The Mancunion - Issue 9 by The Mancunion

FRE

Issue 9/ 28th February 2022

www.mancunion.com

Turning the heat up on gender politics: Is the Main Library too cold for female students? Read on page 7

Just Putin it out there: What has happened with Russia and Ukraine?

Read on page 12

Photo : @yuliecler

Fashion & Beauty

Euphoria season 2 : All you need to know about the latest trends

Page 30/31

Opinion

Science

Film

Music

Your SU needs YOU!

Mooloo:The scientists potty training cows to save the world

Lights, Camera, Elections: Casting

In conversation with Blondie’s Clem Burke

Page 24

Page 20/21

Page 11

Page 9

our vote on the best political films & TV

ISSUE 9/ 28th February 2022 WWW.MANCUNION.COM

2 Contents

Page 31

Page14

Page30

Page26

News Editor: Archie Earle News Editor: Shikhar Talwar

Editor-in-Chief: Jess Walmsley

mancunion.editor@ gmail.com

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

Managing Editor News & Current Affairs: Ella Robinson

Investigations Editor: Joe McFadden

Managing Editor Michal Wasilewski

Features Editor: Serafina Kenny Deputy Features Editor: Steffie Banatvala

Culture:

Online Editor: Sophie Berkley

Opinion Editor: Annie Dabb Deputy Editor: Gemma Brown

Fashion Editor: Alex Bikard Deputy Fashion Editor: Zahra Mukadam

Music Editor: Reece Ritchie Deputy Editors: Sarah Taylor & Maddie Drake

Beauty Editor: Alice Henderson

Lifetsyle Editor: Erin Botten Film Editor: Benjy KaluberGriffiths Deputy Film Editor: Florrie Evans

Theatre Editor: Jay Darcy Books Editor: Aileen Loftus Deputy Books Editor: Ava Innes

Marketing Team: Conrad Pope, Lucy Pummell, Jimena Gonzalez, Martina Ferrara, Camille Garret

Sport Editor: Arsh Asthana

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

Food & Drink Editor:Katie Hourigan Food & Drink Editor: Izzy Langhamer

Designers: Emily Turvey, Jonno Hadfield, Roisin Hever, Sam Bronheim, Anja Samy, Jess Walmsley, Ella Robinson, Mariam Hussain

News 3

ISSUE 9/ 28th February 2022 WWW.MANCUNION.COM

UCU strikes: Everything you need to know The UoM UCU strikes have started this week over pay and working conditions following strikes that took place last term

Clara Margotin News reporter

•

tarting this week and continuing over the next three weeks, further UCU strikes will take place, with staff working at 68 universities in the UK striking on the Four Fights issue. At UoM, strike action will take place on 21, 22, and 28 February, and 1 and 2 March 2022. Over 50,000 staff across the country are expected to take part in the strikes according to Manchester World, and the UCU has announced that more than a million students may be impacted. Those who take part will be fighting for better and fairer pay and working conditions, and are demanding a £2,500 pay increase for all staff members, an end to “pay injustice” and zero-hours contracts, and action to tackle “unmanageable workloads”. Picket lines were set up at institutions across the city in December as part of the movement of national action on pay and working conditions. However, according to the UCU, certain conditions have not been met, and several remaining issues should be addressed:

The 20% real term pay cut over the past twelve years • Unmanageable workloads faced by current university staff • Pay inequality in universities • Over-use of insecure contracts Indeed, despite an increase of 9% in enrolment this year, many university staff are facing difficult working conditions, including 90,000 academic and professional support staff employed on insecure contracts according to the union. The strikes could be cancelled last minute next week if an agreement between all the parties is found. However, it is more likely that the opposite could happen as the UCU has made universities’ bosses aware that strikes could eventually be extended. The union has explained that if universities’ bosses go ahead with their decisions to deduct 100% of the pay of those staff who take action short of a strike (ASOS), strikes would then be extended for another few days. Manchester Metropolitan University’s boss for instance has threatened to withdraw 100% of pay for their staff taking part in ASOS.

As UCU general secretary Jo Grady stated, “rogue university bosses are trying to intimidate staff from taking lawful industrial action by withholding their wages. This is a deeply unfair and unprofessional response from management which will only escalate and prolong these disputes.” When recently asked on the strikes a UoM spokesperson said: ‘We absolutely understand how important pay and working conditions, and indeed pensions, are to colleagues and we take these views and concerns very seriously. We also recognise the right of colleagues to take this action but continue to be extremely concerned about the impact on our whole community, particularly on our students who have suffered so much over the past 22 months. In particular, we’d like to reassure our students that we will do everything we can to minimise any impact on their teaching, learning and wider experience and will of course keep colleagues fully informed of any developments.’

Photo: Stinglehammer @ Wikimedia Commons

Backlash after Russell group unis take £2.2 billion surplus Russell group universities are facing a backlash after it was revealed that they were operating on a £2.2 billion surplus Archie Earle Head News Editor

ussell group universities have faced criticism in recent days after the telegraph reported that between the 24 universities a surplus of £2.2 billion was held. During the pandemic these same universities were handed £115 million as part of the furlough scheme, brought in to help pay the wages of staff members. This has led to discontent from students who have already felt hard done by due to the handling of the pandemic by universities. The increase in this income is in part due to the increase in students being accepted in to university after the fiasco of grade inflation of A-Level results, after students were given their grade based on a computer programme, leading to uproar. Students were then

disproportionately achieving A-Level grade, which led to a much higher acceptance rate at universities. Recently the University of Manchester released its financial reported which stated that in the year to July 2021, the university was operating at a surplus of £61 million, which outlines how the University of Manchester has taken in money during the past year. This is higher than the previous year from £5 million in 2019/20 and £50 million in 2018/2019. When asked about its operating surplus, a University of Manchester spokesperson outlined the nature of this surplus operating cost. They made the point that ‘Whilst it had improved from the previous year, it is only 5.6% of our income. We need to be able to generate at least 10% operating cash surplus in order to invest in the future of our students.’ They point to a section on financial sustainability in their report which states: ‘Due

to the current funding environment, the rising costs we face and the growing demands on us as a successful teaching and research-intensive institution, we need to generate a surplus of about 10% of income each year to meet growing demands and deliver on our ambitions.’ Explaining what this meant in terms of surplus they stated: ‘Essentially our surplus reflected the fact that student recruitment had improved for 2020/21 but also that, in response to the pandemic, we had implemented very strict cost controls such that a lot of expenditure was halted or was deferred into subsequent years.’ On the furlough scheme, the spokesperson expanded by stated that the university received £3.7 million in the year ended 31 July 2021 and £9.7 million in the previous year in the Coronavirus job retention scheme.

Photo: Shadowsettle @ Wikimedia commons

22/03/2022 MANCHESTERSTUDENTSUNION.COM/RECLAIMTHENIGHT

News 5

ISSUE 9/ 28th February 2022 WWW.MANCUNION.COM

Ethnic inequality in the NHS: UoM researchers find evidence of discrimination A report headed by a sociology lecturer at UoM has found that ethnic inequality is rife in the sector, with far reaching consequences Clara Margotin News reporter

n February 14, the NHS Race & Health Observatory, in partnership with the University of Manchester, the University of Sussex and the University of Sheffield, published a report witnessing evidence of ethnic inequality in the British healthcare system. The report, which has been financed by the NHS, focuses on five main areas of study: mental healthcare; maternal and neonatal care; digital access to healthcare; genetic testing and genomic medicine, with a particular emphasis on ethnic disparities within the NHS staff. The report has published evidence that ethnic minorities (and especially Black individuals) within the NHS workforce, are suffering from racist abuse by other staff and patients. Abuses include ethnic pay gaps and difficulties in career development for BAME

groups. There was also evidence to suggest that the Covid-19 pandemic has disproportionately impacted ethnic minority healthcare workers, as well as their working environment, especially concerning mental health and access to PPE. Dr Dharmi Kapadia, a Sociology Lecturer at the University of Manchester, led the report’s research, with the aim to tackle ethnic health inequity in the NHS. Kapadia joined the university’s Sociology Department in 2017 and works for the Centre on the Dynamics of Ethnicity (CoDE). Her main research focuses are concerned with racism, health, mental health, and older people. Before the publication of the ethnic inequality report, Kapadia has previously worked on racial inequalities, especially in the mental healthcare domain. According to Dr Kapadia, evidence provided by the report is not surprising, and was even expected. She explains that “for people who work in this field, it was not a surprise” as we live in an “institutional and structural racist

Durham University’s largest donor withdraws funds over covid policies Durham University has lost its largest private donor after a disagreement between the two over covid restrictions on campus Anna Hindmarsh News Reporter

urham University’s largest donor and former student, Mark Hillery, has withdrawn all his funding due to his personal disagreement with the university’s decision to continue imposing Covid restrictions on the universities campus. He feels these restrictions are unnecessary, since the rest of the country are not subject to any. This is a major decision that may impact the university in the future, as he was a close collaborator with them for years. He notably donated £4 million to Collingwood College in 2016, helping to fund the Mark Hillery Arts Centre on campus, as well as regularly visiting the university and giving talks to the students. The decision to disassociate himself with the university emphasises the importance of both private donations for universities, as well as the way in which universities should be approaching their handling of the pandemic. A student studying at Durham University told The Mancunion “covid restrictions imposed by Durham University were illogical and unnecessary as we were all free to interact outside of university, without restrictions’’. They also found it “strange that we were the only university to switch back to online learning (in semester 2)”. This case may urge universities to consider their own handling of the pandemic, now that has no covid restrictions. Having spoken to students studying at Manchester whose education has been impacted by covid, the consensus is that online learning can be a lonely experience where students feel less engaged with their course. An architecture student who had all their lectures online in the first semester told The Mancunion that

“online learning was less interactive so I was less motivated to engage with the work.” Another student who is studying psychology felt “it was hard for me to engage with what I was learning, as not being able to go outside and being stuck in my room all day doing was a very isolating experience. I only met the other people on my course a week ago, when semester 2 started, until now I’ve felt very distanced from my lecturers and tutors which wasn’t great.” He also brought up that “this was upsetting since other courses were not doing online learning so I felt it wasn’t necessary”. Private donors are a key part of funding across all universities, including the University of Manchester where the Towneley family made contributions ensuring there would be scholarships available to those wanting to do a Masters in Medieval and Early Modern Studies. Photo: Bryan Pready @ Wikimedia Commons

system”. For her, ethnic inequalities in the NHS are only “a small part of the big picture”, and similar evidence of racial discrimination can also be found in other areas of study such as the police, criminal justice, the political system, the educational system etc. This report, therefore, provides strong and trustworthy evidence that there is an important ethnicity problem in the NHS that needs to be addressed by politicians. Indeed, for Dr Kapadia, making a change in institutional and structural racism requires “political and financial commitment”, and needs to be acknowledged to lead to notable improvements. According to the report, five areas of improvement should be considered by the NHS in order to address racial inequalities in the institution. These include: enforcing guidelines on ethnic monitoring data; producing and providing better NHS statistics; investing more in interpreter services to help nonEnglish speaking patients; working to build

Photo: Garry Knight @ Wikimedia commons Commons

trust with ethnic minority groups and key VCSE organisations, and finally, investing in research to understand the impact of racism on healthcare. Dr Kapadia also insists on the importance of educating people on the questions of ethnic discrimination and racist inequalities, to enable progress and equality in these areas. Accordingly, she suggests for students to have a look at the Centre on the Dynamics of Ethnicity’s website, on which UoM academics, in association with other university researchers, publish their research. Through the publication of short reports and research summaries, these scholars aim to make accessible the work that is being done on ethnic inequalities in health, culture, employment, and education across the country. Numerous of their publications focus on the impacts of Covid-19 on ethnic minorities, but also on racism in the police or in political spheres for instance.

Michelle Donelan demands end to online lectures The case for refunds for fees over the pandemic has increased after Michelle Donelan put forward her support Archie Earle Head News Editor

ichelle Donelan, a Conservative member of Parliament for Chippenham and Minister of State of Universities, has recently spoken out on online lectures. She has said that universities must stop all online lectures after legal Covid-19 restrictions are removed on February 24. In a significant move that recognises the impact that the pandemic has had on the university experience, students’ calls for at least partial student refunds have intensified. Speaking in the House of Commons Donelan said that there is “no excuse” for keeping lectures online when restrictions were removed. She later said to the Daily Mail: “Online teaching should only be used to supplement face-to-face learning, not replace it.” She went on to add, “we’ve got to get back to pre-pandemic life. Risk assessments can’t be used as an excuse not to host face-to-face teaching.” This comes after earlier comments made by Donelan which suggested that students should apply for refunds from universities if they are unsatisfied with how their university experience panned out. She suggested that the pandemic along with strikes has led to a less than valuable university experience and that some form of compensation would be justified for students. Generally, students have opposed the majority of teaching being online. This was highlighted by a recent survey which showed that 9 out of 10 students prefer in-person lectures. Further, 6 out of 10 students said they would prefer not to have fully online lectures and 3 out of 10 said they would strongly prefer not to. Perhaps most shockingly though, the survey showed that 73% of students believed

that the pandemic had a negative impact on their social and interpersonal skills. In addition, 57% said that it had been detrimental to the knowledge they needed to succeed on their course. Both statistics show the worrying trend that the pandemic’s true impacts have only just come to the surface and we may start seeing the longer-term effects. So far, it is not exactly clear how students would go about getting a refund for their courses, or if it is even possible. A 2021 parliament petition gained 270,659 signatures passing the 100,000 threshold for a debate in parliament. The outcome of the debate was underwhelming, however, with only a reiteration by the government that “higher education must deliver high-quality courses,” and encouraging students who did not feel they were getting the true value of their degree to complain. The demand for student refunds for university courses is increasing and Michelle Donelan’s support is legitimising. However, the future of student refunds is unclear and uninspiring for most students.

Photo: Exampapersplus @ flickr

6 Features

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Happy 40th Birthday Afflecks: The iconic Manchester market

A look into the history of Affleck’s, and a chat with one of the vendors as the establishment reaches it’s 40th birthday Emily Hayden Features writer

his year will see the 40th birthday of one of the most well known and loved locations in Manchester. Whether you want to shop for some alternative or creative items, have a coffee, or even get a tattoo, Afflecks has been the go-to spot for generations. The indoor market has even b e e n

Photo: Olea @ Wikimedia Commons

visited by a few famous guests, such as Lady Gaga, the Happy Mondays, and The Stone Roses. This article will delve deeper into the history of Afflecks, and celebrate some of the amazing vendors which create its buzzing and vibrant atmosphere. Afflecks started out as Affleck and Brown, a drapery vendor on Oldham Street in the 1860s. However, after the Second World War, Affleck and Brown were taken over and replaced by Debenhams before properly closing in 1973. But the spirit of Afflecks could not be extinguished from Manchester, and in 1982, James and Elaine Walsh opened Affleck’s Palace in the Northern Quarter. Their aim for Affleck’s Palace was to create a nurturing and safe environment for independent vendors to sell their goods without complicated contracts, and a sense of creative freedom was encouraged. The 1990s saw Affleck’s Palace popularised by the alternative community of Manchester, and it became famous for fashionable items such as flares and tie-dyed clothing. The indoor market was thriving, and highly popular with students – as i t still is today. H o w e v e r, the famous establishment faced another

hurdle in 2008, when its lease expired, and its future was thrown into jeopardy. Luckily, the indoor market was bought out by landlords Bruntwood, who looked for a manager with more expertise in the field. After nearly closing down, and an unprecedented fire in 2013, Afflecks and the people that run it have hurdled many obstacles to keep the beloved indoor market as vibrant as ever. I decided, after delving into Afflecks’ past, that a trip to the establishment to find out more was necessary. Despite it being a rainy Monday morning, Afflecks stood proudly in the Northern Quarter. The beautiful paintings on the outside of the building provided some colour on a grey day. When I went in, I explored the various shops, with products ranging from gothic clothing, to a beautiful array of crystals, to a print shop with beautiful paintings and prints. I walked into Trouser Project, a colourful corner on the 2nd floor of the indoor market where I was drawn in by the beautiful paintings and clothing covering the walls. I was welcomed by Megan, who gave me a warm smile and let me chat with her about what she does as a vendor, and whether she enjoys working at Afflecks. Megan said, “This business is called Trouser Project, and we do sustainable and upcycled clothing – it’s all handpainted, one-off pieces. We have 18 artists involved so we are a collective, everyone has their own brand and we share the space together. “Working in Affleck’s is really great – it’s a good way to start a business I think. You’re surrounded by people who are all doing similar things, and everyone is always up for helping each other.” It was great to chat with someone who has experienced the buzzing atmosphere first-hand, and her creativity was so beautifully displayed in the establishment, with her clothing creating a beautiful display. Afflecks is a gem in the heart of Manchester, and the establishment is well-deserving of a celebration – so next time you are in the Northern Quarter, it is well worth a visit, to be immersed in the warm, exciting environment and get a taste of its colourful history.

How to: win an SU election

Taking into account the behaviours and trends of the past, here’s a handy (and totally serious) guide to winning the impending SU elections Serafina Kenny Features editor

ominations have just closed for the 2022 UoM Students Union Elections. Labelled “the hottest grad scheme you’ve never heard of”, Executive Officers are the highest tier of the Union’s student roles. They represent students on issues affecting all areas of student life, glue themselves to the pavement outside international banks, and have regular heart-to-hearts with the top gun herself, Nancy Rothwell. With that in mind, here’s our fun and fresh guide to winning your SU election campaign: 1. Come up with some great, well-thought-out manifesto points – things that students really want and that you think you can realistically achieve. Like pledging to immediately make all public transport free in Manchester, firing the Vice-Chancellor, or championing feminism through a charity beauty pageant! 2. Make sure you’re doing it for the right reasons. The student body wants people who are truly in it to make a difference… or maybe just people hoping to make a difference to their bank accounts and CVs, people who could do with the council-tax-free £20,000 salary, and who will do everything it takes to make their LinkedIn sparkle, ready for a cushy

career in politics. Either or! Have the right mindset when it comes to student engagement. The best candidates know that you only need students’ attention during your election campaign – once that’s done and dusted, don’t bother keeping students up to date via student media or clear messaging. Once you’re in, you’re in! And the Tab can probably get you more clicks anyway… Be ready to make important decisions and defend them. As a bastion of left-wing politics, the SU sets precedents when it comes to social justice issues, so you need to be sure in your opinions and to have never voted anything more right-wing than the Lib Dems. Create an effective social media campaign. Make sure to follow all the society committee members/ student media nerds/ repeat-uni-building-occupiers that you can find. They’re the only ones who engage with the SU, so the only ones who will vote, so your key (and only!) demographic. With a turnout of below 20% for the past few years, why bother trying to engage the remaining 80%? Make a persuasive banner. The best banners will have slogans jauntily painted in quirky positions with thick paint. Legibility is so passé – think primary school art class and you’re on the right track. Offer incentives to get people voting. Perhaps a

free pen or some gummy bears if they pledge to vote for you, or perhaps a cheeky £20 skimmed from one of your trust funds. Or, if we’re thinking more immediate, you could promise to simply stop harassing them and let them get to the lecture they’re already late for if they vote! 8. Help voters navigate the voting process. This may include helping them find the right website, or even physically helping them vote by kindly filling in their online ballot for them. Best to get in there before they’ve had a chance to realise they even need the help. Technology is complicated! If you’re interested in running for a position in the SU (maybe not using these tips), you can find out more at https:// m a nche ste rst ude nt su n ion . com/leadmcr. Photo: Canva

Investigations 7

ISSUE 9 / 28th Feburary 2022 WWW.MANCUNION.COM

Turning the heat up on gender politics: Is the Main Library too cold for female students?

A ‘chilling’ discovery finds that the University of Manchester sets the libraries’ thermostats to 19c-21c, despite the preferred workplace temperature being 24 degrees Celsius for women and 22 degrees Celsius for men. Harriet McDonald Investigations Writer

ger impact on your productivity and ability to

It is, therefore, understandable why stu-

allows students and faculty members to pro-

retain information than you might think, espe-

dents at the University of Manchester go to

vide comfort feedback directly to the Univer-

cially if you are female.

such extreme lengths to keep warm in the main

sity on the temperature of all its campus build-

library. One post-graduate female student said

ings in real time.

“

ave you ever been sitting in the main library and wondered why you are

so unable to be productive? Well, this may not actually be due to the fact you didn’t get home from the AU social until 4am the night before or because you didn’t attend any of the lectures needed for the essay in hand, but in actual fact it’s due to the ‘freezing’ conditions

“I have rheumatoid arthritis (...) I’ve been unable to sit in main library for a while or I always have to wear joggers [or] two layers.”

under which you are working. A recent inves-

that on one occasion during the exam period “I

The ‘TherMOOstat’ says that it is “smarter

sat in the main library shivering, my hands were

than a thermostat because we know comfort

that cold that I couldn’t type, in fact… me and

varies from person to person, and room tem-

my friends actually took hot water bottles and

perature control shouldn’t rely solely on the

gloves… If I know I will be going to the library at

thermostat on the wall.” Currently, the UoM li-

some point in the day I will always be sure to

brary thermostat is controlled by the Facilities

bring at least one extra layer.” The same student

Management team who do not operate within

also implied that the University is aware of this

the university building and therefore are not

temperature issue as she says that: “[The Uni-

aware in real time of how comfortable the tem-

tigation by The Mancunion has revealed that

A 2019 University of Southern California

versity] used to keep blankets in baskets dotted

perature is and how this is affecting students.

the University of Manchester sets the library

(USC) study concluded that “men perform

around the main library but I don’t know if they

thermostat to 19 degrees Celsius, despite

slightly better at a lower temperature, suggest-

still do that because of covid.”

many researchers suggesting that the optimal

ing that gender and temperature are linked in

However, for some students it is not just a

in the library and control the thermostat min-

temperature in working environments is 22

more ways than one.” USC subjected a variety

matter of discomfort and inconvenience but a

ute by minute so a similar tool would be of great

degrees Celsius.

It is obviously not plausible or efficient to have a member of the maintenance team to sit

of men and women to mathematical and verbal

matter of real health risk as one student voiced

benefit to UoM. It would allow them to save en-

Figures obtained by The Mancunion via

tasks in varying temperature conditions, from

their struggle; “I have rheumatoid arthritis and

ergy and costs on unnecessary heating whilst

a Freedom of Information request reveal

16c to 32c and found that performance on tasks

my condition is significantly affected by the

also being of great benefit to students because

that the University of Manchester uses a set

largely differed depending on the conditions

cold to the point where I’ve been unable to sit in

they would be able to give subjective and in-

temperature point of 19 degrees Celsius in its

and sex of the person. The research found that

main library for a while or I always have to wear

stantaneous feedback that could lead to greater

Main Library, meaning that the thermostat is

women perform better at temperatures be-

joggers [or] two layers.”

comfort and productivity in the library.

programmed to maintain this temperature

tween 70 and 80-degrees Fahrenheit, the equiv-

A student also noted that temperature is

throughout the day. Moreover, this set point

alent of 21 and 26.6 degrees Celsius whereas

just one more hindrance to learning in the li-

also remains constant throughout the year, of-

men work better below 70 degrees Fahrenheit.

brary as they say “it’s hard enough finding a

ten meaning that students find it too cold in the

This therefore means that the Main Library is

place to sit anyway when it is near exams and

winter and too warm in the summer.

2-7 degrees Celsius proves too cold for female

that takes up valuable study time, the temper-

students, but in the perfect range for males.

ature makes that even more difficult.” Another

“

“Libraries are meant to provide ideal working conditions but how cold they are forces students to resort to go elsewhere to study elsewhere.”

“

“For £9,000 tuition fee a year the least the University could provide is a comfortable learning environment”

A similar German study also found that for

female student also stated that “the libraries are

every 1c increase in temperature, women had

not fit for studying, a certain temperature is re-

a 1.76 percent increase in the number of maths

quired for concentration which the libraries are

questions answered correctly. When tempera-

definitely below. Libraries are meant to provide

tures were lowered, men performed better, but

ideal working conditions but how cold they

So, in the age-old struggle for equality in the

the difference was much less prominent. From

are forces students to resort to go elsewhere to

workplace and in opportunity, women have

these findings, a conclusion was drawn that “...

study elsewhere.”

one more unanticipated adversary: the ‘sexist’

in mixed gender workplaces, the temperatures

As a result of this, many students turn to

thermostat that is making them less intelligent.

should be set significantly higher than current

the warm embrace of the on-campus Café

The University should change its method of

standards to increase productivity.”

Nero or Pret as they provide an ambiance that

temperature control in its main library to en-

Although this way of controlling temper-

These findings are in line with a widely sup-

the library’s central heating does not provide

sure a comfortable and effective environment

ature may be cost and energy efficient for the

ported argument that the thermostats in work-

- although it must be noted that the warm cof-

where all students can study in optimal work-

University it does mean, however, that it is not

ing environments join the long list of things

fee further increases comfort. However, it is

ing conditions, but ladies, if you are planning

typically a comfortable temperature for stu-

that tend to be tailored to the male preference

not as cosy as it sounds as café working forc-

on heading down to the library any time soon

dents to be working under.

and have not been proven to be at the expense

es students to spend a considerable amount

be sure to pack a wooly hat and leg warmers or

Studies have also found that women prefer

of female comfort and productivity. This was

on drinks and does not have the same access

perhaps take a detour to Stopford or Ali G.

the thermostat to be higher than men, some-

further reinforced by a recent poll in the Man-

to certain resources that only the library can

When contacted for comment a University

times by up to 4 degrees Celsius. It is understood

chester Student Group that discovered that 71%

provide, which can actually have a very detri-

spokesperson said: “Our Main Library building

that due to natural anatomy and metabolic

of male students surveyed did not even notice

mental effect on student education. “For £9,000

has been extended over the years, and there

rate, the male body generally has more muscle

the cold temperatures of the main library whilst

tuition fee a year the least the University could

is a noticeable difference in the temperature

mass and is therefore more able to generate and

87% of female students felt the conditions were

provide is a comfortable learning environment

depending on which area you are in. Although

maintain a warmer temperature. Thus, men feel

uncomfortably cold.

for all students, they should not have to seek

on the surface this may not seem ideal, it does

refuge in the arms of the corporate coffee over-

offer the opportunity for students to select an

lords,” as Sophie, a first-year student stated.

area with a temperature they find comfortable

most comfortable in rooms where the thermo-

The University has proven that it has the re-

stat is set to 21.6 degrees Celsius whilst women

sources and the ability to create a warm learn-

prefer rooms closer to 25 degrees Celsius.

ing environment as the Stopford Library is at a

This issue seems to be one of universal

which supports their productivity. We discon-

However, it is not only comfort that is at the

practical set temperature of 21 degrees Celsius,

debate and was recently solved by UC Davis,

tinued the baskets of blankets because of Cov-

mercy of the thermostat, but the temperature

reaching the minimum warmth expected in a

California as their Energy Conservation Office

id-19, but this is something we may look to rein-

of your working space also actually has a big-

working environment.

founded a resource named ‘TherMOOstat’ that

troduce next Winter.”

8 Science & Tech

ISSUE 9 / 28th Feburary 2022 WWW.MANCUNION.COM

Fraud over failure: The story of Elizabeth Holmes’ fraudulent empire, Theranos Lauren Manning Science Writer

lizabeth Holmes founded the blood testing start-up, Theranos, at the age of 19. At the age of 37, she was convicted of 3 counts of wire fraud and 1 count of conspiracy to commit wire fraud. The story of the time in between that is one of money, deceit and a culture of ‘fake it till you make it’. How it began In 2003, Elizabeth Holmes, a sophomore at Stanford University, founded Theranos. Holmes claimed to have developed proprietary devices which, “made it possible to run comprehensive laboratory tests from a few drops of blood that could be taken from a finger”. The blood was collected in a ‘nanotainer’, and was run through the ‘Edison’, a machine apparently capable of running over 240 blood tests to detect hormone and drug levels, viruses, and various disease markers.

“

“She chose fraud over business failure. She chose to be dishonest.” -Robert Leach, lead prosecutor

Based on this idea, Theranos grew to a value of $9 billion by 2014. At the same time, Holmes became a prominent figure in the tech world, being named the youngest self-made female billionaire by Forbes in 2015 and the ‘female Steve Jobs’ by Fortune magazine. A culture of secrecy The truth was, however, that the Edison machine did not work. It could perform only a few of the 240 tests offered on the Theranos test menu. All the other tests were being performed on commercially available lab machines purchased from third party companies. This, of course, was kept a secret from the public, investors, partner companies and the federal agencies which regulate public healthcare. Holmes did not disclose how the Edison machines worked to investors and declined to allow government bodies to do their own tests to verify its accuracy. The company operated in a culture of secrecy. They lied about the reliability and accuracy of the tests, diluted blood samples to produce enough blood for testing, and ran quality control tests on third party machines repeatedly until they passed. Employees were required to sign non-disclosure agreements. Those who did speak out were ignored, threatened with lawsuits for exposing ‘trade secrets’, or forced to resign to save their own conscience. One of these ‘whistle-blowers’, Tyler Schultz, was followed by private investigators hired by Holmes and subject to intimidation and threat of legal action for months. Former chief scientist at Theranos, Ian Gibbons, warned Holmes that the tests were inaccurate, and that the technology wasn’t ready for public use. He too was ignored, and eventually committed suicide the night before he was due

to testify in a lawsuit concerning the Theranos technology. Holmes’s deceit was so effective that despite this, Theranos signed partnership agreements with several companies, including the supermarket chain, Safeway, the Cleveland Clinic, and Capital Blue Cross. In 2013, Theranos testing centres were opened in Walgreen stores, with blood tests being offered to patients despite not being approved for in-store testing by regulators. The public were being used as test subjects, without knowing it. Most of the tests being performed required venous draw with a syringe, not the finger pinprick advertised, much to the surprise of patients. Furthermore, the blood samples were being sent to a clinical lab in Paulo Alto to be tested on third party devices, not on the revolutionary Edison machines. The truth exposed How then, did Theranos fool the world? Many look to the powerful men Holmes aligned herself with for the answer. Theranos’s board members included the founder of Oracle, a former head of software at apple, a former U.S. Secretary of State, a former Secretary of Defence, 2 former U.S. Senators, and the former director of the U.S. Centers for Disease Control and Prevention (CDC). These men had influence within the government, provided funding, and conferred much-needed credibility to Theranos. None, however, were experts in lab testing or healthcare. Backed by these powerful figures, Elizabeth created an image of herself as a revolutionary entrepreneur, following in the footsteps of her idol, Apple CEO Steve Jobs. She dressed in black turtlenecks, like Jobs, never took vacations, like Jobs, and even decorated her office with Job’s favourite furniture. This carefully curated image was shattered in October 2015, when the Wall Street Journal published an article exposing the ineffectiveness of the Edison machine, and the inaccuracies of its testing capabilities. With that article, Theranos’s downfall was set in stone.

friend, Sunny Balwani, was charged with 9 counts of wire fraud and 2 counts of conspiracy to commit wire fraud. During an 11-week trial, 29 witnesses were called to testify, including former employees, investors, patients, and doctors. During her testimony, Holmes admitted to hiding Theranos’s use of modified commercially available machines from investors and to adding the logo of pharmaceutical companies to Theranos reports without authorisation. It was also revealed that investors did not perform due diligence, and most had little to no knowledge about the healthcare industry, lab-testing, or the technology Theranos used. After 7 days of deliberation, the jury found Holmes guilty of 4 counts of wire fraud against investors, and 1 count of conspiracy to commit wire fraud. She was found not guilty of 4 counts of fraud against patients and the jury were unable to reach a unanimous verdict on the remaining 3 counts of fraud against investors.

The US Food and Drug Administration (FDA) banned use of the nanotainer, and the Centers for Medicare & Medicaid Services (CMS) conducted surprise inspections of Theranos labs, finding inaccurate blood testing which threatened patient health and safety. They subsequently revoked Theranos’s license to oper-

The larger problem of Silicon Valley The money lost by the investors Holmes was convicted of defrauding paled in comparison to their net worth. Rupert Murdoch, a media mogul, invested $125 million in Theranos, which is nothing compared to his $21 billion net worth. The Walton family, who own Walmart, have a net worth of $238 billion, of which they invested less than 0.1% at $150 million. This is part of a larger culture within the tech industry, in which venture capitalists invest in high-risk, high-reward companies with little chance of succeeding. The ‘start-up ecosystem’ of Silicon Valley produces many of these, and investors spread their capital among many companies, assuming around 60% of them will fail. And they do. There are many examples of Silicon Valley start-ups failing, and many examples of startups committing fraud to varying degrees. The vegan food company, Hampton Creek, was found to have ordered contractors and employees to buy its own products from retailers. Magic Leap, a visual reality company was found to have used animation to augment its demo videos. The HR start up, Zenefits, admitted to

ate. In July 2016, Holmes was banned from the clinical testing industry for 2 years and by October of that same year, all Theranos’s labs and testing centres had been closed. In July of 2018, Holmes stepped down as CEO of Theranos on the same day that she, along with Theranos’s COO and Holmes ex-boy-

developing software which allowed employees to cheat on mandatory compliance training. The tech industry is saturated with billion-dollar start-ups, or ‘unicorn start-ups’. Many of these are privately owned companies which can publish their own unaudited financial statements. This, along with the highly

“

“Those who did speak out were ignored, threatened with lawusits for exposing ‘trade-secrets’, or forced to resign to save their own conscience.”

Tali Mackay @ Wikipedia

competitive nature of the industry, the demand for rapid growth, and a culture of “change the world, move fast and break things” creates an environment which encourages venture-capital funded start-ups to commit fraud. Dave McClure, a founding partner of the venture fund 500 startups, told Fortune, “You might even find a correlation between ‘interesting’ behaviour and successful entrepreneurship.’

“

“The public were being used as test subjects, without knowing.” In the words of Guardian reporter Kari Paul, “Silicon Valley’s culture of ‘fake it till you make it’ encourages founders to make big promises, often with little proof”. This allows companies to raise millions of dollars from investors, and to remain in business as long as it takes to make it, or be found to be faking it. This is the culture which allowed Elizabeth Holmes to fake it for so long. In the closing statements of the trial against Elizabeth Holmes, her defence team stated, “Failure is not a crime. Trying your hardest and coming up short is not a crime”. No, it’s not, but Elizabeth didn’t just fail. She lied. The prosecution put it perfectly: “She chose fraud over business failure. She chose to be dishonest.” As a result of her dishonesty, Elizabeth Holmes faces up to 20 years in federal prison, millions of dollars in fines, and further millions in victim restitution. Her sentencing is scheduled for September 2022. With the final chapter of Holmes’s story about to close, Silicon Valley may have some lessons to learn from it.

Science & Tech 9

ISSUE 9 / 28th Feburary 2022 WWW.MANCUNION.COM

Mooloo: The scientists Sapiens potty training cows to aren’t the save the world only Homos Cattle farming has a huge environmental impact, but seems unlikely to disappear any time soon. So how are scientists are potty training cows to lesson their impact on climate change? Emma Hattersley Science & Tech Editor

esearchers have managed to successfully toilet train 11 out of

16 cows, in an attempt to lesson the environmental impact of their urine. The team of scientists, based at the University of Auckland in New Zealand, trained the calves to use a latrine, which they nicknamed the ‘mooloo’, up to 80% of the time. Released in September 2021, their research could be expanded in the future to reduce the significant global damage caused by cattle farming. The climate killer conundrum A single cow can produce about 30 litres of urine a day. When this urine is combined with faeces, it can produce ammonia. Ammonia can lead to eutrophication, a form of water pollution characterised by excessive nutrients in the water supply, as well as causing acid rain. It can also taint

water with nitrates to produce nitrous ox-

it is possible to potty-train a cow to a simi-

ide, a greenhouse gas and airborne pollut-

lar level of a 2-4 year old child. Out of the 16

ant.

cows studied, 11 managed to consistently Although the environmental impact of

use the latrine correctly, using it to urinate

urine is not as significant as that caused by

83% of the time. The other cows managed

the belching and farting of cattle, nitrous

to use the latrine with lower, varying de-

oxide still made up 5% of greenhouse gas-

grees of success.

Fitting with our ongoing support of LGBTQ+ history month, let’s explore some of the naturally occuring examples of homosexuality in the animal kingdom, and how they could help shift perceptions.

es in the UK in 2019. In addition, farming practices that are designed to benefit cattle welfare in-

Can cows using toilets change the world?

crease the amount of ammonia released

Although the sample size is small,

into their environment. In attempting to

these results are promising, and the global

toilet train cows, this team of researchers

scientific community seem fairly confi-

hoped to allow farmers to ensure good

dent these results could be replicated. The

conditions for their cows, whilst reducing

primary issue is likely to be the scaling of

ammonia’s environmental damage.

technique for use in the cattle industry - it may be possible to toilet train a small

How to potty-train a cow

group, but it is likely to be far more difficult

For the first step of the experiment, sci-

to train an entire herd of cattle, which can

entists were confined to the ‘mooloo’, and

number in the hundreds.

rewarded with a sweet, molasses-based

In addition, only urination was investi-

liquid every time they urinated. This

gated, which only leads to a small fraction

helped them form a positive association

of the environmental impact caused by

with urinating in the latrine.

cattle. The research team were fairly confi-

The cows were then moved out of the

dent they could expand the results to def-

latrine, but had access to it from an alley

ecation, but the worse climate-offender

through an animal-activated

is belching, which this technique cannot

gate. If they urinated in the la-

address.

Jess Ferguson Science Columnist

any scientists like Darwin came up with their famous theories on the basis that the main purpose

of all animals was to reproduce and pass on their genes.

trine, they were rewarded with

However, the enormity of the meat and

Homosexuality simply does not fit into this. It has been a

the same molasses-based liq-

dairy industries means that even small

debate for many years as to whether the emotion of “love”

uid, but if they urinated in the

improvements can have a big impact. The

is simply a dreamt-up concept by humans which therefore

alley, they were sprayed with

researchers claimed that capture of about

does not apply to other species. For example, could it be

water for three seconds as a

80% of cattle urine in latrines could lead to

that your darling dog doesn’t actually love you but only

form of negative reinforcement.

a 56% reduction in ammonia emissions. It

gives you physical cues to make you feed them?

Diuretics were given to the

would also improve the cleanliness of cat-

However, whilst it is not physically possible to prove that

cows to make them urinate

tle living space, which can only improve

love exists, the evolution of monogyny (only having one sex-

more frequently, as the scien-

the cows’ welfare.

ual partner) cannot be ignored. Prairie voles for example,

tists had to limit the duration

Whilst more and more people are turn-

only have one partner and mate for life. This is also the case

of experiments due to ethical

ing to veganism, the vast majority of soci-

for penguins, swans, and gibbons. If animals have evolved to

guidelines put in place to pro-

ety are not going to ditch meat and dairy

have one partner (which decreases the number of offspring

tect animal welfare.

products any time soon. In the short term,

a male could father), who’s to say animals couldn’t evolve to

at least, potty-training cows could help

have homosexual relationships?

The researchers involved in Jeancarloemer @ Unsplash

veverkolog @ Pixabay

the project have estimated that

solve this particular climate conundrum.

Women in Media is back!

21st - 27th of March

In fact, there are many animals who have shown either bisexual or homosexual behaviour. Homosexual activity in penguins was observed as early as 1911. Currently, in London Zoo, there are two male penguins named Ronnie and Reggie in a same-sex relationship. They even adopted an abandoned egg and co-parented their chick, named Kyton. If that doesn’t make your heart swell, I don’t know what will! Dogs have also been shown to be interested in members

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of the same sex. The Channel 4 documentary My Gay Dog and Other Animals came out (no pun intended) in 2019 and followed the same-sex behaviour of many animals. One of these was greyhound Norman, who was constantly “expressing his excitement” towards male dogs but was not interested in female dogs at all, even if they were on heat (i.e. ovulating). Whilst Norman’s sexuality is accepted, scientists are still puzzled as to why he carries out these behaviours. These stories, whilst we may find them touching, are extremely important in the scientific community. They are genuine examples of homosexuality being found in nature. This phenomenon could not only change how we view the complexity of animals’ brains, but also play a part in fighting the prejudice against the LGBTQ+ community.

OPINION:

10 Opinion

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Staff strikes are frustrating, but don’t forget who the real enemy is As the upcoming ucu strikes disrupt classes, it’s worth remembering where the real issue lies (hint: it’s probably not the lecturers) Aine Eastwood & Jacob Hartley Opinion Writers

feeling of deja vu has come over campus. Lecturers once again prepare to go on strike to demand better conditions for themselves and future educators. Their aims come down to four key areas; pay, workload, diversity, equality, and casualisation. To anyone not in management, these seem universally basic and important demands. The strike rests on the principle of the dignity of the human person, which management is ignoring in favour of profit. As students, we can be frustrated, but lecturers can hardly be blamed. Dr Paul Simpson, who graciously spoke with us about the strike, explained that there are 6,500 university lecturers across the UK on zero-hour contracts and 70,000 on fixed-term, temporary contracts . What’s more, women and ethnic minorities are disproportionately represented in these figures. The UCU co-vice president, Dr Molly Geidel, pointed out to us that staff “want to be able to devote [their] time and attention to teaching and advising” which they can’t do “when the studentstaff ratio keeps rising and we’re given less and less administrative support”. Furthermore, the workload for university staff has been increasing intensely alongside falling pay rates. The university has failed to bring in more staff to accommodate growing numbers of students. As a result, lecturers are vastly overworked with no compensation. In these conditions, it should not come as a surprise that university staff face higher rates of mental health struggles. Almost a third of lecturers surveyed by UCU reported feeling emotionally drained after a day’s work, and 53% showed probable signs of depression. As Dr Simpson said in our chat, this reflects the little value held for those educating young people. It is also essential to recognise that lecturers don’t want to strike. It is not only for the financial repercussions of losing a day’s pay, which puts some off of striking altogether. But missing out on engaging in discussions and work that they value. Dr Simpson explained that lecturers genuinely enjoy “seeing students develop a more critical understanding of the world and we learn from them what works in our teaching and how we present our research”. The staff’s disappointment mirrors that of the students. He also spoke of how impressed he is with his colleagues’ dedication to supporting students. We agree wholeheartedly. Using office hours and email consultations, posting materials on Blackboard and scheduling feedback sessions shows the admirable commitment of lecturers to the students. Despite this, the right-wing media have unsurprisingly decided to hound the union for their decision, framing the strikes as the acts of selfish academics. Outlets place the strikes in the context of students missing their contact hours, ignoring the powerful causes of the four fights. The Telegraph, not particularly famed for supporting employees over employers, reinforced the news of the strike with news that ‘the majority of students are already behind on their studies’. The paper gave most of the space in the article to the spokesman for the USS, who condemned the union as “disappointing” and “detrimental”.

Even the Guardian, a (theoretically) left-wing outlet, dedicates almost no time to the concerns of the union. Instead, they dedicate most of their article to the UCEA statement defending the ‘moral position of employers’ in withholding pay.

“

Even Labour, the supposed party of workers (hence the name), has for years taken any opportunity to criticise unions When articles do give space to talk about issues, they ignore the emotive and powerful issue of equality for minorities. Instead, they focus on pension strikes, and pay rises, which are easier to frame as selfish lecturers out for themselves. The view of establishment-upholding outlets such as The Telegraph, has begun to influence the student outlook on the strikes. Before the strikes in December, student journalist Louisa Riley, writing an opinion piece for The Tab, described the strikes as a ‘selfish and unfair move from those voting in the strikes [sic] favour’, vehemently asking “How dare lecturers go on strike again?” This dismissal of unions is part of a much deeper, systemic problem in the media. Politicians and right-wing media have for decades taken any opportunities to bash trade unions. After all, most of the cabinet idolise Margaret Thatcher, who took great pride in breaking trade unions. Therefore it may come as no surprise that higher education minister Michelle Donelan described the actions of unions as “deeply irresponsible”. Again she blames those striking, not those causing the strike. Donelan follows in the footsteps of many in her party. While he was London mayor, Boris Johnson called for ‘Thatcherite zeal’ in attacking union action. Unsurprisingly, the party of the powerful will always be on the side of the employers. Even Labour, the supposed party of workers (hence the name), has for years taken any opportunity to criticise unions. Tony Blair, in his electoral campaign, advertised that he “would leave British law the most restrictive on trade unions in the Western world”. Keir Starmer has been accused of treating unions like “the drunken uncle at the party”. Just last week, he clashed with Unite, who threatened to cut funding because they did not feel represented by Labour.

“

They want you to think they are on your side This situation is undoubtedly incredibly frustrating for students. As the UK has jumped in and out of lockdowns, so too have classes moved from online learning to in-person and back again with little predictability. Students adapted to change after change, missed out on graduation celebrations and faced futures shrouded in certainty. This hits particularly hard for older students for whom this instability has characterised more or less their entire university career. As many of us were hoping for a return to

normalcy, the news of further disruption was a devastating blow. Missing out on exciting course material and trying to teach ourselves is hardly what we envisioned for this year. Despite this annoyance, however, many students show solidarity with university staff and understand the real issue. Similarly to November and December of last year, when students came out to support the strikes, the energy on campus is one of eager readiness to show support. Students understand that prolonged unfair treatment and worsening work conditions are what motivate strikers. It is an immensely encouraging sight to see. Any annoyance at lecturers is misplaced. We should feel angry at management, at President Nancy Rothwell on a salary of £260399 in 2020, who appears opposed to the requests of the union. Her salary is ‘15 times greater than the lowest point on the University’s pay spine’, (under £17500 a year). And, according to the UCU website, the value of pay in higher education fell by 17.6% relative to inflation between 2009 and 2019. Remember that management wants you to be angry at lecturers. It deflects pressure off them, and puts it on the lecturers; it lets them keep hold of their money and their power. Just read this, from an email before last semester’s strikes: “We recognise the right of colleagues to take this action, but are extremely concerned about the impact on our whole community, particularly on our students who have suffered so much over the past 20 months.” They want you to think that they are on your side. Management seeks to absolve themselves of any responsibility. Instead, they offer vague platitudes about taking “their views and concerns very seriously”. They offer themselves up as on the side of students, proclaiming that they will “do everything we can to minimise any impact of the strike action on students.” That last statement simply is not true. If management wanted to help, then they could. Instead, management offered staff a mocking 1.5% pay increase. But with inflation expected to rise to over 7% this spring, the wages of our lecturers have essentially been slashed. When I asked Dr Simpson what he wants students to remember most, he said “the power of collective importance”. He frames the struggle as one for a society that promotes collaboration and deeper understanding. Where education’s value extends beyond the means to an ideal job. It’s an appropriately sociological response and a profoundly moving one. For a university that is ‘world number 1 for social impact’, the gap between what students are taught and the actions of university management is immense. Yet, when asked, 47% of people in the student age group said that they ‘didn’t know’ whether trade unions were beneficial to the UK. It is these people that the establishment want to co-opt, but do not let them. Students have the power to see the larger picture despite their grievances, direct their anger towards management, and call out their lack of concern for staff and students. Students have a rich history of making change. So do not begrudge your lecturers for asking for better conditions, but support them.

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Your SU

Opinion 11

needs

YOU!

Why every student should vote in the upcoming elections Max Earnshaw Opinion Writer

on’t be alarmed by that headline. I’m not suggesting everybody who reads this article about the upcoming Student Union elections needs to actually stand in order to make a difference (unless you’re up for that, of course!) Instead, the purpose of this piece is simply to highlight just why engaging with the contest, getting to know the candidates, and most importantly, casting your ballot is so easy and so important. To understand just why it’s so important to get voting, let me tell you the story of the 2019 elections which determined the SU officers for the 2020/21 academic year. As The Mancunion reported at the time, this contest was rife with controversy. Accusations of cheating were made against four candidates – including the eventual winner of the General Secretary ballot Kwame Asamoah Kwarteng

and successful Postgraduate Officer candidate Rana Phool. The independent Returning Officer responsible for the contest determined that they had been part of a ‘slate’, or common platform, which had broken campaigning rules in various ways. This included snatching phones to vote for themselves. An unprecedented number of complaints directed to the SU regarding the conduct of the candidates led to the Returning Officer suspending them from physical campaigning in the final days before the ballot opened. Students at the time were reported to have felt ‘intimidated’ by the ‘slate’ contenders. Despite an appeal, the ban was upheld. It is worth acknowledging that all four candidates against which the accusations were made deny any wrongdoing. Whilst previous years’ elections may seem an irrelevance – none of the candidates discussed above are still in office after all – it remains important to learn from

such a farcical contest. If you care about the integrity of our SU Democracy – and you definitely should when you consider the enormous number of issues to have affected the student body over the last year with regard to Covid, strikes, mental health support, and increasing diversity – then don’t be like one of the 80%+ of students who didn’t vote in 2019. If 4 in 5 students don’t care enough about who their representatives are to cast a vote, then ‘popularity contests’ where alleged ‘intimidation tactics’ can sway the outcomes as in previous years could easily occur again. It goes without saying that a well-informed and well-engaged student body is the most essential tool in student democracy. What’s more, if you don’t vote then how will anything change? Every student I know has some sort of gripe or grievance with the university, the SU, their course, or their society. The SU Elections are a perfect way to solve that. You can

easily get in touch with candidates to ask them questions and offer policy ideas during the campaign because they’re all students just like you or I (well, like me. I don’t know who you are). Why would you pass up that chance and simply whinge about it to your housemates instead? At the very least do a bit of both! So, you’ve kindly stuck with me up until this point (thanks for that!), and you’ve been convinced that voting in the SU Elections is important. But how do you go about finding out who to vote for? Well, that is an easier question to answer this year than ever before. Student media will be offering blanket coverage of the election through Fuse FM’s flagship news show Fuse in Focus (Listen every Wednesday at 2pm). Candidates are also being quizzed using gameshow formats on Fuse TV and, of course, The Mancunion’s news team will be bringing you candidate interviews and all the info on when and how to make yourself heard.

These events are the perfect opportunity to put your specific issue to the candidates and see some material change at the place where we all study. When it comes to results, a live show on Fuse FM will bring you coverage throughout the day on the 11th of March. So, you’ve agreed to vote. And you’ve worked out who you want to vote for. But how do we know they will actually improve the university? Well, it was the Students’ Union who successfully campaigned for a break in rent for students who weren’t in Manchester due to Covid. They campaigned for the university to divest from fossil fuels, and are offering training on anti-racism resources as part of a broad liberation scheme. Choosing who should head, expand, and implement these campaigns is a right more students need to exercise. So remember: the polls open on the 7th March. Get voting!

Cold One Liners, Hate the Shelf, Comedy Red Flag Time Anna Nixon hilariously tells all on red and green flags when it comes to conversations about comedy in the current dating scene. Anna Nixon Opinion Writer

’m sure an unfortunately large amount of readers of The Mancunion can relate when I say my life has been plagued by the toils of dating apps. In many desperate attempts to conquer this uninviting realm, and as an avid comedy fan, I have dropped certain comedians’ names as a conversation starter or prompt. However, in light of certain recent events, this topic has unfortunately been marred – or should I say Jimmy Carred – in a way that has led to it becoming quite problematic. So, as a self-accredited expert in this field, I wanted to give a brief synopsis of red and green flags. Use them if you find yourself deep in a conversation about comedians that you don’t quite understand (and hopefully next week someone can do one about economics or business or something more useful). Red Flag Number 1: “It’s not

discrimination, they’re just edgy.” I don’t know where these people have got their definition of edgy from, but most likely if you get this text, or get it spit-whispered into your ear in a club, it’s not edgy, it’s discrimination. ‘Edgy’ is often used by comedians that grasp for jokes at the borders of what they see as socially acceptable. Often crossing the borders in doing so. If someone’s pick up line is a form of crossing the line, run. Just run. If they are blind to blatant discrimination it is highly likely they miss other obvious signals too. Also it just gives me clicking at the waiter vibes. Red Flag Number 2: “You wouldn’t know them.” If someone is an actual comedy fan, and can I just note that I am speaking from experience here, they will grab any opportunity to tell you about their favourite comedian with both (slightly moist with excitement) hands. The same as with a bookworm, a true comedy fan can be somewhat of a recluse,

but even then will slither like an eager snail out from its shell to show you a clip of their favourite stand up special. Someone who tells you their favourite comedian and then refuses to tell you more either knows nothing about said comedian, or is trying to keep them secret, like some hidden personal deity. This quite frankly defies the point of comedy. Comedy is to be shared, and if they don’t want to share it with you, don’t share anything with them, especially not your dessert (you deserve that double choc brownie for the trauma). Red Flag Number 3: “I like the old guys, the new stuff’s not for me.” Comedy is often a form of acknowledging social customs, rules, and boundaries, often pushing these to their limits for comedic effect. Unfortunately for older comedians the borders of social acceptability are constantly changing. Often what would have been seen as quality comedy ten

years ago is no longer socially acceptable. Take Little Britain, for example, a lot of the humour in which is now being acknowledged as offensive to certain social groups. People are not more sensitive now, as some comedians try to claim, but they are just more aware of discrimination and each other’s suffering. I’m not saying that there were no good comedians in the past, but someone who exclusively likes comedians from times when misogyny and racism were acceptable forms of humour (even more so than now) should be a cause for caution. Red Flag Number 4: “My favourite comedian is Ricky Gervais.” Now, please don’t hate on me for this one. I do acknowledge that Ricky Gervais has done some good stuff. However, if someone says this pick-up line to you it might be worth asking them if they have heard of a little thing called transphobia. If they proceed with this viewpoint after your enquiry, feel free to tell

them that the only thing they will be picking up that night is the bill. Good day to you Sir/Madam! Red Flag Number 5: “My favourite comedian is Jimmy Carr.” Being a relatively average host of various panel shows does not make it acceptable for you to make discriminatory jokes about the holocaust. That is all. Green Flag Number 1: “We should watch Taskmaster together!” A good mark of character. Also a good way to learn enough about comedy to write a Mancunion article about it. Even if it doesn’t work out with this person and you, like Rosalind, find yourself becoming a f*cking nightmare, at least you will have a new favourite show to be a backing track to your lonely crying sessions. Green Flag Number 2: “My favourite comedian is James Acaster.” Marry them.

12 Opinion

ISSUE 9 /28th February 2022 WWW.MANCUNION.COM

Just Putin it out there:

What has happened with Russia and assesses Johnson’s reaction to Russia’s invasion of Ukraine Ukraine? Alfie Cumberworth and urges solidarity with those who’s lives have been endangered. demands from Russia were not met before the

close ties to wealthy Russian politicians and

hold in UK bank accounts. The prime minister

invasion and should not be met now the invasion has begun.

oligarchs? If it was not for the backing of the EU and

also stated he intends to work with the G7 and NATO to exclude Russia from the Society for

determination for war and bloodshed is evident for all those on the international

Putin deeply desires to scare the west into subjugating Ukraine, a sovereign nation, to a block from ever joining NATO. Whatever your

the Biden administration, despite the latter of which not showing a preference for Johnson in the past, then the Conservative party would

Worldwide Interbank Financial Telecommunication (SWIFT), effectively cutting Russia off from the international banking system. These

stage to see. It is now clear that Russia’s intent to solve this crisis that they created

opinion is about NATO, of which I’m sure there are many, the debate about whether it is right

now be backed into a corner. Forced to stand aside as the Russians creep ever closer to Kiev.

are welcome actions from the government and are planned to be implemented next week.

diplomatically has amounted to nothing more than superficial gesture politics. As the west

or wrong for Ukraine to join completely misses the point. Ukraine’s desire for membership, or exclusion, from NATO should not be dictated to it by another state. Especially not an aggressive state intent on bullying and controlling it. A nation’s right to self-determination is vital.

The problem regarding Russian money in the Conservative party is not isolated to this one example. This week, the leader of the Westminster SNPs Ian Blackford rightfully pointed out that 113 limited partnerships have moved $20.8 billion out of Russian banks under the Tories.

However, at the time of writing, the exclusion from SWIFT now appears unlikely due to the hesitancy of some EU member states to follow through on this. Only time will tell. Regrettably, there are certainly some prominent figures on the left side of British politics

The Conservative government initially imposed underwhelming and highly criticised sanctions on five Russian banks and three Russian oligarchs. Their UK assets were frozen and travel bans were issued. The issue the UK government faced immediately after Putin stated he recognised Donetsk and Luhansk as independent republics is that for years now, the Con-

He noted also that since Johnson became prime minster, a total of over £2.3 million has been donated to the Conservatives from Russian oligarchs. This should make it clear to everyone that the Tory party alone are completely incapable and shamefully ill-equipped to pioneer any meaningful sanctions at this point – without upsetting vital donation links.

whom I think have acted foolishly in their acknowledgement of this crisis. Corbyn has shown himself to be, at best, extremely naive with his response. He initially advocated a suspension of NATO’s expansion eastward, effectively conceding to the demands of Putin. I sympathise with Corbyn’s desire for peace and negotiation, and I believe that many mem-

servatives have willingly accepted money from wealthy Russian oligarchs. This week, foreign secretary Liz Truss was humiliated on live TV when she was confronted with the fact that the biggest political donation given by a female donor in recent British political history came from the wife of a former Russian minister with ties to the Kremlin. It amount-

Again, the rhetoric of British exceptionalism appears to be little more than farce when put under scrutiny. It is an aspect of reality we so often seem to forget when trying to understand exactly why our government is so horrendously incompetent. It is important to note however that it is precisely because of the EU and the US support,

bers of the international community have the same desired goal. However, his surrender to Russia’s demands as a solution to this conflict highlights his oversimplified ignorance to the issue. By having such a stance, he undermines the concept of the sovereignty of nation states to choose their own stance, their own alliances, and their own path. Additionally, the Stop

ed to £1.8 million. More damningly, it has been uncovered that the group formally known as the ‘Conservative Friends of Russia’ has stated no intention to plan it’s in-person conference, due to occur in two weeks. This group has direct ties to Tory MPs and has hosted events attended by the prime minister’s wife, Carrie Johnson. It is no secret that the Conservative Party has questions to answer regarding its closeness to Russian money and influence from the Kremlin, despite Johnson’s vehement denials. How then can the Conservatives be trusted to tackle and challenge Putin if their party has such

that the UK is in the position to announce the impressive swathe of sanctions it did on Thursday. As Biden announced over 7000 troops will be deployed to Germany, Johnson was able to announce he intends to impose the “largest set of sanctions ever imposed anywhere by the UK government”. This includes further personal sanctions on five more Russian oligarchs, including Putin’s former son-in-law, as well as tackling more than 100 businesses and individuals through sanctioning. Additionally, Johnson expressed desire to introduce legislation that would limit the number of deposits Russian nationals will be able to

Luhansk regions as an excuse to start his sorrowful invasion of a peaceful nation?

the War Coalition made a statement criticising NATO and 11 Labour MPs signed up in support of it. They have since withdrawn that support after they were told to do so by the Labour chief whip. If the west conceded to Putin’s demands, what’s to say he won’t insist the reversal of NATO’s already established eastwards expansion in the near future? This event should be reason enough to persuade those on the Left who are suspicious of NATO that it is very much still needed to curb Russia’s hopes of expanding its imperialist sphere of influence. It should certainly not be a reason to double down on gullible predispositions. Nobody in the west wants war, but dictating the future of a sovereign nation is not the way to prevent it. Therefore conceding to Putin’s demands should not be something considered either on the Left or Right of our domestic politics. It is often easy, and sometimes preferable for our own mental health, to focus on the political fallout of events such as this. But I want to finish this article by drawing your attention to the humanitarian crisis we are about to see unfold. I write this on the first day of invasion, that being the 24th February 2022 at exactly 22:17. Yet already, Ukraine has announced 203 individual attacks have occurred, 169 people have been injured, and 57 people have tragically had their lives taken from them. This total is already stark and will increase steadily day by day for months to come, that I assure you. I urge you to keep in mind, as we watch this tragedy unfold, the mothers and fathers in Ukraine who will soon hear of the deaths of

The west knew about the Russian build-up of troops for months and yet we did embar-

their children in the defence of the country they hold dear in their hearts. This crisis is far from

rassingly little, something I feel will be one of the great regrets we look back on in the years

concluded and you will hear stories of loss and devastation throughout the year. It is because

to come. The US estimates anywhere between 169,000 and 190,000 troops and half of Russia’s entire air force surrounded Ukraine. Diplomatic

of that that I deeply encourage you to show solidarity with Ukraine and to not succumb to Putin’s fear and despair.

Alfie Cumberworth Opinion Writer

invasion

has

begun.

Putin’s

finds itself scrambling to force Russia into becoming an isolated, lonely, pariah state, I believe it is important to question how, in the 21st century, the concept of a full-scale invasion in Europe is not an idea bound to the history books. I want to start with some background. Indeed, it is easy from the news coverage right now to think of the crisis in Ukraine as something that has spontaneously occurred, seemingly out of nowhere and for no reason at all. After all, the UK has been so fixated on its own domestic politics and instilling a misguided sense of British exceptionalism since the referendum that we have wilfully disregarded international affairs. Naturally, in a way, British exceptionalism is feeding into the discourse of how Johnson has behaved in response to the declaration of war in Europe, leading the west with a sense of patriotic pride. It is important though to remind ourselves of the international standards Johnson promotes to us and ensure that he follows up, (both in the past and currently) on his words. He has rightfully attacked and condemned Putin for breaking international law. However, not too long Johnson’s party gloated about how Brexit gives the government the excuse to break international law in a ‘limited’ and ‘specific’ way. Obviously, the international laws being broken are incomparable in scale of damage and destruction. Nevertheless, these double standards should be kept in mind whilst we watch with wide eyes the conflict in Ukraine play out, so that we do not slip blissfully into not holding our own politicians accountable. It is important though, to move past the failings of Johnson (at least temporarily, so that there’s room for less well known facts in this article) because this is more important than his self-inflated ego. To be fair to the guy, this conflict started way before his failed prime ministerial tenure. I argue it began with the annexation of Crimea in 2014. The international community’s devastatingly lacklustre response to this previous invasion of Ukraine has inspired Putin to feel like he can once again employ on-theground war tactics. The response was so shallow that he continued to fuel tension by supporting separatists within South-East Ukraine, eventually leading to war. Is it a surprise to any of us then that he provoked the flames of separatist sentiment once again in the Donetsk and

Photo: @yuliecler

Sports 13

ISSUE 9/ 28th February 2022 WWW.MANCUNION.COM

Forgotten footballers: the heartache of being released from an academy There are 12,000 aspiring footballers in the youth development system, yet less than 1% of these will ever go professional Ava Griffiths Sports Writer

oung talent in English football has always been cherished. As a country, we love seeing a promising new player who has come up through the ranks of an academy go on to thrive in the league. In recent times, the likes of Phil Foden, Mason Mount, Declan Rice and Bukayo Saka have been at the forefront for exciting young talent. They are living out their boyhood dreams, providing hope for all those who aspire to be the next in line. However, beyond the celebration of those who have ‘made it’, are those who are simply left behind. Thousands of boys have sacrificed their childhoods in the hopes of playing professionally, joining an academy as young as 6 years old only to be told at 18 they were no longer needed. The inner turmoil of having to give up the prospect of playing in the richest and most successful league in the world often leaves players devastated. The goal of becoming a professional, now disallowed. At any given moment there are 12,000 aspiring footballers in the youth development system, yet less than 1% of these will ever go

professional. The Premier League also revealed that 97% of the former elite academy players aged 21 to 26 years old failed to play a minute of a game in the top flight. These statistics show the harsh and cruel reality of trying to chase the dream of becoming a professional football player. The system can leave released players traumatised, revealing a dark side to the beautiful game. In 2020, a Man City academy player, Jeremy Winston, took his own life at just 17 after being released - a sinister wake-up call to all football clubs on why providing aftercare for academy players must be a priority. It is now two years on from Jeremy’s death - has anything changed? Earlier this year, Crystal Palace announced it was going to provide a three-year aftercare programme for released players to help them cope with the trauma of being released. On the club’s website, it states that each released player will be assigned a “Playcare Officer” to guide them through a world outside of football. From helping players find a new job to entering an education programme, the innovative scheme has been very welcomed news. Many clubs do provide support for released players, yet they are not obliged to. There are

now talks about the Premier League considering making it compulsory for all clubs to take on a formal aftercare system, with Crystal Palace being the pioneering club in this commitment to their released players. Whilst more conversations around the aftercare of released players is positive, it does bring up the question as to why it has taken so long? Last year, ITV News surveyed more than 100 footballers released from their professional contracts, finding that 90% of them reported having suffered from depression and anxiety. A damming insight into the lack of support provided by clubs. University of Manchester student Luke Merrill, who played in various academies including Man City and Blackburn, has experienced this. He was released by both clubs and spoke about the pressures placed on aspiring players despite it never being guaranteed that they will go on to be professional. He gave insight about feeling this pressure as young as 12 and 13 at Man City. At one point, Luke was training 5 times a week, his life consumed by football yet he still faced “not feeling good enough to make it”, which he described as “tough to take”. When I asked about how the whole process affected his mental health, he discussed how “one bad game at the weekend would affect

his mood for the rest of the week”. After being released, he said he had no contact from the clubs, arguing it would have been appreciated “if someone from either club could have reached out for at least six months after”. Luke felt academies owe it to their released players to provide some form of support and that “more should be done” especially when it comes to protecting the “mental health side” of it all. Luke was able to rely on his academic achievements to ensure his future did not rely on whether he made it as a footballer, however, he said that for others around him, football was their only opportunity at a better life for them and their families. For these individuals, investing in the Premier League dream left them with nothing. The pursuit of becoming a professional footballer is one of hard work and dedication but also one consumed by rejection. Much like the game of football itself, it is a journey of exhilarating highs and devastating lows. In the wake of Crystal Palace’s new scheme, the momentum surrounding the aftercare for released players will hopefully continue in the effort to protect every player’s mental health, whether they have been released or not.

“There are 12,000 aspiring footballers in the youth development system, yet less than 1% of these will ever go professional.”

City score a last-minute winner in front of a sell out crowd at the Manchester Women’s derby

Caroline Weir’s stunning goal takes City to a last minute victory in the Manchester Women’s Derby: what does this mean for the tables? Mia Bogod Sports Writer

he University of Manchester has warned students that there has been a marked increase in bike theft across campus. The University has received reports of an increase in bike thefts after the return of students from the Christmas break, which they say has “given thieves greater opportunities to target campus”. City got off to a quick start, when Lauren Hemp, the 21-year-old rising star created a big chance in the 7th minute, but sent the ball flying over the bar. Although City’s attacking press was strong throughout the match, United’s defence were able to keep the scoreline at 0-0 at the halftime mark. City continued their dominance in the second half as Jess Park received the ball at the edge of the box from Demi Stokes, but her shot cannoned off the post. Ella Toone created United’s best chance with

a powerful shot that was saved by Ellie Roebuck, in her hundredth appearance for City, aged only 22.

to the Lionesses success, with 8 of their players named in England’s first squad selection this season.

As the game neared the 81st minute, City were finally able to claim their lead, as late substitute Caroline Weir impressively lobbed the ball over United’s goalkeeper Mary Earps and into the top corner, just 6 minutes after she entered the pitch, to choruses of ‘Sweet Caroline’ from the crowd.

What does this mean for the wider game?

What does this mean for the table? The match has interesting implications on the table, as City climb up to 5th position, only 2 points behind United. With 8 matches left to play, this brings City back into the battle for Champions League qualification, whilst United edge away from the title contest, 6 points behind current leaders Arsenal. However, United remain ahead of City in the table, and these tight score lines demonstrate the quality gap at the top of the league closing. With the Euros coming up this summer, City’s return to form could be key

What can we take from this match in terms of the wider women’s game? The Manchester women's derby was played in front of a home crowd of 5317, with tickets having sold out in the week prior. Such demand asks the question of why the match wasn’t hosted at the Etihad. Gareth Taylor seemed assured in the decision to remain on home ground at the Academy Stadium, where the players are most comfortable. He stated the only reason to move would be to fit the demand of fans to attend the game. This demand however, cannot be ignored - creating live, busy atmospheres at stadiums, and strengthening connections between the men and women’s teams in a club is essential to the growth of the game. Hosting women’s matches in larger stadiums is therefore a question that has developed with the game. Many of the women’s stadiums

are located outside of their major city centres, limiting the accessibility of matches by increasing travel time. This is certainly the case for United, who play in Leigh Sports Village, over an hour away from central Manchester. Manchester City women’s stadium is, however, easily accessible in its location next to the Etihad. Such proximity to the men's stadium also works to connect the teams, creating club unification between the teams. Limiting numbers for such a pivotal game seems like a wasted opportunity. In 2019, City hosted the opening match of the WSL at the Etihad to a crowd of 34,000. Later in the season, both Anfield and Tottenham Hotspur Stadium hosted their respective derbies. The North London derby broke the record for attendance at the WSL with a crowd of 38,262. With clubs selling tickets in blocks, the fans were concentrated together, ensuring a lively atmosphere even without filling the larger stadiums. Whilst of course ensuring the

‘home’ advantage in front of a full, smaller stadium is attractive, we have witnessed from TV viewings, ticket demand and previous turnouts, that the demand is there. Hearing the roar of fans as Weir scored the winner leaves me with little doubt of the potential atmosphere at the Etihad were the crowd to be tripled. Eidevall, Arsenal’s new manager stated after their match that ‘there was only one thing wrong, and that was that it was played in front of an audience of 3,000 and not 30,000. That is what is wrong with today’s game’. If, in conjunction with the London derby, the two games had been heavily publicised to both new and old fans of the women’s game, and hosted without a clash of premier league football, these matches could be hugely important in growing and inspiring the women’s game. We therefore leave Derby weekend with a contentious title race and a quality display of football as the excitement, coverage and club allegiance in the women’s game only continues to grow.

14 Lifestyle

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Agony Aunt Angela: Cum on Eileen Submit your worries, queries or quandries to Aunt Angela

“I’ve never been able to cum during sex and I don’t know if that’s normal or not. I do enjoy it I just don’t seem to be able to cum. Also, I rarely have sex with my boyfriend which is kinda nice considering that’s all my ex wanted to do, but I sometimes think maybe he doesn’t like it or something.”

enerally, not coming during sex is normal. According to Cosmopolitan’s recent survey, only 57% of women orgasm most or every time they have sex. Lack of sexual satisfaction has now become known as the ‘orgasm gap’, essentially referring to men finishing significantly more often than their female partners when they have sex. Statistics report that consistently, 25% of women finish vs 90% of men. Furthermore, only 18% of women in the US reported penetration was enough to make the cum during sex. So no, you’re not alone in this. In fact, despite being sexually active for three years, I’ve never finished from sex. Sometimes I don’t enjoy it and I’m just waiting for them to finish, other times I just can’t find the right position. What helped however was reading Cosmopolitan. They have endless positions to try for every occasion, with advice on how to feel comfortable and what could be stopping you from coming. My advice is to first make sure you’re happy with the foreplay, and then communicate what does and doesn’t feel good when you have sex. As a chronic sex procrastinator, I know this can be awkward or embarrassing so this may be hard at first. Over time though it will get better.

Three things I recommend for good sex are: a few pillows (put under the hips of whoever’s the bottom), lube, and a small vibrator (it’s got to fit between the two of you). In regards to the frequency of your sex life, again it’s something you need to properly discuss with your partner. Just trying to casually bring it up doesn’t really solve anything. Discuss why you guys rarely have sex. It could be them trying to avoid the attitude that your ex had towards sex, or it could just be a lower sex drive. If it’s the latter, then you’ll have to compromise. Either start investing in sex toys (we’ve got you covered in that area) or think about polyamory - it depends on how important sex is to you. Ultimately nothing’s going to be resolved if you don’t voice your feelings. Change doesn’t happen overnight, and sex revolves around how comfortable you are with your partner and your body. But more importantly, sex is never perfect, and it’s completely normal for it not to be great. Some Sex Services: Brook NHS Kisses, Aunt Angela x

Being Eco, Period. M

enstrual cups are a good option if you’ve got a hectic day and know you won’t have time to sort yourself out. However, there are pros and cons to it. Firstly, they can take a while to get used to. When I first got one, despite getting the smallest size available, I still struggled to put it in. They come with instructions and various insertion methods, but it can still be uncomfortable. Once you’ve got it in there’s the matter of ‘securing’ it and making sure it’s airtight - that’s something I never got the hang of. This isn’t a major issue but it does mean there’s a risk of some blotting or worse still, a roaming cup. The risk of roaming is the worst part about menstrual cups, and something they don’t really mention in their instructions. After managing to successful keep it in all day... I couldn’t feel it when I tried to take it out. If you don’t securely seal it, it will gradually creep up your vagina throughout the day. There is a silicone puller, but this obviously creeps up. It was a scary 20 minutes I won’t lie. I felt like Rosie (from Love, Rosie) when she was in A&E with a condom up her vag. The fear was real. Luckily, you can push it out, but it takes a while...we love pelvic floor exercises. Once you get over the initial beginner hiccups,

the pros of menstrual cups are worthwhile. The starting price is usually around £15 and they’re available at most supermarkets and drug stores. They come in two sizes typically, based on age and childbearing status. After you give birth and as you grow older, your vaginal muscles loosen so you’d need a bigger size. If you’re young and haven’t had children, you’d go for a small. If you have a small vagina anyway, minis are sometimes available and may be more comfortable overall. The price is steep at first glance, but these cups last for years. When compared to tampon and pad prices over that time, it’s an enormous saving financially and environmentally. It also makes you feel fresher. There’s no odour and cups are easy to clean. Plus, insertion’s silent and discrete - a blessing in public bathrooms. Basically, don’t throw away all your tampons. Menstrual cups are great for travelling and busy days. It’ll take a few cycles before you’re fully comfortable with it, but it’s definitely worth a try. Kisses, Aunt Angela x

Submit your worries here

“Hey, I need some advice. I’m all for saving the planet and I’ve heard a lot about this Menstrual cup that you would use instead of pads and tampons. I want to start using them, as I find pads and tampons are always a bit pricey but I’ve heard a lot of mixed reviews. What should I do?”

Horoscopes 28.02.22 - 13.03.22 Fortnightly Astrological Prophecies from Catherine Shatwell (charlatan in training)

Sagittarius (23.11 - 21.12)

Capricorn (22.12 - 19.01)

Stop getting into fights in clubs, it’s really

Unfortunately, they don’t serve Frappa-

annoying, particularly as none of us can be

cappuccino’s with soy on the frontlines, so good

bothered to back you up.

luck getting one after we’re all drafted.

Pisces (20.02 - 20.03)

Aries (21.03 - 20.04)

Taurus (21.04 - 20.05)

Stubbornness and competitiveness are all good

I don’t care that you go to the gym, please stop

traits to become managers and bosses, but

telling everyone how many biceps you curled

you’ll be the kind your workforce will hate.

yesterday.

Cancer (21.06 - 22.07)

Leo (23.07 - 22.08)

Winning an award for being special in primary

Under this sun sign, people are usually

school doesn’t count on your CV.

characterised as the social heroes of their

Try not to be late for your 9 AMs in future...

Gemini (21.05 - 20.06) All that gossip, yet nothing to say.

Aquarius (20.01 - 19.02) Avoid Virgos. They’re a shifty bunch.

groups; so why does nobody talk to you?

Virgo (23.08 - 22.09) Star Wars: Return of the Jedi, 01:35:09

Libra (23.09 - 22.10)

Scorpio (23.10 - 22.11)

Apparently, Libras have a mind like a ‘complex

You can probably use the fact that your Pluto is

algorithm’, its just a shame yours is riddled with

in Sagittarius to justify you ‘not conforming’ , ie.

viruses and error messages.

being weird.

Sudokus -

I’ve had enough of Wordle related things

TICKETS!

TICKETS! TICKETS!

TICKETS!

Collage: @ Jess Walmsley

Photo: Euphoria @ HBU/SKY

Euphoria

2022

genre

TEEN DRAMA

directed by

SAM LEVINSON

produced by

ZENDAYA JENNIFER MORRISON PIPPA BLANCO

starring

ZENDAYA MAUDE APATOW ANGUS CLOUD JACOB ELORDI SYDNEY SWEENEY HUNTER SCHAFER

written by

SAM LEVINSON

read our article PAGES 30/31

CULTURE

Music

CULTURE

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

In conversation with:

Blondie’s Clem Burke

Blondie drummer Clem Burke discusses the band’s upcoming tour, brief stints with the Ramones and Eurythmics, and his love for Måneskin Sarah Taylor Deputy Music Editor

etween the eight hour time difference in Manchester and Los Angeles, and through the powers of Zoom, I’m speaking to new wave and punk-rock legend, Clem Burke. Perhaps known best as Blondie’s veteran drummer, Burke has played with a plethora of huge names including Eurythmics, the Ramones, and Iggy Pop, to name a few. Clem appears to be in high spirits, raring to get back out and performing. “Yesterday I did a gig at The Troubadour!” he remarks, an air of nonchalance as he references a bar which catapulted such stars as Elton John to international fame. He goes on to namedrop a few people who took part – members of Thin Lizzy and Guns N’ Roses happened to be there too. My eyes are drawn to a painting of Che Guevara, emblazoned against a Cuban flag, hung behind Clem. In 2019, Blondie took a trip – a sort of “cultural exchange” as Clem puts it – to Havana, playing a pair of shows to some 5000 spectators. Their experiences were documented in the 2019 film Vivir en La Habana, alongside a live EP of the same name (2021): “We gave out tickets to the locals. Being in the States, there’s always an ominous air about Cuba and a fear of communism, etc. It was great to go and actually interact with the people.” He picked up the Guevara painting at an arts fair in Havana, and enthuses about Cuba’s cultural significance and arts subsidies “which they don’t really have in the US.” Clem is, however, here to discuss Blondie’s upcoming tour and a boxset celebrating the first phase of their immense back catalogue. Both of these projects are fittingly titled Against the Odds. Why? “Well, it’s about the success of Blondie – it’s against the odds for any kind of rock band to have that.” He notes that the title has found new meaning between the pandemic and

the vinyl shortage, both of which have inflicted delays on the respective projects. “Then we’ll go right from that into a bunch of US dates and start work on a new record!” Blondie’s previous album, 2017’s Pollinator received a rapturous (forgive the pun) response from critics, marking a deviation in sound and tone for the band. Produced by John Congleton, it was supported by the Rage and Rapture Tour, in partnership with Scottish-American rock band Garbage, with frontwoman Debbie Harry donning a bee costume for many performances. Commenting on their upcoming album, which will again be produced by Congleton, Clem tells me: “We’ll hopefully carry on with the sound of Pollinator . All of us finally came to the realisation that it works best when we’re all in the studio together recording the basic tracks. Pollinator was a little different because we solicited songs from various songwriters and musicians, one of which was your fellow Mancunian Johnny Marr. Most of the songs this time will be coming from within the band. We’ve got loads of demos and will hopefully start recording soon.” One such demo, the oft spoken of but unreleased ‘Paint Your Face’ from sessions for The Curse of Blondie (2003) makes its way into the conversation. Will it see the light of day any time soon? “Probably, in time, all the post-80s recordings will be collected in a box but not any time soon. Thanks for reminding me about that song, I don’t know why that never made the record. I’m going to bring that up” Clem says, hinting at the

potentiality of re-recording it. Marr will also join Blondie as the opening act for their Against the Odds tour. “I’m a fan of The Smiths, and he’s friends with the others. People are going to get two great shows.” With a discography spanning five decades, it’s difficult for Clem to put a finger on his favourite track to play live. “It’s all like one big song to me. I like playing the songs that people are really familiar with and the ones which the UK fans connect with most.” Notably, Blondie have scored more number ones in the UK than the US, with some of their most recognisable songs ‘Sunday Girl’ and ‘Denis’ – the latter a variation on ‘Denise’, popularised by fellow New Yorkers Randy & the Rainbows – topping the UK charts but not even being released as singles in America. “I like playing the old ones but as an artist you want to expand your musical horizons and creativity which is why we still make new music.” Before taking a hiatus between the mid-80s and late-90s, Blondie released two of their most experimental albums, Autoamerican (1980) and The Hunter (1982). “Ironically when we turned in Autoamerican, the record company said we don’t hear any hits and that had ‘The Tide is High’ and ‘Rapture’ on it.” Of The Hunter , Clem remarks “we were all really satisfied with that album. There’s a song called ‘English Boys’ I particularly like that could’ve been a great single. Songs like, ‘War Child’, sure I contributed all the percussion.” However, Parallel Lines (1978) is undoubtedly the definitive Blondie album, from its iconic Roberta Bayleyshot cover art to its succession of solid hits. Widely regarded as a start-to-finish classic, the record encompasses such songs as ‘One Way or Another’, ‘Hanging on the Telephone’, ‘Picture This’, ‘Sunday Girl’, and of course, ‘Heart of Glass.’

ISSUE 8 / 14th February 2022 WWW.MANCUNION.COM

“We were never particularly sure what the world would think of what we were doing” Clem comments. The album was recorded when Blondie returned from a huge tour in support of 1978’s Plastic Letters, having recruited guitarist Frank Infante and bassist Nigel Harrison, thus becoming a six-piece. Clem notes the influence of Kraftwerk and Donna Summer on ‘Heart of Glass’ as well as the backlash the group faced by fusing disco music with punk-rock and new wave. Initially, a slower demo known as ‘Once I Had a Love AKA The Disco Song’, the band reworked it with the support of producer Mike Chapman, whose previous credits included Sweet and Suzi Quatro. Surprisingly, Clem didn’t take to the track at first, but now acknowledges it as being “very innovative. By the time we got to ‘Rapture’ I was well on board with switching up the medium of the music […] you’ve got to have an open mind, you can’t just be tunnel vision. Our palette is immense, there’s very many colours to draw from.” Perhaps their signature song, ‘Heart of Glass’ has stood the test of time. Clem explains how it “floated around the charts for about 50 weeks before it got into the top 5. It had a very long life of cumulative sales to keep the record alive – I don’t think you get that now with the internet. Everything is so instant […] Luckily, we have a great foundation to build on and the internet has helped a younger audience to see what we’re all about.” He compliments Miley Cyrus’ recent rendition of the song – “she did a great job.” Commenting on Blondie’s legacy, Clem says “Our look is still definitive. I think I’ve had the same haircut my entire career. We were fashion forward at the time, especially Debbie’s style.” Always on the lookout for new and exciting bands, Clem mentions Italian rockers Måneskin as a particular favourite: “They were just on SNL. It was refreshing to see them with a few amps, no backing tracks, no elaborate production, just more what a band’s about; their charisma, sexuality, and their whole vibe coming across as individuals not with all this other media going on […] they’re a perfect band. I like Lana Del Rey a lot, and a band in LA called Primadonna.” He acknowledges the double-standard faced by female musicians, noting Debbie Harry’s talent for song writing as well as her inimitable stage presence. “She was so glamorous; she was like our David Bowie or Mick Jagger, but her glamour kind of overshadowed her ability as a songwriter in a lot of ways. It’s just kind of catching up with us now. That was my whole modus operandi; I wanted to be in a band with someone who had that kind of power and Debbie has a great attitude.” In her 2019 autobiography FACE IT, Debbie describes the audition process for drummers – an advert stating ‘FREAK ENERGY ROCK DRUMMER WANTED’ – attracting the attention of a

CULTURE 19-year-old Clem. He explains “Debbie, Chris, and myself were in other bands on the glam-rock circuit in New York.” They would frequent Club 82, a disco bar which did a weekly rock night. “I had a band called Sweet Revenge at the time. When they put the ad in, I already knew it was them and then I talked to them on the phone. […] I really think they liked my shoes! They were red small-platformed shoes, very glam rock. […] I brought my high school mate in, Gary Valentine, he wrote ‘Presence Dear’ and our first single ‘X-Offender’, he was basically a poet who knew a few chords but wasn’t a bass player. I knew he could do it. It really was that DIY aesthetic. We never had stylists or record company people telling us what to do. Just shared aesthetics and an audiology of how we thought music should be. The whole scene was evolving in New York – everyone was influencing one another, there was, like, a synergy that happened. But maybe we had a little more commercial look of things – we never thought being commercial was wrong we just wanted to be able to do it on our own terms similarly to Warhol with his art – he wanted to be a commercial artist, but he didn’t compromise.” Throughout his career, Clem has played drums for several musical heavyweights, notably the Ramones, Eurythmics, and Nancy Sinatra, whose family he likens to the American equivalent of British royalty. In fact, he’d been asked to join the former a handful of times. He describes the experience with some disdain: “I was asked on a Monday and they expected me to play on the Friday without ever rehearsing with them. Johnny [Ramone] just really looked at it as a job. He didn’t want to do any extra work and whenever you get a new member you need to do extra work.” During this brief stint, he was christened Elvis Ramone, a name inspired by the “combed back” hairstyle he wore during a tour with Eurythmics in support of their debut album. “I came up with the name I didn’t want to be Clemmy Ramone. An Argentinian artist did a reproduction of a photo, Elvis Ramone.” FACE IT (2019) also includes an abundance of fan art depicting iconic images of Debbie Harry. Clem shows me one of his favourite gifts from a fan: a custom-made plush doll of him. The most important thing is to be able to make your mistakes in public. Whilst on the subject of gifts, it is notable that Clem gave one of his drum kits to the University of Chichester in 2008 as part of the Clem Burke Drumming Project. He will receive an honorary doctorate there later this year. The drumkit in question was recently played by BBC weather presenter Owain Wyn-Evans as part of his charity drum-a-thon for Children in Need, a project Clem was “happy to be a small part of.” But his involvement with Chichester dates back some 15 years when Professor Marcus Smith wrote to Clem asking him to be part of his study on the physical and mental effects of drumming. “He would wire me up, take my blood levels, he would come to Blondie gigs and do it. It’s very academic. […] I’m older now, being able to do what I do, you’ve got to stay on top of your game with your mental and physical health.” Last time Clem was in the UK, he played with tribute band Bootleg Blondie. He was watching the band play at a football recreation hall when they invited him on stage for a song. This soon developed into Clem joining the group for the rest of their tour. “We rehearsed, I curated the set, choosing older songs that we don’t

Photo:ClemBurke@imbd

Music 21

necessarily play in the legitimate Blondie.” Expecting to be playing smaller venues, Clem was delighted to join Bootleg Blondie at the Shepherd’s Bush Empire in 2019. “My name was up on the marquee. It was a bit controversial with my partners in Blondie, but I think it only enhanced the whole Blondie experience. In the UK there’s a big market for tribute bands. It’s all about the music, they want to hear the songs and have a night out.” With some unexpected time on his hands over the past two years, Clem has been working on a memoir, due out in 2023. “It’s probably going to be called ‘The Other Side of the Dream’ because I’m basically on the other side now. When you want to have a career, you have goals […] The dream basically came true for all intents and purposes. I really can’t complain about anything, I’m very fortunate.” Clem is adamant about having no regrets, and attributes his, and Blondie’s success to hard work and determination. “I did a lot of things right. I was going to college, working a job, and playing in the band simultaneously. Not a lot of people were willing to do that. It took effort. I had to take the bus and a train, sometimes carrying gear, to get to Club 82.” When I ask what his best piece of advice would be, he says “The most important thing is to be able to make your mistakes in public. CBGBs was like a workshop. It didn’t have to be picture perfect. It’s all about the effort.” Blondie’s box set collection Blondie 1974-1982: Against the Odds will be released later this year. Blondie will embark on a UK arena tour during April and May 2022, including a date at Manchester’s AO Arena on 1st May. FACE IT by Debbie Harry is available to buy as a hardback and is set for release as a paperback in Autumn 2021.

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CULTURE

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

The Kooks Live Review: The ‘Inside In / Inside Out’ of a gleefully nostalgic night A review of The Kooks live at Manchester’s O2 Victoria Warehouse as they tour their 15-year-old album, Inside In / Inside Out Annie Dabb Music Writer

ou’re naive if you thought 2006 was the last you’d see of Inside In / Inside Out. Touring their debut 15-year-old album, Inside In / Inside Out ahead of the release of Echoes In The Dark this July, The Kooks proved at Manchester’s O2 Victoria Warehouse that their songs are as timeless now as they were a decade and a half ago. Running into the venue from the freezing night, my senses were almost immediately warmed, not just by the pulsating crowd of sweaty 20-something bodies or the mesmerising stage lights, but also by the unmistakable first strums of ‘Seaside’, the first track on the prolific album. Only The Kooks could begin a gig with a relatively slow love song to draw in the crowd and follow it immediately with mosh pit-inducing bops.

The indie band certainly seemed to bring out the romantics in the crowd as couples swayed lovingly to ironically unromantic lyrics in songs like ‘Got No Love’ and ‘You Don’t Love Me.’ With love in the air around Valentine’s Day, it would have been the perfect date night or the perfect excuse to throw yourself around ecstatically because who cares if you don’t love me when The Kooks are out. The crowd’s glee seemed surpassed only by the band’s wide grins as they performed their own serotonin-inducing music. Instantly as the band launched into ‘See The World’. With the signature Kooks guitar intro, the dance dynamic of the room switched and I knew that I was about to see the world in a different way, even if that view was slightly obstructed by what felt like a million six foot-something indie boys. Banger after banger compelled the entire room

(myself included) to jump around like madmen so that it didn’t matter whether you could see or not as five seconds later you found yourself thrust into a mosh pit fuelled by exuberant nostalgia. It was clear immediately that this band knew how to hype up a crowd of screaming fans. By placing their drummer slap bang in the middle of the stage, their highly energetic and strongly rhythmic songs commanded our feet to move. Of course, one of the best things about The Kooks is that you know their music from lead singer Luke Pritchard’s very first note. I was hit with a feeling of nostalgia as his own seaside town Worthing accent rang out earnestly across the room. The cigarette butt-littered Victoria Warehouse is certainly a long way away from Brighton Free Butt Festival where the band first made their debut, but you wouldn’t think 2005 was so long ago judging by the energy each band member

still brought to the stage. One of the most charming things about The Kooks is how much they seem to appreciate their fans and the music that they play. Just before strumming into ‘Ooh La’, Pritchard shouted that they were “gonna play the whole fucking album, if you don’t mind.” We didn’t mind one bit. The Kooks have been, I’m sure for many of the predominantly 20-somethings at the gig, a recurring soundtrack as we’ve grown up. Whether we’ve achieved our paper dreams or not, we’ve all moved in our own way at countless parties to tunes like ‘She Moves in Her Own Way’ or ‘Naive.’ We didn’t get to hear about Pritchard’s day, unfortunately, but to see The Kooks live (albeit it on a Thursday rather than a Tuesday), shining on just as bright- if not more- as I’m sure they were 15 years ago, I knew this was ‘Always Where I Need(ed) To Be.’

Fontaines D.C. deliver powerful new single: ‘I Love You’ The Mancunion review Fontaines D.C.’s new single ‘I Love You’ from their new album Skinty Fia, released 22nd April on Partisan Records. Alex Cooper Music Writer

ontaines D.C., since the release of their debut album Dogrel , have gone from strength to strength. Acclaimed albums, sold-out tours, and a residency at Manchester Academy for three nights seem like light work for the five-piece. Cementing their place at the forefront of the post-punk revival, all eyes are on them for their next steps. Their new single, ‘I Love You’, the second from their new album Skinty Fia, debuted at London’s Alexandra Palace. It is another example of their trademark gritty sound while advancing a new

political voice about struggles with Irish identity. A song of two halves, the opening ballad has an air of serenity. Yet, below the surface, it paints a twisted picture of love as a responsibility. There is an uncomfortable emphasis on ‘you’ (“I love you, I love you, I told you I do”). This paves the way for an aggressive, lengthy address. Frontman Grian Chatten is almost rapping, with a flow surprisingly echoing the middle verse of Kendrick Lamar’s ‘XXX.’. The lyrics express the subject’s self-loathing, anger, and reckoning with a sense of cultural pride. Chatten described it as “the first overtly political song we’ve written.” The music

video sees Chatten take a stroll through a candle-lit church, only to be placed in harsh crimson lighting for the passionate address. This cinematically matches the brooding intensity of the song. The promise of the first two singles (this and ‘Jackie Down the Line’) suggests that Skinty Fia may be Fontaines D.C.’s best album yet. The range that they are able to create while staying true to their unmistakable sound is remarkable. They have no sign of stopping from their perpetual victory lap. Skinty Fia is released on the 22nd April via Partisan Records.

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

CULTURE

Film 23

The films for you: How cinematic is your university experience? From the grand halls of Oxbridge to the green walls of Oak House, how does film portray university life in Britain?

Benjy Klauber-Griffiths Film Editor

rat houses, toga parties and beer kegs full of Bud Light. Crass bodybuilding blokes, size zero models and the odd ‘nerd’ who is very quickly transformed into a ‘football’ playing oaf. A generalised glimpse of American ‘college’ can perhaps be seen with a few aspiring janitors, several overly encouraging professors, and the odd endearing musical outcast. But on the whole, the university experience is sold to us through films like Bad Neighbours and Pitch Perfect with sanitised enjoyment, unattainable body goals and spontaneous a cappella. Travel the 4000 miles from the sororities of Illinois to the cracked walls of Oak House and you’ll witness a very different picture of student life. Gone are the Greek insignias, the instant college romances, and the effervescent sports coaches. In its place stand lime green walls, cheap smelly pints, and the odd signet ring. We all know the stereotypical American uni from Seth Rogan film after Seth Rogan film. How then is the British experience captured in film? The answer is in surprisingly minimal terms. Our university experience often comes in the form of fetishised Oxbridge grandeur. Scenes such as in The Theory of Everything seem to buy into this lens of celebrated aristocracy and history. Long sweeping staircases and formal dinners seem to constitute a vision of uni life that revolves around tradition and wealth. Gaining notoriety for its repugnant displays of excess and violence, The Riot Club envisions an experience of modern-day Oxford peppered by the legacy of famous exclusive societies like the Bullingdon club. Wealthy snobs coming together to revel in the poverty of others. It isn’t a great look is it. Accordingly, murder, intrigue, and political scandal seem to become

the natural biproducts of this uni experience. I think whilst it’s fair to say that Manchester has had its own fair share of scandals and controversies, very few of these have actually stemmed from students themselves. Far from misbehaving students, we seem to have got misbehaving bureaucrats. What about Tom Vaughan’s 2006 hit Starter For 10? Set during the 1980s it follows Brian Jackson (James McAvoy) in his first year at the University of Bristol. Surrounded by partying students, gobby political activists and the allure of the big city, this iconic rom com captures more of an authentic uni experience than the Oxbridge admirers. McAvoy’s constant romantic failings and stuttering manners are as endearingly relatable as they are cliché. And then of course the film’s preoccupation with University Challenge. What an odd thing to focus on. Who in their right mind, you ask, would invest all their extra time into University Challenge ? And yet Manchester has been a historic powerhouse in the competition, winning it more times than any other university. So next time you’re looking for something to do, don’t be so quick to dismiss your general knowledge. Contrary to the

baggy clothes

and perpetual drum and bass, it may be more ‘Manchester’ than you expected. And now of course we turn to Fresh Meat , the TV show we all watched during fresher’s week to get to grips with the city. For many this became the epitome of the British university. Shagging the wrong housemate, slight crush on your poetry lecturer? Fresh Meat seems to answer the question what would happen if The Inbetweeners made it to university. Sure, it takes a bit of creative licence. I can’t say I’ve ever had a flatmate who uses a

hairdryer to cook their

chicken. But the consensus amongst most fans seems to be that this is how the average British student lives. Full of disastrous parties and sleazy student living, perhaps it’s main inaccuracy is the sheer number of Etonians parading the Mancunian streets. A posh housemate here and there isn’t quite the same. Did you have a flatmate you’d never seen before? Fresh Meat is certainly a less glamorous vision than anything else. Whilst it isn’t about uni

students per se M i c h a e l Winterbottom’s iconic appraisal of Manchester’s music culture, 24 Hour Party People , is as important a student film as any. Tracking the rise, and then fall, of bands like Joy Division and the Happy Mondays, the film is a nostalgic look at Manchester’s greatest venue, the Hacienda. Citing the emergence of these bands as a pivotal moment in musical history, the film documents the role of producer Tony Wilson in the formation of the Manchester culture we all know. Featuring a host of staple British actors this film will make you pine for the days when Factory wasn’t just a stinky student club and was instead the home of pioneering musical producers and artists. Certainly, the drug taking was as prevalent as it is now, perhaps the only flash of continuity since the days of Bez and Shaun Ryder. And crucially the importance of music has remained. At no other uni will you find as clear a musical identity. Even if it’s wannabe DJs in your basement, or new stars emerging from Withington’s indie cafes, 24 Hour Party People speaks more to a universal student experience in Manchester than any other film. If

you’re a c i n e p h i le who loves their music, this is definitely the film for you. Plenty more British films contend with graduation, the ultimate ‘coming of age’ moment. Often this happens within the broader narrative, with only temporary focus being given to their departure. The stately scenes in Chariots of Fire spring to mind. To be honest they may be a bit much for us Mancunians, not to mention we probably wouldn’t find ourselves sprinting round any 13th century courtyards on our final day. More likely staggering home from Nest. What do you do once you’ve graduated? It feels strange to end by returning to American film. Monsters University delivers a dramatic and gritty portrayal of moving into the world of work (scaring children) whilst raising some pertinent questions about acceptance and identity as we move on from student life. However, as one of the most iconic rom coms to date The Graduate requires a special mention. Do you feel slightly aimless as graduation gets closer and closer? Have you fostered any particular talents here or are you instead being chucked out, degree in hand, into the big wide world? Whilst for many falling in love with the mother of a family friend may not be the dream graduation, this beautiful film, scored by Simon and Garfunkel will leave you on a note of giddy hope as you board a bus still wearing an ill-fated wedding dress, and sail away into the future. Perhaps at the cost of cynical realism, we all hope for a happy ending like this. Whether it comes is a different matter altogether.

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ISSUE 9 / 28th Fehruary 2022 WWW.MANCUNION.COM

Lights, Camera, Election:

Casting our vote on the best political films and TV With the upcoming Student Union elections, the Mancunion’s film writers discuss which political films get their vote Florrie Evans, Sophie Hicks, Daniel Collins, Joe McFadden, Ella Robinson Film Writers

t’s the most exciting time of year at the University of Manchester…student elections! We at the film section were racking our brains thinking how can we seamlessly link film and TV to such a momentous event? We came up with the most ingenious idea that we could think of; a list of our favourite political classics. Maybe this selection will give you the chance to reflect and start thinking politically, or even just remind you that the elections are, in fact, happening. So without further ado, here they are, our writers’ favourites: Napoleon Dynamite: Sophie Hicks I don’t think I could have picked any other film but Napoleon Dynamite (2004), which seems incredibly fitting for the theme. If you haven’t seen Napoleon Dynamite somehow, it follows Napoleon who is the most awkward guy at school imaginable. He deals with the typical antics of being a student, such as struggling with romantic pursuits, dealing with his family and helping his friend run for class president, naturally. This includes many antics, with the introduction of arguably one of the most iconic t-shirts in film history, the ‘Vote for Pedro’ classic. If you’ve seen the film, you also probably can’t listen to ‘Canned Heat’ by Jamiroquai the same ever again. For those wanting to compete in this year’s SU elections, take notes from Pedro’s campaign: don’t be afraid to be yourself, and the more interesting the campaign, the better. I love this film and it’s one of those ones that I put on whenever I either don’t know what I want to watch or if I just want a good laugh. Whilst not the most ‘serious’ political film, it did make an

entire Millennial/Gen Z audience remember

a fictional class president election, and I think that’s pretty impressive. Sorry To Bother You: Daniel Collins In the midst of elections, strikes and a turbulent political landscape, Sorry To Bother You is a film that comes to mind. Lakeith Stanfield stars as Cassius Green, rising through the ranks of telemarketing by adopting a ‘white voice’ in order to sell stuff… and more stuff and more stuff until the stuff he’s selling suddenly takes on a more sinister nature. The film quickly turns into a mix of zany, absurdist comedy and sharp political analysis – deconstructing ideas surrounding race, capitalism, trade unions, the contemporary art world and much more. It is rare to even see a strike in a fiction film never mind have it be one of the main plot points but this is the singular work of writerdirector-musician Boots Riley, a self-identified communist and political activist. However, this is far from the didactic work you might expect when you hear such a label. This is invigorating cinema that may leave you outraged, shocked or even just confused but oozes style with its bold costumes, colour palette and cinematography. Come for the nuanced political discussion but stay for Tessa Thompson wearing oversized yellow and red earrings that read “MURDER, MURDER, MURDER” , “KILL, KILL, KILL”. Veep: Joe McFadden Incompetence, corruption, and an underlying disdain for the democratic process are just three of the things Veep has in common with the SU elections. Following VicePresident Selina Meyer, played by eight-time emmy winner Julia LouisDreyfus,

and her team of idiotic sycophants, Veep is expert satire that also functions as a fitting commentary, or rather condemnation, of American politics. One of the most-acclaimed shows of the past 10 years, Veep stands in stark contrast to The West Wing (read more below) as being a cynical, pessimistic condemnation

of politics, greed, and human nature that has gone unchallenged in its terrifyingly realistic depiction of high level American politics. Over the course of its 7 seasons (2012-2019), the show manages to weave together what were once outlandish storylines like an electoral college tie, foreign interference in elections, and a data breach scandal, with its potent mix of comedy and grounded realism. In Veep any ideals of public service or the betterment of others is a myth, or better yet, the punchline to one of creator Armando Iannucci’s

piercing one-liners. The show is perhaps the most realistic depiction of politics put to screen as, despite its increasingly ludicrous premises, it manages to maintain an honest approach to how absurd and self-serving politics really is. Throughout its time on the air, Veep also managed to show how increasingly absurd politics was (and still is) becoming – even as reality threatened to infringe on the satire’s territory. It’s hard to pinpoint exactly when American politics jumped the proverbial shark and descended into the drug-induced fever dream that has been the past few years but as reality became ever more bewildering, Veep managed to keep its satire grounded as contemporary events tried to rival its absurdity. Like its British predecessor The Thick of It, the humour in Veep is riotous and constantly entertaining as the onslaught of insults, inappropriate one-liners, and understated physical comedy make for an experience that is unrivalled by anything on TV since. Another secret to the show’s success was its characters. Ranging from Selina’s effeminate and meek body man Gary Walsh (Tony Hale) to cutthroat D.C. adviser Dan Egan (Reid Scott) and the “world’s biggest single-celled organism” Jonah Ryan (Timothy Simons), the characters are also fully-realised and fleshed out, with each one bringing a different level of incompetence or bloodsucking ambition to the table, making for high quality TV that brings new meaning to a Hobbesian view of human nature. Clearly, Veep has earned its reputation as one of the best shows of the past decade Ultimately, Veep functions as a fitting commentary on contemporary politics and, as we enter the SU election period, could easily be seen as a blueprint for how to steal win an election. For all its spiel about the “will of the people”, Veep shows how the current political climate simply treats democracy as an inconvenience for those seeking power and SU elections are no different. Notoriously corrupt

and treated as something of a joke amongst students – indeed this paper is even guilty of knocking them from time to time – SU elections are seen not as the manifestations of student ideals, but as a method for some students to get £20k tax free by simply sitting on their arses and making the occasional Instagram infographic. As we begin to watch another cycle of corruption scandals, daytime tv-level drama, and inevitable broken promises, Veep provides a blueprint for how a candidate could be successful in any election – although I would much rather see someone rise above greed and take The West Wing’s approach. The West Wing: Ella Robinson When I think of an ideal version of politics I think of The West Wing, and it seems I am not alone in this as viewership spiked after Trump’s election. It’s a programme where people in power fight based on what’s right, rather than what’s easy, and staff attend war veteran’s funerals at Christmas not illegal Christmas parties. For those running in the SU elections, and for those trying to shake the voter apathy, The West Wing provides a brilliant starting point. If you’re disillusioned with the SU exec roles after years of scandal, the first message Leo McGarry has for you is why not run? “Because I’m tired of it: year after year after year, having to choose between the lesser of ‘who cares?’” If you are running, The West Wing debate episodes may provide some useful pointers. With hustings coming up (February 28-March 2), and in a year where it has felt like exec spend longer on their Instagram’s than policies, Bartlet’s message “Give me the next ten words. How are we going to do it?” is particularly pertinent. Especially when amongst young people it feels like ‘short attention spans’ get used as an excuse to not engage intelligently with the student body. And if you take on all The West Wing’s advice so far and do get elected, the guidance doesn’t stop there. Even the Obama administration adopted The West Wing’s version of the ‘big block of cheese day’. Whilst CJ was listening to the “Organization of Cartographers for Social Equality”, you can be listening to highly engaged students. There are always people who know more than you, so work with them. At times people criticise The West Wing for being too idealist, too impossible to achieve, but we aren’t trying to change the United States of America we are trying to change the University of Manchester. There’s no deep south or opposition Congress to contend with, there’s just highly intelligent students who too want this university to be a better place. So, let’s be idealist for once, and pick the candidates we deserve.

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

CULTURE

Film 25

Drive My Car: A reflective drive through the terrains of grief and loss

A review of Ryusuke Hamaguchi adaptation of Haruki Murakami’s short story Drive My Car from the collection Men without women Florrie Evans Deputy Film Editor

yusuke Hamaguchi brings us a poignant adaptation of Haruki Murakami’s short story Drive My Car, featured in the 2014 short story collection Men Without Women . However, Hamaguchi doesn’t stop at one story. He interweaves not only Scheherazade , another from the same collection, but also Chekhov’s Uncle Vanya . This intertextuality places huge importance on the role of storytelling throughout the film, with the protagonist often using his art as a replacement for emotional vulnerability. The story centres around Yusuke (Hidetoshi Nishijima), an actor and soon to be director, and his wife Oto (Reiika Kirishima), who works in television. They have both been burdened with the loss of their daughter. Oto is a storyteller, and her hypnotic voice is present throughout the film. She not only helps her husband learn lines by recording tapes, which he listens to when he drives, but also tells stories on the brink of orgasm, which he recites back to her the morning after. This includes the one and only Scheherazade , a story about a girl who sneaks into her high school crush’s house, taking something every time and

replacing it with one of her own belongings. Although their relationship seems perfect, Yusuke soon realises that his wife is having many affairs. However, he never broaches the subject with her, fearing to lose her. Oto suddenly dies, and we are left with a broken, grief-stricken Yusuke, who never addressed the underlying issues of his marriage. Struggling to connect to the world he soon moves to Hiroshima to finally direct Uncle Vanya . The production is unusual and complex, using actors from all over Asia, who all speak different languages. One of these actors, cast as Uncle Vanya, is an old colleague of his wife, causing an underlying and often brutal tension. In moving to Hiroshima, Yusuke is assigned a driver, Misaki (Toko Miura), who soon becomes his quiet companion. The leading role in this film is the car itself, a red Saab, which seems to be a space in which the deepest emotions are shared and reflected upon. In many ways, it acts as the beating heart of the film. Drive My Car is a film based on grieving characters who struggle to connect. Ryusuke Hamaguchi has spoken of the difficult task of adapting these characters on to screen saying that “Murakami’s writing is wonderful at expressing inner emotions, and I think that’s why people want to adapt them. But

it’s really difficult to re-create those inner feelings in film.” Hamaguchi and his cast make this task look easy somehow capturing internal emotion in its intense subtext. Hidetoshi Shinomiya’s cinematography offers up an effervescent simplicity. He contrasts wide aerial shots with intimate closeups, placing the characters close to the expanse of nature and landscape to represent this interiority. Shinomiya also uses doubling shots. For example, a similar shot is used in both Yusuke’s daughter’s memorial service and his wife’s funeral, paired with a haunting religious prayer, the cinematographer emphasises the quiet grief Yusuke experiences. The cinematography, paired with the simple colour palette, creates a beautiful simplistic landscape for the actors to work off. By using grey and blue tones, Hiroshima and Yusuke’s home are presented as a dull form of life. Hamaguchi often shows grey skies and buildings, subtle orangeytoned tunnels and deep dark evening blues. The only contrast to this is the red flash of the Saab, as if to offer a sense of importance and intensity, reflecting the quiet yet crucial conversations had in the vehicle. This includes the dialogue between Oto and Yusuke. Oto lives on in some way in the tapes, her voice consistently

emanating from the car’s walls. The actors all give sombre naturalistic performances, but Toko Miura’s performance feels especially intense. Despite that her story is not told until the end, Miura emulates a quiet numbness throughout the film, burying her grief and the difficult memories of her past. Her performance goes hand in hand with that of our leading protagonist. Nishijima’s performance is beautiful. The way in which he deals with the feelings of grief and despair are commendable, aligning perfectly with Murakami’s portrayal of grief; a quiet, controlled and often buried form. He has the reflective nature of a Murakami character, and often he is seen lost within his inner emotional landscape. Hamaguchi has created an adaptation that perfectly

encapsulates a man struggling to emote, giving everything to the characters he plays instead of facing up to his true emotions. The film director offers a breathtaking representation of shared experience. With just a look through a rearview mirror or two cigarettes lit against the night sky, viewers are blessed with a moment of complete human understanding. The understanding that everyone will experience loss in their lifetime. 5/5

Nightmare Alley: A stylish homage to film noir

Guillermo Del Toro’s noir is a classy technical feast and a love letter to the famous genre Michał Wasilewski Managing Editor (Culture)

ightmare Alley, Guillermo Del Toro’s first film since Best-Picturewinning The Shape of Water , is yet another aesthetic feast from the acclaimed director, a film that is a pleasure to look at and that has a stylistic identity easy to indulge in. This time, however, the setting is far from fantastical. Del Toro pays homage to American noir films of the 1940s and 1950s, meticulously crafting a classic rendition of the genre. The story is a traditional noir tale, based on William Lindsay Gresham’s 1946 novel of the same title, first adapted to film in 1947. The protagonist, Stan Carlisle (Bradley Cooper), is a con artist

on the run who joins a travelling carnival after having committed murder and arson. There he begins to learn cold reading and coded language from two of the carnival performers, Madame Zeena (Toni Collette) and her husband (David Strathairn). While exploring the boundaries between performative arts and magic, there arises a grasping sense of mystery and a heavy, unsettling atmosphere that permeates throughout Stan’s surroundings. Not for a moment does Stan want to settle, consequently looking for opportunities to expand his career. Soon, he engages in a romance with another performer, Molly (Rooney Mara). They start their own act of clairvoyance, and eventually leave the troupe to begin performing independently.

Stan and Molly quickly gain popularity and find themselves performing acts for the richest and for the elites. During one of these shows, Stan meets the femme fatale of the film. Played seductively and charismatically by Cate Blanchett, Dr. Lilith Ritter enamours Stan effortlessly. Blanchett is the undeniable star of the film, a true scene-stealer with an unforgettable nature that enthrals the viewer as much as the protagonist. The film’s runtime of 150 minutes naturally implies that the story involves a significant development throughout. It is not short of twists and radical changes of scenery, from the dirty and gloomy carnival to grandiose, polished, art-deco interiors. In the case of a stylish work of craftsmanship like Nightmare

Alley , however, the story itself plays a less crucial role than the excellency of technical craft and careful world building. In the foreground is a visual and technical feast, the adaptation of every great aspect of film noir to the capabilities of modern cinema. Whether it’s the unforgettable festival funhouse, the atmospheric cinematography, or the chilling score from Nathan Johnson, every aspect of the film’s craft is worth praising. However, there remains the feeling that the screenplay, as well as the film as a whole, is unable to deeply explore or modernise the confines of the source material and of film noir overall. It becomes clear that the cynicism and coldbloodedness of the genre, which brought it mainstream popularity back in the day, entrap the film

within the limitations set decades ago. Yet, it would be unjust to consider it a flaw, as it highlights certain timelessness of noir tales and how well-established the way of telling them on screen is. Del Toro did not attempt to modernise the story, but rather to pay homage to the classic genre and to build another triumph of the craft of filmmaking. It might not be a triumph of art and creativity in the sense The Shape of Water was, but it wasn’t meant to be that; Nightmare Alley is an old-fashioned love letter to a genre that although long gone, never came close to being forgotten. And in Del Toro’s heart, it still is very much alive in an unchanged shape and form. 3.5/5.

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ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Review: The Bitten Peach Theatre Editor Jay Darcy reviews The Bitten Peach at Contact Theatre, as part of Queer Contact this LGBT+ History Month

Jay Darcy Theatre Editor

he recently reopened Contact Theatre wrapped up its Queer Contact season with The Bitten Peach – the UK’s only Pan-Asian cabaret collective. There’s something so powerful about seeing queer Asian (South and East) put on a cabaret. Queer Asians are an intersection (and a sidelined subgroup) of two much larger groups: Asians and the LGBT+ community. Indeed, not only do queer Asians face homophobia from Asians but also racism from the LGBT+ community. The racism is not necessarily overt, but some might argue that covert, “liberal” racism is far more insidious. The racism can be seen in the lack of Asian performers in cabarets. The Bitten Peach is made up of dozens of queer Asian performers, so why are very few of them seen in “mainstream” cabarets? The Bitten Peach, then, gives a voice to a forgotten community. It exposes the racism of the cabaret scene, for the lack of Asian performers in “mainstream” cabarets is, quite clearly, not because of a limited talent pool, for the performers seen in The Bitten Peach are all remarkable. Rather, these performers are being ignored in favour of White performers. Thus, The Bitten Peach is an act of resistance. A proclamation, if you will: We’re here, we’re queer, we’re Asian, we’re gaysian, and if you’re going to ignore us, we’ll make our own show. The cabaret opened with a voiceover explaining the origin of the phrase, “the bitten peach”: it’s a byword for homosexuality, taken from the story of the semilegendary Chinese figure, Mizi Xia. The voiceover had me thinking that the cabaret was going to have a linear story, but this was not the case. Following the prerecorded voiceover, the show’s emcee/compère

(who was seemingly backstage) introduced the four performers: Tequila Thirst, Judas Darkholme, Lady Bushra, and Eva Serration. She then allowed a photo opportunity, which was a nice touch. Once the performers walked offstage, the bag that the stage manager (drag king Mark Anthony) had brought onstage began moving. Soon enough, the cabaret’s host – Lilly SnatchDragon – ripped herself out of it, pretending to be a Thai immigrant who smuggled herself to Europe. She expressed great disappointment that she ended up in England, not continental Europe, to laughter from the (presumably pro-EU) audience. Lily’s opening piece was a cross-between a monologue and a burlesque strip-tease. The skit was, essentially, a hilarious reclamation of racist narratives and a subversion of shallow stereotypes (e.g. Thai masseurs offering “happy endings”). It was cathartic seeing a curvacious Asian woman whip it all out. I must also add that Lily’s drag was so good that before she revealed her breasts, I had wondered if she was actually a man who was capable of doing an incredible female impression! I don’t want to give too much away, so not to spoil the incredible performances offered by the cast. They were all tremendously talented, and so different to one another. Sure, they’re all queer Asian cabaret performers, but their styles of cabaret differ wildly. I must give a shoutout to Judas, a late addition to the show. A few of us in the audience – current and former University of Manchester students – recognised Judas from university. I actually did the first year of my MA (Gender, Sexuality and

Culture) with them, but it was all virtual. How iconic that our first real-life meeting was me seeing them in drag? Even better – me seeing them in drag without knowing I was going to be seeing them at all! It’s hard to believe that Judas, who uses poetry in their performances, has only been doing drag for a year. Lily, herself – one of the leaders of The Bitten Peach – said that they are going to go very far in this business. As someone who studied alongside them, I know they’re going to go very far in life, period. It was nice to chat to Lily, Judas and Tequila after the show. When Lily found out I was reviewing the show, she jokingly offered me a pound. Even out of character, she was so funny; it just comes naturally to her. I told her how incredible it was seeing Gay Asian – or “gaysian” – performers onstage. “Gaysian slaysian,” she added. Indeed, Lilly SnatchDragon is dragon and slayer in one. The Bitten Peach is continuing to grow. The day after we saw their show, they released a documentary (Peach Paradise) on Netflix’s YouTube channel (Still Watching Netflix), which was developed and created as part of The Netflix Documentary Talent Fund. Head to their website and Linktree to find out more.

Photo: Bitten Peach

Review: Fatal Attraction

Theatre Editor Jay Darcy reviews Fatal Attraction at Manchester Opera House, which is based on the film of the same name and stars Kym Marsh, Oliver Farnworth and Susie Amy

Jay Darcy Theatre Editor

atal Attraction was good as a press night: a full house, a red carpet, and a return to normality after two years of liminality. Fatal Attraction as a play, however, was just that: fatal – and my attraction to the show (and the cast) blinded me to the reviews that warned me not to go. The show’s cast is headed by popstar turned soap star Kym Marsh (Coronation Street, Hear’Say, Morning Live, The Syndicate) as the seductive Alex Forrest, the role made famous by Glenn Close in the film. The play’s central trio is completed by Oliver Farnworth (Coronation Street, Hollyoaks) as the sleazy Dan Gallagher and Susie Amy (Footballers’ Wives, Hollyoaks) as the sweet Beth Gallagher. Good casting, if not only because soap traitor Farnworth is torn between women from each of those soaps. Now, they are all great actors – and I’d seen Farnworth in The Girl on the Train, so I knew he was good on stage – but they were let down by lousy writing. Marsh was great as Alex; she successfully combined sadism and sex appeal with bellowing breakdowns, but it’s hard to live up to the iconic portrayal that Close gave in the film. She also had the best American accent – albeit still flimsy – but that’s not saying much because Farnworth’s was hit-and-miss and Amy’s was entirely unconvincing. I hate to say it, but Amy offered the weakest performance of the three – but that could be because of the way that the role was written. Amy is soon stepping into the role of Alex, when Marsh leaves the show, so hopefully she’s better as the ‘other woman’ than she is the ‘wife’. Louise Redknapp will be taking over the role of Beth; she was great in both Cabaret and 9 to 5, so if she too gives a mediocre performance of Beth, we know the writing is to blame. The play’s first act was pretty boring – even the explicit sex scenes could not save it. I spent the majority of the first sex scene looking at the big group of people who arrived late, and by the second sex scene, I was struggling to keep my eyes open. The pace gradually picked up, and the second act was pretty wild – though that is not necessarily a good thing. I also wasn’t a fan of the show’s metallic set (by this point,

you’re wondering if I was a fan of anything, aren’t you?). I think it was supposed to represent the claustrophobia of living in New York City – relevant, given Beth’s desire to escape the city (and Dan’s need to escape Alex) – but it just looked a little cheap. The lighting and projections, too, didn’t quite have the sinister effect that the creatives wanted them too; it felt a little corny and cheesy. However, I liked how video calls were projected on to the walls. That’s the thing about this play: as mediocre as it was, there were some nice moments. Even the silly script had some good one-liners that gained laughter from the audience. Fatal Attraction has potential, but it needs to be rewritten and redesigned – and maybe even recast.

Photo: Fatal Attraction

I’ve never seen the film that the play is based on. I might have enjoyed the play more if I’d seen it; it’s undeniably iconic, so watching the play would probably have felt nostalgic – if nothing else. I did get a sense that the play had been updated to make it a little less sexist, and this was confirmed by Jay Sky’s boyfriend, who told me that the play’s ending is very different to the film’s ending. It appeared to be an attempt to show that the blame does not lie entirely with Alex but Dan, too – you know, the person who is actually already in a relationship? If you’ve seen the problematic film, the play’s changes might seem progressive, but as somebody who’s never seen it, I found the play to be pretty poor in its portrayal of women. Beth and Alex are polar opposites: the virgin and the whore; Mary, the mother, and Mary Magdalene (who was not actually a prostitute, might I add). I was also disappointed that the play did not offer an examination of mental illness. Alex is not just some crazy, obsessive mistress; she’s quite clearly suffering

from severe mental illness(es). She’s tortured, tormented, and victimised – both by mental illness and a charming, married man who treats her like a fleshlight. In a society that stresses the importance of mental health, you’d expect Fatal Attraction to better address mental illness. Perhaps the point is to show how mental illnesses are often ignored, and how people who suffer from them are stigmatised, but that didn’t work; by virtue of ignoring mental health, it vilified Alex. Now, addressing Alex’s mental health would not be anything new: since the release of the film, Alex has been discussed by psychiatrists and film experts; she has been used as a film illustration for the condition borderline personality disorder. The play’s creatives had an abundance of academic, literary and psychiatric content on Alex to engage with, so it’s disappointing that they chose not to. As mediocre as Fatal Attraction was, I’m glad I went to see it – if only because I met Strictly Come Dancing‘s Graziano Di Prima. However, I then realised that he’s actually working in my building. He stars on Morning Live (alongside Marsh), and I work at Studio Lambert, across the road from the Opera House – and I saw him there the following morning, surrounded by fans. Turns out, I didn’t have to go through the torture of watching Fatal Attraction to meet Graziano; I could have just bumped into him at work! Now, I do like to remind my readers that I’m a brownskinned, 22-year-old Politics graduate and theatre critic; I am, by no means, the target audience for a show like this. Whilst the show has received countless negative reviews from critics, that doesn’t have to put you off. We all like a little trash – whether it comes in the form of booze, burgers, or Fatal Attraction. Fatal Attraction plays at Manchester Opera House until 26th February, before heading to Birmingham, which will be your last chance to see Marsh in the play. The play then continues its tour around the UK, with Amy taking over the lead role of Alex and Louise Redknapp joining the cast as Amy’s current character, Beth.

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Review: Kevin Clifton - Burn The Floor Strictly fans unite! The all-singing, all-dancing company is back, and we’re feeling the heat Emily Turvey & Ella Robinson Theatre Writers

fter a 2 year hiatus (thanks to the pandemic and various lockdowns), Burn the Floor finally arrived at Manchester’s Bridgewater Hall this Valentine’s Day. An all-singing, all-dancing affair, this tour is led by the enigmatic Strictly Come Dancing star Kevin Clifton and the ever-talented Burn the Floor dance company. Although a somewhat low budget Strictlyesque performance, it’s guaranteed to be a feel-good, entertaining evening. The show begins with a sense of excitement, anticipation and relief, all provided by frontman Kevin Clifton in his opening monologue. As a tour that has been postponed by 2 years, Clifton is thrilled that “theatre is finally back!”, with many of the original ticket holders sitting in the audience sharing his enthusiasm. Although it takes a while to get going, cue a GCSEdrama type skit at the beginning which will definitely leave you a bit confused, the true value of this production is in the performance. From the first number, the skill and talent of all of the dancers and musicians involved in Burn the Floor is clear. The dances are well choreographed, and the songs well performed, in some instances even rivalling Dave Arch and his wonderful orchestra (10 points if you get that reference). Kevin Clifton even sings, actually pretty well, which was a welcome surprise. The group performances certainly rival the Strictly professionals, particularly given the stamina that they are able to maintain between each number. The paso doble, one of Clifton’s specialities, showed incredible storytelling across three numbers with huge group dances and emotional duets. At times, the small theatre stage felt a bit crowded,

making it hard to appreciate all the dancers in the group numbers. This is why the contemporary dances, with their quiet emotion, stood out. The lifts were the most incredible I have ever seen – and that’s after not only 15 years of avid Strictly watching, but also attending Kevin’s previous tour. The song selection and tracklist that this is all performed to is predictably cheesy, and at points slightly jarring. The setlist moves incoherently from a classical track mixed with an emo-rock number, to Queen to ‘Burlesque’ and then to Lady Gaga’s infamous song ‘Shallow’ from A Star is Born. Admittedly, it suits the audience and the production, but still, it might remind you of the DJ at your Aunt’s 50th birthday party. The production value of the show is slightly jarred by Clifton’s unscripted, somewhat rambling monologues. It is of course nice that Clifton is so thrilled to be back dancing, but he does reiterate this every (what felt like) 5 minutes. Parts of Clifton’s ramblings also return to vague references to ‘Stace’ (Clifton’s girlfriend and 2018 Strictly partner, Stacey Dooley). Admittedly it was Valentine’s Day, but this did create an accidental comedic element when at each reference, the audience would turn and try and seek her out in the crowd, like some kind of mythical creature. The venue was also only half-full, which made the panto-esque crowd engagement fall rather flat, as they couldn’t really get an atmosphere going. We were the youngest people in attendance by at least 20 years, however, so maybe some of Clifton’s older fans didn’t feel comfortable attending a show they had bought tickets to pre-Covid. But those who were there had a great time, at the final number people were up dancing in their seats, including women who were old enough to be our grandmas. It was a genuinely heart-warming moment, and if this was most audience members’ first return to the theatre in almost two years, it was a joyous one.

Photo: BurnTheFLoor

Review: Nobody Aayush Chadha reviews Nobody at HOME Aayush Chadha Theatre Writer

There is no doubt that Nobody is breathtaking and exhilarating, but by no means is it an easy

watch. Often, one can watch a piece of theatre and forget about it. However, shows like Nobody leaves a deep imprint on one’s mind as it challenges the viewer to immerse themselves in the experience and invites them to make sense of it. On the surface, the performance is an exposition of the tension between our inner lives and our attempts to understand the world around us. Through its dancecircus (a combination of contemporary dance along with the acrobatics of circus) routine, it invites the audience to experience for themselves the strain of trying to make sense of something that at first glance looks pretty apparent but somehow still feels strange and inexplicable – surreal almost. Needless to say, the ongoing pandemic heavily inspired the plot line (if one can call it that) and pushed the artistic director, Kevin Finnan, to explore how the voices

Photo: Nobody

in our heads became more pronounced as we spent more and more time alone. Ever since I got back, I have been trying “make sense” of what I saw, how the movements and the visuals created by Logela Multimedia fit into the narrative that was described in the program. I distinctly remember the set and the movements combining together to touch upon every feeling that must have passed through our hearts in the last two and a half years. On the other hand, I also found myself wondering, was that all there was to it? Unconsciously, I find myself looking back at my own experience of lockdown — the isolation, the endless scrolling through newsfeeds hoping for a sign that the ordeal has ended, the longing to see friends again, the endless anxiety for the wellbeing of near and dear ones — and realising, this is exactly what makes the show so brilliant. In evoking these feelings yet again through dance, music and visuals, the show has succeeded in capturing a paradox — the shared experience of being in isolation. Nonetheless, it doesn’t stop at that; in the second half, it goes on to celebrate the shared sense of community that enabled us to emerge out of the worst disaster in recent history, all the while acknowledging that not everyone was able to make it out. This makes the show exceptional as it condenses the

paradox, the ordeal, the pent-up feelings, and the collective joy of relief of the past 2.5 years into an hour and a half long performance, capturing the wide spectrum of emotions without relying on any dialogues but instead utilising a plethora of movements and a set that doubles as our inner and outside world to the point where the boundaries between the two are completely blurred. Nevertheless, the biggest triumph of the show lies in its ability to make the audience introspect, to explore how our inner voices constrain us but also to make us feel hopeful about our ability to break free of them through the help of the communities around us. Having said that, I still feel dissatisfied. I feel that in my attempt to box the performance into the descriptions I have provided, I have missed the chance to experience far more than I could imagine. Somewhere, I still feel my review (or any of the other available) doesn’t do justice to this evocative masterpiece, because as critics, we had remained so fixated on what to tell our readers that we completely overlooked the opportunity to hear our own inner voice. Nobody is touring Europe and the UK until the 26th of May 2022.

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SAKURA: BOTTOMLESS SUSHI

ZUMUKU SUSHI: A REVIEW

f you’d class yourself as a sushi enthusiast, then Zumuku is a must. While Zumuku have a handful of sites located across the North, the new opening in Didsbury is now officially the only sushi in Wilmslow, since the closing of Samsi. With a convenient location just minutes outside of Fallowfield (107 Lapwing Road, Didsbury )there’s no need to make the half an hour bus ride into town if you’re craving a sushi hit. Despite being a chain, the initial vibe is relaxed and authentic, with green hanging plants scattered across the ceiling, and soy sauce bottles at the ready on each table. Two TV’s display behind the scenes preparation for some of their most popular dishes, a helpful tip when ordering from the vast array of sushi plates on offer. The menu offers dishes from hot katsu curry (tofu or chicken) to Poke bowls (which are all around the £10.95 mark), bao buns and Japanese Stir fried noodles. Although a lot of the dishes are sashimi based there are plenty of plant powered options for those who are vegan or veggie. Even for those not keen on sushi, there are plenty of alternative such as the Kamikaze chicken wings (£6.50) , Togarashi fries (£3.95) and

vegetable or duck gyozas (which are £5.95). Visiting late afternoon, the staff were extremely welcoming. While their two signature dishes: the Zumu Special (prawn with avocado and seared salmon with sweet teriyaki sauce) and the Wilmslow Roll (salmon, tuna, chives, avocado) were extremely tempting, our attention was immediately drawn to the brunch deal that is offered Saturday and Sunday 12-5pm, of 4 dishes for £17.95. Sea salted edamame beans and miso soup make up the first two courses, both of which were hot and fresh, with enough edamame to take home for a nextday snack. It’s possible to add bottomless fizz to the brunch meal for £10pp, however being a little hungover, I went for the Ramune Japanese lemonade, where to initiate a satisfying fizz, you have to push a ball inside the bottle. The starters offered included sushi tacos, Plant powered tacos (crispy tacos with seaweed, mango salsa, guac and salad), Uramaki chicken katsu roll, uramaki salmon and avocado roll served with Japanese mayo, or the uramaki vegan roll. The sushi tacos were some of the best sushi dishes I have ever tried, with sweet mango salsa and creamy avocado, the subtle crunch of the homemade taco shell, and the

sour kick of the lime juice worked in perfect harmony. The salmon and avocado uramaki roll were again fresh and fragrant, complimented by the ginger and wasabi on the side. All the dishes came out simultaneously, filling the table with bright colours and aromas. The tofu bao buns were accidentally missed from our order, however our waiter was lovely and extremely apologetic, offering us free deserts and drinks to compensate. With tacos and edamame to feast on in the meantime, it was so worth the wait! It’s not only incredible food that Zumuku offer, but immersive dining experiences. Sushi Masterclasses take place on the last Monday of every month at 7pm, run by Chef Patron Benjie Samson, who was head chef at Yo! Sushi for around 10 years. The workshops offer an entry lesson into the art and history of sushi making. Lasting around 2 hours you can expect to create several variations of sushi to then take home to share with friends. It seems like the perfect birthday or post-exam treat. As well as a delicious meal, you’ll take away knowledge of how to recreate Zumuki’s delicious sushi at home – something in my experience, definitely worth paying for!

You’re favourite food bloggers, Tender Cube of Chilli Paneer, are back with another Manchester review of Sakura! Located up in Cheatham Hill, Sakura is serving ‘fresh to order’ bottomless sushi, bought to your table by robots, cool right?

range of sushi is on offer: salmon and tuna nigiri being the favourites, while the crunchy chicken roll offered a nice change for the taste buds. Large, elegant temaki is definitely worth a try – specifically the salmon caviar roll with the caviar offering a pop of flavour against the clean salmon. The ordering system is easy to use and ensures food is prepared freshly to order. All the pieces came out quickly and were presented beautifully – the sight of a tray of sushi rolls dressed with sauces and crispy onions is enough to make anyone hungry. If sushi is not your thing the menu ranges from gyozas and noodle dishes to various meats freshly grilled on the teppanyaki. The succulent duck was rich in flavour, so is highly recommended. After 5 rounds of sushi we hit the dessert bar; packed with fresh fruits, a selection of cakes and everyone’s favourite – ice cream! The lemon cheesecake, chocolate cake and ice cream were high contenders. While the set price (£26/7) is quite steep for us students, it is highly worth the visit due to the overall quality of the experience. Food: 4/5 (Everything individually was great but don’t have too much of one thing)

Experience: 5/5 Price: £££

ISSUE 09 / 28th February 2022 WWW.MANCUNION.COM

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TikTok made me read it: It Ends with Us Hannah Wellock Books Writer Contains spoilers.

f you’re on any form of BookTok, then you’ll have heard of Colleen Hoover and her many many books. She has taken BookTok by storm with her novel It Ends with Us, which again had me questioning, is it worth the hype? I started with It Ends with Us as I’d seen it on TikTok the most. It was first published in 2016 and was a #1 New York Times Bestseller. It has recently blown up on TikTok, along with many of Hoover’s other novels, as a must-read among the BookTok community. Hoover has also just announced that 6 years after the release of It Ends with Us, the sequel It Starts with Us, will be released this October. It Ends with Us follows Lily after she moves to Boston from her hometown in Maine following her father’s death. She meets and falls in love with Ryle Kincaid, a neurosurgeon, as she is starting her own business. Despite his usual ‘no-date’ rule, Lily is the exception, as she refuses to be a one night stand. They take some time to eventually admit their feelings for each other but then quickly barrel into a serious committed relationship. With her new relationship comes thoughts of Lily’s first love Atlas who then also appears to have started a new life in Boston. To say this book is gripping is an understatement and a half. I ordered it from hive.co.uk (an online bookstore that supports independent high street shops) expecting it to take a few days to arrive. It did not. It arrived the next day. In the middle of one of my 48-hour exams. Now, I didn’t do what a sensible person would: leave it until after my

exam was finished the next day. No, I thought one little chapter won’t hurt anyone. Boy was I wrong. Next thing I knew I was 200 pages in and it was 4 am. When I say I couldn’t put this book down, I mean I was reading it in Blue 3 in the middle of my exam when I should have been writing an essay. I couldn’t think about anything other than this book and decided that I had to finish then and there. I read this book in 24 hours and we’ll have to wait and see what effect it has had on my grades when results are released in March. What I’m trying to say is: don’t start this book if you have something important to do. Whilst I would rate this book 5 stars, I did have an issue with its lack of a trigger warning. At no point, either on TikTok or any other advertisement, at the start of the book or in the blurb, was there any indication of the themes touched on in the book. Instead, words like “assertive” and “stubborn” are used in the blurb to describe the main male character. Despite Hoover thoughtfully crafting this book, the lack of a content warning could be problematic for some. While I very much enjoyed this book, due to the nature of the themes and content, it has the possibility of bringing up past trauma. The story is heavily based around domestic abuse, with Lily’s father abusing her mother throughout her childhood, and Lily then also finding herself in an abusive relationship with Ryle. Lily states throughout the first half of the novel that she would never let herself get into the same situation as her mother, that she would leave an abusive relationship without hesitation. Yet, when in an abusive relationship herself, she finds it difficult to leave, finally understanding her mother’s struggles and decisions. Hoover demonstrates the complexity of domestic abuse in relationships very well. She ultimately removes the blame put on victims for not leaving those relationships, revealing how they navigate love and other complicated emotions including loyalty and fear. In a very moving ending, Lily ultimately decides to leave Ryle to break the ‘cycle of abuse’ as she didn’t want her daughter to grow up experiencing abuse as she did. We are left with an open ending of many possibilities, perfect for the release of a sequel.

In my opinion, this book should have had a trigger warning outlining the themes covered in the book. Especially with the novel’s recent blow-up on TikTok, a platform often used by children and teenagers, it’s even more important that the book has some form of a content warning now that it’s being consumed by a younger audience. While some may argue that content warnings can spoil storylines, this wouldn’t have taken away from the impact of the story; it would have given the reader the chance to prepare themselves for a potentially difficult read.

THIS IS (NOT) GOING TO HURT BOOK SALES Aileen Loftus Books Editor

his is Going to Hurt, published in 2017, is Adam Kay’s memoir detailing his experiences working in a hospital obstetrics and gynaecology ward as a junior doctor. It was an instant bestseller, has been translated into 37 languages and was accompanied by a live tour. The book has now been adapted into a major BBC television series by the author himself, starring Ben Whishaw as Kay. The seven episode series also marks the opportunity for a new edition of the book (complete with a picture of Ben Whishaw) and the opportunity for an ‘exclusive’ preface by Kay. He has also just announced a second tour, ‘This is Going to Hurt More’, starting in September 2022. This is Going to Hurt is split into chapters titled by Kay’s role as he becomes more senior, and each chapter is broken down into very short diary entries. This structure creates a rapid sense of pace, which works well to create the impression of a doctor rushed off his feet. It also makes it easy to read, and easy to keep reading, as you tell yourself ‘just one more entry’. Kay’s style is slightly crass, heavy handed humour with a decent smattering of swear

words. Considering it is entirely set in an obstetrics and gynaecology ward, it felt like a very masculine approach to take. The book is trying very very hard to be funny, but out of every ten jokes, only one of them is genuinely laugh-out-loud, repeat it to your friends, funny. At times This is Going to Hurt hovered at the border of insensitivity, with complex health issues and life changing moments reduced to their best punch line. But Kay seems aware of this, treading carefully at the border. You can also understand why; dwelling on upsetting health issues would make it harder to get through each day in a hospital, while making jokes about the serious lightens the load. The same book without the humour would make for a very tough read. The lengthy and regular footnotes are some of the best bits. They often explain medical jargon and abbreviations, but they also hide some of the best jokes. One of the first pages states: ‘A note regarding footnotes: read the f*cking footnotes’, which maybe eradicates their subtlety. Kay is also releasing a new book in September 2022, Undoctored: The Story of a Medic Who Ran Out of Patients, in which he reflects on his life since he left the medical profession. He has also released a christmas ‘gift book’ Twas The Nightshift Before

Christmas and a children’s non-fiction book Kay’s Anatomy: A Complete (and Completely Disgusting) Guide to the Human Body. I can’t help but feel like he’s milking it a bit. This is Going to Hurt’s greatest success is its eye-opening portrayal of the NHS. The work the NHS does is incredible, but our experiences can often be frustrating, time consuming and unsatisfactory. Kay reveals outdated working practices, lack of funding, immense strain and poor resources. It’s also a damning reflection of the conditions of junior doctors: constant unpaid overtime, 97-hour working weeks, cancelled holidays, exhaustion so great it leads to falling asleep in the car park (the moment the BBC adaptation opens with), failed relationships, strained friendships and an immense amount of pressure. As a reader you can only think ‘this cannot go on, something has to change’. And yet, Kay’s book story is set in 2004 to 2010: pre-Covid, pre-Brexit and with a Labour prime minister. Re-reading it in our new context invites thought of how much strain and pressure the NHS is now under, and the impact of this on patients and staff alike. Kay, on the other hand, has had an immensely successful career since leaving the NHS, and his success doesn’t show any signs of slowing down.

30 Fashion and Beauty CULTURE

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Festival fits inspired by Euphoria S2

Euphoria is back for season two and setting new trends Letycja Oczkowicz Fashion & Beauty Writer

uphoria is no longer just a teen drama series, but a whole aesthetic. Countless costumes, makeup looks and soundtrack pieces have lifted the series to a new, previously unseen level of cinematography, for a teen show. Accompanied by Labrinth’s Forever, audiences around the globe have became mesmerized by the world of euphoria. Since the first episode of Euphoria, which aired in 2019, the costumes have been ahead of the trends. The mixture of Y2K and 90s style has clearly influenced Gen Z’s present day dress sense. Nowadays, no one is surprised to see people wearing cut-out dresses and low-waisted trousers, but back in the Tumblr era of the 2010s it was considered a crime. The costumes in Euphoria don’t revolve around one specific aesthetic, but connect a complex, diverse vision. It’s hard to throw Maddie and Rue’s New Year’s Eve outfits into one sack and call it a ‘Euphoria’ aesthetic – it’s too vague. One represents a glam high school it-girl, the other a more androgynous individual. But one thing you can be sure of is that the show’s young adult audience connect the two under the label of ‘modern dress’. The fashion trends of 2021/2022 have so many points of reference, a diversity which is reflected in the costumes of Euphoria, styles such as Skater (Rue), Y2K (Maddy), anime punk (Jules), twee (Lexi), etc. are all featured in the show. The outfits in Euphoria are carefully considered, each character’s identity is expressed through choices from the wardrobe team. Heidi Bivens explains the thought process behind each character’s costumes, showing their development through their attire. Rue’s outfits lack bright colours, she chooses dark, toned-down pieces that capture the dark side of drug addiction. In this new season, Maddy goes through a personal development, which is mirrored by the way she dresses. In both

seasons she is confident with her outfit choices, but in season two her style becomes more mature with darker, more sophisticated tones. Cassie, whose storyline makes her the biggest disappointment of the season (at least according to Twitter) is struggling to define who she really is, which is reflected in her clothing choices. She spends hours every day getting ready, only to end up looking like a low-budget, distressed Maddy Perez. In the third episode of season two, Cassie comes to school wearing a turquoise two-piece, which was custom-made for the show. Her outfit turns out to be highly inspired by Maddy, who wears an almost identical lilac set and is shocked to see their resemblance. This twin-like transformation is the big finale in Cassie’s desperate attempt to replicate Maddy, and one of the most talked about fashion moments in the season so far. The popular ‘Euphoria High’ TikTok trend, in which creators switch their ‘ordinary’ school outfits to bold cutout ensembles sprinkled with rhinestones, went viral after the release of the second season. Fans of the show offer their own interpretations of the ‘Euphoria’ aesthetic, set to the sound of a SpongeBob soundbite exclaiming ‘and WHY aren’t you in uniform?’ followed by the creator walking onto screen in a different outfit. In most of these videos, they opt for a cut-out dress and accessorise with a small bag (perfect for school! Just like Maddy’s tiny purple bag…) and slicked-back hair. There are plenty of dupes available for the often expensive items featured on the show, such as Maddy’s New Year’s Eve dress and sleeves. Both of these pieces, a black cut-out dress and black sleeves are easy to find online. Another item which has seen a surge in popularity due to the glamourous character Maddy is the humble zigzag headband. A 90s classic which is usually associated with fuss free hairstyles has been

revived in a totally Maddy way, for an enchanting night out look. The aesthetic of Euphoria has been one of the most influential and trend-setting in recent years. The power of TV in 2022 cannot be underestimated. Previously, its hold on a young adult audience seemed to be waning in favour of streaming services like Netflix who usually upload shows in one fell swoop, perfect for bingeing. But the week by week release of Euphoria has had Twitter ablaze every Sunday, fans have been deep diving into the characters storylines, the makeup looks and costume design. The obsession with Euphoria and its makeup and costuming is more alive than ever, it seems like everyone is deciding whether they’re a Maddy, Cassie, Rue, Kat or Jules and searching for the right pieces to emulate their favourite character.

CULTURE

ISSUE 9 / 28th February 2022 WWW.MANCUNION.COM

Fashion & Beauty 31

Euphoria Season 2 Makeup Tutorial

The Fashion and Beauty team at the Mancunion tried out some Euphoria makeup looks and rated them by difficulty, so why not pick one you think you could master and try it at home? To recreate these looks, you’ll need a few products. A liner is essential, Davey herself recommends the Inglot AMC Gel Eyeliner 77, but we used the Kat Von D Tattoo Liner to recreate Maddy’s looks, the pen-like format is easy for any beginner. To embody Euphoria’s makeup, you’ll also need some rhinestones or stars. You can purchase them in sheets from The Works, but any craft shop will usually have a good stock. Having a holographic lipgloss on hand also can't hurt. Lastly, you’ll probably want some coloured shadows. Morphe is a good brand for pigmented palettes with loads of shades and they currently have a 'euphoric vibes' section on their website.

This liner and rhinestone look combines multiple accents from season two. The double liner is a Maddy staple, and the tiny rhinestones under the eye are reminiscent of various Cassie looks. We rate this a 7/10 for difficulty. You may be thinking that the sharp liner would make this tricky, but we used a piece of washi tape placed under the eye to get a perfect shape for both layers of the wing. This hack makes liner a piece of cake! All that’s left to do is take a tiny brush to smudge the lower line and place your three ‘tiny rhinies’ under the eye.

We recreated Jules’ orange and blue makeup from the bridge episode ‘Fuck Anyone Who’s Not a Sea Blob’, and rated it a 5/10. The colours are pretty and the gems add a sparkly touch. It may look easy, but the tiny gems are difficult to handle and care needs to be taken to blend the shadow properly. Use a small, stiff brush to pat the orange shadow onto the inner half of your eye and all along your lower lash line. Clean the brush and apply your blue shade onto the outer half of your lid. Take a fluffy blending brush and buff until there are no harsh edges. Lastly, take three rhinestones and use tweezers to carefully place them on the inner corner, the bottom centre and bottom outer corner of your eye.

We rated Rue’s classic glittery look from the Euphoria poster a 2/10 for difficulty. It doesn’t require much skill, the look is supposed to be a bit messy and free spirited, just like Rue. Start with a wash of purple shadow on the lid with some silver glitter patted on top. You’ll also need some silver stars from the craft shop and some glitter fixer or lash glue to stick them on. Place under your eye and hold in place until dry, et voilà!

Another Maddy look we tried our hand at was the blue and pink rhinestone glam. We rated this an 8/10, take caution! The gems are really difficult to attach on your own because they’re supposed to be right above the crease. You’ll need to pat a blue shade on your lid and lower lash line, buffing it out with a fluffy brush loaded with pink shadow. Next, do a normal black liner wing and finish with the all important gems. Use tweezers to place them in an arc, taking care to open your eyes fully while you apply them, otherwise they’ll disappear into your crease when you open your eyes.

The return of Euphoria makeup: What’s new in season two? Maia Penny Fashion & Beauty Writer

reflecting that in the makeup looks.

uphoria’s makeup precedes its reputation. You may not have seen the hit HBO show (although we seriously doubt you’d want to miss out on all the drama), but you’ve probably seen a TikTok or two featuring glittery recreations of the looks or a festival-goer with a gem-encrusted eyelook. The show is centred on a group of high school students living in a fictional Californian suburb dealing with serious issues such as drug addiction and abusive relationships. Its popularity undoubtedly comes from its frankness in confronting such complicated topics, but the originality and creativity of the makeup, costume and cinematography have also been central talking points of the show. Even if the show, and especially the second season, has highlighted the grim reality of addiction and withdrawal, the show has been accused of glamorising drug use, notably through artistic makeup looks. Whatever your opinion on the way drugs are portrayed in the show, you can’t deny that the makeup looks are mesmerizing to look at. Season two has been airing since early January, and at the same weekly rhythm as its Sunday releases, it has been accompanied by an internet frenzy. Twitter is awash with hot takes and jokes about the show, and TikTok is choc-a-bloc with Euphoria-inspired makeup and fashion videos, with many gaining millions of likes and views. So what’s different this season? The storyline is even darker than the first time around, and Doniella Davy, the head makeup artist on Euphoria, has expertly been

Photo: Maia Penny

This season saw a ‘no foundation’ rule from the director Sam Levinson, imposed by a sign taped to the mirror in the makeup trailer. Apart from the beauty queen character Maddy Perez played by Alexa Demie, no one was allowed a ‘full face’. Along with the fact that season two was also shot entirely on film, it serves to accentuate the ‘gritty’, raw feeling of the new instalment. Although the gems and glitter haven’t completely

disappeared, the new series has a more pared-back approach to makeup. Maddy is perfecting her sharp liner wings, whilst Cassie, whose emotional breakdown sees her go into makeup overdrive, is adorned with ‘tiny rhinies’ i.e. small rhinestones, as termed by Davey. A visible inspiration for Davey this season is ’60s style makeup. Twiggy-esque eyes, framed by defined lashes can be seen on multiple characters including Cassie and her sister Lexi, whose nods to the sixties are a more subtle take on makeup trends from the past. Donni Davey’s instagram is an excellent resource if you want to learn more about the thought behind these looks. On her platform, she goes in-depth about the symbolism of many of the faces she designed for the show and gives tutorials on looks such as Maddy’s ‘double liner’. To recreate these looks, you’ll need a few products. A liner is essential. Davey recommends the Inglot AMC Gel Eyeliner 77, but we would perhaps suggest the Kat Von D Tattoo Liner, as the pen-like format is easy for any beginner. To embody Euphoria’s makeup, you’ll also need some rhinestones. You can purchase them in sheets from The Works, but any craft shop usually has a good stock. Lastly, you’ll need an array of coloured shadows. Morphe is a good brand for pigmented palettes with loads of shades and they currently have a ‘euphoric vibes‘ section on their website.

Artwork : Zac Rossiter - Instagram is @zacrosso and shop is zacrosso.etsy.com