The Mancunion Reclaim the Night issue: November 29, 2022

Photo: Callan Halliwell

Letter from the Editor

46 years ago, in November 1977, Nelle Darlington wrote in The Mancunion: “We must demand the right to walk alone at night along with the right to self-defined sexuality and control over our own bodies.” In 2022, I’m calling for the same thing.

March with us on November 30 to reclaim these streets. We will continue to march until we feel safe to walk, without sharing our location or gripping our keys.

This issue of The Mancunion is dedicated to the 46th anniversary of the Reclaim the Night campaign. It does feel disheartening; how has so little changed in 46 years? Why do we still feel the need to produce an annual edition of The Mancunion to draw attention to it? But, in the process of putting together this edition, the overwhelming feeling has been one of hope and empowerment.

I was honoured to attend an interview with Manchester Rape Crisis (p.17), a service largely run by survivors, whom Reclaim the Night are supporting this year. The charity receives funding to see only four female students a week, but instead they choose to see 28, subsidising the cost themselves.

They’ll be marching with us on November 30.

It gave me hope to read students calling

out issues on campus in our opinion pages (pp. 8-9), and see the University, Reslife, and Students’ Union coming together to tackle the problem of consent education (p.5), although, admittedly, more needs to be done. It’s inspiring to hear Witch Fever say “a perfect feminist is one that wants to keep learning” (p.18), and it’s important to look back at history (p.25) and remember where we came from and where we’re going.

But, most importantly, we need to engage with these issues beyond November 30. We need to ask each other questions and want to actually hear the answers. We need to stop accepting feeling unsafe as part of our day-to-day experience.

There is still a great deal of work to be done regarding women’s safety, sexual violence, and consent education, and this issue alone won’t solve it. We’ve been campaigning for almost 50 years and things still haven’t changed much. But that doesn’t mean they won’t.

What this issue aims to do is raise awareness, inspire hope, and call out behaviour we all know is wrong. Things might not get better today, tomorrow, or even a year from now, but what we can be sure of is they will get better; not because they should or could, but because they must

Lots of love, Ella

Police Now self-promoting in SU despite

“Cops off Campus” motion

Following the passing of the ‘cops off campus’ policy’ the charity Police Now

advocating for the police in the Students’ Union building

Jacob Hartley News Editor

The charity Police Now were advocating for the police in the Students’ Union building, despite the passing of a recent ‘cops off campus’ policy at last month’s Union Assembly.

Two members of the charity, who run a graduate scheme offering “a structured route into policing” were trying to add students to a mailing list. This is despite their stall in the Students’ Union being cancelled.

The stall was cancelled due to a vote led by group Cops off Campus at the Union Assembly, which led to the Students’ Union adopting an anti-police stance.

This means that police, and policeaffiliated groups, such as Police Now, are unwelcome on the premises of the Students’ Union, excluding times in which it might be a matter of safety.

One student reported that they were offered cake if they filled in a form for

describes as “recruiting, developing and inspiring outstanding and diverse individuals to be leaders […]

on the policing frontline”.

Cops off Campus, the group responsible for promoting the policy, spoke to The Mancunion, saying: “Cops Off Campus have been made aware of members of Police Now approaching students in the Student Union building today to promote their mailing list. This is blatant disrespect for the democratically passed policy of the student union which bans police and police-affiliated groups like Police Now from the Student Union.

In the policy students made it clear that we believe the presence of the police makes students, particularly from marginalised backgrounds, unsafe. A complaint has been lodged with the Student Union. We encourage students to get in touch with us if they see further breaches of

The University of Manchester Students’ Union has been contacted

Never OK: A stand against sexual harassment

Reclaim the Nightlife cancelled

Libby Elliott Investigations Editor

Reclaim the Nightlife, a club event organised by the Students’ Union, has been cancelled three days before the event was set to take place due to low ticket sales.

The “all-inclusive” event was set to take place on Thursday November with a focus on creating a safe space.

The event, set to take place in Academy 2, was sponsored by The Warehouse Project. All profits from the night were going to be donat ed to this year’s Reclaim the Night campaign’s two partner charities: Man - chester Rape Crisis and Galop. However, tickets are now due to be refunded.

Lily Wallen News Reporter

Anew scheme to combat sexual harassment, called Never Ok, was launched on November 7 as a collaboration between The University of Manchester, Manchester Metropolitan University, and the University of Salford.

The campaign intends to “promote an environment and culture where sexual harassment and violence is never tolerated”.

Never Ok intends to combine prevention with action through a communications campaign, which aims to raise awareness amongst students, alongside centralised action taken by the University.

The campaign urges students to be active bystanders towards sexual harassment on campus, whilst also providing survivors with the tools and empowerment necessary for reporting incidents of misconduct.

These topics are discussed on a series of interviews created for the Never OK campaign, hosted by student Dorsa.

Through the extension of boundaries on the University of Manchester’s Safe Zone app, as well as their online Understanding Consent

module, Never OK has already established measures for increasing student safety on campus.

graduates have experienced sexual violence at UK universities”.

In 2020 it was found that The University of Manchester had not expelled a single student for sexual misconduct in three years, despite the reporting of up to 18 cases of assault. In addition, only one in ten of those who experienced sexual

This year’s Reclaim the Night campaign has received a £10,000 donation from Sacha Lord and The Warehouse Project.

This charitable donation is still intact, despite the cancellation of the Reclaim the Nightlife. The Reclaim the Night March on Wednesday November 30 will still go ahead.

The previous Reclaim

with doors to Academy 2 opening at 10.

A safe space had been planned to be set up in The Hive filled with student campaigning groups, University support representatives, and merchandise stalls.

Tickets had been tiered, starting at £3 but with the option to add up to £20 to fund specific specialist charity services. A £20 donation, for example, was intended to provide a one-hour counselling session for a survivor.

The SU will still be running Reclaim themed events throughout the week, including self-defence classes, banner making and interactive sessions on knowing your rights. More information can be found on the SU website.

When contacted for comment, a Students’ Union spokesperson said:

“We made the unfortunate decision to cancel Reclaim The Nightlife due to poor ticket sales for the event. Ticket purchasers have been contacted with refund information. Our partnership with Sacha Lord and Warehouse Project hasn’t been affected

These actions reflect the sentiment of the Faculty of Biology, Medicine, and Health at UoM who took to Twitter to express that “no one should be made to feel uncomfortable, upset, offended or scared by another individual’s behaviour”.

In a study conducted by the National Union for Students (NUS) it was reported that “almost two thirds (62%) of students and

were

Never OK, an anti-harassment campaign run by UoM, MMU, and UoS, aims to create a zero-tolerance culture towards sexual misconduct

Reclaim the Nightlife, the Students’ Union’s all-inclusive club night held in Academy 2 has been cancelled, due to low ticket sales

“

Aims to raise awareness amongst students, alongside centralised action taken by the Univer sity.

“Come and join us” says Jo Grady at UCU strikes

The General Secretary of the UCU spoke to picketers on the first day of strike action

Shikhar Talwar MMG News Producer

Students and staff joined the University and College Union (UCU) strikes on November 24. Jo Grady, the General Secretary of the UCU attended the strikes in Manchester.

The picket lines on November 24, 2022, began at 8am outside Crawford House and the Samuel Alexander building distributing flyers, before walking to Whitworth Hall.

Students from the University also joined in the protests. They held signs that read, “Student Solidarity for Strikes.” Along with one banner that said, “Cross the Picket? What a Tory!”

Jo Grady joined in the front of the picket lines laughing in conversation with UCU members. She called the University employers, “the most intransigent and bullying in the country” when talking to The Mancunion.

“The demands are, give us back a part of the 35% Universities

took from our pensions during the pandemic,” she stated. Adding, “pay people a proper pay rise, we have been offered 3% when the inflation is way above 10%, so this is not enough.”

with a call to action, “If you want to see this dispute resolved quickly, come and join us. Demonstrate with us. Let your Vice-Chancellor know, that you know that it is them who is to blame and them who can resolve it.”

When contacted for comment, a University spokesperson said:

However, she continued, “the issue which affects everyone the most is unbearably high workloads... and casualisation.”

A student on the picket line said, “My lecturers who are the people that I see every day, the people who teach me, should be on certain contracts. They should be paid. I just find it horrendous.”

Meanwhile, a lot of UCU members are asking for student support. One such member stated, “I will encourage students to read on the history of the labour movement.”

Jo Grady finished speaking

“The University remains disappointed with the UCU’s decision and will be taking active steps during this period to ensure minimal disruption to our staff and students.

“We understand how important pay, employment conditions, and pensions are to colleagues – we take their views and concerns very seriously. Pay and the USS pension agreements are negotiated nationally, by UCEA and UUK respectively. As with all Higher Education Institutions, we input into these discussions and decisions.

“We also appreciate the difficult and challenging times in which we are living and are taking active steps to support our staff and students.”

Students seek compensation over “contract breaches” during lockdown

Hindmarsh News Reporter

Over 1000 students from the University of Manchester have joined a claim arguing that the University breached its contract by failing to provide in-person teaching and appropriate support to facilitate their learning during lockdown.

The 1022 students, who attended the University in the years 2017-2022, are claiming that the quality of teaching delivered during this periods was inadequate. This, they claim, has severely hindered both their academic experience and the start to their careers.

They have joined a multimillion-pound group claim that spans several universities and nearly 20,000 students. The group includes students from University College London, London School of Economics, and the Universities of Leeds, Birmingham, and Cardiff.

They claim that students were disrupted by both strike action and Covid-19, and that the University was contractually obliged to

provide in-person support. Even when all lockdown measures had been removed, some courses continued with online learning.

Medical student Layla Zohar explained how her first year learning was limited in this way by Covid-19, saying: “There were parts of the physical examinations we weren’t allowed to do, and still aren’t actually.”

These physical examination included “anything to do with the face/head/mouth” and Zohar claimed “we [the students] couldn’t go on hospital placements in the first semester last year, which this year’s first years have been able to do”.

Many universities have faced similar backlash for their handling of teaching during the pandemic.

Earlier this year, Durham University’s largest donor, Mark Hillery, withdrew his funding over disagreement with Durham’s use of unnecessary Covid restrictions to learning.

Discontent with the handling of the pandemic by the University of Manchester has not only been expressed by these recent claims.

The University made headlines in November 2020 over protests in Owens Park following the placement of fences around the halls of residence.

The University of Manchester has declined to comment, but passed us onto Universities UK. Their statement is as follows:

“The Covid-19 pandemic threw two years of unprecedented challenge at the higher education sector and our students, and we are proud of how universities adapted and managed in adverse circumstances.

“During some periods of lockdown, universities were not permitted to offer teaching and learning as usual and instead universities adjusted quickly and creatively to ensure students could learn and graduate.

“We are not able to comment on individual institutions or cases. Universities continually look to improve, and raise standards if students are not getting the learning opportunities they deserve.”

@ The Mancunion

Students’ Union stands with UCU strikes

Erin Barnett Deputy News Editor

The University of Manchester’s Students’ Union has announced that it supports the upcoming UCU strikes.

In a statement, posted to the official Manchester Students’ Union’s (SUs) Instagram account, the SU stated that it “appreciate[s] that our staff’s teaching environment is our learning environment” and thus stands in support of the UCU.

The UCU, the union that represents further and higher education academic and support staff in the UK, announced that all branches would participate in three days of strikes in November.

These days were announced as November 24, 25, and 30.

Strikes on November 24 and 25 will be held on University campuses, whilst on November 30 the industrial action will culminate in a demonstration in London.

In a continuation of the SUs statement, they acknowledged that the fight was not about “staff vs. students” but “reflects a bigger issue regarding management and operations within Universities and the

Government”.

The Students’ Union is planning on supporting students affected by the strikes by holding “teach outs” - a series of lectures covering a variety of subjects - on the days of industrial action.

The Manchester Socialist Worker Student party took to social media to commend the Students’ Union’s decision to support industrial action.

However, it criticised the Students’ Union’s wish to help “foster discussions between the UCU and the University” instead calling for it to encourage students down to the picket lines, which have been, historically, sparsely populated at the University of Manchester.

The Students’ Union maintains that it represents the students of the university and that it will do its best to mediate the impact of the strikes on the student body, including students who teach (for example Graduate Teaching Assistants.

Student officers will be present in the Student Union building all day “to answer any questions and hear your thoughts” about the strikes.

“

If you want to see this dispute resolved quickly, come and join us. ”

Photo: Shikhar Talwar

The Students’ Union will support upcoming UCU industrial action it announced on November 17

Anna

1022 UoM students have joined a group launching legal action against several universities claiming a breach of contract over online teaching during Covid

No mandatory consent module for UoM

The University of Manchester has no mandatory consent education, The Mancunion has discovered. The optional online consent module is completed by less than a quarter of students in SALC, calling into question the suitability of the current scheme.

Typical consent education in academic settings often involves a three-minute video detailing that consent is as «simple as tea». Viewed 10 million times on YouTube, the video lets us know that drunk people might not want tea. However, consent – although it should be as straightforward as the video implies – is not understood this clearly in real life.

Sufficient consent education should involve discussions around what revoking consent looks like. Likewise, the role ‘blue balls’ plays in pressuring people into consenting or that having a sexual history with the person in question doesn’t entitle you to sex. Evidently, consent education requires informing students about coercion, nuance, and checking in on their partner. Yet, a mandatory and detailed education programme at this University is yet to be rolled out.

The university currently delivers a tiered approach to consent education. Before new students arrive, during the «preregistration window,» they are invited to complete a Transitions module, in which the Healthy Relationships section gives the basics of consent.

Those who do not complete such activities are flagged and sent automatic reminders.

Returning undergraduates and postgraduates (both those undertaking taught and research courses) are given variations of the same activity. Each school at the University has the opportunity to seek guidance from the Advice and Response team in the delivery of this education, but is not required to adhere to a standardised framework.

The School of Languages Arts and Cultures (SALC) is one of the schools with an established consent module. Last year 1396 students completed the SALC consent module. Completion rates so far for this academic year are 1672 students out of circa 7000, just 24% of students. Progress perhaps, but has it progressed enough?

Imogen Boylan and Sohini Biswas, co-chairs of Resist Rape Culture, a campaign at the University tackling rape culture and sexual violence, suggested a much needed overhaul of the

University’s current approach is needed. They suggest the primary issue with the module is that it is not a compulsory activity and is not targeting a substantial, university-wide audience.

Resist Rape Culture suggest in-person talks on consent could be a more inclusive and engaging method, compared to the existing Zoom sessions. They proposed the idea of bringing in external speakers, in order to further educate a wider audience of that an online module does not tackle the issue in the most appropriate to a ResLife advisor, who revealed that in-person consent education was originally a part of the accommodation induction, but for the second year running it has not been included. Due to the Covid-19 pandemic, the induction was moved online and has remained this way despite the removal of restrictions.

Though the removal of inperson consent education from the accommodation induction is certainly discouraging, the same advisor revealed the proposals for a new online drug training course, which contains a module called Sex, Drugs & Consent.

The root of the problem here seems to stem not from a lack of understanding of the subject but rather from a lack of engagement. In order to encompass all students, the conversation needs to be fundamentally widened to promote inclusivity.

The University’s Students’ Union is also taking steps to improve. Celina Sousa Pereira, Wellbeing and Liberation Officer at the Students’ Union said that “working on the consent module is one of my key priorities for the year”.

Her aim is “by the end of the year is to ensure that consent education is mandatory, that it provides a comprehensive take on consent with the nuance and seriousness that it needs (as opposed to the Tea video they showed in my time), and that it includes non-heteronormative experiences as well.”

The Mancunion was informed by both the ResLife advisor and Resist Rape Culture that one of the

primary obstacles was the absence of communication between Student Support and students, explaining the multitude of resources which are available but effectively remain hidden. Both suggested that valuable services from the University needed to be highlighted, including Report and Support.

In 2017, the University of Manchester was the first higher education institution in the UK to introduce Report and Support (part of Advice and Response), reporting system incidents of sexual assault

rape.

Students, staff, and members of the public can use the system to report an incident anonymously or request to speak to an advisor, which will put them in contact with a specialist practitioner.

The Advice and Response Team also works in conjunction with Manchester City Council, Greater Manchester Police, and various sector networks, such as the Sexual Violence Action Network.

Resist Rape Culture and the ResLife advisor we spoke to similarly commended the service, with praise also for the Advice and Response Manager, Melissa Riley and Spencer Davies, Head of Advice and Response, and their suggestions for changes moving forward.

The pair told The Mancunion of the disclosure training frontline

university staff receive. This aids them to refer students in incidents of sexual assault and violence, to services such as Report and Support. According to Melissa and Spencer, students in committee roles in societies will also hopefully be given this training over the next academic year.

Speaking to Melissa Riley, Advice and Response Manager (Safeguarding, Gender-based Violence and Hate Crime), she told us that consent education is a “lifelong ongoing practice which

we all need to remind ourselves of.”

Spencer Davies, Head of Advice and Response, added that it is important to give “as many opportunities as possible” to complete consent education in order to prevent such events from unfolding.

Nonetheless, Melissa admits that “it’s not a one size fits all approach.” Changes have already begun to be made, with two hour theatre workshops given specifically to members of sports teams following incidents of sexual assault.

Melissa and Spencer told The Mancunion that a student-facing website, specifically for Report and Support, is in the final stages of development. Access to the Report and Support incident portal can currently be found on the Student Support website.

They were eager to tell us that there has been “no pushback from any area of the university” in their joint desire to reform the tackling of preventative and educational measures around consent training and the combatting of sexual violence. Their department enjoys hearing from students about how such educational measures can be improved, saying that they are “very lucky to work with students.”

Following a Freedom of Information request, it appears that like the consent module, students are not sufficiently familiar with these services. Given the number of students at the University, only 182 cases were reported in the last two academic years, a statistic that doesn’t

presenting an overall more suitable strategy. Loughborough University champions the “Don’t be a Dick” campaign where every student has to complete the consent module prior to purchasing tickets to any events organised by the Students’ Union. They would thus be prohibited from any freshers week activities without first receiving a reminder of the complexities that coercion or nuance can pose. Freshers week is a particularly appropriate time for the reintroduction of this education given the considerable rise of sexual interactions during this period.

The university alternatively could adopt a similar approach to consent education as many other universities, by using a scheme called “Consent Matters.” Used by universities across the UK, including Manchester Metropolitan University, the scheme is an online, interactive consent programme. An explanation of the scheme on the University of Oxford’s website reads: “The programme offers initial training helping to build understanding of consent, respect, boundaries and positive intervention. Talking about sex can be difficult, and through the completion of the programme we hope students will learn how to recognise and ask for sexual consent, look out for others at the University, and find support if it’s needed.”

Whilst promised action from the University of Manchester is certainly a welcome step in the right direction, the need for mandatory consent education is apparent. Multiple UK universities have adopted such schemes, and given the devastating effects sexual assault can have on people’s physical and mental health, it is crucial that consent education, alongside key services such as Advice and Response are available to all students.

It is not plausible that something as oversimplified as the Tea video or as withdrawn as a Zoom call is sufficient education for something that has the ability to dismantle people’s lives. It inspires hope that the development of a new consent module is taking place. Given the logistical challenges of creating such a change, we can only hope for the mandatory integration of this module in the near future.

offence cases to people aged between 18-25 have been reported to Greater Manchester Police. It is a commendable system of support that is owed more exposure, both for a recognition of its work but also for the benefit of the student community.

Other universities have provided services that mirror the severity of the situation,

If you have been affected by any of issues raised in this article you can find support here:

Greater Manchester Rape Crisis : 0161 273 4500

University of Manchester Report and Support: www. reportandsupport.manchester. ac.uk

St Mary’s Centre: 0161 276 6515

As Reclaim the Night comes into students’ focus, The Mancunion investigates the limited consent education offered to students and the current improvements being made

Jacob Robinson & Ella Green Investigations Writer

In Conversation with Sacha Lord

video.

Libby Elliott Investigations Editor

TRIGGER WARNING: This article contains references to spiking.

I first became aware of who Sacha Lord was over Twitter. My curiosity was struck when I noticed he would tweet out updates of high-potency MDMA pills, with pictures attached. A further dive into his social media evidenced that he’s not afraid to call out outdated approaches and encourage common sense practices not only to drug policy but across the board.

Sacha Lord is the Night-time Economy Adviser for Greater Manchester and the co-founder of Parklife Festival and The Warehouse Project, also sometimes referred to as the Night Czar, or even Night Mayor. Although these are nicknames Sacha himself isn’t fond of as he jokes, “I am a nightmare to some people but [Night Mayor] just didn’t flow”.

Immediately, Sacha is a laugh, telling us about a recent interview at Freight Island where he had to read out troll tweets he’d been sent. As a first interview of mine, I was relaxed by how very conversational Sacha was from the get-go.

Having started off at the infamous Haçienda, next year Sacha will have been promoting events in Manchester for 30 years. He spoke of how he has “done everything that I see other people do now, whether it’s handing out fliers or putting up posters or running nights… I’ve gone through that and have the experience to help people.”

Sacha largely attributes his current advisor role to Andy Burnham, Mayor of Greater Manchester. Sacha asserts that, “I’ve seen so many things that have been done wrong throughout the years” in the city’s nightlife. It was thanks to this lived experience that, in 2018, the Mayor was keen to work together and created this advisory role for the combined authority.

Expanding on what has needed to improve over the years in terms of the city’s nightlife, Sacha explained, “[that’s] why we’re having a discussion regarding Reclaim the Night.”

Spiking and Reclaim the Night

We began the discussion with a focus on last October’s nationwide club boycotts. Sacha attributed to mainstream media attention on the conversation largely to, “girls and women of Manchester University… on a Wednesday boycotting nightclubs.”

Sacha detailed that for the first time in his lifetime, last year “the conversation was finally put at the top of the agenda”. With

BBC, Sky and ITV covering these protests against spiking, including a march led by students and Exec Officers here in Manchester, Sacha explained how he was relieved to see the long overdue coverage that’s so vital to increasing awareness.

Sacha says he does feel like the support in place for those to speak up has shifted slightly, but “it’s certainly nowhere near where it needs to be”.

Circling back to the height of spiking coverage last November, a common feeling amongst students is that this moment in the spotlight was something of a trend. I ask Sacha if he feels this moment of virality has caused the conversation to lose momentum since.

a St John’s Ambulance presence on the high streets. People who go out are able to charge their phone, grab a cup of tea if they’re anxious, hang out while they look for lost friends, or have a safe space after instances of spiking.

Sacha explained that these are being “dotted across Manchester, and are something we’re going to start to roll out again.” Particularly given there are fewer police and NHS staff, a safer high street throughout the city presence could keep the conversation going.

He expressed admiration for the movement: “For many years people have spoken about [spiking], typed about it, posted about it, but your generation did something about it”. Hence, why he states “it’s so key next week that those same people take to the streets” at Reclaim the Night on November 30.

Sacha seemed conscious of how it might seem “patronizing” for him “as a 50-year-old male” to speak on these topics relating to gender-based violence and emphasised the importance of men such as himself calling out their peers. He has generously offered to donate £10k financial contribution to the Students’ Union’s Reclaim the Night campaign.

Although he admits he isn’t personally aware of which charities the campaign is supporting this year, he explains that he is in a position to make a financial contribution but feels he is in no position to dictate where our execs decide to donate the money.

This donation will be directed towards Manchester Rape Crisis and Galop.

I then asked Sacha about what his work does to tackle to main campaign aim of this year’s Reclaim, which is encouraging a ‘Speak Up’ culture. He explained why he thinks Manchester is taking a slightly different approach to other cities. He and Burnham were keen to use drink spiking caps as a temporary measure but wanted to engage in more active long-term work to call out men and boys.

Sacha detailed a video, released by the combined authority 11 months ago, called #IsThisOk? With 12 million views, the video shows women being catcalled, touched and harassed whilst going about their day in typical settings. Sacha described how this campaign video, “shone a light on these big issues.” Whether it’s a park, a bus stop or a nightclub, Sacha asserted that men and boys need to take more accountability for their complicity and acknowledge “we are the issue”

Other cities have followed suit, with the London Mayor launching a similar Have A Word campaign

“Look we all know how media works and it sometimes feels like they’re jumping from hot topic to hot topic. Yes, I think at the time it was all over the media and I think in other cities conversation has moved on.” However, Sacha believes that Manchester, Bristol and Nottingham are still keeping up the momentum.

The Warehouse Project was, in fact, the first nightclub in the UK to work with paramedics and buy spiking test kits. Sacha explains how he saw this as a common sense approach, given the kits only cost £2 each. 28 tests were used out of roughly 140,000 people last Warehouse season, so stocking a small amount in each business is certainly the way forward.

“

We are the issue.”

“If you own a venue that has a capacity of 300/400 people, and you’re not going to spend £20-40 on some kits annually, you don’t deserve a license. You really don’t.”

Sacha detailed that at the end of this year 1/3 of nightclubs will have shut down compared to before the pandemic. He was certain, “your generation are going to start voting with your feet to those places that feel safer.”

In terms of Sacha’s other work to ensure safety on a night out, he’s started introducing Safety Havens. This measure had begun pre-covid in Wigan, not specific to spiking but rather a general safe space, but certainly helps all round. He detailed these measures consist of

I also asked about the Anti-Spiking Partnership with Andy Burnham, which consisted of our Union Officers and students also. Sacha talked about how, “ten years ago there was a real king of us and them… you had the authorities one side and the students and people going out on the other.”

He explained how he’s happy to see more of a partnership going on, asking me personally if I feel there’s more of a partnership between these two forces now, which I largely do. While Sacha does not attend meetings of the Anti-Spiking Partnership anymore, he believes these meetings still go ahead with students and Execs.

I then asked about what measures are in place for students to get home safely from town, particularly given how crucial students are to keeping the industry functioning as workers. Sacha is working closely with UNITE on this, as he accepted “one of our biggest Achilles heels in Greater Manchester is we don’t have great transport at night time.” However, he does hope this will change in 2024.

It’s for this reason that Sacha thinks, “as an operator… you have to be responsible for getting the staff home”. Detailing further how venues must at least let staff wait for taxis inside as a bare minimum.

Harm reduction

The Warehouse Project and Parklife have worked with Mandrake Lab and the Loop respectively. Both provide large-scale drug testing services and a harm

reduction presence at the events. Sacha himself has even tweeted out photos of high-potency MDMA pills in circulation.

“Any operator who has a nighttime venue. If they sit in this chair and say to you, we never have drugs in this venue. Well, they’re either stupid or they’re lying.”

Sacha’s philosophy is that you’re never going to stop drugs from getting into your event. He explained that, particularly given Parklife and Warehouse are held in a field and a disused railway station, “if they can’t stop drugs getting into a category A prison like Strangeways, how are we supposed to stop it. The simple answer is you can’t.”

You need to direct people to the safest way to do it, Sacha says he’s lucky, “in this city the police understand the philosophy”. If something is deemed dangerous by Mandrake, Sacha gets a WhatsApp notification which he then sometimes tweets out. He asserts, “I’m not scared of saying there’s a pink tablet that looks like Donald Trump with extremely high levels”. It might reach a million people across the UK, hence people need to “stop hiding behind talking about it. It’s backwards!”

Politics

Upon asking about if a bid for mayor is pending, a straight no came from Sacha. The question is actually starting to annoy him. He insists, “Andy Burnham’s the best mayor we could possibly have”.

“Because I’m in this position, I owe it to give back to the city. We’re supposed to be a 24-hour party city, I don’t think we are. But I think I can certainly try to make it happen.”

He will be joining students for

The Night-Time Economy Adviser and co-founder of Warehouse Project discusses combating spiking and the Reclaim the Night campaign

“

For many years people have spoken about [spiking], typed about it, posted about it, but your generation did something about it”.

“

Your generation are going to start voting with your feet to those places that feel safer.”

Molly Wilkinson Opinion Writer

TRIGGER WARNING: This piece contains a discussion of sexual

violence

Manchester’s longrunning connection to women’s rights is a large part of what drew me to study here. Manchester is proudly the home of one of the most iconic feminists of all time, Emmeline Pankhurst. Every time I walk past her statue in St Peter’s Square I feel reinvigorated to continue the fight towards a future where women’s bodies and voices are treated respectfully and above all else, safely.

Reclaim the Night, taking place at 6.30 pm on the November 30 2022, represents the ongoing struggle to ensure the end of sexual and gender-based violence. The lead-up, and the march itself, should be a moment of solidarity where we all feel supported and heard. So, why do I feel disheartened when the SU windows start to be adorned with ‘Reclaim’ posters?

Firstly, I would like to explicitly write that I wholeheartedly support the movement and will of course be walking at the march. However, I would be denying my own experience if I failed to acknowledge the knot in my stomach that forms when slogans like “Sex without consent is rape” start to bombard me on the way to lectures on Oxford Road.

This slogan is, of course, targeting perpetrators, but we need to be mindful of the language used when raising awareness for sexual violence and how it could be difficult for survivors. The wording achieves its objective of releasing anger in myself and my peers at the injustice of gender-based violence and sexual assault, but we then feel like there is no outlet. There is not enough information about where to get, or give, support and thus, we are left deflated.

This year’s goals are to raise awareness of sexual violence on campus, build a speak-up culture, and encourage calling it by its name.

Is it time to reclaim ‘Reclaim the Night’?

Thus, the posters will of course be targeting these issues in particular. However, I think that if we are going to discuss these intensely personal and emotive issues then we need to offer guidance on how to utilise the feelings that will be stirred up. I don’t feel like at this point there is anywhere for me to make use of this deep-seated rage, and thus it turns into dejection and leaves me disheartened. I want to propel this annual event and use it to get help to the people who need it, right now.

I particularly want to focus on the language that is used around this time. Some of the language surrounding the march feels aggressive and not necessarily encouraging. Alongside the current posters, we should have

more. I am not in any way berating the work that has already been done through ‘Reclaim’, but I think that we, as a student community, should strive to bring more progress and support than just the walk itself. When I was a fresher, there was a severe increase in spiking and particularly the use of injections. Therefore last year’s Girls Night In felt somewhat apt and supportive. It was a call for women to boycott institutions that were doing nothing to stop the spiking epidemic and also encouraged discussions relating to spiking and violence against women in general. For me, at this point in my life, Reclaim does not offer the same solace.

In March 2022, I did not feel supported by Reclaim and guiltily

have been an optimal time for that kind of support. I wish that I could go back to myself and show her all of the places where she can find people to talk to and places where practical advice could be given. Although for some people ‘Reclaim’ might be the first time they are hearing phrases like “Consent is reversible”, for most it is not. This will be the 46th year of the march and I think it is time to move it forward. The awareness has been raised and now we need practical help for victims and education for all.

I vehemently do not want this article to be read as a criticism of Reclaim. I will be marching with you all and encouraging everybody in my life to do the same. However, I do want to open up a conversation

or at least spread the word on how students can find such resources.

We need to take the agony and anguish and use it to make the future better. To paraphrase Maya Angelou: Do the best you can until you know better and once you know better, do better.

If any part of this article has been difficult for you to read, please get the support that you deserve. Don’t suffer in silence. There are people who can help:

TraffordRapeCrisis.com Brook.org.uk

@Resist Rape Culture on Instagram SafeLine.org.uk

Whenever Reclaim the Night rolls around, I feel conflicted. It’s a vital event, but the language around it and the support which accompanies it sometimes leaves a lot to be desired

Anna Nixon Opinion Writer

Up the creek without a pad

free pads in

Are the new pads in the SU enough to save the stress of a bloody mess? All of us who have experienced the endless joy that is the monthly period are probably all too familiar with looking down with dread at those first bloody spots. Sometimes, this stress can be cleared up with supplies sunk into the corners of book-filled tote bags or a favour from the pocket of a good friend, but this is not always the case. Not all of us can be pre-planned Pamelas, and I, for one, have found myself caught out many a time.

Students’

So what can you do when you are caught in a sitch without a fix?

Well, the new emergency pad dispensers may be just the absorbent ticket.

At the beginning of this academic year, I was pleased to see that the Students’ Union mixedgender toilets had acquired some new decoration. Upon the wall between the sinks hung a glorious white box with tampons and pads for those of us who suffer the monthly bleed. These are provided by the company Grace and Green which partnered with the NHS to bring free period products to University of Manchester students.

On the box, the phrase “it’s about bloody time” is written, and these pads could be just the thing to save you when that stressful time of the month arrives.

As well as this, the placement of pads in a public space, especially one seen by both men and women, is extremely beneficial to the destigmatizing of periods.

Periods are (roughly) a monthly occurrence for around half of the student population and should not be something people feel

embarrassed about or feel the need to hide.

So, the theory is great, but what about the practicality?

“The pads in the SU would not be suitable to hold much more than the bleed of a barbie doll.

As an English Literature student, I am not usually one for maths; however, even I know that a bleeding person plus an absorbent pad should equal problem solved. But there are so many more factors, especially when we consider the differences between people’s periods and the volume we bleed. Whilst some of us produce just enough blood to paint an A4 sheet with a nice shade of red, others could paint a whole room to look like a murder scene. Differing levels of bleeding are completely normal (though if you could fill a whole room, you should probably get this checkout with a GP) and different women need different pads.

And this is where the problem occurs.

Although the pads in the SU may be suitable for some very light bleeders, they would not be suitable to hold much more than the bleed of a barbie doll. In fact, the pads provided in the SU are so thin that you’d probably be better off tearing out a few pages of whichever academic text is boring you the most and stuffing that in your pants instead.

So we are stuck with the same problem. Those with too heavy bleeds to be stopped by a literal panty liner either have to use a tampon (which, again, is fairly small, and some women cannot or do not like wearing them) or go home. This means that the natural bodily functions of half the student population may force them to miss out on education as they have to go home to collect pads instead of attending lectures.

If you are caught out in this situation there are a few places you can go: Milk and Honey café and the engineering building both have pads in the women’s toilets that are more absorbent and

would last you at least a couple of hours. Be careful though; it might take you a while to find toilets that have period products in the engineering building as that place is a maze!

To conclude, the SU now has free pads (yay!) but they wouldn’t hold more than a fly’s wee (boo!). If you are caught out in an emergency, there are places with pads on campus, but pick the right ones as some like the Samuel Alexander Building have nothing. It’s a bit like pad roulette — the loser gets bloody trousers.

So, as much as free pads are a wonderful addition to campus and are acknowledging a far toooverlooked issue, we may have to keep bleeding for justice a little while longer.

The ‘feminist icons’ who have betrayed feminists

Violet Robins Opinion Writer

TRIGGER WARNING: This article contains references to sexual assault.

Adam Levine, Ned Fulmer, Rex Orange County.

Just three names who have been ‘exposed’ within the past month for not treating the women in their lives properly – of course, to varying degrees. But what is so special about these men in particular? Why does their betrayal of the women in their lives hurt women everywhere?

These men have built their careers off the appreciation of women. Their entire celebrity identity is based on the fact that they are not just men, but ‘ultimate feminist icons’ because they outwardly express their adoration for females everywhere.

So, what did each man do?

Maroon 5 frontman Adam Levine went viral in 2013 for blowing kisses to his wife, Behati Prinsloo, while she was walking in the annual Victoria’s Secret runway. This simple video cemented Levine as the ‘perfect husband’, and his relationship with

Prinsloo as ‘couple goals’. With this image in mind - along with the various Maroon 5 songs Levine performed which are dedicated to love and women - it came as a shock when it was revealed that Levine was having an affair on his wife. Particularly because, not even two weeks before, Prinsloo had announced she was expecting the couple’s third child.

Ned Fulmer was a founding member of the internet-famous quartet The Try Guys. A major part of his personality within the group was how much he loved his wife, Ariel. His obsession went so far that The Try Guys’ secondary YouTube account published a compilation of every time Fulmer had mentioned her. Thus, Iit came as a huge shock when it was revealed Fulmer was engaged in a year-long affair with a Try Guys employee – a complicated relationship which is under extreme scrutiny due to the power dynamic of a boss/employee relationship.

The actions of Rex Orange County – also known as Alex O’Connor – may sting for most of us university students, as his bedroom pop sound is popular with young people globally. His songs echo his

adoration for his then-girlfriend, Thea Morgan-Murrell, and how much love affects him – a motif that resonates largely with young women. When O’Connor cancelled the rest of his Who Cares? tour that took place outside of the UK, rumours began to circulate as to what the “unforeseen personal circumstances” to which O’Connor had referred may be. Turns out, it was six charges of sexual assault. Yes, the man who wrote songs about how much he loved women is going to court for alleged sexual assault.

This hurts women everywhere, as modern feminism is not as advanced as we like to make it out to be. We, as women, are still in need of male support in order to be taken seriously or listened to. As patriarchal as that sounds, this is our unfortunate reality.

So, when a male celebrity is doing the bare minimum for feminism, such as offering outward, quite superficial support for women, we have no choice but to cling to them as ‘feminist icons’. We constantly champion them above other men as they are ‘one for the gals’. Consider Harry Styles and Timothée Chalamet – two men

– who women won’t admit that we’re just secretly in a parasocial relationship with – who are called ‘feminist icons’ just for wearing clothing that society has labelled as ‘feminine’. The standards are pretty low for allyship.

The three men at the centre of this discussion, who have been invited into feminist spaces based on bare-minimum actions, are simply detrimental to women. We put so much faith into these men so we can have our voices heard. By doing this, we only set ourselves up for disappointment.

In no way am I blaming feminists, nor women in general. We have no choice but to cling to any man who will be willing to show support for our causes. To blame women for allowing these fake feminists into our spaces is counterproductive.

It is the men that must take responsibility for the actions of these fake feminists. Men must become more hyper-aware of how their actions, even if comparably less severe than Adam Levine sending suggestive text messages, will affect women everywhere.

When a man cheats on their girlfriend, it is almost instinctual

for the girlfriend – and society – to blame the mistress for the relationship. Not the man who initiated the affair. This victim blaming extends to severe cases such as Rex Orange County, wherein sections of what little fanbase he has left are resorting to the same old phrase that is all too common in cases of sexual assault; let’s just wait for the evidence to come out before “jumping to conclusions”. This smacks of fans desperately trying to absolve their ‘fave’ out of wrongdoing through nit-picking at the testimony.

Women are always going to get the blame for these men’s actions.

“Why did she sleep with a married man?”

“Why didn’t she say no?”

“What was she wearing?”

“Why did feminists give these men platforms?”

This is why the actions of Ned Fulmer, Adam Levine, and Rex Orange County ultimately hurt every women and the feminist movement they initially helped. We need to combat victim blaming within the feminist movement –which is largely committed by the men who we allow to be open allies for our movement.

Are the

the

Union toilets enough to save you when shark week arrives?

Adam Levine, Ned Fulmer, Rex Orange County: What did these three men do to betray feminism and how can we prevent this from occurring again?

The politician, the media, and her wardrobe

Talulah Kelly Opinion Writer

The accelerated downfall of Liz Truss’ career as PM brought about a multitude of satirical headlines. In the weeks after her resignation, hundreds of compilations flooded the internet placing her in a spotlight of ridicule. These ranged from her infamous ‘cheese speech’, to revelations about her bizarre obsession with Instagram, garnering her the nickname of “Instagram Queen”.

Whilst these headlines are perhaps entertaining on the surface, to me it seems that she was portrayed as an incompetent woman before an incompetent leader. No matter what end of the political spectrum you stand on, I think that there is an intersectional aspect of politics that must be acknowledged.

This gendered narrative that permeates the tabloids and Westminster governs the everyday behaviours of women. Even in this fairly progressive modern age, women still face an uphill battle to be taken seriously within the political profession. This has become ever more apparent to me as I looked at the consistency of this phenomenon throughout history.

“

Of the 650 MPs, only 35% are women

The first elected female MP to take her seat was Nancy Astor in 1919, a Conservative MP for Plymouth. And after another 6 decades passed the UK saw its first female Prime Minister, the infamous Margaret Thatcher. Since then, we have seen May and Truss take up the role of PM. Despite a female leader slowly becoming a regularity in the boys’ club that is UK politics, representation in the Commons is still lagging.

Of the 650 MPs in the House of Commons, only 35%

are women; although this is an alltime high, it still contrasts starkly with the fact that women make up over half the population.

The depiction of female politicians in the media is unfortunately deeply gendered. The media constantly reinforces female representations using

Conservatives nicknaming her ‘Mummy May’, Theresa May was seen as possessing stereotypically feminine attributes. This was characterised by her softspoken nature and style choices, such as her kitten heels which were noted frequently in headlines and satirical cartoons.

nonsense figure in the view of the public and the press.

These were associated with a rejection of stereotypically feminine characteristics. Unlike May, Thatcher was often parodied as a male figure, enforcing the concept of imposter syndrome.

this institutionalised sexism, was Glen Owens’ article for The Mail on Sunday on Shadow Chancellor Angela Raynor. The berating piece claimed that several Tory MPs had anonymously accused her of crossing and uncrossing her legs in a provocative manner. They claimed this was an attempt to distract then Prime Minister Boris Johnson from speaking, comparing her to Sharon Stone in Basic Instinct, the 1992 erotic thriller.

The article received over 5000 IPSO complaints and garnered a mass response from the public, and several political officials such as Harriet Harman and Boris Johnson himself. This raised concerns that not only is the misogyny and sexism towards women in politics permeating the media, but that it begins in Westminster.

sexist stereotypes, norms, and assumptions. For women in politics, their gender is always emphasised. Whether they adhere to characteristics usually assumed to be male, in which they are perceived as cold, aggressive, and bossy, or when reverting to commonly feminine preconceptions where they are seen as weak and overly emotional, the way they conform to gendered stereotypes is seen either as a

This contrasts greatly with Thatcher’s infamous nickname ‘The Iron Lady’, coined by a Soviet journalist in 1976. Comparing the UK’s most popular broadsheets, May’s appearance was mentioned twice as often as Thatcher’s, illustrating the extent to which her gender was used to undermine her authority.

Thatcher’s market-centred, neoliberal, and individualistic ideology that constructed much

The media embodied this, with a headline from the Daily Express exclaiming “Maggie is the Man”, as well as her Spitting Image puppet depicting her in a suit with a cigar dangling from her mouth. These helped to create an image that women in power are a comical paradox, and that their gender should be the focal point over their political ability.

I lament in saying this, but a gendered narrative for women in politics is still an expected obstacle in the media. However, a series of reports from a collection of female MPs asserts that this misogyny is not absent in the Commons either, with more than 50 MPs suspected to face complaints of sexual misconduct reported to the parliamentary watchdog. To me, this confirms that this narrative is embedded within the institution.

“The evidence I’ve provided calls for a cultural reform of not only the way that we portray and treat women in politics and the media, but that accountability within the professional setting of Parliament is required. Although it should not take this, the public address from several female MPs gives me hope that this decadeslong narrative of degradation, misogyny, and sexism will no longer go unnoticed

Despite the UK being on its third female Prime Minister the media and Westminster still put gender before policy when critiquing female MPs

and

I am in solidarity with Harriet Harman, the first Mother of the House, in saying “the age of male misogyny in the House of Commons is going to end … there’s going to be no hiding place.”

Still Parents: Breaking the taboo around miscarriage

Review of the ‘Still Parents’ exhibition at the Whitworth Gallery and discussions around women’s reproductive health care.

GabrielaBergmann-Chornik Features Writer

StillParents is an awardwinning exhibition by Lucy Turner. It deals with the issue of child loss through miscarriage, stillbirth, and neonatal death. One in four women have experienced miscarriage and there are an estimated 250,000 losses every year. Turner was inspired to undertake the project after her own experience of losing her daughter in 2016, and was moved to make a creative space in which to help other women and raise awareness, given the lack of available support of this kind. ‘Still Parents’ is the first exhibition of its kind.

The exhibition is partnered with the Stillbirth and Neo-Natal Death Charity (Sands). They work to raise awareness and improve medical care through research and collaboration with governmental organisations. Sands also works with the NHS St Mary’s Hospital bereavement counselling service. According to Turner, the counselling service has suggested that women visit the Still Parents exhibition to “decounsel” and “come down” after a counselling session.

The topic of miscarriage is expressed through art as an avenue to represent the different experiences of baby loss. It allows the viewer to interpret the exhibition as is personally suited to them. The exhibition’s collection is a combination of artists’ and participants’ work.

In addition to combining works, Still Parents runs creative workshops to help with the

bereavement process and provide a community of support and open dialogue. One session, for example, involved drawing photographs of the baby, a scan or simply an associated image, such as a pair of shoes.

Turner described this as “they’re making things for their baby, they’re making things about their baby.” One participant detailed their experience, stating “we laugh, we cry, we come together, and make art.”

When visiting the exhibition, there is a palpable sense of im portance - as well as respect, care, and beauty - in how the topic is presented. This is especially shown through the Memory Wall which dis plays almost 300 names. In turn, the exhibition opens a dialogue about women’s reproduc tive health and rights. Discussions around mis carriage have been insufficient and resources to deal with the issue lacking.

The NHS Women’s Health Ambassador, Professor Dame Lesley Regan, admitted that miscarriage “remains a taboo subject, rarely discussed due to embarrassment, distress, and even shame.”

Miscarriage is underresearched and underfunded. In the 2022 Women’s Health Strategy for England Policy Paper, a survey on the Education and training for health and care professionals showed that miscarriage was one of the four areas that respondents felt particularly required better education on its condition and treatment options, along with infertility, the menopause, and Hormone Replacement Therapy (HRT).

There is a significant lack of research around the causes of miscarriage - in general terms, we know that chromosomal issues, infections and blood clotting, for example, can contribute to miscarriage. However, on an individual level, it is very difficult to identify the specific factor actually responsible.

Given that several of these can be remedied, such as through taking hormone supplements or lifestyle changes, this failure to identify has led to greater losses than may be the case. In response, Professor Quenby of University Hospital Coventry suggested a system of profiling, whereby the woman’s medical background is recorded in detail, in order to match her with the appropriate help where she may be at risk of miscarriage. However, such a

in the US, as reported by The National Advocates for Pregnant Women (NAPW), an organisation providing free legal help on matters of pregnancy.

With the banning of abortions in several US states since the overturning of Roe vs Wade earlier this year, will this number increase given the added grounds for prosecution?

A large proportion of cases in the NAPW study findings involved women of colour. Similarly, the prevalence of race can be seen in the UK and elsewhere. A BBC Miscarriage: The Search for Answers, reported that black women were being dismissed after expressing concerns about their pregnancy, denying them the necessary care, and consequently leading to miscarriage.

noted that they may not necessarily be causal. However, the substantial evidence supporting the prevalence of institutional racism in medical care indicates that this is a contributor.

The economic resources available in a country are decisive in the handling of miscarriage. For example, the World Health Organization reported that 84% of stillbirths occur in low and lower-middle-income countries, and that, if low-income counties were to have a 10% increase in the care provided by midwives, their stillbirth rates could reduce by a quarter.

system is still yet to be implemented.

Societal and cultural conditions significantly determine the experience of miscarriage, in particular the laws and practices of the given country. In countries where abortion is banned, such as El Salvador, miscarriages have led to criminal investigations and prosecution claims under the guise that the mother has in fact had an abortion. One woman who, after seeking medical help at a hospital following her miscarriage, was sentenced to 30 years for homicide.

Similarly, in the US, investigations have occurred following miscarriages that occurred as a result of accidents or substance use. For example, a Native American woman was charged with manslaughter after miscarrying. This was one of 1200 cases recorded over the last 15 years

Dr Christine Ekechi, Spokesperson for Racial Equality Royal College of Obstetricians and Gynaecologists, expressed how “black women never feel heard in this space.” Such may be considered with the results of a study by The Lancet, analysing 4.6 million pregnancies in seven countries, finding that miscarriage is 43% higher in black women than white. Although there is a clear association between being black and higher miscarriage rates, it must be

In the UK, the level of care and financial capacity is undoubtedly very good in comparison to much of the world. Yet the question still remains whether this is enough? The Lancet reported that miscarriage costs the NHS at least £471 million each year. However, this only accounts for the short-term, immediate effects. Alternatively, a University of Birmingham article suggested that the figure was closer to £1 billion annually, when factoring in the long-term effects such as mental health complications of PTSD. Given the shortcomings in the medical system outlined in this article, it is clear that there is much improvement to be done. In order to tackle this, the NHS announced a £127 million funding boost on maternity care in 2022 to tackle some of these areas. The impact of this revitalization is to be proven through evidence of changes in the upcoming time.

Still Parents is on until December 22 2022 at Whitworth Art Gallery.

Thursday: The new Friday?

Matilda Child Lifestyle Writer

I ’m really not a dating app kind of girl. Not (I hope!) in an obnoxious superiority complex way. Not even because I’m holding on to dwindling childhood fantasies of a meet-cute, secretly longing for a whirlwind romance with a rugged stranger. Okay, maybe still nursing that dream slightly. But realistically, I’m not a good texter (3-minute or 3-week replies), I hate the talking stage, and un-ironic flirting makes me nauseous. Not exactly Tinder’s target market.

So when I initially heard about the hottest new dating app, Thursday, I was characteristically uninterested. Until that is I had it explained to me…

The premise of Thursday is to bridge the gap between online dating and offline experience. Here’s a neat little summary of what exactly that means:

It only works on…yes, you guessed it – Thursday! All you have to do is flick the toggle, and just like that your profile becomes active “for one night, and one night only.” Goodbye eternal pinning and compulsively checking your phone. Get on with life 86% of the time and commit to one concentrated day of dating. Fantastic.

Matching

The app retains some elements of its more conventional counterparts namely in that you create your own profile/glorified match attax card. However, you’re limited to 12 matches every week and all conversations and

connections are wiped once the bell tolls midnight.

The exciting bit – date night! Each week a new location is released and you buy tickets on the app. It’s just like a normal night out, except that everyone in there is single and overtly aware of it.

As I’d like to think I’m #BetterInPerson (the app’s tagline, not mine), I grabbed one of my sexy single friends - who happens to be much more competent when it comes to both dating and dating apps than I am. After sharing some of Sainsbury’s finest Sauvignon Blanc we headed on over to the appointed bar, Spinningfields’s The Alchemist, to try our luck with love.

The Event

You’ve all been to bars before. You know the drill. As much as the English Literature student inside me would delight in detailing a full description of the night I’ll cut straight to it.

The turnout was impressive. It was no Friendship on a Sunday night but the bar was happily populated. Within moments of walking in my friend and I found ourselves sat and squared away with two men who, like us, had come together. After eventually disentangling ourselves from them we were in conversation with another group in under a minute. However, surprisingly no part of the event felt like the hectic, scrambling frenzy I imagine organised speed-dating to be. Unlike one friend who cautioned me it was neither a “sausage party” nor “fish market” (direct quote, I’m so sorry), and it didn’t feel like there was an onus or expectation

on men to make the first move. Honestly, it really did just feel like I’d gone out for drinks with my mate.

Other Observations

It’s very straight. I’m not exactly Zoella, Pumpkin Spice Latte, Adidas Superstars looking, but if I’m being told I’m one of the most alternative-looking people in there. I don’t think we’re in Gay Village anymore. Both from pursuing profiles on the app and the conversations I had with other singletons it was pretty evident that most people there were on the hunt for a heterosexual relationship.

the depths of Fallowfield it can be pretty easy to forget about anyone and everyone outside of the 1825 focus group. While there were a few standard student types it was primarily populated by ‘young professionals’. From a completely cursory, aesthetic glance I reckon the average age range was about 23-32, with a sweet spot at 26.

Thursday is really onto something. Thurs day has independ ent bouncers/ticket checkers on the door who seemed friend ly and profession al. The bartenders were particu larly charming and they oper ated the ‘Ask For Angela’ practice. Although

I was with a friend, I genuinely would have felt comfortable entering, leaving and existing there on my own. Thursday really does address the understandable anxieties that can surround the choice to move online to in-person. If you normally feel hesitant about meeting up with an online match it offers you a safe, central, neutral environment. Also I imagine the novelty of the situation makes for a pretty good conversation starter.

It forces genuine engagement. If you’re not interested in someone you can’t simply swipe left or resort to the faithful, “Sorry! I have a girl/boyfriend”, line. Yes, occasion -

Takeaways

Unfortunately, this didn’t include the bartender.

So, did I find the man of my dreams? Absolutely not. Was I really looking for him? Nahhh. Overall however I think Thursday has a lot to offer.

If you’re more mature than me (not hard) and looking for something a bit more serious then I would heartily recommend it. All the conversations I had were amicable, entertaining and engaging. Everyone that approached us was polite and respectful. The lucky few whom I did deign with my number all texted to make sure I got home safe and continued conversations the following days. They seemed genuinely interested in pursuing something serious (ew!).

Even if you’re not after a longterm lover I still think it’s worth a shot. Provided you don’t have a 9am on Friday it’s a worthwhile experience. Grab a friend or fly solo - you’ll meet a new crowd of people and trust me, your ego will experience a tremendous boost thanks to all the attention.

So whether you’re disillusioned with the commodification and cheapening of romance, hunting for someone to cuff now that the Christmas market season is well and truly upon as, or just looking for a laugh and a good anecdote… get downloading and starting making Thursday sexy.

Women in Media returns, kick-starting with fundraiser at Fallowfield’s Handlebar

Erin Osman Lifestyle Editor

This academic year’s Women in Media Conference (WIM) is running from April 22 to 23, and promises to be a jam-packed weekend of inspiring live interviews, networking, and workshops. Born and bred in Manchester, and founded by students of the University in 2016, this is now the conference’s eighth consecutive year.

WIM is a conference which celebrates the voices of women and non-binary people across the media,

from photographers and journalists, to filmmakers and podcasters. As it has always been in the past, this year’s conference is sure to be a truly inspiring weekend, with networking opportunities available for students hoping to get a foot in the industry.

Generally, I noticed a lack of opportunities for networking and events available for students wanting to work in the media. When comparing this to other subjects, such as law, business, and the sciences, there are huge discrepancies in terms of accessibility and general opportunity. This year’s conference in particular hopes to address this discrepancy, expanding opportunities to those who might not otherwise have them.

This year’s conference is sponsoring two incredible charities working to support women in the city: Manchester Action for Street Health (MASH) and Smart Works Greater Manchester. MASH helps women working in the sex industry to have better access to good health, safety, and emotional well-being. They provide drop-in health clinics as well as personal case workers who help women set up bank accounts, report crimes, attend appointments, apply for courses, and fill out forms.

Smart Works also does fantastic work, helping women across Greater Manchester secure employment and write their CVshelping to change the trajectories of their lives. The conference will also be collecting for

UoM’s Once a Month, a studentled project which aims to reduce period poverty in Manchester. We are so proud to be fundraising for these incredible charities and are hoping to raise as much money as we can towards their causes.

a vamped-up pres. Whatever you decide, we can’t wait to see you all there!

If you want to keep up to date with WIM and receive the link to buy tickets to our fundraiser, check out the Instagram

Thursday is a dating app which promises something other than your usual, tired, never-actually-go-on-date, dating app. Instead, its creating a much needed safe space for dating

Back for its eighth consecutive year in Manchester, this years Women in Media conference is sponsoring charities MASH and Smart Works

Empowerment through language: Stop putting yourself down

Annabel Benton Lifestyle Editor

L anguage is the means through which we communicate, and is therefore a central part of human existence. How we talk, how we thinkeverything comes back to the words we use. Needless to say, the power of language over the interactions we have with both other people and ourselves is huge.

To begin, let’s talk business. Language in the professional world has often been studied, with many articles on LinkedIn about how to attract the achievements you want or stop putting yourself down through language.

Many of these articles talk about internal conversations we have which minimise our confidence, yet the way we speak to others is also a component of feeling empowered professionally. Avoiding excessive exclamations and emojis in professional contexts will help you to avoid undermining yourself, while being firm with your requirements from others will avoid co-workers undermining you.

Using more positive language professionally can be an internal endeavour, however, such as in the act of goal writing. In writing down a list of things which we wish to achieve using positive language, we set intentions for ourselves: try using phrases such as ‘I will’, ‘I am going to’, or ‘I want to’. This allows us to make it clear to

goals to others in an assured manner.

This is also relevant to imposter syndrome, a common phrase in the business world which can be just as relevant to education or friendships. How many times have you found yourself sitting in a seminar and thinking that everyone knows more than you do? Or thought that a new friend can’t possibly like you as they’re far too cool?

The cycles of doubt that we trap ourselves in due to imposter syndrome can be incredibly damaging to both confidence and achievements, as we stop ourselves from doing something before we’ve even begun, as we already believe that the outcome will be a failure. Ask yourself why it is that you’re afraid to fail, or why you don’t feel good enough, then try to flip the language with which you’re addressing yourself. Words which might help include ‘I belong’, ‘I deserve to be here’, or even simply saying ‘yes’ to opportunities which you come across.

One word which should be avoided for a more confident demeanour is ‘just’. ‘Just’, in the same ‘hedger’ category as ‘kind of’ and ‘sort of’, makes us appear unsure and minimises our requests or endeavours. As ‘just’ is a qualifier, you can grammatically get rid of it without consequence - be clearer, more confident, and more active with your voice. Once we stop using ‘just’ when communicating with others, we eliminate a sense of lacking of motivation or clarity, and will hopefully find that the rest of our language becomes

Similar low-confidence language to avoid includes ‘basically’ and ‘I was wondering’, both phrases dilute your point and make you seem tentative. ‘Wondering’ can be switched out for a more active verb, while ‘basically’ can be gotten rid of altogether: remind yourself that there’s nothing basic about yourself,

your thoughts and, in turn, how you express these things through language.

The move towards being more confident, clear and active through language is also extremely relevant to our personal lives, where we equally deserve to give ourselves the best chance at self-confidence and belief.

“Ask yourself why it is that you’re afraid to fail, or why you don’t feel good enough, then try to flip the language with which you’re addressing yourself.

The personal power of language can be as simple as reframing things in our minds. Using positive mental language when approaching a task is a great way of seeing the good in something, such as by identifying the lessons you’ve learnt from a situation which didn’t go as planned, or by thinking of things with a growth mindset rather than in the language of ‘I can’t’. There is also evidence that rephrasing our thoughts with less extreme language is a good way of reappraising a situation, as a way to manage stress and be mindful of the language in which we’re thinking.

The ways in which we channel language in our daily lives can also improve how we see the world, come to terms with events, and process our emotions. For example, journaling has long been seen as a brilliant way to be more mindful and reduce stress. Using a daily journal to note down what we’re grateful for is another way to reframe small daily occurrences with positive language.

In addition, manifestation has recently gained traction as a method of attracting success. The practice stems from the ancient principle of the Law of Attraction and involves setting your vision and intentions into the universe.

Language is a key component of manifestation, as you work to clarify exactly what it is that you desire through positive words, and bring about these wishes through affirmations.

Affirmation, in turn, is ‘an assertion, declaration, or positive statement’ (Oxford English Dictionary), and involves either speaking or writing positive words in order to improve your selfconfidence. Popular affirmations include ‘I am strong’, ‘I deserve happiness’, and ‘I love myself for who I am’. Language is the first step to setting our intentions and emotions into the world, and by using such positive affirmations we can attract a more positive, confident, and self-assured approach into our lives.

Empowering ourselves through language, whether professional or personal, is particularly relevant in the modern world we live in. There is more research and focus

burnout.

It can be especially easy in the digital age to fall into a trap of self-comparison: a quick scroll on TikTok or Twitter will yield a fair few examples of people showing their highlight reels of achievements. It’s therefore important to practice kindness and self-care in the language we use, not just self-confidence. Through whichever means you’re aiming to change your language habits, make sure to work in self-love: you are good enough, and you are exactly where you’re meant to be.

Whether it’s starting a gratitude diary, speaking to a colleague with more confidence, or researching the best methods of manifestation, it’s important to take a moment to reflect on the ways in which you can use language in a more positive way. We undersell ourselves to others and in our own minds so often: it’s time to be confident and feel empowered through all the

Unpacking how the language we use to address ourselves and others has the power to change our outlook from self-doubt to self-confidence

Can we dance ourselves happier and healthier? The Language of Time

Charlie Wild Science Writer

Fleur Cartwright Science Writer

U ndeniably, some funky shapes have been thrown on the dance floors of Manchester’s vibrant night scene. The Hacienda and the clubs of Canal Street have given Manchester its iconic nightlife reputation. Many of us students have spent the night busting our best moves only to later realise we spent the night dad dancing instead of the smooth grooving we intended. But research suggests dance is incredibly good for our emotional and physical wellbeing. So we should probably learn to embrace this form of selfexpression and value the venues that accommodate our disco disasters.

What is dance therapy?

Dance therapy is the treatment of disease using dance and psychology. It is used as an addon therapy to treat neurological disorders such as dementia, depression, and Parkinson’s disease. In the case of Parkinson’s disease (which is characterised by reduced mobility and poor balance), a ten-week tango programme was shown to improve

one’s emotions. This can create a more cohesive relationship between patients and their carers, as the patient is better able to communicate their symptoms.

better spent in the library. Well, fear not because GPs are prescribing physical social activities to improve patient well-being. This new form of medicine is referred to as social

Examples include gardening, bingo, and dance classes. In one case, preschool students were prescribed weekly dance classes. Dancing was found to improve the children’s social skills, behaviour, and academic success.

magine placing these famous people in chronological order of birthdate: Taylor Swift, Henry VIII and Marilyn Monroe. How did you picture it? Was it on a line from left to right, right to left, vertically or not on a line at all? Your answer most likely depends on the languages you speak!

A fascinating area of cognitive science is dedicated to studying how language affects the way you think about the fourth dimension of the universe: time.

difficult to visualise, so other phrases which are easier to understand are therefore applied to durations of time. In English, Swedish, and many other languages, durations of time are given in length units for example; a ‘long’ or ‘short’ time. In contrast, in Spanish, they are assigned volumes with ‘big’ or ‘small’ time.

balance, mood and general wellbeing.

The power of music and movement

As we all know, the dance floor only empties when the music stops. Likewise, an essential component of dance therapy is music. Music stimulates neural connections in the brain, inducing the release of dopamine. This happy chemical can radically improve our mood.

However, music in isolation is simply not enough. Music must be coupled with movement to have a full healing effect. In our increasingly individualistic world, isolated passive activities are on the up. For example, listening to music via headphones or watching Netflix alone.

Dance therapy provides a social environment to enjoy music. Moving in time with others and mirroring actions activates new cortical patterns, instead of following the ones damaged by neurodegenerative diseases. In addition, letting loose and improvising are shown to improve self-expression and awareness of

An anti-ageing remedy?

The UK’s ageing population means new methods are needed to improve the quality of life of a demographic vulnerable to loneliness and health complica tions. Where tradi tional medicine has failed, dancing has waltzed onto the stage. In 2013 the RAD (Royal Acade my of Dance) report ed that dance is the best form of exercise to prevent the deterioration of the brain and slow down ageing.

Dance requires spatial awareness with a partner and/or your surroundings. Movement in combination with music stimulates the cerebellum, the section of your brain responsible for balance and spatial awareness. Stimulating the brain creates new synapse connections, protecting against the progression of destructive brain diseases like Alzheimer’s.

The report by the RAD found that elderly people who participated in a dance class were 37% less likely to have a fall. This is because dancing improves balance and coordination and increases reaction time. One-third of adults over the age of 65 fall once a year and many of these falls require hospitalisation. Therefore, it could be said that dance therapy has the potential to ease the pressure on the NHS from the ageing population.

Unfortunately, when the budget tightens, the arts are often the first to be slashed by the government. As a result, dance therapy classes are becoming increasingly inaccessible.

“In the case of Parkinson’s disease, a ten week tango programme to was shown to improve balance mood and general wellbeing.

It’s good for the young too

Maybe you’ve danced the night away only to wake up the next morning (or afternoon) thinking that the time could have been

In another case, a group of depressed adolescents were prescribed improvisational dance classes. Immediately following classes their serotonin (the ‘feel good’ chemical) levels rocketed.

In the long term, they showed a sustained decrease in depressive symptoms.

Sometimes all it takes to feel better is the space and permission to get a bit silly on the dance floor. Long gone are the days spent feeling guilty about dancing the night away. The value and future of nightlife culture

The scientific benefits of dance highlight the need for nightlife venues in our formative years. Youth require these spaces to bond with friends and discover the ability of movement and music to alter our mood.

When dance floors emptied during the pandemic, young people lost their spaces for self-expression. ‘We’ve Lost Dancing’ – a track made in response to the pandemic by the British producer Fred Again captured the loss of connection experienced. Not only did we lose dancing, but all the mental and physical benefits that come with it.

The pandemic allowed us to pause and realise the social value of nightlife venues and the need to make them inclusive safe spaces. However in the wake of the pandemic and current austerity the nightlife industry is suffering with 14 venues closing every month.

In response to soaring energy prices and lack of governmental support, one club in Glasgow turned to innovative technology that uses dancers’ body heat to warm the building. Venues are being forced to get creative or close.

Continuing research into the ability of dance to treat disorders and improve well-being should force the government to accept the value of nightlife culture and dig a little deeper into their pockets. Research shows that dance can make us happier and healthier individuals. For many, this is reason enough to embrace getting down at the disco.

It’s about time

Time is inherently difficult for the human brain to comprehend. Great scientists, such as Einstein and Lorentz, dedicated much of their work throughout the 20th century to understating the fourth dimension of our world. Laid out in Einstein’s infamous papers comes the destruction of the universality of time. Time is key to investigating the nature of the universe, and is not as simple as it seems at first glance

Even the basic concept of time having some inherent direction is difficult for our brains to process. Unlike dimensions of space, which are multi-directional (left and right, forward and backward, and up and down), we can only move forward in time. We can also only see the past, with the future remaining invisible to us.

It makes sense that throughout the evolution of language, humans have coined metaphors that link time events to spatial events to help us feel more comfortable with picturing time. These metaphors, limited by the language you speak, have been shown to have a profound effect on the way you picture time. Is the future in front, behind, or below us?

One of the critical aspects of the linguistics of time is the ordering of events. Cognitive scientist Lera Boroditsky showed that English speakers typically picture time evolving horizontally from left to right. This is probably due to English being read from left to right, therefore building a link between the ‘unread future’ lying to the right, and the ‘read past’ to the left.

Boroditsky extended this to other languages and found that Hebrew speakers, who read their language from right to left, typically order events on a timeline from right to left. Mandarin speakers follow the way ancient Chinese texts were read, placing events on a vertical timeline from top to bottom.

Metaphors for time in Mandarin follow suit, with the word ‘xia’, used to mean ‘next’, translating literally as ‘down’.

Timelines or time volumes?

Time intervals are often

Panos Athanasopoulos, a linguist at Lancaster University in the UK, investigated how these language differences affect the way time is perceived to be passing. He conducted a study with a group of Swedish speakers and a group of Spanish speakers, showing them a video in which there was either a line of growing length or a container filling up with fluid. Participants were then asked to estimate the time duration of the video.

Athanasopoulos found that Swedish people’s estimations were mostly determined by how much the line had grown, whereas Spanish speakers focused on the volume filled. This is consistent with their respective linguistic associations of time with length, and time with volume.

The experiment was repeated with bilingual Swedish and Spanish speakers. It was found that when the Spanish word for a period of time, ‘duracion’ was flashed on the screen, the results were the same as those for Spanish monolinguists. Likewise, when the Swedish word ‘tid’ was flashed up, the results matched those of Swedish monolinguists. This provides evidence that linguistic context affects the thinking of bilingual individuals.

Need for diversity in science

Time is one of the most perplexing areas of modern science and poses difficulties to the unification of physics into one consistent theory. Language clearly plays an important role in the way that time is viewed, pictured, and understood.

Most of our physical understanding of the subject of time was developed in the early 20th century. Daniel Casasanto, a cognitive scientist at Cornell University, commented that “I’ve long wondered whether our physics of time might be shaped by the fact that English, German and French speakers were instrumental in creating it.”

It seems clear that linguistic diversity in science could help deepen our physical understanding of the universe. Different approaches of picturing and comprehending time could make the confusing and unintuitive nature of time itself more approachable.

Is it now time for a new wave of development in the physical understanding of time, driven by a more diverse and multicultural generation of physicists than existed a century ago?

It’s time to embrace Dad dancing! Research reveals the power of dance to improve our mental health and well-being

“GPs are prescribing physcial social activities to improve patient wellbeing.

Is the western-dominated scientific community losing out on important universal interpretations?

I

Doing what the men couldn’t: The importance of the Lionesses’ Euro win

Ava Griffiths Sports Reporter

I t has been over two months since the Lionesses clutched victory at the Euros. However, it is vital to keep this win alive in the hopes of continuing to push women’s football forward.

Lineswomen. Female match officials. Women managers. As a young woman myself, seeing so many women involved in a football match was a sign that women’s football could no longer be ignored. The 2022 Euros was evidence of how far women’s football has come, but also exactly why it cannot be dismissed any longer.

For context, the last time England won silverware was

56 years ago in 1966. Years of heartache and frustration would follow for English football fans. England has often been agonisingly close to victory, then a few penalties are missed and it’s all over. The recent 2021 Euros still haunts many of us to this day. Then came the women’s Euros in 2022.

As the prospect of penalties loomed once again for England, it seemed a familiar story was set to be written once again. However, when player Chloe Kelly poked in the winner in extra

best day of my life”: UoM’s Sammy Adu reflects on his Sale Sharks debut

Andrea Finlay Sports Reporter

Multiple sporting stars have emerged from UoM, and it is no surprise with an Athletics Union as large and prominent as ours. Second-year student, Sammy Adu, is one of them.

Adu has had a very impressive start to his rugby season; starting not only for semi-professional Sale FC but also for Premiership team Sale Sharks. After training with Sale FC for the whole of last year, Adu had an unforgettable debut against Birmingham Moseley that resulted in a 32-13 win. Sale FC, who are an offshoot team for the premiership team, Sale Sharks, are currently fourth in the National League 1.

Adu described his debut as “the best day of my life!» It is easy to see why, as the number 11 scored an early try in the eighth minute and then a second in the fifty-seventh. In the following match against Leeds Tykes, Sammy cemented his position in the team by scoring twice again, making it four tries in his first two starts of the season for Sale FC. As well as playing for both of these teams, Sammy has also started his second year in the UoM Rugby first-team starting line-up. I asked him whether the University of Manchester team had contributed in any way to his professional debuts.

“Playing for UoM has definitely played a part in getting to play for

Sale.” Sammy added that being a part of the university team and playing alongside people with different rugby backgrounds has allowed him to develop further as a player. Following his two starts for Sale FC, Adu then went on to have his debut Premiership game for Sale Sharks against Newcastle Falcons.

As most students can empathise, juggling a degree and a university sport is tiring enough, let alone a professional sports career alongside that! With his debut games being practically back-to-back, Adu admitted that he is just about managing his time between his demanding degree, and his rugby career.

With regard to the future, Adu is taking every day as it comes and making the most of the opportunities that are being presented to him. I imagine that I speak on behalf of the UoM student body when I say that we hope to hear more from Sammy Adu in the next coming years.

time, a new tale could be told. Not bad for a sport that the Football Association actually banned women from playing for over 50 years.

Women footballers have not had an easy come-up. Yet despite

be the one to actually get the job done. The Lionesses did what the men could not manage to do in the previous year.

A few months ago, I wrote an article on the issue of women’s pay. I discussed how if people show little interest in female sports such as football, then equal pay remains a difficult task. This year’s Euros saw the Lionesses catapulting the brilliance of women’s football onto the screens of 17 million across the nation. Many people who had

never watched women’s football are now interested. As the excitement around women’s football builds, so can its case for equal pay.

So, not only did this win spark the interest of millions of young women to take up a sport that so many times they have been encouraged not to, but it also demands the respect that female athletes are so often left without.

This win has shone a spotlight on the women’s game, but it cannot stop there. This moment will pass, which is why the momentum can not be left to die out. Attending Women’s Super League games or following a women’s football team are both vital ways to ensure that this Euros win will have a lasting impact.

Opinion: Is Haaland the best player in the world?

Woodcock Sports Reporter

Erling Haaland will not live up to the expectation … because he is not the player that everybody thinks he is.” It is safe to say Rory Jennings is regretting his pre-season prediction.

After a mere two months playing in the English Premier League for Manchester City, it is an understatement to say that Erling Haaland has hit the ground running at his new home. In just nine appearances, Haaland has scored an eye-watering fifteen goals - already more than the career Premier League goal count of league legends, such as Luka Modric and Dimitri Payet.

Haaland has become the first Premier League player to score three hat-tricks in three successive home games. He is also the quickest player in Premier League history to reach a tally of three hattricks, doing so in just eight games. Any potential comparisons made between Haaland and strikers at other Premier League clubsnamely Liverpool’s Darwin Nunez - have already been blown out of the water. Conversations are now starting to turn to whether the twenty-two year old Norwegian is in fact the best player on Earth currently.

There is certainly evidence that backs up the claims of pundits such as ESPN’s Mark Ogden, who wholly argue that Haaland is currently the world’s best player. The goal scoring contribution that the Norwegian has made so far at Manchester City is simply unmatched by any other striker in Europe’s ‘top five’ leagues.

For instance, his closest adversary in the Premier League, Harry Kane, already lags a whole seven goals behind him in the goal scoring charts.

The effect that he has had at his new club is near beyond belief, with City’s average goal count per game having increased from 2.61 to 3.67. It also must not be forgotten that Haaland’s current form is nothing new. The player already having plied his trade in the German Bundesliga for Borussia Dortmund over the past few seasons, where he scored sixty-two goals in sixtyseven appearances.

However, while Haaland’s statistics are undoubtedly impressive, and I am just as in awe of Haaland’s mind-boggling conversion rate as a centreforward; I still currently believe that any proclamation that the Norwegian is the best player in the world is wrong. This belief of mine ultimately does not come down to any real criticism of the 22 year old, yet more so the whole nature of debates and statements around any given player being the “best in the world.”

It is simply impossible to compare two high-level players who play in different positions, and unilaterally state that one is ‘better’ than another. For instance, how it is possible to compare Haaland, who plays as a centre-forward and is proclaimed by some to be the best in the world due to his goal-scoring ability; and Thibaut Courtois, also proclaimed by some to be the best player in the world, but instead as a result of his shot-stopping ability as a goalkeeper.

Moreover, there is a complete

lack of reliable measures to define what exactly can constitute a player being considered one of the best in the world. Many consider a clear defining factor in whether a player is one of the ‘greats’ to be whether they have won the World Cup for their nation. Haaland - due to his nation of origin being Norway - will almost certainly never win anything on the international stage.

However, the lack of a World Cup will not make Haaland an objectively worse player at all; or an objectively worse player than Simone Barone, a wholly uninspiring mid-table Serie A journeyman, who picked up the ultimate international prize with the Italian ‘Azzurri’ in 2006.

Therefore, I have come to the conclusion, that despite my intense admiration for the dazzling goal scoring ability of Erling Haaland, that has lit up the Premier League over the past few weeks, he can simply not be described as the current best footballer in the world. This is due to the total unreliability of the measures by which a player can be defined as such.

Instead, I believe in the mantra of BT Sport Pundit and legendary ex-player Rio Ferdinand back in 2018, when he was discussing the debate around Cristiano Ronaldo or Lionel Messi. When faced by the prospect of watching two insanely talented footballers, “just enjoy it”. Don’t be someone who concerns themselves with trying to objectively define someone as the best as any attempt to do so will simply lead to an inadequate answer.

The Lionesses brought football home in 2022, something the men haven’t done since 1966. But, can this momentum be continued for the good of the game?

Erling Haaland has been an unstoppable force in the Premier League since his arrival at the Etihad. Is he the world’s best player?

“The

We get the scoop on UoM’s latest rising sports star Sammy Adu, learning about his sporting achievements and balancing it all with university

Thomas

Photo: Sammy Adu

Reclaim the Night supports LGBT+ anti-abuse charity Galop

The LGBT+ anti-abuse charity run by LGBT+ people for LGBT+ people

Hannah Wellock and Violet Robins Food and Drink Editor and Writer

Galop is one of the charities that the Reclaim the Night campaign is supporting this year.

Galop is an LGBT+ anti-abuse charity run by LGBT+ people for LGBT+ people. They work with and for LGBT+ victims and survivors of interpersonal abuse and violence.

Galop was initially set up not only to expose the systematic harassment of the gay and lesbian communities by the police but also to educate the community about their rights and support victims of abuse and violence. From their creation in 1982, their goal has remained the same: to provide a trusted space for those who need them.

They specialise in supporting LGBT+ victims and survivors of domestic abuse, sexual violence, hate crime, so-called “conversion therapy”, so-called “honour-based” abuse, forced marriage, as well as other forms of abuse experienced by the community.

Galop runs three national support helplines: The National LGBT+ Domestic Abuse Helpline (0800 999 5428), the National LGBT+ Hate Crime helpline (020 7704 2040) and the National Conversion Therapy Helpline (0800 130 3335). As well as this, they provide long term support, practical help and emotional support for LGBT+ survivors of abuse and violence.

The charity also does advocacy work based on national and local policy change in order to improve outcomes for LGBT+ victims and survivors of abuse and violence. They work on the frontlines with clients so that they can build evidence through key pieces of research based around LGBT+ people’s lived experiences. The aim being to make changes to legislation, improve statutory guidance, and a better response for LGBT+ victims of abuse in this country.

free, confidential, and

available to anyone who thinks they may need it. There are several ways that someone can get in touch with Galop in order to receive support. Alongside their helplines which you can call or email, there is a live chat function on the website, all of which are available any time Monday-Friday. There is also a chatbot which functions 24 hours a day.

The first step is to speak to a member of the team who will always be a member of the LGBT+ community themselves and is trained to work with LGBT+ survivors of abuse. The team will then work with the person based on their needs whether that is emotional support, advice on their rights, urgent help with medical needs or housing support, assistance navigating the criminal justice system, or any other support they may need.

Galop’s aim is to help survivors find ways to stay safe from abuse whilst also providing them with information about their rights and options. It is a service for everyone and as such there are translation services for those who’s first language is not English and BSL interpreters for people with hearing impairments.

The Mancunion spoke with Galop about the charity and their services ahead of the Reclaim the Night march.

Following the government’s exclusion of trans rights in recent discussions about legislation, what is your response to this and how do you support transgender, non-binary, and gender nonconfirming people?

So-called “conversion therapy” is abuse, and we urgently need the Government to implement a ban. The ban must cover the whole community, including

been working with victims of so-called “conversion therapy” for years, and we see first-hand the effects of this abuse which have longterm, and even lifelong effects. Being LGBT+ is not something that can be, or needs to be, “cured” or changed, and we need legislation to ensure victims, and those at risk, are protected in the UK.

Our National Conversion Therapy Helpline is open to any LGBT+ person who has experienced this abuse, as well as anyone who thinks they, or someone they know, might be at risk.

Galop is run by our community, for our community, and that means that trans, non-binary and gender non-conforming people are welcome and understood here. Our services are empowerment-based, trauma-informed and person-centred, which means that we work with each person’s individual needs. We have trans+ members of our team for people who want to work with someone with a shared lived experience. We understand, and see first hand, the additional barriers and challenges for trans+ and gender non-conforming members of our community and we can help navigate those.

Often people outside of the community assume that violence doesn’t affect the LGBT+ community and people in Queer relationships, do you think this stops people from reaching out for help and support?

LGBT+ people absolutely experience abuse and violence – but we’re often left out of the narrative around these experiences, particularly around things like domestic abuse and sexual violence. Many of us have also experienced anti-LGBT+ prejudice from institutions, like healthcare

for someone who has experienced abuse, the fear of facing anti-LG BT+ prejudice from the people you turn to for help can stop people reaching out.

“Galop is run by our community, for our community, and that means that trans, non-bi nary and gender non-conforming people are welcome and understood here.

We also shouldn’t have to educate people about our identities or experiences, or be worried about trying to explain how something that’s happened is abuse, when we seek help – but we know those are things that do happen to LGBT+ survivors of abuse. That’s why Galop exists – so you know, when you come to us, that you’re getting support from people who understand what’s happening to you.

How have recent events such as the cost of living crisis affected the amount of LGBT+ people you’ve seen requiring support due to experiencing abuse and violence?

We’ve seen demand for our hate crime support services grow by 19% in the last six months. The cost of living crisis is also a huge issue for LGBT+ survivors of abuse and violence. We’ve seen our clients struggling to meet the cost of essential items and bills. Victims and survivors in our services are skipping meals, getting into debt to cover basic essentials and are often at risk of homelessness. Faced with the cost of living crisis, many people are at an increased risk of financial abuse and are forced to stay in dangerous situations with their abusers.

How are you working with Reclaim the Night this year?

We’re thrilled to be working with Reclaim the Night this year

experiences of sexual violence and gender-based violence. Reclaim the Night is such an important campaign which provides a voice to all victims and survivors. The funds that are raised from the march will support Galop’s sexual violence services for LGBT+ people, providing vital support for those in need. Our work supports victims and survivors of violence and abuse during some of the hardest times in their lives, so any money raised would make a huge difference to what we’re able to do.

You can support Galop by making a donation at galop.org.uk/ donate. Every donation makes a difference and helps Galop reach those who need them, when they need it. If you can’t donate or want to be involved in other ways, you can follow the charity on social media to help amplify LGBT+ stories and re-share content to help more survivors find their way to Galop.

If you need support, you can contact Galop via their various helplines:

National LGBT+ Domestic Abuse Helpline: 0800 999 5428, help@galop.org.uk

LGBT+ Hate Crime Helpline: 0207 704 2040, HateCrime@galop. org.uk

National Conversion Therapy Helpline: 0800 130 3335, CThelp@ galop.org.uk

@galopUK on Twitter,

An afternoon at Manchester Rape Crisis

The charity helping survivors across Manchester

Libby Elliott InvestigationsEditor

TRIGGER WARNING:

This article contains detailed references to sexual violence and rape. If you are seeking support, or just have questions about an experience you’ve had, you can call Manchester Rape Crisis’ helpline on 0161273 4500.

Walking into Manchester Rape Crisis, you’re immediately introduced to everybody and offered a cup of tea. With a slightly eclectic mug collection, and a very accurate memory of how many sugars you asked for, the staff and volunteers instantly relax you.

It’s a women-led space for women only. The entire facility is rather quiet as there’s often counselling in session upstairs. Safe is undoubtedly the word to describe it.

Our team met Anne, the Chief Executive Officer, who gave us a little tour. The office is dotted with your classic feminist posters, with a few Harry Potter quotes about bravery up on the wall too. The ‘feminist as f*ck’ poster in Anne’s office was a gift, and a slightly controversial one at that, she let us know.

We then sat down for a chat about what Manchester Rape Crisis do from day to day. The charity has a number of services including a telephone helpline, free face to face counselling and group work. They also provide specialist support for women who wish to report to the police.

Other services include a counselling service for women in HMP Styal. Anne and her team also provide arrange of group work including both therapy groups and social groups.

Upon being asked why a women-led space is so important, Anne told us it’s a common question the charity receives. The charity work very closely with Manchester Survivors, a service which supports male survivors. Anne noted that she once asked the manager there if they ever get that kind of

question, to which he said no.

“I think it’s always interesting that women’s services are asked, why do you want to be womenled?”

Manchester Rape Crisis is clearly modelled on and always improving from survivor feedback. Survivors tell the charity that this is the kind of space they want and feel a lot safer in. Anne highlighted that it’s also important to model to people what recovery can look like. With a lot of the women who work at the charity being survivors themselves, it’s clear that the presence of female only staff works to dismantle the idea that sexual violence will leave victims permanently damaged or unable to function.

With that in mind, Manchester Rape Crisis do without a doubt support trans and non-binary individuals. There’s currently two trans flags hanging from the front of the building.

expect anybody else to be able to.

The service however doesn’t expect those who call the helpline to necessarily use the word rape themselves. But to them, it’s important that a helpline operator can name it for a woman who may be doubting or blaming herself following an instance sexual violence.

“I would say if something’s happened to you, and you’re not sure, speak to somebody because sometimes just verbalising something can help to really focus your own thoughts and feelings around something. Then, if you get the appropriate response, which hopefully you do, that puts you on the path to trying to find support and information.”

fault if somebody decides to take advantage of that situation and do something to you.”

“The charity receives funding to see four female students a week, but they actually see 28 a week. They subsidise these costs themselves.

that people can see people that look like them or that are from the same background as them so that they can feel included.”

Anne is personally looking forward to this year’s Reclaim the Night march. She explained her love for the march lies in the fact that, “it’s fun, it really is fun.” The charity run banner making workshops beforehand where survivors, staff and volunteers all come together.

drunk, every right to be out walking late at night. It’s not your fault if somebody decides to take advantage of that situation

Similarly, we asked Anne’s advice for women who are struggling to seek support for fear of being blamed or not being believed. She assured us that fear of not being believed is the number one reason, when you speak to survivors, why people don’t tell somebody. Manchester Rape Crisis are not, in Anne’s words, “here to investigate anything you tell us. If you say this has happened to you we will believe you and we will offer you the support that we can.”

Manchester Rape Crisis offer a student specific service. Given the length of their waiting list, they felt it was important to set up a tailored service. As often students would come to the top of the waiting list for counselling and have gone home for three months over summer, or even graduated. This service is vital, as Anne details you’re most likely to be raped between the ages of 18 to 24.

The charity receives funding to see four female students a week, but they actually see 28 a week. They subsidise these costs themselves. There’s currently a waiting list of 42 female students waiting for counselling.

Finally, in Anne’s own words, you can always ring the helpline. Nobody will expect you to talk about anything you don’t feel comfortable talking about. But even if you just want to ask questions about what’s happened to you, at Manchester Rape Crisis they feel their service is a really good place to start. She reminded us to never underestimate how hard it can be to speak about what’s happened to you. The charity has spoken to women in the 60s and 80s who have never spoken about their experience before.

A prevalent issue among young female survivors can be not realising the full gravity of what has happened to them, or even that they have been assaulted altogether. Anne explained that sometimes it’s important for the service to name instances as rape, even when survivors can’t. Often Manchester Rape Crisis are asked why the word is even in their title. To this Anne says, if the service can’t say it, how can they

With regard to being blamed, Anne explained that it’s one challenge that society will blame you. But it’s an even harder challenge that we have all internalised those myths of shame and believing that we should have fought back.

“The fault always lies with the perpetrator. You have every right to be drunk, every right to be out walking late at night. It’s not your

One of the specific services offered by the charity is an Asian Women’s Group. I asked Anne why it’s so important to have these kinds of groups tailored to the specific needs of different groups of women.

She acknowledged that for any survivor of sexual violence, there’s responses shared widely across the board. Yet, there are particular barriers for different sections of society that might come about when accessing the service. Anne detailed that English isn’t the language that everybody feels most comfortable of confident expressing themselves in. Likewise, whilst shame is a common response among survivors, there are cultural elements to shame that require tailored cultural responses.

“I also think it’s very important

Speaking up can take longer than other people might realise, with life events often triggering a need to talk to somebody. You don’t have to speak up the next day and friends shouldn’t push individuals to report.

The helpline is open from 10-4 every day, also 6-9 every Wednesday and Thursday. The number is 0161 273 4500. You can also email help@ manchesterrapecrisis.co.uk.

“

You have every right to be

and do something to you.”

“A perfect feminist is one that wants to keep learning”: In conversation with Witch Fever

The Mancunion chats to the Manchester punk band following the release of their debut album Congregation

Francesca Hall DeputyMusicEditor

Manchester four-piece Witch Fever are busy changing the face of punk music. Originally forming in 2017, the band have spent the last five years making a name for themselves in the UK alternative scene, with their music quickly garnering support from Radio 1’s Daniel P. Carter and publications such as Kerrang! and Upset Magazine.

Last month, I sat down with vocalist Amy Walpole and drummer Annabelle Joyce to discuss punk, politics, and their debut album Congregation We met in YES before their headline show there that night, and the band led me up a hidden staircase to a small green room at the very top of the venue. Amy and Annabelle were both down to earth and welcoming, playfully complaining about the lack of a rider as we settled down on the sofa to start the interview.

Witch Fever originally met as students in Manchester and bonded over a love of rock. “I did love heavy music growing up. I was all into Alexisonfire, My Chemical Romance, Paramore …” Amy tells me. They soon found a place within the city’s vibrant independent venues, frequenting spots such as Deaf Institute, Soup Kitchen, and the now defunct Sound Control. But the local scene wasn’t quite as diverse as they’d hoped. “When we first started the scene seemed quite… indie boybands in leather jackets sort of vibe”, Annabelle recalls, and Amy is quick to agree: “I wouldn’t say it was welcoming”.

Their music has a distinctive sound: roaring guitars, fuzzy bass, and tight, purposeful drums accompany Amy’s ferocious vocals to create a wall of noise that descends on the listener, taking down anything and anyone in its path. But finding their sonic identity took time, as Annabelle notes. “When we started”, they explain, “we said we wanted to be heavy, but we weren’t very heavy.”

Amy concurs, remembering that they were “more thrashy - it wasn’t super heavy. We grew into that sound.”

Like their instrumentals, the politically charged energy that now characterises Witch Fever’s music has also developed over the last five years. “At the time I joined the band, I would call myself a feminist, but I didn’t actually know that much about feminism”, says Amy. “I hadn’t at that point learnt enough about feminism to be able to write lyrics that were reflective

of that”.

They’re not these massive c*nts that are constantly throwing their weight around or trying to be like Sid Vicious . But it’s still very much a boys’ club

The band have never shied away from discussing issues such as sexual assault and bodily autonomy, but their new album delves even further into feminist themes, addressing the patriarchy and institutional oppression. “I used to think I had to reach this level of feminist perfection”, Amy reflects. “But a perfect feminist is one that wants to keep learning.”

Despite encountering a lack of gender diversity at a local level, Witch Fever are optimistic that punk is heading in the right direction. “I think that modern punk is way more progressive than it used to be”, says Annabelle. “There’s still a lot of it that is not great, and it’s clear that they still idolise the whole Sex Pistols sh*t, but [bands like] Nova Twins are doing insane at the moment.”

“Post-punk is a different kettle of fish”, ventures Amy, and I get the feeling that she could talk for hours on the subject. “I’m not saying this is a bad thing, but there’s postpunk that is trendy. And then there’s punk that isn’t seen in the same way.” She alludes to Black Midi with a coy smile before comparing them to acts that she believes represent the best of the current musical landscape. “I’d say the forefront of UK punk right now is bands like Nova Twins or even Idles . They’re not these massive c*nts that are constantly throwing their weight around or trying to be like Sid Vicious But it’s still very much a boys’ club.”

Both band members have simple, no-nonsense advice for women and nonbinary people looking to getting into music. “Don’t let men mansplain to you. Just tell them to f*ck off,” says Annabelle, while Amy states: “Don’t take any sh*t, basically. I feel like it’s important that if someone is making you uncomfortable, then it’s your right to leave and say that it’s making you feel uncomfortable. You’re not overreacting.”

Witch Fever released their debut album Congregation in October 2022, having signed an album deal with Sony in 2020. “The last gig we ever did before lockdown”, Amy says, “the label head came and decided to sign us. They sent for a contract that was just for the EP and before we’d even got a chance to sign it, they sent a full album thing through. We were just like “What? Ok!”’

Amy confesses that the process of making an album has been “Stressful. Quite intense… the label have taken such a huge load of that stress but I’m just glad that it’s out!”

It’s really stress relieving to just scream bloody murder

The band didn’t set out to make any particular kind of record. “We just wanted to make something that was more of a cohesive body of work, as opposed to songs that we’d done and whacked together”, says Annabelle, and Amy elaborates: “We didn’t really go in with a concept or a specific message. We were just writing songs for the fun of it. We knew we wanted a couple of slower ones to demonstrate that we can do something different. But for the first one, it was less about really experimenting - we needed something that was representative of us and our sound.”

Much of Congregation was inspired by Amy’s upbringing in a Charismatic Church that believed in the power of the Holy Spirit and modern-day miracles. She left when she was 16, but has since grappled with the hangover of being raised in an environment with regressive attitudes towards women.

Creating this album has provided Amy with an outlet for her feelings towards the Church: “It’s really stress relieving to just scream bloody murder”, she admits. Producer (guitarist in foster this sense of healing in the studio: “He was so chill”, Annabelle recalls, before getting down on the floor of the green room and demonstrating the ‘Crow’ yoga pose that he taught them. “He was very nice. No bullsh*t ego, nothing like that”, Amy concludes.

The result of this catharsis is a collec tion of songs that are as vulnerable as they are pow erful. But for Amy, laying all bare has brought difficulties. “It’s really nice, it’s what I wanted and expected, but it is a little overwhelm ing. A lot of my childhood trauma has been released in this album and sometimes it’s difficult because I’ll say things in interviews and they get para phrased and it’s not exactly what I wanted to say.” The singer has been particularly concerned about the focus it has placed on her family: “I

worry that people are gonna think my parents are bad parents, but they weren’t! They were the best parents!” she exclaims.

But despite the challenges, making such a personal body of work has enabled Witch Fever to form a closer connection to their fans. “I knew that it would get a reaction from people that could identify with my lyrics or had read into my lyrics and had similar experiences”, Amy says. She laughs, remembering that “Someone tweeted [a meme that read] ‘I’m fine… bro your favourite Witch Fever song is ‘12’’, which is the most confronting and horrible one. It’s been interesting: a few people have come up to me at merch stands and said ‘thank you for that song”.

they assert. F*ck the Tories, but f*ck Starmer, and f*ck New Labour also. I think that sums it up.

Amy is keen to stress that misogynistic ideology does not simply manifest in overt displays of violence, but also in more insidious forms. “It’s not always hate crimes and sh*t. Even just being treated differently because you’re not a dude in a band. Being spoken down to, little things like that. On its own it’s not really serious, but when it’s everyday for everyone that isn’t a man, it becomes this big, overarching thing.”

f*ck

Congregation deals with issues of patriarchal violence and abuse of power within the church, but, as Annabelle notes, the same issues

So, with a new album that is so heavily based around institutional oppression, do Witch Fever want to be seen as an inherently political band? “No one’s ever asked us that before!” chimes in bassist Alex Thompson as she comes into the room. “The politics in the music we’ve done has come pretty naturally just from what we’ve experienced”, replies Annabelle astutely. And, when asked about the current state of British politics, the band respond with a burst of venom. “The political climate is a f*cking nightmare”, Amy says. “It makes me want to not get out of bed.” Annabelle offers a succinct conclusion to our conversation. “We support the unions, they

“

We support the unions, they assert. F*ck the Tories, but

Starmer, and f*ck New Labour also. I think that sums it up

Live review: Stella Donnelly takes Manchester by storm

Australian singer-songwriter Stella Donnelly plays an empowering set at Band on the Wall

Jacob Ainsworth Music Writer

You’d be hard-pressed to find a singer-songwriter with as much infectious, wideeyed charisma as the acclaimed Australian artist Stella Donnelly. Boasting a back catalogue of fretful indie gems – and sporting the same fringe as everyone’s favourite sixth-form art teacher – Donnelly wows her audience at Manchester’s Band on the Wall.

Before I unashamedly gush over Stella Donnelly , high praise is also due for her support act, Albertine Sarges . The Berlinbased art-rocker launches into a set characterised by jutting bass lines, fitful staccato guitar, improv flute solos, and dance moves that Lindsey Kemp would have been proud of. Their live sound is miraculously both confusing and involving – think Neu at their most elastic, or Talking Heads at their most angular. It’s a mess. A joyous, bizarre, dance-inducing mess.

When it’s time for Stella

Donnelly to usher the audience into her chaotic world of festive family fall-outs (‘Seasons Greetings’), Donnelly stands alone on stage. Just her, a guitar, and a spotlight. The tender intricacies of the opening song, ‘U Owe Me’, slowly spider out across the venue, a sound laden with justified angst against a misogynist employer (“You’re jerking off to the CCTV / While I’m pouring pints of flat VB”). Suddenly, it becomes excitingly clear. We’re watching a singer who wants to put right a fair few wrongs.

Donnelly goes onto tell us that new songs are a lot like new underwear – “that sexy, new G-string… y’know the one that still hurts a bit to wear, but you’re trying to get used to it?” She then takes us “underwear shopping” (her words, not mine) with the track ‘Lungs‘ – the opening number on her sophomore album Flood. It sees the singer cover new ground, her trademark ear-worm melodies somersaulting over a post-punk rhythm section.

There’s a newfound grit that

wasn’t present on her debut LP, met with the approving bobbing of heads. Lo and behold, the “G-string” comparison is apt. ‘Lungs’ features a Joy Division -tinted backbeat that is slightly uncomfortable, yes, but undeniably sexy. Another highlight from her new album proves to be the single ‘How Was Your Day?’, in which a toxic relationship narrative hides inside a Trojan horse of pure pop perfection. The crowd sing along to a joyfully infectious chorus, completely soaking up Donnelly’s self-aware juxtaposition. Again, slightly uncomfortable, but sexy.

Donnelly refers to her old material as “the underwear with holes in that you should’ve thrown away years ago, but you still just love ’em”: another fitting metaphor. With its carefree surfguitar and unapologetic Lily Allen influence, it’s easy to forget that classic single ‘Old Man’ is about sexual harassment (one would imagine that it’s easily the sunniest song ever written about the topic). Donnelly delivers her

vocals with a mix of angst-ridden conviction, as well as evident love for her younger-self’s irreverent songwriting. It’s the perfect pair of old underwear. The meaning may be ugly, but both Donnelly and her fanbase can’t ever bring themselves to part with the song’s bubbly buoyancy.

Old favourite ‘Mosquito’ – a song in which female pleasure is foregrounded against a backdrop of yearning instrumentation – is met with an emotional response. Donnelly interrupts the song to inform us that she recently had to explain to her grandmother what a vibrator was, a discussion which was apparently met with confusion… and interest.

Donnelly’s tendency to highlight female-centric sexuality creates a visceral sense of empowerment. Tears, laughter and innuendo are frequently shared between artist and audience: we feel as though we are part of some sort of safe-space forum, like old friends nursing a pint together. With her rouge-red lipsticked

smile, soaring stage presence, and a talent for in-between-song-chat topped only by Sheffield’s finest sex/class raconteur Mr Jarvis Cocker , it’s plain to see why Stella Donnelly’s live show is a success. Inclusive, involving, liberating: Stella, it was a pleasure going underwear shopping with you.

Manchester leaves Maggie Rogers in tears of feral joy

Singer-songwriter Maggie Rogers invited Manchester’s o2 Victoria Warehouse to let go and surrender – and they did

Amara Uzokwe Music Writer

his is the story of what happened when I finally gave in – when I felt it all."

Mggie Rogers’ voice called out to the audience in a monologue backed by her six-piece band, whilst a dim red light pulsed on stage. Seconds later, the stage was fully illuminated by colours of white and red as Rogers entered dancing (as she spent the rest of the night) in a vinyl leather jacket, iridescent white dress and kneehigh leather boots. The crowd erupted into chaotic applause and she began vocalising to the introduction of ‘Overdrive’, the opening track from her latest album, Surrender

The American singer rose to fame in 2016 after her song ‘Alaska’ impressed musical legend, Pharrell Williams in a viral clip. In the years following, she would release her folk-pop debut LP Heard It In A Past Life (2019) – which earned her a Grammy Award nomination for Best New

Artist in 2020 – and embark on a headline world tour as well as support both HAIM and Kacey Musgraves on their headline tours in 2018 and 2019 respectively.

Notably, she would go on to collaborate with indie-folk singer, Phoebe Bridgers on a cover of ‘Iris’ by The Goo Goo Dolls which Bridgers had promised to make if Donald Trump lost the US elections in 2020. They released the song for 24 hours on Bandcamp with proceeds going to Fair Fight Action and recently rereleased it, this time with proceeds going to The Brigid Alliance. During the Covid-19 pandemic, Rogers, after an intense four years, retreated to Maine, where the seeds of inspiration for her second album would begin to sprout. In July 2022, she released her electropop influenced sophomore album, Surrender, written in her parents’ garage, New York City, and the UK.

On November 5, she brought her Feral Joy tour to Manchester’s o2 Victoria Warehouse, her largest show of the tour at the time of the performance. The night began with a charming set from indie pop/rock

singer Samia , who opened with the slow-building, tearjerker ‘Pool’, from her debut album The Baby She described her set as “mostly sad” but still found a way to bust a move during almost every guitar solo.

Samia mainly played songs from her debut album, including ‘Big Wheel’ and ‘Is there Something in the Movies?’, and her latest synthpop single ‘Mad at Me’ from her upcoming second album Honey. She complimented Rogers’ “feral joy” effortlessly and will be headlining her first (sold out) UK headline show at XOYO in London on November 11.

As ‘Overdrive’ ended and the distorted drums from her single ‘Want Want’ began, Rogers was grinning ear to ear, visibly “finding peace in distortion” as she claimed in her album trailer published to YouTube ahead of the album’s release. She then led into her R&B influenced track ‘Say It’ from her first album, then ‘Honey’ and crowd favourite ‘Love You for A Long Time’.

When there was a brief technical difficulty during

‘Symphony’, resulting in Rogers leaving the stage, her band took centre stage until her return which ended in an impressive jazzinspired improvisation of ‘Love You For A Long Time’. During the set, Rogers stated that she’d “been waiting three years for this” and she seemed just as excited to play her older popular songs such as ‘Alaska’ and ‘Back In My Body’ as her newer ones such as ‘Anywhere With You’.

When she was not dancing with a plain white sheet as a backdrop (a clear nod to the album title), she had an acoustic guitar in hand and flexed her extensive vocals with her slower songs such as ‘Horses’. On the track, she yearns to feel the freedom of wild horses, and the performance ended with her tearing up, in awe of hearing the crowd sing the words back to her.

She certainly knew how to command the crowd as, during ‘Light On’, she managed to get the entire venue to get down on the floor before the final chorus. This resulted in an extended applause from the crowd. Following this, she led into the lead single from

Surrender, ‘That’s Where I Am’, in which she sings, “It all works out in the end / Wherever you go / That’s where I am” – a thoughtful sentiment to sing to such a devoted crowd. Throughout the show, the singer left no section of the daisycovered stage untouched and even handed out bouquets of daisies to the crowd at the end.

It was as if there was electricity pulsing through Rogers’ veins the entire night, but most significantly, in the middle of her set, when she performed ‘Shatter’. During the bridge, she sang, “I just wish that I could hear a new Bowie again” before crumpling to the floor. Within seconds, though, she was back up yelling the words, “I don’t really care if it nearly kills me / I’d give you the world if you asked me to” to a dancing crowd of cowboy hats and glittery faces. Rogers, choking up due to the shear passion of the crowd, closed the encore with ‘Fallingwater’ and then ‘Different Kind of World’. She described the latter as an “ending prayer”, and it was a soothing end to a thrilling night.

"T

“Storytelling is a noble profession”

industry

Ibiwunmi Balogun Deputy Film Editor

Laura Hilliard is a cinematographer from Pennsylvania and teaches 16mm cinematography at the University of Salford. Having worked on shoots with VICE, Nike, Teen Vogue and many more, Laura is a skilled cinematographer with a wonderful personality that strives to create opportunities in the industry for marginalised filmmakers.

Do you prefer to be called a Cinematographer or Director of Photography?

I honestly don’t care. I think it’s confusing for people who aren’t in the industry. It’s the same job. I guess, Director of Photography is the job and cinematography is the verb as in the act.

How creative are you allowed to be on your projects?

Sometimes cinematographers are hired because they can do a certain look. Other cinematographers are hired because they adapt to whatever project it is. I fit into the second camp. Sometimes you can’t light it all in crazy colours or make it super soft…you just need to give the client or the director the genre. I find that I get over those excitements or disappointments in pre-production* and then once I get on set, it’s really about the joy of everything going awry and this is creative for me and fun. I think you have to love the doing of it and problem solving. Ultimately, for me, cinematographers always have a responsibility to the director and what a story is about.

How important is the collaboration aspect of filmmaking?

The collaboration is essential. You can’t make films on your own. Well, you can but for the projects that I want to work on they’re gonna be with bigger crews and being able to work with people. That’s what makes it run. Being a cinematographer is really about understanding the roles of the crew

in a clear way. It’s really good to do all the crew roles to empathise with what their day and work is like. I definitely have less gaffing experience and I wish that I could be a bit better with my gaffing*… so that would make me a better cinematographer to be honest.

I think it’s one of the hardest things to teach because you’re marked on a group grade and students hate that, and I would hate that, but there are so many projects that you have to work on as a professional. You have to work with people you don’t like or people you find really challenging. You have to figure out a way to make it happen to motivate people to want to work for you. The reason why I’ve looked up to my mentors has been because they really know how to inspire a crew to work really hard for them. It’s kind of like playing on a football team and the captain is great..and those are rare.

How crucial is film school to become a professional filmmaker?

I think it is up to the individual… is it right for you at that time? Can you take advantage of it the most? It’s [film school] a very modern thing. Before you worked your way up. That still exists and you can learn everything you need to know on set. That being said, film schools offer more opportunities to different types of people and a learning environment but it costs money, which sucks. People are in massive debt and that brings the question: are they worth the money? I have a lot of friends who never went to school and are doing well in the industry and don’t have any debt.

To practise with cameras in a learning environment is really good because it means that we take off the pressure of the set. When I teach 16mm if we scratch a roll [of film] that’s ok because everybody makes mistakes and you’re learning. If it was on a set that means we’ve lost a whole day of shooting. That’s stressful. That’s where I think film school is really good.

Cinematography is what 3% women? It’s so small. I had the experience in school of feeling like I was working twice as hard to get half as far and it was frustrating to me. I did the homework and my guy friends on the course would get the project without doing any prep and I wouldn’t. They get the benefit of the doubt and women and minorities usually don’t. You’re a white man and pick up a camera and people trust you and if you’re not you have to be seen doing the thing but how do you do the thing if no one will give you the opportunity to do the thing. It’s funny but the picture of you with the big camera is important to have on your website because once people see that on your website they think “oh she’s serious”...which is so silly but it’s true. That is also when the reel (filmmaker portfolio) comes in and is important.

Creating opportunities and realising that we have a lot of work

to do. In my class, I have to figure out a way to make sure that each person gets the same opportunity to touch the camera in the same way to help them build confidence. It starts there. You have to put an intervention in place in teaching where each person gets to do everything one bit at a time to avoid creating bigger and bigger

I find that there is a really amazing comradery when you meet women working in the industry. I want to help every woman that wants to be a cinematographer so much, I will give them so much time of day. I have a bias towards getting more women and people of colour behind the camera and I would stand up to that if anybody challenges it.

Is there pressure to keep up with technological advancements in film and what do you think about these new technologies?

There is loads of pressure to keep up with it all. I remember when I was in film school and I had a lot of friends who were really nerdy and read all the output surrounding technology in film. That’s great and we need people like that but I am not like that, I used to feel insecure and think I can’t be a cinematographer because I’m just not like that. It’s good to be open to realising that you can’t know everything and asking informed questions.

The way that you learn it [filmmaking equipment] is to use it on set. There were some pieces of kit that we brought to the set last week that I had never seen and I was so excited because I didn’t know we could do that. You kind of know about the tools and the tool box and there is always something new but for the most part you will feel confident that you can hold it all in your brain.

There is a cap. I don’t think the VR stuff will replace the cinematographer. We need people to do the thing. The jobs are changing but there is so much that is the same. It’s also creating new jobs. All the VFX stuff is crazy and great. It is also a barrier to entry and to access for anybody who isn’t already in it or going to the school and that I think is problematic in many ways. That stuff is frustrating

but that is the industry and I hope that that stuff is phasing out and that there are more points of entry.

Do you have any advice for any upcoming filmmakers?

Make as much stuff as you can. Sometimes it gets scary to put the crew together. That’s one of the joys of film school, that you have to make a load of stuff and when you get out nobody makes you make loads of stuff anymore. You have to create the energy to do it. You do it but it becomes harder. Just keep making films and love seeing films too. Reminding yourself why it’s amazing to go into a cinema and the lights go down and that feeling of seeing a great film. That’s what we’re doing. But sometimes it feels so far from that and so it reminds you that storytelling is a noble profession. Be kind to your body, to yourself and be patient. I definitely did too much heavy lifting and hard labour that made permanent damage. I have back problems that will never go away because of too many hours of camera operating.

A piece of advice for third year students, it’s a scary time and it can feel like you’re floundering. You don’t need to know the whole year or the next five years. Just figure out what you’re going to do for the first three or six months, whether that’s working at a cafe or something and writing a script figuring out finances [for a film]. Give yourself really small and achievable building blocks.

Advice for upcoming cinematographers?

For cinematographers, try and be on as many sets as you can and work for different types of DoPs as you can. Value your time and your labour. Pretty early on you should be paid for it as a camera trainee. There is an expectation that you have to do a lot of free labour to make it happen and I disagree with that. Seek out sets that are exciting projects and that are going to be run well. There is nothing worse than working on a poorly run set. It’s just not worth the energy. Practice and notice lighting in rooms and buildings and how it impacts things.

Cinematographer, Laura Hilliard, talks about filmmaking and the barriers of the film

Photo: Laura Hilliard

Photo: Laura Hilliard

Photo: Laura Hilliard

Call of Duty: Modern Warfare II: The paradox of keeping games free of politics

Anna Pirie Games Writer

A new addition to the Call of Duty series arrives, and once again are we bombarded with material falsely masquerading as a nuanced but non-political exploration of war.

In 2019, Activision rebooted the Call of Duty: Modern Warfare series. The reboot was marketed as a more mature depiction of warfare than its predecessors, with a heavily advertised campaign at the forefront of this marketing. In an interview with Game Informer, narrative director Taylor Kurosaki reels off a list of deeply contentious themes: colonialism, occupation, independence, freedom.

Yet, in a separate interview with Art Director Joel Emslie, the developer definitively answered “no” when asked “is this game political?”. Emslie then doubled down, claiming that they’re “just making games” and, after the

interviewer, Ben Hanson, labelled this notion “insane”, the Art Director retorted: “Seems insane to get political”.

Throughout their interview, the Narrative Director and the Campaign Gameplay Director tiptoe around the idea that their game contains politics. The comments are flooded with people seemingly overjoyed that a game containing torture and chemical warfare has supposedly nothing to say about the subjects.

We now live in a postGamergate world. Explicitly political games - BioShock, the Fallout series, Dishonoredreceive universal praise. Praise, no less, from people who may disagree with these politics if they paused to think about them. Meanwhile, developers on The Last of Us Part II received waves of online harassment for the game’s depiction of women and minorities. We have come to understand that ‘politics’, to sections of the gaming

community, is synonymous with ‘includes minorities’.

The most recent Call of Duty game, Call of Duty: Modern Warfare II, is a sequel to the aforementioned reboot. You’ve probably seen its adverts on the buses, featuring character Simon “Ghost’ Riley. If nothing else, he does certainly have a cool mask.

In the opening scene, the player is thrust into the position of directing a missile sent to assassinate a General Ghorbrani. Many have been quick to point out the similarities between this scene and the real-life assassination of General Qassem Soleimani, authorised by Donald Trump in 2020. The game does not even pause to consider the implications of assassinating a foreign official.

Level ‘Borderline’ has had its controversiality widely discussed. In one heavily covered sequence, the player aims a loaded weapon at civilians in the name of “deescalation”. Even as Modern

Warfare II does feature basic dialogue mechanics, they are noticeably absent from this scene. Apparently, dialogue is not an option when invading a stranger’s home. A similarly worrying feature of this scene is that these “deescalation” tactics are promoted as relatively effective. This will be nothing new to players familiar with this series. In Call of Duty ( CoD), the ends will always justify the means. As long as you’re on the ‘correct’ team - typically the U.S. and British militaries. Not to mention, the U.S. military has funded and promoted CoD as a recruitment tactic for years; or the fact that, whenever similarly questionable actions are taken by the ‘wrong’ team, they’re denounced for it.

The newest release in this series insists on taking itself as seriously as possible. It works to feign complexity without ever questioning its protagonists actions. Ultimately, it can be hard to attempt an ‘anti-war’ narrative

whilst also illustrating the playable characters as undeniably cool, gritty heroes.

Nevertheless, it continues to be lapped up by the gaming audience. Modern Warfare II is now the best selling Call of Duty title of all time. The title earned $800 million in the first three days of sales alone.

At the end of the day, Modern Warfare’s politics will remain largely unquestioned by its audience. As much as its developers claim to be interested in discussing difficult topics, introspection is simply not present. This may even act as a microcosm of certain sections of the gaming community. There is this simultaneous need for video games to be viewed as art, and thusly taken seriously, whilst also not being taken seriously enough to actually reflect upon serious political ideas and concepts.

Making sense of the Manic Pixie Dream Girl

Daniella Alconaba Film Writer

n Laura Mulvey’s 1975 essay Visual Pleasure and Narrative Cinema , Mulvey expresses contempt for Hollywood cinema for depicting women as “passive” accessories to men. She states that “The presence of a woman is an indispensable element of spectacle […], yet her visual presence tends to work against the development of a storyline.” This is true in many cases of female representation, but can the same logic be applied to the Manic Pixie Dream Girl (MPDG) trope?

Who is the Manic Pixie Dream Girl?

In 2007, film critic Nathan Rabin coined the term to describe the phenomena of women in romcoms who are outgoing, spontaneous, and seemingly mysterious. These women counteract the male love interest who is often awkward and lacking romantic experience. The term initially described Kirsten Dunst’s character in Elizabethtown (2005). Within the narrative, a binary opposition is created between woman and man, compelling audiences to explore gender dynamics. However, from a representational point, the MPDG

Rabin writes that ‘The Manic Pixie Dream Girl exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.» It is in this sense that I would argue that the MPDG actually defies Mulvey’s claim that women halter the ‘development of a storyline.’ In romcoms, it is the MPDG who is actively improving her male lover. Nevertheless, the MPDG trope is still inherently problematic.

The problem with the MPDG is that she is an exciting accessory. Her only purpose in the film is to play a catalyst in a man’s development. Her interests are only deemed cool because he is attracted to her.

She cannot independently exist. In a later article calling for the death of the MPDG, Rabin says, ‘The trope of the Manic Pixie Dream Girl is a fundamentally sexist one, since it makes women seem less like autonomous, independent entities than appealing props to help mopey, sad white men self-actualize.» It would seem that the MPDG is in control as

tally still serving him.

In an article from The Atlantic, titled The Real-World Consequences of the Manic Pixie Dream Girl Cliché, writer Hugo Schwyzer acknowledges the work of Laurie Penny. Penny states that in real-life circumstances women often grow up expecting to be the supporting actress in somebody else’s [life] mirroring the ‘fictional’ trope of the MPDG. Schwyzer writes that «manic pixie dream girlhood served as a model for how to live as a teen and early 20-something.» I wonder if a correlation between the ‘I can fix him’ mentality that many women may have when entering relationships is related to the mass exposure of the MPDG

Surprisingly, Rabin calls for the demise of the MPDG term. Increasing discourses posit that the term itself is misogynistic. Rabin regrets its over usage in the media. He explains that it can be ‘reductive’ in describing female characters. It can become an easy way for critics to downplay an interesting female character just because they have

the odd quirk.

In the same opinion piece titled I’m Sorry For Coining The Phrase “Manic Pixie Dream Girl”, Rabin mentions a Zoe Kazan interview where she dismisses the phrase. She calls it an «unstoppable monster where people use it to describe things that don’t really fall under that rubric.» I do find truth in Kazan’s statement. As a female viewer, I have found solace in eccentric characters... for them to only be reduced to a MPDG. When often they are not. Take for instance Clementine from Eternal Sunshine of the Spotless Mind (2004). Clementine is a striking and unapologetic character yet she is minimised to this. Clementine even states that she is «not a concept».

Overall, exposure to more female characters written by women are needed to avoid the term altogether. It is often male writers that project their fantasies onto their fictional female characters. As Rabin writes «Let’s all try to write better, more nuanced and multidimensional female characters: women with rich inner lives and complicated emotions and total autonomy, who might strum ukuleles or dance in the rain even when there are no men around to marvel at their free-spiritedness.»

In the wake of the newest Call of Duty game, the intentions of the ‘keep politics out of video games’ crowd remain as clear as ever

Film discourse tell us of the sexism embedded within the Manic Pixie Dream Girl trope, but does she have real life implications on young women?

I

trope is controversial as

“

she is always left responsible for changing and improving the man’s life.’’

Heartbreak High: Another teen show entering its flop era?

Imogen Mingos TV Writer

Over the years, there have been numerous TV series portraying teenage life, from British classics Skins and Waterloo Road to big hits like Euphoria and Sex Education. After so many shows focusing on the topic, it does beg the question: is this genre overdone?

The new kid on the block (kind of) is Heartbreak High: Netflix’s reboot of the 90s Australian classic that aired for seven seasons and has been praised for its gritty depiction of teen life in Sydney. This September, Hartley High made a comeback, but this time with increased diversity, social media, and a lot of new slang.

There’s no debate that high school TV shows are well-trodden ground, especially when this one, in particular, is a reboot of its 90s predecessor, but, at this point, does it even matter? Part of the appeal of teen series is that they are relatable for their watchers. Crushes, feeling like a social pariah, discovering a sense of self, arguments with friends, parties, and sex are almost all universal experienc -

es for teenagers during their secondary and high school years. Therefore, the shows depicting them are arguably merely mirrors for young adults to watch their lives through.

With Euphoria-inspired makeup, a sex education class echoing the detention scene of The Breakfast Club, one would think that this would put Heartbreak High in the background of Netflix shows… but this isn’t the case. The series has garnered over 33 million hours of viewing time and 100% on Rotten Tomatoes so far. NME has even called it the “new gold standard for the genre” but if that hasn’t convinced you to watch it yet, then read on for more.

Despite the show approaching familiar territory, there is a freshness to Heartbreak High that goes beyond the soundtrack and the Australian Gen-Z slang. Most noticeable was the non-binary and autistic representation through the

The Bear:

Josef Weidner TV Writer

I n the opening scene of Bear, we are met with our sweaty and hunched pro tagonist as he slowly re treats from an uncaged grizzly bear. If only we knew this would be the most tranquil moment throughout the entire ty of FX’s latest series about beef sandwiches.

Jeremy Allen White plays the young Car my, an internation ally celebrated chef who returns to Chicago after his brother’s sui cide, hoping to revive the family’s sand wich joint. Here we meet the love able yet equally unbearable band of misfits who run its kitchen: the

characters of Darren (James Majoos) and Quinni (Chloe Hayden). Majoos is openly non-binary and Hayden has a TikTok account documenting her experiences with

autism which has a following of 500,000. Both actors, along with lead Ayesha Madon, were cast before the script was written and had a considerable amount of input into their characters.

Fans have also been praising the other main queer, people of colour, and first-nations characters starring in the show since Australian productions aren’t usually known for their diversity. Most importantly, however, as NME so aptly puts it: “The show lets each character breathe without burdening them only with identity plots”. This was also emphasised by the casting of lesser-known actors in the lead roles: Madon had had only one acting credit prior to Heartbreak High and Majoos had not had any. That being said, you certainly wouldn’t notice it from the acting performances delivered by both.

The directors did a commendable job of creating a realistic high

school universe where “every sex act, however obscure, has a name, astrology is serious, and self-helpisms are real speech”. It didn’t feel like these things were shovelled in unnecessarily by writers from another generation, but rather that a lot of the dialogue could have come from actual teenage conversations.

It is also worth pointing out that the teenagers’ outfits were admirable as they were original and eye-catching but felt realistic enough that teenagers would actually wear them to high school. NME described the show as having a “vibrant world where even the extras dress with main-character flair” which was certainly the case.

So is Heartbreak High worth your time? Having a backdrop other than the U.K. or the U.S. was definitely refreshing, as were the characters and the representation. Overall, the plot is engaging, the show is fun, and it makes me want to relive my teen years (to some extent!). If you’re a fan of teen high-school series and are looking for some nostalgia of your secondary-school years, then you should definitely rack off and open Netflix right now.

drama at its flamegrilled peak

breathe. Disney+ ought to have issued some trigger warnings, as plex as the next. The Bear rejects the emotional catharsis we crave so often on screen; there are rarely any heart-to-hearts, the characters aren’t validated or rewarded for their hardship, and life is generally unfair to them. As a result, their relationships come to life in a way that is beautifully unforced and painfully real.

The Bear is undoubtedly worth your time. While far from flawless, it is a refined masterpiece and a career-defining role for Jeremy Allen White. The Bear is Friends if it were directed by Anthony Bourdain, it is hardboiled yet intimate and never shy of some chaos. The result is an experience that wares us down to the bone. Eight episodes is about all the human spirit can endure… and yet we’re still ravenous for more.

hot-headed Richie (Ebon MossBachract); aspiring baker Marcus

quent long takes to drag us right from the comfort of our sofas and

Pie Night with The Great Northern Pie Co.

The Great Northern Pie Co. pies livened up our otherwise cold and quiet Thursday evening

Hannah Wellock Food and Drinks Editor

The autumnal timing couldn’t have been more perfect for the witchiness of the brewery (unless, of course, the event coincided with Halloween). The event, being held at the cute Bee Orchid Bar just ten minutes’ walk from the brewery itself, naturally featured all the beers Strange Times has to offer.

For those less inclined to beer, special cocktails were also available that creatively utilised the beers in twists of classic drinks. The bright, refreshing Lorelei Lager was combined neatly with tequila and lime for a lighter spin on a margarita, and the citrusy Coyote APA added a distinct, malty sweetness to the classic sidecar.

Find Strange Times beers online and at bars and pubs in and around Manchester, and find out more about their crowdfunder here.

There is nothing like a pie night to liven up a Thursday evening in November. My housemates and I were experien -

cing some winter blues which we resolved with a classic autumnal meal because after all, in pie we crust.

The Great Northern Pie company, home to award-winning traditional handcrafted pies, offers a regularly changing seasonal menu of pies which are delivered to your door and baked to pie-fection. Their menu rotates every four months with their signature Lancashire cheese and onion pie available all year round.

The pies came in perfect individual portions for a household with varying diets like ours: a meat eater, a pescetarian, and two vegetarians. And what’s more, they can be frozen and enjoyed later with the local products maintaining their fresh seasonal fillings.

It was a fun night of trying to differentiate between the pies — a lucky dip with so much at steak. Alongside our pies, we made mashed potatoes, roasted carrots, and gravy, creating the ultimate comfort meal and the perfect house family dinner. Allow me to give you a lay of the table:

First up, we have the beef

mince and onion pie: Yorkshire grass-fed beef mince, roast onion puree, ale gravy, peas, redcurrant jelly, Worcestershire sauce, cinnamon and white pepper tested by the house’s resident meat eater, Isi.

This was what can only be described as a well-filled pie; whilst it lacked sauce, there was a lot of filling — a meat lover’s dream if you will. It was heavy on the beef mince and a nice alternative to your classic chunky steak and ale pie. The pie was well-balanced, although more peppery than spiced. Isi noted that as she is not a huge pea fan herself, so the low pea count was perfect, but for pea lovers, it could be disappointing. Her final notes were that she was more than satisfied by her pie, comparing it to that of a gastropub.

Next up, we have the first of the two veggie options, the spinach and cheese pie: white Chesire cheese, spinach, white sauce, star anise, and black and white sesame seeds sampled by a vegetarian Phoebe.

Phoebe’s immediate comment was that the pie had a beautifully smooth consistency

Strange Times Call for Strange Measures:

The mystic brewery’s visions of the future

Strange Times brewery unveils its newest beer named by the public at the launch of its Crowdfunder

threw herself into the Rhine from a rock (a “lei” in old german) and was transformed into a siren, luring sailors to a watery doom.

Strange Times is a brewery run in Salford that brews several varieties of beer supplied around the northwest, each with a sufficiently spooky background.

The aptly named brewery was founded just over two years ago, born out of the COVID-19 lockdown of 2020. It remarkably comprises only three team members who had a “desire to experiment” with new ingredients, which led them to source ingredients globally. Different regions around the world don’t only provide the ingredients but also a set of mythologies and folklore that inspired the naming of their brews.

For example, the refreshing Lo -

If you fancy something darker, why not go for the Mad King Sweeney Irish Red? A malty ale brewed with oats and rye imported from Ireland and inspired by Buile Suibhne, a ferocious king cursed into madness during battle. In his insanity, he killed a psalmist who cursed him to forever wander the land alone like a bird until he was killed by a spear. The poor guy couldn’t catch a break.

All the company’s artwork is done by the incredible Mina Mond, an artist based in France with a characteristic macabre style. Her designs draw inspiration from tarot cards, tying in with the drinks’ my-

a promotion, the brewery held a competition to name their new beer debuting later this year. Members of the public submitted possible names; the top four were then selected and put forth again to the public for a vote.

Manchester-based puns appeared popular, with one contender being “Andy Beernham”. Ultimately, the winning name was “This Charming Can,” a homage to the Salfordbased band, The Smiths, while also in reference to Strange Times’ current aspiration to purchase a canning machine to make their beers more accessible.

Strange Times held a tasting event for the opening of their crowdfunder and announcement of the new beer’s name. The brewery is crowdfunding to raise £40,000 to buy a new canning machine which will allow them to expand their offerings nationwide.

and an incredible. strong cheese flavour. The spinach was more of a subtle undertone as it didn’t fully cut through the cheese and white sauce but added to the overall flavour palette of the pie. The pastry stayed together well — an essential for a pie with a creamy filling — and allowed for the perfect forkful without falling apart. Phoebe’s final comments? The pie paired very well with gravy and that she would order it again in the event of another pie night.

Last, but very much not least, is the classic Lancashire cheese and onion pie: Dewlay’s tasty Lancashire cheese, caramelised white onion, white pepper, nutmeg, and Japanese breadcrumbs which, as the token Northerner in the house, I tried myself.

This pie was the sauciest of the three, it had an incredible creaminess and a nice consistency, not too thin or thick, with gorgeous caramelised onion running through. There was a perfect amount of sauce — arguably the main component of this pie. The pastry held itself together very well which is incredibly necessary with a saucy

pie — there is nothing worse than a soggy bottom. The only thing I could say is that some parts of the pastry were slightly too thick, but with the well-ba lanced flavours and great filling, this really wasn’t an issue.

The Great North Pie Co’s pies are avai lable for home delive ry, order boxes of four for £18 or 8 for £34 on line. While they stand on being slightly ex

Ready for Rudy’s (Didsbury)?

Pizza is one of those foods that everyone has an opinion on. Some like it thin and crispy, others prefer the thickness of a deep dish, and some even like it covered in pineapple...

It’s hard to think of something that hasn’t been done before, something novel and exciting. It’s tempting to venture into novelty: pizza loaded with fries, Nutella-based pizza, pizza with all sorts of bells and whistles on.

Stop right there. Rudy’s has the answer. Thin, Neapolitan pizzas cooked for just 60 seconds, served up for a tenner. And no, they do not do pasta. It’s good food done well. To be honest, I could end the article there, but I won’t.

There’s so much more under the surface of this simple idea. First opened in Ancoats in 2015, the brand has been

expanding ever since. Rudy’s Didsbury is the fifth location in the city alone, with others popping up in Liverpool, Sheffield, and London. It’s clear why. When we visit on the third day of opening in Didsbury, it’s packed.

The restaurant itself looks like Pizza Express’ older, cooler cousin. There are marble tables, soft lighting and a buzzing atmosphere, as waiters swoop enormous pizzas past you. It’s a family-friendly venue, with bookings open till 8 pm, so I’d advise getting down early to guarantee a table (or counter seat, so you can watch the pizzaiolos hard at work).

With a Manchester Winter almost upon us, we’ll all be missing the sun. Visit Rudy’s Didsbury for a taste of Naples not too far from home.

For the full review head over to Mancunion. com

Rudy’s Neapolitan pizza is light, tasty and now, closer than ever!

James Egerton Food and Drinks Writer

Izzy Langhamer Food and Drinks Writer

Photo: Strange Times Brewery

Revisiting Jacqueline Wilson: Traumatic or trailblaising?

Bethan Watkins Books Writer

Throughout the 2000s, millions of parents planted their children with Jacqueline Wilson books to keep them quiet. Unknowingly, they were feeding them with stories of divorce, domestic abuse, mental illness and homelessness. Under the bright front covers and jazzy illustrations lurked a whole array of dark themes.

At the time, we didn’t bat an eyelid. We gobbled up stories of Tracy Beaker ’s time in care, Hetty Feather ’s abandonment, and Vicky Angel ’s traumatic death. But as the years have passed and Wilson’s readership has matured, questions have begun to arise. Why were we consuming such heavy topics at such a young age? Were the books exploitative of traumatic experiences? Or was Wilson pushing boundaries and writing about otherwise taboo topics?

While children’s books are so often concerned with fantastical adventures and far-off lands, Wilson’s books stood out for their gritty realism. Drawing from her own childhood experiences witnessing her parents’ turbulent marriage, Wilson’s stories depicted family tensions and adult themes through a child’s lens.

Her first major success came with The Story of Tracy Beaker

The story of a feisty ten-year-old girl navigating life in a care home became a cultural staple of any mid-2000s childhood. It spawned three sequels, a film, and a CBBC television adaptation, cementing both Tracy, and Jacqueline Wilson, in the cultural zeitgeist.

From then on, Wilson became a force to be reckoned with in the children’s literary sphere. Often publishing multiple books per year, it became hard to go into a bookshop or school library and avoid the instantly-recognisable rainbow covers. However, despite being a Children’s Laureate from 2005 to 2007, not all of Wilson’s work was received with praise.

From bickering on Mumsnet to writers dissecting her books, she has remained divisive among parents and critics.

One of the worst offenders is the infamous Love Lessons . It follows fourteen-year-old Prue, struggling to fit into her new school. She forms a bond with her art teacher, who begins to reciprocate her romantic feelings. By the end of the book, Prue is expelled, while the teacher keeps his job and goes unpunished.

The lack of repercussions and Wilson’s romanticising of grooming sends an undoubtedly disturbing message to her young readers.

Another example of this questionable messaging is Secrets.

Middle-class, privately educated India befriends Treasure, from the

local council estate. Inspired by her hero Anne Frank, India hides Treasure in her attic, to save her from her abusive stepfather.

The exploration of class dynamics, as well as the attempt to parallel Anne Frank’s experience, feels uncomfortable and misjudged. It’s an example of how close Wilson gets to sensationalising her characters’ experiences for pure shock value.

Along with some particularly shocking standouts, there are some overarching issues within Wilson’s oeuvre. Given the otherwise diverse range of backgrounds, social classes, and experiences, her protagonists are overwhelmingly white.

The absence of non-white characters is glaringly obvious, suggesting that her depiction of suffering and victimhood is only applicable to whiteness. It’s also contentious that Wilson has made millions off of stories about poverty and suffering whilst continuing to profit from these stories over the decades.

These criticisms and extreme examples raise the valid question of why we were consuming such heavy themes as children, and what made Wilson’s formula so popular. At a time when bookshops were filled with Harry Potters and Percy Jacksons, Wilson captured a distinct sense of girlhood and female coming-of-age. Her

protagonists didn’t have magical powers or predestined fates. They were ordinary children with flaws and fears, navigating the adult world (which in itself is often scarier than any fantastical land).

Wilson wrote about the topics that felt otherwise forbidden, restricted to whispered conversations between grownups. Children going through similar things could see their reality reflected on the page. Those navigating divorced parents could see themselves in Andy in The Suitcase Kid . Those living in poverty were represented in The Bed and Breakfast Star . Those struggling with bullying found a friend in Mandy from Bad Girls

Equally, children from more conventional backgrounds were shown the harsh reality of the world beyond the walls of their home. Whether you could relate or not, Wilson’s novels opened our minds and started important conversations on otherwise taboo topics.

When taking a look at Wilson’s current work, it’s clear that she won’t be shying away from heavy topics any time soon. Her most recent release, Baby Love , is a heartbreaking story of teen pregnancy. Meanwhile, 2020’s Love Frankie made headlines for being Wilson’s first queer novel after she came out as gay in the same year. Her continued dedication

to these themes, as well as her philanthropy and involvement with various charities supporting vulnerable children, shows that her commitment to these issues goes beyond her literary output.

While we tend to remember Jacqueline Wilson for her most trauma-inducing books and shocking moments, these shouldn’t cloud over her legacy. While it’s debatable as to whether some of her work would be received as warmly in today’s cultural climate, our connection to her and her characters makes her a figure that almost transcends cancel culture.

She forged characters and storylines that stuck with us long after we returned the library books or cleared out our bookshelves. Her impact can still be felt, both in the cultural shift she caused in the children’s genre, and in the conversations she sparked on otherwise unspoken social issues. Yes, Jacqueline Wilson traumatised us all, but also shone a light on modern social issues.

X: A Manchester Anthology review

As blasphemous as it may sound as the editor of the books section, I have never attended a book launch. As such, I wasn’t quite sure what to expect from the launch of the newest edition of the Centre for New Writing anthology. Suffice to say, I will be going to more.

The setting alone was aweinspiring. Held in the bright building in Manchester’s science park (just behind the Main Library), a massive light sculpture greets you as you walk through the doors. Equally awe-inspiring is the smorgasbord of free drinks and food that greeted my housemate. As well as a selection of soft and non-alcoholic drinks, there was a selection of beer, white wine and red wine all provided for the price of the free ticket.

Just as we thought that couldn’t

be topped, we cast a hungry glance over the selection of snacks provided; vegetarian antipasti, red pepper and parmesan tart, rice paper rolls and beautiful, ruby red falafel made up my evening’s diet. Furthermore, everything was vegetarian, meaning none of the usual awkward asking of a caterer whether that really is beef in the summer rolls.

Following the initial food and drinks, we sat down to settle into the bulk of the evening’s content; the reading of the anthology. Of the 17 writers that contributed to the anthology, twelve were present on the night, six of whom would read, followed by an interval, followed by another six.

Having had no real clue what the anthology was, I was pleasantly surprised to learn that it was the final works of students of The Manchester University Centre for New Writing’s programme. This game the evening a distinct relatability, especially as an

English literature student myself.

The readings were introduced by Professor Ian McGuire, codirector and lecturer at the Centre for New Writing, and author of North Water. It’s fair to say that McGuire his talk in the boldest way possible, citing, «Getting an erection in public is, at best, impractical.»

Each of the pieces was read by their own author, and each brought a very different element to the evening. Starting off with an embarrassing tale of prepubescent discovery, to teenage loving, to a genuinely harrowing story of an ectopic pregnancy. All these topics were just within the first six readings, and the writings were incredibly varied.

However, what struck me most about the pieces was not their variety, but just how personal they were. Not necessarily that they were biographical in any way (I’m not sure if any were or not), but that each of the authors had put

themselves onto the page.

When reading their own work, their eyes lit up and their voices spoke loudly and clearly and it was obvious to tell the pride that each had in their work. The stories, tales and poems were given an extra level of resonance and, to someone who had no ties to any of the authors, they affected me far more than I ever could have imagined.

As aforementioned, the book was not just comprised of short stories but of a selection of poetry. One that particularly stood out to me was Jennifer Nuttall’s poem, Here’s You. Intertwining the microscopic aspects of the body with sweeping images of the universe, the poem oscillates between the big and the small, leaving the listener caught between the two, marvelling at the connections between these two seemingly opposite ideas. On the page the poem took the shape of a human body, as the content of

poem is reflected in the form.

Although I have singled out this one poem, every piece of work was exemplary. When the evening had begun I thought it was going to take a lot to outdo a glass of red wine and a parmesan and red pepper tart but with the standard of work on display, I couldn’t have been more wrong.

In recent years, Jacqueline Wilson and her books have become a topic of dispute and controversy. From death, grooming and foster care - did Wilson go too far?

Photo: @ Nick Sharratt

Jacob Folkard Books Editor

52 Forgotten Women: Why you should read Bygone Badass Broads

Megan Bailey Deputy Book Editor

Mackenzi Lee’s Bygone Badass Broads: 52 Forgotten Women Who Changed the World , is an empowering tale of struggle and success through a female historical lens. In honour of Reclaim the Night, let’s dig into the book and why you should be reading it.

Having graduated with a BA in History, Lee details 52 stories of women who have left huge imprints on society through both hu manitarian acts and technolo gical pursuits. From women living in the ancient world to women who altered the trajectory of modern times, here are some personal favourites from the collection.

Agnodice

Scared that women might perform secret

abortions, the ancient Greeks did not permit female physicians or medical trainees. Lee writes of a woman named Agnodice who was so desperate in her mission to be a doctor, that she cut her hair and posed as a man in order to aid women in need.

After being caught, Agnodice was sentenced to death, but a rally of women who she had helped came to the rescue, not only freeing her but allowing her to continue practising medicine.

Agnodice and her patients are a true example of what it means to be a woman.

Mary Anning Born in England, Mary Anning was fascinated by gathering and collecting fossils. During one of her endeavours, she found and iden -

tified a complete Ichthyosaur skeleton which was later sold to the Museum of Natural History.

Not only was this mind-blowing because it challenged ideas proposed by the Bible and suggested new notions of dinosaurs, but because Mary was just twelve years old at the time. The self-taught expert in palaeontology discovered more and more breakthroughs but struggled against men who fought to discredit her. Her story is both frustrating and inspiring to young women hoping to achieve their goals, especially those in male-dominated fields.

Lakshmibai

This story begins when Lakshmibai’s husband became ill and – with no heir

to succeed him – adopted a son to reign after his death. When this happened, however, the East India Company refused to recognise this rule as legitimate and annexed Jhansi (the region of India in which Lakshmibai and her son were the head of).

The British did not quite plan for her open revolt and retaking of Jhansi which would come. Lakshmibai continued to lead alongside her son, exempting the poor from taxes and selling her jewellery to pay her soldiers. Though the story ends with her losing her territory to the British, Laksh mibai remains a true symbol of wo men, especially women of colour, rising up against systems that seek to oppress them.

Alice Sebold Memoir:

These are just three of fifty-two amazing women spoken about in Lee’s book. The writing style is witty, and sarcastic and makes reading these wonderful stories all the more powerful. With the most beautiful illustrations by Petra Eriksson next to each woman’s tale, there is so much to reflect on after reading.

The changing narrative of racism, activism and sexual violence

changed over forty years?

Alice Sebold was a college student when she was raped. She was an 18-year-old at Syracuse University when that one night changed her life forever.

However, it also ruined that of Anthony Broadwater. After being convicted of Sebold’s rape in 1982, he was later found innocent and exonerated after a sixteen-year prison sentence and twenty-three years as a registered sex offender.

This would not have been the case if not for Sebold’s 1999 me moir Lucky which was set to be adapted into a film by Timothy Mucciante, who quickly disco vered that Broadwater had been falsely sentenced and imprisoned. What are the implications of this? Who is responsible for the miscarriage of justice?

What does this case tell us about how the discourse on sexual assault has

Broadwater, a former marine, was arrested five months after the rape of Sebold and convicted of rape, assault, and robbery despite being misidentified in a police lineup. The only piece of evidence tying him to the scene was ‘microscopic’ hair analysis.

This is an obvious failing of the US justice system, especially since their case was undone by a filmmaker and a private investigator. Sebold in her apology issued said, “He became another young Black man brutalized by our flawed legal system. I will forever be sorry for what was done to him.”

Mucciante wrote for The Guardian when discussing how he came to uncover the truth behind Sebold’s rape:"My common sense told me something was wrong with the story. That the obvious truth had been ignored raises the bigger question: how wides -

pread is this? " This is undoubtedly a crucial question to ask regarding rape convictions.

The English and Welsh charity Rape Crisis reported 70, 330 rapes recorded by the police in the year ending March 2022 but only 2,223 charges of rape cases were brought in. Of course, the astonishing lack of rape convictions in England and Wales is devastating, we’d hope that forty years later the justice system has improved in both the US and the UK so that those who are charged have not been done so falsely.

Could the significant lack of rape convictions be a contributing factor in women taking matters into their own hands? Although Broadwater had already been sentenced and subsequently released when Sebold published her memoir Lucky many sexual assault survivors use books as, "a vehicle for activism and as a call to action for the readers, the media, and the government."

Therefore, there’s no doubt that the US justice system failed Anthony Broadwater, but Sebold’s memoir itself was not such a catas -

trophe. Lucky used a pseudonym for Broadwater throughout so that she didn’t publicly defame him while working through her own trauma and looking to help other survivors of sexual assault. Moreover, suppose the book hadn’t been picked for adaptation. In that case, Broadwater may never have been exonerated and removed from the sex offenders’ registry which meant he could never get jobs other than a trash hauler and a handyman.

became another young Black man brutalized by our flawed legal system. I will fore ver be sorry for

Sebold’s rapist was never caught and convicted but An thony Broadwater’s life was forever changed by the prejudice and miscarriage of justice demonstrated by the US legal system.

However, Sebold’s memoir positively changed her life as well as those of other women, and Mucciante’s work on the film adaptation has exonerated an innocent man. His documentary will still go ahead but as an investigation into the Anthony Broadwater case called Unlucky

Low conviction rates aren’t the only story though; this case shows the authorities’ preoccupation with statistics and appearing to serve justice rather than using necessary time and resources on convictions for the safety of woThis is why Reclaim the Night is such an important event in Manchester and why I will be proudly

The Mancunion in celebrating the stories of women throughout history who have changed the world with their achievements

“

He

what was done to him

Imogen Mingos Book Writer

Alice Sebold’s convicted rapist has recently been exonerated after her memoir was picked to be adapted into a film

Photo: The Mancunion

Photo: Bygone Badass Broads 52 Forgotten Women Who Changed the World By Mackenzi Lee

Photo: David Shankbone, Wikimedia

Photo: Lucky, Alice Sebold

The Ocean at the End of the Lane: In conversation with Eleri B. Jones

Rosemary Russett Theatre Writer

After seven months at the National Theatre in London, The Ocean at the End of the Lane is embarking UK and Ireland tour. Ahead of its regional premiere, at The Lowry in Salford, I talked to the play’s Resident Director, Eleri B. Jones, about returning to Manchester, the joy of theatre, and what a Resident Director does.

Eleri first trained as an actor at the University of Manchester, but even from a young age, she was involved in amateur dramatics: “I’ve always been involved in theatre,” she tells me. When I ask what prompted her to become a director, she explains how it was more of a process than an instant decision: “I was always on the directing team [in amateur dramatics]. But I think I hadn’t

given myself permission.” It was not until people pointed out that she had accidentally started an artists collective that Eleri began to recognise herself as a director.

Now, until September 2023, she is Resident Director of The Ocean at the End of the Lane based on the book of the same name by Neil Gaiman, which is visiting 29 cities and towns across the UK and Ireland.

First, to ask what a Resident Director actually does.

“I’m

show, maintaining artistic quality, supporting the illussion, puppetry and movement teams. I’m also in charge of understudies.

It seems like a massive job! Ultimately, it is about making sure

the show is “embedded in the theatre”, since each theatre has a slightly different space. This is especially challenging since the show is a hugely technical one, using a range of effects to immerse the audience.

For added difficulty, the actors only arrive in Manchester on the day of the first show. “We’ll arrive around midday on the Tuesday, do a technical rehearsal, maybe a dress rehearsal, and then we perform on Tuesday evening.”

Eleri has performed at The Lowry before, but she tells me, “This is my first time in the main house [the Lyric Theatre].” Although it is a big project, she seems excited to be starting in Manchester and directing in a staple Manchester theatre. “I can’t wait to be back!”

This first series of shows makes up the previews, and while the tickets are often cheaper, they are no less exciting. “At this stage, we’re still making adjustments,

we’re rehearsing between shows. They’re really unique shows.”

An audience that sees one of these first performances may see something never performed quite that way again. But this is true to an extent for all theatre. As Eleri says,

But back to this piece specifically. What is The Ocean at the End of the Lane about? Well, summed up in a few sentences: “It’s about friendship, about adventure, about growing-up. It’s about learning to overcome the obstacles that life puts in your way. It also has these sci-fi elements.”

As Resident Director, Eleri is also on the learning team, talking to teachers and young people about the play. But she insists that it’s not just a play for children.

The play is set in Sussex, a setting which begs for a Sussex accent. I ask about the importance of representation of dialects and accents, especially from a theatre such as the National Theatre,

where people might expect to mainly hear RP English.

“It’s even more important than ever that people feel involved in the National,” Eleri explains. “Especially for rural communities, it’s such an important thing to be doing. It’s what makes the theatre national.” The commitment to accent shows the range of work the creative team is putting in to make the whole piece feel authentic and truly a piece of fantasy set in Sussex.

Finally, what could follow this tour? Although she has a lot of creative projects in the works, Eleri confides that first, “I think I’m going to go on holiday.” After a nine-month tour and 29 venues, I can only say that I think she will have deserved it!

The Ocean at the End of the Lane is at The Lowry from December 12 until January 8 – the first stop of its UK and Ireland tour, which ends in late September 2023.

Review: Be Home Soon (UMDS)

UoM Drama Society’s first play of this academic year Be Home Soon is a heart-warming story full of promise and talent for its amateur cast

Witiko Grevel Theatre Writer

The UoM Drama Society makes a grand entrance with its first performance of Be Home Soon. Their first play of the academic year is written and directed by Liliana Newsam-Smith. The heart-warming story follows a young lost soul named Raf (Arran Kemp) who moves in with a stranger and begins to unpack his life with the help of friends new and old.

The play quite neatly begins with Raf bringing a painting onstage and placing it in a central position on an easel. This painting of a masked couple in each other’s arms stays on stage throughout the play. Looking in on Raf, the painting reveals itself to be a part of him and his struggles.

Spoilers ahead: The intimate studio

slowly realises that Raf is trying miserably to move on in life. Despite something horrid that continues to haunt him about his past relationship.

Relying on a multi-purpose set, designer – Flora Scutt worked together with directors Liliana Newsam-Smith and Calima Lunt Gomez to introduce more of Raf’s furniture throughout the play beautifully gradually. A visual signifier perhaps of a slow unpacking of the main character.

As he attempts self-therapy and reassembles his many memories with the ambition to move on with his life.

Raf appears equally glum before and after his relationship. When he is confronted by his absurd and impulsive girlfriend Mel, he appears stiff and introverted to say the least. She metaphorically carries him on her back to a date in France. Where

giddy. She ambushes him with help, coffee, and almost-one-sided quality bonding time. Raf doesn’t endeavour to reveal much of his past to her. Raf’s behaviour full of apathy and lethargy at this point reminded me much off how I had become after six months of lockdown in 2020.

Unlike Kaya, we the audience learn more about Raf and witness significant events from his past and quite a personal relationship. We start to see Raf’s character surprisingly loosen up to the sentimental song ‘Darling Be Home Soon’ by The Lovin’ Spoonful. He enjoys his time with his girlfriend and they become quite tipsy. Raf discusses the meaninglessness of his life in an almost Monty Pythonesque examination of the universe. Mel brings him back to Earth, reminding him that his little corner of the universe is immensely important to his tiny

They proceed to spar with wooden cooking spoons and colander helmets. No caring, simply enjoying their time together. This moment required expert choreography. Avoiding many potentially catastrophic stubbed toes, hit funny bones, and impaled backs on the very closely assembled and sharply cornered wooden furniture. After enough waiting, the couple realises that they are attracted to each other. They dare to follow through on their fourth kissing attempt and take off the colanders. Raf has truly let himself be liberated.

A return to the present day and Raf clumsily let Kaya see a picture of Mel. Then she sees a few more until she understands his backstory and the tragic end of his relationship, and Mel. She invites and encourages him to join her and her friends at the pub. A night of fun to cheer him up but despite her desperate attempts, he opts to mope at home.

Raf’s last memories with Mel show a struggle between them, followed by a seemingly forced amends. Raf chastises Mel for always avoiding reality. He blames her for supporting his ambitions as an artist which turned out unsuccessful much to the distaste of the Drama and Film students in the audience. Raf and Mel still manage to hug and make up.

Raf decides to pick up the phone and arranges to meet Kaya at the pub. As he leaves, he sees his faithful memory of Mel smiling over at him from his halfunpacked boxes. He has dealt with his memories to the point that he can look back fondly, without pain. His self-therapy has taught him he need not fear the past. Instead, he may enjoy the memories he has and try to make some new ones. As his resolution comes to light the dreamy tender song ‘Darling Be Home Soon’ returns and accompanies him out the door, and later the audience too.

An interesting aspect of this play is that although the supposed main character is Raf, most of the scenes end up focusing on Mel or Kaya. Their characters seem more

animated or developed, occupying more space on stage and in the script. This effect means that Raf only takes over the reins halfway through the play when he finally has something to say. Perhaps this helps symbolise Raf taking control over his life again.

The limited use of music brought more significance to Raf’s rare states of contentment, the peace within himself and his tumultuous past. Its use in the ending also brought a hopefulness that with the substantial support from his new flatmate, he will open up. Once again having fun and developing a positive outlook on life. And not the email kind.

Overall, I must admit that this play showed real promise and it delivered. The acting and directing around the design all worked superbly together. They formed a very intriguing and delightful story that the Drama Society should be proud of. This first night was successful to the point of an immediate standing ovation. I let that speak for itself.

Eleri B. Jones, a former UoM student and the Resident Director of The Ocean at The End of the Lane, talks to The Mancunion, ahead of the play’s regional premiere at The Lowry

going on tour with the

CULTURE

Review: Rodgers and Hammerstein’s Cinderella

Jay Darcy Theatre Editor

L ast year, Hope Mill Theatre’s holiday musical was The Wiz – a whole decade after it last played in the UK. This year, they were even more ambitious: they have produced and directed the European premiere of Rodgers + Hammerstein’s Cinderella.

Though that might be quite the tough task, anybody who has ever seen a Hope Mill Theatre produc tion will have had high expecta tions – especially after their criti cally acclaimed adaptation of The Wiz.

This was actually my first ever Hope Mill Theatre press night. I attended The Wiz different night, and sadly I did not get chance to see Passion so it was exciting just being there –but especially because this is the European premiere of a Rodgers and Hammerstein musical!

It never fails to surprise me what the creatives at Hope Mill Theatre manage to do with such a small, intimate space. They produce full-blown Broadway musicals in what is, essentially, a black box studio – significantly smaller than my high school drama studio!

But the creatives strive to make us forget the real-life setting, especially

at the back. Projections and moving images are becoming more common in musical theatre, and for a small theatre like Hope Mill – that does not have the capacity for whopping pieces of set – they really help bring the story to life. The ensemble-led opening was followed by a scene in the forest, lead by Prince Topher (Jacob Fowler of Since September, who I recently interviewed), who was accompanied by an entourage. An hilarious moment came

Some of the costumes were a little pantomime-y (the Stepsisters’ dresses were wonderfully whacky, but some of the supposedly gorgeous gowns were a little gaudy) but, for the most part, they were beautifully designed.

I particularly enjoyed all of the ballgowns at the, well, ball, and I loved the creative decision to leave Cinderella without a mask. She has been magically transformed from a bumpkin into a Princess, until the clock strikes 12: that is the mask, or, rather, the guise. ‘But will the Prince still love Cinderella when he sees the real her?’

I could talk about the dazzling design forever, but I must also comment on the incredible cast. The cast is lead by Grace Mouat, who is bestknown for being a swing in the original West End and touring production of and the world premiere of & Juliet (in Manchester, before transferring to

Prince goes by: His Royal Highness Christopher Rupert Vwindemier Vlandamier Carl Alexander Francois Reginald Lancelot Herman Gregory James, or “Topher” for short!

His full-name was sang many times, sometimes accompanied by grandiose descriptions and honorific titles, such as “slayer of dragons” and “no friend to gargoyles”. Whilst Topher tired of hearing his ridiculously long name sang over and over again, I never did! The Fairy Godmother (aka “Crazy Marie”) is played by an Australian actress of East Asian ancestry (as I like to say, representAsian): Julie Yammanee (Here Lies Love – original UK cast; Bonnie&ClydeTheMusicalIn Concert). Her powerhouse vocals blew the audience away.

ter’s Lament’ (my favourite number in the piece) is performed by Charlotte and the other women longing for the Prince, with no Gabrielle. At first, I wasn’t sure what to think, but the chemistry between the competing damsels was so captivating that I was quickly sold; I think this version might actually be better.

The production poked fun at itself when the stage span around to reveal the actors behind the shields. The actors realised they had been seen by the audience, and that the horse was no longer visible, so they freaked out. It was a brilliant breaking of the fourth wall that created a pantomime-esque feeling for this holiday musical.Some of the set pieces, however, were pretty splendid, such as the golden carriage (moving images were used to show the pumpkin transforming into the carriage, before stencil-like set pieces came together to form a car-

Mouat injured herself during Cinderella‘ssecond preview, and whilst she completed the show (for the show must go on!), she had to take time to recover, and her understudy stepped in. The press night was thus postponed by almost a fortnight, allowing Mouat time to recover and step back into the role.

Having seen Mouat twice before (when I saw Six, she played Catherine Parr, my favourite character), I had high expectations, and she did not let me down. She has the voice of an angel and the charisma of a fairy. She’s a star-

My loyalty always lies with the female villain, and I’ve always loved the Wicked Stepmother. Annie Aitken did not disappoint as Madame. She possessed a delicious, devious gravitas, and you could not help but love (to hate) her.

Like Yammanee, Aitken is Aussie, and she has had a successful career over there, starring in the original casts of Muriel’s Wedding and Melba (as Melba) and the original Australian cast of A Gentleman’s Guide to Love and Murder. It’s an honour to now have her gracing British theatres! The stepsisters, meanwhile, are played by the charismatic Katie Ramshaw (Charlotte) and the endearing OliviaFaith Kamau (Gabrielle).

Charlotte is your typical pan-

The reimagining of Gabrielle is but one refreshing change in the 2013 Broadway production. The most noticeable is, of course, the theme of social justice: Gabrielle falls in love with a revolutionary (even worse than a baker), and Cinderella opens the Prince’s eyes to the injustice in the Kingdom, caused by the Prince’s corrupt regent, who has been ruling since the demise of his parents. The production also seeks to make Cinderella more of an active heroin, and it achieves that, in part, through three small twists, which involve the glass slipper (at the ball, the banquet, and, yes, even the slipper-wearing ceremony).

Save for the little twist at the end of the first act, the plot so far had followed the original quite closely. Just before the second act began, my friend, Sally, joked, “I wonder what happens next.“ For everyone knows the story of Cinderella – but not this story.

I bumped into Jacob during post-show drinks and repeated a conversation we’d had in our interview about classic musicals, such as Rodgers and Hammerstein productions, feeling dated and irrelevant. We both agreed

The European premiere of Rodgers and Hammerstein’s Cinderella, starring Grace Mouat and Jacob Fowler, is tantalising audiences at Hope Mill Theatre

Photo: Pamela Raith Photography @ Hope Mill Theatre

Sex work and the fashion industry: An acceptable source of inspiration?

Alice Henderson Fashion Editor

The fashion shows of 2022 have seen models clothed in latex, fur, and increasingly little clothing. Think Cher in a latex one piece for Balmain, or Miu Miu’s ever-famous micro skirt. Of course, women can wear whatever they want; showcasing the female form is an act of empowerment. But, it would be unfair to ignore the styles’ origins, and even more so, naïve to overlook their reception.

Defined as the exchange of money or goods for sex and intimate services, sex work has been acknowledged as an industry since 1780 BC, when the Code of Hammurabi (a Babylonian legal text) specifically mentioned the rights of a prostitute or child of a prostitute. At this point in time, the colour red

was already associated with the ‘Whore of Babylon’, adultery and lust.

It’s not a coincidence that the Red Light District in Amsterdam, often referred to as the ‘Pleasure District’, is famous for its cluster of sex services. Most com mon in the region is female street prostitution. Outlined in red window lights, women attempt to attract passers-by with their appearance, manipulat ed and enhanced with clothing. Most women opt for lace lingerie in a variety of cuts and colours, some choosing erot ic costumes like po -

licewomen and nurses.

Sex appeal must be high in order to attract business, and fabric plays an important role in this. Lace is stereotypically feminine — innocent even — yet the delicate cut-outs rewindows of skin, hinting at what lies beneath. The duality between innocence and eroticism is romanticised. Many women choose to wear lace due to its association with wealth too. Lace was tra -

ditionally associated with luxury — it provides women value in a world which repeatedly denies them as soon as they are associated with sex work. Similarly, latex is fetishized. Its smooth, shiny appearance can be considered skinlike and phallic. Leather clothing is viewed in a similar way.

The Vivienne Westwood x Malcolm McLaren partnership was the first to pick up on the sexual appeal of the leather-punk look.

Unlike Yves Saint Laurent, who was fired for designing a leather jacket for Dior in the 60s, they figured out how to sell it as fashion. Westwood and McLaren opened their famed shop SEX in 1970. Brands such as Vivienne Westwood, Louis Vuitton with

their Playboy-inspired show in 2009, and Marc Jacob’s use of latex and buckled boots in his 2016 AW show, still use sex as a source of inspiration today.

But is it possible to reinvent sex work-inspired attire as something entirely empowering? The line between self-expression and being branded a ‘slut’ is slim.

Appropriating sex work is problematic; it romanticises a sector of workers who are underrepresented, discriminated against, and vulnerable. As much as an outfit may empower a model on the runway, it’s difficult to alter the reception of sex-work outfits in the public sphere when the trade has such a stigma attached.

Why is Johnny Depp in the Savage x Fenty

Fashion Show?

himself?

Imogen Mingos Fashion Editor

Rihanna has spent the past four years extending her empire beyond the music industry and into the world of fashion with her lingerie brand Savage x Fenty. This year’s fashion show was set to feature a surprise guest. However, ahead of its release, TMZ leaked that the surprise guest would be none other than Johnny Depp.

The actor, who spent most of the past two years in courtrooms with his ex-wife Amber Heard battling libel and defamation cases, was the “star” of the show modelling the brand’s first men’s collection. So what does this mean for Rihanna, her brand, and Depp

Despite Depp losing his libel case in March 2021, he won his defamation case in June of this year and consequently, The Guardian reported, «the once-disgraced actor [is] being rehabilitated by the entertainment industry.» This year alone, Depp has appeared in August’s MTV Video Music Awards and Dior resumed screening his Sauvage Eau de Parfum advert. This means that the actor is well on his way to regaining his place back in mainstream pop culture.

It’s no secret that Hollywood loves a redemption arc. We have famously seen with Robert Downey Jr, and we are currently witnessing one with Brad Pitt, following accusations by ex-wife Angelina Jolie of abuse on a private plane. Could this be the revival of Johnny Depp that he has been waiting for?

Before we get to that, Depp isn’t the only one facing a renaissance this year as Rihanna herself is also making a comeback.

After focusing on her beauty and lingerie brands, the singer has earned herself billionaire

status - making her Barbados’ first billionaire. However, after six years of radio silence in the music industry, Rihanna released her first

in ‘Vol. 4’, but it was reported that it was Rihanna’s own idea. The cameo had already been filmed before the news was leaked but there’s no doubt that the other stars such as Cara Delevingne and Taraji P. Henson will, «fall under his shadow.»

Rihanna’s fan base is known for being loyal, but could this cameo be a test of such?

The singer herself was a victim of a violent attack by then-boyfriend Chris Brown which brings into question her reasons for featuring Depp in her brand’s fashion show. Especially since Amber Heard’s lawyers are calling for a retrial.

formance, it’s estimated that Rihanna will, «probably glide above this controversy she’s courted… Her fans will be her fans despite this weird breach.»

Whilst I can’t argue with Hollywood redemption tales and fanbase loyalty, is there a wider implication for featuring Depp in her fashion show? It’s rather a grey area since both parties were accused of alleged abuse during their divorce

in 2018, and Depp won his defamation case but lost his libel case.

song ‘Lift Me Up’ for the new Black Panther movie: Wakanda Forever. She will also be performing at next year’s Super Bowl.

There has been no explanation from Rihanna or the Savage x Fenty brand as to why Depp is starring

Vanity Fair argues that, «[c] ourting controversy has never been for her,» which does little to explain her decision. They say that both Depp and Rihanna might even benefit in the short term as his fans are equally if not more «powerfully vocal and loyal» than hers.

With the release of new music and her upcoming Super Bowl per-

Moreover, Depp is already set to make comebacks both behind the scenes and on screen, which suggests that Rihanna’s stunt would have little to impact this. I, myself, however can’t help but wonder why she chose to do so in the first place – but I suppose sadly we’re never likely to find out.

Why is sex considered a staple inspiration for the runway and magazine covers? Where do its origins and boundaries lie?

The actor who has spent two years in courtroom battles has made one of his first big appearances in Savage x Fenty’s fashion show - why?

Live review:

Benjamin Chesworth Music Writer

No place was better aesthetically suited than YES’s Pink room for Luna Li’s performance. It’s gorgeous, vibrant colours perfectly mirrored the captivating performance of Hannah Bussiere Kim (Luna Li) and her tour band, who managed to effortlessly capture the luscious blend of Kim’s music on Duality, that combines classical, indie, bedroom pop, and rock elements into a uniquely familiar style.

The concert’s opener, Nyah Grace, served up a wonderful dose of modern RnB and soul. Complete with virtuoso guitar lines, heavenly piano playing, and a drummer and bassist so in sync with one another, that you’d struggle to convince me they weren’t long lost brothers, the band put on a brilliant show.

The baton was then passed onto Luna Li and company, opening with the

sweet, danceable ‘Alone But Not Lonely’, a title that perfectly encapsulates one of lockdown’s rising stars. She achieved virality from her minute-long vignettes on social media, that instantly displayed the incredible amount of talent and personality behind her music: from the classical inspirations in her violin, harp, and piano playing, to the galvanising electric guitar solos in her rockier influences. After a few songs from Duality, the band went into a quick-fire of these vignettes from the Jams EP that were an excellent warm up into the emotionally potent latter half of the concert.

The band created a versatile soundscape, with each member holding their own. Both Charise Aragoza on synth, and Hallie Switzer on bass doubled as a stunning backing vocal duo that filled YES’s Pink Room. The former also swapped briefly onto guitar for a few cuts, displaying the her multi-instrumental talent.

The band was rounded off by Braden Sauder, providing larger than life drumming that brought harder cuts like ‘Star Stuff’ to new heights in a live setting. Whilst unfortunately the harp couldn’t make it to the performance, Luna Li’s guitar, piano and violin playing were a delight, with her resonant, distinct voice cutting through the dense soundscape.

A personal highlight on Duality, ‘Silver into Rain’ continued the momentum of the concert, with its ethereal guitar intro slowly evolving into the glorious blend of vocal harmonies and distorted guitar that was nothing short of triumphant. This was combined with lyrics grounded within nature and power within oneself, specifically from the female perspective. The first half finished with ‘Trying’, Kim’s first breakout single, complete with a weeping cacophony of strings that die out into a peaceful, 8-bit like version of

more reflective of this than in the album closer, ‘Lonely/ Lovely’, as Li asks the audience for a moment of meditation, slowly looping her violin into an entire orchestra. Whilst virtually lyric-less, this was a palpable demonstration of the emotion in her instrumental writing.

The show ended with ‘Cherry Pit’, another favourite of mine, and the first track of Duality, which opens with walls of drums, guitars and synths, to abruptly turn into a soothing, indie-pop cut, that slowly ramps back up into insanity, an energy that was perfect to finish the night on, and most certainly the

Weyes Blood shines in new album; 'And In the Darkness, Hearts Aglow'

Owen Scott Music Writer

Weyes

Blood has been a big name in the indie scene for a while now.

Her first album under her stage name was released in 2014 and she’s since collaborated with industry icons like Lana Del Rey. For many though, her 2019 album Titanic Rising was their first proper introduction to her, as it featured hits like ‘Andromeda’ and was widely regarded as one of the best albums of the year.

again, she takes the listener on a journey of love and heartbreak against a 1970s space aesthetic backdrop.

The album’s opener and lead single ‘It’s Not Just Me, It’s Everybody’ is an interesting start as Weyes Blood comes down from space and is instead “sitting in a party”. Here, she speaks the most directly that she ever has as a millennial and spokesperson for Gen Z, as she sits “wondering if anyone knows me” or “really sees who I am”. It’s a refreshingly relatable perspective for

otherworldly references, as she name-drops James Dean and references other Americana symbols like “California”, “campfires”, and an “emotional cowboy”.

Weyes Blood’s ethereal sensibilities, though, are sprinkled throughout the album, each track soaked in reverb and synths that recreate the space aesthetic she’s become known for. Tracks like ‘In the Darkness’ and ‘In Holy Flux’ serve as synthy cinematic moments, along with the three-and-a-half-minute outro

production and opts instead for a simple piano ballad.

The album standout is the second track, ‘Children of the Empire’, which recalls Titanic Rising’s ‘Wild Time’ in its grandiosity and swelling orchestral moments. Weyes Blood’s vocal abilities are on full display as she sings “Children of the empire know they’re not free”, her voice meandering and waving. The outro is one of And In The Darkness, Hearts Aglow’s most stunning moments and shows the intricate production to be

Luna Li performs in Manchester for the first time, with a captivating concert at YES

The ethereal singer-songwriter delivers strong track after strong track on her latest album

Out with the old, in with the new: Art against street violence

How public art projects are being used to encourage safer streets around Manchester

Daisy Spurrier Arts Writer

On November 30, the Students’ Union will coordinate a march from Owens Park to the university campus for Reclaim the Night. Each year, universities across the country protest for an end to gender-based violence on the streets, particularly at night. In support of this movement, projects across Manchester have been using art to reinvent the city’s streets, with the aim of increasing safety and wellbeing throughout the community.

A 2021 Census that looked at personal safety and harassment found that 82% of women reported feeling very unsafe in public spaces, compared with 42% of men. The survey found even greater disparities between marginalised groups categorised under sexuality, race, age, and disability.

creation of a community where students can go to the pub, or to a friend’s house, without being targeted or harassed.

There are numerous local campaigns that address the issue of street violence, which illustrates that the issue extends beyond the student community alone. Recent government funding has led to different street-safety initiatives in Manchester.

Art and Surroundings

mission local arts groups in the Trafford area. These artists have used the financial resource to transform parts of Trafford that appear ‘run down’ and dangerous.

Eve Holt, who acts for both Manchester City Council and as Strategic Director of Greater Sport, has stated that the initiative will test out various interventions, including participatory street audits, arts installations, and bystander training”.

host Wild In Art’s multi-media art installations in 10 display windows around the city centre. The installations will light up public spaces, transforming the city’s streets into a vibrant and interactive environment

One art-installed window was created by children at St. Peter’s High School Young Carers & Manchester Street Poem. The words on display reflect a manifesto of hope for welfare and equality.

SNIK’s Suffragette mural, located down a side street of Stevenson Square, opposite The Peer Hat.

Since 2018, this eye-capturing painting of a woman in a deep red dress has adorned the brick of the

“82% of women reported feeling very unsafe in public spaces

Unfortunately, the student community in Fallowfield has witnessed considerable street violence over the years. Posts from students on the Manchester Student Group Facebook page («MSG») often detail disturbing encounters, particularly towards women. Reclaim The Night calls for an end to these experiences, and for the

Public art is an effective way to communicate important messages and brighten up neighbourhood aesthetic. In recognition of this, Manchester City Council have collaborated with community organisations and local artists on several revamp projects that aim to enhance street safety.

The UK Government’s Safer Streets initiative has funded Manchester City Council £2,400,856 to make streets safer for residents across the city. Part of the fund has been funnelled into improving public safety in Fallowfield by increasing visibility, CCTV, and police presence.

The fund has also supported Open Data Manchester, who com -

It will be interesting to see the effect of this community-orientated project in the coming months, as its success may lead to further projects in other neighbourhoods. For example, Manchester City Council have recently launched a city-wide art trail, commissioning local artists from different backgrounds to help celebrate youth creativity.

The Art Trail: Windows of Youth Creativity: We Made It! Wild In Art is an events organisation that promotes public art and the acknowledgement of youth creativity and cultural diversity. From the October 22 to November 27, Manchester City Council will

The words describe how “Security in city centre. Doesn’t always feel safe (Piccadilly)”, and later calls for “more green spaces.” This window is one of 10 which depict the heartfelt hopes of the local youth community. Without a doubt, Windows of Youth Creativity makes it abundantly clear that the message behind Reclaim The Night resonates with the entire community.

The trail is free and open to all - making it a great day out for anyone interested. However, it won’t be around for long.

The City Canvas Manchester’s Northern Quarter is, and always has been, a street art hotspot. A quick walk around the Northern Quarter provides you with an array of artist’s colourful work. Not only do they satisfy our senses and radiate the streets, they also carry important political and social messages. One example is

Cow Hollow Hotel. It commemorates the Suffragette movement which was founded in Manchester. The artists, SNIK, painted this mural to raise money for charities supporting refugees and homelessness.

This mural stuns passers by, who often stop in their tracks to admire it’s craftsmanship. The beautiful and empowering piece acts as a reminder of the importance of fighting for equality.

If you have the time during the week, in the spirit of Reclaim the Night, head to the city centre to check out these public art projects.

Instagram: @Ark8dius

Alston Arts Editor

This issue’s editor’s choice goes to the creators of the Reclaim The Night poster on the back cover. Fine Art students Kaveenash Sanjeevan Prabagaran and Arkadius Armando are local artists, both of whom experiment with mixed media to create powerful, self-reflective pieces. Featured below are some of their recent work, but both artists have impressive portfolios on their so cial media pages.

“These digital portraits were inspired by previous work I have created. Normally I do performance art or use acrylics, but here I have sampled a new drawing method. I’m currently practicing with pencil drawings, which I turn into digital artwork. The final product reflects how I see myself and those around me – beautifully ugly. I have imagined myself from memory, and explored this on the page. I believe humans are all “ugly hot” or “hot ugly” in some way – soon enough, I hope to perfect this concept on canvas. The pieces you see here are from the early stages of my

Photo:Wild in Art Trail Map

Photo: Daisy Spurrier @ The Mancunion

Harriet

Artist: Kaveenash Sanjeevan Prabagaran Instagram: @kavs_art_

“This painting is based on the book “American Psycho”. I wanted to explore the mind of Patrick Bateman to see what I would be able to create during the experiment. I’ve used a variety of medi-

ums, including acrylic paints, oil pastels, and charcoal. The canvas was made from A2-size tracing paper. I’m very proud of the piece – the creative process behind it allowed me to channel my own trauma into a visual piece.”

Artist:Arkadius Armando

Sagittarius

Horoscopes

29.11.22 - 12.12.22

Astrological Prophecies from die Königinnen der Astrologie

Capricorn (22.12 - 19.01) You watched Emma Watson’s ‘He for She’ speech and now you think you’re an ally.

Aries (21.03 - 20.04) You started to boycott clubs, but now you just crochet in bed all night.

Gemini

Cancer (21.06 - 22.07)

one cares that

Virgo

Libra

a

Aquarius (20.01 -

19.02)

You swear you won’t be like your mother, but at this rate you’ll be worse.

Taurus (21.04 -

20.05)

Screaming “fuck the patriarchy” in ‘All Too Well’ isn’t a form of therapy, please seek counselling.

Leo (23.07 - 22.08)

You’re ashamed to admit you posted Women Don’t Owe You Pretty on your Insta story.

Scorpio (23.10 - 22.11) You tell people you use Bumble to ‘empower women’, we all know you usually send ‘hey ;)’ as a pick up line.

Artists: Kaveenash Prabagaran (Instagram: @kavs_art) and Arkadius Armando (Instagram: @Ark8dius)