The Mancunion - Issue 5 by The Mancunion

FRE

Issue 5 / November 29th 2021 COP26 - What does it mean for the fashion industry?

www.mancunion.com

Bee ready for the new bikes!

UoM security guards acquitted

What’s happening with the UCU strikes? Full page poster available on page 32 - @clementinesphotos

Investigations

Lifestyle

Features

University of Manchester drug policy update Page 7

Cramming and coffees: Study cafes near you Page 14

How to find love at the University of Manchester Page 9

2 Contents

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Fuse FM show spotlight Student events coming up in:

Fuse in Focus Wednesday 2pm Fuse in Focus is presented each week by Emily, Izzy and Geor-

December FSH Faculty Forum - 1st December, 13:00-14:30 in Academy 2 Panto Soc: - December 6th and 7th in Academy 2 Performing a student take on the classic Scooby Doo, no meddling, buy your tickets on the SU website!

MCR Makes: What a load of craft! - December 8th, Exhibition Space, 10am - 3pm

gina who discuss the weeks news. This ranges from student

Students can apply to have their small businesses in the market up until Friday 3rd of Dec through this link- https://bit.

updates and Manchester events to regional and international

ly/3FwxXAt

affairs. It’s a great show to get your fix of student debate and a couple of great tunes thrown in the mix to enjoy on a Wednes-

AU Social - Christmas Themed - 8th December

day afternoon!

Christmas Ball (drinks vouchers for the most festive outfits) !

Recent news which have been discussed on the show are the ‘Girls Night In’ boycott, Andy Burnham’s Bee Bike

Gigs and Bands Society - December 9th, Gig in Academy 3

campaign, 12 hour A&E waiting times and the opening of the

‘Probably the best student bands night ever’ - A showcase of student bands and artists performing in the SU. Tickets are

Manchester Christmas Markets.

£4 and doors open at 7:30pm.

Dance Society Winter Showcase - December 12th in Academy 1 Medics’ Panto - December 13th and 14th in Academy 1 Always a laugh and not one to be missed - catch the medics panto cast performing

Scan to listen...

mancunion.editor@ gmail.com

News Editor: Archie Earle Deputy News Editor: Shikhar Talwar

Managing Editor News & Current Affairs: Ella Robinson

Co-Science & Technology Editor: Sam Bronheim & Emma Hattersley

Managing Editor Michal Wasilewski

Investigations Editor: Joe McFadden

Culture:

Print Editor: Clem Lawrence Online Editor: Sophie Berkley

Features Kenny

Editor:

Serafina

Deputy Features Editor: Steffie Banatvala Opinion Editor: Annie Dabb Deputy Editor: Gemma Brown Music Editor: Reece Ritchie Deputy Editors: Sarah Taylor & Jack Greeney

Read our full list of events on page 16

Griffiths Deputy Film Editor: Florrie Evans

Hourigan Food & Drink Editor: Izzy Langhamer

Fashion Editor: Alex Bikard Deputy Fashion Editor: Zahra Mukadam

Theatre Editor: Jay Darcy

Beauty Editor: Alice Henderson

Books Editor: Aileen Loftus Deputy Books Editor: Ava Innes

Lifetsyle Editor: Erin Botten

Sport Editor: Arsh Asthana

Sub-editors: Elinor Burt, Katy Bray, Naziha Mardem-Bay, Harry & Emily

Film Editor: Benjy Kaluber-

Food & Drink Editor:Katie

Designers:

Emily

Turvey,

Jonno Hadfield, Roisin Haver, Sam Bronheim, Anja Samy, Jess Walmsley, Ella Robinson, Mariam Hussain Marketing Team: Conrad Pope, Lucy Pummell, Jimena Gonzalez, Martina Ferrara, Camille Garret Follow us @themancunion on Instagram

@clementinesphotos

4 News

ISSUE 5 /29th November 2021 WWW.MANCUNION.COM

Bee ready for the new bikes!

Instead of waiting for half an hour for the 142 to arrive, the GMCA have introduced Bee Bikes into the city for a cheaper way to ride to university

Shikhar Talwar Deputy News Editor

anchester have built their own bike hiring network called Bee Bikes. This initiative has been launched by the Greater Manchester Combined Authority (GMCA) and Transport for Greater Manchester (TfGM) and is currently available along Oxford Road and around the University of Salford. However, questions persist of whether or not they will see the same ill-fate as the Mobikes did. This month, the Bee Bikes were placed around Greater Manchester. Mayor, Andy Burnham insisted that the name “Burnham Bikes” not be used, claiming that the bikes are of the city and not his. This is in line with a survey produced by TfGM survey which states: “67% of Greater Manchester residents support building more protected roadside cycle lanes,

even when this could mean less space for other road traffic.” Currently there are 1,500 bicycles to hire plus 300 e-bikes available to the public, however TfGM plan to expand the scheme across the city. This is in line with an increase in demand for bikes in Manchester, discovered by the TfGM survey. Furthermore, the Bee Bikes will be a part of a larger initiative of the Bee Network. The Network is a £1.5 billion plan to create 1,800 miles of cycling and walking space in Greater Manchester. The bikes and the e-bikes are being offered on a pay-as-you-ride scheme with the price being as little as 50p which is currently cheaper then taking public transport. Students currently spend approximately £280 annually on bus passes, whereas students could cycle to university for an initial fee of 50p and then 5p per minute after that. Emily, a third year History stu-

dent, commented, “I find it difficult to plan my day when the time it takes to travel to university varies so often, it could take 20 minutes or 40 minutes! If I am cycling I can be sure to know when I’ll arrive on campus. I also enjoy the fresh air as it wakes me up in time for a 9am lecture.” Jonno, a third year Economics student, said, “I think the bikes could possibly have a low usage by students due to the lack of advertising and general knowledge of the new scheme. Personally I would rather take the bus having already paid for my bus pass this year. To be honest I also regularly enjoy walking to university which is a free way to commute to campus.” It will be interesting to see how students utilise the new scheme, many students in Manchester enjoy cycling to university but some also fear for their bikes being stolen.

Adam, a third year Chemical Engineering student had his bike stolen in 2020 and told The Mancunion that he could see these bikes being a good alternative for students who either can’t afford to buy their own bike or have experienced their bike being stolen and would rather use a public bike from this scheme. However, this isn’t the first time such a scheme has been introduced in Manchester. Back in 2017, Mobikes had been introduced to the city. The brand had the same intention as Bee Bikes, and was owned by a Chinese firm. However, a year later the brand withdrew from Manchester. The reason being that they had been losing 10% of their bikes every month. The bikes were thrown into the canal, had rocks thrown at them and some were even set on fire. Manchester became the first city in the world to have lost Mobikes. These scares have also been

raised for the Bee Bikes. Andy Burnham has pleaded the residents to not repeat the ill-fated past. He stated: “I would just say to people: these are your bikes, we own them. So, please look after them. Damaging your own stuff doesn’t make sense.” Burnham thinks that this is what makes the Bee Bikes different from Mobikes. The bikes in this cases are owned by the public and not a private investor. He has further assured the fact that the scheme will be updated as it goes along, to ensure that the bikes aren’t damaged. To stop the vandalism like Mobikes there are also fines up to £80 for those who misuse the bikes. The scheme has started already, and residents can hire bikes using the Beryl App. The GMCA hopes for the scheme to grow further and be withdrawn.

COP26: Still not green enough? A run-down of the Glasgow summit

Clara Margotin News reporter

OP26 took place in Glasgow over the last few weeks and, in partnership with Italy, reunited more than 120 world leaders and around 25,000 total participants. It is one of the most important summits in terms of the environment, and one which many world leaders were relying on to decide which environmental and sustainable policies to adopt. The aim of COP26 was for world leaders to set goals to try and address the climate emergency the world is facing today. To capture this sentiment, UN Secretary-General Antonio Guterres recalled, “our fragile planet is hanging by a thread. We are still knocking on the door of

climate catastrophe”. So what was actually achieved in order to address this pact? On Friday the 12th November, after laborious negotiations, the UK Government presented the last draft of the international agreement, which became the ‘Glasgow Pact’. The ‘Glasgow Pact’ includes several measures which all aim to help countries on their journey to ‘Net Zero’, and limit global warming to the 1.5°C boundary which had been fixed by the 2015 Paris Agreement. The UK has agreed to end deforestation by 2030, reach the net-zero target by 2050, quit coal as soon as possible, and cut methane emissions (a potent greenhouse gas) by 30 percent by 2030. The pact also includes a series of climate pledges concerning transport, finance, and technology,

as well as deforestation, farming, and coal and fossil energies. More than 40 countries, including 23 new ones, have pledged to phase out coal, the most polluting fossil fuel. Members include heavy coal users like Poland, Ukraine and Vietnam. To reduce deforestation, more than 130 countries have agreed to halt and reverse land over-exploitation by 2030. This includes Brazil, which is home to more than 60 percent of the Amazon Rainforest. More than thirty countries, numerous states and cities, and several automotive companies have established a pact on zero-emission cars and vans, and agreed that these would be the only type of transports sold in leading markets by 2035, and globally by 2040. The 2015 Paris Agreement (COP21) had been one of the most

successful consensual decisions taken by world politicians in terms of climate change. However, the goals set by COP21 and the UN Framework Convention on Climate Change are challenging to reach, so Glasgow’s conference aimed to address some of the difficulties countries may face on their journey to reach these targets. Despite all these agreements, the COP26 has been judged as being “deceiving“, and has been criticised for not setting the environmental standards high enough considering the climate emergency the planet is facing. The most contested decision has been the incapacity of world leaders to stand against India and China, and stop them from negotiating and easing the measures taken concerning the fossil fuel lobby.

Certainly, despite pledges made by COP26 leaders to “phase out” coal power lobbying, India has managed to negotiate “phasing down” instead, which has been heavily criticised. John Vidal, the former The Guardian Environment Editor, stated, “any chance of halving fast-rising emissions by 2030 – the declared aim of the talks – is now negligible”. But what does our young generation think? Not much, according to young climate change protesters. Indeed, protesters of the ‘Fridays For Future’ march declared that they were “angry and disappointed”. According to Greta Thunberg, leader of these marches, “COP26 is a failure”. For her, “immediate and drastic” measures and cuts to emissions are necessary if countries want to see a change in the environmental crisis they are facing.

ISSUE 5 /29th November 2021 WWW.MANCUNION.COM

News 5

Government to cut back on Manchester to Leeds rail line, as Leeds to Midlands HS2 scrapped Boris Johnson has completely reformed plans previously made on British railways, particularly in the North Archie Earle Head News Editor

he Conservative government have been accused of “betrayal” after Schapps, the transport secretary, revealed that improvements to the Manchester to Leeds rail-line are to be cut back and the leg of HS2 connecting the Midlands and Leeds will be scrapped. The high-speed HS2 line will still travel to Manchester from London but would not be completing the previously promised journey connecting it to the East via Leeds. The HS2 line was first announced in 2009 and since then its costs have spiralled from an estimated £20 billion to £96 billion in the past ten years. The third phase of the line connecting Leeds to the Midlands would also be scrapped, instead being replaced with a package that would ‘transform rail services’, with the intention of making rail journeys up and down the country faster and cheaper for passengers. HS2 phase 1, 2a, and 2b are all still expected to go ahead, but rather than a complete overhaul, the Manchester to Leeds line connected by Northern Powerhouse Rail will be getting minor track upgrades, intended to make journeys faster. A new longer station able to accommodate the 400m long trains will be built next door to Manchester Picadilly. Integrated Rail Plan for the

North and Midlands has suggested that current train times from Manchester to London would be cut from 2 hours, 11 minutes to 1 hour, 9 minutes and the Manchester to Leeds would be cut from 50 to 35 minutes. The new plan received heavy backlash from a flurry of politicians with Andy Burnham stating that “The North of England is united and will hold the government to promises on a railway line connecting the Northern region.” The shadow transport secretary Jim McMahon said that the government had “sold out the North.” Boris Johnson responded to claims that he had broken promises on Northern railway upgrades by labelling such claims as “total rubbish”. Instead, he suggested that new plans would see a cut in train times but that plans to build new train lines would take “decades”, also suggesting the government wanted to maximise efficiency. However, the 2019 conservative manifesto, on which Boris Johnson was elected, stated: “We will build Northern Powerhouse Rail between Leeds and Manchester and then focus on Liverpool, Tees Valley, Hull and Sheffield, and Newcastle.” Questions were also raised on where the money pledged in the £96 billion package would come from as some money has already been promised to the rail sector in the form of £360 million for new ticketing systems across the country. A full costing and explanation of where the money would be used is still to be announced.

Photo: The Mancunion

LSE students protest against Israeli Ambassador

LSE Students protest the Israeli Ambassador to the UK, but Priti Patel supports the idea of a police investigation against the students. Shikhar Talwar Deputy News Editor

Photo: The Mancunion

he London School of Economics (LSE) students had began protesting against a debate panellist at their University. This lecturer was Tzipi Hotovely, the Israel ambassador to the United Kingdom. The most popular image is of students “booing” Hotovely as she made her way to her car. However, there are now calls for the protest to be investigated by the police, and Priti Patel called the protest “disgusting.” Tzipi Hotovely is an ambassador from Israel to the United Kingdom. She was appointed whilst Benjamin Netanyahu was Prime Minister. She still holds this position, and has a history of controversial statements. She is a selfclaimed “religious right-winger,” and often her belief on this has been called Zionism. This is further evidenced by the fact that she rejects Palestine’s claims to the Ghaza, West Bank and East Jerusalem. Her beliefs have been called by UN Human rights watch report as “21st century apartheid.” Due to this and the rising tensions due to Isra-

el moving further into Palestine, many people have been opposed to Hotovely and her beliefs. Tzipi Hotovely was invited for a debate at LSE. The students chanted against her while she was moving toward her car. The students and the group of them were claimed to be activists against the stance that Hotovely had over Palestine. However, Hotovely has gone back to Israel over claims of being threatened. Here claims have been backed by UK’s Home Secretary, Priti Patel, who has also said that she would back a police investigation into the matter. There also also claims going round that there were violent threats against the ambassador, and it was not just a peaceful protest. However, Abhijith Subramanian the president of the debate society at LSE has refuted these claims. He told the BCC: “I was one metre away from the ambassador throughout the event and did not see any violence or threats. She was secure in the building and the event went as planned.” LSE for Palestine, the group who organised the protest supported Subramanian’s claims. They stated that it was an entirely

peaceful protest and no use of threat or violence was involved. Furthermore, the protest that was claimed to have been violent has been uploaded onto social media with, where the students just seem to be booing the ambassador and chanting “shame on you.” The National Union of Students have also expressed their solidarity with the protestors. They stated it is “concerning that government officials ... are clamping down on any form of student dissent with threats of police involvement ... the right to protest is fundamental to our democracy.” However, Priti Patel has still stood her ground on hoping for a police investigation. While Hotovely has claimed that she will not be ‘intimidated’ by students.

6 News

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

THE

STRIKES:

Why are they taking place and what are the SU doing? The UCU strikes explained - who , when and why are our lecturers going on strike? Shikhar Talwar Deputy News Editor

he University and College Union (UCU) are striking

from the 1st to 3rd of December. This means the lectures and seminars taught by those on strike will be cancelled. 58 universities across the UK are going on strike next week. The University of Manchester are striking over ‘four fights’: •

Pay: Over the last 10 years

the University staff have seen a 20% pay-cut. At the same time the number of students coming into universities are rising. •

Workload: The amount of

work that the staff are given by the

University is often more than what

The Mancunion reached out to a

from the 1st of December to the 3rd of

The Students’ Union (SU) are also

they have been promised in their con-

number of lecturers about why they

May 2022. This means staff will be do-

looking to support students through

tract.

are striking, but most did not want

ing exactly what their contract says.

the strikes. The SU General Secretary,

to comment publicly due to fears for

The SU explained this at the ‘Strikes

Melody Stephen, said in the open

their job security.

Open Meeting’ through the example

meeting “what the staff are fighting

•

Equality: Currently at the

University of Manchester, according to the Student Union there are large

Doctor Anh Le, a Politics teaching

of dissertations: if staff’s contracts say

for are super important.” But the

pay gaps. There is 17% ethnicity ine-

assistant said: “my reasons for going

they have 17 minutes to mark a dis-

whole SU executive team are working

quality, 15.1% gender and 9% disability

on strike are a bit multi-faceted, but

sertation, when undertaking action

to focus on student wellbeing and not

inequality.

boil down to three main issues: job

short of a strike they will not spend

looking at the strikes in a binary way.

Casualisation: Many mem-

insecurity – how Universities … have

any longer it – even if it would require

bers of staff have often been put on

effectively turned academia into an

longer to accurately mark it.

part-time or fixed term contracts -

Uber-style gig economy, gender/eth-

The University have stated that

and investing money to ensure stu-

when it comes to their job security,

nic pay gap (which is pretty bad at

they will try to reduce the impact of

dents’ best interests are handled.

they do not feel safe.

UoM), and to demonstrate solidarity

strikes on students, and assured stu-

They are hoping to organise an open

This may not be the only strike of

with other colleagues who are in even

dents that they will be informed if lec-

meeting on 29th November with the

the academic year, and the UMUCU

worse situations than myself – that’s

tures are cancelled. However, striking

UCU to help students understand the

are currently seeking to reballot on

what being in a union is about!”

staff are under no obligation to tell

situation better and combat false nar-

the university or students they are on

ratives.

•

pensions, as Manchester missed the threshold by one vote.

At Manchester some staff are also undertaking ‘Action Short of a Strike’

The SU have said they are trying to organise activities for the students

strike in advance.

UoM Security Guards who allegedly racially profiled student ACQUITTED of common assault The verdict was delivered on Thursday 18th November

2020.”

Joe McFadden Investigations Editor

“The magistrates found the security officers not guilty of the charges

guards asked for his ID but proceeded

fences on Fallowfield Campus, which

the incident with a powerful protest

to physically restrain him.

resulted in an infamous student pro-

to stand in solidarity with Zac Adan

test on Thursday 5th November 2020.

and stand up to racism. Speaking at

Taking place alongside the alleged

the protest himself, Mr Adan claimed

racial profiling incident was a 2 week

that he got stopped because “I’ve got a

Following the incident, the Uni-

against them. They noted that the in-

versity

wo University of Manches-

cident itself had taken place against

guards pending an investigation.

ter security guards have

the backdrop of the COVID pandemic

The incident was highly publi-

student occupation of the Owens

trackie and I’m black” and that when

been acquitted of common assault

and during a very difficult period for

cised after the University of Manches-

Park tower that saw the occupiers

he first reported the incident the Uni-

after the alleged racial profiling of a

our students and our staff.”

ter’s Vice-Chancellor Nancy Rothwell

win the largest rent rebate in modern

versity told him to mockingly “call an

We know that this has been a very

lied on BBC Newsnight after claiming

history.

ambulance” if he was hurt.

challenging time for everyone con-

she had met with Zac Adan, the vic-

These events culminated in a

cerned and we will continue to sup-

tim of the incident. Rothwell claimed

controversial referendum on stu-

We are aware that Mr Adan has

port all parties as we now bring our

she had written to Mr Adan to apol-

dents’ confidence in Nancy Rothwell

expressed a desire to step back from

internal process to a conclusion.”

student back in November 2020. They were charged on 15th April 2021 with common assault. Announced on the University of Manchester’s Staffnet on Friday 19th

suspended

the

security

Note from the Editors:

ogise but was later revealed to have

as Vice-Chancellor. Despite 89%* of all

the public eye following the string of

Mr Adan, who was at the time a

not. Her apology took the form of a

students who voted overwhelmingly

media attention he experienced after

first year student studying French

widely circulated video that was met

voting no confidence in Nancy Roth-

the incident. Here at The Mancunion,

“A case of common assault against

and Linguistics, was pinned to the

with a wide range of criticism from

well and calling for her resignation,

we respect Mr Adan’s right to privacy

two University of Manchester securi-

wall by the security guards who de-

the student body and contributed to

the board of governors stated that

and would like to stress that this arti-

ty officers was heard at the Tameside

manded to see his student ID. He was

the later calls for her to resign over a

they still had full confidence in Nancy

cle is calling to attention the results of

Magistrates Court yesterday (Thurs-

returning to his Halls of Residences

string of controversies experienced

Rothwell.

the trial and the University’s response

day, 18 November). This related to

late in the evening on Friday 13th

by the University.

an incident which took place on the

November 2020 when the security

November, the following statement was released:

Fallowfield campus on 14 November

Most notable was the erection of

Responding similarly, hundreds of Manchester students responded to

and is not in any way intended to cause further distress to Mr Adan.

Investigations 7

ISSUE 5/ 29th November WWW.MANCUNION.COM

Photo: Matthew Brodeur @ Unsplash

Students say “NO” to zero tolerance drugs policy

Questions have been raised over the effectiveness of the University of Manchester’s zero tolerance drug policy Libby Elliott Investigations Reporter

he University of Manchester has a “strict zero tolerance policy” towards drugs. The official Accommodation webpage on Alcohol and Drug Awareness not only threatens both expulsion from halls and academic discipline, but also bears a “don’t let it be you” warning. Studies show that harm reduction approaches to illicit drugs are not only more progressive, but far more effective in combatting addiction. The University of Bristol recently adopted such a policy, explaining that they understand students use alcohol and other drugs during their time at university. They also state on their site that they appreciate the harm an institution’s zero-tolerance stance can have “as it prevents students reaching out as they may fear being punished.” A recent survey asked 75 students whether the University’s zero-tolerance policy would discourage them from doing drugs. 91.7% opted for the “No, I don’t care” option, showing students current levels of dissatisfaction with Manchester’s drug policy.

91%

of surveyed students said UoM’s zero tolerance drug policy would not discourage them from doing drugs This same survey also revealed that 73.3% of students who participated believe a zero-tolerance policy at University is unfair. The University’s website warns students to be “aware of the dangers associated with taking drugs” so that they may make informed choices about recreational drug-taking. However, the website fails to provide any further information on how students could mitigate the risks. An official Freedom of Information request by The Mancunion questioned the University on how much money had been spent on drug awareness, safety, and training since 2018. This question was responded to with a brief “N/A”. Likewise, the University

said “N/A” in response to how much money has been collected in drug fines over the last four years. In addition to this, The Mancunion can reveal that all students expelled from Halls for drug possession are offered an “educational course” on their first offence. However, an anonymous ResLife supervisor has revealed this course is not available prior to an offence. They told us that “currently the drug harm reduction talk is basically offered to students as a way to reduce a fine, once they are caught within halls.” Elaborating further, they told us that they’ve “been wanting to set up a platform for sessions that are open to all students”. However the University “won’t have capacity to do this until January. “ “The idea is that I wanted a safe place for students to talk openly about their drug use with a facilitator to help. This idea has been supported by the Uni but is yet to get off the ground.” Further statistics surrounding the disciplinary procedures for drug offences reveals that 265 students were disciplined for drug possession over a three-year period. When broken down, the numbers show that 137 students were disciplined for drug possession in the 2018/19 academic year. The statistics for 2019/20 were 81 students whilst 47 students were disciplined in 2020/21. Over the same three-year period, 7 students were expelled from university halls for drug possession. All 7 students were expelled in the 2018/19 academic year, making it Manchester’s biggest year for drug-related sanctions. This lack of information on drug safety and addiction is not only acknowledged by ResLife supervisors but felt strongly amongst students. 73.3% of students surveyed would not feel comfortable seeking advice about drugs or alcohol from the University, and 89.3% revealed they would not even know where or who to go to for drug or alcohol-related support or information. The data from our survey has indicated that students feel far more intimidated to seek support from their university than they feel intimidated to do drugs, questioning the efficacy of the University’s zero-tolerance approach; an approach that also seems to be disproportionately affecting Medicine and Nursing students. In their response to the Freedom of Information request, the University informed us that they “do not impose academic penalties (outside of expulsion) for non-academic misconduct”. They also said that “each case would be considered individually.”

Yet an anonymous nursing student has stated, “I definitely have to be more careful, as if anybody knew I was a nurse and witnessed me taking drugs on a night out with mates I could easily be could be kicked off my course”. She believes she is at a much higher risk of expulsion than students from other courses due to the “reputation a nursing student must uphold”.

265

students were disciplined for drug offences in the last three years Likewise, one of her peers – who has also chosen to remain anonymous – has revealed that her flat of nursing and midwifery students were given a group disciplinary hearing followed by individual meetings with academic advisors after hosting a party. Her and her colleagues were warned against engaging in “antisocial behaviour” as nurses (smoking, vaping, and drinking). She has disclosed that the academic advisor did acknowledge that these punishments often come down harsher on nurses, medical students, and midwives. However, the University told The Mancunion that it is not official university policy to expel Medicine students for drug-related offences. They said that “there is no automatic exclusion for drugs offences; such matters would be dealt with, e.g. by Occupational Health, Fitness to Study or Fitness to Practise. Ultimately, of course, exclusion could be a possibility but each case would be considered individually.” Recently the University of Manchester’s Students Union has launched a drug-testing scheme, where kits are available for students to collect and test their drugs to see if they are safe for consumption. However, only 23% of students The Mancunion surveyed are aware that the Student’s Union provides drug testing kits. Yet 64.9% of students would have reservations about calling an ambulance to Halls of Residence for an overdosing friend, for fear of being punished by the University. For students seeking advice on recreational drug use, the University of Manchester’s Students Union have said this:

“Whilst we work on developing a formal harm reduction policy, we want to remind students that support is available on campus, such as the SU’s Advice Service’s harm reduction support. With comprehensive training from Change Grow Live, the Advice Service offer a safe space for confidential support, resources, drug testing kits, and direct referrals to specialist support. Furthermore, the Counselling Service’s confidential support has, and will continue to be, available to students who are struggling with substance abuse issues.“ When contacted for comment, a University of Manchester spokesperson said: “After consulting with our Students’ Union (SU), the University has decided to change to a harm reduction stance in relation to our approach to student drug use at University. This represents the start of what will be an ongoing and collaborative process to change and update our thinking towards drugs.” “We believe this is in the best interests of our student body, as it reduces barriers to accessing support and advice. We understand a wholly zero-tolerance stance adds to the harmful and damaging stigma that may prevent our students accessing the plethora of support available on campus. “However, a harm reduction stance does not mean antisocial or criminal behaviour is acceptable. Any misconduct will still be addressed robustly through the Student Disciplinary Regulations and any student found to be involved in the supply of illegal drugs will be referred to Greater Manchester Police.” Following the University’s announcement, the Students Union’s Activities and Development Officer told The Mancunion: “It’s not the end of the fight at all, that’s why I’ve been very hesitant to call this a victory because this is three months worth of lobbying. But it’s just the start. This is just a formal commitment to review but we don’t even actually have a policy. I pray by the time I leave this Officer role that we will be able to start the 2022 academic year with a harm reduction policy that’s official and a crystal clear message for all the incoming freshers. Freshers and Halls are the main area that we’re going to be not just a counselling service but halls because we know that that’s where my students come in and that’s where they need the education surrounding drug use. Finally, I’m ecstatic at the news, but it’s not the end of it, however I am going to remain optimistic.“

8 Sport

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

From Labs to Laps:

Grace Harvey’s Paralympic Triumph Third-year immunology student and Paralympic silver medallist? Read all about Grace Harvey Photo@BritishParalympicAssociation

Emily-Reilly O’Donnell Sports Writer

hird year immunology student, Grace Harvey is back in Manchester following a spectacular inaugural Paralympic Games. In Tokyo, they earned a silver medal in the SB5 100m breaststroke. Grace made her senior swimming debut in 2018, the same year she commenced her studies here at The University of Manchester and has since gone on to cement her position in the GB team, as well as progress in her degree. Grace had her sights firmly set on Tokyo ever since 2016 when she was only half a second off qualifying for Rio. Hundreds of training sessions, many lectures and a pandemic later, Grace was in the Japanese capital. It is hard to fathom the diligence required to combine studying at university while also being on the rise to becoming one of the world’s best sporting talents, but Grace commended the University for their support throughout this journey. She studied for second year part-time and chose to take a year out in the build-up to the Games, saying that she “didn’t want to have any regrets,” about not pursuing both; her sporting and academic ambitions to the maximum. The indisputable passion Grace has for her sport can be personified in the images of her swimming in an inflatable pool in her garden throughout the first lockdown, with a resistance band attached to her, held by her dad. Grace confirmed that this unconventional training “only reaffirmed” how much she loved sport and “loved training,”

and that going to a local community carpark for circuit training and buying a rowing machine on eBay, were what kept her Paralympic dream alive. Grace’s immense mental resilience is evident in that nothing, including cerebral palsy, has held her back, including her ability to maintain focus in both her studies and her sport. Grace said it was the belief that she would only get out as much as she put in that fed the “I never skip meters” mentality that carried her from Manchester, all the way to the Paralympic podium. Grace is a true advocate for being a world-leading sportsperson while studying in Manchester, as she recognised that the University offers great support through the sport scholarship program and Greater Manchester is home to such a wealth of sporting pedigree, that she feels “privileged to be a part of.” Following a holding camp in Suzuka, Grace described the feeling of arriving in the Paralympic village as “surreal,” and told us that her first impression of the pool included realising it was “the kind of venue you had only ever dreamed of competing in.” Despite being heartbroken that her family could not be in Japan to join her celebrations, Grace thanked them for their support and sacrifices in getting her there, by tugging her ear while on the podium, having been gifted her earrings as a mark of good luck. Upon asking Grace what she will take away from the Paralympics, she answered it was the feeling of being “accepted” and “not an odd one out for being in a wheelchair.” Grace also highlighted that inspiring people to

watch “elite para sport for the first time,” was one of the many unexpected joys of competing in Tokyo. Focus has already turned to Paris 2024, in what will be Grace’s nearest opportunity for a ‘home’ Games and she already has her eyes set on going one better, admitting “I want to hear the anthem being played for me!” Grace hopes to carry on studying here in Manchester and read dentistry once she has graduated with her immunology degree. Grace’s aweinspiring sporting talent combined with her academic prowess is testimony to her gritty attitude, that we can all be inspired by. We have the opportunity to give Grace the feeling of a home crowd, in the wake of an empty Paralympic stadium when the Commonwealth Games come to Birmingham next summer. If you, too, feel animated by her story, the official Birmingham 2022 website will announce further opportunities to buy tickets later this year.

Features 9

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

How to: find love at UoM Is your love life lacking after lockdown? Here are some handy tips to get the ball rolling again and find your soulmate on campus!

earning for the tender touch of another? Heart aching for a kindred spirit? Or simply desperate for a shag? Finding love can be difficult these days, especially since we’ve all lost our pre-pandemic social skills and getting engaged to the person you dated for two months at 16 is no longer the done thing. Rest assured, there are plenty of hot, intelligent people here at the University of Manchester – we are apparently the 11th most attractive university in the country. Though anyone who believes that we rank so low surely has not seen model-slash-fitness influencer Freddie Pearson roaming the AMBS corridors. So, it’s just a matter of ensnaring one of these sexy young things for yourself! Here are 8 best ways to go about securing a peng ting for your bed: 1. Get yourself a library crush. Make awkward eye contact with the fit person who always sits opposite you in the library, create rich scenarios involving them in your head, and get disappointed when they don’t turn up. You could even go so far as to exchange coy smiles after a few weeks. It will reach its natural end when one of you graduates and you never see each other again, each existing in your respective minds from then on as the one who got away. Even though the only words you ever actually exchanged were during that one time you both accidentally got up to go to the toilet at the same time, and you had to awkwardly thank them every time they held a door open for you all the way from Purple 4 to the Blue 2 toilets.

2. Post on Mancfessions. The anonymous confessions page is the perfect way to bravely confess your love to your first year flatmate who you regret not committing flatcest with, and whose nice, polite new partner you can’t help but hate. When they react badly in the comments you can pretend it was a prank, or that it can’t possibly be the same SJ from Milton Keynes who lived in Richmond Park Flat 23 Room 6 from 2019-2020 … 3. Wear the Bumble merch that their student ambassadors give out. This will signal that not only are you on the dating-app grind, but also that you are up for real-life dating. Also that you’re really cool. 4. Go to the supermarket in your Friday-best and stand by the biscuits looking enticing. Choose the shop depending on the type of partner you are looking to attract: Fallow Sainsburys for a posh London type paramour, or Rusholme Lidl for a ruthless, bargain-hunting lover. ‘Accidentally’ reach for the same pack of bourbons, brush hands, and the rest is pretty self explanatory.

“

Rest assured, there are plenty of hot, intelligent people here at the University of Manchester - we are apparently the 11th most attractive university in the country.

“

Serafina Kenny Features Editor

5. Do something mysterious on the bus. Ever noticed that gorgeous pink-haired person reading Marx on the fancy, economically friendly 43? Or remember that handsome individual with a skin fade freestyling over Stormzy backing tracks at the back of the 142? Yeah, thought so. Stand out and look sexy. You might just have a Mancfessions post written about you by your enraptured audience by the time you get home … 6. Go to a student music night. Make eyes at the sexy guitarist/ drummer/ singer. They will one hundred percent be able to see you through the glare of the slightly mispositioned stage light and they will one hundred percent fall in love with you, the very keen dancer in the front row who knows none of the words to their songs. 7. Go to AU (Athletic Union) nights. Buy a drink for someone in a first team. This might not be a good shag, or result in a relationship built on mutual respect, but they will at least be very fit. And it will be a decent flex for you to say you slept with a BNOC. 8. Go to house parties. Get off with as many friends-of-friends as you can. You want to really reduce your options for potential housemates – bonus points if you’ve been invited to the party specifically to get to know them as possible housemates, but end up going home with them. And once you’ve found the love of your life, you can look forward to telling your kids about the terribly romantic way you met. That is, until they break it off after 3 weeks because they just need to, like, focus on themselves. Just before you see them with their tongue down someone else’s throat three days later at Quids In.

10 Science & Tech

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Not-so-sci-fi: Could science reanimate the dead? Every autumn, we know that the leaves will change and fall from trees, but what is the science controlling beautiful phenomenon? Anna van der Zwaluw Science Writer

ll around campus, the signs of autumn can be seen creeping in. Namely in the form of the leaves changing colour from green to yellows, rusts and bronzes. Although it seems magical that the plants know to undergo this spectacular transformation every year, it is actually all explained by something perhaps even more astonishing – science! The first questions we all probably have are: what gives leaves their colour in the first place, and what causes the dramatic change when autumn comes around? Leaves contain different pigmentswhich evoke different colours (shown left). Each pigment absorbs different wavelengths of light emitted by the sun, and the colour they appear corresponds to which wavelengths are reflected. The light absorbed is required for photosynthesis, when light energy is converted into chemical energy which can be used by the plant. The changes in pigments are aligned with the change of weather and daylight hours during the autumn season. The earth is tilted furthest away from the sun in winter and closest to it during summer. The north and southern hemispheres tilt in opposite directions, so the seasons occur at opposite times too; when it is winter in the north it is summer in the south, autumn in the north is spring in the south, and vice versa. During autumn, the earth tilts further away from the sun than during summer. This means that the amount of daylight received in 1 day (1 spin of the earth on its axis) is reduced. Nights are longer and days are shorter. Daylight hours also decrease with latitude; the curvature of the earth due to its almost spherical shape means that regions with higher latitude (closer to the poles) receive even less light, as they curve away from the sun. The earth’s curvature also affects light intensity in autumn. Higher latitudes have greater curvature in relation to where the sun is above the earth, so the amount of sunlight is spread over a greater area.

The sun’s rays must also travel through more atmosphere before reaching the earth’s surface, which decreases their intensity. Tilting away from the sun during autumn furthers this. The combination of reduced daylight hours and decreased light intensity during autumn causes the cooler temperatures that are associated with the season. How do these changes affect the colour and presence of leaves? Cooler temperatures and less direct sunlight cause the breakdown of the pigment chlorophyll. Most of the chlorophyll’s nutrients are extracted from the leaves for use by the rest of the plant, revealing yellow xanthophyll and orange carotenoid pigments. These are always present in the leaves but are usually masked by the green chlorophyll. Cool temperatures and bright light at the end of the summer contribute to anthocyanin production, which causes the red colouration of leaves. All of these pigments are slowly degraded during the autumn season and their nutrients are absorbed, eventually causing the leaves to turn brown. The production of the plant hormone auxin decreases as days shorten and temperature cool triggers elongation of the abscission layer, a layer of cells formed in the spring where the leaf stalk joins the stem of the plant. This thickening weakens the attachment of leaves, eventually causing them to fall. This process is known as abscission. What is the purpose of colour change and leaf fall? The simple answer is because it provides evolutionary advantages. Photosynthesis has high energy and resource cost. Most importantly it requires light, which (as we have just covered) there is very little of in the colder and darker seasons. The autumn changes occur in preparation for winter, where trees can instead conserve energy by staying in a state of dormancy. But scientists now believe colour change may have other benefits. The red anthocyanins produced in autumn are thought The earth’s axis has a tilt of to protect the leaves from 23.5°. This means that at damage due to the effects of different times of year – different stages in the earth’s light at low temperatures. This shielding allows time for the 365.25-day orbit of the sun – earth’s hemispheres plant to reabsorb nutrients are tilted further away from the breakdown of the or closer to the sun. other pigments. This is what causes the Autumn colours could changes in weather also be a form of co-evolution, and daylight hours associated with seasons. warning insect pests such as aphids that the tree will shortImage: Sam Bronheim @ Canva ly stop producing sugars and simultaneously ridding the plant of these parasites. This benefits both the tree as the host and protects the insect pests. Shedding leaves helps trees to avoid desiccation (drying out) during winter by preserving moisture in their branches and trunk. It is so intricate and fascinating how and why these changes take place. So, next time you travel up to Oxford Road and see the changing trees, take a moment to appreciate the complex science behind how autumn creates such a beautiful colour palette.

Plants can be sexy too We might find plants appealing to look at, but to each other the sex appeal is rampant Jess Ferguson Science Columnist

ew people probably look at plants and think “wow that’s the sexiest thing there is” (but if you do, I’m not here to judge about what you get up to with your cactus). Human opinion aside, we aren’t exactly the target audience for plants. They’re after pollinators who will spread their pollen to other individual plants. Most people are taught that the main reason flowers look so pretty is to attract these pollinators, but other plants have evolved new, and granted pretty weird, techniques to help them with their sex lives. It’s not all pretty petals in the plant world.

Skunk cabbage. Photo: Jean Gazis @ Flickr

The skunk cabbage, found in New Jersey in the early, colder months, produces a scent that has been compared to rotting flesh. This odour spreads for miles to attract (yes attract!) the few insects around in this cold season. The Jack-in-the-pulpit plant found in Pennsylvania has a cone-like shape with a flap over the top of it. Bees are attracted to the dark interior of the cone but get disorientated once they are inside as it becomes too dark. They get covered in pollen and can only escape out of the small hole at the bottom of the plant, where they can then leave and pollinate the female flowers. Seems fairly harmless, right? Skunk cabbage. Photo: Jean Gazis @ Flickr Well, female plants don’t have this nifty escape-hole. When the bee enters and deposits the pollen it ends up dying, trapped inside the plant. All in all, a pretty cruel way to thank an insect for helping you reproduce.

Hammer orchid. Jean and Fred @ Flickr.

Perhaps the weirdest looking plant of them all is the hammer orchid. This plant mimics the females of the insect, the thynnid wasp. In this species, the mating process requires females to be picked up by the males. This plant tricks the male into latching on to its false-female, causing him to pick up pollen instead of a lovely mate. For the pollen on the male wasp to be transferred onto another plant he has to be fooled again! Poor wasps... even in the plant world cock-blocking claims various victims.

Science & Tech 11

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Intelligent plants and their senses How much do plants understand about their surroundings? Maybe more than we think... Lauren Manning Science Writer

few years ago, my biology teacher gave me a book: Brilliant Green – The Surprising History and Science of Plant Intelligence. It was her attempt to convince me of that which she had failed to do so far: plants are interesting. To my surprise, it worked. The authors, Stefano Mancuso and Alessandro Viola, present a novel perspective on the world of green. In doing so, they help us question our idea of what intelligence is and who (or what) we apply it to. Key to this intelligence is the ability to perceive the world around us, which we do through our five senses – touch, sight, smell, taste, and hearing. Plants use their own versions of these same senses to perceive and react to their environment. Touch The most obvious example of a plant responding to its surroundings would be the Mimosa pudica, also known as the “sensitive plant”. When touched, the highly responsive hairs lining the leaves trigger the lead to fold inwards as a defence mechanism. Special red cells on the surface of the leaves act as mechanoreceptors that generate electrical signals to activate excitable motor cells, resulting in movement. Another well-known example is the Venus flytrap, a carnivorous plant that similarly uses tiny touch-sensitive hairs to trigger the leaf to snap shut, trapping insects within. Similar to the responses of animals, these movements are caused by fast electric signalling. In addition, these plants clearly show the ability to sense mechanical stimuli – very like the animalistic

sense of touch. Sight Sight is defined as ‘the power of perceiving visual stimuli’. For us, that power requires an eye that contains photoreceptors. Plant photoreceptors can be found throughout their leaves and stems and can detect wavelengths of light our eyes can’t in the red and ultraviolet segments of the spectrum. Plants use different photoreceptors to absorb different wavelengths of light, and thus react differently to each of these wavelengths, as well as to shadows. They can also sense the quality of the light and the direction from which it’s being received. This heightened sight is the product of how important light is to plants. It dominates their entire existence. Mancuso, one of the authors of ‘Brilliant Green’, sums it up as, “having plenty of light, for a plant, is what being rich is for a human”. It’s well known that leaves grow towards light, and that roots grow away from it. However, there are other, more complex examples of plant sight. The wood vine Boquila trifoliata can change the size, shape, colour, and orientation of its leaves to mimic those of the host plant it grows on. This incredible behaviour allows leaves of the same vine to match their unique surroundings, essentially camouflaging the plant within its host’s leaves. The vine can see its neighbour and copy what is seen. Smell Plants use smell to communicate. They produce scents that each convey a specific message of danger, attraction, or repulsion, amongst others. It’s common knowledge that flowering

The best apps for plant parents Sometimes our plants need a little bit of extra love, and these apps will help you give it. Liliana Newsam-Smith Science Writer

niversity accommodation, whether you’re in halls or moving into a student house, isn’t always the most luxurious. One instant way to add some décor and life is plants. They can help brighten up or enhance any area but can also be a lot of work and hassle. Magna, my Monstera plant, who I have had since the beginning of my second year is not having the best of times. So, in a quest to save my gorgeous Magna and to help any other plant lovers – this article will alert you to a few apps that might help with your plants and their needs. I hope some of these apps may come in handy for looking after your botanical babies and I especially hope they help my sweet Magna to recover and get back to her normal self.

Florish

This app has a few similar functions to Planta, it allows you to upload your plants and receive information on their origins. It tells you about appearance and growth milestones to help you be able to identify any problems and provide personalised care instructions. One particularly cool feature of this app is a quiz you can take which then suggests the best plants to purchase for certain spaces dependent on light intensity and distance from the nearest window. This could be great for helping you choose the right plant for you and your room, as well as opening your mind to plants you may have never even heard of.

plants produce odours that attract certain insects for pollination. However, plants can also perceive smells. The surface of their cells contain receptors for volatile substances which trigger a signalling cascade to communicate information to the entire plant. Cuscuta pentagona, a parasitic plant that sucks nutrients from the stem of its host, probes its surroundings, and grows towards its food source. In one experiment, swabs containing tomato stem extracts were placed around the Cuscuta plant, while swabs containing the solvents were used as a control. The Cuscuta plant grew towards the cotton giving off the tomato smell every time, indicating it was, in fact, the smell of the tomato plant which stimulated its directional growth. Furthermore, the plant displays preferences for its food – given the choice between a tomato plant and a wheat plant, the Cuscuta will always go for the tomato. This decision is based on the chemicals given off by each plant, which either repel or attract the Cuscuta plant. It must then follow, that it is able to distinguish between the chemicals and the odours they create. In other words, it can smell. Taste As the senses are in humans, taste and smell are entwined in plants. Whereas smell involves volatile chemicals, taste is revolves around soluble chemicals. When under threat, plants release volatile chemicals, such as methyl jasmonate. Methyl jasmonate diffuses through the stomata of nearby plants and is converted into soluble jasmonic acid. This molecule attaches to receptors within the leaf, triggering defence responses. In this way, plants use taste to communicate with their neighbours.

Candide

If you want something more advanced, this may be a good fit. It’s a little like social media for your plants, where you can share photos of your plants and see others’. It is a community app where you can ask questions and get help from other plant parents. There are also plenty of articles on anything you would want to know plant-related. Candide also has a marketplace feature that allows you to buy, sell and swap plants with fellow green thumbs. This may be helpful for anybody looking for a specific plant or for those on a budget but still wanting some botanical friends.

Bonus App: Forest

Hearing Hearing is the most controversial of plant senses. It may not seem obvious how detecting sound would be relevant or beneficial to plants. However, the ability to hear certain sounds, such as vibrations generated by insects or sounds created by other organisms surrounding the plant, would clearly be advantageous. The earth conducts sound vibrations, and plants use this to detect the auditory world around them. Their mechanoreceptors, used to sense tactile stimuli, also allow them to detect these vibrations. Experiments have shown that these vibrations influence root growth, a mechanism described as “phonotropism” (from the Greek phonos, ‘sound’ and trepein, ‘turn’). The benefit of this behaviour is not yet understood. Other research has revealed that trees produce ultrasonic vibrations during drought. It is hypothesised that this may be a signalling mechanism to inform other trees of the dry conditions. While we may not know what use hearing is to plants, it’s apparent that they can detect sound. Plant intelligence It’s evident that plants can gather sensory data from their surroundings, integrate it and respond appropriately. The interesting, and puzzling, part is how they do this without a brain. Mancuso argues that our human-centred view of the world prevents us fully appreciating the intelligent nature of plants. Their evolutionary path is so different to ours that a completely different view of existence is required to understand the complexity of plant life. Plant intelligence may not look like human intelligence, but it definitely seems to exist.

PLANTA

Planta is an extremely helpful app that enables you to add the plants you have in your home, specific to the room they are in and their light levels. The app uses a light meter mechanism to detect when levels are too high or low. On the app, you can add a profile picture and nickname for your plants, and receive a detailed method of how to water your plants depending on their species. You can also opt into notifications to remind you of the right time to do so - which is a necessity when you have 100 other things you need to remember to do!

Forest is an app for anyone that struggles with procrastination and needs some incentive to avoid going on their phone when they should be working. It plants a tree after a certain amount of time, of your choosing, and then if you remain on the app for that time a virtual tree is planted in your forest. You also earn coins as you add trees that can be used to plant trees in real life – a way to help the world as well as help yourself. One downside is that Forest is not free, but Flora is also an alternative option if this is a problem for you.

12 Opinion

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Driving (HGVs) home for Christmas Johnson’s hypocritical good will gesture is rejected by migrants who can do better than play Santa to Brits this Christmas Annie Dabb Opinion Editor

he UK government have authorised

the

acceler-

ated training of Heavy Goods Vehicle (HGV) drivers and the issuing of emergency 3-month visas so migrants can fill those roles. 5,500 of these visas will also be reserved for poultry workers, ensuring that British families can g e t their turkey Christmas dinners – so as to “prevent a chaotic” festive season. Without wanting to inadvertently invalidate individuals’ experiences, the stress of Christmas shopping seems to pale in comparison to the chaos of the UK’s immigration system – even with the current UK gas

demonstrates the hypocrisy of our

insufficient government schemes.

Tory party’s advocation of tax in-

government. It is, without a doubt,

As a result, food banks are warning

creases, Sunak continued his tirade

these poor decision-making strate-

of smaller food packages in order

against foreign labour in his insin-

gies that have contributed to what

to satisfy alarmingly high demand.

uation that Starmer’s Labour Party

Transport Secretary Grant Shapps

Nevermind a turkey Christmas din-

‘weren’t serious with their money’.

has described as a “very difficult

ner, these are families struggling to

Of course, if the Conservatives were

18 months”. I imagine it has been

get tea on the table on a daily ba-

really that serious with their money,

even more onerous for UK migrants

sis. It is a clear example of the UK

surely they could afford more than

forced

mistreatment,

government’s gross inability to pri-

a 1% pay rise to the NHS. Especially

scapegoating, prejudice, and poten-

oritise those most in need, as well

after doctors and nurses saved the

tial deportation. That is until the UK

as its failure to comprehend the

lives of so many people during the

needs a foreign labour force once

financially

pandemic, the Prime Minister him-

more, as a result of its own poor gov-

extremities of a class crisis it con-

ernance. Did somebody say Brexit?

tinues to abet. This is, of course, in

“Transport Secretary Grant Shapps has described as a “very difficult 18 months”

conjunction with the £20 cut to uni-

endure

crisis causing Veruca Salts nationwide to stomp their foot, for fear that they won’t get their Amazon delivered Christmas gifts on time.

“It is a crisis that threatens the household bills of a nation in which 17.4% of its working households are already condemned to a rate of poverty” At this rate, foreign labourers don’t know whether to pack their bags or their lunch. Whether they’re going to be reunited with their families, often tragically separated in the search for employment opportunities, or be able to support them from afar. Perhaps we are eventually entering, as Paul Mason suggested 5 years ago, a post-capitalist era; a result of rising fears of the collapse of corporate energy giants. Although, it is far from the ‘forced destruction of the market from above’ that every Marxist-reading, bespectacled communist student dreams of. Rather, it is a crisis that threatens the household bills of a nation in which 17.4% of its working households are already condemned to a rate of poverty. Johnson’s offer of visa extensions to migrants as a temporary fix in this “period of adjustment“, as leader of a political party that has previously endorsed a ‘hostile environment’ policy, blatantly

Photo: Wolfgang Hasselmann @ Unsplash

dis- p r o p o r t i o n a t e

versal credit on the 6th of October which Boris Johnson deemed ‘inappropriate’ to stop. It is a glaringly, painfully obvious continuation of capitalism in the UK. This is an economic system

self amongst them.

“The Mayor of London, succeeded in wasting £43 million of the public’s money on a garden bridge that was never built”

that ensures that big corporations Victims of the Tory party’s xen-

like Amazon can make as much

Unfortunately, I fear that Sunak

ophobic hostility – promulgated by

money as possible. You would think

may be either overestimating the

the likes of Theresa May and Priti

that after the year and a half we’ve

judgement of the British population,

Patel – are now being appealed to,

all had, the last thing on people’s

albeit in favour of the Tory party,

to propagate UK capitalism. This

minds would be material gifts. If the

or more likely, overhyping the sup-

doubly oppressive exploitation is

pandemic has taught us anything,

posed transparency of the British

surely one of the greatest ironies of

surely it’s that people ought to ap-

government. How else would the

the government’s plea for foreign

preciate actually being able to sit in

Conservatives still have a majority

workers. In Armando Lanucci’s sa-

the same room as Grandma without

UK vote, with a leader who in 2017

tirical comedy series VEEP (2012),

coughing and accidentally killing

as the Mayor of London, succeeded

Dan (played by Reid Scott)’s joke

her. Even if Grandma was one of the

in wasting £43 million of the public’s

that a border fence would ironically

ones whose ‘leave’ vote has led to

money on a garden bridge that was

only be affordable with immigrant

our own self-inforced European os-

never built, and left office with four

labour is a bit too close for comfort. One need only switch out electric barbed wire for Amazon conveyor belts. In almost dystopian fashion, the government’s appeal for foreign labour is for drivers of the same vehi-

“ Suddenly, the

Conservative Party doesn’t seem as ‘transparent’ as Sunak claims it ought to be”

cles which so often become hearses

of London’s boroughs in the top 10 of the UK’s poorest boroughs? Perhaps the best way then to prevent (further) chaos this Christmas doesn’t start with the HGVs or at the poultry farms, but rather with a direct deconstruction of the UK’s hostile immigraton policies.

for illegal immigrants. Only too of-

tracisation. Christmas is a time for

All I want for Christmas? No, not

ten we see news headlines report-

forgiveness after all.

you (sorry Mariah), but instead a

ing lorries of migrants who have

The irony then, of Johnson’s

‘humane immigration system’. One

suffocated to death, having reified

criticism of UK mass immigration to

which doesn’t ‘scapegoat migrants,

themselves as contraband in search

create a “low wage, low skill econo-

nor blame them for economic fail-

of better opportunities within the

my” whilst proposing “three month

ures’, but which does have ‘employ-

UK’s borders. Hordes of people de-

working visas for European truck-

er sponsorship, work permits’ and

sire entry into a country which, at

ers” could not be more acute. Couple

‘visa regulations’ which work

any time other than the season of

this with chancellor Rishi Sunak’s

“for the many, not the few”.

goodwill, is only too willing to enact

speech at the Tory party conference

a policy of animosity towards those

in Manchester in October, in which

whose skilled labour it now so des-

he advocated for the reformation

perately needs.

of “high skilled visas to attract the

Another tragic but not altogeth-

best global talent“. Suddenly, the

er unsurprising aspect of the HGV

Conservative Party doesn’t seem

service shortages is that, as usual,

as ‘transparent’ as Sunak claims it

it is affecting working-class families

ought to be.

who already rely on charities and

Alongside his defence of the

Opinion 13

ISSUE 5 /29th November 2019 WWW.MANCUNION.COM

Oxfam board game controversy

TERFs tirade against Oxfam TERFS take to Twitter to lash out against Oxfam for pulling a boardgame including JK Rowling and ignoring their own transphobia Aine Eastwood Opinion Writer

ell, here we are. Another day, another outcry because someone, somewhere, acknowledged that transgender people exist. This time, the well-known charity shop Oxfam has found itself at the mercy of the ‘gender-critical’ mob (the politically correct term for ‘transphobes’). These critics have denounced the charity and seem all but ready to storm the shops with pitchforks and torches- all over a board game. The story began early last week. News broke on Twitter and in tabloids that the charity chain would be removing a board game entitled Wonder Women (which included figures like Jane Austen, Marie Curie, and Rosa Parks) from its shelves. Oxfam’s reasoning behind pulling the game was somewhat vague, saying they removed the game because of ‘concerns raised by trans and non-binary colleagues,’ but not specifying what those concerns were. Those who had heard the news were left to make up their own minds about the reasons behind this. Featured in the game was Harry Potter author JK Rowling (who not only doubled but tripled down on her transphobic views last summer), and so there was the narrative. Oxfam pulled the game because trans people hate JK Rowling. Unsurprisingly, the decision was met with immense criticism and anger from gender-critical circles. Unlike the trans community and its allies, these circles hail Rowling as a hero. After penning her “essay” last summer, she became more or less the face of the TERF (transexclusionary radical feminist) movement. Rowling was celebrated for taking such a brave stance, if you believe that displaying contempt for trans people is something brave, that is. For this particular group, the issue extends beyond Rowling. Since this incident was just another example of the trans movement ‘erasing women and their achievements’. Once again, the woke crowd was coming in and destroying the progress of second-wave feminism. The charity were branded as cowards at best and misogynists at worst. Many proud self-proclaimed feminists announced they would never buy from Oxfam again. Except, as it turns out, the issue had little to do with Rowling at all. After an anonymous Oxfam volunteer reached out and shared the story on Twitter, it became clear that the real issue people had with the game was the inclusion of Canadian actor Elliot Page. You may remember in December of last year, Page came out as transgender, and so it’s not difficult to see why his inclusion in the game made trans and non-binary colleagues uncomfortable. It’s not unreasonable to be upset that a trans man was included in a game about inspirational women, and that he was dead-named too. It should be noted that the game was made before Page’s transition and that due to a rushed process, the game was not well-checked by Oxfam staff. It seems to be more of an unfortunate mistake on Oxfam’s part rather than a malicious attack, and the Oxfam employee treated it as such in the statement. Furthermore, as soon as the news got back to the company that produced the game, a replacement was commissioned and offered to Oxfam. So in truth, the situation is nowhere near as dramatic as the TERF crowd made it out to be. Oxfam did not pull the game because trans people hate JK Rowling. Although would it really be unfair of trans people to be upset that a woman actively helping to take away their rights is being

called inspirational? Nor was it an attack on women’s achievements. It was simply a case of not wanting a trans man to be included in a game about women, something you’d think these proud “feminists” would agree with wholeheartedly. It might be easy just to laugh at this and move on. However, this incident reveals uncomfortable truths about the goals of gender-critical feminism and its standing in the British media. The Twittersphere was full of gender-critical feminists disavowing Oxfam. They promised to avoid shopping there in the future, and cancel their monthly payments. One former volunteer at the shop even handed in her notice, citing this incident as the reason. Oxfam is far from the only charity in the UK, but it is one of the leading ones. And it has a particular focus on advancing women’s rights in developing countries. Whilst it is not exempt from criticism, seeing so many self-righteous feminists turn their backs on it completely, vowing never to darken the door of an Oxfam shop again, doesn’t give the movement a particularly strong image. With this move, the gender-critical movement is sending the clear message that their contempt for trans people outweighs any other principle. If people still doubt that this so-called “movement” is a hate movement, and that it is simply trying to “protect” women, this should be pretty strong evidence. The push to ‘cancel’ a charity shop because they dared to show support for their trans and non-binary colleagues demonstrates a clear, chilling, prioritisation of their anti-trans agenda over anything else. Including work that improves women’s rights. Even more unnerving is how mainstream media treated the entire episode. The gender-critical crowd, despite their self-pitying cries about how “women’s voices are being erased,” have been receiving more than their fair share of support from the press. Maya Forstater (who you may remember had JK Rowling’s support last year) took to talkRADIO to accuse Oxfam of “changing their definition of women,” as well as flat out saying that trans women are not women. GB news had a presenter slam Oxfam as spineless, disrespectful, and misogynistic. In both instances, the issue of Elliot Page’s inclusion and dead-naming was not the focus of the argument, if mentioned at all. Instead, the narrative was one outrage at women’s lack of representation, at the expense of trans women. Now, I believe in a free press that shows both sides of the debate, even those I disagree with. What I do not believe in is the press platforming bigoted views and actively spreading harmful misinformation. You’d like to think public news channels such as these would require people to do their research before going on air, but that appears not to be the case. Even Sky News ran the story with a misleading headline that directly fed the transphobic beast. It fuelled the narrative of trans activists threatening women’s voices. It’s deeply disheartening and infuriating to see the mainstream media play this game of faux neutrality with the façade of ally ship. At the same time they’re amplifying anti-trans voices and pushing trans people into the role of villain. This is having a detrimental effect on the fight for women’s liberation. The gender-critical crowd can play the “gagged woman” card all they like, but this instance is just one of many that proves that when the chips are down, they can count on the mainstream media to be in their corner. The irony of this, of the people who mock others for being “too sensitive” losing their marbles over a board game, should be funny. If only the implications weren’t so unsettling.

“

The push to ‘cancel’ a charity shop because they dared to show support for their trans and non-binary colleagues demonstrates a clear, chilling, prioritisation of their anti-trans agenda over anything else. Including work that improves women’s rights.

14 Lifestyle

CULTURE

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

CRAMMING AND COFFEES: Study cafes near you!

The best cafes in Manchester for students to study in, think cheap coffee, lots of charging points and friendly environments...we've even included wifi passwords! Honor Mant Lifestyle Writer

ith a mounting pile of deadlines and chronic procrastination, I decided to write reviews about study cafés. As somebody who has a lot of online lectures, this was a refreshing break from the trudge to the library every day. The student-friendly prices are a small price to pay for a change of scenery and productive work. That being said, here are the cafés I recommend. Milk and Honey, Oxford Rd, 9:00-15:30 Eco-friendly and chilled, Milk and Honey has cracked the study café vibe. With studentfriendly prices (£1.50-£3.50 coffees) and clusters of different seating arrangements, it is the perfect balance between café and library. Staff have the monopoly on sound, and with the gentle bustle and background music, it is easy to get on with work without being distracted. The staff were friendly too, with there being no pressure to leave (I stayed 3 hours and only ordered one drink). Overall Milk and Honey is a relaxing place to work or meet friends. WIFI Password: MilkandHoney01 Charging ports:

Fuel, Wilmslow Rd, Mon-Thurs 11:00-23:00 If you’re worried about being distracted by noise, then Fuel is for you. The two-story café means it is easy to separate yourself from the hubbub of socialisers, without being completely out of the loop. Sash windows allow for a cool breeze and let in the perfect amount of natural light, keeping you switched on to the impending deadlines. Coffees are well-priced, ranging from £2 to £2.60, with the option of vegan milk costing 20p extra. Much like their WIFI password, I can confidently say that Fuel is cool. WIFI Password: Fueliscool448 Charging ports: Yes

Fig and Sparrow, Northern Quarter, Mon-Fri 9:00-17:00 With its earthy tones and warm lighting, Fig and Sparrow is the perfect place for grabbing a coffee and getting down to work. The range of seating options (smaller booths and long tables) allows for a relaxed atmosphere. Fig and Sparrow have also made being eco-conscious affordable, with their coffees ranging from £1.50-£2.40. These are served in sustainable mugs made from recycled coffee husks. Being a little louder than some of the other cafes, Fig and Sparrow is ideal if you’re looking to lose yourself amongst the crowd. WIFI Password: HelloSparrow Charging Ports: Yes

Blah, Wilmslow Rd, Wed-Sat 11:00-20:00 Cosy and quiet, Blah is a quirky hybrid of café/ vintage shop along Wilmslow Road. The rabbitwarren layout allows you to go alone and not feel the odd one out, with the choice of booths or large tables. Blah is exclusively veggie, offering a range of snacks and drinks (perfect if you’re working over lunchtime). Coffees here range from £1.70 to £2.50. Blah’s staff were super friendly, again with no pressure to leave during the two hours I was there. WIFI password: BLAH-123 (weak, had to use hotspot) Charging ports: limited

Sugar Junction, Northern Quarter, Mon-Tues, Fri-Sun 9:00-18:00 Located in NQ’s business district, Sugar Junction serves workers and socialisers, catering for all. The café provides single tables at the back for study, as well as communal ones at the front for meetings or socials. Don’t be deterred by the mix of bar and café, as it creates a positive atmosphere that will be sure to motivate reluctant workers. With coffee ranging from £2-£3, it is a small price to pay for the friendly staff and hours of work. WIFIPassword: allyouneediscake Charging ports: limited

Grace Kay Lifestyle Writer

our weeks into uni and I’m still getting to know all my flatmates. Who are the partiers? Who is a pansoaker? Who can’t cook? Who’s not attended a single lecture? And who still hasn’t done any laundry yet? As a resident of Oak House, I was sceptical about who I was going to be housed with and their general hygiene standards. I mean, who wouldn’t be? I’d read some horror stories online about Oak and its somewhat questionable reputation; however, I have to say that I have been pleasantly surprised. No one has drawn genitals in ketchup on our kitchen table yet, no one has thrown up in our shower, and no one has kicked in our front door or put t i n n e d

tomatoes in our kettle (unlike some other flats in Oak). We have, however, only got one working toilet. A crack has appeared, and our downstairs loo is out of order. There is now eight of us sharing our upstairs toilet, four girls and four boys. And it’s not that I don’t love the boys – because I do – but I’m not sure how much longer I can cope with the toilet seat being left up. It’s down to maintenance to sort it out before I have a serious meltdown. Rumour has it that Oak House was designed and built by prison architects, which sets the scene suitably. The pasty green walls and plastic kitchen chairs give the flat character and is nicely complimented by the ever-growing mountain of dirty dishes that blanket the kitchen surfaces. The retro curtains also add to the ambiance. Cupboard doors are hanging off their hinges and wheels have

fallen off chairs, but the walls, floors and ceilings are still intact, so I would call that a win. Unlike some other accommodation, we do have a cleaner, who without – we would be living in squalor (they really are doing God’s work). Unfortunately, we are liable for taking out our own bins, which is completed infrequently and with copious amounts of disgust. Bin juice and mouldy food causes everyone to hold out for as long as possible before disposing of a very heavy, very smelly, very full bin bag. Lack of sleep is a given, there’s always people milling about trying to find any “motives” at 5am on a Tuesday morning. It comes with the territory, and it becomes background noise after a few weeks. Not to mention the 9am grass cutting, leaf blowing and fire alarms that will interrupt the 3 hours of sleep you have managed to bag. As freshers flu still lingers, everyone is starting to settle in and Oak House leads the way for social life in Fallowfield – I, for one, wouldn’t change it for the world.

Horoscopes 25.10.21 - 08.11.21 Fortnightly Astrological Prophecies from Catherine Shatwell (charlatan in training)

Sagittarius (23.11 - 21.12)

Capricorn (22.12 - 19.01)

Aquarius (20.01 - 19.02)

Being privately educated, wearing ugg boots

Stop changing your opinions based on who

Wow. You’ve ‘discovered’ Of Monsters & Men,

and drinking a Starbucks Frappuccino does not

you’re talking to - everyone sees through it and

The Lumineers and Cage the Elephant? Daring

make you unique - You. Are. Tragic.

no one cares.

today aren’t we...

Pisces (20.02 - 20.03)

Aries (21.03 - 20.04)

Taurus (21.04 - 20.05)

Clunge Ambler from Ricky Gervais’ Flanimals -

You’re the one people don’t want in Secret

Google it.

You played The Sims for the plot.

Santa.

Gemini (21.05 - 20.06)

Cancer (21.06 - 22.07)

Leo (23.07 - 22.08)

To be honest, I forgot Cancer was a Star Sign. That’s how memorable you are. No one

You probably fainted during sex ed at school.

Even the kidnappers don’t want you.

remembers you.

Virgo (23.08 - 22.09)

Libra (23.09 - 22.10)

https://youtu.be/xvFZjo5PgG0

Find a decent Netflix series to fill the void left by

*that’s a zero on the end

all your friends leaving you.

Scorpio (23.10 - 22.11) “Can I speak to the Manager please?”

Sudoku

‘Inspired by’ Dr Kawashima’s Brain Training

Do-able

Fruit Cake

ISSUE 5/ 29th November 2021 WWW.MANCUNION.COM

DECEMBER 3

Cork & Canvas @ Escape to Freight Island

1 Fenne Lily @ Deaf Institute First Time @ Contact Theatre

Comedy night @ Matt and Phreds

Mystify - West Art Collective

Va n G o g h A l i v e @ M e d i a C i t y U K ABBA Xmas Disco @ Deaf Institute I Don’t Feel Anything - Drama Soc

Blond vs Orange @ Blues Kitchen Little Simz @ Albert Hall

Frost Fair @ The Whitworth Cavetown @ MCR Academy Bicep @ Warehouse Project

Didsbury Gin Festival Manchester Christmas Markets

la discotheque @ Albert Hall Die Hard @ HOME MCR

The Chemical Brothers @ WHP

Feel Funky Fallow @ XLR

AU Social Christmas Ball

Boxing Day @ HOME MCR

Dance Out - LGBT Foundation

The most depressing Xmas @ YES

Dance Out - LGBT Foundation Sampled Soul @ Blues Kitchen Va n G o g h A l i v e @ M e d i a C i t y U K Gremlins @ HOME MCR Comedy @ Escape to Freight Island Artisan Markets @ Stoller Hall X-MAS X-TRAVAGANZA @ Albert Hall Festive Gluten Free AF @ GRUB Hidden Xmas Festival - Wythenshawe park Blond vs Orange @ Blues Kitchen

15 Years of Hit and Run @ WHP It’s a Wonderful Life @ HOME

R&B Brunch @ Bierkeller

The Grinch @ Christmas City Drive-in

Escape to Winter Island Ice Rink Manchester Christmas Markets

Northern Soul Xmas Special @ YES

Bar Hütte

funkademia xmas @ mint lounge

Northern Soul Xmas Special @ YES

London Concertante @ MCR Cathedral

Ice Skating @ Cathedral Gardens Lightopia @ Heaton Park Va n G o g h A l i v e @ M e d i a C i t y U K

Retro Boxing Day - Depot Mayfield Castlefield Comedy Club

Vivaldi’s 4 Seasons @ St Ann’s

Comedy @ Escape to Freight Island

New Years Eve @ Fuel Cafe Bar

Va n G o g h A l i v e @ M e d i a C i t y U K Festive all-nighter @ 42s

The Book of Mormon @ Palace Theatre Manchester Weekday wind down @ Escape to Freight Island

Hidden NYE @ Hidden New Years Eve @ WHP

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

SAVE THE DATE - December Edition There’s a lot coming up this December and we’re here to make sure you don’t miss a thing. Whether you celebrate the festive season or not, there’s something going on for everyone!

Van Gogh Alive @ MediaCity UK

Mystify - West Art Collective 3rd December West Art Collective is running Mystify, a surreal, weird and trippy themed art and music event at Antwerp Mansion! As part of its zero-cost exhibition programme, they’re giving a platform for emerging creatives. You can buy tickets on Skiddle for around £6.

You’ve probably seen it everywhere already, but for good reason! Van Gogh Alive is a multisensorial, immersive art experience that’s made its way across 70 cities worldwide, and now it’s right here in Manchester until 23rd January. It would be a great xmas present for any of your arty pals.

First Time @ Contact Theatre 30th November - 4th December First Time is both written and performed by Nathaniel Hall, It’s a Sin actor and HIV activist. This production is part of Nathaniel’s on-going work to breakthrough the stigma associated with HIV, and it strikes a balance between education and art. First Time is running from 30th November to 4th December at Contact Theatre. Tickets are just £10 for students.

Boxing Day @ HOME MCR 3rd December Aml Ameen is branching out from acting to make his directorial debut with Boxing Day, the UK’s first ever Christmas rom-com starring an all-black cast. You can catch it at HOME from 3rd December.

Manchester Christmas Markets 12th November - 22nd December

The Comedy Store @ Escape to Freight Island 28th December Combat the post-Chrsitmas blues with some laughter. Comedy Store Manchester takes over Escape to Freight Island for their weekly residency. Enjoy all the food and drink of Freight Island whilst you enjoy some of the best stand-up comedy around.

They were very much missed last year, but the Christmas Markets are back! There are all kinds of gifts on offer, so your xmas shopping is sorted, and plenty of food and drink stalls to visit. Grab a Yorkshire pudding wrap, stuffed with meat, all the trimmings and lashings of gravy, and a pint to wash it all down with.

Cork & Canvas @ Escape to Freight Island 2nd December Go and paint with a pal at Escape to Freight Island. Led by Cork & Canvas resident artist Bethany Grace, you will have step by step guidance on creating your own canvas masterpiece. Tickets are £33 so it’s a bit of a spenny one, but it includes all the art equipment and it’s a bit of a change from just sitting at the pub on a Thursday eve.

Merry 80s Christmas @ HOME MCR 11th - 20th December HOME is bringing us Christmas spirit, 80s style. With a selection of action, adventure and horror, you can get into the festive season in front of the big screen. Get ready for cult classics like Die Hard, Gremlins, It’s a Wonderful Life, The Goonies, and A Nightmare on Elm Street!

I Don’t Feel Anything. - Drama Soc 1st - 3rd December

Dance Out - LGBT Foundation 6th & 13th December A fun, free and beginner friendly dance class for all LGBT women and non-binary people. These bi-monthly sessions cover a variety of dance styles, and give you a chance to move and meet new people. The class takes place at Studio 25, so go give it a whirl!

Bar Hütte barhutte.co.uk If you’re having a festive evening at the Manchester Christmas markets, make Bar Hütte a part of your trip. Tuck yourself and seven of your friends away into Alpine hutte for Xmas karaoke, or enjoy some mulled wine and live music at their Aprés Bar. They’re open Christmas Eve, Boxing Day and New Years Eve, so if it takes your fancy, book a hütte online ASAP.

The most depressing xmas of your life @ YES 10th December Not in the festive spirit? Going through a breakup? This night at YES is just for you. Another emotional power ballad and love song disco. Bollox DJ Zoe McVeigh playing b2b singalongs, emotional power ballads and love song disco. Expect Fleetwood Mac, Heart, Celine Dion, Maria McKee, T’Pau, Eric Carmen, Whitney, Bonnie Tyler, Kelly Clarkson, Meat Loaf, Cher, and plenty more to get the waterworks going.

UoM Drama Society is running an Autumn Fringe Festival with performances across December. (you can find the full calendar on their instagram @uomdramasoc). One such piece is ‘I Don’t Feel Anything’, created by Savannah Acquah Storey, Eleanor Haigh and Haley Yiu. This performance tells us the stories of three young people, dipping in and out of monologues from each character who tell us how they don’t feel anything. The performance is running from 1st-3rd December at Kings Arms in Salford, and you can buy tickets on the SU website.

PURCHASE

THROUGH

THE

@UOMFEMINISTCOLLECTIVE INSTAGRAM

ACCOUNT

CULTURE

Artwork by @clementinesphotos

20 Music

CULTURE

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

RED: Revisited

Taylor Swift’s RED boasts 10 ‘from the vault’ songs as well as a comprehensive rerecord of the original album Izzy Langhammer Food & Drink Editor “It was rare, I was there, I remember it all too well”

o goes Taylor Swift’s ‘All Too Well’, her blistering ballad released way back in 2012. An undisputed fan-favourite, it’s peak-Swift: raw, emotional and achingly attuned to the pains of lost love. Over the years, Swift has often referenced a 10 minute long version of the song in its first iteration. No wonder then, that with Swift’s rerelease of her 4th album RED , it’s this re-record that has been most hotly anticipated by fans, alongside other ‘from the vault’ tracks from the same era. If its original version recounts the fresh grief of heartbreak, then the 10 minute version rips the wounds open even further. It’s a powerful anthem to the feelings of anger, confusion, shame, longing and melancholy, as

well as exposing the more uneasy elements of an age-gap relationship. It’s a lot to fit in, so it’s no wonder the song rings in at an impressive 10 minutes, never once feeling weighed down thanks to the slightly pop-ified backing track. New lines such as “You kept me like a secret but I kept you like an oath” cut just as deep as the original, whilst her stronger vocals lend to the power of old lyrics. Swift has also released a short film starring Sadie Sink and Dylan O’Brien, which leans into the power dynamics and toxicity of the relationship that these new lyrics draw out. The film ends with Sink’s character, ‘Her’, all grown up (and portrayed by Swift herself) and a successful writer of a book about this relationship. This tongue-in-cheek reference to Swift’s own revisiting of her life points to the Through the Looking Glass quality of the whole rerecord project. Older Swift singing new-old lyrics from Young Swift’s perspective with new vocal range: it’s a lot, but it works.

If that doesn’t seem like enough, the album has 30 tracks, including 10 bonus tracks and featuring Gary Lightbody and Ed Sheeran (who appeared on the original RED ), as well as Phoebe Bridgers. The core album adheres diligently to its predecessor. Only ‘Girl At Home’ is strikingly different, and much improved for its new infusion of electro-pop sounds. This rerecord is the most telling, showing a Swift eager to move from her earlier country sounds to the sparky pop of 1989. With the distance of time, the tracks don’t have exactly the same raw quality as the originals, but this is to be expected. Her ‘vault tracks’ are all vintage Swift, ‘Babe’ and ‘Forever Winter’ standing out as particular highlights. So bundle up in your favourite scarf and take a walk through Platt Fields Park, “autumn leaves falling down like pictures into place”. RED (Taylor’s Version) is here.

“

I was one of those people who enjoyed Taylor Swift songs, but I was also heavily influenced by the misogynistic tone that surrounded media coverage of Taylor in the 2010s. As a 22-year-old, I can reassess the toxicity surrounding Swift’s image, which 13-year-old me failed to do at the time. I’m extremely excited for Taylor’s version of RED to be released because I’m eager to hear how her voice has matured, just as I have changed during these years too. It’s an album re-release to be celebrated. —Sophie Hicks

“

When the rerelease of RED dropped last Friday, it felt like everything I’d been waiting for. Taylor Swift’s lyrics feel so personal, almost as if she’s transferring them directly from her diary, and yet there’s a universality to her music that’s led to her undeniable popularity. The woman should have a PhD in heartbreak. It’s the vulnerability of songs like ‘All Too Well’ which feel like a punch in the abdomen, exploring a relationship from its dizzying inception to its crumbling destruction, that are so cathartic to listen to. Not all of us have had our hearts broken by an Oscar nominee but plenty of us know what it’s like to leave a relationship unresolved. The songs on RED (Taylor’s Version) fill those holes of incompletion; they add narrative structure and a sense of dramatic scope to all that dizzying frustration. I’ve always admired Swift’s ability to turn painful experiences into art and to do so with such poise and lyricism. —Pip Carew

When the first RED album came out in 2012, I was 12 years old. Not that that triviality stopped me from belting—along with millions of other pre-teens—lyrics about cruel exes and broken hearts that I knew nothing about in reality. Now, almost 10 years later, as I’m close to turning 22, and can put a face to the one I knew was trouble, thank goodness Tay Tay is back to remind us that “everything will be alright” (and that we are never ever getting back together, like, ever). The nostalgic re-release has reminded me of why this to me is peak Taylor Swift. I love the unexpected upbeat tone she’s given to songs like ‘Girl at Home’ and ‘Babe’ (from the vault). The painful lyricism, electronics and synth(!) added to her songs is somehow sad, beautiful and tragic, all at the same time. And of course, one has to mention the 10 minute version of ‘All Too Well’. With lyrics like “Asking me what happened: you. That’s what happened: you”, it’s a gorgeously raw moment in pop music. —Annie Dabb

Music 21

CULTURE

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Manchester Academy: GABS Bread Shed Takeover Music live in your SU! Maddie Drake Music Writer

Reece Ritchie Music Editor

anchester’s music scene is a large part of what attracts many prospective students to the city. Bands like The Stone Roses, Oasis, James, The Smiths, and more have created an individual identity here unlike any other. Manchester’s underground scene continues to support and grow talents like Document, The Goa Express, Phoebe Green, and Witchfever. Apart from on Christmas day, you’re likely to find at least one musical event occurring everyday in the city all year round. This musical identity is even better reflected with the University for Manchester’s Students’ Union. Within our campus, we have not one, two, or even three - but four musical venues delighting fans of all genres. Manchester Academy has a long and rich history detailed in their archives, with artists from Radiohead to Prince, to Pete and Bas, and everything in between. Yet, often enough when I ask other students about the shows they’ve been to at the Academy or who they’re going to see next they’ve not heard of it or been yet. It feels such a shame that students don’t know about some of the very best live music right on their doorstep. So here is everything you need to know about Manchester Academy!

Manchester Academy 1 Academy 1 is the largest venue within the student’s union. It’s been an active venue for just over 30 years now and holds just over 2500 hundred people standing or 1100 seated. Both its ticket office and main doors are located just to the left of the main Student Union building, decorated with stained glass. The venue has its own bars, cloakroom, merch stands, and even a balcony for certain guests. In recent years, dozens of notable artists have headlined here, it being one of the largest venues in the city behind Victoria Warehouse, the Apollo, and AO Arena. These include Billie Eilish, Sleaford Mods, Loyle Carner, and Slowthai.

Manchester Academy 2 Academy 2 was formerly known as the Main Debating Hall and sits on the first floor of the Students Union building itself. If you’ve stayed late working in The Hive you’ve no doubt heard artists

sound checking and prepping ahead of their headline sets here! Its ticket office is located on the ground floor of the students union and 532 is often packed with eager gig goers ready to experience another great live show. I’ve personally seen Arlo Parks, Oliver Tree, Pup, and more at Academy 2 just within my time studying my undergraduate here at the University of Manchester. There is always growing talent coming through these doors and Academy 2 is often the place to find the very best of it.

Manchester Academy 3 Academy 3 is all the way on the top floor of the Student’s Union, it shares 532 and its box office with Academy 2 and Club Academy. Academy 3 also has its own bar and merch area and is often the best place to find emerging talent coming into Manchester to play their first headline shows. The venue is also often used by students for various society activities, meetings, and performances.

Club Academy Club Academy completes Manchester Academies line up of venues, down in the Students’ Union basement it’s the smallest venue of the four. Formally known as The Cellar, Club Academy often welcomes DJs as well as Hip Hop artists to campus. Club Academy also hosts a variety of non-musical events from Drag Nights to themed shows. You can find more information on the student’s union’s website! In the next three months alone they’ll be the chance to see The Darkness, Kawala, Cavetown, Shed Seven, Ist Ist, Funeral for a friend, Afflecks Palace, Clairo, Blood Red Shoes, and more play all right on campus. All of these artists promise a great night out, supporting local bands and giving you a more interesting night out than your standard trip to Factory. I think it’s fairly easy to see why Manchester Academy holds such a special place in my heart, especially as a student at the University. I can’t recommend catching a show here enough, the venue staff and security are so friendly and always willing to help. We’re all so lucky to have access to these venues so close and would love to see our collective student body supporting Manchester Academy well into the future.

t’s a Thursday night in November and the Bread Shed is filling up with students for what I’m told (by the event’s lovely organiser, Robbie) is the biggest student band event in over three years. Gigs and Bands Society (GABS) have certainly made a name for themselves already! The first band, Odyssea, start twenty minutes later than planned (but it is a student event, so what was I expecting?). They’re the evening’s “mystery guest”, a four piece band who play their laid-back alternative/ funk tunes that, beneath the smooth bass fills and slick guitar solos, is very tightly pulled together. Their frontman is fun and engaging and his singing keeps you on your toes— they manage to do pull off a kind of slacker vibe without being boring for a second. They’re comfortable on stage, they’re good to watch and even better to listen to. Next on are Pyncher, who suffer some mic-stand related problems in their first song but they soldier through anyway. Their set starts off with a menacing guitar riff and the air in the room is instantly a little different. They’re fun on stage, despite their frontman admitting to being called “too shy between songs”. Their set gets serious. The drummer, who looks like he’s been having the time of his life takes his shirt off, which is

Their synth-organ gothic punk is twisted, perverse, and funny in a slightly sick way. Songs are filled with lyrical gems such as: “sea cucumbers: plenty/testing kits: not many” (‘The Narrative of Hugh Gordon Pym’) “if boredom doesn’t kill me it’ll be the corporate greed” (‘The Endless Shouting Tomorrows’). Proof of a memorable show, the band are handing out stickers after their set and people are appearing as if from nowhere to grab them. On last are Painters, fronted by GABS’ own Robbie Beale on vocals and guitar. After Furrowed Brow I wondered what Painters would do to follow but they don’t put a foot wrong. They play a few originals and a few covers, notably Gorillaz’ ‘Clint Eastwood’. These covers are all close enough to their sources that you don’t have Damon Albarn fans breaking down on their knees in the crowd but have enough of Painters’ special sauce drizzled over the top to feel like you’re seeing something new. Robbie in particular has some fantastic solos; I ask him about who he’s taking notes from and he says: ‘I’d like to think I’m looking up to J Mascis from Dinosaur Jr. and Jonny Greenwood of Radiohead but in reality, it’s probably more of a Hendrix/standard bluesrock kinda thing’. Dinosaur Jr. or no Dinosaur Jr., it’s an impressive end to a night that only promises more from GABS in the future. A £4 ticket for five bands in a night? Bring your mates down.

tone through her carefully curated setlist. When not enough enthusiasm and energy is given to one of her more upbeat tracks, ‘Trouble’, Crookes waves her hand quickly to the band to restart. It pays off, and the crowd belt out the first few lines. She apologises for telling everyone off but reassures it’s simply just her way of “showing love”. Further apologies come before another upbeat number, ‘London Mine’, when Crookes warns the crowd that, despite being in Manchester, she is about to sing about her love for London. The crowd playfully respond with an enthusiastic “boo”, which is only made funnier by the number of southern students that make up the crowd in Academy 2. Although, if Crookes is to apologise for her reference to London, she probably needed to apologise for every song she has ever written: her powerful and personal song-writing very much finds its foundations in her experiences growing up in South London, and in Crookes’ Bangladeshi and Irish heritage. It’s a theme that runs throughout her work, and ties together her debut album, aptly titled ‘Skin’. The appropriate culmination of both her album and her performance

voice comes into her own, and she becomes illuminated on stage with harsh bright lighting that shifts between clashing colours. As she sings out the last few verses, which include impactful, thought-out lyrics such as “melanin is not your enemy”, the crowd responds with a hushed, respectful silence before responding with an applause that not even Crookes can silence. It would perhaps be too simplistic a summary, but a poetic powerhouse would be a good way to describe Joy Crookes’ debut album tour’s arrival in Manchester. A memorable, fun, powerful evening, that left me even more in awe of the pure, raw talent that Joy Crookes possesses.

Joy Crookes’ Skin live in MCR Emily Turvey Music Writer & Designer

rainy, otherwise uneventful Sunday evening saw

London based singer-songwriter Joy Crookes bring her debut album tour, Skin, to Manchester. Thanking everyone for coming out on “the day of rest”, Crookes arrived on stage with an ease and grace that she maintains throughout the rest of her set. As she sips, ever consistent, from her Cherry B, Crookes looks relaxed before beginning a powerful, emotive and energetic performance to the soldout crowd in Academy 2. The fifth date on her UK album tour, Crookes has a quietly confident aura as she stands centre stage surrounded by her four male bandmates. Beginning her first track, her soulful, captivating tone fills Academy 2, and the crowd are somewhat stunned into silence by the live edition of her voice. It is not surprising that Crookes, with her powerful voice, careful and intricate song-writing and down to earth personality, has amassed such a loyal fanbase. The crowd sing along to every song, whether one of her more upbeat songs or the selection of songs she aptly warns is the “heartbreak section”. She is very much in charge of her audience, controlling the mood and

Photo @ The Mancunion

a clear sign. It feels like they settle into their set; the longer they play the better they get and the noisier they get, too. I can imagine them getting a bigger, drunker crowd worked up in no time. After another brief intermission of everyone either going outside for a smoke or to the bar for another drink, King Mob play chorus-soaked guitar to solid, heavy drums. The excitement is coming from their frontman, constantly punching at the air and gripping the mic stand as though by the throat as he sings into it. Before their last song, a cover of ‘Current Joys’ ‘melancholia’, he even offers me a charming gesture involving the index and middle finger of his right hand that makes me laugh. The cover is good and it suits them well. It feels as though it’s theirs, yet at the same time gives something the crowd could sing along to and sends you away with the impression of a decent set. Furrowed Brow are the fourth band to step onto their stage, and maybe the most memorable. The lead singer is immediately energetic, swinging the microphone around and throwing the mic stand (the latter an activity unfortunately disallowed was disallowed after the first song). He sings with his foot up on the monitors, standing on the speakers, pressing his forehead to the floor. There’s a garish drama that absolutely works. I’m almost struggling with the camera because every second is feels like it could be the great photo of the night.

in Academy 2 comes towards the end of her set, as she launches into the track ‘Power’. It is here that Crookes’

Charlie Owen @ Wikimedia Commons

CULTURE

22 Music

C A V E T O W N

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Rimmers Music @ wikimedia commons

Man’s Best Friend In Conversation

Reece Ritchie Music Editor

obin Skinner, better known as Cavetown, is a defining artist of our generation. A bedroom pop behemoth who started recording songs in his bedroom at age 14, Cavetown is now an international sensation in a tale as wholesome as it is timeless. Robin and I got a chance to catch up before his winter UK tour, supported by the incredibly talented Oso Oso and Sara Kays. Cavetown is set to play everywhere from Glasgow to Cambridge and will be making a stop to headline Manchester Academy on 5th December! If you haven’t gotten a ticket yet you can pick one up on Manchester Academy’s official website. You’ll not find a more enjoyable night of acousticallypowered tunes this side of the new year at least. “Manchester is crazy” is Robin’s most immediate thought when I ask him about our city. Robin echoes a common sentiment amongst artists when he reflects on our great cities’ responsiveness as a musical crowd. “It’s almost as if the crowd manifest having a good time in Manchester” he states. Not only is Robin “Really stoked!” to come back to Manchester but this time Cavetown will be bringing their new extended touring band, all the way from New York, to kill these shows. Cavetown’s live sets are soon to include new bassist Nick, whom Robin mentions is an “absolute sweetheart.” Nick

is also joined by new drummer Willaby whom Robin met through his tour manager, collectively these musicians join Robin and the rest of the band to play Cavetown hits like ‘Devil Town’ and ‘Juliet’ as well as the new EP Man’s Best Friend. When I asked Robin about the new EP, I could tell how much he relishes playing new music. “It’s hard to stay emotionally connected to older tunes” he reflects, mentioning ‘Devil Town’ and ‘This Is Home.’ It’s understandable that songs written six or more years ago might not hold that same spark they did when first played, especially when they were released over half of his career ago.

“Sometimes, you’ll have just played a show and you’ll be in a headspace where it all feels like a dream, that none of this ever happened and then you snap back to the present.” Cavetown has obviously benefited greatly from the release of tracks like these and Robin is quick to mention that they’ll always hold a special place. Robin would love to write more Cavetown records like these and the fan reception they always get does make him feel “super cool.” “It’s hard to predict what will stick” and fans still dedicate tattoos, pieces of art and more to these tracks. If you haven’t delved into Cavetown and his backlog of beautiful tracks you really should! Robin mentioned most of all he’s looking forward to

playing ‘Idea Of Her’ on the new tour, especially in Manchester. Skinner knows that it’ll translate well live and more than any other track recently, it snaps him back to his old self. “Sometimes, you’ll have just played a show and you’ll be in a headspace where it all feels like a dream, that none of this ever happened and then you snap back to the present.” It’s indicative of Cavetown’s humbleness and the relatability that fans relish from him so much. He continues this honesty when he tells me that he “never really made music for people to rally around” but that he always made music to help himself deal with life. He just feels super lucky that people do feel this way, he’s still not used to people feeling this way about his music but he loves every minute of it. Veteran fans of Cavetown will get to see Robin’s music in whole new ways during this tour, with the new additions to his live band. Not only will he be solely singing some tracks, but he’ll be playing guitar solos with his bandmates and switching up setlists. The band find that this “takes some of the pressure off” and should allow for more fan interaction which will be wonderful to see. As we wrap up our interview, I ask Robin if there is anything that he’d like to mention to the Cavetown fans. What followed was one of the most timely, thoughtful and beautiful statements I think I’ll ever take down in my career. “Have fun, take care of each other. I can’t wait to see you. Please wear a mask, I can still see you smiling through your eyes.

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

CULTURE

Film 23

The French Dispatch Review: Anderson unfettered - three reviews of three stories As a film that attempts to capture the array of stories being covered by the numerous journalists of the French Dispatch paper, it feels only fitting that we at The Mancunion follow suit as four of our journalists tackle the story that is Wes Anderson’s new film.

Benjy Klauber-Griffiths, William

Taylor, Pip Carew, Giorgia Ravera Film Writers

fter a year of waiting, Wes Anderson’s new canvas of operatic sensation has erupted, in characteristically flamboyant style, onto our screens. Filled with Anderson’s classic precision camerawork, raspy and hectic score, and more rectilinear shots than one would care to imagine, the picture is not just a masterful ode to print journalism but a gargantuan display of cinematic complexity… or is it? The French Dispatch begins in the office of Arthur Howitzer Jr (Bill Murray), the famous editor of New Yorker-esque paper The French Dispatch. Armed with his journalistic advice of “just try to make it sound like you wrote it that way on purpose”, audiences follow his team of trusty journalists in the three investigative stories (four if you include the much shorter Owen Wilson report in the first few ‘pages’) that make up the final edition of the paper. Anderson seems to catch a wonderful impression of France, both stereotypical, as if he’d never visited, but also wholly accurate, the winding streets and genial sense of the place. Undeniably a lot of fun, it is fantastically scored, wonderfully acted, and unapologetically eccentrically aesthetic. However, claims that this is the most Wes Anderson film of his career may be unfounded. Behind his iconic visual experiments is sentimentality and touching human quality. More than anything, Anderson’s ‘style’ is to write rich and emotionally sympathetic characters in some of the most obnoxious people. Monsieur Gustave in The Grand Budapest Hotel springs to mind. Haughty and pretentious, Anderson somehow foregrounds the man’s fatherly side beneath his veneer of self-entitled bombast. By virtue of its three distinct stories, The French Dispatch offers none of this touching depth. What is arguably the foundation of Anderson’s distinct style, the very thing that enables him to perform his eccentricity to the extreme, is the one thing absent in this new entry. And it shows. The stylised decor, the blunt humour so intent on not recognising itself as being funny, the wild haired charisma of its star-studded leads. All of it is there, but none of it has any meaning. The French Dispatch doesn’t give us long enough to get attached to its main characters, and whilst it does encourage fleeting moments of affinity, the emotional gravitas of his other pictures is glaringly lost. The French Dispatch is therefore a strange film, neither here nor there, not quite truth not quite fantasy. As is common in these films, it celebrates loss, a sort of former glory that can only be reached through this unique style of filmmaking. A milieu of stories leads to a milieu of opinions. Whatever you think of Anderson, here are three reviews of the three main narratives for you to enjoy!

The Concrete Masterpiece - The First Instalment in The French Dispatch

Written by William Taylor In the first article, titled The Concrete Masterpiece, J.K.L Berenson (Tilda Swinton) reflects on her time with the infamous artist Moses Rosenthaler (Benicio del Toro). Incarcerated for the murder of two men at a bar, Rosenthaler loses his passion for the arts, before meeting Simone, a prison officer whom he becomes quickly infatuated with. Inspired once again to pick up the paintbrush, Rosenthaler paints the abstract piece Simone, Naked, Cell Block J. Hobby Room. Fellow inmate and art dealer Julian Cadazio (Adrian Brody) soon convinces the artist to sell the piece and works to gain the tortured artist fame and recognition in the outside world. However, Rosenthaler’s stubbornness and refusal to churn out art soon cause problems for both men. The Concrete Masterpiece explores the problems created when art is monopolised, and the effect that pressure can have on an artist, and the art they produce. Cadazio’s opinion of Rosenthaler’s art varies dramatically depending on how much money he thinks he can make off it. Whilst amusing to watch, it seems possible that Anderson is making a comment about his own ‘artwork’. That art is personal and loses its meaning when capitalised on in this way, is central to this episode. The French Dispatch reaches new heights of symmetry and colour contrast. The effortless transitions from Anderson's usual bright colour scheme to black and white shows a contrast that mirrors the French towns' dingy past, and colourful present. The episode oscillates between these two contrasting colour schemes, enabling us to see both the vibrant colour of Rosenthaler’s art but also the figurative shapes once the image is placed in greyscale. Wes Anderson clearly favours certain actors, with The French Dispatch being no different. Benicio del Toro gives a wonderful performance as artist Rosenthaler, bringing depth to the mysterious character whilst Adrian Brody brings an element of comedy to the piece. Every actor fits their role as if they were written for them. However, the film and the episode can be particularly hard to follow at times due to how densely packed it is. Anderson is famous for his dialogue-heavy, yet boldly visual storytelling, although in this edition to his repertoire he may have gone too far. I believe that this film requires many viewings to be fully appreciated. The Concrete Masterpiece is hilariously existential and will leave you pondering the meaning of art and the dark side of artistic fame, or will simply leave you laughing.

Revisions to a Manifesto - The Second Instalment

Written by Pip Carew The second vignette in Wes Anderson's anthology, Revisions to a Manifesto, follows a student uprising in the fictional French city of Ennui sur-Blasé. Frances McDormand's stoical journalist, Lucinda Krementz, is sent to investigate the root of the students' angst and in doing so becomes entangled with their passionate, chess-playing leader Zeffirelli (Timothée Chalamet). What follows is a chaotic, poetic, and occasionally melancholic tale about the affiliation between love and politics. Anderson has often been criticised for prioritising style over substance and this certainly is a romanticised view of a world in which conflict can be solved by a game of chess. Although the story probes at some deeper themes of loneliness and the temporality of youth in the juxtaposing characters of Krementz and Zeffirelli, it never quite manages to get beneath the surface. Instead, Revisions to a Manifesto exists as a light satire of student activism and the myth of journalistic integrity. Amongst the usual menagerie of familiar faces is Timothée Chalamet, who holds his own against McDormand (brilliant, as always) as the charismatic student Zeffirelli. Chalamet is almost custom built for the Wes Anderson universe, with a quirky moustache and hair to rival the guy from Eraserhead. Zeferelli would not look out of place in the Northern Quarter. He spends most of his screen time partaking in the eccentric hobbies such as smoking and writing a poetic manifesto on a typewriter in a French café during a revolution. Standard Anderson. Zeffirelli and his peers are pretentious in a way that's specifically fun when you're only nineteen. Anderson captures that commitment to a cause in a frenetic, tongue-in-cheek script that despite never outwardly mocking its young characters for their political naivety, is very much aware of their youth. After all, students do love to protest and there’s a certain nobility in wanting to effect change in your surroundings, the intensity of which seems to fade with age. The most fascinating aspect of Revisions to a Manifesto is undoubtedly the China-doll structure that Anderson implements. The structure of a story within a story (and at one point, a play within a story within a story) is a testament to Anderson's ability as an auteur to delicately layer narratives over one another. The result? A rich, stylistically quirky tale with a host of well-renowned actors (catch the brief appearance from Christoph Waltz) dedicated to the optimism of youth.

The Private Room of the Police Commissioner - The Third, and final, Instalment

Written by Giorgia Ravera The colourful mosaic of lives portrayed in The French Dispatch lays its final feature with the vignette The Private Dining Room of the Police Commissioner. We follow the memories of Roebuck Wright (Jeffrey Wright), a food writer who has the ability to recall with extreme precision every line of every piece he’s ever written. The piece begins from the expedient of a live interview with a television presenter as the plot rapidly unfolds into the story of the police officer / chef Lt. Nescaffier, who saves the police commissioner’s son from a gang of criminals who had kidnapped him. Ranked among one of the finest cinematic and thematic works in Anderson’s 25 years career, the last story reaches the apex of the visual experimentalism cleverly built over the course of the movie. Through transpositions of coloured and black-and-white frames, changes in aspect ratio, switches to animation and liveaction scenes, and dynamic camera movements, the episode is a chaotic marvel. The vignette is also surprisingly un-Anderson at times. At points of tension, the director abandons the use of wide lens and deep focus to convey a sense of psychological isolation of the characters from the frenzied events happening around them. The episode displays two different narrative types: the comic (and almost grotesque) kidnapping and rescuing of the commissioner’s son and the sobering final message delivered by Nescaffier, about his desire to belong. This last bit is undoubtedly the most important of the whole story. While wrapping it up in a pensive and anti-climactic way, it also evokes a somewhat sweet morale. We therefore can’t help agreeing with Arthur Howitzer, editor of The French Dispatch, when he suggests to Roebuck Wright that he should keep it as a touching end to his article: it is, hands-down, the most engaging part of it.

24 Film

CULTURE Jacob Fox Film Writer

International Film: Tetsuo and Titane review Jemma Ellwood Film Writer

efusing to invite reasoning or explanation, Titane is intent on twisting your expectations. Boldly forcing audiences to just accept and experience its twisted world in full force, the film intertwines beauty with shocking brutality. Winner of the Palme d’Or at this year’s Cannes film festival, Julia Ducournau’s Titane is on the radar of all film fans. As a huge admirer of Raw (2016), Ducournau’s debut comingof-age horror, Titane was already one of the most anticipated films of the year with its success at Cannes simply fuelling expectations. A childhood car accident leaves Alexia (Agathe Rousselle) with severe damage to her skull. Rushed to hospital, a titanium plate is placed into her head as life saving treatment. However, the plate has unfounded effects as she experiences a strange change in mental

o quote its full name, Tetsuo The Iron Man (1989) is a techno dystopian vision of hell directed by one of Japan’s most original and violent cinematic minds, Shinya Tsukamoto. It is a masterpiece of sci-fi horror like nothing else before (or since) and absolutely essential for anyone who can stomach it. This was the first film I watched as part of Grimmfest’s ‘J Horror Day’ at Stockport Plaza. Set in a world without order or structure, the film serves little purpose other than to strike horror into the hearts of its audience. It does this with some of the most striking, blood curdling imagery in cinema combined with a horrific industrial soundscape that makes for brilliant listening in its own right. Tetsuo follows a Japanese business man whose mind and body are eventually consumed by machinery, thus creating the ‘Iron Man’. As we follow his strangely erotic plight, he begins to form a strange relationship with a bizarre individual known only as the Metal Fetishist. A thematic focus on disillusionment with modernity makes the film particularly prescient. His sanity, his body and his relationships all fall apart as the structure of the film itself descends into chaos. Drawing on pre-existing tropes in avant-garde Japanese film Tsukamoto creates something incomparably extreme and inimitable in its visual presentation and surreal storytelling. However, describing the plot of Tetsuo feels all too arbitrary. The value of the film is in simply experiencing its weirdness, the strange visual flair combined with its almost anarchic feel. Furious pacing combined with a tone that, in simple terms, is one of unrelenting terror, grabs audiences by the throat and never lets go. Every frame, every action is punctuated by a horrific industrial soundscape and some of the most raw, powerful and oppressive music ever put to film. Even moments where the action

state and develops a new adoration for… cars. Discharged from hospital, she brushes off her parents and heads across the car park to lovingly embrace the very car that almost killed her, as if reuniting with a dear friend. Going into Titane not knowing anything about it to then experience this opening scene instantly put a smile on my face. It is set up so that audiences honestly have no clue where this story could possibly go. It should be made clear that I, like most others, am not a stranger to violence in film, nor does it often shock me. However, the first act of Titane had me lost for words, overwhelmed by tension, and wondering how much more I could take. The opening car crash truly set the tone for the rest of the film; violent and grotesque, but something you cannot tear your eyes from. The gigantic screen and intensely realistic sound design left no escape from the egregious carnage that unfolds. At points, I admit,

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appears to be letting up serve only to heighten the tension. This film has naturally attracted comparisons from critics to various different genres of music, including some forms of extreme metal. In one sense this is accurate. However more strikingly, the genre that it reminds me of is harsh white noise, where all melody, structure and form is taken over by an unrelenting storm of computer generated distortion. Watching this film has a remarkably similar effect to listening to that kind of music. You get a window into the state of mind of a tortured, reeling protagonist. You are given a very real, intimate sense of his psychological and physical deterioration as he is consumed by machinery. The imagery in this film is second to none. It has an unflinching eye for intense violence but still manages to present it in a way that is beautiful. The one area that lacks any kind of beauty is its graphic presentation of sexual violence. It presents sex as something horrendously ugly and violent, with moments of intimacy overcome by sounds of metal against metal. This all leads to the most memorable moment in the entire film, which remains even today one of the most disturbing images in horror cinema. The imagery alone, and the disordered manner in which it is presented, justifies its recognition as one of the best films of all time. It is an expression of a deeply disturbed artistic vision like nothing else before or since. Although undeniably a product of its time, it is no less disturbing today than it was when it was made and is indispensible for any fan of body horror. A combination of gross-out body horror and cyberpunk cynicism, the film is a delight for fans of the manic and the downright surreal. However, this is not a film to watch passively. Its intensity, aggression and mind boggling pacing all make for an intense but rewardingly exhausting watch.

5/5.

I had to look away. Ducournau does not shy away from being explicit, totally immersing the audience in a body-horror nightmare. She takes you through excruciating scenes of bizarre body transformations and mutilations that will make you wince, squirm, and even laugh in disbelief (because if you don’t laugh, you might cry). After a ruthless first act, Titane eventually switches lanes and transforms into a more tender story that is ultimately about love. Ducournau stated that her vision for the film was for it to depict a story of unconditional love that goes beyond the familial or romantic. As Titane hits the brakes and slows its pace, Ducournau’s vision becomes clearer. This change allows it to dive into a journey between two lost souls coming together in the most absurd but fascinating circumstances. Titane is a multifaceted film, exploring themes of grief, toxic masculinity, familial relationships, and gender identity. Ducournau

weaves these themes together beautifully and develops a nuanced narrative that begs to be studied, exhibiting her talent as a writer, and establishing herself as an important contemporary filmmaker. Brilliantly shot, the film’s visual storytelling is as impactful as its narrative. One standout moment is a dance scene, filmed in one flawless shot. First-time actress Agathe Rousselle also gives one of the most powerful and compelling performances that had me thinking about the film for days. Although it didn’t hit me on such a personal level as Raw did, Titane left me amazed and unbelievably excited for Ducournau’s future features. Watching it on the big screen reminded me of what we lacked over lockdown so I wholeheartedly urge you to go and see it in theatres, that is, if you think you can stomach it!

4.5/5.

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

Film 25

CULTURE

Manchester Animation Festival 2021: Flee - A humanistic documentary on refugee experience

Flee, Danish animated documentary, is a therapeutic piece of art buzzing as much with life as witch refugees’ traumatic experiences

Michal Wasilewski

Managing Editor (Culture )

n track to become the first ever film to be simultaneously nominated in the Best Documentary, Best Animated Film and Best International Film categories at the Oscars, Flee was the undisputed highlight of Manchester Animation Festival. Directed by Danish filmmaker Jonas Poher Rasmussen, it tells the story of Amin, a 36year refugee who fled Afghanistan as a teenager, and is now leading a settled life as an openly gay man in Denmark. We first see Amin (or rather a 2D rendered image of him) as the man he is now, someone who’s still struggling with his past experiences and traumas, even though he’s been trying to leave them behind for many years. For his whole life he’s been forced to tell a false story of his life, one that the human traffickers told him. “If you don’t tell the right story, they’ll send you back to Afghanistan”, he’s told when after years on the run he’s finally approaching safety. But after two decades of stable life in Denmark, Amin is finally ready to tell his

story as it really was, for the first time ever. Rasmussen asks Amin about the first memory he has. And so we’re taken back to an 80s Kabul, a place entirely different from Afghanistan we know now. Although it’s definitely not a safe place to live in, Amin is having a relatively happy childhood. He’s growing up with his mom and three siblings, and even though he feels different from other children around him - he enjoys wearing his sisters’ clothes, listening to western pop music and doing ‘girly’ things - he feels accepted. Everything changes when the Mujahideens start taking over the country, and the civil war breaks out. Amin’s older brother is being forced to go to war, and the whole family’s life is in danger. They have to flee, and so they obtain a tourist visa and escape to Russia. From there, a seemingly never-ending struggle to escape to Europe starts. The whole family is stuck in a decrepit Moscow flat, spending whole days watching Mexican soap operas and hoping to one day have enough money to pay the human traffickers to get them safely to Europe. Amin’s story, although very personal to the

documentary’s subject, serves more than autotherapy. Using animation and cutting it with occasional archival footage of relevant social and political events adds a certain layer of universality to it. The film is fairly straightforward in portraying Amin’s life from his childhood to the seemingly never-ending fight for survival, with his first sexual and romantic realisations carefully and naturally plotted within the story. This straightforwardness makes the film easy to immerse in, both cinematically and emotionally. As we’re learning about Amin’s harrowing life story, we simultaneously observe his Danish husband, Kasper, looking for a house they can settle down in after their wedding. This heartfelt portrayal of a happy, loving couple contrasted with the terrors of Amin’s adolescence shines a light of hope. It works as a reminder to every refugee and every immigrant, that however much they suffer along the journey, it is possible to end up in a safe, welcoming society. It is undoubted that Flee could have been made as a conventional documentary. I would argue, however, that as a conventional film Flee would have been nowhere near as powerful as

it is as an animated film. The way the director is playing with the film’s form, ranging from down-toearth realistic animation to almost surreal, blackand-white sequences of fear and terror, makes Flee an art piece transgressing the boundaries of documentary filmmaking. As a documentary film, Rasmussen’s feature hardly adds anything to many previous efforts on the refugee crisis. The value of Flee lies somewhere else. It might be only one of countless refugee stories, but its humanistic use of animation and juxtaposition of terrifying past and tranquil present elevates it to a cathartic, therapeutic piece of art buzzing as much with life as with traumatic experiences of masses. 3.5/5. Flee screened at Manchester Animation Festival and is scheduled to be released in UK cinemas in February 2022.

An ethnically diverse cast can't save the characters' flawed backstories Disappointing and reliant on reductive, simplistic solutions, Chloe Zhao’s addition to the MCU is as disappointing as it is long Mila Filipova Film Writer

arvel once again takes its gargantuan cinematic universe beyond the reaches of planet earth in this year Eternals. We’ve had alien planets, super-humans, super-human alien planets and more. Now director Chloe Zhao has introduced us to beings created by an ancient Celestial alien race intent on protecting humans from more CGI monsters. All in a days work for the Marvel executives. Eternals therefore takes on some pretty significant questions in relation to the Marvel Cinematic Universe (MCU). It says a lot about the quality of the film then, that the biggest question coming out of the cinema is more whether these comic book adaptions have the depth and complexity to question and challenge the very creation of the universe. Questions over the practical workings and implications of these existential beings rather fall away when the execution is so sloppy. Endgame and Doctor Strange had previ-

ously set the tone by featuring time travel and space exploration, already trying to bring more of that cosmic side into the MCU. This new movie takes it to the next level. With flawed backstories, contrived diversity but good graphics and reconstructions, it has polarised audiences. From the outset we meet 11 protagonists, each being capable of immense power. These powers, whilst being uneven are clearly sufficient when fighting Deviants, identityless and bland creatures who apparently have been attacking the Earth since the beginning of creation. Supposedly exterminated, it is no real surprise when these beasts make their return. As is the Marvel way, the heroes will eventually discover that their whole existence has been a lie, the Celestials are in fact more powerful and, in the most convoluted manner, that they must fight back through team work. The movie features astonishing historical reconstructions such as the city of Babylon, Ancient Egypt, and the Aztec empire. The amount of work spent on the appearance of the Deviants and the fighting scenes is definitely at the expected MCU level, yet incon-

sistencies and the standard Marvel blandness in the plot and overacted, one dimensional characters make you forget anything positive. The most positive thing about the film is the ethnic diversity on show. Featuring Marvel’s first deaf character, Makkari, the films gender and race bending works a treat to modernise the original white washed comics. But choosing an American-Pakistani actor to play Kingo (Kumail Nanjianito), only to make him star in Bollywood movies whilst, because of his eternal youth, pretend that he, his father and grandfather are all the same person because they look alike, is one step too far. Similarly, given their god-like powers and presence on Earth for a million years, we would expect to see slightly better fashion, and ultimately combat costumes, than just their standard colourful metallic jumpsuits. The original designs from the seventies featured a more vibrant choice of outfits with very personalised details for every Eternal. Their backstories are flawed as well. Chloe Zhao didn’t have an easy task when trying to fit

such a big storyline in 2 hours and 37 minutes, but unfortunately this leads to problems such as Sersi’s and Ikaris 5,000 year romantic relationship and sudden unexplained breakup. It gets sillier from there as Sersi moves to London, works as a teacher and dates a normal human in his thirties. Similarly when Phastos, the technological specialist of the group, cries over Hiroshima’s disaster claiming that his technology led to the invention of the Atomic Bomb, the film seems both ridiculous and in poor taste. It seems symptomatic of the whole film providing very simple explanations for infinitely complicated disasters in an attempt to appear profound and philosophical. Despite its overwhelmingly negative aspects, there is still value in seeing this new addition to the Marvel canon simply to keep up with the MCU. The picture design and push for diversity is undeniably commendable. However, if you are expecting to use it as food for existential thought, or even to enjoy one of Marvel’s better films, you would be wasting your time. 2.5/5.

26 Theatre

CULTURE

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

REVIEW: WHITE CHRISTMAS

A 1950s classic and a Christmas dream - White Christmas is at the Palace Theatre until December 4th

Jay Darcy Theatre Editor

ovember is a little early for me to be dreaming of a White Christmas – but I got it, regardless of my wishes. White Christmas was more than just a wish, though; it was a dream. Based on the 1954 Irving Berlin film of the same name – which starred Bing Crosby and Danny Kaye – this musical is still growing strong over two decades after it premiered. With its stunning sets, terrific costumes, and marvellous music, White Christmas is everything you want in a musical. This terrific, tantalising, tap-dancing extravaganza was therapy for restless souls who, after last year’s stolen holiday season, are longing for a Christmas that is fun, familial, wonderful – and white. As a 22-year-old, poststructural, postcolonial, intersectional feminist, you might expect me to have a general dislike of classic musicals – or those based on classic movies – for being irrelevant. But whilst White Christmas might be dated, there are themes and issues that remain very relevant. Whilst I do believe that modern musicals should engage with current issues, I understand how magical it is to be transported to the past – even if “the good old days” were not so good – a time before we were alive, a time before the climate crisis and C-O-V-I-D, etc. Old musicals tend to present problematic portrayals of women, and whilst there were some issues in this regard with White Christmas, I was pleasantly surprised by some of its female characters. Most noticeably, Martha Watson was ballsy, sassy, confident and empowered. She was played to be

perfection by West End veteran Sally Ann Triplett, who stepped in last minute after Sheila Ferguson (the former lead singer of Three Degrees) left the show. As a Three Degrees fan, I was disappointed to hear of Ferguson’s departure, but I cannot discredit Triplett. With her superb singing and classic comedic delivery, she captivated the audience. Her solo song, ‘Let Me Sing and I’m Happy’, was a memorable moment of the show – as was ‘Falling Out of Love Can Be Fun’, which she performed with the sisters. The sisters, Betty and Judy, were played by Jessica Daley and Emily Langham, respectively. The sisters’ opening number, aptly called ‘Sisters’, was a great introduction to the cabaretloving characters. With her vivacious vocals, Daley out-sang the rest of the cast. She really got to shine with the ballad ‘Love, You Didn’t Do Right By Me’. Lit by two spotlights – one behind her, one in front – she looked like an angel. Whilst Daley’s singing abilities cannot be faulted, when it comes to acting, Langham had her beat: her characterisation of Judy was brilliant. I feared that she’d be portrayed as your stereotypical (sexist) bitchy, blonde bimbo, but that could not be further from the actuality. Judy got to shine in the tapdancing number that opened the second act, ‘I Love a Piano’. It’s a shame that she didn’t get a solo song because this was an ensemble number led by Dan Burton (Phil Davis), one of the main leads. The scene had to be my second favourite number of the show. As I’ve said before, I love it when the second act opens with a great, big number – to get the audience back into the mood after the interval. Whilst this number

could not compete with the one that closed the first act, ‘Blue Skies’, it was a tap-dancing sensation that had the whole audience grinning with glee. I was expecting a big number by the orchestra’s ‘Entr’acte’ that played when the lights went down – but it was bigger, better and brighter than I had anticipated. The best number of the show, however, had to be ‘Blue Skies’, which was performed by Bob (Matthew Jeans) – the real male lead – and the ensemble. It was a visual (and aural) delight. Some other notable numbers are Bob and Phil’s hilarious reprise of ‘Sisters’ and, of course, the title song ‘White Christmas’. Whilst the snow was a nice, festive touch, the audience members who it covered didn’t look too happy … Performed by Bob and the company, this gorgeous cover of perhaps the most famous Christmas song of all, closed the show – before the full company sang ‘I’ve Got My Love to keep Me Warm’ after the curtain call. I also loved the continued theme of ‘Count Your Blessings (Instead of Sheep)’, which was first sang by Bob to Susan Waverly (Ella Kemp) – a fantastic young talent. If it isn’t obvious, my favourite part of the musical was not its story – which, I’ll admit, was great (and not too predictable) for such an old one – but all of its magical, memorable music. I couldn’t get ‘Sisters’ and ‘Blue Skies’ out of my head! White Christmas plays at Manchester’s Palace Theatre until 4th December before visiting Plymouth and Edinburgh, where it plays until early January.

ISSUE 05 / 29th November 2021 WWW.MANCUNION.COM

CULTURE

Theatre 27

From It’s a Sin to First Time:

In conversation with Nathaniel Hall We talk to Mancunian theatre-maker Nathaniel Hall about his autobiographical show, First Time Michał Wasilewski Managing Editor - Culture

athaniel Hall’s First Time, an autobiographical show about the artist’s experience with contracting HIV and “staying positive in a negative world”, is coming to Manchester’s Contact Theatre for 5 days, from the 30th of November onwards. On that occasion, I talked to Nathaniel - best-known for starring in the acclaimed series It’s a Sin - about the story behind First Time and his experiences with developing and performing the show. You’ve spent most of your life in Manchester, so naturally this city has a special value for you. It’s also the last stop on this tour of your show. Does it feel different to perform in Manchester compared to other places? Yes, obviously I’m a Greater Mancunian born and bred, and Contact Theatre is a really special place to me, I’ve worked with them over the years. If you’re playing for a home crowd, that’s always really nice, and obviously when you’re in your home city there’s lots of people who know you, which is great. But actually, the audience we get to this show is universally really warm and lovely and friendly, and it’s LGBTQ inclusive, so it feels like a warm, friendly space, and it’s a real joy to perform it. But yes, coming back to the home city is always special. You premiered First Time long before the coronavirus pandemic. Have you been working on the show over the lockdowns? Has it changed since the first time you performed it? Yes, we premiered the show in Waterside Arts in Sale in 2018, they actually commissioned the show. The show was popular, my story kind of went viral at that point. I ended up on BBC Breakfast Couch, and then BBC News article, and BuzzFeed news, and all sorts of media interest in my story. We had to put an extra show on because there was so much demand, and the feedback we got from audiences and reviewers was overwhelmingly positive. We knew there was plenty demand for the show further so we started talking to the Edinburgh Fringe Festival, which is one of the best places to bring a show if you want to get somewhere. And to do that, we had to make a lot of changes, because the shows that end up at Fringe tend to be only an hour, so you have to be very very quick. And again for this tour, the show itself had a bit of a glow-up in terms of its design. And you know, you tweak and change depending on how audiences respond to the show as it moves along, but now it’s definitely in its final and best version. Are you still planning on working on and touring First Time after this tour is over in a couple of weeks? Or are you moving on to new projects? So we’re about to announce another tour, which will kick off in mid- to late January next year, that won’t take in Manchester. So it’s really the last chance to see it if you’re in Greater Manchester. So yeah we’re planning another tour, but then at the end of that spring tour that’s it, that’s the end of First Time. I’ve been performing and telling this story for over three years now, so I’m ready for a new challenge.

And then in 2017 I realised how that shame was negatively impacting my life and how it built over time. I was partying all the time, I was in a really bad relationship, I was treating people badly and allowing myself to be treated badly. I was leaning very heavily on drugs and alcohol. I just kind of had this moment when I cut myself in the mirror, still awake two days after a house party, and when [I thought to myself]: “I don’t recognise you anymore. You’re not the person that you once were.” There was the sadness and shame around this diagnosis so I decided that I was gonna change it. And I thought: “Well, if you tried to tell your family for so long and you’ve not been able to, you’re gonna need to force your hand in some way.” So going on the journey to make the show was kind of forcing me to go public, which then sort of forced me to tell my family, and that’s all encapsulated in the show. And you experience that process through the show. But the response, I mean the response of my family, was support and love. And the response from anyone who has read my story or has seen my show was overwhelmingly positive. So it’s been a positive experience all around.

“The show goes to dark places. You know, I talk about some of the challenging times that I’ve gone through in my life and that makes it actually difficult for the parent to watch. But I see they’re super proud and super supportive about everything that I do.” So your parents and your closest family have all seen the show and liked it? They have. It’s a tough watch for my parents and my other family members. My mom’s seen it twice, my parents came to see it in Edinburgh the second time, they sat in the front row. My mom cried during the first scene, and I thought: “This is the funny bit, don’t cry at this bit!”. So I think she was just overwhelmed. The show goes to dark places. You know, I talk about some of the challenging times that I’ve gone through in my life and that makes it actually difficult for the parent to watch. But I see they’re super proud and super supportive about everything that I do.

“I lived with HIV for about 15 years before I made the show. I was diagnosed when I was 16 and I didn’t tell my family, I didn’t tell very many people, I kept it very secret. There was a lot of shame around the diagnosis that I carried.” What was the idea behind creating First Time? Was it a kind of auto-therapy for you? Did the idea for the show arise after you came out as HIV-positive? It was all a part of the journey of coming out with my HIV status. I lived with HIV for about 15 years before I made the show. I was diagnosed when I was 16 and I didn’t tell my family, I didn’t tell very many people, I kept it very secret. There was a lot of shame around the diagnosis that I carried. Photo: Andrew Perry

First Time is an autobiographical story and you’re basically playing yourself. Do you think it makes it easier to perform? Or is it more difficult because of the emotional connection? It’s more difficult because you have to really look at yourself. You know, as an actor, what we do is looking at other people, and kind of mimicking them and taking on their attributes. But when you play yourself, you have to do a lot of looking inward and looking at yourself. You have to look at how you behave and act, and that can be quite a disheartening experience. Because, you know, we often have a lot of insecurities about ourselves, how we speak, how we move, how we behave. So that’s actually quite a difficult process to do. And the actual writing, the looking back and the process of making the show was really hard, like really looking back at the past and analysing it, and what happened and why, and discovering things in a new light as an adult. But actually once you’ve gone through that process, the performing of it is not as hard. Because before I went on this journey I was living in the trauma of everything that happened to me, and allowing that to affect and impact my life. Basically, all that stuff is still living within your body, and actually once I processed it, it’s now a memory of something that happened in the past. It’s a story that I can tell, without it making me feel those things that I felt in the past. So I guess it’s easier, but it is not by any stretch of the imagination easy show for me to perform. It’s 75 minutes of just me on stage, it’s physically demanding. And emotionally demanding still. I have to look after myself, I have an amazing team, I’ve got therapists, we’re always making sure that it’s not having a negative impact on my mental wellbeing. So in the end, do you feel like making the show helped you cope with the trauma? Oh yes absolutely. I’m a big believer in the power of storytelling to help people process things that happened to them, both traumatic and joyful as well. Lots of the work I do as an artist is working with other people to use storytelling techniques to help them explore and express what happened to them in the past and tell their own story as a way to move forward if they’re stuck in some way, or help them develop. And working on First Time, and telling and performing my story, has helped me as well. First Time runs at Contact Theatre from 30th November until 4th December. Check out The Mancunion website for the full interview, where we continue talking to Nathaniel about his personal experiences with HIV and his Channel 4’s show, It’s a Sin

28 Food & Drink

CULTURE

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

The speakeasies of the Northern Quarter We run through the ins and outs of the best speakeasies and secret bars the Northern Quarter has to offer with hidden doors and bespoke cocktails.

Hannah Wellock Food & Drink Writer

t’s safe to say that the Northern Quarter (NQ) is definitely not short of bars and restaurants. They’re the backbone of the area, which means you have to be especially selective if you want to find something special. One of my favourite things about NQ is its speakeasy bars, until now only for people in the know. The secret bars hide in plain sight, behind invisible doors and with covert codes, as though you’re the only one who knows about them. As they say, knowledge is power. First up is Science & Industry, a little speakeasy above an NQ classic, Cane and Grain. You truly wouldn’t know this one is there unless you knew it was there: an unsuspecting wall opens to reveal a mysterious staircase leading up to a cosy cocktail bar. This place is about more than just its appearance though. Original cocktails are there to compete with any in the city and if you ask nicely, one of the talented mixologists might rustle you up something special.

Next on the list is Behind Closed Doors. Now this one isn’t for the faint of heart, with retro erotica as part of the aesthetic, and soul and funk at the very centre of everything. Nestled away on Oldham Street, BCD describe themselves as a “debauched cocktail bar”. Showcasing all things vintage, each table has its own private phone line connecting you either to the bar or another table. The cocktails go down far too smoothly. From frozen fruitiness to creamy concoctions, you can barely taste the alcohol. Junior Jackson is another relatively new dive bar tucked away on Oldham Street next to Lost Cat, a bar hidden behind a wall of plants. The hidden door leads you to the stairs where you’ll find what’s been described as “Bunny Jackson’s ‘bratty sibling’”. Plastered with posters and graffiti, they play classic jukebox music with something for everyone, from rock- to soul- to country. You’re guaranteed a good time with the loud music and movies playing in the background- it’s nothing short of hectic! Of course, the Washhouse deserves a mention. This infamous bar is hidden behind what appears to be a laundrette. Whilst none of

the machines work, (unlike Domino, a little jazz dive bar hidden under a functioning barbershop in Leeds) once you’ve picked up the phone, you can disappear through the dryer into a cocktail haven. This one requires a bit of planning ahead as it’s now bookings only, (thanks COVID!) but it’s well worth the hassle. Their slightly bizarre, yet very inventive cocktails are all kinds of creative. From cocktails presented as bowls of cereal to ones flavoured like pickle, they really do seem to have it all. Last on the list is potentially Manchester’s best-kept secret: Sherlock’s, a bartender’s sanctuary. This one is potentially the most exclusive on the list, as the catch is that it’s an industry-only bar. You need a payslip, or to know someone who knows someone who could get you in. Sherlock’s is the epitome of a Speakeasy, hidden behind a pin code locked wall underneath another well known NQ bar. Go below and a dark dingy bar appears, equipped with low lighting and a pool table where you’ll find the bartenders of Manchester blowing off steam.

A £1 whistle-stop tour : Southside Tacos review The first stop on our whistlestop tour of the cheapest Mancunion eats - Southside Tequila and Tacos, Withington.

Asha Lawson Haynes Food & Drink Writer

e all love going out for food, especially as students who sometimes just cannot be bothered to cook, yet a student budget means this luxury isn’t always possible. But fear not! With our collection of £1 food joints and the finest student deals, Manchester’s finest food isn’t out of reach. First up on our whistle stop tour is Southside Tequila and Tacos in Withington. This edgy little bar opened up at the start of the first lockdown, and is now a Withington staple, with its signature offer of £1 tacos allday everyday. A musical theme deems each taco a name after from a famous rapper, whilst album posters ranging from the Libertines to Snoop Dogg cover tacked to the ceiling act as the perfect conversation starter if on a taco-based date.

Having tried the Easy E, the Notorious B.I.G , the Lil’ Pump, the Red Man and the A$AP rocky (essentially all of the tacos on offer) I can say that my personal favourites were the Easy E (pork Pibil, guacamole and Manchego) and the Too Short (tuna mayo, mango salsa and cheddar). Tuna and mango may seem like a questionable combination, but the contrast of creamy cheese with sweet sharp mango worked incredibly. The Too Short tacos (revealed to be Rick, the owner of Southside’s favourite) were that good I ended up ordering three. Beyond tacos there are a handful of sides for around £4 each thing, including Mexican loaded corn on the cob(vegan options available), tortillas and guac. The Joint prides itself on the fact it offers over 150 different variations of tequila, including OCHO, Don Julio and Patron; making it one of the widest selections in the country. Rick aim is to steer people away from the perception that tequila must come

in a bottle with a little red sombrero, to be followed with salt and lime. The Tequila 101 section on Southside’s website lists all sorts of information on the tequila’s origins, and varying characteristics. All of their cocktails are solely tequila based, with straws made from the highly sustainable Agave plant from which tequila is derived. Upon recommendation, we tried the Tommy’s Margarita, which takes its influence from the world-famous Tommy’s Joint in San Francisco, with plenty of agave and lime to cut through the Reposado. At around 9:00pm the lights are dimmed as happy hour begins – from 9-11pm two for one cocktails (at around the £7.50 mark) are an absolute bargain for a good quality drink. Be sure to pop into this Withington gem, and keep up-to-date with Southside’s social media pages for upcoming tequila based events.

ISSUE 5 / 29th November 2021 WWW.MANCUNION.COM

CULTURE

Books 29

Book swaps: If you like this, try that We’ve come up with some books swaps to help you find a book you’re going to love based on your old favourites

Aileen Loftus Books Editor

t’s always tricky picking up your next book after reading one you absolutely loved. It can also be hard to put into words the kind of books you’re looking for, especially when you just want to say: ‘I want to read another book exactly like this!’. To help you with this dilemma we’ve come up with some book swaps. Here are some popular titles and ones we would recommend as follow ups. We hope this helps you find some inspiration for your next read! If you’ve read any of our suggestions, remember the book swaps work both ways!

Gail Honeyman’s 2017 debut novel Eleanor Oliphant is Completely Fine captured hearts everywhere. The Cactus will do the same. With a similarly quirky but likeable protagonist, Sarah Haywood’s debut novel is touching, funny and with just the right amount of romance plot for fans of Eleanor Oliphant.

It may seem intimidating to consider reading Homer’s Odyssey after enjoying The Song of Achilles, which itself is only a retelling of The Iliad. However, Wilson’s 2017 translation is deliberately straightforward and accessible. Emily Wilson is the first woman to translate The Odyssey into English, and her perspective is fresh and the text beautifully musical. It’s always worth remembering that classic works contain all the excitement, drama and action of any retellings!

An American Marriage, the 2019 Women’s Prize for Fiction winner, covers topics of love, betrayal and justice, precisely as Where The Crawdad’s Sing does. In the prologue of Owens’ novel, a man has died suspiciously, framing a coming of age love story with the tension of potential murder. It is beautifully written, with sumptuous descriptions of the protagonist’s home as she carves a life for herself in the swamp-

My Sister, the Serial Killer is a comic thriller that explores the limits of sibling relationships. Mohsin Hamid’s novel shares its dark humour and distinctive voice. It is written as an almost one sided conversation as the narrator confides his life story to a stranger in a Lahore cafe. In both books the chapters are short and snappy, and both are effortlessly readable with a few surprises up their sleeves.

In Girl, Woman, Other, a character describes The Lonely Londoners as being about ‘young Caribbean men in England who get up to mischief and treat women badly, women who don’t even get a chance to speak in the book’. She’s not wrong, but it doesn’t mean Sam Selvon’s 1956 novel isn’t worth reading. If Girl, Woman, Other can be read as a reply to the earlier work, then both novels benefit from being read with a critical and comparative eye. Both works are made up of linked short narratives following a range of characters, ultimately culminating in celebration. The Lonely Londoners is already made up of a number of textual influences, including drawing on oral narrative traditions, and Evaristo is continuing this conversation with a distinctly female voice.

UoM’s very own BookTokker The Mancunion talks to Shyemah El-Azzabi, UoM’s very own BookTokker about her BookTok Hannah Wellock Books Writer

ecently I’ve found my TikTok ‘For You Page’ full of BookTok videos. BookTok is a niche subsection of TikTok with creators making videos about their current reads, recommendations, and even aspiring authors sharing their work - not dissimilar to the world of bookstagram. I wanted to find out more about the phenomenon. In the search for Manchester-based BookTokkers (TikTok accounts dedicated to books), I came across Shyemah (@shyemah.reads on TikTok), a University of Manchester Student! We sat down to chat about all things BookTok. Shyemah is a first year Psychology student at UoM who started her BookTok account during her gap year before university. Hesitant to study English Literature, Shyemah chose Psychology because she didn’t want to hate reading by the end of her three year degree. She said she enjoys making her own time to read, instead of having to force it in an academic capacity. Always an avid reader, during her gap year, Shyemah would be reading at least a book a

week, if not more. She would post her book reviews and suggestions on her private Snapchat stories until her friends encouraged her to make a TikTok account.

Surprisingly she said she didn’t really use TikTok before joining the site as a content creator, not realising she was on BookTok until she found herself there. With over 1.5k followers and 17k likes, her videos range from book reviews and hauls to favourites and recommendations. The response to her videos have been overwhelmingly positive. Initially, she said that she didn’t expect anything to come from it as she felt she was just “rambling on and on” but as she acknowledged, people seem to like it!

Recently Shyemah has been focusing on poetry. Her favourite genre is Arabic poetry due to the amount of Magical Realism used. As an Arabic speaker, she said that “she’s grateful that she can understand it [Arabic poetry]” as she feels “it allows you to visualise things the way literature in English doesn’t let you visualise them”. Like any Social Media, BookTok, a subsection of TikTok, has its own little community. Shyemah told me that the sense of community is very strong and has led her to make lots of friends through not only her videos but also through other people’s, describing it as “one big Book Club”. She even said that she’s had other students approach her in university after seeing her videos! Juggling a TikTok account alongside university is not an easy feat. Shyemah noted that she’s had to take a little break as it can be difficult to come up with original ideas when she’s not reading as much. Interestingly, she said that “a lot of people [on BookTok] guilt trip other people for the amount that they read” with there being a lot of competition on the number of books read in a certain period of time. With her TikTok, Shyemah wants

to emphasise that “the amount you read isn’t important, it’s just that you’re enjoying the reading”. Take a look at her TikTok, as she has some great suggestions if you’re stuck on what to read. Shyemah has some ideas in the works including new recommendations as well as a Manchester bookshop series.

30 Fashion and Beauty

ISSUE 5 / 29th Novemeber 2021 WWW.MANCUNION.COM

Airline’s new air hostess uniforms are one giant leap for womankind Farewell to traditional flight attendant uniforms and hello to less sexist, impractical uniforms that align with modern day values.

Maia Penny & Letycja Oczkowicz. Fashion writers

his year, the Ukrainian budget airline SkyUp said farewell to traditional flight attendant uniforms. In July, they unveiled brand new attire which consists of bright orange pantsuits and Nike Air Max trainers - a far cry from the more conservative skirts and heels of the past. The change makes sense, the old uniform style was uncomfortable and impractical according to an employee survey. The company has dubbed the new design the “SkyUp Champions Uniform”: a name that reflects the physicality of the job and nods to the empowering nature of the new style. The project was curated by Olga Tsaregradskaya, who sourced talent locally. The relaxed fit suit is by GUDU, a brand based in Kiev, and the sky blue scarf was created by Gunia Project who are also located in the capital, and produce their pieces ‘on the basis of traditional ethnic cultures’. Although the Nikes are not a local creation, they were still chosen for a reason. The Air Max 720 model is made of 75% recycled materials and has comfort at its core, the entire sole is air-cushioned. SkyUp is by no means the first airline to change its uniform drastically, but it has been the most noticeable change to flight attendant attire Europe has seen in recent years. Other airlines that have changed uniform policies include Virgin Atlantic who have allowed female cabin crew to ditch the makeup since 2019. Aero K, an airline based in South Korea have completely genderneutral utility-inspired designs and Icelandic airline PLAY who have adopted a relaxed fit suit similar to SkyUp’s. The standard air stewardess uniforms of today

are inspired by the very first uniforms of the 30s and 40s. This shows how little progress has been made in terms of comfort and women’s role in the workplace. Ever since the mid 20th century when commercial air travel really took off, the appearance of an air hostess was intended to emanate femininity, confidence, and professionalism. From the nurse-like kit and military uniform during the 1940s, flight attendant attire evolved towards more unusual designs. Emilio Pucci brought bright colours, mini dresses, and ‘space bubble’ helmets to the industry. This futuristic vision was brought back down to earth with a more traditional approach by Christobal Balenciaga and Hanae Mori. Both their projects employ blue as the leading colour, and feature an elegant shape with subtle accessories. In the 80s, uniforms became funkierYves Saint Laurent designed a colourful kangaroo patterned dress paired with a classic blue jacket. However, in the last 40 years, the industry has returned to its traditional, old-fashioned aesthetic. The business-like cut, uncomfortable shoes, and sleek hair have been the go-to elements of the flight attendant look. Roksana works for an airline with one of these more traditional uniforms. She commented that “everything comes with a set of specific rules, makeup, hair, uniform, jewellery”. These requirements are often meticulous, for example, many airlines have a specific shade of lipstick their female employees must wear, along with a full face of makeup. The rules that female cabin crew have to adhere to fit perfectly with the era their uniforms are inspired by… the 50s. Roksana also said that “men have different requirements, theirs are only about uniform and facial hair. They don’t have to wear makeup, tights or dresses”.

The gender binaries still present in professional uniforms are hindering functionality, Roksana mentioned that “during evacuation, it’s required to take [our high heels] off because they can puncture the evacuation slide. Flat shoes would be a great solution”. It’s obvious that old-fashioned uniform requirements don’t fit the practical elements of what is quite a physical profession. SkyUp has recognised this, they care more about their employee’s ability to do their job comfortably, than the traditional aesthetics of air travel. SkyUp’s new uniform indicates their departure from tradition, and so does their marketing. The airline is making a name for itself in the online world. They have an ‘official soundtrack’ for their flights, which begins with ‘Just Fly’ by Max Barskih. The music video for the song, which premiered in partnership with SkyUp on Youtube, now has over 20 million views. It features a throng of dancers dressed in distinctive orange uniforms confidently throwing shapes besides the singer. This emphasises their new ethos of comfort and movability, embodying the ‘Champions’ title given to the new designs. They are also making use of newer social media channels to promote their brand, the TikTok challenge #justflybaby, which features Max Barskih’s song, has 21.8 million views. Is this the future of air travel promotion? All these novelties certainly appeal to younger customers, the fun TikTok videos are a step forward in the marketing world, but the less gendered, comfortable uniforms are a step forward in progressive attitudes to women and their appearance. Modern customers want to choose a company that aligns with their values, and an airline that doesn’t enforce makeup, heels and skirts is something we can all get on board with.

Photo: Brooke Marsden

ISSUE 5 /29th November 2021 WWW.MANCUNION.COM

CULTURE

Fashion & Beauty 31

COP26 - What does it mean for the fashion industry?

The fashion industry is infamously one of the greatest polluters on this planet. Has COP26 changed anything?

Alexandra Bikard¬ Fashion Editor

ore than 120 world leaders and 25,000 participants attended the much-awaited COP26 which took place in Glasgow. Considered to be one of the most important events discussing the environment, it was deemed a failure by climate superstar Greta Thunberg who called the event a “two-weeklong celebration of ‘business as usual’ and blah, blah, blah”. The fashion industry is notoriously one of the biggest polluters of this planet, responsible for as much as 10 percent of global emissions. Fashion practically serves as a metaphor for mass consumption and the industry is infamous for turning a blind eye to the obvious issue. But what was actually said about fashion during the event

and what does it mean for the industry going forward? The 2021 UN Fashion Charter includes for the first time LVMH as a signatory brand. The goals of the charter have also been raised significantly: the renewed charter now calls for companies to halve their emissions by 2030 and requires signatories to come up with a plan as to how they will achieve it within the next 12 months and to “commit to achieving net-zero emissions no later than 2050”. Signatory brands need to use adequate scientific tools to measure their environmental impact, publish publicly and annually their GHG emissions. They must commit to pursuing energy efficiency throughout their operation and value change, reach for 100% electricity from renewable sources and phase out coal from both their own and their suppliers’ sites. Moreover, more than 50

companies joined Textile Exchange, a global non-profit that aims to accelerate the adoption of preferred materials. As part of a public request, Textile Exchange asks for new trade policies that would give preferential tariffs to textiles such as organic cotton which would push the industry to adopt and incorporate more sustainable materials. Just before the conference, members of the Sustainable Markets Initiative Fashion Taskforce also committed to using digital ID technology that supposedly informs customers of the sustainability credentials of their products. Although a step forward, this technology does not affect brands directly but rather shifts the focus on the consumer and their guilt.. While consumer guilt works, individual action is not enough to balance out the

negative impact of an entire industry. It is also incredibly easy to ease consumer guilt by using new marketing tools that lead the customer to believe they are making an ethical choice. Furthermore, India and China, two of the biggest clothing manufacturing countries pushed for the phrase “phase out” in relation to coal production to be changed to “phase down” in the final version of the fashion charter. This move symbolises the unwillingness of both industry and nation leaders to change for the better. As many have argued before, the industry will not change as a whole unless policies are made to limit their consumption. Nation leaders need to step up and if the conference made one thing clear, it’s that there is a clear gap between what needs to be done and what policy-makers and industry leaders are ready to implement.

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