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Month: February 2021

Artwork by Georgia Brooks

Getting down to the art of it

Written by Annie Dabb on . Posted in Arts.

The art industry is simultaneously diverse and elitist. With that in mind, I spoke to some of my artist friends, all studying a range of subjects at different universities, about their work in relation to current global issues. Our discussion broached topics of determination and artistic passion, as well as discrimination, cultural appropriation and underrepresentation. 

To these creatives, art just “made sense” as a natural progression. For Georgia, this took the form of rejecting what schools classed as ‘fine art’ – “the very opposite of fine art” – whereas Ryan rejected the stereotype that men should be sporty rather than artistic, and Lucie the “fashion girl” characterisation, Phyllis entered the art world via an unexpected course change from law to drama and Niamh from a self-confessed tendency to be a “drama queen”. 

Media and messaging

As they developed their practise, their chosen media evolved. Ryan compared the photo realism expected of him in school, which had him painting portraits onto actual doors, to the more flamboyant textiles and prints he produces now, laughing about the “dick print” he’s working on. Georgia also painted school as limiting, the grading system giving her a validation complex in relation to her art. She rediscovered her love for “film, photo and writing” at university and spoke about the ambiguity of her art, speculating that “by not being overtly politicaI, I guess I am being political at the same time.” 

Lucie Turton @lucie.a.t

The drama students discussed the transgressiveness of their practice and the idea that drama has less physical production value than fine art or textiles. Niamh cast art as a mode of storytelling, proclaiming “we’re not being ourselves – and that’s the point.” Whereas Phyllis, who prefers directing to acting and in fact hates monologues, described her degree as a process towards an end goal; using applied theatre to “tell a story but to bring it out of someone else.”

Lucie’s constant questioning of the ‘why’ behind her own work conveys art as all-encompassing and she is quick to dismiss the “social construct that creative subjects don’t lead to anything” because “it’s not taught to lead to anything.” With Lucie’s emphasis on “questioning our practice”, as well as Georgia’s challenge to the “pessimism around creative subjects”, both artists combat enmity towards their industry. 

Lucie’s current work combines West African prints with William Morris patterns. In a way that would have Wordsworth running for the hills, she and Ryan denounced the use of flowers in their work with a swift “fuck floral”, disregarding pastoral print as boring and predictable. 

Discrimination and exclusion

It is saddening that even in the art world, given gay icons like Keith Haring or David Hockney, everyone in the group has experienced their work being stereotyped in relation to their gender and/or sexuality. Lucie highlighted the lack of representation of BAME (Black Asian Minority Ethnic) artists or, what is worse, the expectation that they produce cultural work in line with society’s expectations of a “black creative”. 

We were shocked to learn that there are only six black students across Lucie’s, Phyllis’ and Niamh’s courses combined. Lucie explained how caucasian audiences tend to view African art through a Westernised lens and dismiss art that doesn’t fit such categories by a person of colour as “not African.” She is reluctant to personalise her art because of the difficulty involved in conveying her culture to a (perhaps wilfully) misunderstanding white audience. She even refrains from putting her face on her portfolio as “that in itself would change the interaction with the company or designer.”

Nodding somberly, we realised how different Lucie’s experience is as a person of colour; the underrepresentation and fetishisation of herself and her work in a society which simultaneously discriminates against and extorts, through cultural appropriation, the art of non-white or BAME artists. 

Creating during Covid

Niamh Euers @stiamhs_achiamhments

Covid-19 has all but stagnated the art scene, so it was little surprise that Ryan was concerned that his lockdown portfolio may be taken less seriously than that of someone with full access to resources and studio space. However, Phyllis and Niamh were somewhat consoled to know that the study of drama online is uncharted territory for everyone. Thus, a prospect that was initially daunting and isolating led them to develop an entirely new skill set. For example, it has prompted Niamh to start writing monologues. 

Georgia was also optimistic about the effect of the pandemic on her work, seeing the potential for art to reflect current events as the Renaissance period did for 14th-century Europe. Lucie suggested that artists today are the only ones in history to have experienced the coronavirus, making their work unique and therefore desirable. She also noted our inevitable movement into a post-digital age, which emphasises technological mastery as vital to survival in the labour market. 

The North-South divide in the art world

Our discussion turned to the possible stigmatisation that comes with being a ‘Northern creative.’ At times, they have all been subjected to mockery for their accent, as well as – more soberingly – having their Northern roots overshadow conversations about which universities would realistically consider them. (Needless to say, everyone stayed in the North for their degrees.) 

Despite Geordie being ‘the oldest English regional dialect’, Georgia confessed that she “always felt like [she] couldn’t be successful because of where [she’s] from.” Northern actors are consistently underrepresented or cast as stupid characters in film and media. 

Ryan Whitfield @ryanwhitfielddesign

According to Niamh, during the pandemic “people from the North East are applying to London-based jobs…because they don’t need to spend money to go down to London”. This met with broad agreement and we had to acknowledge that art is something of a privilege due to its instability as a career option. It is far more accessible for those able or willing to go to London, with its prolific art and theatre scene – the ‘museum capital of the world’. 

Ferne Arfin has described Newcastle’s demotic as a ‘difficult dialect’, suggesting that ‘most Brits are puzzled by it.’ We laughed at the ridiculousness of expecting that ordinary people sound like privately educated Radio 4 presenters and Niamh jokingly suggested that people who can’t understand her “put a fucking subtitle on [me]” but class still plagues the industry. 

Questions of prestige

Lucie passionately deconstructed the hierarchy within art which effectively situates her degree ‘textiles and design’ below ‘fine art’, the latter residing obnoxiously at the apogee of art. As a student of the latter, Georgia was quick to interject and to endorse mass-produced art. 

Everyone in the group had experienced some degree of rejection or sacrifice to get where they are now. Lucie, for instance, lamented her choice to attend an art-specific university, and felt she had missed out on mixing with a more diverse range of students in exchange for a more credible artistic qualification. 

Pride in one’s work

Georgia revealed that much of the work she has produced she hates. Routinely, she will get bored with a medium within a matter of weeks and be eager to move on. Nevertheless, she finds continual joy in her writing, a process which sometimes consists of creating a whole scene just through listening to one song over and over. 

Lucie Turton @lucie.a.t

Lucie showed us beautiful intimate photography, blurred shots depicting vibrant colours and sensual movement. Whilst captivating, Lucie’s description of the photos as “so distorted that it’s not even me anymore” speaks of the distance she places between herself and her work. This is largely due to her fear of cultural misappropriation and being judged as a queer woman of colour instead of an artist in her own right. Our conversation closed on the ongoing importance of decolonising the arts.

I am bewildered by the complexity of the art industry and of the lives of artists. But I am also inspired: these young creatives have perceived the pandemic not as an impassable hindrance but as a life-changing moment in history. 

Far from the stereotype of brooding, self-centred, mysterious artists, these are a bunch of lovely creative people. They navigate the minefield of the art world through self-expression and continually searching for how best to, as Lucie put it, “communicate complex ideas through a beautiful, simplistic practice.” It’s my privilege to know them.

Special thanks to:

Lucie Turton @lucie.a.t

Georgia Brooks @oneartist.gia

Ryan Whitfield @ryanwhitfielddesign

Niamh Euers @stiamhs_achiamhments

Phyllis Hoyle

For a longer version of this article, see here: https://avoidinganannieyurism.blogspot.com/

Unsolved Online Creations

Who Killed the Lollipop Man?

Written by Dolly Busby on . Posted in News.

Become Manchester’s most revered detective by getting involved in a brand new, ongoing interactive murder mystery. ‘Unsolved Online Productions’ invites you, your friends, family, cat, and John from down the road, to get involved their exciting new initiative ‘The Lollipop Man?’

On January 21st, 2000, Martin Morris the local lollipop man was found dead. The case was closed and remains unsolved to this day. 21 years later, the casefiles have burst back open and ‘Unsolved Online Productions’ needs you to solve it.

Every Tuesday and Thursday, a new suspect interview is released on their YouTube channel at 7:30pm with each video ranging from 5-15 minutes, giving you the chance to meet the suspects. New clues are released throughout the week with all interviews, clues, evidence and round-up articles being uploaded to their blog, Facebook and Twitter page.

Work together and connect with others to solve the mystery of the lollipop man. This will definitely spice up your video-calls by having something other to report than which cereal you ate this morning. If we collectively put our heads together, I’m sure we can unravel it!

Three suspect interviews have been released, 145 people have signed up to be jury members and £735 has been raised. It’s new, it’s exciting and everyone wants to be a part of it, so sign up via this link – https://forms.gle/yYV5A9QVaTTCXCH47

Once signed up, you receive a detective pack which holds all the information you will need to join. The sign-up link is at the bottom of the page.

Since the first national lockdown in March 2020 John O’Neill (Creative Director and founder of Up Ere Productions, writer, actor, producer) and Stacey Harcourt (Doctors (BBC), Emmerdale (ITV), Kaleigh’s Love Story) have been working hard to #keeptheatrealive by creating The Breakfast Club and raising thousands of punts for the theatres and creatives of Greater Manchester.

Now in the Lockdown 3.0 they have created and produced this whole project with John taking control of the writing and creating the story and script. You have the amazing opportunity to witness some great writing from a professional writer and producer.

You can also help with the project’s fundraising by contributing to their JustGiving page. It’s a pay what you can basis with a recommended donation of £5-10 which will be used to split between all creatives involved to value them for their work in creating The Lollipop Man?

For further enquiries go to: [email protected]

Disney

Disney+ Star – more content, but at what cost?

Written by Jonny Hosking on . Posted in Film.

Disney Plus is scheduling its ‘biggest content drop ever’ later this month. There is ample reason to be excited about it. ‘Star’ will be a new section on the studio’s streaming service, widely targeted at a more adult audience. After the purchase of 20th Century Fox, Disney is seeking to capitalise on its newly won content in this highly lucrative move.

From the 23rd of February 2021, viewers on Disney Plus will be able to stream popular content such as Lost, or Buffy the Vampire Slayer. They can also dive into new shows curated under the Disney Studio banner.

Interest has peaked for a lot of fans of the site. However, there is an air of scepticism around the media giant throwing its net out wider than ever before.

The range of familiar content arriving on ‘Star’ is seriously vast. To list a couple: American Dad, Atlanta, Black-ish, Bones, Desperate Housewives, Family Guy, Firefly, Glee, Grey’s Anatomy, How I Met Your Mother, Modern Family, Prison Break, Scrubs, Sons of Anarchy, The X Files, and many more.

It appears Disney have been especially vigilant to entertain all members of the family. They have spanned multiple genres and styles. With a heavy emphasis on the ‘Golden Age of Television’ of the early 2000s, the numerous shows appear ready to satiate anyone craving a lockdown binge.

Besides TV, ‘Star’ will branch out further. The streaming service’s previously limited film selection will host some classics and off-beat gems. To gather the sense of the variety of films ‘Star’ will bring, your Saturday evening might possibly start with Elizabeth Burton’s three-hour epic Cleopatra, and end with a late night showing of Borat.

This seems like a surly blow for Disney Plus’s biggest competitor Netflix. The latter’s own assortment of films has been known to focus more on quantity than quality.

If that was not enough, this update will also bring about a collection of original releases from the studio. From the creator of Big Little Lies, there’s the crime drama Big Sky, as well as the new horror mystery Helstrom. Justin Roiland’s new show Solar Opposites seeks to carry on the momentum of Rick and Morty. And the new series Love, Victor follows the 2017 LGBTQ+ film Love, Simon.

Disney Star is certainly a major positive for consumers. However, there are many concerns about it growing monopoly over the commercial streaming market. When it launched in 2007, Netflix’s greatest appeal was that there was a wide variety of content all in one place. They were often unavailable without DVDs, Video or getting lucky on one of those late night channel surfs. This opposed to terrestrial television, where you had to pay extra to unlock content on channels like Sky Atlantic or Disney XD. 

With the seeming decline of Netflix, and the diversification of the streaming market, there is a growing worry that Disney’s ever-increasing dominance will push smaller, independent streamers out of competition. This risks the return to the days of the ‘big six’ studio system.

Worrisome for consumers, Disney now not only has a dominance over theatrical releases, but also home streaming. With so much content under the control of one corporate entity, it is a real concern. Independent, avant-garde and arthouse films, as well as pioneering TV shows, will be watered down in order to fit the Disney brand. 

As Scorsese noted in a recent essay on acclaimed Italian director Federico Fellini, ‘cinema’ has been increasingly replaced by ‘content’. This has led to more experimental projects materialising. It’s hard to imagine The Irishman ever finding financial success with a traditional studio release strategy. However, it has also led to more studio-interference. This is in a bid to make every piece of content as commercially viable as possible. The ever evolving ‘consumer content’ has led to a focus on creating a successful brand, rather than art. 

Disney is notorious for interfering with projects to make them as controversy-free as possible. Take, for example, Edgar Wright’s canned Ant-Man project. Also, the notable shift in vision following the still-controversial release of Star Wars: The Last Jedi. It is concerning that a company with an established brand will own such a huge percentage of the market. Indeed, in 2019, Disney accounted for 38% of all box office revenue, and with streaming more important than ever in the age of Covid-19, its monopoly on the market will only continue to grow. Possibly to both the detriment and advantage of consumers.

Regardless of the worrying commercial ramifications, Disney Plus Star is still a huge win for consumers. Particularly in the UK, as films and TV shows previously unavailable will have one permanent place for subscribers to binge. 

LGBT

Essential LGBT biopics

Written by Michal Wasilewski on . Posted in Film.

History has witnessed a multitude of LGBT figures, although world cinema hasn’t always reflected this. Recent trends in film and popular cinema are thankfully changing this, and LGBT history month is a great time to look back at the standout biopics which have undertaken the task of bringing out the realities of the LGBT experience onscreen.


Capote (2005) – Jonny Hosking

Capote, much like the man himself, is a deeply sophisticated and intelligent film. Set in 1959, the film follows esteemed New York writer Truman Capote (Philip Seymour Hoffman) as he ventures into the Deep South to uncover one of the most disturbing crime stories of the century. As cultures clash and tensions rise, the writer wrestles with his consciousness as he pieces together his magnum opus, In Cold Blood.

The film’s lasting merit is undoubtedly the central performance from Hoffman. From every mannerism, gaze, and inflection, the audience is never in doubt of his conviction and honesty. The rest of the cast are excellent as well, from Catherine Keener’s Harper Lee (a real-life friend of Capote) to Clifton Collins Jr.’s haunted Perry Smith.

Apart from Breakfast at Tiffany’s, Truman Capote’s cinematic legacy is rather brief, especially for a figure of his calibre. Capote sheds necessary light on the incredible historical figure, not only as an openly gay man in the 50s, but as a formidable novelist as well.


Frida (2002) – Florrie Evans

Frida, directed by Julie Taymor, explores the turmoil of Kahlo’s life and her life’s work, her art. The film illustrates the ups and (mostly) downs of Kahlo’s life including her numerous love affairs with women, which her husband encouraged. 

Taymor’s film shows the strength of Kahlo’s character and her will to keep going in spite of the cards she has been dealt. By animating Kahlo’s art and bringing Kahlo’s own characters to life on screen, Taymor shows the way in which Kahlo expresses her emotion in order to get through the toughest times in her life. 

The film honours the forward thinking mind of Kahlo and her Mexican heritage through a vibrant and full-bodied colour palette, as well as a score filled with Mexican folk music. Every shot framed and every animation designed is based on Kahlo’s work, immersing the audience in the mind of the artist.


Milk (2008) – Florrie Evans

Gus Van Sant’s film tells the story of Harvey Milk, an American politician and the first openly gay elected official in California. The film, written by Dustin Lance Black, is based on Milk’s self-made tape which was meant to be listened to in the time of his passing. 

This basis creates a true and emotional illustration of the work Milk did for the LGBT rights movement. The use of archival footage acts as a signifier of truth and emphasises the reality of the events. 

In contrast to a lot of Gus Van Sant’s films, especially his Kurt Cobain anti-biopic, Milk gained its popularity thanks to its accessibility to mainstream audiences. The story is approached as a typical American film, using a linear narrative and many top Hollywood actors.


Rocketman (2019) – Michal Wasilewski

Unlike the horrendous and absurdly queerphobic mess of a film which Bohemian Rhapsody was, Rocketman is everything a music biopic should be. 

Following the most vital events of Elton John’s personal life and career, Dexter Fletcher’s film isn’t afraid of its main character and his homosexuality. On the contrary, it embraces the LGBT themes through bursts of positive energy provided by Taron Egerton’s electric performance, supported by colourful costumes and energetic covers of Elton John’s songs (not to discredit Rami Malek’s lip syncing, but Egerton actually sings here).

Overall, Rocketman is a film which everyone can enjoy; a biography which is as honest and in-depth as it gets; a story of finding peace and happiness after years of hardships.


The Danish Girl (2015) – Georgina Davidson

A combination of true story and aesthetic quality can be found and translated in the world of art through a splendid scene and contained within a beautiful frame. Rarely can either spill from the backdrop; particularly in a film which explores a taboo topic area such as LGBT rights. 

Unfortunately, the hazy, whimsical palette of Tom Hooper’s film The Danish Girl falls victim to the fate of poorly appointed frame. Set in a false historic time is the story of a transgender woman in play, in every sense of the word. 

Although beautifully appointed with stellar acting performances and astonishing production value, the storyline lacks the depth and complexity associated with the difficult decisions that are made throughout. The cast form a faded sky backwash for the main characters, Lilli (Eddie Redmayne) and Gerda (Alicia Vikander) to shine upon, in a surprisingly heteronormative display even for its vague historic setting. 

The film is emotive in its portrayal of identity and loss but misses the mark on providing a considered experience of transgender living. More than parties, colour, misery and death; the film has an opportunity to use real case studies and give the spectator the story of personal and societal impact. 

Hooper’s vision seems stylistically guided over substance. The film lacks a link to a changing human condition and experience which ultimately limits its potential towards a sad but glossily veneering finale. The Danish Girl is beautiful and sensitive, but devoid of a setting or accurate foregrounding.


The Naked Civil Servant (1975) – Freddie Johnson

It is hard to imagine the world in which this short, made-for-TV film arrived in 1975, let alone the deeper past it depicts. It introduces us to Quentin Crisp (literally, the real 66-year-old Crisp opens the film), an ‘effeminate homosexual’ and transvestite who challenged society and authority simply by refusing to be anyone else. 

This is an ‘autobiography’ but also, as Crisp announces, a fantasy (“All films are fantasies”). This dichotomy creates a wonderful ambiguity. Is this real life or a second draft? And does it matter? He writes himself as self-deprecating and aggrandising, at once utterly self-centred and enormously generous. His life morphs into a performance, a crusade, a public service. Could it have been otherwise? Crisp, perhaps with regret, thinks not. 

He, and the masterful John Hurt (“yes of course you must have an actor to play me, he will do it far better than I have done”) draw us into his world completely. Moving and beautiful, The Naked Civil Servant gives us a much-needed long lens on sex in Britain.

‘As The Love Continues’ – Mogwai – post-rock at its best

Written by Reece Ritchie on . Posted in Music.

As The Love Continues is, as a complete project, a strange and eclectic cacophony, and a total masterpiece. From its 8-bit samples to its watertight drum patterns it is a flawless example of Mogwai’s talent and experience. This album is post-rock at its best, full of emotion and passion, combining electronic influences the future and the past.  

As ever there is a high standard set for a Mogwai with their extensive discography and their own record label. The band have produced nine studio albums, a live album, four compilations and four soundtracks to date. This 24-year career defines As The Love Continues – it feels as though there really is 24 years of learning displayed.

It is perfect then that As The Love Continues will be released 25 years on from the release of the band’s debut single ‘Tuner/ Lower’. The band previewed the album in a live show performed and recorded at Tramway in their hometown of Glasgow. The performance was broadcasted worldwide on Saturday 13th February 2021.

Originally intended to be recorded in America, the album, like all things, was impacted heavily by Covid-19.  Instead, the band set themselves up in Worcestershire and, described as an “Orwellian Oppressor”, had their producer Dave Fridmann zoom linked in throughout the projects inception.

Mogwai hope this album can take you to somewhere different from where you are, “Unless you are somewhere really amazing and then why are you listening to some weird music like this?”

The over 55-minute project begins with ‘To The Bin My Friend, Tonight We Vacate The Earth’ – full of synths Mogwai harness some of the electronic sounds that have developed throughout their careers.

Thus, begins a collection of songs that are fit as any to be the soundtrack to a main character’s story. Developing through the addition of piano, samples and drum variations ‘Dry Fantasy’ and ‘Ritchie Sacramento’ highlight the range Mogwai has developed.

It is as the album beings to reach its midpoint that listeners will begin to appreciate how captivating Mogwai is, even with the majority of the projects track’s not featuring vocals. For too long I myself felt uninterested in music without lyrics.

I couldn’t have been more wrong believing that they couldn’t provide the same energy I found in punk and elsewhere. It was both Mogwai and Aphex Twin who convinced me off this and why I can’t recommend them enough.

Mogwai make music without lyrics work by varying their sound, you are forever surprised. From distorted guitar in ‘Ceiling Granny’ to almost orchestral strings in ‘Midnight Flit’ each song has a new surprise. I can liken it only to waiting to open that next present on Christmas morning as a child. Each track a gift, different from the last, making each other feel more special.

‘Ritchie Sacramento’ is my personal favourite track on the album.

Closing off the album with ‘Supposedly, We Were Nightmares’ and ‘It’s What I Want To Do Mum’ Mogwai refuse to go off quietly into the night. The final track being the band’s most ominous and simple, clean guitar tones over rolling drums and slowed bass. Finishing with a nearly seven-and-a-half-minute display of post-rock Mogwai close out with pure transcendence.

This album surprised me entirely by being the project released this lockdown that has brought me most out of the pandemic, even more so than ‘tyron’ by Slowthai or ‘Who Am I?’ by Pale Waves.

Mogwai – taken by Antony Crook

Yet, I must include a caveat – I can understand why many new listeners would feel the way I once did.  This album is brilliant if you are willing to listen fully but requires an open mind. It is very possible new listeners could find themselves bored by a genre most enjoyable in its intricacies.

Whilst not a Marmite love or hate scenario this album gets better with each listen and Mogwai’s only downfall may only be new listeners not appreciating a long declining genre. This is true of all post-rock however and I would encourage fellow students to explore a genre not focused on being fast and loud but contemplative.  

This album is excellent technically, prefect to diversify you’re music tatse. It will introduce you to a band that have been making music longer than most students have been alive. Mogwai and post-rock is heavily underrecognized by younger people today. ‘As The Love Continues’ proves that it simply shouldn’t be.

9/10

Photo: The Mancunion

Will Nancy be voted out? The referendum explained

Written by Hannah Connery on . Posted in News.

A vote of no confidence in the University of Manchester’s Vice Chancellor, Dame Nancy Rothwell, and Senior Management Team, will be held online this semester, following its proposal by a student petition which secured 400 signatures. 

It is the first vote of its kind to be carried out in the University’s history.

When is the vote? 

The vote will be held from the 8th to 11th March 2021. It will be conducted online in a similar format to the Students’ Union elections, and all students will receive an email with more detailed instructions closer to the time.

Who does the vote involve? 

All students at the University will get a vote. The University and College Union (UCU) hold their own votes involving staff at UoM, so they will not get a vote in this referendum.  

Voting ‘Yes’ in this referendum means that you have no confidence in the University’s President and Vice-Chancellor, Dame Nancy Rothwell, and her management, to run the University. Key figures in the Senior Management Team include: 

  • Deputy President and Deputy Vice Chancellor, Luke Georghiou
  • Registrar, Secretary and Chief Operating Officer, Patrick Hackett
  • Vice-President for Teaching, Learning and Students, April McMahon 
  • Director for the Student Experience, Simon Merrywest

You will be able to vote ‘Yes’, ‘No’ or ‘Abstain’.

Why is there a vote? 

A number of student groups, including UoM Rent Strike and 9K4WHAT, launched a successful petition for a vote of no confidence last semester.

This followed events on campus which students say highlighted various problems in the University management, including a failure to respond to its mental health crisis and institutionalised racism. Many students feel “let down” by the Senior Leadership Team, particularly in its handling of the pandemic. 

The Nancy Out! campaign is proposing that key leadership positions be democratically elected by students and staff. They also demand that the Board of Governors be more representative of the UoM community.

What happens after the vote? 

The result will be announced on 12th March 2021. However, this does not commit Nancy Rothwell and her management to leaving, as the result is not binding for the University.

Following the vote, the Students’ Union will present the result to the University and the entire student body. This could be instrumental in increasing pressure on the University Board of Governors, who ultimately decide the fate of the University’s management.

A spokesperson for the University of Manchester told The Mancunion: “The pandemic has caused a great deal of disruption for students, and they have not been able to have the university experience they would have expected.

They continued: “We have all worked very hard to provide all our students with the best possible learning and student experience in these unprecedented and challenging circumstances. We have not got everything right, but we are committed to working closely with student representatives to address concerns and meet student needs.”

How can I get involved? 

The official group campaigning for a vote of no confidence in the Senior Leadership Team is Nancy Out!. Their website provides information on how to get involved and their motivations for holding a referendum. 

There is no official campaign in favour of Nancy Rothwell and her management to stay. All campaigns have to be run by students. If you are interested in supporting a campaign on either side of the referendum, you can contact [email protected].

You can also read articles in The Mancunion by students campaigning for a Yes and No result.

Behind Her Eyes

Behind Her Eyes: Netflix must-watch mystery

Written by emilyholt on . Posted in Film.

One of the first must-watch shows of 2021, Behind Her Eyes leaves viewers dissecting every episode to uncover the real secrets behind the main characters lives.

The show, created by Steve Lightfoot, is based on the 2017 novel of the same name by Sarah Pinborough. Set in London, the story follows young, single mum Louise (Simona Brown) as she enters a twisted relationship with her boss David (Tom Bateman). Louise then finds herself further enwrapped into mystery as she is befriended by David’s wife Adele (Eve Hewson).

The story begins seemingly straightforward, with Louise meeting David in a bar, sharing an impromptu kiss before finding out that David is to be her new boss at work.  Both agree to keep their relationship professional but fall back into temptation and begin an affair. Adele ‘coincidentally’ bumps into Louise later on, and befriends her, trapping Adele, Louise and David into an unconventional love triangle.

As the plot goes on we begin to see the unravelling of all three of our main characters lives. Delving into Adele’s past brings Rob (Robert Aramayo), a friend of Adele’s whom she met at a psychiatric facility shortly after her parents death in a house fire. We also get glimpses of Adele’s early relationship with David, seemingly innocent and loving at first, juxtaposed to their current relationship of lies, deceit and betrayal.

Throughout the story we are brought back to Louise’s main struggle in life, her night terrors, in which her dreams are filled with horror that leaves her screaming every night. Adele bonds with Louise over their shared experiences of suffering the same issues, and teaches her to control her dreams. Behind Her Eyes does well to present this plotline succinctly without exposing too much information before the last few episodes, but the dream sequences are disjointed and not fully explained by the end of the show, and leaves us questioning Louise’s dreams in the first few episodes.

Louise also becomes more and more enraptured with David and Adele’s lives, causing chaos in the process, and resulting in a fantastic plot twist many of us would never see coming. There’s also some great acting notably that of Robert Aramayo as Rob, and Eve Hewson as Adele, who are able to leave us questioning the morality of both characters as the plot develops.

Whilst there are parts to the plot that feel disjointed and slow, Behind Her Eyes is able to shock viewers with a plot twist that explains why certain characters behaved in the way in which they did, and wraps up the story nicely with no need for a second season. An easy watch, and one to definitely delve into for a TV binge.

4/5.

Behind Her Eyes was released on Netflix on the 17th of February.

LGBTQ+ History Month but make it (chemically) exciting

Written by Amrita Chattopadhyay on . Posted in Science & Tech, Societies.

With the country under lockdown and people stuck in their house, Pride looks very different this year. However, the Chemistry Society, in association with LGBTQ+ organisation Forward, decided to celebrate regardless by hosting on online chemistry event in celebration of LGBTQ+ History Month on February 6th. The virtual event was open to anyone and everyone and had the advantage of being accessible from the comfort of your own home!

Forward is an LGBTQ+ outreach organisation based in Stockport. To celebrate LGBTQ+ History month, they are organising various online events ranging from music and comedy to scientific demonstrations like this one.

The events hosted by Forward are primarily based on the principles of ‘body, mind, and spirit’. They have been sponsored by NHS Stockport and many LGBTQ+ organisations, including Stockport Pride, Stockport PLUS, and The Proud Trust.

The event was the brainchild of Charlotte Istance, better known as Charley, a master’s student and the ChemSoc Inclusion Officer. She teamed up with previous UoM Chemistry lecturer Dr. Jenny Slaughter to conduct various science experiments, whilst explaining the fundamental chemistry behind each one.

The majority of the experiments performed used day-to-day supermarket items such as bath bombs and candles and were safe and easy to perform at home. 

The Blue Box Experiment

This image shows a jar containing blue liquid.

Gatorade (or any similar solution containing the food colouring brilliant blue) is mixed with sugar and added to a sodium hydroxide solution. The resulting solution changes colour from blue to colourless. The colourless solution goes back to being blue when shaken vigorously. The change in colour is due to a redox reaction (reduction and oxidation). The sugar reduces the blue dye, and when shaken, the reduced blue dye gets oxidised (incorporates oxygen from air) and regains its original colour. This reaction is reversible and can be carried out multiple times.

Uranium Glass

Radioactive uranium glass contains uranium dioxide, which gives it a bright green colour. When a UV lamp is shone onto the glass, it begins to glow. This is due to an effect called fluorescence and the excitation of electrons within the glass. These electrons absorb energy from the UV lamp and are promoted to new energy levels. The electrons then lose energy and emit light as they fall back down to lower levels. The colours emitted depends on the energy gap between the ground state energy and excited energies.

This image shows an uranium glass glowing bright green.

Chemistry Pride Flag

A solution was prepared using warm water, food colouring from Skittles, washing-up liquid and yeast. This solution then reacted with hydrogen peroxide solution poured in from shot glasses. The yeast acts as a catalyst -speeding up the decomposition of the hydrogen peroxide into oxygen gas. When washing up liquid is added to the yeast solution, it foams up to create a beautiful rainbow coloured Pride flag!

This image shows six chemistry flasks containing red, orange, yellow, green, blue and purple liquid. Into the flasks, hydrogen peroxide is being poured in by shot glasses.

These were just a few of the many exciting experiments that were carried out. All the colourful whizzes, pops and bangs from the science experiments attracted a large crowd of allies, members of the Stockport LGBTQ+ society and sciences enthusiasts.

Istance hopes that this virtual event helped remind people that being a member of the LGBTQIA+ community should never hinder the pursuit of science.

Videos of the experiment can be found here.

Image credit: supplied

Hello, is it Earth you’re looking for?

Written by Emma Hattersley on . Posted in Science & Tech.

Is there life beyond our planet? The lack of definitive proof either has not stopped amateurs and scientists alike calling out to the universe in the hope that someone, anyone is listening. This week I investigate the most interesting messages Earthlings have put into space.

1. Pioneer Plaque

The Pioneer Plaques were sent from Earth on the first ever man-made objects to leave our solar system, the Pioneer spacecraft 10 and 11. Created by Carl Sagan, an astronomer and popular science writer, they picture both male and female nude images next to the spacecraft, to give an indication of the size of our species .

In addition, they contain information about the location of our solar system compared to pulsars – a type of star. The time since the spacecraft was launched can also be calculated from these pulsars.

A small map of our solar system, our location in it, and the predicted trajectory of the Pioneer spacecraft are also included. All of these diagrams were drawn by Sagan’s wife, Linda Salzman Sagan.

Copyright: NASA

2. The Voyager Record

The Voyager spacecraft set off in the 1970s, aiming to visit Jupiter and Saturn. Onboard both Voyagers one and two were copies of the ‘Voyager Record’, a copper gramophone record. NASA claims it represents “the diversity of life and culture on Earth.”

Also compiled by Carl Sagen, it contained variety a of sounds from the natural world, such as animals, wind and the sea, music and fifty-five greetings in different languages.

Alongside the sounds are 115 images, which include pictures of the human sex organs, the structure of DNA, and attempts to capture our numerical system.

In addition, there are images simply of humans being humans, from a variety of countries and cultures. Included are random families, craftsmen and supermarkets – an attempt to educate aliens about the daily life of a person.

Voyager Project Manager, Suzanne Dodd, holding the ‘Golden Record’. Copyright: NASA

3. Cosmic Call

In 1999, a radio signal was sent from a 70 metre wide transmitter in Evpatoria, Ukraine to four stars. It included digital copies of art, texts, songs and videos, as well as an attempt to summarise basic maths, science and biology.

The 23 page ‘book’, known as a primer, consisted of our understanding of mass, the units we use, information about our solar system, among other information. These are data that could help extraterrestrial beings understand how we interpret the world, and the technology they may discover of ours.

The signal was carefully designed to be resistant to signal degradation, or corruption by noise. The messages contained have been translated into systems that should be easier to understand with no context than a human alphabet. The signal can also be reflected without confusion – there are no symbols that when flipped, become a different symbol.

The message was sent out again to different stars in 2003.

4. Teen-age message

The ‘Teen-age’ message was named as such because it was designed by teenage students. They chose seven songs, which were recorded at a live theremin concert. The theremin was chosen because it produces a simple signal easy to distinguish from background noise.

Played at the concert were some Russian folk songs, ‘Summertime’ by Gershwin and some great classical composers including Beethoven and Vivaldi. The students also chose the six stars this concert was sent to, again as a radio signal from Evpatoria, Ukraine.

It was sent out in 2001 and also incorporated drawings and written greetings in both Russian and English. These messages were also created by teenagers.

Peter Theremin playing the theremin.
Peter Theremin playing the theremin. Lirego @wikimedia commons

5. The Last Pictures

Created by Trevor Paglen, the Last Pictures contains a time capsule that attempts to include everything it means to be human.  It is was released on the satellite XVI in November 2012 and is hoped to orbit the Earth for billions of years.

To allow this long-term possibility of communication, one hundred photographs are engraved into a micro-etched disc. Chosen by scientists, artists, anthropologists and philosophers, the pictures range from cultural landmarks to the equipment used to build the atomic bomb.

These photographs may never be seen, these messages may never be read, by anyone who doesn’t already live on his planet. In my opinion, that is not really the point of them. I believe that attempting to distill the human race into a compact set of data is a worthwhile academic exercise in itself.

As a scientist, I hope to find conclusive evidence for the existence, or non-existence, of aliens to hear our calls to the universe. As a human, I am comforted by the idea that regardless, a permanent record of us exists to withstand the destruction of our culture.

Viruses, vaccines and variants: Everything you need to know

Written by Anna van der Zwaluw on . Posted in Science & Tech.

Words: Anna van der Zwaluw

Almost a year on from the first national lockdown, it seems that the end of these ‘unprecedented times’ is finally within reach. Vaccines are being rolled out across the country in their millions.

To date (21/2/21), the UK has delivered almost 18 million doses of vaccine nationwide. The government met their target to vaccinate the 15 million most vulnerable people with their first dose on February 15th.

The vaccinations may be one of the government plans that actually places the UK highly in the global rankings for responses to the Covid-19 pandemic. 

In terms of doses per 100,000 people in the population, the UK is also near the top. At 24.76 vaccines per 100,000, we are not far behind the Cayman Islands (27.96), followed by United Arab Emirates (56.84), Seychelles (62.84), Israel (78.78), and topped by Gibraltar (87.04). Of course, all these countries have significantly smaller populations. Therefore, statistics of this nature cannot be taken at face value.

The UK is also striding ahead of most of Europe. The most vaccines have been delivered by Germany at only 4.87M. The EU commission negotiated lower prices, higher accountability for drug makers, and enough doses for everyone at the expense of a speedy start to beginning vaccinations. This in turn explains the lower numbers. Perhaps this is one of the first alleged benefits of having left the EU in 2020.

Which vaccines are available?

Currently 3 different vaccines have been approved and are being rolled out across the country. A Pfizer-BioNTech, an Oxford-AstraZeneca, and a Moderna vaccine.

Several other vaccines are already in use in other countries, including the Sputnik V vaccine in Russia. Two other vaccines by Novovax and Janssen are also currently pending approval in the UK. The Janssen vaccine seems particularly promising if approved, as it only requires 1 dose.

However, some concerns have arisen. The UK government ordered the second doses of the vaccine to be delivered up to twelve weeks after the first, rather than within a few weeks, as originally tested and recommended in the vaccine trials. This decision was made in order to prioritise administration of a first dose to as many people as possible. However, this could be at the expense of efficacy (how much protection the vaccine provides against the virus if caught).

Efficacy of the Pfizer vaccine has only been tested when the jabs were given up to 21 days apart. Similar to the BioNTech vaccine, and the WHO (World Health Organisation) have said this period should not be delayed further. A new paper from the team behind the Oxford-AstraZeneca vaccine, however, has concluded that the 12 week delay between doses is an effective strategy, and “may be optimal” for dealing with the pandemic, given there is not an unlimited vaccine supply.

Either way, the first dose gives individuals good protection against coronavirus. The second is needed for longer lasting protection, according to the NHS. So, given the limited number of vaccines available, the UK strategy to vaccinate as many people as quickly as possible with at least 1 dose should prove effective in alleviating the impact of the pandemic as quickly as possible.

What about the new strains? 

Currently, three major new variants are recognised. They have been named after the countries in which they were first detected. The UK strain (B117) was first to emerge, followed by the South Africa strain (B1351), and more recently, the Brazil variant (P1). Other variants have also been reported, such as in the US, but these three are currently most widespread, and therefore of most concern. The UK variant has already been reported in over 50 other countries, having first been detected in Kent around September 2020.

A variant emerges following an accumulation of one or more genetic mutations in a generation. Most of these changes are inconsequential. Some, however, have functional consequences that better adapt the organism to their environment. This improves chances of survival, and the probability of the organism being able to pass their genetic material on to the next generation.

Certain organisms, such as coronaviruses, have a particularly high mutation rate. New versions or strains form more quickly. This could, for example, be in the form of changed spike proteins on the surface of the viruses. This could allow them to enter human cells more easily, start replication sooner after entering the body, and evade destruction by our bodies’ immune cells (sound familiar?).

Are the vaccines still effective against the new strains?

As far as we know, the answer is yes.

Many mutations in the new strains effect how infectious the virus is rather than how they escape an immune response.  This means that the vaccines will still be able to trigger immunity and protection against these strains of the virus. This is positive, and it is thought that the current vaccines are still mostly as effective against all new variants. 

The vaccines could be tweaked later this year in order to tackle new variants. This would be unsurprising in the UK, where it is thought that the majority of new cases are caused by the UK variant.

As seen with the seasonal flu jabs, it is standard practice for vaccines to be tweaked in response to a changing virus. This could be by modifying the genetic or structural nature of the active components of the vaccine itself. Alternatively, the way the vaccines are administered could be changed by altering the dosage. Perhaps with a third shot, combinations of different vaccines, or by changing the timings between doses.

BioNTech has said a new vaccine can be produced within six weeks of making a decision to do so. The Oxford-AstraZeneca team are expecting to have a vaccine for the South Africa variant ready by autumn.

When will I get vaccinated?

The first 4 priority groups have been vaccinated. Next will be vulnerable people age 16 and up, and over 50s. The rest of the adult population will hopefully be vaccinated, with at least the first dose, by Autumn.

This brings hope of finally seeing the end of this ‘new normal’. Soon, national lockdowns, mass restrictions, and social isolation will no longer be the norm. But, for now, we will have to wait patiently for the rest of the vaccines to be administered, and trust that scientists and politicians are able to work together to get us there as soon, and as safely, as possible.

All figures are correct as of 21/02/2021

Is our free speech under attack? It’s up for debate

Written by Clementine Lawrence on . Posted in Opinion.

In the last week, Education Secretary Gavin Williamson put forward plans that would enable academics, students, and visiting speakers to sue universities in instances where they felt their freedom of speech had been violated.

The Conservative Party’s 2019 general election manifesto pledged their commitment to strengthening academic freedom and free speech in universities, but some feel the unveiling of this new legislation is poorly timed.

Jo Grady, general secretary of the University and College Union, criticised the government’s interest in fighting “phantom threats to free speech” amidst a pandemic that poses a real and present danger to staff and students alike.

Issues surrounding free speech at universities is nothing new: no-platforming policies were introduced by the National Union of Students in 1973, which sparked their own controversies. So is the government deliberately dragging up this decades-old argument to polarize student groups into turning on each other, rather than focusing on the much bigger problems at hand?

The Labour Party have accused the government of manufacturing a war over free speech to distract from their disastrous policy for universities during the pandemic; yet there are some students for whom this censorship is an unjust reality.

The creation of student societies such as the Bristol Free Speech Society, the Oxford Society for Free Discourse, and the Buckingham Free Speech Society, aim to “re-platform the de-platformed” and buck what they believe to be a trend of academic censorship by encouraging rigorous discussion and debate.

“The world is full of controversial ideas,” the Oxford Society for Free Discourse says, “but we believe that especially at an institution like Oxford they should be challenged through open and respectful conversation, not silence”.

Many of us come to university with the aim of meeting a wide variety of people from all different walks of life – you’re thrown in the deep end of a pool full of strangers, and it’s inevitable that you’re going to meet people that have opinions you don’t agree with.

This itself isn’t necessarily the issue. Universities are institutions where debate is seen to be an important part of academic life, with the oldest continuously running debating society being formed in 1815 at the University of Cambridge, and the World Universities Debating Championship continuing to run to this day.

The issue is, where do we draw the line between healthy debate, and spouting hate speech?

There are some examples that are blatantly obvious (although there will be those who think otherwise) – there are laws in place in the UK that forbid any threatening or abusive communication that expresses hatred toward someone’s race, ethnicity, disability, religion, gender identity, or sexual orientation. But when it comes to topics like politics, feminism, the internet, and free speech itself, we start heading into more murky waters.

One such topic that continues to gain traction across universities in the UK is the pro-life vs pro-choice debate, with the number of pro-life student societies steadily on the increase. In a poll released by the Alliance of Pro-Life Students (APS), which sampled over two hundred ‘pro-life’ students across the UK, more than 70% felt they were unable to speak about their views in lectures and seminars, with nearly a quarter being “threatened, abused, alarmed or distressed” by the words or actions of another student or academic.

In January last year, midwifery student Julia Rynkiewicz filed a formal complaint against the University of Nottingham, after being banned from her hospital placement because of her pro-life views. Rynkiewicz faced suspension and a four-month-long fitness-to-practice investigation after a lecturer reported her involvement with the university’s ‘Student for Life’ society in 2019. Pro-life groups at Birmingham, Nottingham, Glasgow, Aberdeen, and Strathclyde universities have also battled with their Students’ Unions to become affiliated, and overturn bans that would deny them access to funding and a stall at Freshers’ Fairs.

Is this a violation of their free speech, or a warranted reaction to potentially harmful ideas? I think it depends. The way in which societies present their beliefs and how they treat the opposing side is the deciding factor in what constitutes an opinion, and what crosses that line into hateful ignorance. Silencing particular groups is not always constructive, but it’s very easy to wave the flag for free speech and wage a war against censorship when you’re in a privileged enough position that someone else’s ‘opinion’ doesn’t feel like a threat to your safety, or an attack on something beyond your control.

I don’t believe we can have a one-size-fits-all approach when it comes to matters of free speech, since two people may be part of the same political group and have very different ideas about certain topics. Universities must work out the difficult balance of giving space for the whole spectrum of opinion students can bring to the table, whilst simultaneously fulfilling their duty to protect the mental and physical well-being of their student body – especially those who are part of groups which are already targets of hate speech.

Talking to other people who think differently to you is something I believe is an important part of getting to understand the world around us. It is through discussion and debate that we learn and grow, and gives us the ability to change someone’s mind and also have someone else alter our own. But this is not an excuse to give a platform to offensive ideas and bigoted individuals.

Vaccine rollout: The government’s last shot

Written by Alexander Seow on . Posted in Opinion.

It’s no secret that the government’s handling of the pandemic has been, to put it bluntly, embarrassing. A pattern of delayed restrictions and unclear government guidance has meant that the Conservative government presides over one of the highest death tolls in the world.

Given this, it is unsurprising that anti-establishment sentiment is at an all-time high. From those stuck at home due to the national lockdown to those hospitalised after catching Covid-19, the consensus among the country is palpable. People are losing faith in the government’s ability to manage the virus, fast.

Frankly, it’s not hard to see why. With countries around the world emerging from lockdowns to bright, virus-free futures, Britons are being slapped with restriction after restriction.

To make matters worse, the working-class is bearing the brunt of economic repercussions.  Many are struggling to find permanent employment and others are grappling with the mental strain of the seemingly endless number of lockdowns.

The once busy streets of Manchester are but a shadow of their former selves, painting a sad and dreary picture of our current reality.

Alongside the dystopian reality of 2021 Britain, there is also reason to think that a culture of corruption in the Tory party is responsible for the high levels of distrust in the government. No example of this is clearer than in the government’s handling of PPE.

In a November 2020 audit by the National Audit Office, it was reported that the government had set up the fast-track lane “to assess and process potential PPE leads”. For those suppliers who had been shortlisted, their chances of success were as high as one in ten. The issue here is the fact that the “high priority” lane for suppliers is filled with the friends of Tory politicians.

Among the 1,200 contracts handed out, half were given to companies run by the friends and associates of the Tory party. The Conservative’s clear agenda to prioritise the businesses of their financial backers above the health of the nation has undoubtedly contributed to a waning of trust in the government. For example, a recent survey by Survation found that 59% of voters think the government’s “high priority” lane is corrupt.

With that said, whether the issues were truly the result of corruption or incompetence is of little bearing. In the world of politics, impressions reign supreme and the impression people are forming of this Conservative government is one of dishonesty, corruption and deceit.

Granted, the lack of trust in the government cannot solely be blamed on the pandemic. The unity of the country was already severely damaged by the bipartisan split of Brexit and the country’s wounds had yet to heal before Covid-19 struck.  A 2020 academic report found exemplifies this.

The study found that both Leavers and Remainers felt that the government would try to “hide behind Covid” when blamed for any negative economic impacts of Brexit. An observation which revealed that the wound of Brexit is still fresh in the minds of Britons and the arrival of Covid-19 has eroded the little trust in the government that remained.

However, all is not lost. Looked upon as the silver bullet which would turn the tide of this battle, the UK’s vaccine program is now well underway. Currently ranked third in the world in cumulative Covid-19 vaccination doses administered per 100 people, the UK is clawing it’s way back into the spotlight as a bastion of medical excellence, much to the envy of its neighbours.

With the recent row over vaccine deliveries between the EU and UK finally brought to an end, it seems that Britons have a reason to once again feel proud to be British. This sentiment is also shown through the recent uptick in summer holiday bookings as noted by the world’s biggest holiday company, TUI.

With the frigid relationship between the government and its people is beginning to thaw out, it seems as though the topic of trust is once again back on the table.

Ultimately, the government’s vaccination plan will be a much-needed opportunity for 10 Downing Street to prove itself to the people that they are still deserving of our trust. With the oft used term “vaccine nationalism” used to describe prioritising one’s countrymen for vaccinations, it will remain to be seen if the government can truly rekindle the national trust and pride that it sorely needs.

Finally, as we stand upon the cusp of the end of this saga, one can only hope that the trust we have in the government can return to what it once was before this all began.

Keir Starmer at Labour party leadership hustings, Bristol, 2020

Is Keir Starmer’s patriotism the solution to Labour’s identity crisis?

Written by Alex Croft on . Posted in Opinion.

The connotations of our national flags, in today’s world, are widely contended. These days, flag-bearing is often associated with far-right nationalism. This is a generalised, but very common, assumption that many (largely on the left) are guilty of, including myself.

Labour’s leaked decision to increase their use of the Union Jack has therefore been a controversial topic within Labour circles. According to a leak reported in The Guardian, a desire to display a stronger sense of direction is wanted. The party’s Head of Research claimed that voters are confused as to “what we stand for, and what our purpose is, but also who we represent”. 

It seems, then, that Labour knows where its problem lies: identity.

Understandably, Starmer is itching to reaffirm Labour’s previously unassailable dominance of the northern ‘red wall’ seats. But an increased usage of national flags will be nothing but a superficial solution for a much deeper problem.

For over a decade, the Labour party has wallowed in an ideological no-mans-land, unsure of who it wants to represent. Behind this is its failure to adapt to the current political climate, transformed by Brexit and Euroscepticism.

The defining axis of political debate in the UK has been flipped. The left versus right discourse, once the distinctive division within the electorate, has been trumped by the emerging conflict between nationalism and liberalism. 

This development has left recent Labour leaders with a seemingly impossible task. It is now down to Starmer. How do they win the support of the patriotic, Brexit-supporting northern red-wall towns, while not appearing to Labour ‘centrists’ as a flimsy leader surrendering to the divisive nationalist rhetoric of the last five years?

On the flip side, how does Starmer win the support of the metropolitan London-based elite? The EU fanatics, the free-market adoring Blairites, without eliciting a sense of betrayal among the left-wing, working-class Brexiteers?

What’s for certain, is that Labour needs to appeal to both wings of the party for a chance at electoral success. In fact, exactly 50% of Labour members desire a more patriotic leader. 45% in turn see it as ‘not at all’ important, an ironic embodiment of the party’s divide.

It becomes clear just how difficult Starmer’s task ahead is when viewing the UK political spectrum through the lens of the ‘horseshoe’ theory. Simply put, the idea that the far-left and far-right are more politically aligned with each other than they are with the ‘centre’ of the spectrum. Starmer must somehow unite what is in effect two opposing ends of the political spectrum under his leadership. No pressure.

The Conservatives did not face such an issue. Since the vast majority of Conservative supporters are Brexiteers, they needed only to employ a nationalist rhetoric in public, along with a quiet adherence to neoliberal economic values.

Their desired identity is clear: the party of Brexit and British national pride. The Conservative strength in the 2019 election lay largely in their clarity of message and identity. It pains me to say it, but Labour, take note.

What can Starmer, and future Labour leaders, do?

Starmer’s pursuit of a patriotic identity for the Labour party may help him regain support in the red-wall, but this is by no means a solution to Labour’s identity problem. How can Starmer unite voters so fundamentally and ideologically differentiated?

Starmer’s biggest mistake would be to attempt to simultaneously fulfil the demands of both. An endeavour to encompass the values and beliefs of all potential Labour voters would lead to an ideological mess, riddled with contradictions, and ultimately, another electoral annihilation. Clarity, purpose, and a clear message are crucial to any future Labour success.

The most successful political leaders do not always seek to cater for the pre-existing desires of the electorate. They instead introduce their own authoritative identity and distinctive path. A Labour leader must inspire voters. Draw them towards his or her particular form of politics, rather than expanding their political ideals to encompass all voters. 

With Labour no longer being the unquestioned representative of the political left, strong and commanding leadership is more important than ever to successfully unite opposing factions.

Tony Blair, for all his many faults, provides the perfect example of effective political leadership. He and Brown had little difficulty in achieving the largest majority in modern political history, despite unapologetic centrism in areas.

It was the enchantment of the northern, working class electorate, despite a neoliberal economic ideology, which rewarded Labour with success of such magnitude in 1997. Starmer must not underestimate the power that an assured and confident identity has on a leader’s popularity.

It would be perhaps harsh to accuse Starmer of failing so far. His hands have been up until now relatively tied by the Covid crisis. The direction Starmer will take Labour in post-crisis remains to be seen. However, I fear that the Labour party’s pursuit of patriotism is an indication of an imminent ideological black-hole. I fear Starmer will attempt to appease the electorate, when he needs instead to inspire it.

We can only hope that Starmer has been hiding something. An inspirational, combative character with a coherent and compelling argument during the Covid crisis. This would pave the way for electoral success in 2024. The truth is, no party leader in recent political history has faced the challenge of appealing to such a diverse portion of the electorate. 

Keir Starmer must persuade voters that their best interests are aligned with the politics he offers. He must not try to feed all of the inherently incompatible desires of all potential Labour voters. To do this would leave Labour in an ideological void, and leave the UK in the grip of a 5th consecutive Conservative government.

Image credit: Oak House Meal ratings @ Instagram

Rated: The Instagram meme pages sweeping Fallowfield

Written by Joe McFadden on . Posted in News.

Recently there’s been a significant uptick in the number of meme pages created by Manchester students, particularly those living on the University of Manchester’s Fallowfield campus.

Meme pages have always been a staple of student life, since Instagram took off in 2010. But in the past two weeks there has been a sharp increase in the number of pages operating out of the University of Manchester.

These accounts range from traditional meme pages like uniofmanchestermemes – which currently has 64 posts and boasts 2,704 followers – to more commentary-style pages, like the new kid on the block uomgossip.

 

Alongside these University-wide accounts there have also been numerous ‘Oak House Ratings’ pages pop up. These accounts ask followers to send in pics of various student mishaps occurring in the infamous Oak House Halls of Residences.

Ranging from sinks to fridges to even shags, these accounts document the weird (and sometimes wonderful) internal happenings of Oak House, showcasing some of UoM’s finest students’ commitment to the “Uni life”.

Of course, these aren’t the only Oak House pages currently operating on Instagram. Up until it got deleted in the past few days, the most notorious Oak House account was OakHouseBait, to which users would send in videos and pictures of Oak House residents caught in compromising positions after an absolute disaster of a night.

Content often included chundering into the communal toilet after a nasty concoction of alcohol from Fallowfield’s beloved New Zealand Wines or some unfortunate souls k-holing through the night as they just couldn’t hack the sesh.

Another beloved Oak House rating account that has sadly vanished from the ‘gram was OakHouseCrocRatings which, you guessed it, would ask users to send in their pairs of, often decorated, Crocs to rate. No one really knows what’s happened to OakHouseBait or CrocRatings however their content will be sorely missed by Fallowfield’s student population.

Other accounts include Oakhousemealratings which documents some of the truly hideous culinary creations Oak House Residents attempt to poison themselves with. Occasionally a rare edible meal will grace their followers’ timelines.

“There is the inevitable, extremely meta account: oakhouseratingsratings which is now rating the other rating pages to seemingly deduce which is the best Oak House Rating page.”

Unfortunately, more often than not we are treated to undercooked pasta, underwhelming beans on toast and multiple dishes which look like they’re the contents of the stomachs of some of OakHouseBait’s participants. Gordon Ramsay would probably dish out some of his most creative insults if he ever saw some of the nightmares students call dinner.

 

A quick summary of other Manchester meme pages reveals more Oak House ratings pages. At the time of writing, there are currently oakhouseashtrays, oakhousewalls, oakhousesinks, oakhousedecoratings, oak.house.shag.ratings, oakhousezootratings, oakhouseedibleratings, oakhousevapes, oakhousefridges, oakhousetoiletreviews, oakhousetrimratings, oakhouseoverheard, and the inevitable, extremely meta account: oakhouseratingsratings which is now rating the other rating pages to seemingly deduce which is the best Oak House Rating page.

Of course, this begs the question as to why are UoM students doing this. One such theory could be that students are simply bored and looking for an outlet to relieve the monotony of life in lockdown and online learning.

However, it could also be the case that due to Covid restrictions and the noticeable absence of a coherent student community on campus these Instagram pages provide a way for students, particularly first years, to connect with each other and at least feel like they’re part of a larger student community.

First years have had difficulty meeting fellow students and making new friends due to the Covid-19 restrictions, with freshers shifted almost-entirely online, which has inevitably prevented students from getting to properly know their course-mates. The meme pages provide a common experience to bond over as well as a way for people to adequately humiliate their friends and flatmates in a manner that is exclusive to Mancunians, and can only make sense in Fallowfield.

This could also explain the reasoning behind the Jodel chat – a chat on a third party app that allows followers of all the pages to connect with each other, share confessions, publicly humiliate flatmates and gossip about the university. 

Whatever the case, these meme pages are here to stay and for as long as students reside in Oak House there will be an unlimited amount of material for us to all laugh at, cringe at, and most importantly think: thank God I’ve never been that bad.

The DMA’s – An unlikely match made in Aussie Heaven: Haggis and Cobracaine

Written by Alannah Williams on . Posted in Music.

This band, by now, should not need any introduction. From recording in their bedrooms to signing to an agency without even having played a show, DMA’s have gone from strength to strength and already have a musical career on track. With three albums under their belt, the brit-pop infused Aussie trio have firmly demonstrated their ability to release track after track with a seemingly unstoppable rising talent.

The diversity they achieve is rarely well-executed, but these laid-back lads have a certain penchant for delivering sonically spectacular rock-filled tunes whilst still maintaining their cool and calming demeanour.

Live at Brixton:

With the seemingly never-ending pandemic, the current state of affairs are calling for bands to get ever more creative and find new ways of delivering music and interacting with their fans. With many opting for internet live streams and Instagram Q&A sessions, DMA’s chose to release a live album of one of their most well-received shows.

From the shoe-gazing, rising star ‘Silver’ to the infectious mid-90’s influenced ‘Lay Down’, their latest release Live at Brixton, features a tumultuous mix of tracks old and new. If stealthy rock and roll were a crime, DMA’s would undoubtedly be guilty as charged.

The band open with the distinctly British sounding ‘Feels Like 37’, the single strum of a guitar and the audience stirs, soon enough the boys have 5000 fans screaming their lyrics back at them. Rising to a crescendo, voices are heard louder and louder as we edge ever closer to the chorus, I want you to stay, echoing, reverberating. Undoubtedly mosh pits ensued, drinks got spilt, the recipe for the perfect night.

‘Dawning’, ‘Too Soon’ and ‘Hello Girlfriend’ all follow before we are met with rising fan classic ‘Silver’. Greeted with a roar suitable and fitting for its acclaim, it’s only a few bars before the band are met with audible screams, and it’s almost difficult to distinguish Tommy’s voice and set it apart from the fuzzy backing vocals provided by his adoring followers.  Soothing, emotive lyrics and an impressive vocal range marry to create an infectious tune, a mere taste of what the boys are undoubtedly going to achieve. One of the most sonically mature DMA’s track, it’s almost too easy to see why it’s such an indie favourite.

Jumping forward, the second half of the set is initiated with the wild cheering to the once king-pin of DMA’s singles, ‘Delete’, instantaneously recognised by the vibing crowd. Spectacular, heart-on-sleeve poetry, the soft guitar love ballad leaves us all longing for fleeting summer romances. Reminiscent of slower Oasis songs, it’s no wonder the band have gained themselves the honour of being regarded as a British band.

The all too expected encore brought us a trio just as spectacular as the boys themselves, ‘Timeless’, ‘Lay Down’ and ‘Your Low’. DMA’s have a knack for goose-bump inducing crescendos, which are second to none when experienced in a live setting. The live album is just enough to tide us over until the boys can resume touring – whenever that may be.

So, the question lingering in everyone’s minds, how do an Australian trio manage to cement themselves as one of the UK’s best up and coming bands? We talked to Matt to find out exactly how…

Talking with Matt:

You have your live album coming out in a few weeks, describe to me what the Brixton gig was like.

It was cool, it was quite meaningful to us because that was the first venue that we ever played in when we came to the UK for the first time, we went straight to Brixton Academy and supported the Courteeners. So, to come back there and play our own headline – it was definitely a moment for us. I think that every time you support a band, you always think in the back of your head, maybe one day we could play there.

Is that why you chose Brixton in particular?

I don’t think we planned on making a live album. We just recorded it. I think just so that we could watch it back and see if we were shit.  I think we just did it just to see what would happen. You know, like I don’t think we planned on releasing it, but, the fact that covid happened really, like sped that process up and put the live album to the top of the pile.

How does it feel being an Australian band and having a very UK heavy fanbase, does that feel quite weird?

Not anymore like it did for a while, but now I think we’ve kind of made the transition into the UK and the way I see us, it’s not an Australian band anymore. We do everything in sort of a UK centric way, in like we plan everything around the UK now, we’ve got like a management set up in the UK and stuff, whereas we didn’t didn’t ever plan on that. So our management over there, we’ve basically done everything… Except move over.

Do you reckon you’d ever do that?

I spend enough time in the UK, I think, but I don’t think I need that. In 2019 we spent more than 300 hours just sitting on a plane. Just flying between Australia and the UK.

What do you miss most about gigging and being on the road?

It’s pretty exciting, like playing.  It’s just something to do, I guess, it’s like when you’re going to a gig – you have a plan and you know that it’s going to be a good night and you can look forward to, it’s like that but sort of every night. It’s good to get away for a little bit.

I don’t miss how unhealthy it is like on you. It makes you, really sick and, like, depressed. It’s quite taxing on your body and your if you especially if you’re drinking and partying, it can make you really sick. But I guess I don’t really miss that. Like, when we were told that we weren’t during that last year, I was like, that’s actually a bit of a relief. It’s not great for you but I miss meeting people and watching the support bands, and our team over there, like our tour manager and management and our booking agent – I miss all those guys.

So speaking of being on the road, you have quite a few touring members, but if you could have any musician from the band join you as a touring member who would you pick?

That’s a good question.  We don’t need another guitarist and we don’t need any more singers, maybe like a keyboard player, maybe our friend Kelly from a band called the Komodo Drag Queen from Sydney, they’re pretty sick. Check them out! But our friend Kelly plays keys for them. I’d probably get her.

So you were signed by you before you even ever played a gig, and was there any particular pressures of expectations to deliver, new music at quite a fast pace? How was that?

Like, I probably had 100 songs at any given time that we want, you know, that we’re just sitting on. So I don’t think that we’ve ever had really much pressure to write songs. Also, we have enough, like right now, we could probably release like two albums just now from songs that we have sitting around. So they’re not really much pressure, to be honest, because we write songs all the time, but we’ve also been writing for other people, so I think, you know, we’ve got more than enough songs, that’s for sure.

One of your most popular singles of late is Silver. What’s  the story behind that?

I couldn’t tell you what it’s about, to be honest, because I think that’s Johnny with the lyrics, but, I do know that it recently became like sort of the crowd favourite. And I’m going to play it like it is to be like our most popular song. As far as, like the crowd reaction, I think we noticed at Brixton first, actually, it was the first time we noticed it that people like that song, like the crowd, goes crazy for that song the most, which we never really noticed before Brixton Academy. That’s like sort of usurped, deleted as like the crowd favourite.

What is your favourite song to play live then?

I don’t know probably ‘silver’, but ‘Cobracaine’ off the new album, we haven’t played it live yet but when we do, that’s going to be my first play.

Are you planning on playing it when you tour next?

I think so. We don’t really know. I think with new songs, you have to pick like a couple and then try them out and see what sticks into some song, some songs you think are going to be good live – but they’re not. And some pretty quickly come together, so I think we’ll just try a couple out.

You’ve been a band for nearly a decade now, how would you say you sound has evolved over that time?

I think people think we have, we get a lot of messages being like ‘you changed and we used to like you and now you’re shit’, but like I think I think we haven’t really changed as much as I think that we’ve always wanted to do – which is kind of what we’re doing now. But we just didn’t have the money or the budget. It’s like I don’t think we’ve changed – we’re just finally we’re finally in a place where we can do the things that we’ve always wanted to do.  So, yeah, we’ve changed a little bit, but I think we’ve just bought nicer equipment, I think when we like a couple of years ago, like when we first released our album, we just had these really cheap guitars and shit like that.

So in terms of the sound itself, in other interviews you’ve cited taking influences from late 90s revival. Are there any artists yourself who you particularly like or you think have influenced the sound of the band?

Yeah, like there’s a band called Built to Spill, which I’ve been listening to, guided by voices, big influence, just I think a lot of 90s bands, like some from the UK, some from America.

Who are your favourite up and coming bands at the minute?

I’ll say Annie Hamilton, a girl from Sydney.  She’s a good singer. She’s a friend of ours, pretty cool. Put them down definitely.

Have  you got any new musical projects in the works? What’s next for DMAs?

Oh, I can’t really say, but we’ve been pretty productive in covid. My manager told me strictly to keep tight-lipped about what we’re what’s coming up. But I can tell you that we were very ready to come over as soon as we as soon as we’re allowed to come over and play.

For a fun last question – what’s your favourite British food?

I can’t say Haggis can I? It’s so good deep-fried. That’s what I miss most about touring.

Have you tried getting it courier shipped to Australia?

I’ve tried. There’s a big Scottish festival that happens like two hours out of Sydney, and because I know that the Scottish people come in like they set up their, like, little stalls and play bagpipes and shit. And I went there, it took maybe three hours.

Live at Brixton Tracklist:

  1. Feels Like 37
  2. Dawning
  3. Too Soon
  4. Hello Girlfriend
  5. Silver
  6. Time & Money
  7. The Glow
  8. The End
  9. Step Up the Morphine
  10. Delete
  11. Life Is a Game of Changing
  12. In the Air
  13. Tape Deck Sick
  14. Play It Out
  15. Timeless
  16. Lay Down
  17. Your Low

Review: Frost Burgers

Written by Sorcha Cullen on . Posted in Food & Drink.

Frost Burger’s is a Scouse burger brand with a 100% plant based menu. They’ve recently opened a delivery only Manchester branch and judging by their extensive menu, it looks like they’ll be giving other vegan fast food joints a run for their money.

Their menu is impressive and features double stacked beef style burgers, crispy chicken style burgers (which can be made gluten free upon request), chicken style nuggets and a vast array of plant based milkshakes, with flavours ranging from lotus biscoff to bubblegum.

You can add a variety of toppings to the burgers such as: smokey plant based bacon, no honey mustard sauce and vegan cheeze.

My housemates and I decided to sample a few menu items to see if they lived up to our high expectations. Our order consisted of a selection of milkshakes, a chicken free burger, a garlic mayo chicken free burger and some nuggets and fries.

Photo @ Sorcha Cullen

The two chicken burgers were crispy and loaded with sauce without being soggy. My housemate who ordered the gluten free burger was impressed by the fact it came in a soft burger bun that looked equally as tasty as the non-gluten free equivalent. The general consensus was that the burgers were on the small side which was a shame because the flavours were spot on.

The chicken style nuggets were incredibly moreish and paired really well with the garlic mayo dip.

The milkshakes, which are made from vegan ice cream, are really smooth and creamy without being overly sickly. It was really creamy and tasted like a regular milkshake- not watery in the slightest! However, they did feel a bit plain for the price. Some vegan whipped cream would be a great addition.

Without a doubt, Frost Burger’s is a welcome addition to Manchester’s fast growing vegan food scene. They are joined by new openings such as What the Pitta & Four Side Pizza in the Northern Quarter. We can’t wait to see what 2021 brings for these restaurants. 

Photo: Bana Mustafa @ The Mancunion

Review: Freedom is a Constant Struggle by Angela Davis

Written by banamustafa on . Posted in Books.

Angela Y. Davis is queer, Black, an activist, author, speaker, and scholar. She advocates for women’s liberation, Black liberation, prison abolition, and an international solidarity with Palestine. Davis works to enlarge our perspective on the vast geographies and temporalities of these issues in Freedom is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement.

Confronting structural racism, police brutality, and the prison-industrial complex are at the forefront of today’s activism, especially with regards to the Black Lives Matter Movement. In 2014, pictures from the Ferguson protests circulated the internet. At the same time, Palestinians were facing a brutal fifty-one day assault in Gaza. 

From the viral photos, the Palestinian people recognised that the same tear gas that was being used against them was also being used against the Ferguson protestors. In response, many tweeted advice and statements of solidarity to those in Ferguson. This crafted a space for transnational solidarity on a virtual medium. Crucially, it also gave momentum to a movement that investigates Western, neoliberal global systems of oppression. 

Davis’s book is a compilation of her interviews, speeches, and essays put together by Frank Barrat, a human rights activist, and herself. She discusses the importance of dismantling structural racism, not merely on an institutional or individual level, but also on a transnational level. Davis argues for transnational solidarity as an effective form of resistance in the face of racist neoliberal enterprises, that govern the everyday livelihoods of people of colour. 

Often reading about race and the systems that perpetuate racism is quite dense and difficult. My summary might have unintentionally come off that way as I refer to the book’s content. However, the read is actually extremely accessible. It is written in a simple yet engaging manner. 

Davis’s book is digestible because it is split up into several different sections. Each section is different in voice from the last. Some are Davis’s speeches, and others are her essays and interviews. Yet, the content does tend to be quite repetitive. So, I would recommend that you read this book over an extended period of time. 

Some of the best takeaways from Freedom is a Constant Struggle are its emphases on the importance of community, of foregoing individual efforts, and of always acting as if you can change the world. After all, if Martin Luther King Jr., Frederick Douglas, or Ida B. Wells narrowed their focus to the impact of their individual contributions, we would not be here today. 

Grayson Perry and Philippa Perry in Manchester Art Gallery

Art goes online: Grayson Perry’s Art Club

Written by Sam Burt on . Posted in Arts.

During the first UK lockdown of 2020, the artist Grayson Perry brought us together with his Art Club TV programme. Each week, he hosted a show from his studio. He invited all-comers; artists, non-artists, celebrities, and members of the public (from Sir Antony Gormley to Harry Hill), to submit works on a theme. 

When lockdown ended, Perry teamed up with Manchester Art Gallery to exhibit selected contributions, as revealed in a ‘behind the scenes’ episode. Perry had to choose 87 pieces from over 10,000 submissions, and the curators had only seven weeks to bring it together.

Unfortunately, the respite was brief. The show, which was due to open in October last year, was scuppered by the second wave of gallery closures. Fortunately, MAG has extended the end date to October 21. In the meantime, their website features images of several works and a recorded curators’ tour.

Covid stories

Grayson’s Art Club is an amazing achievement. As Perry put it, “a glimmer of hope.” Many of us tuned into it last year, finding our spirits lifted by quirky and creative responses to strange and unsettling times. At the heart of the show were the stories behind each artist and their work. Several of these are discussed in the tour. From a teacher’s portrait of a school leaver missing out on ‘last day’ rituals, to a young woman fighting to prove her citizenship status during the pandemic. From the parts of an artist’s face that she’s relieved to hide behind a mask, to a multicultural scene of neighbours clapping for the NHS. It’s a snapshot of the diversity underlying our ‘national Covid story.’ 

I don’t really know now, what I thought I knew then (2020) @ Leanne Jackson

Alistair Hudson, Director of MAG, is right to say that “Art Club’s ethos chimes with that of Manchester Art Gallery, as an art school for everyone and the promotion of art for the health of society.” At 45 minutes, the livestreamed tour is a commendable effort. It gives a sense of the exhibition space and insights into the curatorial choices behind it. By focusing on pieces not featured in the TV show, it broadens our perspective.

The view from our windows

I can’t help feeling that more could be done. Even now, this exhibition could be opened up to all of us who can’t visit. It’s a shame that a project with democracy and accessibility at its heart has been left out of the public’s reach for several months. Consider the lengths to which recent online exhibitions in Manchester, including smaller institutions, have gone to, offering navigable 3D tours, high-quality images of all the artwork, and artist commentaries. 

As our only available means of seeing the exhibition at present, the tour gives a tantalising and frustrating glimpse. Only a small sample of artworks are featured. This is either in the tour, or as viewable images. Presumably due to social distancing requirements, we aren’t treated to close-ups of some of the featured works. And yet, the video quality is such that we can’t appreciate them otherwise. For example, one of the curators lovingly describes the landscape patterns on a ‘radiotherapy mask’ sculpture – only for the tour to cut away before we see it ourselves. 

Grayson Perry, Protective Spirit Alan (2020) c/o the artist and Victoria Miro @ Michael Pollard

If an exhibition goes up in a forest…

This is not meant as a criticism of the curator’s tour itself. It is a well-choreographed livestream. But a pre-recorded tour does not suffice as an online exhibition experience. It needs substantial editing to let us be there, ‘in the room’, with them. 

Nor is it my intention to undervalue all those who worked so hard to bring it about. And also those who are part of a sector that is, more broadly, struggling for survival. I believe that a more imaginative approach to opening up the exhibition might avoid those efforts going to waste. It should help sustain public engagement with MAG when it is needed most. 

That said, the exhibition arguably serves a purpose beyond making these works available to the public. In the series’ last episode, we saw the contributors giving socially-distanced private tours. There was a strong sense of the exhibition as a ritualised ‘thank you’ to the artists from the public. So, even if the exhibition is never able to open to us – a prospect thankfully less likely, given its extension – it has more than justified itself. 

Want to get involved? MAG invites people to upload their own artworks to Instagram with the hashtag #MAGartclub. Check the website for February’s theme. Selected participants will have their work shared on a live screen in the exhibition and online. 

Photo: Claudia Marcelloni @CERN

Could the Large Hadron Collider help scientists detect dark matter?

Written by Kerry Mack on . Posted in Science & Tech.

Dark matter makes up 24% of the universe and the gravitational effect of its presence is the glue that holds galaxies together, but what is it?

This is one of the questions occupying Professor Davide Costanzo, experimental particle physicist and team leader of the Sheffield ATLAS group. On the 10th of February 2021 Professor Costanzo gave an illuminating seminar on the topic of dark matter investigations at the Large Hadron Collider (LHC) hosted by the Nuclear and Particle Physics Society (NPPS). He gave an overview of the theories, which mostly centre around dark matter being a new kind of particle that hasn’t been detected before, and highlighted the neutralino as a possible candidate. The neutralino is a hypothetical particle which arises from supersymmetry. Though this is a popular theory it does not yet have any experimental evidence to back it up.

There is evidence that dark matter exists on an astronomical scale, but no experiment here on Earth has detected anything that might be a dark matter particle. Many have tried to detect it directly using, for example, underground tanks of xenon and watching for dark matter particles colliding with the quarks in the xenon atoms. So far nothing has been found. Enter the LHC and a different approach to the dark matter search. Instead of trying to observe dark matter particles in the wild, physicists at the ATLAS experiment, including Professor Costanzo, are attempting to produce and detect evidence of the particles as a product of proton-proton collisions.

ATLAS is the largest particle detector apparatus at the LHC in Geneva, with around 2000 physicists working on it. It allows them to study the momentum of the particles produced in high energy collisions, and therefore identify them and establish their properties. If a pair of dark matter particles are produced in a collision between quarks they will not be indicated in any way by the ATLAS detector, since dark matter is by nature weakly interacting. However since momentum is conserved, if any events are recorded where a jet of particles is ejected in one direction with nothing to balance this in the other direction – a monojet event – then the missing momentum may indicate a new particle which could be dark matter.

Many of these monojet events have already been analysed and the missing momentum has been compared to outcomes consistent with the Standard Model of particle physics. One alternative outcome involving particles we already know about is the production of a particle called a Z-boson which then decays into two neutrinos, which are also undetectable by ATLAS. To date all of the analysed monojet events have agreed with processes already described by the Standard Model. Whilst this endeavour has not provided any evidence of a dark matter particle, it has allowed physicists to set a lower limit for the expected mass of this theoretical particle.

This does not mean the LHC will not find dark matter particles in future. Its third run is scheduled to begin in March 2022 and from 2025 to 2027 it will be shut down and upgraded to the High Luminosity LHC (HL-LHC). The aim is to enable it to collect ten times more data than it was originally designed to. Even if the new upgraded HL-LHC doesn’t find evidence of the nature of the dark matter particle, assuming it is indeed a particle, there is always a bigger collider! The Future Circular Collider (FCC) is a theoretical collider that could run at energies up to almost 8 times greater than is currently achievable by the LHC. Since dark matter particles are predicted to be heavy then higher energies may be necessary to produce them, and in this case we may have to wait until the 2040s for the next collider to be built to unravel this and other particle mysteries.

Keep an eye on the NPPS Facebook page for future seminars.

Molchat Doma: Belarussian post-punk meets TikTok teens

Written by freyathomson on . Posted in Music.

In the good old pre-pandemic days of what feels like another lifetime, a housemate introduced me to Belarussian post-punk, new-wave trio Molchat Doma. Sitting in our grotty kitchen on Granville Road, and playing them off his severely cracked phone, I was genuinely amazed. I quickly found them on Spotify, and spent the next few hours obsessively listening to them.

In what can only be described as an incredible stroke of luck, we discovered that the band were playing at Night & Day Café in the Northern Quarter the following night. A sold-out show didn’t faze us, and we fortunately managed to get tickets via The Mancunion. This was February 2020; fast-forward to February 2021, and here I am, still very much entranced by the band.

Molchat Doma (translated as ‘Houses Are Silent’) were founded in 2017 in Minsk, Belarus, and offer a sound that is at once arresting, dark, danceable, and addictive. Think mid-point between Joy Division and New Order. Fade away to the mystery of Russian lyrics and diminished chords, including personal favourites: ‘На Дне’, ‘Дома Молчат’, ‘Танцевать’ and ‘Судно (Борис Рыжий)’.

An unlikely TikTok phenomenon, the obscure band gained popularity on the app during the height of the pandemic in 2020.  Although this undoubtedly broadcast the niche cold-wave sound to a much wider audience, it came at a cost. TikTok users uploaded videos using the band’s music as part of an 80s and 90s Soviet glorification aesthetic. This included synchronous images and videos of anything considered ‘Soviet’, including brutalist buildings, a decrepit TV and old photographs of Soviet men and women synched to Molchat Doma’s music. Ironically, the song most commonly used as backing music is ‘Sudno (Судно)’ which is about poet Boris Ryzhy contemplating suicide. It includes lyrics ‘Living is hard and uncomfortable, but it’s comfortable to die’.

The band expressed their reservations about this new craze. Whilst frontman Egor Shkutko naturally welcomed the new-found viral success, he worries that “the idea of the song has been lost”.  Shkutko believes that, “people just like a sound that gives you something to do on TikTok.”

It is no surprise that the band, heralding from Belarus, Europe’s last dictatorship, feel uncomfortable with Western teens romanticising the bleak realities of Soviet life. The band live that life every day. It was only in September 2020, that Belarussian opposition leader Maria Kolesnikova was kidnapped and threatened with mutilation by masked men.

Unable to truly say exactly how they feel about the country’s politics for fear of their own safety, they leave it at, “it’s fucked up”. ‘Soviet’ is a lot more than kitsch Russian headscarves and Matryoshka dolls.

The ‘Soviet aesthetic’ TikTok trend: a bit of light-hearted fun amidst a grisly pandemic, or downright ignorance? You can decide.

One thing is for sure: Molchat Doma’s music is a way of expressing a feeling they cannot put into words – for fear of imprisonment and worse – or simply because they are unable to.  Their alienated sound resonates strongly with the current political situation in Belarus, and with the pandemic-torn dystopia we all find ourselves in.

Molchat Doma take to the stage at Manchester's Night & Day Venue
Photo: Freya Thomson @ The Mancunion