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Month: November 2018

Photo: Jo Neill (Left: Oliver Sutcliffe, right: Andy Costello

“Spice and Other Street Drugs” — A Manchester-led solution for a UK problem

Written by Grace Revill on . Posted in Features.

In recent years, the synthetic cannabinoid ‘Spice’ has received a lot of attention as a particularly prominent street drug used within Manchester’s homeless communities. But beyond the horrifying photos capturing vulnerable members of our society collapsed on the street and the dehumanising headlines labelling users as ‘zombies’, very little of the media is actually informing us about the work that is tackling the issue.

In October I attended a talk led by PC Andy Costello, a Greater Manchester Police officer, and Dr Oliver Sutcliffe, a psychopharmaceutical chemist at Manchester Metropolitan University, to hear about their novel strategy for reducing the harm caused by street drugs in Manchester.

Spice is not actually a single drug but a range of laboratory-made chemicals that mimic the effect of the psychoactive compound tetrahydrocannabinol (THC) found in cannabis. Both THC and the chemicals in Spice bind to cannabinoid receptors in the brain, but Spice can be up to 800 times more potent, leading to very severe and long-term mental and physical side effects.

Furthermore, the contents between each batch of Spice vary and are often contaminated with toxic substances, putting users at risk and leading to the hospitalisation of many vulnerable individuals across Greater Manchester. At the event, PC Costello even described the Spice withdrawal symptoms he had witnessed as being “nothing like that of cannabis but akin to that of heroin.”

PC Costello began looking at the Spice problem in Manchester in 2013 and said “it was the biggest issue I’ve had to face in my working career. It certainly has the biggest impact on drug users and people on the street I’ve seen,” and recounted meeting users ranging from 12 to 70 years old.

Spice was a ‘legal high’ and sold in head shops before it was made illegal on the 26th of May 2016. The new law saw the closure of these shops and put a stop to ‘Spice tourists’ coming to Manchester as recreational users. However it also led to the establishment of street supply and entrenched itself in rough sleeping and young offending populations who often use drugs as a coping mechanism.

Although several police operations have led to drug seizures, the huge supply and demand of synthetic cannabinoids coupled with the fact that police budgets have been squeezed, means that the problem doesn’t show any sign of relenting.

And it is not just a problem seen on the street — it is estimated that 90% of the male prison population use synthetic cannabinoids nationwide. Spice solution is embedded into paper and enters prisons in letters. With a credit card sized piece of paper selling for upwards of £200 and numerous prisons in the North-West estimating that 200-300 letters containing A4 sheets are smuggled in on a daily basis, users will most likely accumulate huge debts to dealers and gangs which jeopardises their rehabilitation.

Recognition of this growing problem led to Costello partnering up with Dr Oliver Sutcliffe, the director of MANchester DRug Analysis and Knowledge Exchange (MANDRAKE). Based at Manchester Metropolitan University, MANDRAKE is the first and only permanent city-centre testing facility in the UK, and works in partnership with stakeholders to facilitate cost-effective drug analysis for harm reduction and intelligence.

Their most recent project has been working on the chemical analysis of Spice from homeless communities and developing techniques to detect Spice solutions entering prisons. If an individual is hospitalised due to a harmful street drug sample, MANDRAKE can analyse the chemicals in as little as 60 minutes and can then relay the information to emergency services so that effective treatment can be given. This also ensures that front-line responders can be warned about the presence of harmful samples, which can help to safeguard communities.

As well as scientists working on this project, MANDRAKE have also trained members of law enforcement, security and prison staff to use the machines and analyse the data, making it a unique collaboration. The information they collect can then be shared to monitor local, national and international drug trends within vulnerable populations and also serves to inform the public.

A common misconception is that Spice is a problem exclusively in Manchester, when in fact many other counties ranging from Lincolnshire to Cambridge are reporting similar issues, as well as countries such as the USA, Canada and Australia. Manchester is setting a leading example for others through the MANDRAKE safeguarding initiative. Dr Sutcliffe said: “This is not a Manchester centric issue, but it is a Manchester-led response”.

Jo Neill, a professor of psychopharmacology at The University of Manchester and organiser of the event said “It was a real privilege to host Andy & Oliver to learn more about the MANDRAKE project. This unique collaboration between the police & academia is working to reduce harm on the streets of Manchester & in prisons. The Government should fund more projects like this in city centres across the country.”

 

Photo: Bella Jewell

A vibrant launch party for MACFest

Written by Bella Jewell on . Posted in Arts, Film.

By Aisha Al-Janabi and Bella Jewell

Walking into the opening gala was like being welcomed into a friend’s home; we were immediately hit with the intense fragrances of cumin, saffron, and garlic. By the entrance there was a generous spread of food, next to which people of all ages gathered.

We gleefully ate baklava, the likes of which we enjoyed with our own families during celebrations. This launch event was perfectly suited to the intentions of the Muslim Arts and Cultures Festival; bringing together different communities and sharing diverse cultures and traditions.

This event was held on the 11th of November – Remembrance Sunday – and gave the perfect opportunity to bring awareness to the foreign soldiers who fought for Britain during World War I. Despite WWI being taught as early as primary school, we are often too nation-centred and insular in our teaching. We overlook the contributions of those we relied on, Colonial subjects, Muslims included, who gave their lives for our future.

The audience was presented with a short film created by The British Muslim Heritage Centre. It recounted the input of Muslim soldiers, acknowledging that 400,000 Muslims from different countries fought for Britain during the Great War. This Sunday, they were finally given the respect of a minute’s silence and commemoration that we regularly provide to British Soldiers.

What followed was a variety of speeches, including a spine-tingling address by Qaisra Shahraz – the festival’s driving force, and “trailblazer” as described by Rusholme MP and Director of the Festival, Councillor Rabnawaz Akbar. Akbar praised her rejection of social expectations regarding gender; she threw off the stereotype of women being a housewife, instead pursuing writing and activism.

Qaisra called out the media for scapegoating the Islam following recent terror attacks, claiming: “I am fed up of reminding people that we have extremists and nutters of all faiths.” She went on to describe the need to acknowledge the beauty of Islamic cultures, saying, “enough is enough. I want to celebrate being a Muslim.”

The performances that made up the afternoon – from Sufi singing to Palestinian dance – gave a insight into the rich jam-packed schedule of MACFest. The festival will support and give a platform to artists of different nationalities, ages, and backgrounds, bridging the gaps between the internal communities of the Islamic Faith.

MACFest is putting Islamic culture at the centre of discussions, shedding a positive light on a community which is often villainized. As Qaisra Shahraz summarised, the festival will “use the arts to bring communities together.”

MACFest’s schedule can be found on their website.

Koetsu Photo: Altoscroll @ Wikimedia Commons

Artefact of the Week: Koetsu Cartridges

Written by elliscoopey on . Posted in Arts.

Last week, 33 Oldham Street opened as the Northern Quarter’s newest multi-story listening bar. With it paying “homage to the intimate jazz cafés and vinyl bars found in Tokyo since the 1950s”, I wanted to delve deeper into the ephemera of this audiophile sub-culture.

There’s a lot to be discovered! In fact, 33 Oldham Street has a page solely dedicated to the sound system – soon to become a Mancunian celebrity. I can imagine the scene of people lining up to take selfies against these colossal speakers. However, it is not only these speakers that have caught my attention. I got talking to some experts at the 33 Oldham Street opening party and stumbled upon a legend of the audiophile world.

If you’re like me and have no idea about this kind of thing, you should know that each vinyl player has an arm and at the end where it touches the vinyl there is a cartridge. The cartridge is the little box from which the needle protrudes. Among aficionados, the mythical holy grail of cartridges is the Koetsu cartridge. These tiny things have a truly fascinating history.

Named in honour of the Japanese medieval artist Honomani Koetsu, the company was started in Japan by Yoshiaki Sugano. Born in 1907, Sugano was brought up in the tradition of crafting swords. As a young man he spent some time boxing, before going onto to have a very successful career at Toyota.

He’s said to have been true Renaissance man and when he retired at 60, due to his love of western classical music, he set upon improving the musicality of common phono cartridges. Bringing his metalwork as a sword maker and his experience in engineering, he pioneered the use of high purity materials such as 6-nines copper, 5-nines iron and rare platinum iron magnets. Combining these materials with natural elements like wood and stone, and on certain models applying traditional Japanese “Urushi” lacquers, Sugano changed the world of music reproduction.

With his craftsmanship and attention to detail, Koetsu cartridges are now the Stradivarius violins of DJs, and apparently produce a rich, transparent sound that can be heard nowhere else.

Where will hear you one? Well, they’re mythical. Handmade and therefore limited in nature, they seldom make appearances. But if you’re lucky enough to catch wind that one is coming to town, I’d love to know.

Photo: Bella Jewell

Art and escapism: the positive mental impacts of creativity

Written by Bella Jewell on . Posted in Arts.

The Arts Council has released new research suggesting that the arts and culture play a crucial role in improving one’s mental health and well-being. As a result, various projects have been launched, all aimed at harnessing the positive power of art.

The award-winning initiative, ‘Hospital Rooms’, decorates mental health wards with art, playing on the way in which art can alleviate the atmosphere of otherwise sterile environments. The project has gained attention following the recent visit of Labour Leader, Jeremy Corbyn, to the Garnet Ward — one of the many venues that collaborates with the ‘Hospital Rooms’ project.

However, as well as playing a therapeutic role in hospital wards, involvement in creativity can also provide an outlet for the personal relief of stress. In an increasingly fast-paced society, catalysed by the relentless and invasive nature of technology and social media, often we do not make time for a moment of creative escapism.

In 2007, the Department of Health’s Review of Arts and Health Working Group found that art is integral to personal well-being. This research was backed up by a 2011 paper by the British Medical Association, which cited the reasons for this finding to be based on how creative activity can reduce boredom, therefore acting as an escape from daily life.

As a dual-honours student, I often found the stress of student living somewhat intense and claustrophobic. Having attended several life-drawing classes in the Northern Quarter, however, I found these precious moments of creativity to be endlessly valuable in my attempts to maintain a balanced lifestyle.

Escaping my social groups and switching off my phone for two hours allowed me to clear my mind, and instead focus intensely on something creative. In this way, creative activities can also redirect you to a different form of thinking; you’re producing something entirely different from the academic and strictly-structured work that university requires.

As universities and schools face increasing pressure to improve the well-being of their students in light of a mental health crisis, it is clear that space needs to be made for creativity. The lack of Arts-based subjects at The University of Manchester means that there is a gap in this regard.

Groups like ‘Art on the Sly’ and the newly established ‘UoM Arts and Culture society’, however, seek to change this reality. Through arranging accessible and interactive events for students, such as collage sessions and painting workshops, these student-led groups are providing a much-needed creative outlet in the student community.

The act of being creative, however successfully it is executed, is an important contributor to well-being. Whilst the government is cutting funding from the arts, often labelling them ‘soft subjects’, the evidence is clear: art and health go hand-in-hand.

If you are interested in trying out something creative, check out the following groups on Facebook:

Art on the Sly

UoM Arts and Culture Society

Studio Bee Life Drawing.

Live Review: Mac DeMarco

Written by owentrimming on . Posted in Music.

Last week, alternative promoters ‘Now Wave’, celebrated 10 years of music in Manchester with Mac DeMarco topping the bill. A year on from his latest album This Old Dog, Mac and his band have been back on the road touring. The third studio album indicated that DeMarco matured in his song writing with less doing so much more. Themes included his relationship with his father and a melancholy coming of age. That being said there is always room in his music for one more love song.

So has his live performance grown in the same way as his music?

DeMarco is a seasoned performer with numerous sell-out shows on this European Tour. He’s known for having an eccentric character on stage along with his bandmates Joe McMurray, Andrew Charles White, Jon Lent and Alec Meen. From the beginning, energy levels were high with the audience chanting the tune of the lo-fi track ‘On the Level’. In the same way ‘Salad Days’ took on a different more upbeat feel with the lyrics resonating in the crowd.

Noteworthy moments in the set included indie classics ‘Freaking Out the Neighbourhood’ and ‘Ode to Viceroy’ which had everyone moving. The latter, of course, resulted in noticeable plumes of smoke rising out of the crowd, likely from hipsters who care a little too much about getting hold of American cigarettes. A personal highlight for me was ‘One More Love Song’  with Alec Meen adding jazz improvisation on piano.  An unexpected oldie also featured with a fast-paced rendition of ‘Rock and Roll Nightclub’ from DeMarco’s early days.

Considering the band’s experience they made some unfortunate errors. The track ‘Cooking Up Something Good’ lost much of its impact with a verse missing in its performance. In addition, Andrew Charles admitted that he forgot his part for ‘One Another’ so replaced the instrumental with his high pitched vocals. As much as this was an impressive take on the track, it was a symptom of a mistake on his part. In spite of this, the set ended strongly with a trio of fan favourites: ‘My Kind Of Woman’, ‘Chamber of Reflection’ and ‘Still Together’.

What came next was a sort of after show. Albous HR took the stage to perform vocals for timeless covers of Rage Against the Machine’s ‘Killing In The Name’ followed by Nirvana’s ‘Heart Shaped Box’. Andrew Charles took the lead next announcing that he was to become mayor of Manchester.

Charles proceeded to break into frantic metal covers, the audience seemed confused with many even walking out. Things continued to descend into oddity with a rather sloppy version of Red Hot Chilli Pepper’s ‘Under The Bridge’. During all this Mac sat idly by enjoying a beer, almost as if it was unplanned. Finally, he got back up and tied off the set with an emotional encore of ‘Watching Him Fade Away’.

Personally, this is not what I wanted from Mac DeMarco, it became a little too sporadic, even with his reputation. His weird stage presence retracted from the sentiment of the music. Though many of his followers find this element of his gigs a key part of the experience.

The performance remained profound and enjoyable with a range of pace in the setlist. Perhaps, though, if DeMarco devoted more time to his own music rather than multiple covers many fans would have walked away happier.

7/10

Photo: Wikimedia Commons

Record Reappraisal: Spice Girls – Spiceworld

Written by Jasmine Bennett on . Posted in Music.

When the Spice Girls released second album Spiceworld back in 1997, it was subject to immediate commercial success. The number one record was shipped 1.4 million times in its first week of sales, and has become synonymous with the late 90s. Now, twenty-one years later and in light of a recently announced reunion (minus Posh) it seems only right to revisit the nation’s beloved pop queens.

Spiceworld is something of a standing testament to Britain’s ability to produce good pop music. Classically 90s in its joyful dance tracks and catchy rhythms, it’s impossible not to enjoy the 10-song album. It isn’t hard to understand why the band were – and are – acclaimed as the epitome of girl power. Leading single ‘Spice Up Your Life’ plunges the listener immediately into a hectic cacophony of samba-influenced instruments before Mel B’s famous recall of “colours of the world, spice up your life.” Relentlessly energetic and bursting with fun, the song is unbelievably catchy and makes you want to dance. In the space of one song, it’s really not hard to see why the band are the bestselling girl group of all time.

The joyfulness only continues with school disco delight ‘Stop’, that played on repeat in teenage bedrooms everywhere. Underneath the bright, buzzing catchiness of “stop right now, thank you very much’, there’s something refreshingly relatable about the Spice Girls’ classic bops. Every teenager has known the particular, precise emotion involved in “it’s cool but you don’t even know me”. While obviously the aim is sheer pop happiness, the band still provided an intense relatability for teenage girls all over the world. One of the only bands to have done so, the Spice Girls marketed themselves not only to young women, but for them also.

One of the remarkable things about the Spice Girls is the way they broke into the music industry. Prior to their debut (Spiceworld’s predecessor, Spice– originality in names wasn’t exactly their niche)British music in the 1990s had been deeply dominated by and associated with men. Bands such as Oasis, Blur and Pulp were leading the new wave of Britpop with a more alternative trend in music. The Spice Girls dismantled this trend singlehandedly, stomping on it in platforms and bringing bright, undeniable pop to the charts. People are quick to judge the group in comparison to this earlier phase, dismissing the band as manufactured and cheesy, just another example of people being willing to swallow anything labelled as pop. However, you can’t help but wonder if this is less to do with the quality of the music and more to do with the constant patronisation of women in the music industry. It is more likely that the reason the Spice Girls were so astonishingly successful is because they were best in the game. Not only did they appeal to a gap in the market, the bright danceability of hits like ‘Never Give Up On The Good Times’ provided a refreshing contrast to the music scene of the time. Even twenty-one years later, people furiously underestimate the power of good pop.

The album is phenomenally catchy, with even slower songs like ‘Saturday Night Divas’ and the classic fourth single ‘Viva Forever’ being unforgettable. Soft strings play out over the latter, creating a certain ambience in the music that allows the echoing and melodic chorus to shine. The Spice Girls were masters of their genre, and knew exactly what would sell. They epitomised girl power, and that shines most on the final track of the album, ‘The Lady Is A Vamp’.  The formidable lyrics of “she’s a power girl in a nineties world” tell you of the Spice Girls’ fierce independence. When Geri Halliwell croons “Jackie O, we loved her so”,  a smile can’t help but cross your lips. These were girls who were fresh, feminist and free not only musically but in themselves. They each had their own identity – Posh, Baby, Sporty, Ginger and Scary – and while you had one you wanted to be most (I was always a lover of Scary Spice), you could find yourself in all of them. They were simultaneously the girls you wanted to be your best friends and the girls you wanted to be. Just as they did in the nineties, they still spice up our lives.

10/10

Photo:John McColgan @Wikimedia Commons

Review: Wildlife

Written by madeleinepeden on . Posted in Film.

Wildlife is set in a small town in 1960s Montana, Paul Dano’s film adaptation of Richard Ford’s novel, depicts the breakdown of the Brinson family. The narrative is primarily experienced through the eyes of Jeanette and Jerry’s 14-year-old son, Joe. The story follows the family fallout after Jerry loses his job and subsequently leaves the family unit to tackle the forest fires ravaging the Canadian border.

The story takes place over the course of one week. The drama that unfolds during this time is hinged on believable characters. This was most exemplary in Carey Mulligan’s portrayal of Jeanette. This character has the most dramatic arc as she shifts from domesticated housewife to unsatisfied woman in the midst of an existential crisis within the space of a couple of days. The true skill of Mulligan’s performance was realised in my internal struggle in response to Jeanette, regularly flipping between sympathy and frustration.

The compelling nature of the film was rooted in the shift in what viewers should consider the focal relationship. There are pivotal moments between each pairing that are thought-provoking and prompted sincere challenges to the archetypal relationships within the American nuclear family.

The film included some captivating shots and beautiful cinematography of the Montana countryside and surrounding wild fire that both contrasted and enhanced the emotional drama. Film adaptations of novels can risk diluting the impact of certain imagery through overt visualizations, but Wildlife made use of these effectively without relying too heavily on them.

Long shots of Joe’s face and the use of off camera conversations were effective in reminding us we are experiencing the story through Joe’s perspective. It was necessary to interpret, and think about what was not said or seen on-screen, relying on the audience to interpret what is shown and is exemplary of great storytelling. There were some moments that would have benefitted more from the use of the unseen and unheard, specifically Joe’s discovery of his mother’s infidelity. Generally, however, the cinematography is pretty flawless.

The film is also marketed as a realist drama which I felt to be brilliantly challenged by the consistent yet subtle reminders that we are watching this through a 14-year old’s eyes. This indicated that many of the moments are open to a more illusory interpretation. An interpretation that prompts questions including were the Brinson family as happy as Joe believed them to be before his father’s departure?

Overall, Wildlife tells a realistic and highly captivating story. A story with nuances and details that only fully revealed themselves in the days after I left the cinema, a response which is certainly an indicator of effective film making and powerful story telling.

Rating: 4/5

Live Review: Hinds

Written by Issy Bolitho on . Posted in Music.

From the moment Hinds walked on stage at Academy 3, the audience knew they were in for a night of unadulterated fun. With the promise of “we’re here to rock your little bodies,” the band launched straight in with their loud fuzzy riffs and infectious energy. It was safe to say they were here to keep their word.

The all-girl four-piece, hailing from Madrid, are well known for their energetic, ramshackle gigs and manage to deliver a feeling of intimacy despite selling out venues of ever-increasing capacities. Frontwomen Carlotta Cosials and Ana Perotte bare it all through personal lyrics sung with raw emotion and passion. Nothing is held back; their lyrics are often brutally honest and not particularly subtle with “should I’ve known before you were also banging her” being yelled throughout song ‘Tester.’ The pair manage to seamlessly switch between screaming their vocals and moving softly through their lyrics, the rasp of Cosials’ voice adding to the unpolished feel of the band.

With Ade Martin on bass and Amber Grimbergen on drums completing the quartet, the chemistry they have with each other is undeniable. Never letting a drum beat or a lick of the guitar fall out of its messy yet coordinated place, the band are synchronised down to their every move.

Fan favourites from debut album Leave Me Alone, such as ‘Bamboo’ and ‘Garden’, seem to have their own mini routines, with Cosials, Perotte and Martin moving in unison. It’s a contrast to the band’s scruffier, DIY, surf rock sound but it conveys such exuberance and genuine joy to be performing live as friends. First and foremost, that’s what the group are, friends. The fun they have playing together is contagious and has the audience laughing along with their jokes as well as singing and dancing until the very end.

During ‘San Diego’, Cosials sheds her guitar and makes her way to the front of the crowd, shouting lyrics such as “stay close to me or know I’ll die” as she leans into the sea of singing faces below her. They follow this boost of intimacy with new single ‘British Minds’ which Martin jokes they wrote for us.

Despite the band’s constant enthusiasm and intensity, the crowd wasn’t always as responsive as the group deserved. During the first few songs, the high energy being thrown at us was not equally matched. Perotte answered this by declaring “it may be a Tuesday night but at least it’s not Monday” before asking the audience to dance with them for ‘Easy’. Following this, the crowd came alive, even maintaining their passion as both singers drawled through velvety sounding ‘Linda’ from second album I Don’t Run.

“Do any of you know The Clash?” is one phrase certain to ignite excitement in a room of already charged rock fans. Their rendition of ‘Spanish Bombs’ was authentically Hinds, bringing their own bouncing take to the punk classic which left fans shouting for more.

With the band dancing off stage to Monty Python’s ‘Always Look On The Bright Side Of Life’ it was hard to not feel a sense of delight at what I had just witnessed.

Feel-good, passionate and authentic, Hinds are queens of having a bloody good time. If anyone sees them live and doesn’t manage to have fun, it says a lot more about them than it does about the band.

9/10

Photo: Sam Whitehouse

Review: Plaster Cast Theatre’s ‘Action Man’

Written by Rosa Uijtewaal on . Posted in Theatre.

‘Action Man’ is a captivating play written by Lizzie Morris, returning to Manchester, this time at the 53two. This play tells the story of an army veteran whose life is ruined by PTSD after his eight years of service.

His mental health issues ultimately leave him alone and homeless, cut off from his family and friends. The political engagement oozes out of this play and its relevance is impossible to miss, particularly the recent NHS budget cuts. An impressive debut play by Plaster Cast Theatre, made of University of Manchester students and alumni.

The audience followed Corporal Drury (Mike Moulton) in his training days in the army, as a soldier in Iraq, until at last he is forced to live on the streets. The play was fragmented and cut up by many flashbacks and hallucinations. The portrayal of living with PTSD was cleverly achieved by energetic, robust intervals of physical theatre and dance. A see-through screen at the back of the stage was used to depict Drury’s mind and memories with powerful silhouettes formed by other cast members. The fervently sung soldiers’ songs were a reoccurring theme throughout the play. While at first they fit nicely in with the enthusiasm of the young soldiers, further into the play the cheery songs became increasingly grim and chilling to hear.

It was striking to witness how the enthusiasm for warfare and the army slowly declined into fear. At first, Corporal Drury was a strong presence; loudly bragging and joking with his fellow trainees. In the end, he was completely alone and helpless. Living on the streets where he could only differentiate between being awake and asleep, by the cold contrasting with the fire of his nightmares.

The strongest aspect of this play is its link with reality. In a powerful scene Corporal Drury in vain tried to explain to the social workers of the NHS; in the army the one rule is ‘never leave a man behind’. In the endless circle of Kafkaesque bureaucracy he is neither heard nor helped. Clearly former soldiers are being shuttled from pillar to post.

The change Drury went through in the play was also beautifully portrayed in this relationship with two women. Mandy (Lolly Isaacs), the mother of his children who eventually kicks him out of the house, and his former girlfriend Ella (Ellie Klouda).  The cheerful boyfriend turned into an aggressive man without control over his emotions. In a whirlwind of flashbacks and emotions, the three characters engaged in a dance that alternated between love and frustration. Both women eventually cut ties with Drury until he gets better. If, of course, he does ever does.

‘Action Man’ was stimulating, emotional and its message urgent; it deserves to be experienced by many more audiences!

Photo: Sigrid @ The Mancunion (Jake Oliver)

Live Review: Sigrid

Written by Jake Oliver on . Posted in Music.

Pop sensation Sigrid kicks off her two night residency at Manchester’s Albert Hall in a way that demonstrates just why she has amassed legions of fans in such rapid succession. Bursting on to the stage to a packed out venue, the 22-year-old brings with her an indisputable sense of joy and infectious energy.

The Norwegian has had a meteoric rise in the last 12 months, managing to snatch the coveted BBC Music’s Sound of 2018 award earlier this year and embarking on a vast tour across Europe and the UK. Selling out not one, but two consecutive nights in Manchester is no mean feat for such a young artist, but Sigrid’s performance shows just why she is quickly becoming pop royalty.

Launching straight in to latest release ‘Sucker Punch’, a song with some of Sigrid’s best production value to date, borrowing small bits and pieces from this style of new wave pop music (à la Charli XCX) that is sweeping the scene at the moment.  In the midst of the fuzzy, distorted beats, Sigrid swaggers around stage with confidence that reflects that of a seasoned performer – and it is truly invigorating to watch.

The biggest moments of the night come courtesy of Sigrid’s quintessential Don’t Kill My Vibe EP, released last year. ‘Plot Twist’, a triumphant in-your-face anthem about realising your own self-worth sends audiences in to a collective riot, who recite the iconic chorus verbatim, arms waving and fingers pointing. ‘Don’t Kill My Vibe’ is received and performed with equally as much passion, with Sigrid’s vocals being drowned out by the sheer volume of her fans all chanting the lyrics back.

You’d be forgiven for thinking that this jubilant pop aesthetic might lack substance and weight, but Sigrid demonstrates a surprising level of depth and wise-beyond-her-years observations within her lyricisms. Hidden behind this brightness is a sense of vulnerability and refreshing honesty that marks Sigrid as a truly talented artist.  ‘Strangers’, which closes the night, is a bittersweet, pulsing pop song with the refrain, “I don’t want you, all you want is someone, going home together to forget we’re alone.”

The night carries some surprises as well and gives us a look in to the future of Sigrid. Unreleased song, ‘Credit’, from her upcoming album, is a darker, grittier style than anything released previously. ‘Go To War’ strays away from the sweet, bubblegum synths for a piano and drum focused single.

Credit is due to Sigrid’s powerhouse of a band, who maintain the same level of buzz as their front-woman throughout the entire set. Unlike other solo artists with their supporting band, the members here feel like truly integrated parts of the Sigrid movement. Particular praise is needed for the guitarist, who unleashes a phenomenal guitar solo during ‘Fake Friends’ to huge cheers from the crowd. Other standout musical moments go to Sigrid herself, for her flawless and hauntingly beautiful encore performance of ‘Focus’ – a moment where her vocal range and ability left me speechless.

Sigrid is an essential artist for this generation. Her ability to write perfectly constructed pop songs with lyrical poise and meaning whilst still ensuring a good time is had is a talent that audiences crave and rightfully deserve. If her consistently brilliant releases and joyous performances are anything to go by, then global domination is not far off.

8/10

Feature: BBC Introducing Live’s Guide to the Music Industry

Written by Olivia White on . Posted in Music.

BBC Introducing Live is an annual event held to support, inspire and, in many ways, acts as a kick up the backside for current and aspiring musicians as well as music business professionals.

BBC hosts such as Radio 1, 1Xtra, 6 Music, Radio 3 and Radio 2 provide platforms for upcoming artists to showcase their talent, receive feedback and network with like-minded individuals. Across this jampacked 3-day event, a variety of panels, each taking a different focus and composed of leading industry professionals give advice, share experiences and offer the chance to ask questions. For musicians, panels included ‘Getting your music on the Radio’, ‘Get the show on the road, playing live and getting gigs’ and ‘How to earn a living from your music.’

But, the BBC Introducing Live team certainly did not abandon those aspiring music businessmen and women. Talks like ‘How to get a job in the music business’ and ‘Music Business Worldwide in conversation with Columbia Records’ really emphasised the importance of networking, gathering as much experience as possible and establishing yourself within your local scene.

As someone who is desperate to break through on the business side, my experience at BBC’s Introducing weekend was tailored towards getting my foot in the door at label companies, CV advice and connecting myself with a wider group of contacts. Although there was nothing particularly mind-blowing that was said by the speakers, I did leave feeling more inspired and motivated to continue in my efforts. However, I also left feeling a little bit startled- I had an overwhelming sense that no matter what position you are in and no matter what experience you have currently acquired, it’s probably not enough.

This is not to say I’ve had a crisis, but instead within a day of returning back to Manchester, I had reached out to more people, sent off those emails I had been previously hesitant to send and began planning far more intently on my future.

The overarching message that BBC Introducing Live conveyed was, you can absolutely do this. Yes, it’s a brutal industry, yes, you will undoubtedly be knocked down and confronted with ‘Nos’, but this doesn’t mean you shouldn’t consistently push for those yeses. Because “all it takes is that one yes” and your wholehearted input to embrace wherever you are the opportunities it has to offer for you to flourish. This isn’t just applicable for individuals with aspirations in the music business side but also musicians themselves.

Tobacco Dock was a cool and modern backdrop providing an overwhelming sense of community.  A safe haven for freedom of expression was constructed and embraced by ticket-holders because there was an underlining understanding that everyone was there for the same reason. Everyone wanted to learn, mentor and assist people in pursuing their dreams and for that reason alone, BBC Introducing was worth paying a last-minute train ticket down to London.

BBC Introducing also demonstrated their efforts towards the importance of empowering women who want to pursue the industry in any capacity. Panels such as ‘How to Get a Job in the Music Business’, ‘Music Managers Masterclass’, ‘Jobs in Live Music’ and ‘Women in Ctrl presents: Women Running the Music Industry’ hosted some of the most inspirational and empowering female figures that the current industry has to offer. Professionals such as Nadia Kahn, founder of Women in Ctrl, Dom Frazer, founder of the Boileroom, Jane Beese, Head of Music at The Roundhouse and Stefania Pavlou, communications and media relations manager for PRS, openly shared their journey’s and challenges faced whilst in the industry.

Such opportunities to listen to and chat to these admirable women was an open recognition from the BBC that the industry is very much in the motions towards a more equal industry free of discrimination. Even though there is undoubtedly more work to do, things are certainly changing. And what an exciting time to get involved!

Scattered throughout the day were live sets from upcoming musicians who were given the opportunity to showcase their talent on bandstands to passers-by as they traveled to and from panels. Artists such as Roman Lewis performed during the day and in the evening, people could buy separate tickets to see the likes of Ben Howard, DeadMau5 and DJ Target headline.

Before the week of its presentation, I had not heard of BBC Introducing Live offering such invaluable opportunities and I would say it’s a must for anyone wanting to conquer the industry.

Get Inspired. Get Experience. Get Socialising and Get to BBC Introducing Live 2019.

Hot Right Now: Kate Tempest

Written by Winona Newman on . Posted in Music.

Kate Tempest, the 32 year old South Londoner, is a master storyteller. Her work, which stretches the boundaries of spoken word, writing, and rap, is an ode to humanity; it’s a brutally honest yet humane depiction of her world.

Her 2014 album Everybody Down marked the start of her career as a touring music artist. Before this, her work had been predominantly within the domains of spoken and written word. The album tells the story of a couple – a modern day romance which, throughout most songs, cuts much of the romance in favour of real and tangible depictions of life. It touches on themes of family, drug dealing, dysfunctional relationships, and sex work.

Even when listened to in isolation each song creates a bubble around you, filling it with another version of reality; another person’s story. Yet as quickly as it is created, the bubble is burst, leaving just the shadow of this person’s life on your mind as Kate throws you from one story to the next. Her lyrics are packed with complexity of feeling yet are compact and succinct; she never wastes a word or a pause. Instead, the flow of her voice is music in itself, set atop an often jarring but always cinematic background track.

Her latest single released October of this year; ‘Bubble Muzzle’ is a live performance and the musical version of an existential crisis. The mundane nature and hardship of everyday life and becoming numbed to the world around you are certainly subjects Kate’s explored before, and she does so again with the same precision and gentle wit. For this single, the music is stripped away and Kate’s voice alone creates the rhythm with repeated refrains, moments of frantic speech and seconds of calm, like the days of long commutes and office jobs her words describe.

Tempest is the first under 40 recipient of the Ted Hughes Award and with Everybody Down nominated for the 2015 Mercury Prize and Let Them Eat Chaos nominated in 2016. As well as being nominated for best female solo performer at the Brit Awards this year, she is someone to keep your eye on; someone to listen to when you want to escape from your reality to one of someone nearby or just want your ears to be warmed by pure talent – Kate Tempest is raw, relatable and real.

For fans of: The Streets, Young Fathers, IDLES, This Is The Kit, Jamie T and Loyle Carner

Photo: John Harrisson @wikimediacommons

The Princess Diaries – Empowering or inspiring self-consciousness amongst women?

Written by emilywain on . Posted in Film.

As a child, I adored watching The Princess Diaries as well as reading the series by Meg Cabot, upon which the film was based. It was a glamorous fairy tale story of discovering that Mia was in fact a princess, and the romance with her high school friend all appealed to me. It proved how a struggling teenager’s luck could suddenly change for the better and that with perseverance a girl can achieve anything she desires. These values empowered myself and many others young girls to dream big.

However, upon reflection, one could immediately demise that The Princess Diaries in fact promotes opposing values. For Mia to become Princess of the fictional country Genovia, she had to undergo changes to her physical appearance. In the comedic scene involving the beloved hairdresser Paolo, Mia is subjected to many hideous hair styles before Paulo finally achieves the appropriate look. He tames her out-of-control, frizzy hair and turns it into a stylish and elegant style – a perfect look for a Princess.

Was this a reasonable and necessary act? Mia would indeed represent the country of Genovia and would need to appear ‘presentable’, but why couldn’t the ‘less attractive’ teenager with unruly hair also represent her country with pride?

This film appears to accept the injustice in society, whereby women are judged solely by their looks. Mia didn’t change her personality, just her appearance. She promoted the same values and opinions both whilst having frizzy hair and sleek hair. And yet, Mia had to change herself physically to be seen as attractive and admired, and only then was she allowed to promote her now valid opinions.

In a similar way, Mia only achieves her desire of becoming popular and worthy of having a boyfriend once she changed her appearance. Parallels here can be drawn with the classic film Grease. In order for Sandy to be seen as attractive to the other characters, she also changed her hairstyle, which had the desired effect of gaining her friendships and a boyfriend. What message are films such as these promoting to young, impressionable girls in society?

Alongside the many magazines promoting being a size zero as an ideal to strive for, young girls are subjected to this opinion that to be popular, or Princess-like, one has to be attractive. It promotes none of the internal values that many men also desire, such as humour, kindness, and honesty.

Despite these concerns, The Princess Diaries does ultimately to promote confidence amongst young girls. The scene involving Mia’s make-over was a short scene in the film, and small part of the story. The rest of  The Princess Diaries is encouraging and inspires positive aspirations amongst young girls in society.

Photo: KinoFilm Festival

KinoFilm Festival: In conversation with Paul Allen

Written by Aisha Al-Janabi on . Posted in Film.

KinoFilm Festival is a nine-day international short film festival showcasing 300 short films in several beautiful locations across Manchester.

Having spoken to Paul Allen, the festival manager, it’s clear that the locations of the film screenings are just as important as the films themselves. The festival hub will be at the N.I.A.M.O.S. which is “back in the hands of the community and is an artist led space”. One of the ambitions of the KinoFilm Festival is to bring cinema back to the heart of the community; there are four venues used during the festival which together will “galvanise all the different communities in Manchester”.

There is an abundance of films on show throughout the nine days. Festival director John Wojowski and the team have split the programme into “big over-arching sections like British new wave, and then within that we’ve got British comedy”. One film Paul Allen recommended is Brexicuted by Chris Shepard, a satirical animation about Brexit which is “hilarious… and is one to watch”, which will be shown on the 30th of November at 4pm as part of Animation 1: Special Selections.

Now enjoying it’s 15th edition, the festival continues to be supported by volunteers and highlights the significance of the community within the festival. In addition to the 50-volunteers assisting the day-to-day running of the festival, an additional “team of [ten] volunteers come in when they can and do what they can” prior to the launch and the beginning of the festival.

This festival provides the opportunity and platform for voices that often get lost – short films don’t get the recognition they deserve and I’m glad that Manchester has an entire festival devoted to the celebration of these, especially one that is so international.  There are a multitude of screenings collecting films from different countries, including O!PLA to promote the works of Polish animators, and a retrospective of Slovak Animations amongst countless others.

If you’re stuck for choice, these are a few highlights:

26th November, 8:30pm: We Love Manchester sharing all things Mancunian;
1st December, 4:00pm: Middle Eastern Collection which will focus on stories and the experiences of childhood;
2nd December, 12:00pm: Animation – Family Kids’ Corner which looks to be full of endearing and nostalgic animation with a selection from nine countries.

The festival runs from the 24th November until the 2nd December, with student tickets costing only £4.

For more details about the festival itself and the full programme of film screenings, take a look at the KinoFilm Festival‘s website and scroll through the selections on offer.

Photo: Fortepan - WikimediaCommons

Review: They Shall Not Grow Old

Written by Harold Robson on . Posted in Film.

‘They Shall Not Grow Old”, a quotation from the 1914 poem For the Fallen by Laurence Binyon, contains a bittersweet irony. It has come to mean that the memories of the brave young men killed in World War One will be preserved forever, rendering them immortal in our minds, but can also be read in a rather more tragic light. Very few of these men did live to enjoy old age, making this statement seem far more literal and poignant. It is the gentle voices of these elderly survivors that echo around the cinema walls throughout Peter Jackson’s 2018 film, which shares its title with that eerie quotation.

This transformative documentary is inexplicably powerful. How can something as simple as changing monochrome to multicolour produce such an evocative effect? Sitting through the first half-an-hour, which takes us through the build-up to the war in black and white, you begin to wonder when the footage will fade into colour — if it does at all. Then in an indescribably stirring moment, a young soldier’s eyes brighten from grey into radiant blue, breathing life into a man who seconds ago seemed a figure from the distant past. He stumbles awkwardly through a trench, looking at the camera and then smiles back at his friends. This felt almost as incredulous as time-travel — suddenly this person was not consigned to the early 20th century, and instead was all but as palpable as one alive today. Peter Jackson’s They Shall Not Grow Old has bridged the gap between us and the chasm of 100 years of human history.

The eerie feeling this produces is nearly impossible to describe, and can only be shared with those who witness the spectacle for themselves. What Jackson has provided is a sort of resurrection, which brings an immense gravity to the atmosphere. All the men in this film are dead — every voice (even the veterans) and every face seen can no longer be heard or seen except from the recording. Because of this, watching They Shall Not Grow Old produces a sensation not unlike visiting a graveyard — a grim recognition of duty and pride, but not joy.

However, perhaps this is Peter Jackson’s great success. In creating a feature as revolutionary as this, wielding the great magic of modern technology, the director surely had to be careful not to over-dramatise what he was producing. After all, video footage containing the real dead bodies of fallen men and the real explosions that caused them needed to be engaging, without becoming entertainment. This balance, for a blockbuster cinema director, was achieved reasonably well.

This film above all else presents us with normal men, made different only from those of my own age by an unquestioning instinct towards responsibility and courage: “we just thought there was a job to be done.” Peter Jackson has brought this distant world of immense bravery and hardship abruptly nearer to our own culture of decadence and privilege, perhaps raising the question of whether we should ‘hold our manhoods cheap’, when confronted with the smiling faces of our ancestors, in colour, for the first time.

Rating: 4.5/5.

They Shall Not Grow Old is streaming on BBC iPlayer until Sunday 18th November.

Photo: Gage Skidmore @wikimedia commons

Obituary: Stan Lee

Written by Ella Broadbent on . Posted in Film.

The revolutionary writer, editor, publisher, and producer Stan Lee has died at the age of 95, on the 12th November 2018. His death is a loss that will be felt by many; as editor-in-chief, then publisher, and chairman of Marvel Comics, his work has been a huge part of the entertainment industry, and his stories and characters have touched the lives of millions.

His characters are renowned for their humanity – their flaws allow their stories to reach out across generations, inspiring and entertaining their fans. His works include Spider-Man, The Hulk, and Daredevil – all of which continue to be huge successes. He also created the ground-breaking Black Panther, containing the first black superhero in a mainstream US comic. The Marvel Cinematic Universe is a world which has gripped audiences since it began.

Appearing in cameos at unexpected moments in Marvel films, the writer and producer has already filmed clips for the new Avengers 4, prior to his death. It is also rumoured that he may have already filmed clips for other upcoming Marvel projects, such as Spider-Man: Far From Home, Spider-Man: Into The Spider-Verse,  as well as the new X-Men films Dark Phoenix and New Mutants. Even after his death, we may be seeing more of him in the future.

Stan Lee’s life was filled with achievements. He won countless awards for his work, such as The Life Career Award, National Medal of Arts, and the Harvey Award – The Hero Initiative Lifetime Achievement. He became editor of Martin Goodman’s Timely Comics, a comic magazine, at 18. He then went on to lead the  same company, which had become Marvel Comics, from a small business and publishing house to one of the largest multimedia corporations in the world. The top grossing superhero film of all time, Avengers: Infinity War, featured his characters and was set in the Marvel Universe that he created. Disney chairman and CEO Bob Iger stated “A superhero in his own right to Marvel fans around the world, Stan had the power to inspire, to entertain and to connect. The scale of his imagination was only exceeded by the size of his heart.”

Despite all of his achievements and successes, Stan Lee’s biggest legacy will always be the the inspiration he gave to so many Marvel fans. The fictional world that he created gave people an escape from reality, and many fans will say that his stories and characters were a big part of their lives growing up.

He is a man that will be dearly missed, but never forgotten. As he often said, excelsior!

Photo: Updates News - YouTube @ Wikimedia Commons

Bellew bows out in Manchester

Written by Harry Deacon on . Posted in Sport.

Tony Bellew has retired from boxing after his 8th round stoppage defeat to Ukrainian fighter Oleksandr Usyk at the Manchester Area. Bellew made it hard work for the Ukrainian favourite in the first few rounds but the undisputed cruiserweight champion soon took control of the fight.

In the press conference following the loss Bellew conceded that he has lost to “potentially the greatest cruiserweight that’s ever lived.”

Usyk retained his four-belt division monopoly with the victory.

Bellew started his career in the light-heavyweight division, but it wasn’t until he entered the ring as a cruiserweight fighter that his career really took off, winning and retaining both the WBO International and WBC cruiserweight titles.

The Liverpudlian is known for his two heavyweight sell out fights against David Haye. The two TKO victories for Bellew also racked up an impressive combined 1,665,000 pay-per-views, explaining why he could say he had “won in life” in the post-fight interview.

The fight that took place on Saturday night was Bellew’s final blow-out and return to the cruiserweight division, but the WBA (Super), WBC, IBF, WBO, The Ring, and lineal cruiserweight titles ended the night belonging to Usyk.

Bellew’s career has not only been confined to the ring. His role as ‘Pretty’ Ricky Conlan in 2015’s hit film Creed saw his fame reach a much wider level.

After growing into an impressive career that ended with a record 30-1-3, Bellew stated his intentions for a quiet retirement in his final interview as a professional boxer: “Now I just want to be normal, so please leave me alone.” Perhaps this will be the last we see of Tony Bellew in the public eye.

House of Cards Photo: @Spartan7W WikimediaCommons

Review: House of Cards – Season 6

Written by Adrian Kanyoli on . Posted in Film.

Netflix’s flagship political thriller House of Cards returns for a final season with its most ambitious story arc yet.

It seems like everyone on and off the show wants to know the same thing: How are things going without Frank Underwood? I think his widow says it best when she opines, “The reign of the middle-aged white man is over.” And that’s the tone the season takes, right from the start and throughout.

Jodie Whitaker isn’t the only actress taking the reigns of a critically acclaimed drama from a veteran male performer; Robin Wright steps into the lead role as President Claire Hale Underwood in the wake of Kevin Spacey’s dismissal amid sexual misconduct allegations. The show-runners don’t pretend Frank Underwood never existed — in fact, the circumstances of his off-screen death drive the narrative. The writers are very self-aware, even asking the audience “Do you miss Francis?” and referencing the change of protagonist right from episode one to acknowledge what will remain and what will change. Fourth-wall breaks, stylistic dialogue and political machinations are used throughout. I must note the increasingly sensationalist violence, as seen through a tense scene with a captured bird.

When the story really starts to kick in, we see that there will no longer be the rehashing of election tensions and partisan squabbles they used during Frank’s presidency. Claire’s tenure faces challenges that are far more creative and insidious: the long reach of big business, portrayed this season by the multibillionaire Shepherd family. These “Koch brothers” analogues are a clan of influential WASPs who look non-threatening — wearing the type of bland fashion you’d see Jeff Bezos or Bill Gates clad in — but they are capable of terrifying displays of power and amorality like an assassination attempt or a digging up the former president’s corpse. All to show that, even in the White House, the President isn’t safe.

Claire gives back as good as she gets — she is the most powerful person on Earth, after all — and she uses her femininity as another arm of that power. She confronts all instances of misogyny she faces, no matter if the attacks are real or fabricated for political expediency — and there are more than a few of those. But don’t misinterpret the overtly pro-woman slant as virtue signalling or true egalitarianism, as Claire is still Claire: a ruthless pragmatist with clear goals. “She’s weaponising her feminism,” as Annette Shepherd succinctly puts it. She uses that weapon and others to remove political enemies, silence journalists and escalate war like a true tyrant would.

Morally complex protagonists aside, let’s take a moment to appreciate the significance of having a talented woman as the face of the world’s premier streaming service. It’s not that long ago Robin Wright had to fight for pay equal to her co-star Spacey: now she earns $500,000 an episode.

If you should take anything away from the media buzz surrounding this season of House of Cards it should be that the Weinstein effect is getting results. Powerful men in Hollywood will no longer get away with abuse and crime, especially since there are more than a few talented women to take their place. And in the case of Wright, the opportunity for an artist of her prestige to lead a hit show like this is long overdue.

House of Cards Season 6 premiered Friday, 2nd November on Netflix. All episodes are available to stream now.

Rating: 4/5

Overlord Photo: Joi Ittoflickr

Review: Overlord

Written by alfieclark on . Posted in Film.

Directed by Julius Avery and produced by J.J.Abrams, Overlord is set during the Second World War, and tells the story of Private Boyce, played by Jovan Adepo. Private Boyce is a soldier reluctant to engage in violence and committed to saving the lives of his brothers-in-arms, no matter the risk. He is joined by Corporal Ford, played by Wyatt Russell, a far more pragmatic soldier, as they discover a secret laboratory run by the Nazis, in which humans are turned into zombie-like creatures with superhuman strength.

Both of these actors are serviceable in their roles, but the stand-out performance in the film for me was Pilou Asbaek as the main antagonist, SS Officer Wafner. If you’re a fan of Game of Thrones, you’ll recognise Asbaek from playing the over-the-top villain Euron Greyjoy, and he brings the same hammy villainy to this role. Whilst the other performances are nothing special, I did like the characters and enjoyed their chemistry on-screen.

I would not go so far as to say that I loved this film, however I was incredibly impressed by its structure, which handled the two potentially clashing genres very well. The first 45 minutes feel like a normal war film, and yet somehow when the zombies were introduced into the plot, this did not feel jarring or comical. Though the plot of this second half was ludicrous, the film and the characters within it took it just as seriously as before. In an era for film where we have franchises such as Deadpool, in which fourth-wall breaking jokes address the film’s silliness, I found it refreshing to see this film fully commit to the world it had created, no matter how ridiculous. Additionally, the script remained tight and focused throughout, with no irrelevant sub-plots to distract from the action.

The action sequences of this film are where it really shined. The opening scene in which the protagonists come under fire in an aeroplane was a brutal and intense prologue that would fit just as well in any other WWII film. And, let’s be honest, the action is always more satisfying when Nazis are on the receiving end of it, and the film often gets creative with the kills, which was very satisfying for a fan of violent movies such as myself.

If you’re expecting a complex view of the soldiers who fought in the war – don’t. In this film, Americans are the heroic good guys, Germans are the reprehensible bad guys. Perhaps outdated, but it works for this film which could have just as easily been released in the ’80s or ’90s.

Overlord is not an ambitious, ground-breaking film, but it is largely successful at what it is trying to achieve. I believe that in the future it will become a cult-classic, and it deserves that status.

Rating: 3.5/5

Photo: Taki Steve @ Flickr

Our relationship with antibiotics: cure and concern

Written by Tom Allen on . Posted in Science & Tech, News.

Our reliance on prescription medication today is undeniable. Nearly half of all adults in the UK take prescription medication weekly, while figures in the US are not dissimilar. Although life expectancy has increased substantially since the industrialisation of pharmaceutical production, there are rising concerns with the readiness at which GPs are writing scripts for certain drugs, in particular antibiotics.

Used in the treatment and prevention of bacterial infections, antibiotics are one of the most popular and ubiquitous medicines prescribed across the world. These drugs work by taking advantage of bacterial properties that are lacking in humans. For example, the presence of cell walls. Beta-lactam antibiotics inhibit the production of cell walls in bacteria, causing them to burst due to an increase in internal pressure — a process known as lysis.

New research conducted by the University of Manchester has found that antibiotics are an avoidable trigger for bowel disease. A range of different antibiotics were administered to mice, monitoring results on the concentration of microbe communities present in their gastrointestinal tracts. Following one week of treatment, a harmful immune response was seen in the mice lasting for around two months, the equivalent of several years if extrapolated to humans.

Administration of the antibiotics caused a significant depletion of microbial environments in the mice, a requirement for the production of short-chain fatty acids. These fatty acids have been shown to prevent the harmful immune response observed.

Antibiotic side effects are not just limited to those involving the gut. A systematic review of research conducted by the Universities of Manchester, Leeds, and Sheffield has linked antibiotic administration to the onset of harmful side effects in the lungs. In part funded by the European Union, the €24 million venture investigated drug-induced interstitial lung disease (DILD) through the development of new innovative imaging techniques.

Symptoms of DILD can include breathing difficulties, fibrosis, and inflammation of lung tissue. These can often remain unnoticed for a number of years following use of the drugs, a particular concern considering the mortality statistics for DILD patients. 25% of those involved in the study eventually died as a result of lung implications.

Perhaps a more concerning result of over-prescription and misuse of antibiotics is the potential for bacteria to become immune to the effects of these drugs. Due to random variations in genetics between generations, bacteria can develop resistance to the mechanisms utilised by the medication to exert their effect. Often coined as ‘superbugs’, these new resistant bacterial strains have been suggested to have the potential to kill 1.3 million people in Europe by 2050.

There are a whole host of factors contributing to the acceleration of antibiotic resistance. Patient-level misunderstanding, however, is the foundation on which this issue lies. Many patients visit GP surgeries with conditions not entirely suitable to antibiotic treatment. Although not in the best interest of either party, prescriptions are all too often still written.

A staggering nine out of ten GPs admit to being pressured into writing scripts for ‘pushy’ patients, with 44% conceding that they had written scripts solely to get patients to leave their surgery. This is particularly prevalent in cases of viral infections, where antibiotic treatment is completely useless.

A more deep-rooted issue is that of how we conceptualise disease. Many common illnesses occur in combination with others — take high blood pressure and heart disease, for example. Despite this, drug trials conducted on animals don’t consider disease combinations. This is extended to human trials too. 69% of patients with multi-morbidities are not included in clinical trials due to worries of intensifying their symptoms. Clearly, effective medications for specific disease pairings could be missed here entirely, leading to the overuse of ineffective drugs.

As it stands, momentum is growing in academia to reform our drug testing models to account for the intricate, intertwined nature of disease. With it becoming increasingly evident that overprescription is fuelling side effects and resistance rather than remedies, it is clear a new approach is necessary.