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Month: December 2020

If this is the future of live music, ‘I Can’t Stand it’: Blossoms livestream review

The five-piece band from Stockport, Blossoms took to the stage of 02 Academy Brixton earlier this month for a MelodyVR production livestream. Coronavirus-friendly it may have been, but the lustre-lacking live performance was a far cry from the energy and enthusiastic flare that the band might have emanated towards a packed-out venue of adorning fans.

A dim-lit circular stage emerged on our screens with Tom Ogden, the band’s lead singer, filling the venue with a solo, acoustic version of ‘Blown Rose’ – a promising opening, but with the livestream’s added 360-degree viewing element, the vast emptiness of the 02 academy and absent crowd was apparent.

The intimate feeling was quickly disrupted with the four other members emerging for the piano-heavy track ‘The Keeper’; although the vocals and instrumental talents of the Blossoms performance could not be faulted, a disconnect between the members was obvious. Perhaps this was a result of not performing live together for 9 months, or just a rocky start for the post-Brit-pop, indie rock band.

Ogden spoke out to the online audience, exclaiming: “Good evening you beautiful people, we are a band called Blossoms from sunny Stockport!” – a clear attempt to use his boyish charm to distract from the fact that they were playing to an empty concert hall. Crowd favourites such as ‘Your Girlfriend’ and ‘There’s a Reason Why (I Never Returned Your Calls)’ were dominated by the newly discovered synth-pop sound introduced to us on their second album Cool Like You. 

Tom Ogden at MelodyVR livestream production at 02 Academy Brixton

The energy began to pick up – though only slightly – with the gorgeous set looking like it came straight out of a 70s Christmas party. Ogden threw his best shapes and showed off his blue flared suit in the process. But, despite his best efforts, an office party dimness continued with the lack of interaction between the band, and with Josh Dewhurst, the quintet’s guitarist, enjoying a cup of herbal tea. But maybe that’s the new Rock ‘n’ Roll?

Blossoms’ livestream continued a plateau of good but not mind-blowing performances. This was a shame when you consider how different the night could have been with the presence of an audience, especially with the release of songs from their new album, Foolish Loving Spaces, including ‘My Swimming Brain’, ‘Sunday Was A Friend of Mine’ and ‘If You Think This Is Real Life’.

Ogden and drummer Joe Donovan attempted to bring an urgently needed sense of energy, but this was not echoed by the remaining members as, clearly, a cup of tea was more enticing.

Blossoms’ new Christmas tracks, ‘Christmas Eve (Soul Purpose)’ and ‘It’s Going To Be A Cold Winter’ did not get the live debuts they deserved. With an ever-more obvious missing spark, the Stockport lads seemed to play independent of each other, especially in the performance of their festive songs – which could have otherwise been tremendous in destroying the belief that all good Christmas songs were written before the 90’s.

The highlight of the livestream gig was hands-down the nostalgic performance of the band’s first single ‘Blow’, with the addition of the ‘Deep Grass’ outro reminding us of the wide variety and addictive musical brilliance of Blossoms that so many love. It was no surprise they had found their footing at this point, with all band members now barefoot, and with their cheeky chap personalities really shining through on stage as they joked around trying to deter from the fact almost an hour had passed with no crowd.

A new side had been brought out; it felt almost as if it was a soundcheck or band practice rather than the explosive live performance Blossoms usually treat their fans to.

Too little too late, the discovery of a newfound passion was brought on with outstanding, venue-filling vocals and additional percussionists on the track ‘Like Gravity’, which carried on until the end of the performance. The new-wave, alternative rock band got their groove back just in time for their up-beat, bass-embodied track ‘At Most A Kiss’. They spun ferociously into a psychedelic outro and teased us for, finally, ‘Charlemagne’ – a fitting ending – with this signature track gaining the energy and enthusiasm it deserved.

“I enjoyed that more than I thought I would”, lead singer Tom Ogden explained at the end, though it still was not stellar performance for the Stockport five-piece. This definitely is not the future of live music, and the encouragement and screaming of a live audience were missing, but the mellowed live production will have to be enough to tide us over until Blossoms are able to grace us with their stage igniting performance in the flesh again.

3/5

Mank – Fincher’s take on creating Citizen Kane

For the first time in six years there is a new David Fincher film. Mank provides an account of the life of early Hollywood screenwriter Herman J. Mankiewicz focusing on the months in which he writes a script for Orson Welles. Provisionally titled American, it would ultimately be filmed as Citizen Kane, and to this day considered one of the greatest films ever made.

Based on a script written by his late father Jack Fincher, Mank is a different kind of work for the celebrated director with many of the same thematic and stylistic trappings of his best films.

Fincher’s story intertwines Mankiewicz’s struggles while writing the screenplay. The plot encompasses various episodes from his life in the 1930s and his experiences of the sleaze and intrigue of the film industry during this period.

Fincher originally tried to get Citizen Kane made in the late 1990s but was unable to find a studio willing to let him film in black and white, something that he considered an important part of the film’s dialogue.

Throughout Mank there are countless ways in which it forms an evocative tribute to Kane, from the disjointed narrative structure down to the composition of certain shots; but the black and white cinematography is the clearest homage. Fincher was right to hold out for the Netflix cash.

Mankiewicz is portrayed by Gary Oldman – in typically brilliant fashion – as a disillusioned gambler and alcoholic, worn down by the broken politics of the Hollywood system. Surrounding him is a huge cast of major figures from early Hollywood that includes David O. Selznick, Irving Thalberg and George S. Kaufman, as well as the young Welles.

For the purpose of the film, however, the most important of these figures are Charles Dance as William Randolph Hearst and Amanda Seyfried as Marion Davies. Hearst and Davies are the purported inspirations for the characters of Kane and his second wife Susan Alexander in the original film.

Part of the greatness of Mank lies in its exploration of these apparent parallels in their full depth. Welles repeatedly denied that the character of Alexander was based on Davies and the film endeavours to identify the extent to which the comparison is fair without presupposing anything in particular.

But leaving aside these comparisons there is plenty to enjoy from the film as its own distinct work. The writing is sharp and incisive in a way that feels fitting for a film set in interwar Hollywood, but there are thoughtful moments too. The self-referential declaration by Mankiewicz that “You cannot capture a man’s entire life in two hours” really stands out.

For the soundtrack, frequent Fincher collaborators Trent Reznor and Atticus Ross capture the sounds of the era perfectly, also providing the film with a forward momentum that is not easy to achieve with a non-linear narrative.

Compared to other big Netflix releases of the past few months, it is difficult to deny that Mank has less widespread appeal and will probably not earn the same number of viewers. Nevertheless, for those who are willing to engage with the film on its own terms, it is a fantastically rewarding experience.

4/5.

Mank was released on Netflix on the 4th of December.

A Voice To Remember: Talking with Molly Hocking

Molly Hocking, winner of ‘The Voice’ 2019, has dazzled the music industry with a touching and reflective new single. ‘After the Night Before’ combines piano accompaniment with emotive vocals, producing a melancholy yet transcendent reflection of love’s fragility.

In an interview with Molly, she described how her experiences have helped to build her as a singer. Before The Voice, she appeared on The X Factor, making it through “quite a few rounds”. She describes feeling “let down massively by them” after losing out at the boot camp stage which “knocked her confidence for six” and meant she “didn’t sing for about a year”.

However, she tried again, auditioning for The Voice and finding success as 3 chairs turned for the then 17-year-old singer. From there on team, her chosen coach, Olly Murs, helped her grow from a ‘sweet little singer’, nervous about powerhouse songs, to a confident artist, able to sing massive hits like ‘Human’ and ‘ I’ll Never Love Again’ with heart-warming power and range.

She says that “when you believe in yourself, you can make things happen”, and you become who you want to be:

“If you love doing something that much keep doing it… if you’re that determined you will make it happen… you don’t get lucky in any industry… the harder you work the luckier you get.”

‘After the Night Before’

After her success with ‘The Voice’, she co-wrote ‘After the Night Before’, a song of heartbreak inspired by a break up in her life. This song was so passionately written that she originally struggled to “get through the song for about 4 months after because every time [she] tried to sing it [she] broke down”. Despite the strong emotions it evokes in her, Molly maintains that the song was also intended to also be “relatable to people who haven’t gone through a break-up, that have just experienced a bad time”.

After a year of hardship for many, the song appears well-timed and eloquent. Embroidered with tones of Eva Cassidy, her music quenches the need for an emotional outlet through music, bridging her experiences with that of her listeners.

‘After the Night Before’ is Molly’s first experience with writing music. Despite just starting out, she describes how she “developed a love for writing really quickly” and is passionate to continue her creativity. However, like music-lovers, she also faced issues as a result of COVID-19. This was because her single was due to be released in April, in time for the next season of The Voice, but thanks to the pandemic, she could not promote it. Despite these struggles, she stated that she feels “ready to just carry on with the career”, and to start “experimenting” and reaching across to more audiences.

Molly has ambitious plans for the future and she hopes to be releasing new songs approximately “every six weeks, to let people know that [she’s] still here”. She also plans to be on tour with Olly [Murs]… next year’ and “cannot wait to get on stage and sing in front of an actual audience again and have a bit of fun”. She hopes next year will be full of new opportunities and that she may be able to “plan in some dates” for the future.

I would highly recommend listening out for this artist now and in the future; I’m certain there are further hits to come.

To hear more from this talented young singer, check out Molly’s blind audition for The Voice below or listen to her ‘secret demos on SoundCloud.

Beans on Toast: 2 for 1 on albums for your heart and soul this year

What a year it has been. As we near the end of it, with the present troubles still on the horizon, morale is low, semester one has been a whirlwind unlike anything seen before, and there is still no end in sight. What do we do then? Try and keep pressing on? Look back into the nostalgia? Embrace the bitter reality?

Or all of the above?

Beans on Toast has given us the musical equivalent of all this and more.

Beans on Toast is the solo project of a charming, middle aged man who released a debut album of 50 songs back in 2009. Featuring pretty much a smattering of his mates, and simple acoustic guitar with a gravelled coke-destroyed voice, he gives us songs about politics, family, and all other ins and outs of life. This includes the signature song ‘M-D-M-Amazing’ – detailing his love-spell adventure of him and ‘a pretty girl with a bag of MDMA’ at a festival – which really encapsulates a lot of the experiences first hand.

Now 11 years later, with another album released every December 1st (Beans’ actual Birthday), we have been given two albums with polarizing styles of production but possibly his most heart tugging, capturing, and even danceable work yet.

If folk music is, in its essence, used to tell a story, Beans has certainly told many, including lots we can relate to and get meaning out of. I have seen his shows and met him a few times, and he is as charming as he is humble. A bloke with a flower in his cap and a lot of love to give, but also possibly one of the best songwriters around, in terms of lyrics.

Beans on Toast is thoughtful, punchy, funny, and moving all in a fell swoop this year. In the midst of a lot of lost hope and a music scene on the brink, we have been given two glorious albums that I think will have you listening at your highest and lowest moments, for whatever comes next.

Knee Deep in Nostalgia

The first record is louder, more composed, and a far cry form the early Beans. It is an album full of joy, bounce, and deep childish wonder. Knee Deep in Nostalgia is probably the most accurate name this album could ever have.

Opening with whistles, it launches into what is probably the best opening line: “Someone’s got to be the first one on the dancefloor”. The words encapsulate Beans’ entire approach to a gig and, thanks to the bass and keys, are what you are immediately compelled to do.

The first time I listened to this track, I was actually walking at 10 at night, worn out from studying, but this opening put a spring in my step and I’m sure will do the same for others.

From the great opening of ‘The Village Disco’ we get taken to a jamboree of songs these include; ethics of ‘What would Willie Nelson Do?’; remembered lessons and life goals from school teachers; and even a shout out to the affectionate nickname of ‘Beano’ given to him by Australian fans of Beans on Toast.

With a mix of laid-back country style jams, and wacky lyrical word play, this album is perfect to lift your spirits and have you thinking back to fond memories.

A key moment, and one of the final singles from this record, is ‘Album of the Day’. Our beloved Beans describes a typical day with his daughter, listening to records completely – as one should – without skipping, and embracing the joy of the experience together. Looking back at earlier albums – with tracks such as ‘Blowjob for the Blues’ – it’s quite funny to see now how family-friendly Beans has become.

With even more whimsy, but also wholesomeness, each chorus of this track is a soothing thing you can imagine re-enacting with beloved family members when this is all over.

Knee Deep in Nostalgia is a lot more polished and produced than the other release. It gives that sense of ensemble, whist maintaining a jolly, upbeat attitude. With some sombre moments here and there, it is the sweet side of Beans’ release into 2020.

The Unforeseeable Future

The other side of the coin for Beans is very aptly called The Unforeseeable Future, and, given that the word has been thrown around a lot over the last 10 years, I don’t think it ever in a moment of modern history had a greater impact than 2020.

The second release is one I think more people will definitely identify with. It is the one that has generated more singles, and seems to have benefitted from more time to ruminate upon. Like the earlier releases, it is a lot more stripped back, and brings things down to Beans’ poetry for the soul.

With the singles of ‘Glastonbury Weekend’ musing over the concept of a Zoom festival, and ‘Strange Days’ being released just after the first lockdown, Beans goes into a monologue in ‘Chessington World of Adventures’, that showcases the actual confusion and calamity of the entire situation, by explaining how a theme park is turned into COVID-19 testing centre.

However, one of the biggest gut punches is not even the satire of the situation, as Beans remarks on how the lack of governmental transparency is leading into more confusion, but instead the kicker comes when he ultimately states, “If you elect a clown, expect a circus.”

What makes Beans such a powerful songwriter is his ability to just express himself freely whilst maintaining humility, even after singing about all the shortcomings of the modern age.

It still boils down to him “just having more questions”, immediately relating with the listener though all these points. Beans seems to understand how, throughout this unpredictable year – whist we try to hold on to hope, culture, and our sense of love in each other – it boils down to us all being in this unforeseeable future together. Tthat is the beauty of both records.

I have a feeling this will be slow burner, but still one of the best releases of the year. The greatness of the albums, however, doesn’t stem from their production, nor the deep things to be pulled out of it, but instead for the fact that it is a simple record, that will bring you comfort in nostalgia and a sense of united confusion.

The Lurner Prize: the art prize for everyone

It can be hard to make it in the art world if you didn’t go to art school. However, the Lurner Prize is here to change all that.

What is the Lurner Prize?

The Lurner Prize is an art competition founded by Arizona Smith (@arizonathecat) and Samuel Mead (@beg4cred), who’re independent, self-taught artists based in Peckham, South-East London. This is the second year of the competition, after a successful first exhibition/event of 52 artists and five main winners. 

Sam and Arizona created the Lurner Prize with the intention of providing a platform for self-taught artists. The pair have managed to create careers for themselves despite not having done art since their GCSEs.

This inspired them to start the Prize in order to create community and confidence amongst other people who may not have a platform or outlet for their creativity, as well as developing new models outside of established cultural institutions for artists to succeed in.

Arizona told us more about the ethos of the prize:

  

“We live in a moment of extraordinary change, with change comes the necessity for reinvention. As such, it is time for artists and truly creative people to come to the fore as empowered, uncompromised individuals, ready to lead the culture into a new era. 

 

We believe that the role of the artist in society is to translate ideas from the imaginal realm into form. This makes the artist an important change maker in communities. Art has the power to touch people’s emotions and in this way to change lives. To create emotional shifts, art needs to be truly authentic, daring and untethered – in the words of Keith Haring,

 

“Art is nothing if you don’t reach every segment of the people.”

 

We hope this prize will give confidence and validation to artists across practices, at different stages of practice and from different walks of life.”

 

The panel of judges for this year’s prize is:

Peter Mead @lowpressuresystem / @destroy.godz

Selby Hi @selby_hi

Llao @huachollao

Helen @helenkirkumstudio

Sam Mead @beg4cred 

Arizona Smith @arizonathecat 

 

arizonathecat @thelurnerprize

How to enter

This is an art prize for SELF-TAUGHT artists who have never formally studied art (they ask that entrants have not done art beyond A-level).

There is no age limit. Entrants can be from anywhere in the world.

The competition is INDEPENDENT – entirely organised and funded by personal donations, @beg4cred & @arizonathecat.

Entry to the competition is FREE.

The competition is open from October 5th until December 5th. 

First prize for the competition is £500, with £100 in art supplies vouchers going to the second- and third-placed entrants.

There will be an exhibition to display work by the three winning artists as well as the postcard entries submitted by all entrants to the competition.

Criteria for Entry:

Entrants must submit ALL THREE of the following components:

  1. Three high quality photographs of visual artworks they have created themselves. These artworks may include, drawing, painting, etching, street art/graffiti, sculpture including street/temporary sculpture, photography or collage.
  2. A maximum 2 minute long video, voice recording or maximum 500 word text in which the entrant responds to the prompt ‘my experience as a self taught artist.’

These should be sent to [email protected]  

  1. ONE postcard sized or smaller sized artwork – this can be an original or a print – anything from a drawing on a bit of scrap paper to a miniature canvas to a print of a piece of your artwork. As long as it fits into a small envelope, it’s allowed. Please remember to put your name on everything you send us. This should be sent to: The Lurner Prize, 32a Breakspears Road, London SE4 1UW.

All of the artworks from section 3 will be exhibited in the final exhibition, to which all entrants will be invited. After the exhibition, entrants may take back their submitted piece of work. It’s up to entrants to collect their work at the end or soon after the exhibition.

If you have any further questions, you can contact them via @thelurnerprize on Instagram or email at [email protected]

arizonathecat and beg4cred @thelurnerprize

So what are you waiting for? Get your art tools at the ready and get entering!

10 Beauty swaps you should consider as the mercury drops

 

As the mercury drops and the air gets drier, you may find that your skin does not respond to your usual products the way it used to. Just as you swap your tank tops and dresses for warm sweaters, your skincare routine could use a seasonal update to help protect your skin, hair, and lips from the harsher elements: here are the 10 beauty swaps that will help you glow from head to toe. 

1. Cleanser  

Ditch the foaming face wash for gentler milky ones such as the CeraVe Hydrating Cleanser.  It will help combat the dryness and dullness that you may feel as a consequence of the colder temperatures. 

2. Moisturizer 

It’s time to change from light sorbet-like moisturizers to richer and creamier ones that will protect your skin during the colder months, such as the Kiehl’sUltra Facial SPF 30 Cream.  Try adding a night cream, like the Mario Badescu Seaweed Night Cream or, if you didn’t before, an oil (we highly recommend rosehip seed oil) to your routine for added protection. 

3. Exfoliation 

While one must be careful of over or too harsh exfoliation all year round, it is particularly important to use a gentle exfoliator during the colder months. The La Roche-Posay Ultra-Fine Scrub will help you get rid of the dead outer layer without leaving your skin irritated. 

4. Lip Balm 

One of the first signs of the seasonal change is when your lips start feeling dryer than normal and you find yourself applying lip balm all day long. Apply a thick layer of the Nuxe Lip Balm Rêve de Miel before bed and you will wake up with the softest lips ever. 

5. Body Moisturizer 

Speaking of moisturization, while your body may be protected from the cold by layers of clothes, your skin will definitely appreciate a slightly thicker and creamier moisturizer. The Weleda Skin Food does exactly that, which makes it the perfect drugstore buy for the winter. 

6. Shampoo  

In order to protect your precious strands, you should consider swapping your current shampoo for a moisturizing number that will protect your hair from the harsh weather. The OGX Renewing+ Argan Oil of Morocco pH Balanced Shampoo will help you maintain luscious locks. 

 

7. Conditioner

On top of changing your shampoo, we suggest adding a weekly deep conditioning mask to your hair routine such as the Resistance Masque Force Architecte Hair Mask. It will help moisturising them in depth and will leave them looking healthier than ever. 

8. Mascara 

Although you might stay indoors more than usual, when you have to go out in the foggy month of December your usual mascara might not hold up as well. Try swapping it for a Waterproof mascara, such as the Maybelline Lash Sensational Waterproof Mascara which is arguably more of a pain to take off, but it will make you look sensational. 

9. Foundation 

If you are already combatting dryness, layering your skin with a full coverage foundation will only make things worse. Consider swapping for a tinted moisturizer or a lighter foundation, such as Glossier’s Perfecting Skin Tint, which will help you keep that healthy *glow* we all strive for. 

10. Sunscreen  

If you still need to be convinced as to why you need to wear sunscreen everyday, even in Manchester and even in winter, Matthew Nottidge’s article will do just that. It is truly not worth skipping SPF for the sake of a fading tan. Your future self will thank you: at worse for having prevented wrinkles but at best for having saved you from skin cancer. We recommend Supergoop’s Unseen Sunscreen SPF 40 as it was designed to be worn all year round and does not leave you with ashy skin. 

Annie Dabb on Biden’s all-female cabinet: Someone’s been paying attention

It’s unfortunate that Biden’s victory in the recent US elections is overshadowed by the global relief at Trump’s consequential loss of presidential power. But that hasn’t stopped the triumphant Democratic politician from staking his claim by appointing the “first senior White House communications team comprised entirely of women”. It’s understandable why Biden sees women as his friends. In a way, they were the enemy of his enemy, although I’m not sure ‘pussy-grabbing’ is a common combat tactic. Maybe that’s where Trump was going wrong. 

It’s nothing short of a disappointment that we are almost in 2021 and we still see Biden giving this much power to women as a bold move. Nevertheless, I’ll take my victories where I can find them, thank you very much. I still consider this partial fracturing of the ‘glass ceiling’ to be a far better result than the thankfully unneeded preparations for the smashing up of shop windows in New York’s Times Square, after the announcement of this year’s election result. 

It’s also a shame that in trying to build a diverse administration that reflects the country, women have been brought into politics in such an overt way that almost makes it seem like Biden is trying to fill a gender quota. Ironically, in putting women in charge of his every move, it could be argued that the new US president is exposing his own incompetence for the role and shying away from his responsibilities behind an appointed political cabinet; One that is crucially only one middle-class white man away from being slandered by the press as a matriarchy. I can already see the headlines if anything goes wrong: ‘Women – can’t live with ’em, can’t live without em, am I right?’

That being said, it’ll be a nice change from an all-male cabinet making decisions about women’s bodies and abortion rights. Maybe this year we’ll be seeing photos of a room full of women signing on the dotted line of a bill on paternity laws or men’s right to a vasectomy…

It’s no wonder really that Biden has chosen an all-female press team, especially given the circumstances of the Covid-19 pandemic. One could argue that his decision actually shows he has been paying attention this year; all the countries who’ve dealt with coronavirus best in terms of the lowest number of deaths (with the exceptions of Czech-Republic and Greece) are female-led. 

In Taiwan, for example, Tsai Ingwen was the first to implement proactive measures against Covid-19 which has resulted in only 6 recorded deaths. In Finland, Sanna Marin, the world’s youngest head of government, appointed at the age of 34, instituted an early partial lockdown that meant infection rates remained among the lowest in Europe. 

In New Zealand, Jacinda Ardern imposed a lockdown long before cases began to uncontrollably rise, asserting in March that it was time to “go hard and go early”. It’s a shame that men seem to have no problem following this advice in the bedroom, yet when it comes to politics, they take their sweet time. 

Germany’s leader Angela Merkel told her country to ‘take it seriously’ and they did. Showing that contrary to entrenched patriarchal belief, women do not need to be sheltered from harsh realities, nor is our purpose to soften the blow of bad news with womanly nurturing and affection. Rather we ought to be allowed to occupy positions of power which enable us to take control of situations and lessen the quantity of bad news in the first place – prevent rather than cure. 

A rather heart warming example of the excellent handling of the frightening situation by female leadership is that of the Norwegian leader Erna Solberg who dedicated a no-adult press conference to children, in which she responded to questions from kids all across the country and explained why it was ok to feel scared. 

Perhaps we may take from Solberg’s approach, is that it is not always necessary to act macho, behaving as if everything can be defeated with threats of war and physical violence. After all, it’s difficult to resolve a situation with a fist fight if you can’t get within two metres of each other.  

Especially given the unprecedented nature of this pandemic, perhaps a lot of leaders could simply benefit themselves and their nations through learning to express and share their fears with one another as a form of comfort. 

Thus, the evidence does suggest that women make for better, more compassionate leaders, which statistics clearly emphasised in the midst of the pandemic. However, maybe it’s understandable why the UK may be sceptical about this, even after the repeated incompetency of Boris Johnson, given that our track record so far has seen one female leader attack the miners’ affiliation with trade unions and the other attack minors’ future affiliation with the European Union. 

The fact that Biden himself describes his appointed cabinet as an all-female press team who will keep America “safe and secure” does convey heroic imagery. It could certainly be argued that the damage caused by Trump needs avenging. 

Furthermore, the irony is not lost on me that the population sector who once had to campaign for their right to vote, now sit almost at the very top of the political hierarchy in one of the most powerful nations in the world. It’s a shame it took a pandemic to get us here, but ‘every cloud’, right?

Diego Maradona: The Golden Boy

Diego Simeone: “You think that Diego cannot die”

Throughout history, there exist those who have transcended the established bounds of fame, occupying an abnormal status of power and dominance. Few experience this sphere of intense influence, where the given figure inspires such ferocious emotion and feeling. 

One can look at any given society and clearly identify individuals who surpassed the norm. Historically, the masses that appeared at the assemblies of Christ or Gandhi, do so in awe of greatness. Such figures naturally exude a certain allure, capturing devoted followers along the way. 

While seeking to avoid the serial writing trope of sensationalising the subject of the piece, I would suggest it is acceptable to bestow upon Diego Maradona such a level of prestige.

Anyone mapping the career of contemporary greats such as The Beatles or Elton John could easily find comparisons to a man who was responsible for giving football a platform that it had not yet even glimpsed.  Over the course of his career, footballers moved from a remit of inanimate parts in a collective whole, swiftly forgotten about at the final whistle, to an era of showbiz and unparalleled global prominence, allowing them to exist far beyond the four corners of the stadium.

This recognition afforded Maradona global adoration, most apparent in his native Argentina and his adopted Naples, with fans going as far as to establish a religion in his name; Iglesia Maradoniana. The faith, 200,000 members strong, sets out its own ten commandments, with the requirement for followers to name their first son Diego. He was, quite literally for some, a God.

Maradona personified football. The name, the look, the style of play; all these components married together to form an individual like no other.

Simply put, he got to the heart of what people love about football. No one grows up salivating over defensive organisation at a corner; enjoying such a phase of play is a learned behaviour that respects the immense work ethic and organisation imposed by a tactical martial back at base camp. To paraphrase an often cited quip, no one grows up wanting to be a Gary Neville.

What keeps a child up at night fantasising, could be a lucid dribble evading onrushing defenders, or a speculative effort that nestles nicely in the top corner. Neymar and Kevin De Bruyne are modern examples of players that make the regular consumer marvel at their talents and want to pay to witness such football. Maradona was all they are, with an added enigmatic wild persona. 

In a touching obituary, Gary Lineker said he’d “never seen anyone have such a beautiful affection with a football”, recounting a story of the simple brilliance with which Maradona would juggle football socks, so effortless in manner.

As aesthetically pleasing as he was profitable, Maradona embodied what those at the peak of their discipline should aspire to be; pure, unadulterated class, mixed in with a healthy side of swagger.

Albeit, this article would not make for an accurate account, to ignore some of the ills that led to the chaotic life so synonymous with his name. Drugs, gambling, the list of vices go on, but what they concoct is a man that was fallible, arguably the reason for his complete adulation. The trope of the troubled genius, unfortunately, has to rear its head in any discussion about Maradona, but the phrase doesn’t do justice to the extreme nature he operated under on both of those fronts.

With any interview or public appearance, there was an air of sadness sprinkled in with the boisterous persona. Case-in-point, Moscow summer 2018, and a wide-eyed Maradona screaming to the skies, was a sight so emblematic of the man. The sheer unbridled emotion, following another magical moment from his heir-apparent, was instantly lampooned from all angles for its crazed embodiment, but a considered celebration just simply would not have sufficed. 

While it is important not to trivialise the addiction problems that ravaged his life and career, I find it impossible not to empathise with a man that clearly endured so much internal trauma. “I did wrong and paid for it, but the ball is not to be stained”, a quote from Maradona himself that really summed up his overall philosophy.

In light of his follies, it is important to remember the joy football brought him; “when you’re on the field, the life goes away, the problems go away, everything goes away”. This element of escapism, that gets to the core of why so many live and breathe the beautiful game, is an essential reminder of the power of football in transforming lives. 

It wasn’t just football either that he left a significant mark on. The ever-fluctuating dynamic between the game and politics is often a can of worms that players are told to keep well shut. However, Diego didn’t play by the rules. 

In the aftermath of Argentina’s victory over England at the ’86 World Cup, Maradona linked the game to the Falklands war that had taken place only four years prior. The revenge element was important to a country that had undergone such hardship as a result of the war, with Maradona proudly spearheading this effort to restore national pride.

Having grown up in a poverty-stricken area of Buenos Aires, Maradona was no stranger to struggle. Choosing to go to Naples, the criminal underbelly of an otherwise flourishing Italy, signalled this approach of being on the side of the downtrodden. The move revitalised a city that had been the underdog for a long period, demonstrating his impact on the wider socio-economic sphere.

Diego Maradona gave beauty to a world that could only return him vitriol and turbulence. While critics seek to distort this conception of the man, maligning him with allegations of cheating and ill-discipline, they fall foul of committing a straw man fallacy. 

No rational individual would seek to situate him within the corridors of outstanding virtue, but denying him a seat at the table of footballing greats, on charges extraneous to the game, is to commit a kind of blasphemy (well, at least maybe in Argentina). 

Photos by Leandro Neumann Ciuffo and Antonio on Flickr 

There’s Far-mer where they came from: The Indian farmers’ protests

In India right now, there are currently over 250 million people – including 96 thousand tractors and 12 million farmers, along with students and civil society groups – engaging in the biggest peaceful protest in world history. The activists are opposing three new agricultural laws passed by Narendra Modi’s government in September of this year.

And yet, unless you’re a regular subscriber to the Dainik Bhaskar newspaper, it’s not immediately apparent how enormous this movement actually is. Alongside its status as a monumental political event involving the livelihoods of millions of people, I welcome the Indian farmers’ strike as a mental diversion from the relentless (and quite frankly dull) Brexit negotiations here in the UK. 

The bills in question are the catchily-titled ‘Farmers’ Produce Trade and Commerce (Promotion and Facilitation) Act’; ‘Farmers (Empowerment and Protection) Agreement on Price Assurance and Farm Services Act’; and ‘Essential Commodities (Amendment) Act’. In enacting these laws, you could extrapolate (perhaps convolutedly) that the aim of the Indian government is to allow the country’s farmers more autonomy.

However, crucially, the ruling powers have overlooked the fact that 86.2% of Indian farmers are marginal and lack the negotiation power to deal with large corporate companies.

At this point, it does seem that an incompetent government overlooking the actual wants and needs of its country’s populace is somewhat of a universal concept. Maybe there’s an inadequacy quota that has to be met, or something. 

Particular anxiety hovers around the practicality of these laws, labelled by agricultural workers as ‘corporate friendly’ and ‘anti farmer’. Indian farmers are understandably worried that the government’s retraction of its subsidies, which will allow private buyers more indulgence in the agricultural market, will leave them in a more vulnerable position and at risk of losing their smaller, independent businesses to large scale corporations who only value their own self-interest.

Whilst the Indian government argues that the bills would prevent payment to farmers being kept pending for months, the new laws essentially overlook the farmers’ capacity to manage their own trade. Last time I checked, I don’t think India had managed to break the chains of capitalism, and I don’t exactly see Adam Smith extending his ‘invisible hand’ to the farm labourers. 

Even to someone with as little economic knowledge as myself, it’s obvious to me from the annual Christmas family board game that large companies would just try and monopolise farmers who will have no choice but to accept the lowest prices offered to them. Certainly I wouldn’t recommend my tactic – trying to bankrupt myself as quickly as possible so I can escape – as viable for an actual country. 

In an already dwindling market economy, thanks to Covid, these reforms have been described by Indian farmers as a ‘death warrant’ in a trade sector in which suicides related to financial struggles are already rife. The commercialisation and privatization of farming will undoubtedly mean that larger companies will get more while the individual workers will get less. I’m not about to support capitalism, but at least you know where you are with it. Predictable. 

Prime Minister Modi has described the passing of the bills as a “watershed moment” that will empower masses of Indian farmers. Surely the irony cannot be lost, even on him, that the only water shed so far is the one at the state border between Haryana and Punjab where, having built a blockade to prevent the farmers from entering the country’s capital, the police used water cannons and tear gas on peaceful protestors.

Further irony surrounds the date on which the protest began, 26th November 2020, which marks 71 years since the Indian Constitution was adopted by the Constituent Assembly of India, declaring India a sovereign, socialist, secular, democratic republic which would assure for its citizens justice, equality and liberty, and endeavour to promote fraternity. Apparently the government didn’t foresee this last part applying to a fraternity of 1.3 billion people.

Peaceful protests, as advocated for by India’s figurehead for independence Ghandi, are supposedly protected by the Indian Constitution. However, the country’s leadership seems to have suffered from selective amnesia in recent weeks.

Unfortunately, this isn’t the first time that those campaigning peacefully for their rights and livelihoods have been met with constabulary force and violence. Throughout history there have been numerous examples, such as the Peterloo Massacre of 1819, or the decades long civil rights movement in America.

What’s worse, is that we’ve come to live in a world where one doesn’t even need to be involved in a protest (non-violent or otherwise) to be vulnerable to police brutality. They merely need to be jogging down the street like Ahmaud Arbury, or driving a car like Philando Castile. 

Despite the animosity of the police force in India, it’s understandable why these 250 million people, comprising 3% of India’s population, have reason to believe that they will achieve their charter eventually.

Following research carried out by Erica Chenowroth, the professor of Public Policy at Harvard Kennedy School, no government can withstand a challenge of 3.5% of its population without at least accommodating the movement (and in extreme cases, collapsing before it). In Britain, that equates to 2.3 million people actively engaging in a single movement (that’s 2,299,999 more people than there are Boris Johnsons in the UK, just for future reference). 

We may look to protests throughout history in which the method of non-violence has proved successful, such as the ‘People Power’ movement in Manila in 1986, in which 2 million Filipinos prayed and protested and in doing so, toppled the presidency of Marcos in a mere 4 days.

Or the case of the ‘Brazilian Uprising’ in 1984-85, which involved 1 million participants peacefully remonstrating against the military government, resulting in a new constitution and a new democratically elected president, Fernando Collor de Mello.

In 1987, Estonia reached the required 3.5% participation to overthrow Soviet rule by way of a ‘Singing Revolution’, and 1989 saw the ‘Velvet Revolution’ (also known as the ‘Gentle Revolution’) in Czechoslovakia, in which 500,000 participants overthrew communist regime and recovered democracy.

More recently, the bloodless ‘Rose Revolution’ in Georgia in 2003, saw demonstrators peacefully enter a parliament session armed with red roses (although I reckon those thorns could have done some real damage), and in 2019, the nonviolent resistance movements in Algeria and Sudan succeeded in ousting their respective unfavourable presidents. 

It’s no wonder really, when you consider the population-based success of nonviolent protests, that they have led to political change 53% of the time, compared to 26% of violent demonstrations (out of the cases Chenowroth researched). Because the fact of the matter is, it’s easier to convince more people to join a protest if they’re not in fear of getting hurt or having to cause harm to other people.

They are, as a whole, more accessible and more inclusive as a form of political activism than full-out riots. Surely, if nothing else, this restores our faith in at least 3.5% of humanity, as willingness to participate in non-violent protests paints a largely benevolent and pacifistic human nature in general. Eat your heart out Orwell. 

When you think about it, Chenowroth’s 3.5% discovery should come down to simple maths really. Even I can see that 3.5% is surely of a greater value than the 1% (even if the latter do hold 50% of the world’s wealth).

Fundamentally, the current protests in India seem to provide an example of how the ruling powers continually misinterpret the needs and practical desires of the country they govern. And Chenowroth’s research further exposes how hierarchical structures are subconsciously upheld by those considered to occupy the lowest societal tier.

Often in terms of politics and government policies, whilst these groups suffer the worst aspects of inequality, they’re not in the minority and their power, when united, is palpable.

Fighting the stigma with Students for Sensible Drug Policy: Manchester

Students for Sensible Drug Policy (SSDP) is a 5000-strong international organisation with a mission to replace and reform educational institutions’ policies on drug use, drug education and harm reduction.

Nowadays, most universities have a strict zero-tolerance policy towards drug use on campus. SSDP considers the continuation of this policy as a reactionary hangover, stemming from the War on Drugs in the 1970s and the systematic lack of investment in drug education ever since, which overlooks the ubiquity of drug use on campus.

Rather than deterring students from taking drugs, they contend that the zero-tolerance policy means that students lack an education to make informed choices which increases the danger of their drug use.

To mitigate the harm caused by zero-tolerance policies, SSDP recommends that institutions should adopt a ‘sensible’ policy which recognises the ubiquity of drug-use on campus. An approach which would involve more investment into drug education and harm reduction.

From recreational use to study drugs, improving the education students receive is a priority for SSDP. Their argument is that facts and understanding are the key to avoid harm. This does not mean that they advocate drug use, but that they believe universities and colleges should ensure students are equipped with the knowledge they need to make the right decision, if drugs make an appearance in their lives.

The Manchester branch of SSDP has made recent strides in reforming the University of Manchester’s drug policy.

On the 15th of October, the organisation passed two policies at the Students’ Union Senate; One aimed at providing effective harm reduction and education for drug use, while the other was to advocate for sensible university policies on drug use and misuse.

In November, SSDP received £500 in funding to spend on drug-testing kits to be distributed around campus. Those would be used to check for purity and ensure students know the substances they plan to take.

In February, SSDP plan to host a drug awareness campaign at the Students’ Union. This campaign will centre around a social media campaign, drug safety workshops and the promotion of drug testing kits.

SSDP is also working to establish a counsellor role in student halls in 2021. This position will be involved in drug harm reduction training, using a supportive approach to addiction, drugs, and mental health that encourages open communication surrounding drug use.

Ultimately, SSDP wants to remove the stigma surrounding drug education on campus to promote harm reduction. Their philosophy is grounded in the simple and convincing dictum that the University should support, rather than punish.

You can lend your support or follow the progress of the SSP through their social media. They can be found on Facebook, Instagram and Twitter.

Meet the male social workers stamping out stereotypes

When working with families, Ross, who is training to be a social worker with Frontline, says “I often find myself asking questions like ‘what about the father’s lived experience?’ and bringing my own experiences as a man and a father into discussions”.

Frontline are a social work charity envisioning a society where no child’s life chances are limited by their social or family circumstance. According to Greater Manchester Poverty Action, Manchester has a significantly higher number of children in care compared to the national average – 104 per 100,000 as opposed to 64 per 100,000. Social workers are vital in Manchester.

As November was Men’s Health Awareness Month, Frontline has been especially reflecting on the importance of male representation in the social work profession. The charity believes it’s important that social workers reflect the diversity of the communities they serve, so the best level of care and understanding can be given to anyone in need of support. A diversity of views and experience is important in a profession like social work, where you are dealing very closely with families to work through real-life problems.

Having said this, boys and young men make up more than half of the children in need of social work support, but only 14 per cent of the profession are male.

Both Ross and Ronan, a practice tutor for Frontline, agreed that being a positive male role model for families, who might previously have had bad experiences with men, has been an important and rewarding part of their careers. Providing a young boy with a positive male influence that they can see themselves in, may be the small impact that changes that child’s life.

Ronan says “the more men who join a profession like social work, the more we normalise men showing empathy and talking about their mental health. This can only benefit men and society in the long run”. Breaking the stigmas of social work as a career option for men, as well as those around males opening up to each other, will allow young boys to grow up in a more understanding world. This is a fundamental aim of Men’s Health Awareness Month, and Frontline agrees that it is a crucial aim to pursue.

One common misconception is that social work is typically a woman’s job. Being a social worker does require a level of empathy and understanding and is therefore often stereotyped as a female role. The role is also demanding in other areas such as critical thinking, organisation and communication skills. The perfect person for the job is therefore someone who possesses these qualities and capabilities – but this can be someone of any gender identity.

Social work is therefore a career for anyone who has the right skills, no matter who you are or what your background is, and the Frontline programme proves to be the perfect place to begin.

Overall, Frontline’s mission is to create social change for children who do not have a safe or stable home, by developing excellent social work practice and leadership. As a central part of this, they are committed to bringing more diverse cohorts into the social work profession and equipping their Frontline programme participants with the skills to challenge discrimination in all its forms, to make social work as inclusive and representative as it can be.

To find out more about what makes a great social worker, visit Frontline’s website.

Brexit: What on earth is going on?

The European Union and United Kingdom have spent the week fighting to secure a deal that will dictate their post-Brexit relationship. Following months of deadlockPrime Minister Boris Johnson has confirmed that there’s now a strong possibility that the UK will be leaving the EU with no trade agreement in place despite previously stating the chance of a no deal was “a million to one”. Ursula von der Leyen, President of the EU Commission, is clearly on the same page, having today released contingency measures for a no-deal scenario. Negotiations have come down to three key issues: fisheries, fair competition, and governance. 

What the fish is going on?

The British fishing industry makes up a minuscule amount of the economy – under 0.1% – however, it represents a symbolic regaining of sovereignty and control. It also signifies a gain for Scotland, who hold approximately 60 percent of the coastline of Great Britain.  

Since Britain joined the European Union in 1973, we have come under the Common Fishery Policy. This gives EU fishing fleets full access to all EU watersFishers have commonly deemed the quotas allocated to Britain “outdated” and “unbalanced”. This is because after British fishing boats sold off large amounts of their quotas to foreign fleets, Britain was left with under half of their quotas. This fuelled much of the support for Brexit from the fishing industry – with promises that leaving the EU, and becoming an independent coastal state, would restore the ‘left behind’ industry.  

However, the British waters are vast and represent a significant loss for EU fishing communities, motivating the push for ongoing access. To complicate things further, British fish is predominantly sold overseas, meaning a compromise is required to avoid the EU revoking full access to their fish markets and deeming UK fish unprofitable. This mutual dependency has led to a sticking point, whereby the EU are unwilling to accept anything less than extended access to UK waters, but the UK are reluctant to give away control of their waters due to the sentimental connotations they represent. With a Scottish Independence referendum back on the cards, regaining Britain’s waters could literally make or break the Union. 

The ‘level playing field’

The second important issue is related to fair competition. Often branded as a ‘level playing field’, this term refers to a common set of rules and standards that ensure fair and open competition between trading partners. This is a common feature of trade agreements because it prevents an unfair advantage arising over competitors as a result of lower operational costs. The EU are pushing for the UK to abide by these standards in return for access to the single market. They argue that if the UK expects free trade with EU countries, they must stick to EU rules on things like workers’ rights, environmental regulations and state aid. 

Who will adjudicate?

Finally, governance arrangements between the UK and EU post-Brexit are yet to be agreedThis refers to future disputes between the nations, if one side breaches any deals made. The EU have suggested giving the European Court of Justice a role in the resolution of disputes. The UK, however, are reluctant to involve the ECJ, stating that the resolution mechanism agreed upon should respect the autonomy of the UK and EU legal systems. 

To summarise, Britain is pushing to be granted a bespoke trade agreement. The government want full access to the single market, but do not want to be under strict obligations and oversight of the EU. The deal being pushed for by Britain could be closely compared to the deal Switzerland currently hold, however it is no secret the EU is dissatisfied with this relationship and has made clear from the beginning that the UK would not receive anything similar. 

If a deal has not been agreed by Sunday – the new deadline – the UK will automatically fall under World Trade Organisation trade terms. Although tariffs vary vastly depending on the product, this could see some agricultural and food products having tariffs as high as 80% – an unfavourable and disruptive position for both the UK and the EU. 

Polish students react to near-total abortion ban in their home country

On October 22nd, the Polish Constitutional Tribunal ruled abortion unconstitutional on the grounds of “severe and irreversible foetal defects or incurable illness that threatens the foetus’ life.” However, the implementation of the law has since been delayed, and two weeks of nationwide protests followed.

The tightening of the law will translate into a near-total abortion ban in the country. In 2019, up to 98% of the 1,100 legal abortions were carried out on the grounds of foetal abnormalities.

The decision results from a request submitted by 119 MPs in December 2019. It stated that abortion on the grounds of irreversible foetal defects violated four constitutional principles, namely the right to life, human dignity, non-discrimination and the democratic rule of law.

The Constitutional Tribunal is made up of 15 judges mainly from PiS (Prawo i Sprawiedliwość), the Law and Justice Party. It is the right-wing populist party to which belongs Andrzej Duda, the incumbent President of Poland.

Poland is the only EU member other than Malta to have a very restrictive abortion law. Currently, women can abort under three circumstances: in cases of rape or incest, severe congenital defects or if the mother’s life is at risk.

While 1,100 legal abortions were recorded in 2019, it is estimated that a more realistic figure for abortions in the country lies between 100,000 and 150,000 per year.

The UN estimated that 100,000 women travel abroad to undergo the procedure, mainly to Germany, Slovakia and the Czech Republic, where laws are less restrictive.

Whilst the implementation of the ruling remains uncertain, abortion clinics in Poland have already been turning women away. 

A second-year Polish student, Hannah, has been active on social media and engaged with other international students to spread awareness on the events in Poland. She feels hopeless, being unable to go back home to protest. She is also concerned with the Polish government’s views on the LGBTQ+ movement, referred to as the “rainbow plague” by right-wing politicians.

Another student, Monika, shared that “As a young polish woman, [she is] frustrated, disappointed and just very sad due to the current situation.”

Monika participated in three protests in Manchester. She said: “It was a very empowering experience, and it was nice to see so many Polish women and men peacefully protesting. Everyone wore face masks and respected safety rules.”

Reactions to the near-total abortion ban have spread across Europe, with an estimate of 400,000 people having protested in late October in over 400 cities. 

On Wednesday, October 28th, more than 400 protests took place in Poland. Vast crowds were seen marching in the country’s major cities, such as Warsaw, Wroclaw, Kraków, and Poznań. The City of Warsaw’s officials reported 100,000 protestors in their streets, followed by half a million on Friday 30th.

These are the largest demonstrations the country has known since the solidarity movements in the 1980s.

Protestors target the Justice and Law Party and the Catholic Church. Activists disrupted Sunday masses in several churches and the protestors chanted “f*** the clergy” at the archbishop’s palace in Krakow. Some protestors were also dressed as handmaids, symbolising the dystopian universe imagined by Margaret Atwood.

Mateusz, a Polish student who is currently living back home, has participated in three protests in Warsaw.

He said: “You could have really seen the outrage of the people who stopped the traffic, and many people who participated in protests have never been interested in demonstrating their political feelings before. Most of the protestors are young people who, two weeks before today, were unpolitical.”

Similarly, Monika talked of how “many of [her] friends were apolitical in the past but are now protesting and demonstrating their feelings on social media.” 

The other positive thing is that now more and more people are aware of it and talk about it.”

According to a survey by Kantar, 70% of Poles support the mass street demonstrations, with similar levels of support among both sexes.

Protests have continued throughout November but it seems protestors are facing violent opposition from the far – right. Several attacks have been launched in recent weeks by nationalist activists, armed with batons and knives.

The Chairman of the Law and Justice Party, Jaroslaw Kaczynski, has argued that the protestors are part of “an attack meant to destroy Poland.”

Whilst uncertainty concerning the implementation of the ruling remains, pro-choice protestors continue to march in the streets.

Combatting conspiracy: The Grimes equation

As a science student, I am constantly frustrated by the number of conspiracy theories floating around on the internet.

Man never walked on the moon.

The Earth is flat.

COVID-19 is a political hoax.

All three of these statements can be logically and conclusively debunked in their own right, but there exists an equation that claims to take all three out with one fell swoop.

In 2016, Dr David Grimes released a paper entitled “On the Viability of Conspiratorial Beliefs”.  In it, he devised an equation that calculates the probability of a conspiracy theory being revealed:

The equation itself, admittedly, is slightly complicated, and I won’t attempt to explain the terms here – see the paper for that. However, its derivation is fairly easy to understand.

If we have tried to keep secrets in the past, we know that most do come out eventually, and we understand the factors that affect how well something can be hidden.

Factor 1

The first factor is the number of conspirators involved. Say someone called Kate has a boyfriend, George, and she cheats on him with a guy named Matt. If she meets up with Matt alone, and tells no one else what she’s done, the secret is limited to only two people. Providing they both want to keep the secret, the chance of it coming out is relatively low.

If, however, Kate kisses Matt openly at a massive party, the number of people who have to lie to George increases. Even if they all want to keep it from him, which is unlikely, they still all have to manage to hide it from George.

In this analogy, George represents the general public as a whole, so we can assume all these people know him and talk to him regularly.

Factor 2

The second factor is the amount of time that has passed. In the day after the party, it’s not unlikely everyone could have chatted to George and managed not to give anything away. However, in the space of a few years, it’s quite unlikely that no one will have let slip anything that causes George to be suspicious.

In addition, we’ve assumed that only the people at the party knew. If, say, it was filmed, and posted on an Instagram account that George was blocked from, the number of conspirators would continue to increase, and they’d all have to maintain the pretence that nothing was wrong.

It’s also pretty unlikely that everybody wanted to keep it from George. Surely there is one person, someone who hated Kate say, or got on with George, who would have actively tried to tell him. It seems almost impossible that everybody had something to gain from keeping the secret, and no reason to disclose it.

Furthermore, we’re assuming that George entirely trusts Kate, and never tries to find out if she’s been unfaithful.

Factor 3

The third factor is the intrinsic probability of a conspiracy failing. To find this, and to model the first two factors, Grimes studied multiple government cover ups which were later revealed; this included the National Security Agency PRISM affair, which was exposed by Edward Snowden in 2013.

In all his research, Grimes assumed a best-case scenario for a group of conspirators. This included factoring in the maximum possible number of people who’d have to know and assuming that they were all completely dedicated to keeping the secret.

Even with all these caveats, the time scales he found for four common conspiracy theories were very telling. For example, if the Moon landing was faked, we’d have almost definitely found out by 1974 – the almost is generous.

This is pretty damning evidence against the COVID conspiracy theorists. Think how many scientists, doctors, nurses, hospital porters, and others, would have had to keep it a secret, and how unlikely it is that all of them wanted the entire world to suffer under restricted living.

Unfortunately, as Grimes points out in his paper, conspiracy theorists are often unlikely to respond to rational arguments, including his own mathematics. The internet has pushed them into a polarised, ideological echo-chamber, further entrenching them in their own beliefs. For anti-science conspiracy theorists, it seems the only solution is to try to ignore them, and resist their attempts to push their theories into the logical mainstream.

Art in Mancunia: Summer-May Henry

It’s been a busy year for Summer-May Henry.

Since graduating last summer, the Salford-based graphic designer has worked with HOME for Black History Month (BHM), collaborated on the Never Taught in School project, and continued to support the Black in Fashion collective.

Making it as an artist

Photo: Black in Fashion event design @summermaydesign

When I caught up with Summer on Zoom, I began by asking her how she’s balancing the imperatives of work and art. In the light of a certain Chancellor’s comments about creatives re-skilling, how does she make ends meet?

“I did freelance commissions at the University of Salford,” she told me. “Small pieces for friends and family. But when I graduated, I needed a full-time job to be able to afford to stay in Manchester. So I now work in packaging design for Block Tech (kid’s toys).”

Working full-time in commercial design has obviously been a change from her more experimental student days – she jokes that her main sources of inspiration are now the ASDA Magazine and The Entertainer – but it’s had its creative perks, too. Using 3-D design software all day has sharpened the skills she uses in her freelance commissions. (Her advice for budding graphic designers: choose one software package and “go deep.”)

Working in a professional creative environment has nurtured the soft skills she uses to engage large institutions, such as HOME. Throughout October, Summer’s illustrations of people of colour (POC) were displayed around HOME to celebrate BHM. After seeing Summer’s designs for Black in Fashion on Instagram, HOME were keen to have her on board.

Representing the whole community

A recurring theme in Summer’s work is the representation of diversity and especially greater representation of POC. With the ‘My Story’ exhibition back in February, this took the form of banners depicting the faces of African and Caribbean individuals above their personal stories. With their outlines removed, the faces blended into the banner backgrounds, each of them a different shade of black and brown.

Summer says that moving from Stoke to Manchester, and encountering the city’s cultural and racial diversity, opened her eyes to issues of representation. In recent years she’s collaborated extensively with Black in Fashion, a platform to promote young Black people in the North in the fashion industry. She’s produced events, brand guidelines, and Instagram designs and layouts for the collective.

“I have always been in touch with my heritage as a mixed-race person,” she says. “So I try to spend a lot of my time and energy uplifting and celebrating people in the Black community.”

For her HOME commission, Summer drew on models from her own life and from online research to make her brightly-coloured illustrations age and gender-inclusive.

Photo: BHM design for HOME @summermaydesign

Art in lockdown

Much of the inspiration for her vibrant patterns come from her interest in textures and in making visuals that seem almost tangible. She cites fellow designers Han Valentine and Egle Zvirblyte as current influences.

With so much of her work on virtual display, has she felt relatively insulated from the impact of lockdown on galleries?

“When the first lockdown started, work was coming in thick and fast. It was a bit surreal. A lot of events were being planned on the belief that it would all be over by the end of the year. But even afterwards, I was designing lots of posters for online events and conferences.”

Despite the inflow of work, she admits to feeling demotivated by her isolation from creative friends. She urges everyone to get out to a gallery or museum as soon as they can to recharge their batteries – as the Art Fund posters she designed put it, ‘Art is Therapy.’

What does the future hold for Summer? She tells me she plans to stay in Manchester and to take a well-earned break. But then again, that’s what she’d been saying before an email from HOME landed in her inbox…

Horoscopes: Week commencing December 7th

Which festive film should you watch next? Check what your horoscope is saying…

 

Sagittarius Nov 23 – Dec 21 Sagittarius Icon

Your need for change means you really relate to Jack Skellington from The Nightmare Before Christmas. This film is certain to make you feel better when you are stuck between two choices and bring some festive cheer to you this December!

 

Capricorn Dec 22 – Jan 20 Capricorn Icon

Often praised as the best Christmas film, Love Actually is wholesome, just like you! It might not always seem it but you do mean well, and this film will help you get into a festive mood.

 

Aquarius Jan 21 – Feb 19 Aquarius Icon

You have one of the most happy-go-lucky personalities out of your friend group. Anyone who watches Elf is instantly reminded of you (in a good way)!

 

Pisces Feb 20 – Mar 20 Pisces Icon

As the oldest of the star signs, you sometimes feel like the odd one out. However, just like Kevin in Home Alone, you are adventurous and able to look after yourself. No one has to worry about you!

 

Aries Mar 21 – Apr 20 Aries Icon

The Muppet Christmas Carol is the marmite of Christmas films – you either love it or hate it. You have a similar effect on people and will find this film very comforting to watch this festive season!

 

Taurus Apr 21 – May 20Taurus Icon

You are a diligent and quiet worker, but everyone loves you. Much like the childhood favourite, The Snowman, you convey what you mean with your actions and people find that charming about you.

 

Gemini May 21 – June 21

Gemini Icon

The switch between country and city life in The Holiday is a conflict you are familiar with. You will find solace in watching this film because it is your personality with a festive twist!

 

Cancer June 22 – July 22Cancer Icon

This film might often get forgotten, but The Polar Express is a hidden gem of the festive season, just like you! Put this on your list this Christmas and you won’t be disappointed.

 

Leo July 23 – Aug 22Leo Icon

You might be the life of the party, but when it comes to movie marathons, Bad Santa should definitely be on the list. You will surely learn some good comebacks and jokes for the Zoom holiday parties!

 

Virgo Aug 23 – Sept 21Virgo Icon

Your cold heart will be melted by The Grinch. While your similarity to the main character will draw you in at first, you will be amazed by his transformation, and be inspired to be more into the festive spirit this year!

 

Libra Sept 22 – Oct 22Libra Icon

The easiest film to watch is perfect for your personality. You get on with everyone just like the Nativity (everyone loves this film)! Make sure you watch this movie before the big day as it is perfect to get you into the holiday mood.

 

Is it Art? Student protest banners

A plethora of banners have recently appeared around campus, voicing students’ discontent with university leadership during the pandemic.

Spray-painted bedsheets fluttered defiantly from the windows of Owens Park during its occupation. Cheap’n’cheerful cardboard placards asked ‘9K 4 WHAT?’ at solidarity protests. And the 9k4what.mcr Instagram account surely speaks for many with its iconic fist breaking out of a laptop screen.

Which got me wondering, when do displays of protest become ‘protest art’?

A brief Guardian survey of characteristic protest art suggests a great deal more effort, and, well, artistry than our recent local additions. At first glance, it seems easy enough to identify protest art, as that which is primarily artistic and only secondarily a political artefact.

But consider Relocate Destroy by Edgar Heap of Birds: it’s simply words on a blank canvas, expressively written. So it would seem protest art needn’t even include visual representations.

The use of bedclothes in the Manchester protests is clearly for convenience’s sake, but they are also symbols. Mirroring the occupation of the Owens Park building, they represent the inversion of the public and private spheres, and the politicisation of students’ domestic lives.

In the past week, S.A.F.E.R. Manchester has hung canvases on trees and railings outside the Student’s Union, voicing students’ anxieties. In their simplicity – block caps, black-on-white quotations attributed to unnamed students – they evoke the anonymity, the feeling of being invisible and isolated, that many of us have experienced this term.

They look like scraps of cloth carried by the wind and snared on branches. They’re sad to look at.

I couldn’t help noticing that one of them was written partly in cursive: “I’m lonely but don’t have time to do anything about it.”

Photo: Sam Burt @ The Mancunion
Photo: Sam Burt @ The Mancunion

An aesthetic choice, surely? Harder to take in at a glance, but suggestive of the nameless hand behind it. (If you’re the creator and there was a more prosaic reason, please don’t write in. Indulge me. Its been a long year.)

Verdict: if they seem to say more than the words themselves…yes.

Down by the River Thames with Liam Gallagher

Photo: Liam Gallagher Down by the River Thames Press Shot

Last Saturday night, British musician and Mancunion icon Liam Gallagher made a return to performing with the virtual event ‘Down By The River Thames’.

This unique show saw Liam perform while riding a barge down the River Thames, accompanied by his live band and backing singers. The event was streamed exclusively on MelodyVR and was accessed by fans around the world.

In an announcement for the gig, Liam commented, “To all my brothers and sisters around the world. I’m performing a one-off celestial live performance for you to stream, ‘Down By The River Thames’, on 5th December 2020. I’ll be performing tracks from my two number 1 solo albums as well as some stone cold Oasis classics, some of which you haven’t heard me sing for a long, long time. C’mon you know. LG x”. I was lucky enough to experience the one-of-a-kind event, and I wasn’t disappointed. 

I had never been to a virtual concert before, and didn’t know what to expect. Sitting on my living room sofa with pizza and a homemade cocktail with the TV volume turned up on full, I anticipated the concert in quite a different way to the in-person gigs I have attended in the past.

However, when the concert started, I was shocked and impressed by the great sound quality and amazing visuals- the quality of the VR made it really easy to immerse myself in the experience. Overhead shots from a helicopter and close ups from a camera on the boat showed Liam and his band performing on the barge while they sailed past the bright lights and stunning views of the city skyline.

As the sky darkened, the barge passed uninterrupted under bridges and past London’s most famous landmarks, such as the London Eye and Houses of Parliament.  

As promised, Liam treated fans to performances of some old-school Oasis classics which haven’t been performed in years. The show included fan favourites such as ‘Supersonic’, ‘Cigarettes and Alcohol’ and ‘Hello’, although the most popular songs ‘Wonderwall’ and ‘Don’t Look Back in Anger’ were disappointingly left out.

Gallagher also passionately belted some of his best solo tracks, with his strongest vocals in ‘All You’re Dreaming Of’, ‘Once’ and ‘Wall Of Glass’. The Shockwave singer was dressed in his iconic long coat and dark sunglasses, and entertained viewers with a reference to government Chancellor of the Exchequer, Rishi Sunak after the ‘Cigarettes and Alcohol’ lyric “Is it worth the aggravation/ To find yourself a job when there’s nothing worth working for”.

‘Down By The River Thames’ follows the release of the Collector Edition of Liam’s critically acclaimed number one album Why Me? Why Not on 27th November, which is available to buy from Liam’s official store. The album’s huge success included being certified Gold after 68,000 first week sales, making it 2019’s fastest selling vinyl release. Gallagher also released the Number One solo album MTV Unplugged earlier this year, adding to his impressive collection of success both in his solo work, and in his iconic time in Oasis.

MelodyVR states that their simple goal is ‘not to replace the live music experience, but to harness the power of virtual reality to get people closer to the music they love’. This really came through in ‘Down By The River Thames’, as the event brought fans as close as possible to the live performances which we all miss and love.

The show proved that Liam is still as supersonic as ever, and created anticipation for when fans can see him perform in person.  

Ghosting, ghosters and ghostees in Dolly Alderton’s Ghosts

Ghosts by Dolly Alderton was released in October 2020. The novel has already achieved Sunday Times bestseller status.

There has been considerable social media hype surrounding Alderton’s debut novel due to the success of her autobiography Everything I Know About Love, in 2018.

Alderton’s latest work is a fictional exploration of the modern phenomenon of ghosting. Ghosting takes place over social media when someone suddenly stops replying to your texts, DMs, calls or emails.

The Macmillan online dictionary has updated its definition of ghosting to include ‘the practice of ending a relationship by simply disappearing, without any explanation’. Ghosting is similar to airing, but there is a greater sense of ambiguity.

Ghosts: A novel

Ghosts focuses on the story of Nina – a 32 year old food writer – and her friendships, family, and love life. Nina is encouraged by her friend Lola to delve into the world of online dating via an app named ‘Linx’.

Nina, perhaps slightly unrealistically, has immediate success on the app. The first date she arranges via Linx is with Max and they have instant chemistry. During the course of the date they chat about the app, and Nina reflects that ‘it struck me that the only event where it’s appropriate to talk about the reason you’re at the event is a funeral.’

The first date is followed by several others, and eventually Max and Nina become an exclusive couple. But there is a pervading sense that everything is ‘too good to be true’, and following their first declarations of ‘I love you’ the relationship takes a difficult turn.

Nina and Max share a moment of intimacy by her childhood house. The next day Max stops replying to Nina’s messages. Alderton includes a section which details their text communication (or lack thereof). Nina’s messages and calls go unanswered for weeks on end. The weeks then roll into months.

Ghosts/ghosted/ghosting

The inclusion of their text communication struck me as a realistic and raw part of the novel. It felt very similar to texts I’ve seen before and helped my mates to draft. Ghosting is a painful experience that leaves the other person left clueless. Individuals often find that the ‘ghoster’ lives in their mind ‘rent free’ for months after the communication is cut off.

We follow Nina’s experience after Max has cut off all ties and how bewildered she feels. Lola and Nina discuss modern dating, ghosting, and love at length at various points in the novel. Lola shares her ‘theory’ on ghosting and how men who are brought up with ‘Playstations and Game Boys’ view dating as just another challenge with levels to complete.

Ultimately, ghosting is to do with the ghoster’s own inability to communicate how they feel in a mature way. The ghoster hides behind their screen, and emotions instead of engaging in any difficult conversations.

The importance of friendship

The title of the novel invites the reader to centralise the idea of ghosting, but Ghosts is also a story of enduring friendship, family strains and personal acceptance. We celebrate Nina’s success with her publications, and we experience the difficult changes in her personal life. The onset of her father’s Alzeihemer’s disease and her argument with Katherine are also navigated within the novel.

Max re-enters Nina’s life and they attempt to resolve some of the problems at the core of their relationship. But Max is unable to communicate and he ghosts once again.

Alderton is able to create an intimate level of emotional involvement between the reader and Nina in her novel by her use of the first-person. We see the world as Nina sees it, and become invested in her story, and severely frustrated with Max’s inability to communicate.

The fictional exploration of the modern phenomenon of ghosting is an arresting part of the novel. But the moments of intimacy shared between friends and family members struck me as more heartfelt than any soppy romantic gesture. The difficult conversation Nina and her mum engage in about her dad’s Alzeiheimer’s at the hospital is one of the most moving sections of the novel.

Further work by Dolly Alderton

Ghosts and Everything I Know About Love both centralise the importance of friendship, and in particular women’s friendship. This focus is an aspect of Alderton’s writing that I love, and I hope to see more of in her future work.

If you want to check out more of Dolly Alderton’s work have a listen to the High Low podcast with Pandora Sykes (which has sadly just aired its last episode). Alice Porter discusses the podcast in her article for The Mancunion: ‘Five great podcasts for book lovers’.

This review copy was provided by Blackwell’s Manchester. Ghosts is available to purchase online.

Beavers are back!

Nearly 400 years after they were hunted to extinction, numbers of the Eurasian beaver are on the rise in the UK. They are native to most parts of the UK but were severely hunted for their fur and scent (for perfumes) in the late 16th century.

In the last decade numerous beaver restoration projects have taken place across the country in the hopes of reintroducing these wood-loving critters, and to great success. The current UK beaver population is believed to be around 400.

Photo: Pat Gaines @ Flickr

Why have beavers been reintroduced?

Lots of research has been done which suggests beavers have a positive impact on their ecosystems. This is primarily because of their unique fascination with dam building.

Damming running water creates natural pools and ponds of standing water which are ideal for harbouring lots of biodiversity. Running water systems, such as streams, can support some specially adapted species, but standing water, such as ponds or lakes, accommodate for many more because there are more niches available.

Dams also help slow the flow of water, so overly irrigated areas are less susceptible to flooding. Beavers can therefore benefit the natural environment as well as the human one.

The Royal Society for the Protection of Birds (RSPB) have played a large role in the reintroduction of beavers, and their website has lots of interesting information about the steps taken.

Beavers: The heroes of wetlands

Beavers are considered a keystone species in wetlands, which means they are essential in supporting that particular ecosystem. The lack of a keystone species can have many impacts on other parts of the habitat, such as fluctuating populations of other species, inconsistent nutrient cycling, and even loss of habitat.

Beavers create wetlands and consequently homes and niches for many other creatures to thrive in, both plants and animals. In fact beavers also play an important part in tree regeneration.

An effective strategy for promoting tree growth is coppicing, which involves cutting down trees all the way to the ground rather than leaving a stump.

This causes multiple new, thinner trunks to form, rather than just one thick one. This is better for human yield but also promotes forest biodiversity as it creates forests which are less dense. When beavers cut down trees (with literally a pair of teeth) they naturally coppice forests.

Beavers can contribute in many ways to an ecosystems, but what’s more is that they do so almost exclusively. Beavers are non-stop workers. Whether they’re gnawing down trees, building their homes (known as beaver lodges) or constructing dams, beavers really are the architects of the wild.

Photo of a beaver lodge: US fish & wildlife service @ Flickr

Long live the beaver!

It is clear that beavers can have positive impacts on many elements of the UK’s ecosystem, but having these furry friends roaming our waterways once again should be enough of an incentive to continue their reintroduction.

If you’re interested in finding these helpful little wetland-workers, the River Otter in Devon is your best bet. According to the Woodland Trust beavers have also been spotted and reintroduced in parts of Argyll (Scotland), Kent, and Essex.