Bea Bacon is an English Literature and American Studies graduate from the university, originally from Bristol. She’s recently been accepted onto the prestigious MFA Poetry Programme at New York University. One of our most talented recent alumni, you can find more of her work over at http://beabacon14.wixsite.com, or @biliograbea on instagram.
Weng U is an MA Creative Writing student from Macau. Since studying English Literature with Creative Writing at university, she is determined to write more from experience, rather than writing from the default voice of the white male narrative. She wants to try writing surrealist memoirs and to write more on current affairs, which she is currently doing on Candid Orange magazine.
Weng U spends most of her time planning her days instead of actually doing the things written in her planner. Recently, however, she has been listening to more women in rock and so she has been picking up her electric guitar more often to learn her favourite rock songs.
She explained her writing as follows: ”Lockdown Haiku Diary’ was written during the worst of the pandemic in the UK, when the nation was under lockdown. I attempted to capture the surrealness of life under lockdown – where time seemed neither short or long, when the present seemed to lose its urgency and the future seemed more distant than ever. Through the form of the haiku, I was trying to give order and structure to the lack of congruency and guidance that was in my life at that time. Besides, nothing much was happening during lockdown, so the haikus best captured the small moments (both the precious and the unpleasant) that would sometimes be the only things that stood out for days on end. ‘
You can find more about Weng U over @wentzzzzz on Instagram.
we prayed to be the saviours of a corrupt society,
In the lockdown that unlocked humanity.
— Dedicated to the Black Lives Matter Movement worldwide.
Haya Genawi, an undergraduate student studying BA English Literature. You can find more of her work on Instagram or Tumblr, both with the handle @Hayasworks. Her poem ‘The Lockdown That Unlocked Humanity’ explores the changes to everyday life after the arrival of COVID-19. On the topic of her poem, she says, ‘during the lockdown, a societal discourse was sparked by the Black Lives Matter protests following the murder of George Floyd. By having experienced a period where we were no longer chasing time, we could recognise the importance of [time]. Overall, this poem is a reminder of what we choose to make of our humanity’.
Until the Covid-19 pandemic, The University of Manchester did not offer remote learning for disabled students.
Attending university predominantly required physical attendance to lectures and tutorials. As a result, many missed valuable teaching when they could not make it to campus.
Support plans curated by The University’s Disability Advisory Support Service (DASS) detailed students’ needs. However, online learning was not considered possible – or arguably necessary – for students unable to access campus.
Instead, the university directed disabled students to podcast-recordings of lectures, often without adequate subtitling or captions.
As Kiya Hornby, a third-year Disaster Management student who suffers with ME, pointed out: “[lecture recordings are] designed for people sat in the room.”
Despite the benefits brought by online learning, the university is largely relying on the platform Zoom to deliver live lectures, which has no means of generating captions. This means that, for many disabled students, online lectures are difficult to access.
Students expressed outrage towards this, calling on the support of their peers on the Facebook group Manchester Student Group (MSG).
Syd, Chair of UoM Disabled Student’s Society, intends to file a formal complaint against the university, as he argues this demonstrates the university’s lack of commitment to accessibility for all students.
“You can use other platforms,” he said, having earlier recommended Google Teams. “It’s another case of ‘we will be accessible, but only as far as we have to be’.”
Online learning has, however, provided real benefits to some students. Kiya Hornby noted how, prior to the online shift, “there were no options.”
In spite of her care plan, the university told Kiya she must “come in as much as possible.”
“If I don’t come in, there’s nothing [more] they can do to help me,” she said.
Disabilities Officer, Jas Taylor, shared Kiya’s views in valuing the freedom and control remote learning provided.
She explained: “I no longer have attendance warnings placed on me because I am unable to go in. [At home] I’m not scared of having seizures because of the fire alarms.”
However, there are still questions over why it took a global pandemic for these provisions to be put in place for the University’s disabled students.
Jas said that for the almost 7000 disabled students, this was “a big kick in the face.”
Syd shared this sentiment: “These are access requests that disabled students have been asking for for years and were refused.
“[The University of Manchester] didn’t do this for us, they did it because abled students suddenly needed it.”
A University of Manchester spokesperson said: “As a University, we have always been committed to providing support for our disabled students. Our Disability Advisory and Support Service ensures students receive tailored support for their individual requirements.
“The University is clear that we want to further develop our inclusive approach to teaching and learning.
“During the COVID-19 pandemic, the switch to online learning has been a positive experience for many disabled students, though we feel it is important to recognise that different students have different needs. But as an institution, we know there is [sic] always areas we can improve.”
Willie J Healey was jokingly once cited in an interview as the next Paul McCartney. His new album Twin Heavy, without a doubt, has put him on the way to making that waggish claim a reality. The record fits the Beatles-Esque criteria that every song must be ultra catchy and become lodged in your brain for days on end. It is a perfect summer lock down album filled with bright 70s nostalgia and ambiguous optimism for the future.
Although Healey was let go by Columbia Records after his 2017 debut album People and their Dogs, this second album highlights that rejection has not fazed him. Released on Yala Records, former Maccabees Felix White’s exciting, fresh record company, the album is also produced by the talented Loren Humphrey who has worked with Tame Impala and Florence and the Machine. Twin Heavy looks forward with swagger, freedom and an ever present satisfaction within the music and lyrics.
Opener ‘Fashun’ is a super catchy track that takes a dig at his former record company. His sharp-witted lyricism mocks the fake promises of fame and stardom: “Cause you’re gonna be a big star, honey/A real household name”. On ‘Why you Gotta Do It’, Healey cleverly explores his philosophical approach to life: “Money doesn’t solve Your problems/ A little bit of cash might help”. There is a mischievous and playful atmosphere constant within his lyricism, keeping the album fresh and exciting.
The naggingly catchy melodies of ‘True Stereo’ and ‘Big Nothing’ bare an uncanny resemblance to the early works of Lennon and McCartney. You will be humming them to yourself whether you like it or not.
There is a nostalgic theme that is ever-present on this album, alluding to the music of the 1970s. The brilliant ‘Songs for Joanna’, a recreation of teenage youth, lust and sexuality, are reminiscent of the Velvet Underground Loaded Album. On ‘Heavy Traffic’ he conjures up images of Elvis Costello and the Attractions in their early days. Meanwhile ‘Caroline Needs’, although slow-moving, is in the style of T Rex and Glam Rock. He is also not afraid to use these influences in a modern context. On ‘For You’, the guitar plays Nile Rodgers inspired syncopated minor 7th chords over a slow love ballad. This works to tremendous effect by removing any cringe-worthy possibilities inherent in this type of song.
‘Condo’, a brief departure from the other tracks on the album, highlights his versatility and his eagerness to experiment with a different sound. In this baroque pop anthem, the bright synth piano triads combine with the dark foreboding lyrics on love and heartbreak to create a subliminal atmosphere. Making it, in a good way, feel like the beginning of an early 80s sci-fi rom-com with Healey conveying his emotion with sparkling melancholy.
Twin Heavy was a delight of a listen. An ode to freedom, ambiguity and the decadence of the 1970s. The vital message, especially in these depressing times is not to take life too seriously. Healey may have displayed his growing maturity on this album, however, he reminds us that we are “22 and still confused” but young and allowed to have fun.
Brit-pop inspired psychedelic spectacle the SHAMBOLICS have only gone and done it again. Long awaited fan-favourite ‘Love Collides’ has finally been released as an official single and has been met with reems of praise from the success it has received.
The Shams consist of frontman Lewis Mcdonald, Drummer Jake Bain, Bassist Jordan McHatton and guitarist/ vocalist Darren Forbes. From convicted vocals, to optimistic lyrics and unmatched showmanship, Alan Mcgee’s dreamy Scottish four-piece are yet to disappoint.
‘Love Collides’ is the latest track to be released by the band – following on from its predecessor, ‘Sandra Speed’, this reworked version shares the story of two lovers on a collision course and the impending fallout of seismic proportions. The electrifying guitar solos, cascading lyrics and melancholy harmonies, echo styles used from the likes of The La’s and The View. This emotion infused track reminisces the early styles used by The Smith’s Morrissey.
The band kept their fan base alive over lockdown by releasing a number of covers to preoccupy themselves in uncertain times, including Fleetwood Mac’s ‘Everywhere’ and The Rolling Stones’ ‘Sympathy For The Devil’.
Much as this song entails two lovelorn individuals on the cusp of a break-up, the SHAMBOLICS are teetering on the precipice of stardom. With their upwards trajectory of a career an exponentially growing fanbase, it will not be long until everyone has heard the name of this prodigal band.
Hopefully, the band will announce some upcoming dates it won’t be too long before I can experience this song in a sold-out venue once again. ‘Mon the Shams!
A 19-year-old University of Manchester student passed away yesterday in his halls of residence in Fallowfield.
The identity of the student is not yet know but police have confirmed that the man’s death is not being treated as suspicious.
A representative of the University released a statement on behalf of the student’s family stating that the death was not coronavirus-related.
According to The MEN, emergency services were called to Fallowfield campus at around 5pm on Thursday 8th October due to a report of concern for the student’s welfare.
The student was pronounced dead at the scene and an inquest is expected to be opened. No further details of the circumstances have been released.
A statement was made by Dr Simon Merrywest, director for the student experience at the University of Manchester, addressing the tragedy:
“We can confirm that very sadly one of our students was found deceased in their hall of residence at around 5pm on Thursday, October 8.
“We are providing all possible support to their family and friends and our utmost sympathies go out to them. The family have asked us to make it clear that this incident is not Covid-19-related and that they would wish to see their privacy respected at this difficult time.
“The university is working closely with the Manchester’s Coroners Office, so we will not be able to comment any further.
“The University has an extensive package of wellbeing support available to all our students, the details of which can be found here.”
The Manchester Students’ Union has also released a statement on their social media about the tragic incident:
“The death of a University of Manchester student is something that deeply affects our community, and at this time, it is all the more important for us to look out for one another.
Our advisors are here to help you with anything personal that is going on for you. We’ll provide a confidential space where you can talk to us about anything that’s on your mind. We can help you to access additional support through the University and relevant external support organisations.
Please send an e-mail to [email protected] if you would like to speak to an advisor.”
If you or anyone you know is struggling with their mental health, please don’t hesitate to access support through the University of Manchester Student Support platform, or through the charity Papyrus.
The shift towards a sustainable future is slow, but gradually gaining traction, and recent months have seen changes in both how and where we can shop.
It seems that the temptation to shop online and develop weekly spending habits with fast fashion is ever-present; we are browsing online and making new purchases at an increasing rate. It is something that comes up time and time again in weekly phone conversations and Zoom calls: “What did you buy?”, “Where did you buy it from?” – and the quest for the ultimate student discount code.
However, our increased understanding of the life cycle of garments, from production to their quick disposal, has encouraged change. We must combat the destructive actions of the past and find ways to reduce our impact on both people and the planet.
For many, taking the Oxfam pledge to shop #secondhandseptember was a natural starting point that raised awareness of alternative, sustainable clothing choices. This month-long experiment attempted to enact a change in mindset towards our fashion consumption, from where we source items to their re-wearability.
The project began after an Oxfam-commissioned study revealed that over two tonnes of clothing was bought every minute. Of that astronomical figure, the UK sends thirteen million items of clothing to landfill every year.
This shocking statistic alone conveys the stark environmental damage that fast fashion enacts, and indicates its destructive nature beyond economic deterioration. With the assistance of Oxfam, many pledgers began carefully and creatively reorganising their wardrobes, as well as exploring existing items on the market.
After taking the pledge for the first time last year, I was surprised at how many options suddenly came into focus. I started by attending a swap shop with friends – we met up with bags of freshly washed clothing ready to exchange, devising outfit choices together from the comfort of the living room. It was the perfect opportunity to offer up items that were still in excellent condition but in desperate need of a re-style.
I swapped many shimmering crop tops and the odd, ill-advised printed shirt, that were now able to discover a new lease of life. In return, I gained some great items including a stunning pair of white Carhartt dungarees – proving that one person’s junk can be another’s gold.
Photo: Georgina Davidson @ The Mancunion
Although events could not take place in the same way as previous #secondhandseptember projects, this year things moved online, with effective and approachable second-hand success stories being shared of the horrors and heroes shoppers found at online stores.
One such wonder website, Depop, allows users to sell pre-loved items on an easy-to-access platform. This new way of looking at clothes can also give people the confidence to make style choices and take risks based on exciting vintage finds and shared knowledge of styles in our local community.
The site is a firm favourite of Editor-in-Chief, Anja Samy, who commented: “I found so many hidden gems … it felt even easier to shop on peer-to-peer platforms because I could search for things that I really wanted, even if they may not be this season’s trend.”
A cropped flannel shirt was her top find this month, which is a comfortable option that is “great for layering” in the autumnal months ahead.
This month also revealed the re-occurrence of vintage styles which spin through cycles, throwing some interesting finds into the most unexpected places. For myself, an inherited, generational love of clothes meant that discussion and re-purposing of 70s, 80s and 90s gems regularly took place throughout the month. As fast as clothes were swapped, more satin shirts and quirky cut jeans were acquired.
This experience was mirrored by Beauty Editor, Alex Bikard, who found delight in rediscovering and re-imagining family treasures. Throughout September, she found comfort in her travels wearing “a green vintage dress” that she had inherited from her grandmother. She noted that she “would rather buy and wear very beautiful investment pieces, ideally pre-loved ones that would last [her] a lifetime”, valuing styling, instead of buying several new pieces.
Photo: Alexandra Bikard @ The Mancunion
From the discarded garments of friends and family, to finding hidden gems on the market, a financially viable opportunity is presented by swapping and sharing our clothing. Embracing the vision of shopping second-hand, rather than the vastness of fast fashion, allows us to connect and showcase our social diversities, presenting us with the ability to be imaginative and put collaboration first.
When cultural and environmental impacts are considered, we can reduce the cost of our own monthly spend, and support our most vulnerable communities worldwide, showing that love of the material can easily be slow and sustainable.
The British Academy of Film and Television Arts (BAFTA) has announced 120 changes to its awards in an attempt to recognise more diverse talent. The changes include adding 1000 new members from underrepresented groups to its committee, and limiting the amount of money studios can spend campaigning for nominations.
The multitude of alterations were implemented by BAFTA’s new chair, Krishnendu Majumdar. Majumdar orchestrated a seven-month review process in response to the heavy criticism of last season’s all-white line-up of acting nominees. Not a single actor of colour was amongst the 20 major acting nominations, with Black, Asian and Minority Ethnic (BAME) stars including Cynthia Erivo (Harriet) and Jennifer Lopez (Hustlers) being snubbed. The evident lack of diversity among the nominees prompted the hashtag #BaftasSoWhite to trend across social media.
The best director category saw not a single female nominee for the seventh year running. In BAFTA’s history only five women have ever made it to the shortlist for the best director prize and only one of them has ever managed to win – Kathryn Bigelow. She managed to secure the prize in 2010 for The Hurt Locker and remains the last woman to have been nominated for the award since 2013’s Zero Dark Thirty.
All voting members will now be required to take a bespoke course in conscious voter training. Bafta suggested that this would help all members to “navigate and recognise the wider societal influences that can impact the voting process”.
In addition, studios are no longer permitted to nominate actors for both lead and supporting awards. This has been implemented as there were numerous white actors to be nominated twice whilst not a single actor of colour had been considered. Furthermore, in the directing category, it has now been made compulsory that half of the 20 nominees on the longlist must be women.
Leading figures within the industry such as Philippa Childs, the head of the entertainment industry union Bectu, have commended BAFTA’s reformation of its rules. However, Childs remained cautious as to whether these new measures would be enough to make a meaningful difference in the 2021 awards.
BAFTA’s first awards ceremony took place in 1949 and it remains evident that, regardless of the 71 years which have passed by, there is still a deep-rooted inequality at the core of both the film and TV industries. The systemic racism and misogyny within awarding bodies have seen women and people of colour being ignored year upon year. Whilst BAFTA’s new rules are a welcome change, the screen industry has a long way to go before it can be deemed diverse by modern standards.
The new rules will come into force at the 2021 BAFTA Film Awards, which are scheduled to take place on the 11th of April 2021, two months later than usual because of the coronavirus pandemic.
A recent study conducted by researchers at the University of Manchester could be a revelation in cancer studies, being the first in the UK to draw a correlation between the development of womb cancer and Lynch syndrome.
Lynch syndrome, also known as Hereditary Non-polyposis Colorectal Cancer (HNPCC), is indicative of a genetic predisposition to many types of cancer, such as endometrial (or uterine), breast, prostate, and pancreatic cancer.
The condition occurs mainly as a result of inherited mutations in multiple genes. These are responsible for DNA mismatch repair, like MLH1, MSH2, MSH6, PMS2, and EPCAM. Considered one of the most common hereditary cancer syndromes, it has been estimated that approximately 1 in every 300 people could be carriers of a genetic alteration which results in Lynch syndrome.
Led by Professor Emma Crosbie at The University of Manchester, and supported by the Medical Research Council and the National Institute for Health Research Manchester Biomedical Research Centre, the study was published in the PLOS Medicine journal.
The research revealed that nearly 3.2% of endometrial cancers are associated with Lynch syndrome, which highlighted a need for unselected screening of endometrial cancer patients for this syndrome. This has lead the National Institute for Health and Care Excellence (NICE) to advocate for a change in testing processes across the UK.
In addition, this study concluded that nearly 16 out of 500 women who were recently diagnosed with womb cancer have Lynch syndrome, 13 of whom were unaware of their condition.
Diagnosing Lynch syndrome in a patient is beneficial in many ways. Not only can it help save the life of an individual by swiftly determining the most successful treatment option, but it can also accelerate the cancer screening process for patients’ family members. This is incredibly helpful with early detection and removal of precancerous polyps.
It is now hoped that the study and potential modifications in cancer screening and testing will lead to further changes. Prompted genetics referrals, cascade testing of family members, and access to preventative interventions, such as colonoscopies and aspirin chemopreventions, could help prevent patients and their families from developing cancers.
“If all women with womb cancer were tested for Lynch syndrome,” Professor Crosbie commented, “we would identify around 220 women every year who didn’t know they had it, plus on average 3 family members per index case. This is around 1,000 people every year in the UK alone who would be diagnosed with Lynch syndrome and empowered to reduce their future cancer risk through proven interventions.
“More people could be enrolled in cancer prevention and screening programmes, and this may reduce the number of people being diagnosed with cancer, particularly at a young age.
“Because womb cancer often presents first, it may be the first sign that a patient has Lynch syndrome and is therefore at risk of developing bowel cancer and other Lynch-related cancers later in life. Finding out they have Lynch syndrome could enable them to take action to protect themselves and their family members from these cancers.”
Manchester is a cool city. Like many of my friends who settled here, I was attracted by a reputation carved out decades ago. The names of these cultural sculptors, however, no longer appear on billboards or event posters. Instead, they are relegated to books that seem vaguely historical, or albums that were best-sellers before any of us had ears to hear them.
I take pleasure basking in the reflected aura of those who made their name in Manchester, subsequently making Manchester a name in itself. But even while traipsing around these terraced streets, like many Mancunians have done, I find myself feeling ill-at-ease. Do I have a right to enjoy such a worldwide reputation when I contributed nothing to it’s creation?
I have never set foot in the Boardwalk or the Haçienda. I never scraped together the cash I could to watch the Stone Roses or Mondays perform live. At the root of it, there is no way I could have. Just as I was beginning to think I was condemned to appropriating that which I had missed out on, a swathe of unassuming posters popped up in central Manchester. Each image sported the same cryptic message: ‘#MorningGlory25’.
We owe a lot to Oasis Leisure Centre in Swindon: not only do they boast swimming, climbing and trampoline facilities, but they are also responsible for the name of one of the most successful bands from Manchester. Liam Gallagher suggested the name Oasis shortly after joining the band in 1991, and before his brother, Noel, joined that same year. I questioned the scope of influence the Oasis Leisure Centre in Swindon had over their commercial success, but something about it clearly resonated with the British public. In 1993, Oasis were signed to Sony. They released their debut album, (becoming the fastest selling debut album in the UK) in 1994, and in 1995, their best-selling album of all time, (What’s the story) Morning Glory?, was released.
To stress their dizzying success, I could give you some numbers. I could tell you that Morning Glory sold 345,000 copies in its first week. Or, that it spent 10 weeks at number 1. I could also tell you 125,000 British soldiers died at the Somme. These are all intangible digits that tell a story, a story to be read.
The only liveable remnants of the golden age of Mancunian Britpop are the seemingly endless spats between the Gallaghers on Twitter. It’s this ongoing feud that saw the gradual demise of Oasis, until their break-up in 2009.
My Dad and brother played Oasis regularly all throughout my childhood, and their lyrics are branded into my subconscious. But sitting here on the outskirts of Fallowfield, a stones throw from the childhood home of Noel and Liam in Burnage, I can’t help but feel like I’ve missed out.
Now, I could be accused of getting misty-eyed. Those posters are in fact referencing the 25 years since Morning Glory was released. In commemoration, there have been special edition Vinyl LPs made available for purchase.
This is exciting. Still, would a tiny reunion really be too much to ask?
I am very much of the opinion that while nothing gets confirmed, nothing can be denied. Perhaps a guerrilla marketing stunt awakened a little too much child-like optimism. Sue me. I will continue to hope that one fine day, we will be able to put our money where our mouths are, and to further cultivate the reputation of this cultural powerhouse.
Oasis, I salute you, I listen to you, and I sing you (badly). I have to ask, however: how many re-runs of the past are you going to put us through before you actually allow us to re-live it?
Craving a little bit of sunshine on a rainy Saturday afternoon, I decided to try my hand at Jamaica’s national dish, ackee and saltfish. I found it a perfect and straightforward way to celebrate Manchester’s Caribbean culture.
I purchased the ingredients from Afro Caribbean Foods, a store located at 185 Princess Road (opposite Alexandra Park). The shop has everything you need to make a variety of Caribbean foods at reasonable prices.
Ingredients:
1 pack of skinless, boneless saltfish
1 tin of ackee (drained)
1 white onion
1 garlic clove
1 red pepper
3 tomatoes
½ scotch bonnet pepper (seeded)
1 teaspoon of paprika
Plenty of thyme
Ingredients. Photo: Sorcha Cullen @The Mancunion
Method
Soak the saltfish for 30 minutes in warm water, then change the water and boil for 20 minutes. This will wash out some of the saltiness from the fish;
Remove the fish from the pot and flake it with a fork;
Dice and sautée the scotch bonnet, garlic, onions, peppers and tomatoes until they become soft; Season with paprika and thyme;
Drain the ackee and add to a pan along with the flaked saltfish;
Season with black pepper;
Combine all the ingredients and stir until everything is heated through.
Serve with rice and ‘peas’ (which is what Jamaicans call kidney beans).
Misconceptions are abundant in musical theatre. Many see it as a short-term “high tosh” experience ; an exciting night of meaningless fun and escapism. But even the cheesiest of musicals often offer more than meets the eye. Musicals are filled with socio-political commentary, and many have political undertones.
Most people are bright enough to understand Wicked as a commentary on how people who are “different” are often ostracised. Even those who begrudgingly accept such people into their communities are prepared to vilify them if they do not conform to “normality”. But Wicked is even more political than that – and the book even more so – touching on topics such as race, privilege, and the violence that supposed refined society is capable of.
The musical Mean Girls is certainly a lot of fun and chocked-full of one-liners. It not only offers an insight into not only high school politics, but is also arguably a microcosm for wider society. Some may brush off Legally Blonde as a chick-flick but it is truly an uplifting show that tackles the ways internalised misogyny causes traditionally ‘girly’ attributes to be seen as less than ‘male’ characteristics.
On top of this, there are many musical theatre songs which are misunderstood, not only by the musical-loathing philistines among us, but even by cultured aficionados and connoisseurs of musical theatah!
Most musicals have a signature song: the big moment, the first song you think of when you think of that musical. Take Hairspray’s ‘You Can’t Stop the Beat’, Mamma Mia’s titular song, and Wicked’s ‘Defying Gravity’. Usually, a signature song is easy to understand, at least on the surface – it has to be. This song is the most notable, or even pivotal, moment of the show. But some songs may be more than meets the eye.
Abigail Jaye as Evita. Photo: Sheila1988 @WikimediaCommons
Don’t Cry For Me Argentina (Evita)
Evita is a musical about the divisive former First Lady of Argentina, Eva Perón. Argentine acquaintances have told me that Perón is the British equivalent of Margaret Thatcher: loved yet loathed; equally revered and reviled.
Evita as a whole is misunderstood by many: it does not present an entirely flattering portrait of the late First Lady but a more nuanced portrayal of a former actress yearning for public notoriety, and political power. The authors of the book Evita: The Real Life of Eva Perón claim that the musical is based on Mary Main’s biography, The Woman with the Whip, a critical portrayal of Perón. Whilst this has never been confirmed publicly, the musical’s co-creator, Tim Rice, has praised the book.
Evita’s signature song is, of course, ‘Don’t Cry for Me Argentina’. The song contains some very emotive lines, with Evita insisting that she did not yearn for fortune and fame, a statement that could not be further from the truth for this actress-turned-wannabe-politician. Rice, himself, has characterised the song as an emotionally intense but empty speech by a “megalomaniac woman” trying to win the favour of her people. These emotive pleas and statements form a “string of meaningless platitudes”.
‘Don’t Cry for me Argentina’ is not a sung inner-monologue of a misunderstood woman; it is a pretentious political speech by a powerful figure who wants her public to cry for her.
Image from a Catalan production of Hairspray, showing the segregation of dancers in the musical on the Corny Collins Show. The sign on the stage reads ‘Normals | Negroes’. Photo: Àngels Fusté @WikimediaCommons
The New Girl in Town (Hairspray)
Written exclusively for the film adaptation of Hairspray, this song does not play a big part of the greater story, but is one of many attempts by the writers to highlight racial injustices.
Superficially, the song appears to be comparing and contrasting the fluffy, soulless version of the song by the White girl-group with the fiery, emotional version by the Black girl-group. The Black girl-group sings afterwards, giving the impression that their version is a cover, albeit a superior rendition.
But it is what comes after the song that is important.
As the Black girl group finishes their live performance, the producer of the White-only Corny Collins Show confronts the Black host of “Negro Day” for daring to use the same song. The Black host replies, “They wrote it!”.
This is a brief, but notable, reference to the many instances of Black artists having their music appropriated or even stolen throughout the 20th century. Black people were second-class citizens who had greater hurdles in achieving musical success, so it was not too hard for White artists, producers and executives to deprive them of the credit they deserved.
This forms part of a wider discussion, which includes the issue of White artists singing “Black music” during segregation. Perhaps the most prominent example of this is Elvis Presley. Did Elvis become the ‘King of Rock and Roll’ because of his talent? Or was he a White man singing Black music, who White audiences would rather stan than artists he was influenced by?
AMDA’s production of Cabaret. Photo: Domiblue @WikimediaCommons
Cabaret (Cabaret)
“Where are your troubles now? Forgotten! I told you so. We have no troubles here. Here life is beautiful.” Certainly the musical Cabaret is an entertaining escape, but the important thing to consider is what the audience are meant to be escaping from.
Cabaret is not simply a musical set in a cabaret; the whole show offers metaphorical and figurative explorations of the early days of Nazi Germany and the eventual Second World War.
The show’s titular song is sung towards the end of the second act by the female lead, Sally, after debating whether to get an abortion. Superficially, the song appears to be Sally admitting her troubles but refusing to be consumed by them. Instead, she chooses to enjoy life – and live it like a cabaret. The song appears to be Sally coming to terms with her circumstances, and the writers telling audiences to do the same.
But this is actually the antithesis of the song’s purpose. The song is Sally’s attempt to mask her troubles, to see only the good. She goes back to the cabaret, a place of escapism and joy – especially when the country has been taken over by the Nazi Party. But as the closing moments of the film adaptation show, even cabarets were infiltrated by Nazis.
In the song, Sally sings about her friend, a prostitute who overdosed. In this moment, she admits the harsh realities of her life, before remembering something that her friend told her – something she would rather focus on instead.
The song could be called ‘Sally’s Turn’ – à la ‘Rose’s Turn’ in Gypsy. It is a near-flawless nervous breakdown, with Sally realising her troubles but preferring to live in denial and just enjoy life whilst she can, with a Hedonistic philosophy of sorts. The lyric “From cradle to tomb, it isn’t that long a stay” is one example of the song’s carpe diem theme, but the song, itself, is not an early example of “YOLO”; instead, it is a portrayal of denial.
In some more recent versions of the musical, actresses have made it clear that Sally is breaking down. The misunderstanding of this song is in large part because of the film version, which was, essentially, a vehicle for Liza Minelli to show off. In the stage version, Sally is not even supposed to be a good singer. This can be forgiven, however, because – well, Liza Minelli!
So, there you have it. I wonder how many other musical theatre songs, and songs in general, we have misunderstood. At least now you know not to cry over ‘Don’t Cry for me Argentina’.
In June 2020, Reni Eddo-Lodge became the first black British author to top the UK book charts. 220,000 copies of her book Why I’m No Longer Talking to White People About Racewere sold in June alone. The death of George Floyd on the 25th of May 2020 prompted people to turn to Eddo-Lodge’s bestseller. Indeed, Floyd’s death forced people to take notice. It spurred them to read in an attempt to educate themselves on the prevalent racism in both the US and the UK.
Of course, it is important that this desire for education is more than a moment. We must continue to read texts by black authors, covering a broad range of voices, literary styles and perspectives. October is Black History Month in the UK, and we would like to mark it by celebrating their work.
So, here are five books by black writers to add to your October reading list, alongside Why I’m No Longer Talking to White People About Race:
1. Don’t Touch My Hair
Emma Dabiri intertwines the personal and political in her first book Don’t Touch My Hair. She grew up in Ireland, where her hair was a ‘constant source of deep, deep shame’. Through her personal experience, she explores how racialisation as black is tied to her hair as much as to her skin.
2. The Autobiography of Malcolm X
The account of the life of Malcolm X, written in collaboration with Alex Haley, is a must read. It’s shocking, heart-wrenching brilliance is fully explored in Alia Nawaz’s review.
3. Citizen: An American Lyric
Citizen is a long form poem by Claudia Rankine that confronts casual racism in a way that shocks and embarrasses a white reader. It is all at once factual, beautiful, and eye opening. The form is a refreshing way of engaging with the realities of racism in contemporary society.
4. Stay With Me
Stay With Me is the debut novel by Ayòbámi Adébáyò. The novel is set against the backdrop of 1980’s Nigeria, and it interrogates the subjects of marriage, masculinity and monogamy. Adebayo’s assured prose style is a joy to read.
5. Natives: Race and Class in the Ruins of Empire
Akala’s first book is a combination of memoir and polemic, offering a thorough analysis of racism and capitalism in modern Britain. Providing insight into a black British history which has been suppressed by the power elite in the UK, Akala’s essays are a must-read.
Let us know what you’re reading in October to celebrate Black History Month, and let’s keep the conversation going.
Bioelectronics is undoubtedly one of the most advanced and sustainable fields of research. Not only is it revolutionising the world of medicine, but it is also making a few trailblazing modifications to our favourite devices. You guessed it! Our television screens and smartphones.
Organic Light-Emitting Diode (OLED) screens, which use organic compounds, are now rapidly replacing the widely used Liquid Crystal Display (LCD) screens. Why, you ask? Simply because they are cheap, ready available, and biodegradable. The choice of organic materials heavily depends on their ability to conduct electricity and display fluorescence, as they substitute for the LEDs used in your regular LCD screens.
Unlike the usual LEDs, which use heavy metals such as silicon as a semiconductor, OLEDs use several layers of thin, light emitting films which are made up of organic materials. These layers light up when attached to a power supply, as an electric current passes through them.
But the organic materials don’t conduct electricity as well as metals like copper or steel, which makes it difficult for electrons to pass through the layers. In order to facilitate this, we use Electron Transporting Materials (ETMs). These are situated in the emissive layer which is responsible for the production of light. It’s sandwiched between the many layers of the OLED.
The most popular organic polymer found in the emissive layer is polyfluorene, which is mainly used for it’s fluorescence. Researchers at the University of Manchester have developed a similar layer using polylactic acid (PLA), a bioplastic that can be sustainably synthesised from renewable bio feedstocks.
It leaves a negligible end of life footprint, which in turn decreases the overall cost of the OLED devices. An eco-friendly bargain for an up and coming technology – what more could you ask for?
A derivative of this bioplastic is used as a support structure, which undergoes several chemical processes to form new and more suitable layers. One such layer is produced by reacting lactide – a derivative of lactic acid – with a derivative of perylene. Perylene is a chemical compound that works like a dye at a molecular level. Combining these layers forms an ideal backbone for the OLED device.
Unfortunately, since PLA is a plastic, it inherently makes for a good insulator. This requires the organic layers to be treated using different ETMs to reduce the overall electrical resistance within the device.
The efficiency of these OLED devices depends on factors such as the thickness of the layers and the molecular energies of the organic compounds in the different layers. Slight changes in these energies could drastically affect the overall productivity of the device.
This new discovery paves the way for research into organic electronics. In addition, it makes us wonder if we can make these OLED devices even more efficient and environmentally friendly in the future.
Arguably the most innovative of socially distant fashion shows this season, Moschino’s creative director, Jeremy Scott, has used puppets to showcase his latest ready-to-wear collection.
Scott displayed his haute couture on 30-inch marionettes before a star-studded front row of puppets resembling some of fashions biggest names, including Vogue and Elle Editors-in-Chief, Anna Wintour and Nina Garcia.
Each puppet, which was created in collaboration with ‘The Muppets’-born Jim Henson’s Creature Shop, strutted across the miniature catwalk in pieces that, despite their doll-like size, certainly did not miss any attention to detail.
Prominent trends within this collection include oversized bows, contrasting materials and an abundance of ruffles, feathers and corset-style blouses. One thing was consistent throughout all of these pieces – the visibility of design lines.
This conscious choice, which appears to almost expose the construction of the garments, was Scott’s method of ‘showing human contact, thought and process, because this has been a humanizing experience globally we’ve all had to endure’.
The Moschino SS21 show was largely influenced by the Théâtre de la Mode: a travelling exhibition created by leading Paris designers following the devastation of the Second World War.
They used rationed fabric to create couture designs displayed on dolls in an effort to raise funds for war survivors and revive the French fashion industry.
Scott’s ode to this classic scene of miniature mannequins is not only a convenient solution for socially distant shows, but it also offers some much-needed optimism.
Drawing inspiration from the 1940’s society, that flourished and celebrated fashion after dark times, is a clear message of hope that we shall do so again.
Whilst some suspected that the use of puppets was a political statement, Scott has denied this. He explained that he wanted to evoke the ‘whimsical’ side of fashion, transporting his audience into a dreamlike atmosphere with the ‘element of fantasy’ that usually surrounds his shows.
What is both a classic reinvention of French tradition and an innovative solution for current limitations, Moschino’s SS21 show seems to offer a future for fashion in our post-pandemic world.
Although world cinema is still struggling with the pandemic’s impact and many titles have been removed from the release calendar, there is still plenty to look forward to in the upcoming months. If you’re not sure what titles you should keep in mind, we’ve compiled a list of a few films we’re looking forward to the most – check them out!
Coming 2 America, the long-awaited sequel to the 1988 comedy classic Coming to America, is one of the precious few films COVID-19 hasn’t yet banished to 2021, and there’s a lot to be excited for.
With a trailer yet to be released, a shroud of mystery surrounds much of this upcoming film. What we know for certain is that the film sees the return of the loveable Akeem (Eddie Murphy) and his Royal Servant Semmi (Arsenio Hall) as they journey back to America to locate Akeem’s long-lost son, heir to the throne of Zamunda.
Combining the comedy genius and multi-roling of Murphy and Hall, with the creative vision of director Craig Brewer (Dolomite Is My Name), and a focus on characters with African heritage living in America, this film promises to be both delightfully funny and culturally poignant. It is set to release on the 18th of December – see you there!
When I found out they were making a Dune film again, I did a double-take. From Alejandro Jodorowsky’s failed attempt which was the subject of an acclaimed documentary Jodorowsky’s Dune, to David Lynch’s 1984 release which split critics and emptied theatres (a film that Lynch has disowned) – the adaptation seems cursed. The book itself is famously impenetrable too, a lengthy affair that requires its own map and dictionary to comprehend. Good luck Denis Villeneuve! After the success of Blade Runner 2049 we have a good reason to be optimistic, but it would only be the third time Dune defeated a great filmmaker.
With rave reviews and main prizes at both Venice and Toronto film festivals, Nomadland has all it takes to make it the best film of this year’s awards season. The story, which is based on a 2017 non-fiction book, follows a woman who is forced to leave her town and embark on a journey through America to live the life of a modern-day nomad.
Directed by Chloe Zhao (whose other efforts include The Rider and an upcoming Marvel picture, Eternals), the film stars a range of amateurs and only two professional actors, two-time Oscar winner Frances McDormand and David Straithairn.
Scheduled to be released on the 1st of January 2021, Nomadland appears to be a poetic, melancholic meditation on the condition of the United States, its people, and on life in general – and in a few months it will definitely be on every cinephile’s lips.
Saint Maud, a psychological horror set to be released on the 9th of October, is a debut film of writer-director Rose Glass. The story follows Maud, a recently converted Roman Catholic hospice nurse. She becomes infatuated with a patient, a former dancer left in her care, and is desperate to save her soul before she dies.
The powerful trailer indicates an analysis of the human mind through spirit possession. I’m certain that every lover of psychological horrors would be excited at the prospect of a devout nurse gone mad.
A24 films have brought some of the most creative and interesting thrillers and horrors in recent years, including Midsommar and The Killing of a Sacred Deer, which both posed questions about human psychology. Saint Maud seems to be a perfect film for someone who likes to be kept on the edge of their seat – and is high up on my October watchlist.
Pixar’s upcoming film Soul will be the studio’s first production featuring a black lead character. The story follows a middle school teacher, Joe Gardner, whose dream is to become a jazz performer. When he finally gets his break, a terrible accident happens – his soul separates from his body and is transferred to “The Great Before”, a place where souls acquire traits and personalities. Joe needs to be trained along with other souls in order to return to the Earth before his body dies or his enemies destroy his dreams.
Soul is set to be released on the 27th of November and will feature the voices of Jamie Foxx and Tina Fey, among others. Pixar Studios are a subsidiary of Disney, which released their first film starring a black character, The Princess and the Frog, in 2009. Now the company is finally taking another step forward to embrace diversity and, hopefully, inspire other studios to do so as well – and we can’t help but love these efforts.
Self-titled debut EP from atmos bloom makes me long for the summer that never was. It epitomises the many lockdown daydreams I had of wandering with friends through sun-soaked parks and whiling away hazy days at back-garden barbecues. From the opening sound of blackbirds calling on first track ‘just another day’, to the muted cries of a gull on closer ‘salts’, the EP is as much a collection of painted scenes as it is one of brilliant dream-pop. Listening to each song feels like walking through an impressionistic oil painting from one of the old Parisian masters, evoking soft pastel hues with a palette composed of dreamy guitars, expansive drums and gossamer vocals.
atmos bloom. Photo by Liv Kenny
Stand-out track ‘blueberry eyes’ is easily the most immediate of the four. A bassline, which on first listen is reminiscent of Alt-J’s ‘Breezeblocks’, leads the way into three minutes of delicately crafted vocal hooks and reverb-drenched summer sounds. Imagine an indie summer anthem captured through the nostalgic sepia tones of a polaroid camera. Memories of a festival season long ago, or indeed, dreams of the summer that could have been. Like the best authors, the songwriting is simplistic and accessible, allowing your mind to get lost amongst the notes and words. Equally, however, the songs never lack character of their own. The penultimate track ‘hide’ compliments subtle synths with playful vocals, positioning itself between the more relaxed sounds of 90’s shoegazers Slowdive, and the sun-worshipping of contemporary dream and indie pop bands such as Rolling Blackouts Coastal Fever and Beach Fossils.
atmos bloom. Photo by Liv Kenny
atmos bloom isn’t your average one-dimensional summer indie debut though. Whilst much of the sonic qualities of the EP do lean on that well-explored sound, it still has the power to take that aesthetic elsewhere. In an instant you can be transported from a July beach scene to a crisp autumn morning – in one, notes tumble down as dry leaves and vocals hang and shift like warm breath on a cool breeze. Amongst the subtlety of vocalist Tilda Gratton’s melodies, and the non-capitalised titles of the songs and band name, lies deliberate musicality. Perfectly balanced echo on ‘blueberry eyes’ and soft harmonies on final track ‘salts’ display genuine talent between the duo, and I have no doubt that this project could truly bloom in the future as songwriting styles develop and become bolder. For now we can only guess at what a live show might look like, but the prospect is incredibly exciting nevertheless.
The EP is at once nostalgic, hopeful, reverb-drenched, sun-soaked, clinical yet warm, visual, visceral, easing, ethereal, colourful, bright, contemplative, introverted, explorative and rich. If you’re looking for music to soundtrack the huge social and political upheavals of 2020, look elsewhere. If you seek songs to blast at full volume at the first post-corona party, then you’re in the wrong place. But if what you need is serene escapism (and don’t we all right now), then look no further than atmos bloom.
On the 1st of October 2020, the UK government passed legislation making it illegal for businesses to sell or supply single-use plastic straws, stirrers, or cotton buds – but what does this mean for disabled people, and why is it a big deal?
The legislation was originally set to come into effect in April, as an attempt to cut down on single-use plastics. Some businesses, such as Starbucks, had given up plastic straws before the legislation was passed, but many had not, which prompted environmental activists to campaign for the ban of single-use plastic straws altogether.
Since the ban was passed, there have been increasing accounts of plastic straws being sold online for ridiculous amounts of money, such as aMcDonald’s straw being sold on eBay for £4,500, but more serious implications have also arisen.
So, what is the problem with the ban?
Members of the disabled community have been voicing concerns over the ban, pointing out the negative impact that this would have on disabled people’s quality of life. But often, they were met with silence or shamed for not being able to use alternatives, especially in environmental activist spaces.
Jess Edwards (she/her), a Disabled Students’ Officer at the University of Manchester’s Students’ Union, argues that disabled people “always seem to be forgotten, particularly when it comes to the environmental movement”. She described tackling climate change as “vitally important” but said that it is still not an excuse to exclude disabled people. Jess herself has left environmental groups due to the “sheer amount of ableism” she encountered, as people often forgot about disabled people’s needs and when they were highlighted, people “just didn’t care, saying that the ban is more important than individuals”.
Why can’t disabled people use re-usable straws as abled people can?
Many disabled people rely on straws to drink and often reusable alternatives just don’t cut it. For many people, such as those with Autism, Down’s Syndrome, or dyspraxia, using a single-use plastic straw is the easiest, and sometimes only, way to drink. Using alternative straws can be harder, more dangerous, or even life-threatening – (CW: light injury description) Elena Struthers-Gardner, who struggled with mobility difficulties, recentlydied after falling onto her metal straw.
Credit: Carter-Jay Rowley (he/him) | Based off graphs from Sarah Packwood and @rollwthepunches (Twitter)
Bobby Kent (he/him), a student at the University of Manchester who is affected by Spinal Muscular Atrophy Type 2, stated that whenever he leaves the house, he must remember to bring his own straw with him, “otherwise there’s no guarantee [he’d] be able to drink, unlike everyone else”.
He said: “I rely on straws to drink while out because I can’t lift heavy cups to my mouth. However, when the straw ban came into place, it became a lot harder to do this independently. Other times I’ve forgotten my straw and got to a restaurant only to have to ask for help with my drink, which is incredibly embarrassing. And even then, when I do take my own straw it’s quite an isolating experience. When straws are just generally on offer – or even reserved for disabled folks who ask – it feels a lot more natural to have one.”
Didn’t the government make exceptions for these situations?
The government has included an exemption that allows hospitals and hospitality to provide plastic straws to those who need them. However, further information on this is incredibly difficult to find, resulting in many places not even knowing the exemption exists, and therefore not stocking suitable straws.
Likewise, making the sale of single-use plastic straws illegal everywhere but registered pharmacies means that businesses and disabled people have to go to more difficult and costly lengths to get hold of them.
Jess Edwards commented: “The law does state that exceptions will be made for disabled people, so in theory, people could still get plastic straws if they need them. But with anything like this, it will inevitably lead to the problematic situation of people being asked to prove their disability. In some situations, it wouldn’t surprise me if people are outright refused straws because the person serving them doesn’t deem it necessary for them.”
Being forced to “prove” a disability, and even being denied access needs because an abled person doesn’t think they’re necessary, is an incredibly common issue for disabled people. So, even with the illusive accommodations, it isn’t guaranteed that this will be the reality.
What else is the government supposed to do?
Following the controversy surrounding the plastic straw ban, the policy has also been called out as an attempt to place the bulk of environmental responsibility on individuals. The ban has been accused of creating a façade of environmental consciousness for the government, when really it’s an easy way out that allows them to avoid having to sacrifice profits or annoying large companies.
Jess Edwards argues that “the effect of banning straws on the environment is arguably very negligible, but it will have a huge impact on those people who rely on them to do something as every day as drinking.“
A 2017CDP reportfound that just 100 companies were responsible for 75% of global emissions since 1988 and that worryingly, just 25 of these companies were responsible for over half of said emissions. The companies named (and shamed) included ExxonMobil, Shell, BP, and Chevron. This is who the government needs to be putting pressure on to be sustainable.
I am not arguing that we should not be taking any individual responsibility for climate change, because every small step in the right direction helps, but we have far less responsibility than the government is implying. Our individual plastic use is certainly not enough to justify endangering and seriously reducing people’s quality of life.
Attending university online is an unusual event, and one which makes it harder to engage with your learning. This week, I’ve put together some tools which should help you out as you struggle through your studies.
A sophisticated note-taking app, full of features, with a free pro-version if you sign up using your student email.
The layout is simple and easy to pick up, and offers a lot of customisation. It supports structuring elements in tables, or as a pipeline, to keep track of what needs to be done.
You can also add reminders and integrate your calendars.
Similar to Google Docs, it allows you to collaborate on notes, although you need to have a Notion account to view them.
Another great feature is the ability to export the notes in PDF or HTML which can make sharing notes a lot easier.
To-do lists are a really great way of prioritising and keeping track of a hectic uni week full of deadlines and assignments.
Todoist makes to-do lists really simple.
You can have multiple projects, so you can create lists for day-to-day tasks like laundry and cooking, as well as your work. It also carries through incomplete tasks to the next day and keeps pestering you with emails until you get them done.
Adding your uni calendar to Outlook is a great way to remind yourself of upcoming lectures and labs without logging in to the university portal. Here’s how you do it:
My Manchester portal
1. Log in to My Manchester using this link. You should see something like this:
Click on the three-line icon next to the print button and click on options.
You should see this screen:
Click on the ICAL word and you will get a link to the calendar that you can then add to Outlook, Google, Apple calendars.
You will get a calendar view of your week. The panel on the left will show an ‘Add Calendar’ button.
When this pop-up shows, click on ‘subscribe from web’.
Paste the link from the My Manchester portal and click ‘import’ and you’re done.
There are many helpful tools that can help you during this stressful time, and these are just the tip of the iceberg. If you have any other suggestions please feel free to comment on our social media.
Laptop not coping with online learning? Check out our guide on how to buy a uni laptop for 2020 here…
