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Month: December 2021

Think it, pitch it, do it: The Mancunion talks to winners of Pitch It!

Written by Jess Walmsley on . Posted in News.

Pitch It! is a student scheme run by Masood Entrepreneurship Centre (MEC) and the Students’ Union working to provide funding for student-led events and activities.

The scheme gives student groups an opportunity to secure funding to revamp or support their activities while practicing entrepreneurial skills. You can apply for £250 to £1000 to support your society alongside benefitting from hands on mentoring from MEC professionals.

The winners of this years funding were Gigs and Bands Society and Barbershop Singers who both won £1000, next were UoM Feminist Collective who won £750 but were also the fan favourite of the panellists so won an extra £250. Quiz Society and Astrobiology also both won £750.

We caught up with Gigs and Bands Society and UoM Feminist Collective to find out what they will be spending their money on.

Photo: Gigs and Bands Society

We spoke to Robbie Beale, the chair of GABS to find out more about the Pitch It! process and his plans to host a student music festival after exams.

“I applied for Pitch It! funding to grow Gigs and Bands Society (GABS). We would love to put on a large-scale music festival in June 2022 after exams! By taking part not only did we raise the profile of the society but it meant I could learn some valuable skills on pitching my creative ideas and working with my committee to find new ways to fund our projects. 

Since September, we have put on 9 events, had over 1000 attendees, hosted 22 bands and 40 solo artists and DJs and made over £800 to pay the acts. We have also hosted charitable events supporting Once a Month & Fallowfield and Withington Foodbank and this will continue for future events supporting student charities and societies. But what I love about GABS is how it’s not just about the musicians but about the sound engineers, photographers, videographers, lighting technicians, event organisers, poster designers etc. We all come together to celebrate our individual creative outlets. 

The application process was manageable to fit in alongside my studies, having worked for the University of Bath enterprise centre before, I had a little bit of prior knowledge on the pitching format, but everything else was relatively new. 

I found the overall experience rewarding, I couldn’t believe how much we won. To be honest though, even if we hadn’t won the funding, I still would’ve tried to put on a festival. This money just means we will be able to reach more people. This past couple of years, meeting new people has been so difficult and for creatives, opportunities have been so limited. With a GABS festival, which is yet to have a confirmed name, we can open up more chances for like-minded people to meet and work together. 

Our GABS mantra is, uplift creatives, encourage diversity and foster community and this is what the ethos of our festival will be. I would really recommend the Pitch It! process to any society looking to put on events in the future as it was a great way to not only win a good sum of money for GABS but also to learn some new skills and have professional training in leading a pitch.”

Photo: UoM Feminist Collective
Photo: UoM Feminist Collective

The Mancunion spoke to Jess Baxter, societies coordinator, for UoM feminist collective to learn more about their new community outreach programme focusing on STEM careers.

“As a society we are completely self funded, and whilst we find ways to still create effective projects and campaigns by funding it ourselves, Pitch It! was a great opportunity to remove financial barriers so we can start our latest project: our STEM community outreach programme. 

The application process was quite intuitive and very helpful. Writing pitches helped us refine our ideas for our project, and emphasise its importance to the university and wider Manchester community. Pitching along with other societies allowed us to connect with them and their projects.

It was so great to work with the collective (myself and our treasurer Sophie collaborated on this), it’s always rewarding when we come together for a project and it all goes well. 

Our society has a big focus on education, so next semester we are taking that to the wider Manchester community into local schools to talk about STEM. Students of marginalised identities are far less likely to pursue careers in STEM, so we are bringing our feminism and student speakers into schools to discuss the rewards and challenges of the field. We’ll help the students sharpen the skills they need for those careers and show them how to take their next steps towards their goals.

We weren’t alone during the application process, the SU were great! We had a brilliant workshop in the week before the finals and received a lot of advice on how to improve our pitches before we gave them. We knew why the programme was important and deserved funding, but it was helpful to learn how to communicate that to others and persuade the MEC to give us funding.

We also have many other projects running currently, including our new, gender inclusive, menstruation-themed diaries! If you buy a diary you automatically get entered into our raffle to win a bundle of prizes, donated by FemSoc and some small businesses run by UoM students! You can find more info at @uomfeministcollective on Instagram. We also have a Discord you can join through the Instagram to stay up to date with the collective.”

“P*ssed off”: International students’ anger at UoM travel guidance

Written by Shikhar Talwar on . Posted in Investigations.

The University of Manchester has 13,700 international students, most of whom will be travelling home for the Christmas break. However, one third year student from France told The Mancunion “we are given f*ck all support by the uni whether it’s financial support or even just the decency of transparent communication.”

The UK’s travel regulations have shifted rapidly after the Omicron variant, every person has to take a rapid antigen test 72 hours before their flight. After arriving in the UK, there are different rules for different countries due to the UK’s tiered “traffic light” travel system. Those coming from amber list countries will have to pay for a day two PCR test, which currently cost around £60 and must isolate until they receive a negative result. Last Christmas, these tests rose in price due to demand, costing up to £300 for a PCR test. Students travelling from red list countries will also have to quarantine, which can cost more than £2000. Hence, many students may be opting to stay in Manchester over the winter break, and not go back home at all.

Over the summer, the University reimbursed the cost of hotel quarantine for international students coming from red-listed countries or allowed them to use University halls to quarantine in. Last winter, the University also promised to reimburse students taking a PCR test and set up stalls providing free lateral flow tests on campus. 

When asked if this policy would be continuing this Christmas, the University responded saying: “we will reimburse students arriving at the University from red list countries who are quarantining, provided they are not returning from holiday. We are in the process of renegotiating a preferential rate for PCR tests as we did in the summer, with a dedicated booking portal which we’ll be able to communicate details to students soon.”

The definition of a ‘holiday’ was not originally expanded on by the University. As of  December 6, after many international students had already booked their tickets home, they said the only students eligible for a reimbursement would be those “coming to the UK for the first time.” Hence, any international student going home, who may find themselves on the red-list, will not be reimbursed for their institutional quarantine.

The new University guidance also states “students domiciled in a country not on the red list, but who travel to Manchester via a red list country will not be eligible for support.” This means that students who have opted to save money by taking a flight with a layover may not end up receiving the same financial support as those who were able to afford a direct trip, thus presenting another issue for the University as it creates an economic divide between students.

Whilst the University has stated that they may offer PCR tests again, they haven’t given a timeline or definitive plan. Many international students may have panicked and booked an earlier flight to go back home, meaning that they may be unable to access the support they need from the University due to it not being in place fast enough.

A second year Bio-Tech international student from India, told The Mancunion: “It is quite ridiculous that there are a lot of fine print rules and regulations when it comes to international students and travel, especially with the extreme uncertainty of the current situation. It is terrible that most of us didn’t and probably wouldn’t be aware of these guidelines for applying to be reimbursed at all.”

Whilst the University are offering even less support this year, international students said that in reality, their provisions fell short last year too. A third year Politics and IR student said they are “p*ssed off” at the University, as they promised to pay for their day two test upon returning to the UK last year. However, when this student filled out the forms for the University to pay for the test, the University said that they couldn’t since they had run out of funds. This test ended up costing the student around £210.

Some students are unable to go home this Christmas, so the University is offering a buddy scheme for those who need to self-isolate and said “the University plans to provide comprehensive support to any of our students staying with us in Manchester over the Christmas break who may need to self-isolate. This will include the provision of food, essential supplies, wellbeing support and other services.”

However, this doesn’t instil confidence for some students. A second year international student told The Mancunion: “they did provide food supplies last year for those isolating but it was only [for those in] University accommodation. The food we got was very late, the quality wasn’t great … [and it] expired in two days. It barely would have lasted an average student 2-3 days at max.” This student did not feel like the University were providing the isolating students with enough support, especially with food. They lacked even more confidence in the wellbeing and other services that the University would be providing, stating: “I don’t think this is of any help to students to be very honest.”

Most recently the University has also told the students that they should return by the time of their exams if they are offline. They have again not given any provisions for those who may be stuck in red listed countries. To a few students this again goes back to the “one dimensional” approach that the University is taking, without looking at the other countries and their policies.

We contacted Joana Korley, the Student Union’s International Executive Officer, however, she has not yet responded to our request for comment.

When contacted for comment, a University of Manchester spokesperson pointed us to an update posted on the student intranet on December 10 by April McMahon. It follows:

“In light of the recent UK government updated guidance on COVID-19, I want to reassure you of the steps we are taking to ensure your safety and wellbeing, whilst minimising any disruption to you and your experience.

The UK government is clear on the critical importance of not disrupting your education. Guidance for higher education is that campuses will remain open and in-person teaching, research and student support will continue.

January exams and assessments will also continue, as will our plans for Semester 2. You will not have to show an NHS COVID pass to attend lectures or other teaching, learning or research activity on campus.

We are confident that our campus is as safe as possible and we will continue to act in line with any UK government guidance and regulations, as we have always done. We ask students, as we do staff, to report any confirmed cases of COVID-19 to the University.

We have continued with our safety measures throughout Semester 1, including enhanced cleaning and ventilation. Face coverings are already mandatory across campus in indoor settings and are freely available at building entrances. The safety of our students and staff will always come first.

We encourage you to get vaccinated. The majority of you already are, and returners in the new year can also get vaccinated for free. We also encourage everyone on campus to get regular COVID tests, by collecting free testing kits from campus or ordering them to their home address. Find out more about vaccination and testing on campus.

Following expert clinical advice and the successful rollout of the COVID-19 vaccine programme, people previously considered to be particularly vulnerable or clinically high-risk are not being advised to shield again. If you were previously considered as clinically high-risk, you should continue to follow all COVID-19 safety guidance, along with any other precautions your specialist or clinician may have advised.

We will update our student coronavirus FAQs in due course, as more information becomes available.

While there is little change for us here on campus arising from the Plan B guidance, we understand that the current situation may make some students feel anxious. We are always here to support you, and encourage you to reach out to our support and wellbeing services if needed.”

House of Gucci bus advert

House of Gucci: Decade defining fashion film

Written by violetcannon on . Posted in Fashion & Beauty.

Ridley Scott’s latest hit, House of Gucci was different from his normal sci-fi dramas, but maintained his signature elements of visual style through the flamboyant costumes.

House of Gucci depicts the life of Maurizio Gucci, and the legacy of the Gucci family.

Casting Lady Gaga, Adam Driver and Al Pacino, the film explores the relationships that have led to the popular fashion house brand we know today.

It established itself as one of the defining fashion films of the last decade – the costumes and glamorous fashion parades allowing for this title. Janty Yates, the Oscar-winning costume designer, created around 500 costumes for the film, which become part of the narrative for the characters progression, whilst upholding the elitist Milan fashion culture.

Excessively glamorous, Lady Gaga’s Patrizia’s conniving nature was embodied by her varying fashion choices throughout the movie.

Her initial image appears to be modest and naive, pairing a pink v-neck jumper with a pair of blue jeans at home as a newly-wed. As the plot progresses, her outfits become increasingly extravagant and opulent – symbolic of her inflated ego from money and status.

The height of her self-absorbing glamour resides in their ski trip to St. Moritz, where she wears a fitted red ski suit with a fur hood, and vintage Christian Dior goggles, reflecting her enraged state. The physical activity did not stop Patrizia from wearing excessive amounts of jewellery – her signature look in real life, displaying huge earrings and multiple layered necklaces.

Lady Gaga even had access to some archival Gucci pieces – including the two piece suit she wears when she discovers the fake Gucci bag being sold at a street market. This only made her character even more realistic and set the scene for the luxury and class of married life with a fashion CEO.

She also had access to vintage YSL, Dior, and many other high end brands through the Tirelli Costumi house in Rome. The 80s style pink and black polka dot dress she wears to manipulate Paolo accentuates her feminine strength and seductiveness in its fitted shape, with a low cut.

Gaga was a perfect casting choice for the movie, as she has been known for her iconic red carpet moments – ranging from meat dresses to regal gowns. Gaga gave Yates access to her own personal wardrobe and was also involved in many of the costume decisions for her character, including the polka dot dress.

She also expressed her wish to honour her mother’s love for fashion, who would wear an impressive outfit even when going to the shops. The emotional connection that Gaga holds with fashion makes her an ideal candidate for a movie where fashion is inextricably linked to love, scandal and family. 

The real life Patrizia Reggiani was a New York socialite, known for hosting flamboyant colour-themed parties where everything would be monochrome.

One of the most blatant displays of her materialism was on the day of her arrest, where she changed into a floor length mink coat, diamond and gold jewellery, a pair of fashionable sunglasses and boldly, a Gucci bag.

Her prioritisation of appearance and status coincides with her moral decline, which the film powerfully depicts through her unnecessary extravagance and greed. She was a money-chaser, like her mother who had married a man purely for his money.

Patrizia once famously declared “I would rather cry in my Rolls-Royce than laugh on a bicycle” – an amusing demonstration of her values. 

Lady Gaga’s character is not the only fashion icon in House of Gucci – Adam Driver’s character, Maurizio Gucci has his own version of Italian high fashion.

Maurizio’s fashion, whilst less opulent, maintains a sophisticated business vibe, wearing around 40 suits throughout.

Maurizio’s intentions were less revolved around parading his wealth, and more to maintain the Gucci reputation. Being born into a wealthy family, his fashion sense was more candid than Patrizia, who over-compensated with extravagance.

The trip to the ski resort is where one of Driver’s most popular outfits derived – his Aran cable knit. This simple sweater exudes confidence and an organic old money appearance. It is in this scene where Patrizia appears most out of her depth, surrounded by Maurizio’s friends who were born into wealth.

Her black, heavily accessorised ‘apres-ski’ look stands in direct contrast to the minimalist white outfits of the elite group. This fashion clash signifies the downward spiral of their marriage.

The expectations of House of Gucci as “one of fashion’s most prominent dynasties”, according to TIME, were certainly fulfilled by every character.

The movie spans Gucci’s progressive stages – ending with Tom Ford’s revolutionary reinvention to sexy and sophisticated clothes.

Gucci remains one of the most popular fashion houses today, and the movie recognises the Gucci families contribution to the brand, despite their ultimate downfall. 

Graduation caps thrown in the air

UoM postpone Winter Graduation ceremony

Written by Jess Walmsley on . Posted in News.

The University of Manchester has confirmed that their Winter Graduation ceremony will be cancelled due to the Plan B Covid measures enforced by the UK Government.

The news was posted on the UoM website where they stated, “It is with deep regret, that we have made the very difficult decision to postpone next week’s Winter Graduation ceremonies, in light of this week’s introduction of the government’s Plan B guidance for COVID-19 and the growing concerns and available data about the COVID-19 variant, Omicron.

It is not a decision we have taken at all lightly, particularly given the very close proximity to the event itself. However, the safety of you, your guests, and staff always comes first and we hope therefore that you can understand why the decision has been made.

We are planning to offer rescheduled dates in March and April 2022 and as soon as more specific dates are available we will be in touch with further information about the rescheduled ceremonies.”

This news will come as a disappointment to many students hoping to experience a real university graduation ceremony since many missed out on the event due to Covid restrictions in 2020/21.

The Mancunion will be keeping up to date with any information regarding graduation ceremonies.

Winter warmers: Aubergine parmigiana

Written by Izzy Langhamer on . Posted in Food & Drink.

Winter’s arrived in full force in Manchester: fairy lights lead you through the Christmas Markets and the city’s been treated to sunny cold days. Coming in from the dark, there’s really nothing better than a hot meal shared with loved ones or friends. If you’ve got roast dinner fatigue or are looking for a ‘posh’ meal on a budget, why not try out our recipe for aubergine parmigiana. Our winter warmers are guaranteed to impress, and to keep you warm on these chilly nights!

This recipe takes us over to Italy for a hearty evening meal. An adaptation of a BBC foods recipe, this aubergine parmigiana is rich, cheesy and the ultimate warmer. 

Ingredients:

  • 1 aubergine
  • 1 tin of spicy chopped tomatoes (can be found in lidl or simply add paprika and chili powder to regular)
  • Dried thyme, sage and rosemary, plus salt & pepper to season
  • 1 ball mozzarella
  • Half a block of parmesan
  • 2 handfuls of breadcrumbs (I used smashed up croutons)
  • 2tbs red wine vinegar
  • A splash of white wine
  • 1tsp of brown sugar
  • 3 cloves garlic, chopped
Aubergine Parmigiana
Aubergine Parmigiana, Photo: Izzy Langhamer @The Mancunion

All measurements are to taste – it really depends how cheesy you want your dish!

Recipe:

Drizzle oil into a frying pan and add garlic, red wine vinegar, a splash of white wine and the brown sugar. After several minutes on a medium heat and the garlic browning, you can add the chopped tomatoes and stir. Leave on a low heat for 15 mins, stirring and adding water if necessary to make a thick sauce.

Slice 1 aubergine vertically into strips- they should be very thin so they soften fast. Lightly drizzle each side with olive oil and put in a separate frying pan, on low heat to prevent burning. When each side is browned, put aside.

Layer a small baking tray with the tomato sauce and add a thin layer of aubergine on top. Scatter a good handful of breadcrumbs, half of the parmesan and half the mozzarella ball over. Repeat this process, and make sure that the top layer has lots of cheese over it. 

Put in the oven at 200 degrees for 10 mins, or until crispy on top. Rest for 5 mins before eating.

Dune

Dune Part 1 – A visual marvel that delivers on its promises and improves upon Villeneuve’s previous work

Written by jasonfox on . Posted in Film.

Written by Jacob Marshall and Jason Fox.

“This is only the beginning” 

Timothée Chalamet shines through an all-star cast in this gargantuan sci-fi epic.

Dune is an example of modern science fiction filmmaking at its finest, a visual tour de force that utilises its giant budget to maximum potential. In what is easily director Denis Villeneuve’s most ambitious film yet, he succeeds in constructing several vivid and believable worlds in this breath-taking epic. The film is a faithful and convincing adaptation of Frank Herbert’s novel and an excellent piece of sci-fi, promising much and delivering where other blockbusters have failed.

Dune follows young protagonist Paul Atreides (Timothee Chalamet), the son of the powerful galactic Duke Leto (Oscar Isaac) as his family is granted control of the wealthy yet volatile desert planet of Arrakis. The planet, home to mysterious people, an ethereal resource, and enormous, ship-eating worms, gives the film its title.

From here, audiences observe both Paul’s inner turmoils and strange dreams as well as the political negotiations and conflicts involved in acquiring the “desert power” of the land. Central to the plot is the conflict between ruling dynasties. Constantly under threat from the former occupants of the land, the repulsive and violent House Harkonnen, Arrakis becomes the home of political deception and monstrous barbarity. When House Atreides is betrayed by one of its own, the Harkonnen hoards storm their palace and force Paul to flee into the desert to seek aid from the unknown Fremen people who live amidst the dunes.

Dune trailer

The core of Dune’s appeal lies in visual spectacle. It takes a lot for a film to be able to stand on just that, but the visual aspect is so impressive that it manages. There are some shots, mostly of star ships in orbit, that are truly breath-taking to behold. It manages to effortlessly balance these gorgeous visualisations with a degree of real purpose, legacy, and impending threat.

Everything about the world of the film feels meticulously constructed with a great deal of thought put into it. This is ultimately what allows the film to succeed. This does, however, point to one of the film’s problems. Although it is undeniably a visual spectacle, it lacks some of the artistic flair or strangeness that could be found in the original novel.

An obvious point of comparison is David Lynch’s 1984 adaption. Slated for its sloppy editing, poor storyline, and bafflingly ridiculous moments, one of its saving graces was its iconic design. The look of characters and sets is simply incredible and stands the test of time as a piece of art not just as an aesthetic backdrop. Although the Lynch version is undeniably the weaker adaptation, it does give the story a certain amount of character, more alternative and shocking than the conventional set pieces of Villeneuve’s film. Although impressive on the big screen, it remains to be seen whether this new adaptation will be as visually striking and as noticeably fantastical as its predecessor in 20 years’ time.

Dune succeeds in its more touching, quiet moments. Scenes between Paul and his mentor Duncan (Jason Momoa), and the reassuring relationship with his father reveal a distinctly human quality behind this epic which is as valuable as its impressive action sequences. The relationship between Paul and his mother (Rebecca Ferguson) in particular foregrounds the crucial tensions and strains in the world of the film, as one tries to facilitate the other’s premature coming of age. The mental grapple between the two, most notably Ferguson’s rigorous training so that Paul can use his almost superhuman powers, drives much of the story.

Photo: Kyle MacLachlan as Paul in David Lynch’s Dune, @ VisitManchester.com

This film would not be what it is without strong performances from all involved. Timothee Chalamet, whose casting was a source of scepticism for me, puts on a workman-like effort and does a good job with the script he is given, showing his versatility and range. Oscar Isaac and Rebecca Ferguson are particularly convincing. Ferguson in particular gives probably the most emotive performance from anyone involved. We can only hope that Zendaya and Dave Bautista, who have barely five minutes of screen time between them, are developed further in the now-confirmed sequel.

However, the main problem here is with the writing. Although the dialogue certainly doesn’t do a disservice to the characters, it prevents them from appearing convincingly human, leading in some cases to flat delivery almost by design. As well put together as it is, it is emotionally cold and never breaks away from its formulaic structure. This certainly doesn’t stop it from being a good film, but it holds the film back somewhat and prevents it from being exceptional.

The score, courtesy of Hans Zimmer, is proudly glorious, helping to convince the viewer that something extraordinary is unfolding before them. The royal fanfares and not quite human synths keep the audience tense and curious. Music plays a significant role every time the main antagonist The Baron (Stellan Skarsgard) takes the screen with his enormous, rhino-esque build, rumbling egotism, and unhinged fantasies. Definitely a more intimidating depiction than Lynch’s bubbling lunatic.

Photo: Timothee Chalamet and Rebecca Ferguson in Dune, @ VisitManchester.com

Despite running for more than a heavy two and a half hours, Dune never overstays its welcome or allows the audience to become bored. Owing to a combination of well-choreographed action and ever-changing scenery it is a joy simply to be immersed in the world Villeneuve creates. An exceptionally well-made sci-fi film that will resonate with casual moviegoers, cinephiles, and hardcore fans of the genre. As impressive a technical undertaking as it is, it is dragged down by adhering too much to a formulaic structure and never moving beyond it. The result is a very good film that never quite manages to be great.

Dune ends just as its giant cogs are set into motion; much like Paul himself, it is clear to the audience that this film is destined to be the start of something astonishing.

4/5.

Alt Night

Alternative evenings across Manchester

Written by Erin Botten on . Posted in Lifestyle.

Looking for an evening alternative to Manchester’s nightclubs? Here at The Mancunion, we’ve got you covered. From various game nights to café bars, there are plenty of ways to spend your evenings.

UoM Christian Unions’ Christmas Carol Concert

RNCM Concert Hall, 6:30-8pm

The Christian Unions of Manchester’s five universities are holding their much loved annual Christmas carol concert! If you love carols and all things festive, come and sing along to all the Christmas classics, listen to some fantastic musicians, and hear a short talk on why Christmas means so much to Christians. Doors open at 6:30pm on Saturday 11th December at the RNCM concert hall, with student tickets available here for £5. With promises of a joyful evening and a sense of community, this is a sure way to feel festive this season.

Dog Bowl

Whitworth St W, 12-Midnight

Situated under the arches, Dog Bowl offers £5 bowling for students and half-price drinks. The part-bar part-bowling alley also has an arcade with classics such as Guitar Hero, Pac Man and shoot-out games. Happy hour is 4-8pm every Sunday-Friday, with drinks from £3.50. They offer a variety of cocktails, booze and food, providing a great night of entertainment. What could be better than a bit of friendly competition between flatmates or friends? Oh, and head to their Instagram (@dogbowlmcr) for a lot of cute dog pictures.

Wilderness Record Store

Withington, 12pm-9pm

On Egerton Crescent, tucked around the corner from Withington High street, you can find Wilderness Records. Acting as a cafe bar and gig venue, you definitely don’t need to be a vinyl connoisseur to enjoy a trip to Wilderness. It’s a great place to go with friends to chat about music, peruse shiny new albums and second-hand classics; then grab a beer, a coffee, or even a pie. Open from seven days a week, I’ve gone to Wilderness in the daytime and found it a great place to sit under-cover outside and do a spot of work with a hot chocolate. Unsurprisingly, the music is always excellent and the vibe is very relaxed. It can take on a different colour in the evening, hosting DJs and bands, whatever your musical preference. You can even shop online or in person.

Flight Club

Deansgate, 11am-1am

Slap bang in the centre of Manchester, Flight Club is home to a lively bar, sharing plates and social darts. At £7 per person for an hour of interactive darts, Flight Club offers a welcome alternative to an expensive night out in a club. From its stained-glass windows and pub-like atmosphere, Flight Club promotes the epitome of Mancunion culture. When I went with friends one Saturday night, everyone was buzzing. We all loved a traditional game of darts with a social twist. Live-action replays provided a good giggle as we saw concentration faces and winning points scored, all on the big screen. You’ll be sure to have an amazing night here.

Good Time Games

West Didsbury, 11-10:30pm

Set as a homely cafe, Good Time Games is one of my favourite places to go. With primarily vegan and veggie options, their food is deliciously fun. When The Mancunion first went, we spent hours there that, as Music Editor Reece Ritchie put it, “We were out so late playing board games board games the chippy shut!” The staff are lovely and know almost everything about the hundreds of games they have to offer. You can even purchase the games you’ve played from £3. Our favourites were Fun Employed and Secret Hitler. With an electric fireplace, plants lining the walls, and mismatched furniture, it makes for a really cosy evening.

The Mancunion at Good Time Games

Contributors: Emma Hattersley, Grace Kay, Kai Scotney, Erin Botten

Manchester Christmas Theatre

All I Want For Christmas is Theatre: What’s on in Manchester

Written by Jay Darcy on . Posted in Theatre.

ABBA Mania

Opera House (Friday 7th January)

“ABBA Mania is now accepted as the world’s number one touring ABBA tribute production. Featuring a special concert presentation, which celebrates the music of ABBA in a respectful and enjoyable way, reviving special memories of when ABBA ruled the airwaves.”

Photo: ABBA Mania.

Adam Kay: The Nightshift Before Christmas

The Lowry, Lyric Theatre (Monday 13th December)

“Christmas is coming, the goose is getting fat… but 1.4 million NHS staff are heading off to work. Following the multi-million-selling success of This Is Going To Hurt, Adam Kay delves back into his diaries for a hilarious peek behind the blue curtain at Christmastime.

Twas The Nightshift Before Christmas is a love letter to all those who spend their festive season on the front line, removing babies and baubles from the various places they get stuck, at the most wonderful time of the year. This heart-warming and hilarious live show mixes highlights from the book with Kay’s award-winning stand-up comedy and exclusive new content.”

Photo: Adam Kay.

Aladdin

Opera House (11th December – 2nd January)

“Join the notorious powerhouse Alexandra Burke, the fabulous Ceri Dupree, the hilarious Ben Nickless and musical theatre sensation Matthew Croke in this year’s pantomime Aladdin at Manchester Opera House this Christmas. Follow Aladdin on a spectacular adventure he’ll never forget, with flying carpets, a wish-granting genie, an evil sorcerer and plenty of festive magic. Featuring a lamp-load of comedy, jaw-dropping special effects, sensational songs and plenty of boos and hisses, the whole family will enjoy.”

Check out our magical preview!

Photo: ATG.

The Book of Mormon

Palace Theatre (8th December – 1st January)

“The New York Times calls it ‘The best musical of this century.’ The Washington Post says, ‘It is the kind of evening that restores your faith in musicals.’ And Entertainment Weekly raves, ‘Grade A: the funniest musical of all time.’ It’s The Book of Mormon, the nine-time Tony Award and four-time Olivier Award-winning Best Musical.”

Check out our biblically good preview!

Photo: The Book of Mormon.

Bourgeois & Maurice: That’s Snowbiz!

Home, Theatre 1 (17th-18th December)

“Critically acclaimed musical monsters Bourgeois & Maurice return to HOME to present a Christmas show like no other! Joined by different special guests each night, handpicked by Bourgeois & Maurice from their little black book of showbiz contacts, this is a guaranteed night of freaky, festive joy. Sit back, relax and give in to the social pressure of rampant consumerism this Christmas, after all…That’s Snowbiz!”

Photo: Bourgeois and Maurice.

Duckie

Home, Theatre 1 (16th-23rd December)

“Duckie is a reimagining of Hans Christian Andersen’s The Ugly Duckling with a message of tolerance and self acceptance at its core. Family-friendly glamour and glitz takes centre stage in a fabulous children’s show originally created by cabaret superstar Le Gateau Chocolat. Set in an animal circus, we join Duckie on an adventure of self-discovery, asking questions of the ‘happy ever after’ in a celebration of difference. Walking a little differently? Sounding a bit strange? Watch Duckie triumph by realising that these are his strengths. While Le Gateau Chocolat continues to spread his wings, an exciting adventure awaits our newest duckling, with a brand new cast member joining the Duckie family this year, adding their own twist to this classic tale of identity and belonging.”

Photo: Le Gateau Chocolat.

Little Penguin’s First Christmas: A Snowbabies story

The Lowry, Lowry Studio (18th-31st December)

“From the company that brought you the sell-out productions of Snowbabies! and Aleena’s Garden, Little Penguin’s First Christmas is an immersive, festive experience for babies aged 0-36 months and their grown-ups! Filled with puppetry, original music and sensory delights to stimulate and captivate, this show is a perfect first theatrical experience for your little one. Join Little Penguin in her winter wonderland as she discovers the magic of her first Christmas.”

Good luck getting a ticket!

Photo: Little Penguin’s First Christmas.

The Lion, The Witch and The Wardrobe

The Lowry, Lyric Theatre (8th December – 15th January)

“Elliott & Harper Productions and Catherine Schreiber present the Leeds Playhouse production of The Lion, the Witch and the Wardrobe. Direct from London, the smash hit production of C.S. Lewis’ classic The Lion, the Witch and the Wardrobe, voted the nations favourite book in 2019, is coming to The Lowry this Christmas. Step through the wardrobe into the enchanted kingdom of Narnia. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and embark on the most magical of adventures in a frozen, faraway land where they meet a Faun, talking Beavers, the noble king of Narnia, Aslan, and the coldest, most evil of all, The White Witch. This critically acclaimed production is pure theatrical magic.”

Check out our chilling preview!

Photo: The Lion, The Witch and The Wardrobe.

Nina Conti: The Dating Show

Opera house (Saturday 8th January)

“British Comedy Award winner Nina Conti is back on tour! The quick-thinking queen of ventriloquism brings you her pioneering new dating show. She’ll be like Cilla Black with masks. Derailed. Not so much a Blind Date as a re-voiced one. There’s no promise that true love will be found, but a firm guarantee that big laughs will be had in the reign of this “voice-throwing queen” (London Evening Standard).”

Photo: Nina Conti.

School of Rock

Palace Theatre (4th – 15th January)

“School of Rock is the global hit musical based on the iconic movie starring Jack Black. Wannabe rock star Dewey Finn is cast out by his dive‐bar bandmates and finds himself in desperate need of cash. Posing as a substitute music teacher at an elite prep school, he exposes his students to the rock gods he idolises, transforming them into a mind‐blowing rock band. While teaching these pint‐sized prodigies what it means to truly rock out, Dewey falls for the school’s beautiful, but uptight headmistress, Miss Mullins, helping her rediscover the wild child within. But, will they all find redemption at the battle of the bands?”

Photo: School of Rock.

Six

The Lowry, Quays Theatre (14th December – 9th January)

“SIX returns to The Lowry this Christmas for a run in the Quays Theatre. From Tudor Queens to Pop Princesses, the six wives of Henry VIII take to the mic to tell their tales, remixing five hundred years of historical heartbreak into an 80-minute celebration of 21st century girl power.”

Good luck getting a ticket!

Photo: Six.

The Strange Undoing of Prudencia Hart

The Royal Exchange Theatre (4th December – 15th January)

“A devilish offering from award-winning writer David Greig, The Strange Undoing of Prudencia Hart is a wild musical play that sees Scottish folk songs collide with decadent karaoke under the direction of Debbie Hannan. Oozing with wit, passion, seduction and sambucas, this show is a riotous mix of rhyming couplets, live music and a glimpse of the underworld.

“It’s the winter solstice and lover of old things and traditional ways, Prudencia Hart, fresh from her PhD, is conference bound. In a hot stuffy hall on the borders, she shares her theories on Hell in folk literature. But, as the snow falls thick and fast the small-town flings off its folk traditions, dumps Robert Burns for a bit of Kylie, and grabs the karaoke mic with both hands. The night gets increasingly raucous and it’s astonishing what Prudencia will discover between the snow and the vodka shots – not least, what she finds out about herself.”

Check out our strange preview!

The Strange Undoing of Prudencia Hart
Photo: Royal Exchange Theatre.

The Wiz

Hope Mill Theatre (24th November – 16th January)

“This Christmas, Hope Mill Theatre are delighted to be staging the first new UK production of The Wiz: The Super Soul Musical “Wonderful Wizard of Oz” in 10 years. With music and lyrics by Charlie Smalls, book by William F. Brown and original orchestrations by Harold Wheeler, The Wiz is a retelling of L. Frank Baum’s classic children’s novel The Wonderful Wizard of Oz.“

Check out our wicked preview and our wonderful review!

The Wiz
Photo: Hope Mill Theatre.

So, there you have it – all the shows to catch at Manchester’s main theatres this Christmas. If you’re not here over Christmas, don’t fret, for you’re in for a treat in the new year – stay tuned!

Underground

Underground Soundtrack of 2021

Written by Blake Crompton on . Posted in Music.

1. ULTRAPOP—The Armed

A band that cannot be described in mere paragraphs (I will write a full review soon); regardless, they are unlike others in both their directions and musical awe. A band who were (and to a degree still are) anonymous until this masterpiece of an album. The Armed.

With their 4th full-length release, ULTRAPOP, their true from is now taking an even more magical, visceral shape. This collective of well over 20 musicians came together to release this sensory tsunami upon us. From the title opening track, you are immediately dropped into this glitching, enthralling world like the boot up of an iconic video game, then dropped into a fury of pummelling drums, melody, drone, chaos and impossible love.

The main song for this humble listener, the best song I’ve heard in a long time: ’AN ITERATION’. A song that, from the first 5 seconds, sounds like an ascending choir of noise flowing into your brain and upwards. Then, it drops a jumping drum part, before falling back into a smooth, fast verse that will instantly capture any indie eardrum. The entire song, short as it is, then rises back into a chorus describing our narrator falling into this world and realising it is all a fantasy, a photocopy… an iteration.

Many fans of The Armed, who love them like a cult, will now always be commenting with the word ‘REFRACT’. This band knows how to play into the twisted, childlike curiosity that will enthral you. Love it or hate it, I promise this will be a record worth listening to.  

2. The Live Long After—Sugar Horse

Another one for fans of all things dense yet ethereal. Sugar Horse are from a relatively new Bristol-based scene, who dropped their debut DRUGS a short time ago. However, since signing to Small Pond Records, they have even further improved what was previously seen as an already masterfully packed record.

Opening with a chorus of feedback and shattering cymbals, we have the alleluia choir ending in a masterful line for anyone experiencing that moment when joy leaves you in the throes of university ups and downs.

Then, entering a song of each instrument slowly coming in for ‘Shouting Judas at Bob Dylan’: a song with a funny title, but one still demanding a belting hark into the throat. If Sugar Horse is known for two really awesome things, these are: A. going from breaking-bass-strings-sludge to choir harp timbre in one bar, and B. singer Ash’s brutal scream—one in the top tier class in the UK.

This record has a big hold on my soul for both its sonic mastery and for each song’s perfect ending. Both are found in particular in ‘Fat Dracula’, a song screamed into the soul when going unrecognised for even the most menial tasks of self-improvement. The record ends in the choir of lyrics heard at the beginning, letting the off-time feedback of the instruments eventually end with it all crushing down upon you, only to be taken away for 40 seconds of silence… “Nothing good will ever last”.

3. Nocturnal Manoeuvres—JOHN (TIMESTWO)

They are a band for whom grit, art, and honesty come in spades. This earned them a loyal fanbase and a massive UK and EU tour around the release of their 3rd, highly anticipated album. John Newton and Johnny Healey are the masterful duo known as JOHN (TIMESTWO). This humble writer’s first ever music article was written about these lovely chaps playing The Castle Hotel on the day of their sophomore release. Since then, these grafting lads have been on a mass upswing ever since, seldom stopping even amidst COVID.

Now with crafty marketing, including lino prints, we have the third album, opening with a song reminiscent to the ‘Bagpuss’ opening. Then, we have the tell-tale power strumming combined with perfectly mixed sound (courtesy of Wayne, of BearBitesHorse Studios). This is before Newton’s signature rough emotive words describing a typical thunderous rural area, with such ferocity you can feel it in the forefront of your mind.

Not letting the tone drop, track after track, JOHN (TIMESTWO) always deliver the precise blend of cunning and cut-throat. This makes for a perfect soundtrack for a year about getting back to day jobs, retreating from lecture halls or just plotting your idle-minded revenge.

The album ends with a nice, long, and drawn-out sonic momentum; an ode to the artists and so called non-essential workers. We have ‘Our Hymn’: off-kilter, but still anxious enough to make you tense and relaxed at the same time. Well done boys. Well Done.

4. England Screams—Strange Bones

A nice little curveball for you, the reader. A lot of the time, we get drip-fed one single at a time when dealing with upcoming bands mixing punkish rage with electronic angular frustration. This was often the case with Blackpool-based project Strange Bones. However, the time now is nigh. We finally get a self-recorded, self-mixed, pure DIY 12-song symphony. This should be blasted in clubs and flat parties at speaker ripping volume.

Immediately, you get Bobbie’s seethed out melody before the robotic sound of ‘Jungle’ pulls us into a glitchy world that will bat us around by the eardrums and make us want to neon up and dance like the true freaks of love we are inside. These boys are true absorbers of sound, taking cues from many different walks of life, but knowing what makes a good album. The title track ups the ante to WTF levels, making crowds jump with both joy and anger.

Smattering with collaborations ranging from Bob Vylan to Death Tour, we have just the album that could be described as the sound of Five Nights at Freddie’s, meeting a poltergeist in an underground rave club whilst sweaty men dressed as Beetlejuice scream in your face.

This is one that that fills the dark recesses of the mind with colour. A blinding visceral one that sears your soul, dancing and wailing. It was a long time coming, but we are glad it is here… “It’s enough to set my world on fire”.

5. Long Spoons—Frauds

The final spot—a hard earned one, as there are many worthy candidates, newcomers, returners, unexpected guests or just party favourites—goes to the sophomore efforts of two goofy men full of beans and chops.

Their debut on Alcopop Records, I present Mikey and Chris, otherwise known as Frauds. A band that wears many hats, but combines sing-along with an almost Ferris wheel-like melody, riddled with their unique brand of madness. We have an album by a two-piece full of songs perfect for any student’s diet of delightful grove, opening with a nice sequence of slow building tongue in cheek tension not unlike what you’d see in the soundtrack in an Edgar Wright production.

That kind of mentality just infests this entire listening experience; even with marching, stop starting fury, as seen in ‘Put Em Up’, that best describes my feelings walking to morning lectures: when you have that foul mood after trying to be polite to your fellow man, and it is just not reciprocated. That feeling even with songs that seems to describe exactly what you hear from your flatmates on woke life, or what you’ll see on trendy posts or coffee cups (in pastel backgrounds) sharing your positive vibes a la Copenhagen.

There are even some slower songs filled with nice little waves of noise to float upon, e.g., ‘Your Eyes’. It is also riddled with thumping tracks filled with the sound one wants to just strut down Oxford Road to, this is a lovely collection of little stories that rounds out the kind of comical joy that Frauds provide. And, in this humble writer’s opinion, it is one we could all use. A good job as always, you lovely lads… we fish all the fishes.

Well, that wraps up my countdown of a truly odd year: socially, politically, environmentally… generally. I hope this moment of musical levity as a resident of underground of music (with 4/5 of these bands being UK-based, so catch them on tour sharpish) has given you a little smile and a curiosity to explore and not just keep listening to the same records over and over. Not that there’s anything wrong with that- just to keep some variety.

Audition

International Film: Audition

Written by The Mancunion on . Posted in Film.

Written by Jason Fox.

Audition is a masterpiece of horror by Takashi Miike, one of the most seasoned veteran directors in Japan. Alongside Ringu (1998), it is quite rightly seen as the quintessential J-Horror film. Ringu’s success comes from his uncanny, almost clinical ability to terrify his audience. Audition is different.

Although it certainly doesn’t lack the ability to frighten, Audition’s appeal is its social commentary. It paints a damning picture of objectification and fetishisation of women in Japanese society. In a similar vein, it is also an incredibly upsetting, sometimes sickening, portrait of the lingering effects of abuse, and the exercise of brutal revenge by the victim. The result is one of the most traumatic, but satisfying viewing experiences you’ll get from a horror film. Audition is something that should be seen as approaching the very best of the genre.

Audition trailer

Audition focuses on a wealthy middle aged man, seemingly the embodiment of the Japanese entrepreneur, who, having lost his wife seven years prior, starts searching for someone new. However, conventional dating approaches seem lost on him. He endeavours to hold auditions for a TV role to be filled by a young woman, with the aim of dating whoever he finds the most attractive.

Of course, this ends up backfiring horribly, as he encounters an extremely dangerous and vengeful woman who gives him a lot more than he bargained for. The feminist allegory here is obvious. While, on paper, the horror in this film would appear to stem from the female villain, it casts a far more nuanced eye over the situation. It goes into detail about why she is the way she is, and how almost every man in her life contributed to her suffering. This is sometimes truly horrifying.

Audition finds ways of presenting violence against women in an incredibly abstract manner that only adds to its disturbing nature. Amplifying this is its presentation of everyday misogyny. This film highlights the trauma faced by women in Japan, both extreme and everyday, and exacts revenge with its own brand of brutality.

What makes this film so outstanding is how perfectly it depicts its antagonist. Eihei Shiina, who plays the young woman Asahi, gives an incredible performance that emphasises all the nuances of her character while also managing to remain very believable and human. She is simultaneously a figure of vulnerability and power, inviting empathy as well as terror. What makes her character so remarkable is how well she is able to weaponise her vulnerability. Although subject to abuse and serious trauma, she refuses to allow herself to become a victim in this film. Instead she becomes an embodiment of vengeance, inflicting pain on the cruel world surrounding her. 

Audition is a near perfect horror film and is essential for any fan of the genre. The horror comes hand in hand with brilliant social commentary and satire that shows Miike’s ability to manipulate his audience. It paints a disturbingly realistic picture of society where women are constantly objectified and ignored and face violence as an everyday phenomenon. Having manifested this, it then delights in exacting revenge on this very system. 

5/5.

Lauren Elkin's No. 91/92: Notes on a Parisian Commute

Some notes on No. 91/92: Notes on a Parisian Commute

Written by Ava Innes on . Posted in Books.

Lauren Elkin’s book No. 91/92: Notes on a Parisian Commute records the notes Elkin decided to take on her phone on her bus journey to work each day from September 2014 to May 2015. During her routine journeys along the 91 and 92 bus routes, Elkin decided to seize the opportunity to observe, using her phone to engage with the hum of daily life that surrounds us each time we take public transport, rather than switching off. 

What the reader sees in Elkin’s work is the beauty that comes with the observation of the “infra-ordinary”, a term coined by the French thinker George Perec. She describes in her notes how in one of Perec’s works he attempts to sit in a square in Paris and describe everything that was happening. Every thing. It is the impossibility of this feat, recording the endless business of what we call the mundane, that gives value to so meticulously engaging with it. 

For Elkin, there is so much importance in the song a child sings in the seat next to you, in the politics of who will give up their seat and for whom, and in the rage these things sometimes provoke. Her work tracks how public spaces brim with the emotions, feelings, and moods of those who occupy them. 

No. 91/92: Notes on a Parisian Commute demonstrates how we are all perceiving each other constantly, creating stories and impressions about each other’s lives, and how we constantly impact other people. We spill beyond the boundaries of our own bodies, our own interiority, and it is important to take note of this as it is the essence of society.

I look down at my phone. It is precious (it was expensive). I will take their advice. I will be vigilant when using it. I will carry out a public transport vigil, and use my phone to take in the world around me.

The period Elkin writes about happens to coincide with multiple terrorist attacks in Paris: the Charlie Hebdo and Hypercacher attacks, and the attacks of November 2015. The way in which these crop up so suddenly in Elkin’s writings, for how could they have been foreseen, marks something that deeply interests her: when the everyday becomes an event. The simple act of getting the bus to work becomes highly politicised: ripples of fear and grief move through the commuters of the bus. Elkin conveys a communal sensitivity that gives Parisians a sense of being part of one tender body that has just been injured.

I think this book comes at a particularly relevant time, a time where we have all collectively experienced trauma and struggle. It is a time when ordinary, daily acts keep slipping in and out of acceptability: is it even safe to take the bus? I think Elkin chose to publish these notes at this point to remind us to be observant, and to remind us to value what is ordinary. To focus on the ordinary is to focus on the “fabric of peace” and work out how to rebuild it. 

The moments of history which shatter our everyday are moments to redefine our togetherness

No. 91/92: Notes on a Parisian Commute reminded me that what really binds us together is the acting out of daily things: eating, sleeping, walking to our work or university. Every one of us experiences things like these. Every one of us is part of daily life, which sometimes becomes history. It is a reminder that we are in no way isolated beings, that, although we are separate, we act together and alongside each other every day. I think that this is deeply empowering. ‘I believe this is called community’. 

Balenciaga shop store front

Has Balenciaga become a social experiment?

Written by Letycja Oczkowicz on . Posted in Fashion & Beauty.

Balenciaga is a luxury fashion house founded over a hundred years ago by Cristobal Balenciaga. Now associated with chunky colourful shoes, the brand started off with never-before-seen pieces for their female clientele. Balenciaga revolutionised the woman’s silhouette in the 1950s with bold shapes (such as the Balloon dress) and iconic designs (like the baby-doll dress). The Spanish fashion designer also made a mark in the history of red-carpet fashion with his Empire evening wear collection that is still worn to this day. 

Nowadays, Balenciaga is still serving interesting looks in their couture line, but their ready-to-wear collection has been in need of help for years. What is wrong with it? We’d call it ‘putting expensive labels on everyday products’. It seems like Balenciaga is testing how far they can go with their designs and people will still be willing to pay for it. Has Balenciaga become a social experiment in the capitalistic world of label-lovers? 

Ikea bag identical to Balenciaga
Photo: Letycja Oczkowicz @ The Mancunion

Four years ago, Balenciaga released a blue tote bag that looks almost identical to the IKEA shopper. Both bags are of the same shape, size, colour, and handles (surprisingly Balenciaga didn’t include the yellow logos). The visible difference lies in material and price – IKEA’s shopper is made from recyclable plastic and it’s worth 40p, whilst Balenciaga’s equivalent is made from leather and costs £1,365.

The obvious inspiration couldn’t go unnoticed by the Swedish furniture company, which commented on the unoriginal Balenciaga design. IKEA humorously acknowledged the similarities between the two bags by releasing an advert about the advantages of the blue 40p shopper. Starting with: ‘Shake it: if it rustles, it’s the real deal. IKEA also makes fun of an expensive fake by listing the tips that will help in identifying the classic tote. It’s difficult to explain why a luxurious brand would copy a design of a well-known blue shopper. How much has the company earned on people who would rather choose to represent a different logo for a much higher price? 

Recently Balenciaga jumped on the comeback of the Y2K aesthetic. The trend includes rainbow bead jewellery gaining back its glory. Balenciaga again had to put their logo on something that everyone already owns. But how can you make a childhood DIY- bracelet a luxurious product? Easy, just spell B A L E N C I A G A out in little brass letters, and add a few flower charms. Then sell that for over £300. Is the bracelet made from any expensive materials? No. Can you make it yourself? Yes, probably in just 5 minutes during your lunch break. 

Balenciaga bracelet
Photo: Letycja Oczkowicz @ The Mancunion

In the Balenciaga Autumn/Winter 2021 collection, the brand was again influenced by the everyday world. This time, the Spanish brand decided to create its own version of the workwear jacket. For decades, it has been exclusive to construction workers only, but now for just £2,890, everyone can have an almost identical one. The designer high-vis jacket is mostly neon yellow with a navy-blue element at the bottom. In the product description on the Balenciaga website, it says that the item is ‘reversible’, ‘oversized’, and of ‘cocoon shape’. As appealing as it sounds, it’s certainly not worth the £3,000 written on Balenciaga’s label. Their designs have been confusing consumers for years now. What else is the Spanish brand going to recreate in the future?

Petite Maman

Petite Maman: An exploration of loss and grief through time

Written by Daniel Collins on . Posted in Film.

Nelly, aged 8 years old, has just lost her grandmother. Along with her parents, she has to stay at her grandmother’s house whilst they clean it out. During their stay, Nelly goes out into the neighbouring woods and meets another girl the same age as her, living a life very similar to that of Nelly’s mother as a child. They go back to her house which echoes that of Nelly’s grandmothers down to the wallpaper, yet as if from a generation before.

A story of friendship unfolds between two girls living parallel lives, exploring grief, loss, and time through the imaginative eyes of a child. Yet despite these heavy topics, the film evokes a warm and familiar atmosphere – combining a playful cinematic style with images that appear as if transposed from your own memory. The film beautifully depicts loss in a sensitive yet emotionally affective manner, resulting in a rich landscape of emotions formed through the intertwining of time periods. 

From the very beginning, the idea of time and ghosts is part of the fabric of this film. When the family first moves into their late grandma’s house, the building seems cold and all that’s in it is draped white sheets over furniture. There is little sense of life but more so a feeling of what once was, a past that has been indelibly imprinted on the objects within the house.

Each small detail carries an accompanying memory for the characters yet also a potential adjacent one for the viewer. The puzzles you may have done with an older relative or the time you begged your parents for a sleepover at your friends house.

Despite its childlike perspective, the film never belittles Nelly and understands the depths of emotion that one can feel and perceive at such a young age. Moreover, it doesn’t obfuscate the experiences of Nelly’s parents in all this.

There is a particularly endearing scene where Nelly and her father bond by helping him shave his beard off. Yet, other elements somehow become wonderfully metaphorical but still grounded in the realms of reality. Maybe it is the childlike perspective or the playing with time that is uniquely cinematic. Céline Sciamma has created an engrossing world where, despite all common conventions of time and reality begin to fade away, every emotion and action seems palpable and real. 

One could say the story is that of a fairytale or in the realm of magical realism. To Nelly and to the audience, however, this feels like life. There are some subtle editing patterns to suggest that all of this could be happening in Nelly’s wandering imagination, a daydream to keep her occupied whilst her parents sort through her grandma’s house. Yet this does nothing to diminish the excitement and love felt within this new friendship. It merely contributes to this construction of cinema as play, just like Nelly and her friend joyously playing dress-up. 

Elsewhere however, the ideas of grief and loss are simply unavoidable. There is one particularly frank conversation between Nelly and her mother about how Nelly would’ve wanted to say goodbye if she had known it was the last. They even act it out with one another, hugging closely but not too tightly, it is both heart-warming and upsetting. It brings to mind your own relatives and unearths a sense of longing within you that you may have not addressed in years.

Yet nothing feels manipulative or artificial, each small detail rings true. There are moments or even entire scenes that may make you break down into tears, but even the tears themselves morph from sadness into ones of joy and laughter. There is certainly something cathartic about this cinematic experience but it does not paint loss as something you can simply let go of, rather it is an embodied form that you live with and grow with together.

Much of the film is about the lasting impact of grief and loss on the ephemeral nature of memory and even one’s own life. Yet in the face of this fact, Petite Maman is ultimately optimistic, cherishing the small moments and the wonder of human connection. It is the final, bittersweet embrace that Nelly wishes she could’ve had – a life-affirming hug, urging you to move forward whilst still not forgetting to say goodbye.

best and worst albums of 2021

The Best (and Worst) Albums of 2021

Written by The Mancunion on . Posted in Music.

2021 has been a whirlwind of a year for music. Beginning the year listening to tunes in lockdown and ending it by finally being able to enjoy the music we love live. Members of The Mancunion Music Section have rounded up their favourite (and least favourite) releases from a tumultuous 2021.

The best…

Me Rex – Megabear (Reece Ritchie)

Megabear Album cover – Me Rex

Megabear is a concept album at its best. 52 short songs all written at 120bpm and in the same key, Megabear becomes an endless album of interflowing tracks with countless possible combinations. Playing the album on shuffle each time, recently made more difficult by pop superstar Adele, creates an entirely new listing experience. Miles McCabe creates beautiful sonnets uplifted with synths and full of emotion. Each track is perhaps less powerful individually than his earlier works such as ‘Tannikka Pacts’ but collectively come together into a beautiful whole. Often concepts like this remain simply concepts but with Megabear Miles has truly created a piece of art, one worth exploring time and time again.

Tigers & Flies – Among Everything Else (Robbie Beale)

Photo: Tigers & Flies – Among Everything Else Official Album Art

The hottest band so far to come out of the University of Manchester’s thriving music scene, Tigers & Flies have released a body of work which defies their age and the relative size of their band. The maturity of the songwriting across this album leaves the impression that they have in fact been writing together for decades. The incredible bridge/outro on second track ‘Ben’ demonstrates the edge that they bring to their music, setting them apart from other indie bands. Similarly the composition of three part horn sections throughout is frankly beautiful, and a refreshing addition to what’s already fantastic guitar music. Why not pick the album up on vinyl?

Citizen – Life In Your Glass World (Maddy Oxley)

Photo: Citizen – Life In Your Glass World Official Album Art

Citizen manage to almost perfectly reinvent their sound on their fourth LP, moving away from their angry emo roots into more mature alt-rock, whilst managing to stay distinctly themselves. The album keeps an upbeat tempo throughout, but the softer vocals mean that I can stick this album on when I want to chill out, as well as when I want something to get me hyped. The fact that Citizen lost their drummer and went back to producing music in a garage, but still managed to create the best album of their career thus far is truly a testament to how great they are, and I eagerly anticipate their return to the UK.

Dry Cleaning – New Long Leg (Emily Johnston)

Photo: Dry Cleaning – New Long Leg Official Album Art

Dry Cleaning are a band who aren’t for everyone, and admittedly took a while for me to really like. I’m so happy I listened more because there are few artists like them right now. The album (and their general style thus far) consists of witty and cynical monologues over a sludgy bass and a guitar which leads in a way you wouldn’t expect. Sometimes it verges into noise pop or stoner rock, but ultimately it is overarchingly experimental, art rock. Vocalist Florence Shaw’s lyrics are honestly so strange, like a collage of realism, but it works so well and sets the album far apart from others. This is showcased by the fact New Long Leg has been named a Rough Trade Album of the Year. Not many acts approach music in this manner, and I think Dry Cleaning could continue to make a serious mark on the music scene.

Lana Del Rey – Blue Banisters (Owen Scott)

Photo: Lana Del Rey – Blue Banisters Official Album Art

Lana Del Rey released Blue Banisters, much more quietly than her previous projects, coinciding its release with a departure from social media, though this has been a busy year for her, as Blue Banisters is her second album this year, following her earlier release Chemtrails over the Country Club. This distancing though is interesting in that Blue Banisters is her most intimate album to date, and her most experimental, using her voice in more ways than ever before. Here, more than ever, Del Rey sounds like a peer of Joni Mitchell’s, with raw lyricism over delicate pianos and strings, with songs like ‘Wildflower Wildfire.’ Her willingness to take risks with her vocal style pays off with ‘Dealer’, a track that became a quick fan favourite, having Del Rey belt, almost shout in a way we haven’t heard before. The lyricism and the way Lana Del Rey experiments with her voice are the reason that Blue Banisters is my personal album of the year.

Pardoner – Came Down Different (Maddie Drake)

https://www.youtube.com/watch?v=JKtJiZcyFI4


Frustrated, angsty, post-teenage rock from San Francisco band Pardoner. Memorable, distinct riffs and grating vocals that are strong on the sarcasm. I forget which pit of the internet I reached blindly into to find this record but I couldn’t be happier that I did. I listened to it all summer; I’ve formed such great memories to these songs to the point I can’t listen to them when I’m driving because I get so sad I need to pull over. Favourite track has to be ‘Hammer Factory’, though not too far behind in second place is ‘Fuck you!’.

Lorde – Solar Power (Dan Knight)

A record long-awaited by many, this album was a triumphant return for arguably the best solo artist on the planet right now. Produced over 3 years, Lorde and Jack Antonoff constructed a much more mature, world-weary sound, with a placid, summery sound sprinkled with lyrics that spoke of apathy, sorrow and wistfulness. Stand-out tracks included title track ‘Solar Power’, the release of which as lead single provoked jubilation from fans across the globe, and ‘Stoned at the Nail Salon’, a melancholic look at growing into adulthood. All in all, Solar Power represents the very pinnacle of contemporary releases, with Lorde an artist who can only be rivalled by a select few.

And worst…

Coldplay – Music Of The Spheres (Robbie Beale)

Photo: Coldplay – Music of the Spheres Official Album Art

Latest astro-pop-trash effort from no-one’s favourite rock band Coldplay is as disappointing as the bulk of their post-Viva La Vida efforts; though refrains such as “I know we’re only human / But we’re capable of kindness / So they call us humankind” only sting all the more because their last effort Everyday Life was actually quite good. I’m sure Chris Martin is still patting himself on the back for his brilliant idea of using emojis as song titles. The move must seem forward-thinking to anyone firmly in their middle-age, and accordingly the reinforcement of traditional gender stereotypes on the track called ‘<3’ betrays how little thought has gone into actually creating anything of relevance. On the bright-side, the vast income Martin must be reaping from a collaboration with BTS on lead single ‘My Universe’ will hopefully mean it’s not too long until he has enough cash to fade away into happy retirement.

Liquids – Life is Pain Idiot (Maddie Drake)

Liquids – Life is Pain Idiot Album Cover

Life is pain Idiot is twenty-seven tracks of shitty music. Mat, who sings (and also does everything else, as far as I know) whines and howls, sounding not unlike a South Park character, generally incomprehensible through songs being so fast he can barely keep up with himself (see the Meat Loaf cover: ‘Bat Outta Hell’). The slower, ballad-like tracks (‘The Night The Lights Went Out’) make up for what they lack in pace for cement-brained lovesickness. That being said, I love this album and it’s one of my favourite punk releases from the last few years. I used it to keep myself awake driving around at night, sticking my head out the window when no one’s around. It sucks and all my friends hated it. Favourite track: ‘Don’t Wanna Get To Know You’.

Elbow – Flying Dreams 1 (Reece Ritchie)

Elbow’s Flying Dream 1 album cover

There isn’t much to say about this album and it’s exactly the problem with it. Elbow have been writing and delivering undoubtable ballads for years but they simply haven’t followed up with this album. The former owners of Oxford Road haunts Big Hands and Temple Bar Guy Garvey and crew have born unto the world a project acceptable for Elbow fans and dragging for everyone else. I’ve listened to this album two or three times but it simply hasn’t stuck with me past those initial first listens and it’s a grand shame. I love Elbow but I expected better than repetitive piano chords that feel like a regression from even ‘Giants of all Sizes’.

Mexican police officers with masks on swine flu

A Cop Movie: A messy but sincere attempt to change the way we look at policing

Written by Daniel Collins on . Posted in Film.

A Cop Movie, as suggested by its playful title, deconstructs established filmic norms. It is neither a polemical protest nor a traditional documentary. Much like its approach to the line between fact and fiction, it floats somewhere in between. However, whilst being radical in its style and presentation, it is ultimately a very inward story about the emotional experiences of two police officers, Teresa and Montoya.

Throughout the film, they narrate how they got into the force whilst we see them go about their day to day duties. How much we can extrapolate from their experiences, whether true or not, is entirely up for debate. For better or for worse, the film prefers to gesture to larger questions about the system and any potential change rather than tackle these ideas head on. The questions it asks certainly linger, but the self-reflexive style takes away from the weight of its politics. 

Split up into four chapters, the film gives us an emotional window into each of these characters and the relationships they develop with one another. Through these small vignettes, much can be inferred about the wider state of the institution of the police in Mexico. In the opening scene, Teresa narrates an experience where she had to assist a woman in childbirth because there was simply no one else there to help; thus highlighting the scarcity of emergency services and healthcare facilities in Mexico. 

The film also touches on the issue of corruption and small scale bribery in the force, showing how the system almost encourages officers onto this slippery slope. No matter how hard they try or how virtuous they may think they are, ultimately everybody becomes a cog in the machine. Despite this, the film never truly suggests a radical alternative. Everything seems doomed and the film appears as an almost desperate question of: “Where do we go from here?”.

Nevertheless, even if the film itself lacks concrete answers, it does appear to be moving the conversation to a less polemical dialogue since it is concerned with humanising the individuals whilst still highlighting their complicity in a failing system. This is an interesting perspective but at times also a frustrating one, brushing up against big ideas without ever fully exploring them. Problems such as healthcare, government funding, and issues surrounding race and penal sentences mainly exist as a background, some being neglected altogether.

Its genre-defying aesthetics and self-reflexive nature go hand in hand with its attempted deconstruction of the police. In one scene, the shrill of a siren almost sounds like a dying scream, begging for some form of rescue. Yet equally, the over-stylised scenes, complete with a jazz inflected score and self-referential editing, can detract from the film’s political edge. For example, there is a prolonged chase that whilst forwarding the relationship between the films two main characters, does very little to contribute to any wider debates around policing. 

The film is mostly a conversation-starter, deliberately rough around the edges and reluctant to commit itself to any one notion of reality. At times, it even appears more concerned with subverting the audience than having a proper dialogue. Yet the style is still impressive and the final scene’s construction is captivating and almost justifies the films whole conceit entirely. The fourth-wall breaking is not necessarily about obfuscating difficult topics but handing the baton to the viewer to go out and enact change themselves. However, unlike after a protest film or a hard-hitting documentary, the viewer is not riled up to go and do so. The film’s strengths in its ambitious, unapologetic style, and empathetic inward narrative are also ultimately its shortcomings. 

It is a fascinating film as it is not immediately evident why it doesn’t fully work, but even in the moment, you can tell something in the balance is off. Whilst still providing some valuable insight and thought-provoking vignettes, this latest addition to the slew of arthouse Netflix originals is unlikely to make a significant dent in the wider debates around Policing and institutional corruption. 

2.5/5.

Andrew Garfield as Jonathan Larson playing the piano

Andrew Garfield has a timely performance in Tick, Tick… BOOM!

Written by sophiehicks on . Posted in Film.

A semi-autobiographical musical, Lin-Manuel Miranda’s directorial debut tick, tick…BOOM! (2021) mostly sticks to its original source material in what can only be described as an ode to one of theatre’s most transformative directors.

The film is based on a semi-autobiographical musical created by Jonathan Larson. Following Jone, an aspiring theatre director, audiences witness his struggle to get his musical commissioned as he takes on many of the industries biggest struggles. Striving to gain notoriety, he is all too often given false hope of success and in constant battle against sceptical producers.

As someone who didn’t like Rent, Larson’s other famous musical, I doubted whether this film was going to be for me. Admittedly, I somehow avoided the fact that the film was about the creator of Rent until I watched it. However, despite my initial hesitation, I stuck with it and was pleasantly surprised.

Although the music isn’t for me and I won’t be blasting it on my Spotify anytime soon, I really enjoyed how the music acted as transitional points for the narrative. This can often be lost when musicals are produced into films, but tick, tick…Boom! managed to retain that essence. The music felt purposeful and helped carry the story along, which is what a good musical should do. Despite a strange echo on some of the tracks, the film did an excellent job conveying the heart of the original musical.

Tick…Tick…Boom! trailer

This seamless writing should come as no surprise to audience given that Steven Levenson (who wrote the book for Dear Evan Hansen) is credited as the screenwriter. Similarly, despite it being his first feature film, Miranda’s directorial choices felt measured whilst channeling his famous creative streak. He seems to have learnt a lot from his time as the producer on the film adaption of In The Heights, reusing many of the creative techniques from his previous work. For instance, the CGI display of the song lyrics reminded me of how Miranda used CGI for the ‘96,000’ sequence.

Ultimately, you could tell that this was made for people who love musicals, by people who understand those musical lovers. If this wasn’t already apparent by the names behind the film, the sheer amount of Broadway star cameos showcased its popularity and recognition of its fun, slightly ridiculous origins. Cameos included Stephen Schwartz, Howard McGillin and André De Shields to name just a few, alongside half of the original Broadway Hamilton and Rent casts. Whilst cameos can appear gimmicky, they felt apt for a film that is ultimately a love letter to Larson and how he revolutionised musical theatre.

Andrew Garfield also pulls off an exceptional performance. Who knew he could sing?! He didn’t just sound like Jonathan Larson, he was Jonathan Larson, a perfect piece of casting. In a recent interview with Stephen Colbert, Garfield discussed his emotions whilst playing the role, and how he used the grief of recently losing his mother to convey the “unfinished song” of both Larson and his bereavement. You can tell that the project had an impact on him as his performance truly shone. Alexandra Shipp as Jonathan’s girlfriend, Susan, also stands out for her performance. Her clear frustration at feeling second-best to Jonathan’s art was heartbreaking, whilst her vocals were beautifully touching.

Overall, I enjoyed the film even without loving Rent itself. The film wasn’t about Rent, it was about the life of a man whose time was cut too short for him to see his full triumph. Whilst the songs weren’t the most memorable, they accompanied the narrative nicely and made for an entertaining, if not truly heartwarming, watch. This love letter to Larson was affectionately crafted, and I think that Larson himself would be in awe of what they managed to create.

3.5/5.

Four Tet at Pluto Festival

Four Tet vs Domino Records – Why won’t record labels remunerate artists properly?

Written by kristincooper2 on . Posted in Music.

On the 21st of November 2021, electronic producer Four Tet informed fans via social media that three of his albums had been removed from all streaming services by Domino Records. The albums that were removed are some of Four Tet’s releases from the 2000s, specifically, Rounds (2003), Everything Ecstatic (2005) and There Is Love In You (2010). His later albums, such as New Energy (2017) and Sixteen Oceans (2020), are still available, as they were released under his own record label Text Records.

This comes amid a legal battle between Four Tet (real name Kieran Hebden) and Domino Records regarding royalties. Hebden is disputing Domino Records’ 18% royalty rate, arguing that, for streaming, it should be 50%. Of course, when Hebden first signed his contract with Domino Records over 20 years ago, the nature of the music industry was very different. Back in 2001, CDs were still the primary method of consuming music and internet downloads were yet to be popularised by the introduction of the iPod and other similar devices to the market.

The contract did cover how records sold in new technological formats would be remunerated, stating these would receive 75% of the otherwise applicable rate, leaving Hebden with an effective rate of just 13.5%. Legally, this clause of the contract makes the situation difficult to dispute. However, Hebden has proceeded in seeking to claim up to £70,000 and costs over the claim for historical streaming royalties, as well as legal judgement on the 50% rate. One clause that Hebden and his lawyers may be able to use to win this dispute is that exploitation of the masters outside the UK would be remunerated at 50%. Thus, they could win a 50% royalty fee for all streaming outside the UK.

Regardless of the legal specifics of this case between Hebden and Domino Records, this highlights the ongoing conversation about the exploitative nature of outdated record label contracts. The music industry is exploitative of musicians, the exact people who create the content which its existence depends upon.

With the age of the internet, just as the way we consume music has been transformed over the last 20 years, so has the way we create, produce and market music. In the 1980s, record labels were crucial to the success of albums, as they coordinated the release of physical copies of records and tapes in stores across countries, as well as marketing artists and albums with billboard, TV and radio advertisement. Now, in the age of the internet, artists can independently promote albums via social media, garnering significant attention, which is free publicity that does not require funding from record labels. Artists do not need record labels in the same way they used to; they can find freelance producers, release their songs themselves and also market their work independently. If record labels like Domino Records wish to remain relevant, they need to start remunerating artists properly.

Personally, I am hoping to see more collective record labels established, like many seen in the DIY record label movement in the late 70s and early 80s. Hopefully, these will be record labels that are artist-owned and -run, primarily seeking to aid and promote the creativity of musicians, rather than treating them as profit-making machines. Big record labels are well-known for pressuring artists for additional albums and multiple tours, all whilst not giving them fair compensation for their popularity on streaming services.

Now, in 2021, this really needs to change; hopefully, this case—among others—will help change the behaviour of corporate record labels. Domino Records removing Four Tet’s albums from streaming services subsequent to the dispute proves the point that the vast majority of record labels are merely money-hungry capitalists, exploiting artists and commodifying a creative industry. As much as a world-renowned producer such as Four Tet probably does not need the money, it is necessary for big names in the music industry to fight these legal battles that smaller artists cannot afford to fight.

Of course, the record labels are ultimately only half the problem: the other evil is evidently the streaming services themselves. The likes of Spotify and Apple Music equally exploit artists but remain the easiest and cheapest ways for consumers to access vast quantities of music. Perhaps, as nice as it has been for the consumer, we ultimately need to accept that if we want to support the musicians we love, we may have to wave goodbye to subscriptions that cost as little as £5.99 a month.

In the meantime, one way most artists generate revenue is through the sale of physical records and merchandise, so if you can afford to purchase any of these, it helps the artists more directly: especially on Bandcamp Friday, when a larger percentage goes to the artist. When buying music, try to either support independent record stores or from sites such as Bandcamp; it helps the money go to people to maintain their livelihoods, instead of purchasing it off iTunes or from HMV.

If you’re feeling inspired to support some artists via Bandcamp, the next Bandcamp Friday is on the 3rd of December!

Snail Mail - Valentine

Valentine: the wistfully transparent sophomore album from Snail Mail

Written by emilyjohnston on . Posted in Music.

Written between 2019 and 2020, during a time of intense societal, as well as personal hardships, Lindsey Jordan (AKA Snail Mail)’s Valentine is more mature than its predecessor. It highlights her time away from music as a chance to develop her voice and style deeper. Jordan has always been noted for having a great degree of control in her voice, guitar playing and lyrics, as demonstrated in her 2018 debut album Lush. Valentine is ultimately a eulogy for love, a search for a lost identity, and has an expansive stretch of poignance and profundity, inherent within the song writing and throughout the entire album.

Between going through a breakup and spending 45 days in a rehabilitation centre in Arizona with no method of creating music other than a broken guitar and a notebook, Valentine is the product. It’s an emotional whirlpool which paints a brilliantly vivid picture of lamenting a past lover. Evidently, Jordan approaches such subject matters with gentleness and sensitivity. She can control when certain lines need more grit and emotion by using a deeper rasp and snarl than previously. As said in an interview with Pitchfork with Quinn Moreland, “It’s theatrical as hell.” Jordan has never been one to sugar-coat her emotions. This album is a further testament to her use of music as catharsis, and a documentation of the stages of breakup sorrow.

Photo: Snail Mail @ David Lee via Flickr Creative Commons

Song by song break down

The album opens with the title track ‘Valentine’ which is an ethereal start to the album. It is a quintessential love song to her “Darling Valentine.” It’s also a reflection on Jordan’s fame and the rise of her becoming a notable female indie icon. ‘Ben Franklin’, the second single from the album, is in my opinion slightly more memorable. It’s a darker and heavier 3-minutes than we usually know from Jordan, with dense garage-y synths and beats. The lyrics are profound and raw addressing her time in rehab and personal struggles in a totally punchy and transparent way.

Music Video for ‘Ben Franklin’

The lighter, guitar driven and folky moments offset the heavy and more intense ones. This just demonstrates the vastness and multi-polarity of the album. ‘Headlock’, where Jordan sings “Man, I’m nothing without you”, is a wistful realisation of breaking completely from a lover. I think the soft piano trills and vocal harmonies provide the song with a hopefulness and lightness, making the album more intense. Jordan also speaks about her catharsis in darkness and death and exploring the “Nothing on the other side.” 

The soft ‘Forever (Sailing)’, is a bittersweet tune which reiterates the emotional vulnerability she captures so exquisitely in her music. The intentional repetition of “You and I” and “So much destruction / Look at what we did” is totally captivating. It’s a definite personal highlight of the album.

Indie folk?

In ‘c. et. al’, Jordan sings “Baby blue, I’m so behind / Can’t make sense of the faces in and out of my life / Whirling above our daily routines.” Addressing the depressive and dissociative state which follows a breakup. She sings with lethargy accompanied by stand-out guitar plucking. The folk-oriented instrumentation is reminiscent of Elliot Smith or Jeff Buckley, and has similar emotional grit and rawness.

There are also moments of a more typically upbeat sounding indie record. This is seen on ‘Glory’, which addresses her fame and how it contributed to her time in rehab. Despite moments like these not really catching my attention as much as other moments in the album, it shows her immense capability as a guitar player (both electric and acoustic). This furthers what was already established on Lush, on tracks such as ‘Let’s Find an Out.’

In the album closer ‘Mia’, Jordan sings about a “Lost love so strange” with a live string arrangement accompanying the soft pluck of a guitar. The lyrics are carefully crafted, yet devastatingly raw. It makes me think how lucky I am that I’m not going through a breakup right now. It paints an accurate depiction of a heartbreak and yearning for, yet painfully closing the door on, a past lover. Valentine demonstrates that Jordan is in full control of her growth and blossoming, and does this whilst painting a passionate portrait of pain and the hardships of recovery. 

Standout Tracks:

‘Ben Franklin’, ‘Forever (Sailing)’, ‘c. et. al’, ‘Mia’

Snail Mail kicks off the UK leg of her tour in June in Manchester, at the Manchester Academy 2. (Postponed due to vocal cord injury). Buy tickets here

Listen to Valentine here

Queer Contact

There’s something Queer about Contact Theatre

Written by Jay Darcy on . Posted in Theatre.

Contact Theatre has undergone many changes in recent years. You’d hope so – the building’s £6.5 million transformation had it closed for years! But one thing, in particular, remains the same: its values.

In February 2022, Queer Contact returns to Contact Theatre – its first time in the newly transformed venue. Contact has expanded to create enhanced performance and event space to support queer communities from across the region. Tickets are now on sale for the 9-day celebration which will take over all corners of the venue. The homophobes were right: the gays are taking over!

Contact’s President Dr Carl Austin-Behan OBE DL, formerly Manchester’s first openly gay Lord Mayor, said:

“Queer Contact is an annual celebration that promotes and highlights the creativity and expression of LGBTQ+ artists from across the world, a festival that reflects the rich and honest diversity of our community here in the Northwest. For 2022 it’s great to see that our young queer community have been instrumental in the programming process and the performances reflect this. Diversity in culture is not a luxury, it’s an important integral part of community life which brings vibrancy, individualism, and reality to all ages”.

The festival kicks off with drag king troupe Pecs: King of the North. This cabaret will see the regular Pecs team joined by guest Kings from Manchester’s queer scene.

Photo: Contact Theatre

The second event of the programme will be The Enby Show, hosted by carrot and featuring Drag Race UK star Divina de Campo. The two will bring along “the best gender-benders and cis-tem offenders that the UK has to offer, in an all-star variety night popping with creme-de-la-thems”.

Photo: Contact Theatre

Staying true to its mission to support young and early-career artists, Scratch will see tantalising glimpses of new work from a number of Manchester-based creatives – including the two recipients of the GM LGBTQ+ Arts and Cultural Network bursary (Jova and the Wave and Maz Hedgehog), who share early material from their winning commissions. In addition, Plaster Cast Theatre, Sam Danson, Taylor le Fin (with TransCreative) and Chanje Kunda will also share early-stage material of new work exploring bisexual bliss, working class transmasculinity, LGBTQ+ mental health and queer desire.

Photo: Contact Theatre.

“Muslim drag sensation” Glamrou (the alter ego of Amrou Al-Kadhi) presents their debut solo show, which explores the tensions between the artist’s queerness and their Iraqi/Islamic heritage. Glamrou takes us from the depths of hell to the zenith of Islamic paradise, saying the things that no one else dares to, and showing us what it means to live in a state of harmonious contradiction.

Photo: Contact Theatre

After this will be House of Suarez and Contact’s annual Vogue Ball at Manchester Academy 1. The theme will be Night at the Poseum, with performances inspired by treasures from around the globe currently on display in museums throughout the North West.

Photo: Contact Theatre.

Programmed by our young queer community consultants, The Untold Orchestra present a contemporary classical music show with a diverse Manchester-based 15-piece orchestra playing a set inspired by a journey through decades of queer musical icons.

Photo: Contact Theatre

Emma Frankland’s Hearty is the fifth and final solo show in the None of Us is Yet a Robot project – a series of performances which have been a response to Emma’s gender transition and the politics surrounding trans identity over the past seven years. Bearing wings made of sharp knives and shooting fireballs into the air, Emma tackles the current media fascination with trans lives and interrogates the controversial bio-technology of HRT.

Photo: Contact Theatre

Nominated for “Best Collective” for QX Cabaret Award in 2019, The Bitten Peach is the UK’s only Pan-Asian cabaret collective, made up of performers of Asian descent working in a variety of nightlife performance genres, including drag, burlesque, dance, comedy, music, and circus.

Photo: Contact Theatre

If this isn’t enough, more incredible events are to be announced.

Head to Contact’s website to find out more about the current events in the programme and to buy tickets.

Virgil Abloh, dies at 41

Virgil Abloh, the visionary designer dies after privately battling cancer

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

Virgil Abloh, the acclaimed founder of the brand Off-White and the artistic director of Louis Vuitton has died on Sunday after a two-year battle with a rare form of cancer: cardiac angiosarcoma. He was 41.

His death was announced by his family from his Instagram account. The message reads: “We are devastated to announce the passing of our beloved Virgil Abloh, a fiercely devoted father, husband, son, brother, and friend. He is survived by his loving wife Shannon Abloh, his children Lowe Abloh and Grey Abloh, his sister Edwina Abloh, his parents Nee and Eunice Abloh, and numerous dear friends and colleagues […]”. 

The fashion industry paid tribute to the legendary designer at the Fashion Awards ceremony on Monday. The actor Iris Elba, a friend of Abloh, read a poem by Maya Angelou entitled ‘When Great Trees Fall’ and gave a heartfelt speech in his honour. 

He was also named on the ’15 leaders of change’ at the awards, a decision that was made weeks before his death. CEO of the British Fashion Council, Stephanie Phair, spoke of Abloh as “a creative force of change, who throughout his career focused on inclusivity and philanthropy across fashion, art, music, design and architecture, making him one of the most influential designers of his generation”. 

As a designer, he had a work ethic unlike any other and was a prolific genius. His work for Louis Vuitton and his own brand, as well as the many collaborations he did, showed his transformative vision for fashion. 

He managed to create pieces that spoke to customers while always staying ahead of the curve in terms of design and technology. 

If there’s one thing everybody agrees on, it’s that Virgil Abloh changed the industry for the better. After ascending to the heights of the luxury industry, he spent his consequent time opening doors for others to follow path. He worked to achieve greater equality of opportunity in art and design. 

He leaves behind loving friends and family but also a more inclusive fashion industry, one that looks “a little bit more like [him]” and that will hopefully continue to become better in honour of his memory.