This week’s puzzle is inspired by famous, Black Mancunians! Decode the names, figure out the code and find the number hidden at the end of the puzzle. To be in with a chance of winning a year’s supply of Tony’s Chocolonely, send the number you get at the end of the puzzle to [email protected] by midnight on the 23rd of October to be in with a chance!
Following The University of Manchester’s decision to suspend face-to-face teaching, students have become increasingly familiar with Zoom classes and virtual learning.
Although we’ve quickly gathered the online etiquette of muting the mic when you’re not talking and not joining a lecture late (that bell sound can become very irritating), there’s one thing we haven’t quite cracked – what do you wear to a virtual class?
Dressing for a Zoom lecture can seem quite difficult – you don’t want to look like you’ve just rolled out of bed, but a professional-looking blouse may feel too formal whilst sat at home.
The answer to these struggles is simple – layers. Yes, you heard me right, this autumn style staple is also applicable for your Zoom classes.
The theory is that you look more put-together with various elements rather than wearing a carelessly thrown-on hoodie and calling it quits, plus this helps you to brave the freezing student house conditions that you’ll have to study through.
Our personal favourite look is the classic jumper-and-collar combo, which is the epitome of looking ready to learn while still staying somewhat comfortable.
Although online university gives you the freedom to wear whatever you like, there’s one forbidden garment in the midst. No, it’s not the strappy blouses or short skirts that traditional dress codes would forbid, it’s actually sleepwear!
Although we understand where staff are coming from with this – you wouldn’t really turn up to an in-person lecture in your old pair of fluffy Christmas pyjamas – something about it doesn’t quite seem fair.
One student says “we’re being forced to attend lectures stuck inside our grimy Fallowfield houses, where working sat in bed is the only option for many of us, so to forbid us from being comfortable in pyjamas just seems stupid!”
While the debate over the perfect, non-sleepwear looking top to wear for a Zoom class ensues, there’s an apparent lack of direction in the bottom half of our outfits.
Online classes promote style from the waist-up, but what does this do to the future of footwear and trousers?
Realistically, there’s no need to change out of pyjama bottoms or gym leggings, and it’s probable that current trends will begin to revolve around pairing elaborate tops with more casual garments on the bottom half.
It’s the Zoom-induced mullet – business on the top and comfortable on the bottom – which has lead to the temporary death of the mini skirt and mom jeans.
For some people comfort isn’t key, and instead Zoom lectures are all about standing out in a class full of people. A funky headband or accessory is a great way to do this, or you could even go bold with some eye-catching colours.
One student says “on Zoom, image and sound are the only things to go on, so I want to present myself in a way that reflects me … I’ve been doing some gem makeup (Euphoria style) and wearing funky tops” to embrace her fearless, fashion-forward appearance.
Speaking of makeup, an important question has formed during virtual teaching – do we really need it? It’s no secret that webcam quality is below average, and this combined with being only a small icon in a digital sea of faces makes it easy to ignore the need for makeup.
No one is going to notice how voluminous your eyelashes are or spy the couple of spots on your chin, plus do we really need to wear makeup only to sit in the house all day?
However, the webcam is famous for washing out your complexion and making your face look flat, so bronzer and blusher may be your best friends for bringing some life back into your face.
Makeup can also be used to accentuate the features that are getting lost on screen and make you feel less self-conscious about fellow students constantly staring at you during a Zoom call.
Much like how comfortable trousers are taking over our wardrobes thanks to the power of Zoom, it’s possible that our beauty routines will also face permanent changes in this digital world.
Bushy brows are becoming much more favourable compared to neatly filled-in ones, and Zoom’s ‘beauty filter’ smooths out your appearance in real-time so there’s no need for a flawless base.
One student has even shunned the use of mirrors altogether, claiming that “I do my hair and makeup every morning whilst looking in my webcam. It doesn’t matter if my skin looks flawless in person as people can’t see that, it’s the webcam version of myself that needs to look pretty”.
“I miss that physical feeling of playing live, deep in my chest.” With her new album, Fake It Flowers, out today, Deputy Editor for Culture, Georgina Davidson, interviews Beabadoobee about her sound, creating during lockdown, and memories of touring.
The power to harness crowds is something that performers in the music industry covet, despite the ever-growing demands from streaming services and social media. The distant, but still tangible memory of the elation which happens between the first chord to the final applause, is something both audiences and performers have craved for months.
Despite a cultural task force, it seems to have become more complex than ever to devise live shows and gain traction in new UK music. Whilst good writing and carefully considered composition are certainly still needed to succeed in the scene, a new generation of adaptable, active, multi-skilled artists is forming. Yes, quality musicianship can be learnt, but the same, however, cannot be said for a performance that has the power to unleash atmospheric and truly anthemic engagement to rival the acts, genre, and roster which the artist defines themselves from.
It is the relationship between the artist and a crowd which creates breathtakingly liminal moments at a gig – that feeling of a kind of excitement and magic. For Beatrice ‘Bea’ Laus (better known as Beabadoobee) this reaction has steadily become, no rare occurrence.
From the moment of play, her popular single ‘Space Cadet’ rockets ahead with pop punk power and guitar led definition. Her first headline outing on The Dirty Hit December 2019 Tour, displayed her unique handling and genuine enthusiasm for guitar work – rendered her gig wild, well presented, and yet still full of experimentation.
In a phone interview with Bea, we discussed her tour and life around that time. A unique and unbound energy rings clear from her enthusiastic tone when discussing her creativity and her desire to make her sound and style work cohesively. It appears she has found time to unravel her experiences as an artist through the making of Fake it Flowers. Bea seems to bounce from thought to thought, with the fire and DIY aura of a frustrated 90s Alt band.
She was quick to admit that she had developed cycles and coping strategies when she started touring which she feels she no longer associates with. “I’ve definitely moved on creatively,” she explained, “I began tour as a kid with blue hair, dyed in black again, I changed how I looked so often… I think tours can sometimes make you forget who you are and it can get crazy really quickly.”
The lively performance, reckless riff ability and endearing interactions with her band, (“The vibes are immaculate”) surely could not have spawned from a hair colour change alone? But Bea seemed to hint perhaps image and frame of mind may have impacted her earlier experiences of touring and demeanour more than initially realised. The impact of the relentless nature of the lifestyle may have affected her at the time, but her natural confidence shines through even at these, seemingly, more vulnerable moments, and provides a raw advantage to her sound.
It must have been a great change of pace then, to face a release the first album Fake it Flowers in the midst of a globally slower gig economy, which has stripped away so many aspects of being a live performer. It seemed right that the first single release, ‘Care’, hit the ground running, with a fierce and forward approach to the de-construction and realities of a broken down relationship. The lyrics almost run-parallel with the feeling of abandonment that runs deep within places in the music community, in these difficult times.
We discussed the struggle that young creatives are currently facing, alongside tough restrictions on grassroots level activity. How can artists flourish without support or practical mentoring, and with the unbearable constriction of the field during lockdown?
In some ways, Bea seems to have found an answer and a level of peace in her work with online masterclasses. Although scathing of the government’s lack of support for creatives, Bea seemed determined. She commented on the learning process between herself and fans: “It is important to learn from past traumas and I don’t like the idea there’s one way to create and telling people that… I learnt to organise my brain a little and they [her fans] asked questions that I had never really been asked before about song-writing.”
Bea’s sound captures the distinctive garage rock guitar sound of the 90s. Her music is fittingly laidback and layered thoughtfully to create a colossal soundscape; the performance is led by guitars and bass riffs, which hint at a neutralised low-fi sound.
It really seems that Bea is casting her net into a pool of new rock which seeks progression in the way they are viewed and heard, and which seeks space to adapt. She was quick to point out that she recorded live versions of tracks as she felt that they were supposed to have that energy from the start: “I can’t wait to be doing it again live… I miss that physical feeling of playing live, deep in my chest.”
There is room for the fake, the floral, and the forgiven in Bea and her band’s work, but will their live energy be experienced and enjoyed, in the way they hoped? That is yet to be seen.
Beabadoobee’s latest album ‘Fake it Flowers’ is released today (Friday 16th October 2020), distributed via Dirty Hit records. To find out more click the link here.
‘When we archive not only can we educate, but we can also recognise the ground we are standing on is firm.’ – Jasmine Lee Jones.
The first known recording of a Black performance in British history dates back to the 13th century, when crusaders brought Moorish musicians to the UK from North Africa. The musicians brought with them new instruments such as the kettle drum, and cymbals.
There is little that we can discover from early Black performances in Britain, as there are very few documents from this time available. An engraving by Hogarth in 1783 is the only evidence that there were indeed Black performers on the stage in earlier periods.
The print depicts life backstage for a performance in London. The only Black figures appear to be a maid darning the socks of an actress, and an actress dressed as Aurora picking lice off a colleague.
19th Century
The first Black actor to become famous upon the British stage was Ira Aldridge. Aldridge rose to such fame that throughout the 19th century he toured internationally, with great success over a 40-year career. As a Shakespearean actor, Aldridge garnered great critical acclaim in iconic roles such as Othello, King Lear, and Hamlet.
Aldridge’s successful career, however, could not escape racial discrimination. The Times critics found fault with Aldridge’s “copper” complexion, considering it to be “insufficiently dark for Othello”. Aldridge is the only actor of African American decent among the 33 honoured with a bronze plaque in the Shakespeare Memorial Theatre in Stratford Upon Avon.
From the 19th Century emerged the phenomenon of Minstrel shows. The shows were written by white playwrights, performed by white actors in blackface, and performed for a white audience.
These were indeed not Black performances, yet many audiences mistakenly believed the shows to be the roots of African-American theatre. The shows were popular in London from 1840 onwards and considered as family entertainment. They were grotesque shows in which actors used burnt cork as makeup, and danced using disgraceful, stereotyped caricatures of what was believed to be ‘black behaviour’.
The shows continued up until the 1960s with the BBC’s regular Sunday evening television show The Black and White Minstrel Show, which later transferred onto the West End.
20th Century
The 20th century marked the arrival of Black musicals in the UK.
In Dahomey, the first full-length musical written by African Americans to be performed in major theatres, sparked new dance crazes such as the Charleston and Cakewalk. Showboat opened in Drury Lane Theatre in 1928, and brought a new depth to musical theatre by addressing subjects such as racial prejudice and unhappy marriages.
Two prominent Black figures of 20th century theatre were Florence Mills and Paul Robeson. Florence Mills was an actress, singer, and icon to many. She first appeared in Dover Street to Dixie in 1923.
There had been rumours that an ‘anti-coloured’ demonstration was to take place during the performance. But with one song Mills silenced the masses. Her most famous song, ‘I’m a Little Blackbird Looking for a Bluebird’, protested racial inequality, and was played at her funeral. She was just 31.
Paul Robeson stole the show with ‘Ol Man River’ in Showboat in its first British production. He turned down various paid acting jobs for his unpaid role in 1930s Plant in the Sun, staged by the Unity Worker’s Theatre. The son of a slave who had escaped and become a preacher, Robeson remained committed to supporting the struggling working class.
The 1950s and 60s saw an influx in immigration from the Caribbean and South Asia, which resulted in a bounteous wave of Caribbean playwrights. Errol John won the Observer prize for Moon on a Rainbow Shawl. Although it was described as ‘ground-breaking’, West End producers rejected it as unsuitable for audiences. They did not think it would sell tickets. It opened at the Royal Court in 1958 and was a booming success.
Black theatre companies have been emerging in the UK since the 1970s. Companies include Talawa, Nitro, and Temba Theatre, to list a few. Black Theatre Live is a group of 8 regional theatres committed to affecting change nationally for Black, Asian, and Minority Ethnic creatives throughout Britain. A three-year programme between 2015-18 included the first all-Black production of ‘Hamlet’ in Britain, as part of Shakespeare’s 400-year anniversary.
21st Century
Reflecting on the history of Black theatre in Britain is an enriching, yet at times uncomfortable, process. Records that are readily available to us are few and far between, and even when found the information appears sketchy. In an article for The Guardian, playwright Jasmine Lee-Jones said:
“Many of our predecessors have been ousted out of their rightful place and recognition because of the failure of traditional structures to keep a record of their achievements.”
It is important to appreciate and understand what history is recorded, but also recognise what its apparent sparseness highlights. Bridget Minamore summarises this in her article on Black playwrights:
“There are still gaps in history of black theatre so it’s hard to know exactly who came first – and how useful is our preoccupation with ‘firsts’ anyway?”
The history of Black British theatre’s written preoccupation with ‘firsts’ must be a wakeup call, to ensure the future is written with inclusivity, diversity, and education.
Emma Dennis-Edwards and Lucian Msamati, when interviewed by The Guardian, both reflected on their experiences in the past decade. Edwards explained:
“I left drama school at the beginning of the decade, when the best you could hope for was ‘colour-blind casting.’
“Black theatre sells, and we have shown that if the work is varied, interesting and diverse, black people will come. The excuses of ‘risks’ and ‘sales’ that venues have tried to fob black people off with have been proven to be nonsense and are in fact racist.”
Msamati spoke about the online abuse he received after Amadeus, or his role as Iago, which erupted purely from the colour of his skin. He demonstrated the need for the industry’s change:
“The day I am no longer referred to as ‘Black British-Tanzanian-Zimbabwean actor’ will be the day that the change is complete.”
Miles Kane, Matt Bellamy and Coxon walk into a bar… No this is not the start of a joke, but the start of one of the greatest supergroups we could hope to see in our lifetimes.
This supergroup has the ultimate rock and roll credentials, seeing a collaboration of some of the most influential rock minds of the 21st century, amalgamated to form one larger-than-life project.
Just think about it, Miles Kane (The Last Shadow Puppets), Nic Cester (Jet), Graham Coxon (Blur), Jamie Davies, Matt Bellamy (Muse) and Sean Payne (The Zutons). Northern Soul meets Motown and Rock. This adrenaline-fuelled raucous rock collaboration lives up to more than each members status.
The 11 track masterpiece by the super group ‘Jaded Hearts Club’ has just landed, featuring near a dozen dazzling covers of old-time classics, and boy did it land with a bang…
The album starts with a rendition of Vera Lynn’s ‘We’ll Meet Again’ – the perfect cover for our current climate. The nostalgia of a crackling background, crashing waves, delicate piano notes and eerie vocals marry together perfectly to create an homage to the late Dame. The track ends suddenly and jumps straight into the almost startling intro of ‘Reach Out (I’ll Be There)’.
The bouncy and punchy bass riffs that introduce ‘Have Love, Will Travel’ beautifully blend with the raspy vocals lended by Miles Kane, a staple piece of his music, to create a funk and soul infused version of Richard Berry’s classic hit.
After another few rock and roll renditions, we come to the seventh track on You’ve Always Been Here, ‘I Put A Spell On You’. Now, this song by ‘Screamin’’ Jay Hawkins is easily one of my favourite songs, and I was yet to find a cover version that lived up to the enchanting original, until now. The perfectly blended vocals, guitar shreds and drums delight and amaze, creating a more heavily rock ‘n roll edition of the already powerful number. Coxon’s vocals and deliverance of the song adds a menacing undertone atop a substantial jazz section – this track does not disappoint.
The 60’s feel of ‘Money’ harmoniously follows on from the previous track, teeming with catching guitar strokes, swing-inspired backing vocals making for a song that would be amazing to experience live. You can all but imagine Miles Kane leaning his mic stand over as he passionately screams out the lyrics, with Coxon by his side, guitar in tow.
‘Loves Gone Bad’ is almost straight off one of Miles’ solo albums, his sassy classic vocals and intonations fit almost perfectly with the style of the song.
The album is book-ended, with a hip swaying, almost sexy version of Fever. Complete with finger clicking, the plucking of a bass, and the enigmatic, seductive whispering of Peggy Lee’s lyrics perfectly close the album. Whilst being a non-linear crescendo leading to their final track creation, the album is carefully crafted, with each track placed to lead to juxtapositions of meaning and romantic inclinations.
This star-studded line up of an album needs to go down in the Rock N Roll hall of fame.
9/10
From the moment the opening drum fill clatters in, it’s clear that KING VIOLET is here to set the record straight. ‘October’, the band’s second single, reflects its autumnal name perfectly, charting the course of a relationship that has truly lost its summer shine. A sultry indie groove leads the way into an outpouring of angst and emotion, but this isn’t a thrashy, shouty song. Understated yet powerful vocal melodies belie the song’s core themes of disaffection and dissatisfaction, laid bare in the chorus’s powerful refrain: ‘and I’m staring at your burning, soul-searching eyes, and I realise it’s you I despise”.
Sitting down to speak with Amy and Mia from the band, it’s not immediately apparent where the angst comes from. Throughout our conversation, however, Amy explains that the friends left “no pages unturned”; and continues, “there’s nothing that we wouldn’t say to each other.” The members of KING VIOLET have been best of friends for longer than they’ve been a band, having grown up together in St Albans, and now maintain their friendship while attending university in Manchester and Leeds. That bond is the foundation of their songwriting. Mia tells me: “We have a lot of deep conversations and I feel like that seeps into our lyrics.”
“This is gonna sound really pretentious, but it’s like when you have a wine night with your friends and talk about everything,” continues Amy.
Keeping with the theme of spilling your heart out, the no-holds-barred lyrics to ‘October’ originally came from collaging together teenage diary entries. “I took months of lines that I liked and put them into a sonnet structure”, says Amy. “I was quite surprised because it ended up telling quite a nice cohesive story.” Lyrics were then handed over to vocalist Mai, whose delivery on the track displays an obvious natural talent. The smooth melodies are always easy to listen to, yet they are never too simple.
Contrasting with the hard-hitting, near-euphoric choruses are two soulful instrumental sections. Discussing these, Mia explains: “A big thing that Amy and Claudia worked on was having a call and response thing. Having a guitar phrase and then a bass part that responded in a similar way.” This smooth duet perfectly mirrors the struggle dealt with by the song’s lyrics. This song is the first the band has written entirely as a collective, and Amy tells us the process wasn’t always the easiest: “I have these ideas and then I get really frustrated that I can’t express them. With ‘October’, the last solo was a bass solo, but I knew it needed a big guitar solo. The others said it was nice how it was and I said ‘I have a vision!’ There’s something that’s in there; I can’t play it, I can’t put it into words, I can’t even sing it, but it’s in there.”
“The vision certainly pays off with ‘October’ – this searing indictment of lost love (“quite emotionally complicated”) sets the tone for what will hopefully be a productive period for the band. “I really wanna record a few more songs, and I’m very keen to get back to gigging”, Mia tells me.
If punky alt-rock tipped with a soulful edge sounds like your bag then you’d be wise to check out KING VIOLET. ‘October’ releases everywhere on the 9th of October.
Last week, the ITV News Twitter account stated that ‘superhero’ Rishi Sunak, whilst discussing the music sector and other creative industries, suggested those currently without viable occupations should “adapt for employment”.
Whilst the government claimed this as commentary on the entire job climate, it sparked anger across the music industry. Whether referring to musicians or not, these comments were incredibly ironic coming from a man about to receive a substantial pay rise.
You then must ask – why did the music industry so easily believe that the ‘misquoted’ Chancellor suggested “musicians and others in the arts should retrain and find other jobs”?
The government are happy to pat themselves on the back and boast the “£1.57 billion rescue package” that they’ve announced. Across the sector, however, creators, staff, and venue owners are not confident that they’ll see any benefit, especially at an individual level.
The UK music report states that the music industry contributed “£5.2 billion to the UK economy in 2018”, proving its value to the government’s precious GDP. The Chancellor is obviously aware of this, so better to direct him towards what music means to the UK, culturally and societally.
Every day, human beings consume media: whilst working, travelling, at home, and even more so during the pandemic that hurt the creative industries so badly. Without music and film, I’m sure we’re all aware of how much more difficult isolation would’ve been. Robbie Beale, a student at the University of Manchester, put it best when he said “Music has given heart and soul to a heartless and soulless year.”
I sit writing this on the twelfth day of my isolation period, locked inside a student accommodation building. I’m only here because I was promised I would be able to attend my tutorials in person this semester.
With tutorials now cancelled, music is the window inside my head that allows me to escape. Between learning to play ‘Coffee’ by Beabadoobee on guitar, to re-experiencing Van Halen after the sad passing of Eddie – music has been the strong hand that has prevented me from spiralling alongside my flatmates.
I doubt I’d have come to university if it wasn’t for the allure of venues like The Deaf Institute, The Peer Hat and Satan’s Hollow. but you don’t have to take the value of music towards mental health from me.
Other students at the University of Manchester, such as the Mancunion’s music editor Tilda Gratton and science advisor Blake Crompton, are also of the opinion that music and the creative sector are essential. Tilda said: “Music is so much more than a hobby to pass the time. It’s the reason I get out of bed every morning,” and Blake eloquently stated: music “allows the mechanics of the soul to flourish.”
These quotes may come across as no more than emotional students, but I promise the Chancellor that these feelings are echoed. Reiterated by every musician, venue owner, fan, guitar tech, producer, manager, and roadie across the country, to name a fraction of those affected by the lack of support.
Throughout this pandemic, I’ve had a very strong feeling that the government have been running the country according to what they think will be popular and guarantee them votes, rather than what would protect the economy and save lives.
Through the Chancellor’s comments, the government definitely suggests those without ‘viable’ jobs should retrain. However, they do not suggest what to retrain to, or how. Without investment into retraining resources, these are empty and hollow words. Perhaps the government could find another few billion pounds of tax payer funds for another of their friends to set a program up on Excel 2003.
I’m well aware that the music industry certainly isn’t this government’s favourite brick in the wall of society. I’d like to remind them that if one brick should fall, it leaves a hole rendering the wall unfit for purpose.
I know I don’t just speak for myself when I say that the second doors open for the first non-socially distanced gig – I’ll be there. More than that, I’ll be ordering records, t-shirts and doing my best to support the creators I love through this pandemic. All without being asked to, but I shouldn’t have to be.
As soon as the pandemic allows, the music industry will be booming again. There is nothing to suggest otherwise, unless, of course, the government believes this pandemic will last forever.
People in the industry need support, and they need it now. Through no fault of their own, they have lost all income. This being said, they are still valid. Moreover, they are human beings. They don’t deserve to be subjected to the stress inflicted by the lack of safety net provided for them.
They need furlough on an individual level, and not just a ‘fund for the arts’. I won’t settle for less than recognition for sector specific support. To the government as a whole – these are your constituents. It’s disgusting for you to devalue their work and efforts as you have.
The only thing I can thank the government for throughout this whole pandemic is proving that meritocracy doesn’t exist.
Yours, a fan of the unviable.
Veganism has been around for a very long time, in fact, the origins of this diet are somewhat uncertain. However, one thing is certain, over the past decade veganism has seen an incredible rise, and the UK is not excluded.
From Gregg’s – now legendary – Vegan sausage roll to Quorn and Linda McCartney, there is no shortage of vegan household names in Britain. Many of you may actually be tired of hearing about veganism. You might have that one friend who preaches about their ‘holier than thou’ diet, the one who prevents you from going to your favourite chicken shop. Or maybe an awesome mate who has shown you cool ways of implementing plant-based meals into your weekly routines. Whichever way you have interacted with veganism, it has probably been related to food.
However, veganism goes far beyond what people eat, and in some cases becomes a compass for sustainable and compassionate living. Animals are used for a variety of industries, not just food, and can often creep up in unexpected situations.
Let’s delve into vegan lifestyle choices that you might not know about.
Many vegans have particular rules when it comes to shopping and dressing. For instance, leather, fur, and wool are some of the most common materials that come directly from animals. People for the Ethical Treatment of Animals (PETA) provides a guide to shopping vegan , which identifies all the materials to look out for and brands to go to for alternatives.
The good news: As with all elements of vegan lifestyle, there is always an alternative! Faux leather is becoming more and more popular and has been a staple with designers such as Stella McCartney for decades. Wool is also going out of fashion, as more and more shops use synthetic alternatives. Just make sure to check the labels next time you go shopping.
Another option to consider is buying second-hand. There is a debate around this in the vegan community as some firmly believe that purchasing these materials is wrong and that it generates their popularity. However, if you are buying second-hand you are also giving these items that have already been made some use, rather than discarding them, and encouraging recycling rather than new production.
You may have noticed that certain drink menus have started to have a dedicated section for ‘vegan wine’, or that certain alcoholic drinks have the vegan trademark symbol. And you might, like many before you, have thought why on earth aren’t these drinks vegan? PETA provides guides for vegan wine, beer, and cider, as well as identifies the non-vegan components to look out for.
The good news: There are more and more vegan drinks on the rise. You can find them in almost every supermarket in the UK, as well as most high-street restaurants and pubs.
Unfortunately, although vegan cosmetics are becoming more popular everyday, most contain something extracted from an animal, or are tested on animals. Beeswax, lard, gelatin, and glycerin are some of the biggest to look out for. The Vegan Society has a detailed explanation on why honey isn’t vegan – and the same goes for bee’s wax. Bees are currently in great danger of extinction, and as they are an essential part of our planet’s ecosystem, many find it preferable to use alternatives to their wax. PETA also offers advice on shopping for cosmetics compassionately.
The good news: There are so many alternatives when it comes to cosmetics, be it shampoo, shower gel, skincare, or makeup. As always, labels are your friends, and when in doubt, ask the retailer if their product contains animal-derived components.
Just as with cosmetics, many of the daily essential items we need to keep our homes and clothes clean, come with a hidden and forgotten dose of animal testing and exploitation. Moreover, many cleaning products are incredibly harmful for the environment, so if you want to clean sustainably consult PETA’s suggestions for cruelty-free cleaning products.
The good news: Most large supermarkets offer a wide range or housekeeping products, including all the vegan favourites. When this fails you you can also rely on local organic shops such as The Eighth Day in Manchester. For clothes you can always try soap nuts – an organic alternative to laundry capsules.
The bottom line: When people tell me that my diet and lifestyle are restrictive I disagree. I see veganism as a series of personal choices that I make in accordance with my beliefs. It is nothing more than that. It is also important to remember that as people, we are constantly learning and becoming aware of new things. Just because you follow a certain diet or lifestyle does not mean that you have to adhere to every rule or that you should be criticised for not doing so. You don’t have to be vegan to want to make a positive impact on the planet, on your health, and on animal welfare.
With its recurring lockdowns and periods of isolation, 2020 has been a year of intense philosophical reflection. Many turned to works that would speak to the current situation, reflected in a surge of sales about fictional pandemics, such as Albert Camus’ The Plague. Milan Kundera’s novel The Unbearable Lightness of Being (1984) offers the same philosophical musings but with significantly less deaths. The book will persuade you of the insignificance of your individual existence whilst also managing to feature a dog as one of the central characters.
Kundera spent his life and career in exile. But he has recently regained his native citizenship, and been awarded the prestigious Czech literary award – the Franz Kafka prize. The news brings me back to Kundera’s most influential work, The Unbearable Lightness of Being, to see how it can still speak to a reader today.
The novel tells the story of a group of romantically involved intellectuals and artists in Czechoslovakia during the period of Prague Spring in 1968. As accurately reflected in its grand title it is the philosophical musings (rather than the plot) that make up the force of the novel. The personal lives of the characters are aligned and juxtaposed to the wider political drama in Czechoslovakia. Kundera creates an immersive read on an almost predictable whirl of love, sex and infidelity between Tomas, Theresa, Sabina and Franz.
The political landscape and communist occupation of Prague intensifies the drama of the characters’ lives. The pressure on Tomas to submit to the communist ideology eventually leads him, followed by his two lovers, to Switzerland. Sabina then meets Franz, in a short-lived illusion of a happy resolution to their love triangle.
The narrator consistently places the lives of the individuals in perspective. Nietzsche is name-dropped in the first sentence of the novel, and the text is concerned with the burning philosophical questions that plague our existence. Ideas of eternal return, time and the question of lightness vs heaviness of existence are interrogated in the course of the novel. The narrative is a case study of different perspectives on life in a complex historical moment.
The Unbearable Lightness of Being often leans towards the nihilistic through the narrator’s insistence on the meaninglessness of a single existence. However, the story also focuses on the interconnectedness of four people in difficult times which becomes a lot more exciting with the entry of Karenin. Karenin is a female dog, and her presence is among the reasons why the novel has aged so well.
The portrayal of the dog is uncommonly generous. The navigation of the relationship between Karenin and the human characters invites broader discussions on the treatment of animals, and how that reflects on human nature. This and other themes that the novel tackles have not only remained, but increased in their relevance to this day.
Kundera’s provocative insights have maintained their relevance thanks to the novel’s focus on the eternal – its main advantage that could not be conveyed to film. The Unbearable Lightness of Being is a worthy read in-between all the hours we are currently spending hooked to screens.
Three Women by Lisa Taddeo is a meticulous study of the vast gulf between sexual fantasy and reality. The work of creative non-fiction has rightfully obtained bestseller status, which accounts for the thousands of hours Taddeo spent absorbing the intricacies of the real-life Maggie, Sloane and Lina. The book offers, in a time of global social distance, bleakly truthful moments of human connection.
In the author’s note, Taddeo shares that she hoped to “convey vital truths about women and desire”. Three Women is a chilling reminder of the vulnerability of women in [heterosexual] relationships. Taddeo’s eight year project flew off the shelves at a speed that rendered it both The New York Times and the Sunday Times No.1 Bestseller.
Three Women has ignited important discussions about how female sexuality is represented in society. The book contains honest and gut-wrenching accounts of sex and desire. Taddeo’s refreshing frankness and stark relatability orders us to rethink our judgements about female eroticism.
Taddeo describes Maggie, a twenty-three year old from North Dakota, as she waits to testify at the trial of her abusive high school teacher. Maggie has shielded herself with “war-paint,” but underneath she is “scarred and scared and horny and tired and love[s] [him].”
Sloane, a refined Newport restaurant-owner with a “face like a sorority girl’s”, fucks other people at her husband’s request. When the couple bring another woman into the bedroom, Sloane is “beyond sexually excited.” She feels moments of “tenderness” and “love.” For this, she assumes there must be an “anomaly” within her.
Lina, a housewife from Indiana, is bruised by lust. She craves, urgently, to be “French-kissed”, but neither her apathetic husband or messy high-school ex can fulfil her bleeding desires. Lina experiences a “tangle of need and anxiety.”
Taddeo’s three women ache to be desired, cherished and understood, yet feel dirty, desperate and immoral. Three Women is beautifully written and painstakingly researched. Taddeo has created a haunting account that allows – finally – an insight into the ‘dark secrets’ of women’s erotic experience.
Three Women has been heralded as evoking universal truths about women across the globe. However, it is certainly worth noting that each central character is a cisgender, white American and in a heterosexual relationship.
Some readers may, as a result, want to read something that depicts the countless other ways that the complexity of desire manifests. Of similar magnitude and beauty as Three Women, but which spans intersections of queerness, blackness and womxness is Bernadine Evaristo’s vital masterpiece Girl, Woman, Other.
Their Eyes Were Watching God by Zora Neale Hurston is a masterpiece that is worth rediscovering during Black History Month.
Hurston’s writing style is challenging yet rewarding. The dialogue adheres to a colloquial 1930s vernacular found in African American communities in the South.
We follow forty-year-old Janie Crawford as she recounts her life to an old acquaintance named Phoeby. Janie’s mother has abandoned her after birth and she has been raised by her grandmother.
Hurston’s heroine is promptly married off to a decrepit old farmer only to be swooned by the young Jody Starks. Janie leaves her husband and moves to Eatonville (a key area in Hurston’s life and work) with Starks.
Starks becomes mayor while Janie begrudgingly slips into the role of ‘Mayor’s Wife’. Janie hosts dinner parties and is prohibited from talking to the townsfolk.
Two decades pass and their marriage has declined significantly.
Their broken relationship culminates in Starks publicly abusing Janie. Starks eventually passes away as a result of illness, and he leaves Janie free and independent.
After a brief experience of independent life Janie is introduced to Tea Cake – a quick-witted man twelve years her junior. The two begin a harmonious life working on a farm.
Janie and Tea Cake revel in telling each other stories and playing music together. Janie claims that she finally knows true happiness. The golden moment is tragically cut short as a natural disaster threatens their marriage and livelihood. Janie is left broken and alone.
At the end of the novel Hurston’s heroine reflects on her three vastly different marriages and the person she has become in the process. Janie acknowledges the hardship she has indelibly endured, and how she has ‘pulled in her horizon’ and become at peace with her surroundings.
The novel has faced its fair share of criticism over time. In particular with the character of Janie.
Critics are keen to point out that throughout the novel Janie is continually defined by her relationships, and lacks a strong sense of autonomy. The criticism overlooks the wider social conditions and the economic necessity of marriage for women in the early twentieth century.
Janie’s marriage to Tea Cake offers a more egalitarian perspective on relationships. Hurston’s description of their story telling and mutual engagement in activities (playing chess, shooting, hunting etc.) emphasises their companionate relationship.
The two characters support one another which gives Janie the skills to thrive in her later life.
It is hard to pin down where Their Eyes Were Watching God fits in the literary canon. On the surface, it is a staple of the Harlem Renaissance, something that would have been synonymous with Hurston’s formative years.
But there is a more captivating element to the novel that is suggested by writer Zadie Smith in her introduction to the 2007 edition.
Zadie Smith claims that Hurston, growing up in Eatonville, was ‘unaware that she was meant to consider herself a minority’. Hurston herself proclaimed that she did not see herself as ‘tragically coloured’.
The novel refuses to be boxed into the notion that it is solely a work of African American literature. It is enhanced by Hurston’s unapologetically bold writing style combined with her reflections on universal themes such as love, religion, and fate.
Their Eyes Were Watching God remains emotionally resonant, regardless of the reader’s social or political background. The novel occupies an important place in twentieth-century history, and I would recommend you read it during Black History Month.
‘Real queens fix each others’ crowns’.
Rocks is a remarkable film.
Helmed by seasoned British director Sarah Gavron (Suffragette, 2015) and written by playwright Theresa Ikoko (Girls, Soho Theatre, 2015) and Claire Wilson, the film is a perfect storm of a tightly woven script and an electric cast.
The story follows teenage Shola as her livelihood is threatened when her mental health suffering mother suddenly disappears. Rocks (as she is known by her friends) is left to take care of her younger brother, while balancing schoolwork, social life, and ambitions of becoming a makeup artist. When Social Services threaten to separate them, she does everything she can to preserve whatever family she has left.
First and foremost, the performances are outstanding. Bukky Bakray, as the eponymous heroine, brings a prolific amount of maturity. There is a raw sense of compassion and resilience brought to Rocks’ character – hard to believe that it’s her debut performance. Other standouts are Kosar Ali’s playground philanthropist Sumaya, and Rocks’ younger brother D’angelou Osei Kissiedu. Both exhibit a significant range for being such young performers.
Audiences will appreciate the creative team’s efforts in encouraging the cast to improvise, using a great deal of their dialogue in the finished cut. This cements the film’s authenticity and realism, pinnacle to producing such a competent coming-of-age film.
The music also plays a significant role in the film. It’s collection of grime and hip hop serve as a beating connection between the girls’ youthful energy and the vibrant London backdrop.
Rocks is exemplary as a recognition of black female empowerment. We are shown the ranks of Rocks’ support network, from teachers, neighbours, and, most importantly, friends, who all put an arm out for the struggling teenager. Even the colourful matriarch Grandmother Omotoso offers Rocks advice, helping her situation. There is an infectious amount of love and care on screen. This makes it impossible to leave the cinema without an ear-to-ear grin.
The film falters slightly is in its two-dimensional depictions of the characters on the periphery of the main gang. There are remnants of interesting personalities, but they remain sorely underdeveloped. When the group scenes do play out, however, the cast comes alive. Whether talking about boys or food-fighting at school, there is a real sense of warmth and playfulness. I challenge anyone not to break a smile.
After making its mark at the Toronto Film Festival, I hope the film has enough legs to secure a BAFTA nomination. Ikoko, Wilson, and Gavron should without question be in strong contention for writing and directing, no less as the Awards Season always lacks greater diversity.
The film’s vibrancy and dynamism leap off the screen as it takes you on a whistle-stop tour of heartbreak, family, and solidarity throughout the capital.
In a time when cinema is in desperate need of support, I urge you to seek it out on the big screen. You will not be disappointed.
4/5.
John Stephenson’s first feature film has a fairly simple setup: a lonely and depressed caregiver, David, gradually loses his sanity and becomes dangerously obsessed with an enigmatic new friend. The twist? His friend isn’t real. ‘Andy’ is just a character on a ‘Rent-A-Pal’ video tape.
Honestly, most of the film is pretty solid. Stephenson’s experience as a cinematographer/camera operator clearly shines through in his thoughtful and often visually striking direction. His script also constructs both a menacing villain and a believable protagonist, although every other character is largely two-dimensional. The vastly different central performances complement each other well; Brian Landis Folkins brings credible nuance to the muted loner David, while Wil Wheaton’s heightened portrayal of the cheerily sinister ‘Andy’ is simultaneously immensely engaging and deeply disturbing. Wheaton’s also pairs with the 90s setting to cultivate an off-putting sense of twisted nostalgia.
The perhaps-slightly-too-slow pacing may put off some viewers, but the first two acts hint toward an explosively satisfying ending for those willing to invest.
Unfortunately, the eventual climax enormously disappoints. David’s sanity, which had been slowly ebbing away, takes a sudden nosedive of epic proportions amounting to a level of cartoonish evil which feels entirely unearned. As it pushes further into conventional horror tropes, the film ditches everything that made it interesting, instead leaning on boring clichés to round out the narrative.
If you’re looking for an interesting horror-based exploration of isolation, give Rent-a-Pal a try. Just turn it off a bit before the end.
3/5.
A group of University of Manchester students, organising as UoM Rent Strike, are threatening the university with a widespread rent strike if demands around student safety are not met.
This announcement follows a protest in Owens Park last Friday, where up to 100 students from the Fallowfield campus came together to protest against the university’s treatment of isolating and Covid-positive freshers.
More protests are planned, the next to be held on Friday 16 October at 2pm, outside University Place on Oxford Road.
Fallowfield has become a Covid-19 ground-zero, with students apparently making up the vast majority of cases.
There is a renewed anger at both the government for encouraging the move back to university, and at university management for failing to prepare for the return of students to campuses.
In a statement released on Tuesday, UoM Rent Strike demanded:
The group has argued that in addition to missing out on valuable learning resources from the move to online learning, living conditions over the last few weeks have been inadequate, with “floods, pests, broken fridges/freezers, lack of hot water, broken cooking facilities, and numerous break-ins”.
They also argue that “This is coupled with completely inadequate isolation support.” Many students have reported having little to mental health support throughout their time in halls. A number of those who have had to self-isolate reported having no access to food – some were even told to put a mask on and go to Sainsbury’s, despite testing positive with the virus.
“Overall,” argue UoM Rent Strike, “the preparation and response to the halls’ situation has been unacceptable… we are therefore demanding compensation and are willing to go on rent strike until these demands are met.”
A University of Manchester spokesperson said: “All students have an informed choice as to whether to study in person in Manchester. The UK Government advice for Greater Manchester, is that students are strongly encouraged to remain in their current accommodation and not return to their family home or other residential accommodation.
“If in exceptional circumstances students wish to return home for a period and no longer require their University accommodation, we will work with them to make sure they can safely leave the campus. Details of how to do this were emailed to all halls residents on 9 October 2020.
“We have put in place a comprehensive support package for all students who are self-isolating, which includes a partnership with a major food retailer, delivery of parcels, wellbeing support, and assistance with practical matters such as arranging for laundry and prescription medicines. All students have been sent this information which includes clear guidance on the circumstances under which they are able to leave their accommodation whilst self-isolating.
“We continue to provide support for all students in our halls of residence, and students can contact their local ResLife team for help and advice, at any time.”
Diversity in fashion is an ongoing battle – many fashion houses still favour Caucasian models and social media is largely whitewashed, despite widespread campaigns for equal representation.
Black people have made massive contributions to the fashion industry and are to thank for some of our favourite styles, yet many people are unaware of this. Don’t believe me? Well, how many of these iconic trends did you realise we owe to black communities?
Hoop earrings are the classic, easy-to-wear accessory that everyone has owned at some point in their life – they are the perfect way to transform an outfit with minimal effort. Although this iconic earring shape dates back to 4th century Sudan, their immense popularity today is due to Josephine Baker. This black Jazz performer and Civil Rights activist made these earrings into the classy accessory that they are today and were also said to be a symbol of the beauty of black culture in 1920s America.
These statement earrings were revived yet again in the 60s as part of the Black Power movement, becoming known for the bold, empowered women who wore them. Icons such as Angela Davis, Tina Turner, and Janet Jackson all sported hoop earrings as a way of celebrating an Afrocentric style of dressing.
From a natural French manicure to more dramatic stiletto nails, there’s no denying that acrylics have become an essential step in many people’s beauty routines. They were created in 1950s America but only became popular a decade later thanks to Donvale Luna. This African American model appeared on the cover of Twen Magazine in 1966 sporting nude false nails, and since then people have been head-over-heels.
These nail extensions did not fail to maintain popularity, and they quickly became associated with black icons such as Diana Ross and Donna Summers in the 70s. They were also endorsed much later by Missy Elliott and Lil Kim during the hip-hop and R&B scene of the 90s, making it impossible to deny the influence black women have had on this manicure essential.
https://www.instagram.com/p/CCmhrt-p4Pg/?utm_source=ig_web_copy_link
Although tools for brushing hair have existed for centuries, Lyda Newman completely revolutionised this commonplace item in 1898. She was responsible for patenting the ‘new and improved hair-brush’, which saw the use of artificial bristles that were evenly spaced and a detachable compartment to make cleaning easier. If it wasn’t for her experimental invention, we wouldn’t have the hair brushes that we take for granted today.
This girly frill on the hem of jumpers and cropped t-shirts is a popular design choice today, but few people know that it was actually created in the 70s by Stephen Burrows, an African American designer.
Burrows, who was known for his exaggerated stitching and colourful thread choices, created this hem by accident after a miscommunication with Vogue Editor-in-Chief, Diana Vreeland. She requested a garment in a ‘lettuce’ colour, but Burrows interpreted this to mean the stitching and thus created the overcasting hem for a ruffled effect, and hence this iconic style was born.
The creator of the ‘logomania’ craze is often debated, with fashion houses like Gucci and Louis Vuitton laying claim to this trend. What can’t be denied, however, is its influences from Dapper Dan, who is said to be the founding father of streetwear.
From his Harlem boutique, Daniel Day started illegally screen-printing the logos of Gucci and Fendi in innovative ways, creating loud logo designs on clothing, car interiors, and furniture covers. Despite being shut down by the police, he has received immense support from American rappers such as Jay Z and P-Diddy.
Trainers have existed since the invention of rubber, but they haven’t always been the wardrobe essential that they are today. They only became socially acceptable in the 70s, and even then were reserved for sports rather than fashion.
That was until the 80s, when black rap artists such as Run-DMC and Grandmaster Flash brought them into the limelight as a style staple. They quickly became a symbol of identity and belonging within black communities and were a pivotal part of streetwear, leading to them being our top choice of footwear today.
The fame of baggy jeans started with Carl Jones, who noticed black children often wearing them in an oversized fit. Although these were hand-me-down items as they couldn’t afford to buy a new pair of jeans, Jones flipped this stigma of poverty in black communities in his launch of Cross Colours in 1989.
This saw the baggy fit reproduced in bright colours, turning what was believed to be ill-fitting garments into the hottest new style. This has become an iconic streetwear trend and has also been popularised by many black hip-hop icons.
In recent years, inclusivity and diversity have come under the spotlight in the beauty industry. Inclusivity has become an increasingly important consideration in cosmetic product development, and more cosmetic companies are launching inclusive makeup lines. Undoubtedly, Fenty Beauty’s 2017 “Beauty for All” campaign was the spark of global change within the industry towards inclusive beauty.
When it launched the ground-breaking Pro Filt’r Foundation with a range of 40 shades (now 50 available shades), Rihanna’s beauty line introduced a new standard for the beauty industry. By launching such a vast shade range to its consumers, the brand’s message was loud and clear: it wanted to include all women, regardless of ethnicity.
Although people of colour have always been a huge market segment, before the launch of Fenty Beauty, the majority of makeup brands produced very limited options for people with darker complexions.
Fenty Beauty’s huge commercial success highlighted the obvious: consumers are seeking products that respond to their needs. People of colour were tired of settling for a foundation that was ‘close enough’.
Having noticed the strong consumer demand for more inclusive products, makeup brands began launching an increasing amount of foundation lines with a broader shade range. Having a foundation with 40 available shades seemed to become an industry standard.
Top brands like Dior Backstage and Estée Lauder have massively increased their shade range and MAC Cosmetic pushed its Studio Fix Fluid Spf 15 Foundation to come in 64 shades.
On a larger scale, various companies have since then launched ethnic, gender, and age-inclusive campaigns. For instance, Revolution’s 2018 campaign featured models of different genders and ethnicities aged from 24 to 90 years old. Gucci Beauty 2020’s campaign similarly featured Ellie Goldstein: a model with Down’s syndrome. Inclusive lines have also extended to other cosmetic products like concealer, bronzer and blush.
Despite the industry’s seemingly positive attitude towards diversity and its efforts to combat racism, truly inclusive makeup lines are still not the standard. While there has been a definite increase in the amount of darker foundation shades on the market, it must be remembered that it was originally merely a marketing response to the competitive pressure created by Fenty Beauty and the backlash from customers.
Racism is still imbued at the very core of the beauty industry. There are still constant cases of brands, like Givenchy Beauty in 2019, who fail to recognise the shift that has happened and produce non-inclusive lines. We are still far from having an industry that truly values diversity.
Fundamentally, inclusivity is not just about offering more foundation shades to consumers. The industry needs to tackle the lack of representation, inclusion, and diversity at different levels.
“Foundation for all” is just the beginning of the movement. We need constant changes in the industry and a balanced representation on all production levels. Inclusivity and diversity should not be a temporary marketing strategy, but an integral value that guides cosmetic companies towards greater changes.
The weather is getting colder, and our favourite sweet treat is back on the screens! See which type of baker your star sign is…
Everyone loves you and you love everyone. Your relaxing nature means that you’re a shoe in for star baker this week!
You work hard but play harder. This week, remember to keep determined at uni and you’re guaranteed that handshake from Paul!
You came for the fun innuendos, and can be a bit messy with your bakes. Try to at least act like you care. You don’t want to lose your custard!
Your meticulous and organised nature means that you are sure to ace the technical challenge.
No one knows how you made it to the tent, but somehow you did. Even if you ended up here by accident – don’t set fire to tent!
Things go wrong sometimes. When this happens, try to see the positive side and don’t dwell on a soggy bottom.
You finally made it to the tent and can’t wait to get started. Channel your energy into all things good this week. Ready, set, bake!
You work hard, but sometimes get lost in the details. Therefore, you might want to get better at time management: make sure to be ready for when they tell you to step away from your bakes!
Your social side comes out this week; But remember to keep on top of the workload, or you could be going home!
Not everything will go your way this week, and you might feel a bit moody. Just keep going and you’ll be a top (not bottom) of the week.
Your reputation precedes you. Your confidence can be a bit much, so forget about the baking. You’re the real showstopper here!
We know you’ve been practicing this recipe at home. Now it’s time for your hard work to come to fruition! Get out there and smash it!
In these unprecedented times, university students are quickly having to get used to portions of their degrees being moved online. For some students, including myself, this is a source of frustration and can be incredibly difficult to navigate.
The University of Manchester’s timetabling issues and last-minute changes, which I have experienced on my course, only seem to be making things worse.
And it’s not just me, for English Literature, American Studies and Creative Writing students, this is also the case.
I do not believe there is enough help being offered to those who find it difficult to learn virtually, and even less so for those who cannot afford to.
Heavily essay-based courses, like my History and Politics course, rely on the library, which is currently operating at a reduced capacity, and study facilities are becoming more difficult to access.
So this begs the question: what are we paying £9250 a year for?
The University, in my experience, offers little support. In an email, bosses requested students ensure they have a good internet connection and a working microphone and camera. But it wasn’t until a week after this decision that the university brought attention to their ‘help me get online’ initiative, which offers a laptop loan and WIFI access.
But for many who aren’t eligible for the scheme, the internet in student houses and halls tends to be poor anyway, especially with increased usage.
Many people, I’ve found, do not know where to start when trying to access any kind of support, and financial support offered by the University is not widely advertised.
From my experience, it also comes too late. An instance of this is The Manchester Bursary, which is released in three parts – the first being in December.
Another scheme, the ‘Living Cost Support Fund’, reserves the right to reject any applicant who has ‘non-essential’ expenditure on their bank statements, such as large shopping sprees or any form of gambling. I believe eligibility for such aid is too generalised. In such unique times like we are living through, people’s financial wellbeing cannot be described on paper, nor be judged by such simplistic criteria.
Students, while being blamed for a rise in COVID cases, have increased stresses. During a global pandemic, they must learn to adapt to online learning, and be able to afford the means to do so. Many students must purchase all their own books, amounting hundreds of pounds within the three years of study.
Neither is mental wellbeing a subject of discussion in the conversation around online learning. Many students are being confined to rooms for all areas of study, including lectures, seminars and writing essays. For first years especially, this can be incredibly isolating. Most work areas are difficult to book and will become busier as deadlines approach.
I do not believe the University’s mental health services are advertised enough, and current DASS students, like me, have not been offered clear guidance and help. Online learning is far more complex than it seems, neglecting those who have learning disabilities, those whose mental health cannot afford for them to be indoors continuously, and those who simply cannot fund it.
Online learning does, however, hold some benefits. Those working remotely are not disadvantaged, and it can be accessible in quarantine. We can appreciate the difficult nature of everything going on, and the complete uncertainty in the air.
However, it feels as though the university could be doing more for its students, especially those forced online. An example of this would be more accessible financial aid, an improved and well publicised mental health service, and a better-organised system to transition into online learning. After all, we are paying for these services.
I’m thinking of ending things with Charlie Kaufman. He’s one of the few talents for whom the adjective “genius” isn’t an overkill—Eternal Sunshine of the Spotless Mind is one of my favourite films. His directorial efforts, however, have split critics and alienated audiences. The rise of Netflix, with its ability to take bigger risks, and to cede more creative control couldn’t have come at a better time for Kaufman.
The film is lead by a woman (Jesse Buckley) who contemplates ending things with her boyfriend, Jake (Jesse Plemons), while he drives her to meet his parents during some particularly snowy weather. The word ‘lead’ is doing some heavy lifting there, as she spends the majority of the film in the passenger seat to events happening around her. She begins to notice changing details and identities which makes her feel like something is not right.
Adapted from the thought-provoking, but imperfect novel of the same name, the film not only inherits some flaws from the source material, but from Kaufman’s previous directorial efforts.
Every character talks like Charlie Kaufman. The majority of the film is extended dialogue, each conversation seemingly scatter-shot with whatever ideas ran through Kaufman’s mind, but couldn’t find a way to incorporate without having a character literally speak it.
Some films have bad characters, written and included clearly just to advance the plot. The characters in I’m Thinking of Ending Things are written solely to advance some idea or message. Bar Buckley’s performance which gets you to actually care about what happens to her character, there is nothing the film does to engage the audience emotionally, or to give a reason to care about anything. There exists meaning insofar the meta-narrative gestalt produces one.
However, avoiding spoilers, the conceit and conclusion isn’t that interesting. About halfway though the film, you understand what’s going on. Anyone mildly versed in psychological horror fiction will notice it’s not particularly original either, no more inventive than an episode of Doctor Who except with higher pretensions of itself. What’s frustrating is that it keeps on repeating its trick long after you’ve understood it, seemingly mistrustful of the audience’s ability to follow. Even the, albeit, extravagant ending doesn’t really do much beyond reinforce what you already know and add audiovisual flare, an extension of the exhausted motif.
The end result is that the viewer is forced into the interminable company of two uninteresting characters waxing off and one interesting conceit that is quickly beaten to death.
I will concede that many will watch I’m Thinking of Ending Things and be deeply moved. If you want to obsess over every detail and decision, you can, and will end up loving it. No doubt interesting thoughts will be provoked, probably more interesting and disciplined than the film itself.
I don’t think I will end things with Kaufman. His previous work more than earns him the goodwill to keep supporting whatever he does next. But, perhaps next time he should cut out the middle-man and just write an essay.
Coronavirus has been especially hard on the arts, and theatre in particular. Social distancing is simply not feasible for most big productions, who will be unable to make a profit with reduced audiences.
This is why it is unsurprising that ATG’s Palace Theatre and Opera House have recently announced that they will be closed for at least another two months, and have postponed their traditional end-of-year pantomime by a full year. These theatres host most of the “big” musicals that come to Manchester, and will most likely not be back until social distancing ends.
Fortunately for us theatre lovers, there are still a few shows coming to Manchester over the next few months – shows that allow for social distancing.
The Lowry, in Salford, is opening its doors in late November for the arrival of two popular shows. Both were set to be performed at the Lowry’s smaller Quays Theatre, but social distancing means they will be performed in its much bigger Lyric Theatre. Interestingly, one of the shows, the smash-hit musical Six, is set to open in London’s own Lyric Theatre. This is because its current home, the Arts Theatre, has a much smaller capacity, so operating it with social distancing would mean too few tickets would be available.
For those of you who have been living under a rock, Six is a feminist concert musical about the six wives of Henry VIII, who are taking back the microphone and changing history to herstory. Six is playing from the 27th of November to the 10th of January.
The Lowry’s other show is The Gruffalo, a fun kids’ show playing from the 4th of December to the 10th of January.
HOME have announced their socially distanced September 2020 – January 2021 theatre season, with all shows being performed in Theatre 1. These shows include Javaad Alipoor’s The Believers Are But Brothers, an award-winning show that played at HOME three years ago to rave reviews (including one by The Mancunion).
There will also be shows by Young Identity, RashDash, David Hoyle and Sh!t Theatre. I am particularly excited for Séayoncé: Déjà Voodoo – a “dragtastic séance”.
Hope Mill is back with the popular rock musical Rent, loosely based on Puccini’s opera La bohème. This production is directed by Luke Sheppard (& Juliet, Spring Awakening). It is playing from the 30th of October to the 6th of December. Hope Mill Theatre is a small, intimate space, so I am interested in seeing what it will be like with even fewer people in it.
The world’s first Covid-compliant theatre, DriveINSIDE, was set to open in October, but following the recommendation of Manchester Council’s Specialist Environmental Team, they have decided to postpone the programme until March 2021. Whilst this is a little ironic, they have stated that they must still act in a supportive and responsible manner.
DriveINSIDE is a drive-in theatre, under a huge tent, which means that shows can go on no matter the weather. Each car will have a space to its right for attendees to get out and watch the show, either standing or on camping chairs. Unlike other drive-ins, the stage is placed right in the middle, offering an in-the-round theatre experience, and providing a great view for all attendees. It will be interesting to see how this works in practice, and we will be sure to review it once it opens.
However, ScareCity, a drive-in cinema with live actors roaming around, is still taking place. As well as live actors, ScarCity also has a Tunnel of Doom, a ghoul graveyard, photo shacks, food cabins, a wicked winnebago, and a haunted house. It sounds like a terrifying, immersive experience that film, theatre and horror fans will all appreciate.
So, there you have it, theatre-lovers. Come what may, the shows will go on!
