a chorus that instead of breathing much-needed life into the album, returns to repeating drawn out chords. By this point, I was searching for positives, a standout track or an inspiring lyric, rather than looking for its faults — this sad truth tells you all you need to know about The Main Thing.

The end of the album begins with the eponymous, ‘The Main Thing’. This is clearly where Real Estate perform best on the album; whilst this is a significantly better execution of what the band had been trying on the whole album, simply doing the same thing better isn’t enough to save it.

By final track ‘Brother’, listeners are likely to be found in the land of nod (rather than swaying along to feel-good sounds) as they would with pieces that inspired this album. This isn’t to say listeners wouldn’t have an entertaining time drifting off, but that is still where they would end up.

Upon listening to the album, I returned to some of Real Estate’s earlier works such as It’s Real to see how the band had adapted but sadly the change has been for the worst. The Main Thing is clearly Real Estate’s music now; I have delved into their catalogue but it is Real Estate in a way that has lost its way — now that I understand the band’s most popular sounds, I am even more disappointed in this collection.

I cannot fault the technicality of this album, there is no clear fault in any individual members’ performances and together the band have a coherent sound, but it is no longer enough for a band to simply be technically apt. In the modern realm of music, this album is incredibly dull, disappointing, and would not seem out of place in an office elevator.

My feelings towards this album may seem overly harsh, yet all I ask from an article of music is some inherent energy. This doesn’t mean roaring fast-paced chords nor speaker busting bass, rather a sense of intention within a piece. Yet, this album, whether you seek to praise or critique it, embodies watching the world pass you by. I encourage readers to listen to the album despite its flaws, as it is relaxing, and apt for a lazy Sunday afternoon. However, if it’s excellence you seek, it will not be found here.

1.5/5

Recommended: Coming-of-age films

Written by Tobias Soar on . Posted in Film.

Growing up is awkward, terrifying, hilarious, and overwhelming. What does it mean to become an adult? How do our roles in society change as we grow and change with it? Honestly, I can’t answer that. Luckily, there’s a whole genre of films that explore this phenomenon, using humour and drama — even horror — to try and explain what the hell is going on in life.

 

Lady Bird – Zofia Gryf-Lowczowska

Greta Gerwig’s 2017 comedy-drama Lady Bird perfectly encapsulates the essence of the coming-of-age genre. The film is set in the early 2000s as its protagonist Christine McPherson, who rebrands herself as Lady Bird, struggles through adolescence and her tumultuous relationship with her mother. In its memory-like style, Lady Bird deals with issues that are universally common to adolescence such as love, sexuality and familial relations, with Gerwig’s direction paying particular attention to the female protagonist’s emotional maturation. Perhaps most significantly, the film depicts Lady Bird’s difficult relationship with her hometown; she desperately longs to move as far away as possible, only to sorely miss it once gone.

Cinema Paradiso – James McCafferty

Cinema Paradiso is more than a traditional coming-of-age story. Through the character of Jacques Perrin’s Salvatore, the film asks us to consider the role of memory and nostalgia in how we relate to our childhood. Salvatore’s adult success is based on leaving and rejecting his home village of Giancaldo. At the same time his experiences in Giancaldo, particularly his relationship to cinema projectionist Alfredo, enabled him to discover his passions to begin with. These elements are exemplified in Ennio Morricone’s magnificent score, representing everything the film wants to communicate. Few films are as consistently touching as this.

The Perks of Being a Wallflower – Josh Sandy

I have to confess that when I first watched The Perks of Being a Wallflower I had never heard David Bowie’s ‘Heroes’. Five years later, I’m a big Bowie fan and I’m also still in awe of Stephen Chbosky’s film. The coming-of-age genre often tackles the subjects of mental illness, trauma and loneliness, but never as directly as The Perks of Being a Wallflower. The issues faced by the characters are not romanticised nor idealised, but used to create an uplifting, hilarious and often heart-breaking picture of the difficulties of growing up and the importance of friendship.

The Squid and the Whale – Michał Wasilewski

Created from the need of heart and excruciatingly honesty, this Oscar-nominated feature from Noah Baumbach is an autobiographical reflection on coming-of-age in a family of intellectuals. Walt (Jesse Eisenberg) thinks his father as perfect and blames his mother for their ongoing struggles, and, ultimately, divorce. All of his father’s flaws, including pretentiousness, egoism and self-love, are clearly visible in Walt, as he looks down on his peers — but he is not unequivocally a bad person, as is no one in Baumbach’s films. The writer-director uses his masterful skills of writing realistic dialogue to picture a genuine and self-critical portrait of his teenage years. He tells the story of coming to the realisation about the complexity of the reality, with the titular National History Museum’s exhibit immaculately working as the film’s central metaphor.

The Graduate – Tobias Soar

I’ll never forget when my dad sat me down to watch this the week before I left for university. Set after the graduation from university of protagonist Benjamin (Dustin Hoffman), The Graduate explores the uncertainty of life after university. Benjamin doesn’t know what to do with himself as he lays in the summer sun day after day. He then falls for a childhood friend of his while simultaneously having an affair with her mother. It’s tragic, it’s hilarious, and it put Simon and Garfunkel’s ‘The Sound of Silence’ on the map. As the credits rolled, my father turned to me and said: “Well, that might not have been the best film to watch before university.”

Review: The Invisible Man

Written by carlfitzgerald on . Posted in Film.

Given Universal’s various unsuccessful efforts to reboot their classic monster movie canon for modern audiences as summer blockbusters, ranging from Van Helsing to the awful Tom Cruise-starring The Mummy, one seriously has to wonder at what point someone asked ‘why don’t we just remake these horror movies, as horror movies?’

That’s certainly the case in Leigh Whannell’s fresh new take on The Invisible Man.

In this version, Elisabeth Moss plays Cecilia Kass, a woman who has recently fled her wealthy abusive husband, Adrian Griffin. When Cecilia hears Adrian has committed suicide, she finally starts to feel a sense of security. But when she’s suddenly stalked by a malevolent invisible figure, Cecilia begins to question whether her husband is truly gone.

I can’t understate how devastatingly impactful The Invisible Man is. If you’ve ever been close to someone in an abusive relationship, you’ll understand how painfully truthful the titular antagonist’s methods of haunting Cecilia truly are. He isolates her and attempts to close her off to everyone apart from himself.

He sends abusive messages from her e-mail account to friends and loved ones, foils her job opportunities by stealing her portfolio before an interview and uses his invisibility to lead others to believe she’s insane when she tries to explain what’s happening.

The character of the Invisible Man makes for a perfect representation of the ways in which abusers gaslight and isolate their victims in order to maintain control, and an excellent demonstration of how to adapt a classic property into a modern setting with a new, but thematically similar and emotionally resonant, storyline.

Arguably the film’s biggest powerhouse is Moss, who is, as always, fantastic. She perfectly manages to capture a woman so damaged by trauma, yet is trying to rebuild her life. Moreover, the character of Cecilia is just very human and likeable. She’s kind, fun, empathetic, as well as strong and aggressive in the face of increasingly insurmountable odds.

The fact you just really want this person you like to survive the horrible things happening to her is part of what makes the film so engaging and intense.

It’s also just great in general to see Whannell getting some much overdue appreciation, given he has effectively served as the bass player to 21st century horror. He was the screenwriter behind the first three Saw films and all four Insidious movies, two benchmark franchises for the direction of mainstream horror in the 2000’s and 2010’s. But, despite his work, he always felt somewhat overshadowed by director James Wan.

However, with 2018’s Upgrade and now this, it’s good to see he’s getting the chance to sink his teeth into some great projects as a director. His script for The Invisible Man is still great work. Every time it seems Cecilia is in her most dire straits, he always finds a way to make things worse and up the tension. Overall, it a great film with a brilliant central performance boosted by a talented director whose future work I look forward to following.

4/5.

Photo: Johannes Plenio @ Pixabay

Review: Dark Waters

Written by patrickjonesobrien on . Posted in Film.

Based on an article published in the New York Times describing the real Rob Billot’s fight with American chemical giant DuPont, Dark Waters delivers a gripping experience with an incisive ecological call to action and strong performances from its cast. The film’s star-studded cast give excellent performances, particularly Mark Ruffalo as the quiet, diligent protagonist and Bill Camp’s long-suffering West Virginian farmer.

Cinematically, the film’s writing tends to follow predictable paths, unafraid to engage in the occasional cliche. The cast does well enough that most viewers won’t lose interest. They make up for the cliched moments with good emotional performances.

The film is full of the awkward, stressful, and sentimental moments that you find in real life. Ruffalo’s Billot isn’t a sympathetic hero but a real person doing what little he can to save his soul.

There is no ultimate resolution to the contradictions he runs into or the chemical contamination he’s trying to undo because even the film is part of his fight for justice. Although the film loses a bit of steam racing towards this climax the message it gets across sticks with me days after the screening.

“We protect us, we do. Nobody else, not the companies, not the scientists, not the government. Us.”

Visually, the film effectively captures the banal dullness and visible inequality endemic to upper-middle-class life in Appalachia. Every scene is set in boring sterile non-places or the remnants of a more lively, equitable past. These sets add to the sense of the insidious power held by the industrial barons the protagonist is trying to take down.

They magnify the slowly growing awareness of the contamination DuPont knowingly inflicted on the world. Billot’s drive from his cushy suburb and downtown office in Cincinnati to the nearby atrophying industry, toxic slag dumps, and marginal livestock farming that characterizes the lived experience of his West Virginian client is a really good scene. In a few minutes of screen time, with no lines, Todd Haynes communicates so much of the dread, dullness, and near-futility of the extremely important work Billot is doing that makes this movie feel real and powerful.

I had the incredible privilege of seeing Dark Waters at Manchester’s very own HOME, off Whitworth Street in the city centre. After the screening ended we heard from experts the true troubling details about the class of chemicals that Billot litigates over in the film.

These ‘forever chemicals’ do not break down and they everywhere on the planet, not just in the film’s rustbelt setting. They are still being manufactured and spread around our water system. These poorly regulated chemicals are found in disposable food packaging, clothing, cosmetics, and (as the film depicts) nonstick coatings for cookware.

The people behind Dark Waters clearly want to raise awareness of this subject and what we can do to protect ourselves, so, although it may not be the best movie ever made, it is certainly worth your time and attention.

4/5.

Photo: Pexels @ Pixabay

Electronic Sound Summit Review

Written by charlespierson on . Posted in Music.

The Electronic Sound Summit in Liverpool is an event for aspiring DJs with talks and panels offering advice for producing, cracking the business, and more.

The Sound Summit starts by weeding out house-party wannabes with high ticket prices and poor signage for the stages. Instead, the event aims to cater to the designer-beanie wearing, stubble-beard attempting, straight-cigarette smoking DJing semi-elite.

The festival has three stages. One featured professional speakers demonstrating how they create and mix their tracks; and two with panels discussing the importance of things such as using social media for PR, finding management, and issues related to the scene.

Various producers, including collective, Detroit Swindle, highlighted the key parts of the weekend. Producers sat in front of a widescreen showcasing their songs using Ableton and Logic while explaining how they did it. Although offering valuable insight on fine-tuning songs, how useful they could be? It’s a lot easier to display how to correctly use reverb and cultivate samples than how to spontaneously develop a banging tune — and the term “just mess around until it works” was heard with uncomfortable frequency given the cost of the event.

But these talks weren’t for amateurs. For many guests, these snippets of ideas were incredibly useful. Especially when professionals played and critiqued the audiences own submitted mixes on stage. Something the surprisingly close to 1:1 ratio of speakers to guests lent itself well to.

Perhaps the most enlightening part for visitors was the business aspects, arguably what semi-pros struggle with the most. Covering the art of the warm-up DJ,  the dying of small labels, and generally ‘how to thrive, not just survive’ helping explain how to make the most of your talent.

As well as this, the Electronic Sound Summit had some topics of interest. Conversations about drug testing at raves, and life as a ghost producer were particularly fascinating moments.

Oddly, one of the most exciting parts was the venue itself. The BME building, where the main stage sat, hosts a huge variety of iconic music memorabilia and instruments; such as handwritten lyrics and letters from David Bowie, Freddie Mercury, and Buddy Holly to name a few. Also notable were a variety of free-to-play guitars, electronic drum kits, samplers, and keyboards.

The Electronic Sound Summit is designed for a very specific group of people with a very specific skillset. People that are moments away from breaking through and in need of the final essential shreds of direction. The Sound Summit is designed to perfection for this audience and purpose. But for anyone else, it felt lacking, and awkwardly stuffed between big picture ideas for amateurs and hyper-detailed analysis for professionals.

If you want to DJ, have spent between one and three years producing obsessively, and have mastered all but what makes success, then the Electronic Sound Summit is for you.

If not, then that ticket is money that should be put into the Glasto 2021 jar instead.

Live Review: The 1975

Written by Georgina Davidson on . Posted in Music.

It was the final Friday evening in February as I prepared for a gig that I had been excited about for quite a while. Everything leading up to it had been really rather hectic, but my priorities eventually righted themselves as I headed to Manchester Arena for The 1975’s monumental returning show, which turned out to be a huge night out for many music lovers in Manchester, as much as for the band themselves.

Just walking into the arena it became apparent how extensive their reach is, with one of the most varied audiences across ages, races and backgrounds I have ever seen – a wonderful thing to see and a reminder of how much the band has transformed their image in recent months. This was seen in everything from their guitar-led youthful twists and turns of their debut self-titled album drifting to their synth-pop-daydreams on I like it when you sleep, for you are so beautiful yet so unaware of it (ILWYS) — there were plenty of changes and experimentations.

The latest additions in 2019’s A Brief Inquiry into Online Relationships (ABIIOR) and their yet to be released Notes on a Conditional Form (NOACF), have provided them yet more opportunities for change and adaptation in their sound. The stylisation of their set, however, maintains the symbolic rectangle that has been a central motif since the band’s inception and throughout their different manifestations.

An astonishing support act was found in Beabadoobee and her band, as they opened the night with a blisteringly cool set in terms of sight and sound. The spectacular stage design envisioned and crafted under the watchful eye of Tobias Rylander was barely on show for this set however this did not detract as the minimalism seemed to perfectly compliment their laid back, DIY styling – the layered dust sheets were dappled with bursts of hazy blue lights and billowed slightly seeming to mirror their raggedy, punk rock style. From oversized ripped jumpers, pearls, and piled up costume jewelled stringed necklaces, they possessed an effortlessly cool, vintage-inspired early-nineties image.

This was only the beginning of their performance though, and it soon became clear that sound was the band’s most vital focus. They easily matched the headliner, both in power and performance as they blasted through indie rock tracks “If You Want To” and “Eighteen” with a building, guitar-led energy. Despite Bea’s admittance of fear, playing to a rather large crowd at the arena, she had remarkable ease with her stage space. She came across confidently in tracks such as “She Plays Bass” which gave bassist Eliana the perfect opportunity to show off her skills – not a dull moment to be had!

Another highlight of the set came during “Space Cadet” when they finally appeared to reach some kind of comfortability in the space. Bea flashed a smile towards her bandmates as she struck out a final riff and it was easy to tell that this was a favourite of theirs to play — finishing with a loud crescendo of crashing percussion and roaring guitar sound.

It was interesting to watch the rest of the gig unfold from this point because, once the huge, billowing sheets were removed to reveal Rylander’s impressive architectural design of rectangle shapes and light, there was, initially, very little happening. As people continued to move and talk, the faint sounds of an ABIIOR instrumental slowly began to seep through and echo around the arena. A flickering of lights above the stage silenced the crowd for a second and then the cutting of the lights cued the palpable, excitable atmosphere throughout as “The 1975” theme played out.

The gig that followed was a suitably eclectic performance featuring an everchanging, adapted setlist which spanned as many album eras as could be imagined; bringing first album instrumental tracks and rarely played ‘Menswear’ to the fore. Other treats included new songs ‘Guys’ and the instantly catchy ‘Too Shy’. The latter track featured a stunningly engaging saxophone solo from their resident saxophonist, John Waugh, who seemed to really revel in the opportunity to belt out the solos on tracks from ILWYS. The extremely energetic, synchronised routine from the Jaiy twins also must be credited as they seem to only grow in confidence and creativity with every gig – their routine for ‘It’s not living if it’s not with you’ is still easily the most impressive moment as they change and adapt their pace between each other and have total awareness of each other in the space.

Towards the endpoint of the show, Frontman Matty Healy takes a moment with the audience to tell them how special a particular song is for him in Manchester. It is a song entitled ‘I always want to die sometimes’ – a song which many times I have found problematic and unsure of why or how the harsh lyricism had made it onto the album. However, there is a special energy that radiates from this song when sung by a crowd and the way it was paired with the following song ‘Robbers’ helped me understand its importance. Although not a favourite of mine nor many fans, it does show growth and a change in understanding of the world. The words of Greta Thunburg ringing in my ears and thoughts of climate change deeply moved me later in the gig. In true The 1975 fashion they did not hold back on their opinion on the matter. Was it quite blunt? Perhaps, but undoubtedly admirable and a brilliant way to effectively use their platform regardless.

This band still resonates with current issues and although they may not blaze trails in a way that people once expected, they use their music to express issues that are important to them and their fans. What they are, are conveyors of modern culture, observers with highly conscious minds who revel and note the world around them, and that is about all that could be hoped for.

4/5

Art by Charlotte Wilcox courtesy of The Vagina Museum

A new study identified risk factors for endometrial cancer

Written by Kitty Racionzer on . Posted in Science & Tech.

A study led by Emma Crosbie, Professor of Gynaecological Oncology from the University of Manchester, has gathered findings which could potentially allow scientists to develop targeted screening and prevention strategies for women at greater risk of endometrial cancer.

The analysis, published in the Journal of Medical Genetics, covered 149 scientific studies and identified 24 genetic variants which predispose women to the disease.

The project, funded by the NIHR Manchester BRC, was a collaboration between researchers at the University of Manchester, the University of Cambridge and Manchester University NHS Foundation Trust.

Each genetic variant, referred to as single nucleotide polymorphisms, changes cancer risk by a small fraction. However, when all 24 that have been identified, are combined in a polygenic risk score, women in the top 1% have a much greater risk of developing endometrial cancer.

Professor Crosbie said: “These genetic variants linked to endometrial cancer risk are involved in cell survival, oestrogen metabolism and transcriptional control – when the information stored in our DNA is converted into instructions for making proteins or other molecules.”.

More specifically, genetic variants in HNF1B, KLF, EIF2AK, CYP19A1, SOX4 and MYC were strongly associated with the cancer found from the 149 papers studied.

This study is the most comprehensive systematic review that assesses the value of the evidence on genetic variants implicated in the predisposition to endometrial cancer.

Professor Crosbie also stated: “Because many of the studies carried out to date have been of variable quality, we felt it was important to understand more fully genetic predispositions to endometrial cancer. We hope our work will facilitate personalised risk assessment so that prevention and screening could be targeted more efficiently.”

This research is an important part of the studies around endometrial cancer, as it is the sixth most common cancer in women, and the 15th most commonly occurring cancer overall, according to the World cancer Research Fund.

In fact, in the UK there are about 8,600 new cases per year, thus making these findings a step in the right direction.

Review: The Last Temptation of Boris Johnson

Written by Alexia Pieretti on . Posted in Theatre.

Politics have been a goldmine for writers these last few years. American TV shows and movies all have cameos from cartoonish Trumps and sometimes whole seasons have been spurred on by the 2016 election.

Over here in Britain, it seems half the big new plays churned out concern current politics. Brexit analogies snake their way into every form of media. At this point, we have seen every narrative and heard every joke about politicians. And yet, we continue to be drawn in by these stories.

The title, The Last Temptation of Boris Johnson, drew me in instantly. The new play was written by Jonathan Maitland and starred Will Barton as the eponymous character. Based on the name alone, I was interested in seeing the play, despite having seen many disasters labelled ‘political satire’. The result? Meh.

The first act mainly followed the infamous 2016 dinner wherein Boris and Michael Gove discussed where they stood on Brexit. This led up to the events of last summer when the dreadful man was declared Prime Minister. Act two set the action ten years later. Boris was now considering re-entering the EU to secure himself a place as Prime Minister a second time around.

There were certainly some imaginative elements to the show; Boris was visited by spiritual versions of Winston Churchill, Margaret Thatcher and, oddly enough, Tony Blair. The impressions of these famous figures were spot on, as was Barton’s portrayal of Johnson. He had really been made to look the part too, with an imitation of the politician’s blonde crop.

It always felt like there was potential just below the surface, waiting to be mined, but it was never carried through. Despite being set nine years in the future, little happened in the second half until the final ten minutes.

A discussion in the first half between Johnson’s ex-wife, Marina Wheeler (Claire Lichie), and Sarah Vine (Emma Davies) about his infidelity suggested a promising new perspective. However, this was never carried further, and Wheeler was cast aside in the second act. Instead we were given Lichie as Johnson’s new girlfriend with a ridiculous, nasal American accent, reminiscent of Janice from Friends, as she also discovered his affairs.

I was annoyed by a statement in the programme by Maitland that the play doesn’t take sides. What is the point of writing a play about Boris Johnson if you’re not going to take a stance on him? Then again, I disagree with this statement because Johnson was portrayed in a negative light. He at times made racist and misogynistic comments and was depicted as a perverted serial adulterer. I suppose they were just presenting the impartial facts.

Again, the play was certainly packed with laugh-out-loud moment. My personal favourite was in 2029 when it was announced the BBC was now owned by Amazon. With the state of the industry at the moment, this is a not an unbelievable possibility.

Likewise, I never got bored or lost focus, but then again, the play did nothing in particular to engage me either. The action was rather static and no notable new ideas concerning the political climate were offered up.

Overall, it was a perfectly acceptable play, but in a world saturated with political commentary, ‘perfectly acceptable’ does not stand out. It felt like a narrative I have heard hundreds of times since 2016. All we can do is hope Johnson’s time as Prime Minister is as short as Maitland predicts.

The Last Temptation of Boris Johnson is playing at the Lowry until the 7th of March.

The best dressed of 2020 awards season, illustrated

Written by Alexandra Bikard on . Posted in Fashion & Beauty.

The height of award season is over, so whilst we wait for the arguably most exciting red carpet of all, The Met Gala, let’s take a tour of the best red carpet looks of 2020 so far. 

Brie Larson in Céline at the Oscars

Brie Larson looked like an absolute dream in a gorgeous sequin gown with an integrated cape. The pale pink beautifully compliments her skin tone and the horizontal pinstripe pattern of the beading is incredibly flattering. 

 Mindy Kaling in Dolce & Gabbana at the Oscars

This one shoulder dress by Dolce & Gabbana was definitely made to be worn my Mindy Kaling. The bright yellow makes her skin pop, with the extra help of a massive Chopard parure and matching earrings. She looks radiant as ever. 

Renee Zellweger in Prada at the BAFTAs

While simple in essence, this true pink Prada dress that Renee Zellweger wore at the BAFTAs is magnificently constructed and shows off her beautiful figure while the fabric reflects the light without the need of a single sequin.

Lily Aldridge in Ralph Lauren at the Oscars

Lily Aldridge reminds us that subtle elegance is never out of style. Although one might say that this dress is in no way ground breaking, it is precisely its timeless appeal and its gorgeous fit that caught our eye. The model looks like an Italian madonna. 

Cynthia Erivo in Schiaparelli at the SAG awards

Immense gowns can be overwhelming but this one by Schiaparelli looks simply divine on a radiant Cynthia Erivo. Everything about this look, the color and the structure in particular, conveys joy and happiness. 

Rosie Huntington-Whiteley in Saint Laurent at the Vanity Fair Oscar Party  

In 2020, where red carpet looks are brighter than ever, black is a surprisingly refreshing choice especially if it’s a gravity-defying Saint Laurent dress worn by supermodel Rosie Huntington-Whiteley. 

Tyler the Creator in custom Golf Le fleur at the Grammy Awards

This look by Tyler the Creator from his own brand was in every sense of the word show-stopping, in that he delivered a true show on the red carpet, opening up his suitcase to display his future looks for the evening. 

Scarlett Johansson in Armani Privé at the SAG awards

Scarlett Johansson looked like a modern mermaid in a beautiful teal structured gown by Armani Prive. The shimmery fabric and wave-like accents on her hips emphasized the aquatic inspiration of her look. 

Jodie Turner-Smith in custom Gucci at the BAFTAs

While we can only dream to be pregnant at the BAFTAs in a custom Gucci, Jodie Turner-Smith lived the ultimate luxurious red carpet with a head turning canary yellow sequin and tutu gown which beautifully accented her maternal glow.

Janelle Monae in Ralph Lauren at the Oscars

Last but definitely not least is Janelle Monae in a Ralph Lauren hooded dress which deserves a minute of silence for how gloriously regal it is. The dress took some 600 hours to make but may the result is so worth it. This might be the most beautiful gown of all of 2020.

Review: Cabaret

Written by Anna Jin on . Posted in Theatre.

“There was a city called Berlin… and it was the end of the world.”

The hit musical Cabaret, which was famously turned into a movie starring Liza Minnelli in 1972, pays tribute to a beautifully decadent Berlin, and depicts how the city was affected by the rise of Nazis. This adaption of the 1966 musical by John Kander and Fred Ebb is a faithful reproduction of the original, but small elements have been changed so that it feels fresh, with its own twists.

A musical on a grand scale, it takes place in Berlin and contains overtly political themes. Though it takes place in 1931 and precedes the Second World War, its messages are shockingly relevant today. The audience will get to know a diverse cast of characters who are living in the city and watch as their lives dissipate in the shadow of war. This production aims to shock and provoke the audience. It will give you a break from reality by drawing you into an immersive story, and it will also make you think about its message long after you leave the theatre.

The performers were undoubtedly talented. Their vocal qualities, facial expressions and body languages were on point. They were engaging and interesting to watch, and there was no boring moment throughout the whole show.

The musical was more focused on performance than plot; it aimed to appeal to the audience’s feelings rather than their mind, and it managed to do so skilfully.

The actors had great chemistry with each other. Anita Harris was mesmerising as Fraulein Schneider, the German boarding house owner, and her love story with Herr Schultz, the Jewish fruit vendor played by James Paterson, was natural and believable, making the audience root for them instantly. Watching the effect the war had on their relationship was simply heart-breaking.

The actors’ performances were fluid: in one moment, they would tug on the audience’s heartstrings with their serious acting, and in the next, they would begin a musical number; the two scenes would somehow fit together perfectly. The flawless live singers were supported by an amazing group of background musicians that were situated behind a hidden panel on the stage.

John Partridge portrayed the Master of Ceremonies, or “Emcee”, the role played by Will Young in the previous UK tour of Cabaret. Partridge deserves special praise, because he was absolutely brilliant. He was the star in many of the musical numbers, and he was memorable for every second he was on stage. Playing the leader of the cabaret club, he leads an amazingly talented group of performers in a way that perfectly captures the audience’s attention. He also performed some solo numbers, which showed that he had a presence that could own a large stage on his own. He performed in multiple languages, and his accents were extremely good.

Kara Lily Hayworth played lead character Sally Bowles, who was played by Minnelli in the film and Louise Redknapp in the previous UK tour. Her fantastic performance goes to show why you don’t need a household name to play an iconic character.

The design elements was suited the fun, boundary-breaking mood of the Berlin nightlife, and it also portrayed the shadow of Nazi fascism. Large, lit-up letters spelling KABARET were hung up in the background during many performances, and (spoiler) by the end of the play, it was turned around to reveal its plain and shabby backside, and a Nazi officer slowly pushed them so that they fell to the ground with a subdued thud.

The stage was large and suited the larger than life performance. It gave the dancers a lot of freedom to move around. There were almost always a large group of people on stage at once, with many well-made props, and the stage never appeared crowded. There was always something happening on the stage, be it a risqué dance number or impressive acrobatic stunts – you could never be bored watching Cabaret!

So why not make a visit to the cabaret? They’ll make you feel very Wilkommen.

Cabaret continues its UK tour throughout 2020.

Eliasson NYC waterfalls

Art and Climate Change: reading Eliasson and Shelley

Written by emilycole1 on . Posted in Arts.

Water cascaded from a precipice above, exploding upon impact with the pool below. What loomed in front of me was Olafur Eliasson’s sculpture, Waterfall, a tall mechanism from which water fell ceaselessly. Full of texture and movement, it filled the empty sky, refracting light and magnifying the forms around it. In the city, it’s easy to subconsciously blur and homogenise your surroundings, but the sensual response which Waterfall elicits roots you in the present. You see and hear the passing of time. 

But from behind, the sculpture was distinctly different. The falling water had masked a hollow scaffolded frame. Where the frame was visible, the sculpture looked thin and fake. This discord between the harsh yet familiar lines of scaffolding and the otherworldly falling water was uncanny and vaguely unsettling. A deconstruction of the mechanics of the natural phenomenon, Waterfall demonstrated the very human desire to dissect and destroy the natural world around us, in a relationship which is characterised by blatant abuse of power. The piece grated with its surroundings, a mockery and appropriation of the beauty and mystery of nature.

https://www.flickr.com/photos/andrepmeyer/48667542871/
‘In Real Life – Waterfall’ by Andre Meyer-Vitali

On seeing the sculpture, I was faced with two irreconcilable experiences. When looked at from behind, Waterfall evoked the fragmented, dystopian world in which we currently live, and which will become more visible as the climate crisis worsens; a world of intense water irrigation and filtration. This idea was haunting, especially in London, where ‘nature’ is constructed by city planners and isolated within designated spaces.

Like Eliasson, Romantic poet and author Percy Shelley questioned our perceptions of nature. In Frankenstein, this is primarily through the figure of the grotesque creature. A reanimated construction of rotting flesh, created by a human, the un-dead creature threatens our notions of Naturalness. This is because the creature transgresses the boundaries which humans create to differentiate the Natural from the Unnatural.

Frankenstein deconstructs such categories. Whether the categorisation of Nature, and its definition as ‘not monstrous’, is the monstrous act, or Frankenstein’s Promethean urge to transgress such boundaries by trying to ‘play God’ remains unclear. However, what Frankenstein does is to make the reader aware of the existence of such categories and how each character interacts with them. Frankenstein demonstrates the monstrous potential of humans because either way, it is the humans who commit the monstrous acts, by creating boundaries to categorise Nature, or by infringing such boundaries.

The threatening question of our monstrous power has haunted the popular imagination for decades since the novel’s publication, with the mythologisation of both Frankenstein and his creature. Shelley’s novel forced the reader to evaluate discourse around Nature, to notice how they interact with it. 

Similarly, Eliasson’s art is about eliciting reflection through a viewer’s interaction with a piece of art. In an interview for, It’s Nice That, Eliasson describes how his art is focused on the viewer’s subjective experience with the sculpture. He expressed his fear of the gradual dehumanisation of spaces which is occurring within urban places:

“The world we live in today is very much driven by an experience economy, one which focuses on commodifying our feelings and perceptions.” 

Eliasson aims to reappropriate such urban spaces through art, making people aware of their surroundings so that they can connect with it and with each other.

“It is more important than ever to work with the self-evaluative quality of experience that art offers … self-evaluation allows us to reflect on the relativity of the world in which we live, to reimagine it, and to reposition ourselves in society.”

Both art pieces make the reader or viewer aware of the world around them. Through both pieces, Nature is constructed and refigured by humans. In both, I was disturbed to witness the destructive power of humans. In the age of the Anthropocene, as the natural world is becoming more endangered, we need to pay fresh attention to the question of our destructive tendencies, our desire to appropriate. We need to re-evaluate how we perceive the world around us. Resolving the climate crisis is a collective act of becoming aware of our position within the world, our relationship with nature, and the spaces which surround us, and acting upon such reflection.