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Month: March 2019

Photo: MANIFF

MANIFF 2019: Princess of the Row

Written by Josh Sandy on . Posted in Film.

Put simply, Max Carlson’s Princess of the Row is a near-perfect film. Following the life of 12-year-old Alicia, played brilliantly by Tayler Buck, who has entered the foster care system but wishes to live with her homeless war veteran father instead, the film manages to exist simultaneously as a harrowing story of a survival and a heartwarming tale about family.

The relationship between Buck and Edi Gathegi, who plays her father, is mesmerising to watch, and his brief moments of lucidity between PTSD flashbacks stand out as immensely moving scenes. However, the film’s true crowning glory is Carlson’s deft handling of topics like mental illness, homelessness, prostitution and addiction and his ability to combine them to create a bleak backdrop against which the father-daughter relationship shines.

In addition to the film’s story is its cinematography, which beautifully contrasts the grimy streets of downtown Los Angeles with the lush greens and blues of her potential foster home in rural California and acts as a sublime metaphor for Alicia’s seemingly impossible choice between her family and her future.

Overall, Princess of the Row is a truly magnificent and uplifting piece of independent film-making which stands out as a hidden gem in MANIFF’s 2019 line-up.

5/5.

The 5th Manchester Film Festival is taking place at the ODEON Great Northern from 2nd March to 10th March 2019.

Photo: Maximilian Bühn @ Wikimedia Commons

Review: The Kindergarten Teacher

Written by madeleinepeden on . Posted in Film.

I went to see The Kindergarten Teacher as part of HOME Manchester’s International Woman’s Weekender; a mini-festival focused part of HOME’s wider initiative of celebrating women in global cinema. The film, directed by Sara Colangelo, is a remake of the Israeli film of the same name. It tells the story of Lisa Spinelli, a seemingly talented but disengaged kindergarten teacher whom takes a special interest in one student, Jimmy, whose natural gift for poetry excites Lisa who compares his prodigy to that of “a young Mozart”. This discovery collides with Lisa’s state of intellectual dissatisfaction and forms the skewed moral compass that directs the narrative; one that spins so wildly, I was in constant flux between empathy and abhorrence towards Lisa.

Lisa’s interest in Jimmy’s talent starts innocently enough. It is framed in a debate that plagues our modern world: is social media and digital technology replacing our engagement with intellectual culture? Within a short period of time, this interest transforms into an unadulterated obsession that is uncomfortable to witness.

It is bordering on the distressing, but Colangelo expertly prevents the scales from tipping, instead pushing us to our absolute limit of discomfort. This is particularly jarring when Lisa abruptly breaks off from an intimate moment with her husband to answer a phone call from Jimmy to write down one of his poems. This is one of many moments where Lisa’s interaction with Jimmy is adjacent to moments of adult sensuality.

Maggie Gyllenhaal’s performance is exceptional; it carries the film to the point it could be adapted into a one woman show performed by Gyllenhaal herself. The character is so captivatingly complex and many of her actions (especially towards the end of the film) are beyond the pale; at best I felt like a witness to a terrible crime and at worst, an accomplice.

The inclusion of this film within the International Woman’s Weekender was a no-brainer; it’s a totally immersive 90-minutes, thanks to Colangelo and Gyllenhaal. Together, they have realised the creation of a complex, flawed woman who has taken the stereotype of maternal nurturing to the nth degree, to the point where it becomes incredibly problematic and ironically, has the potential to destroy someone’s childhood.

4/5.

photo: Mark Morgan @flickr

Profile: CI Film Club

Written by jackgreeney on . Posted in Film.

The CI Film Club is a bi-weekly event run by the Confucius Institute, the Chinese language studies centre based in the listed terraces opposite the big grey tin can – University Place. Tickets are free on Eventbrite and open to everyone, registered with the institute or otherwise.

The Film Club is one of the plethora of intercultural activities hosted by the institute, and this particular series scheduled to run until mid-May. Seeking to provide a platform for people to engage in intercultural discussions, the CI Film Club convenes to watch two films per session, usually by one East Asian and one American director each.

Each week has a theme, and after viewing the films, discussions are prompted by the convener regarding the cultural differences revealed. Last session the theme was ‘Love’, showing Three Times (Hou Hsiao-Hsien, 2005, Japan) and Before Sunrise (Richard Linklater, 1995, USA). Afterwards, perspectives of Western ‘Romantic’ ideals versus East Asian perspectives of love from those around the table proved to be particularly interesting.

Three sessions remain this year: ‘#metoo’ (20th March), ‘Autism’ (1st May), and ‘Action’ (15th May). Those with an interest of obscure foreign films, intercultural learning, and avoiding work on Wednesday afternoons should consider attending.

Photo: D Ramey Logan @WikimediaCommons

Review: Maiden

Written by alexwalker on . Posted in Film.

The story of Maiden is the incredible tale that we should all know, but don’t. It’s a tale so fraught with twists and turns that at times it often seems a work of fiction, alas, it is not. Alex Holmes’s stunning documentary narrates the story of yachtswoman Tracey Edwards and her dream of putting together the first ever all female crew to compete in the 1989 Whitbread Round the World race.

It begins with Tracey’s early years, and her struggles with an abusive step-father and her running away to Greece. A combination of nostalgic childhood footage and reflective narrative from Edwards paints the picture of adolescent struggle and a young woman who seemed terrible lost and angry in the world. As the film develops, we watch a dream develop within Edwards. Holmes masterfully brings us along on this story, guiding us to face the knock-backs, chauvinism and celebrations along with Edwards. It is incredibly well paced at this point.

As Edwards manages to secure a boat and funding, we are introduced to the rest of the crew. Each highly skilled yachtswoman speaks passionately and honestly about Edwards and Maiden. Holmes makes a redundant decision to include interviews with two prominent journalists of the time, including Bob Fisher who referred the Maiden as a “tin full of tarts”, which does detract from the narratives of the crew. However, the collection of news archive footage really causes the viewer to experience the opposition and sexism that they must have felt, inciting a strong emotional response from the whole audience.

While the pace of the film does dip in the middle, the coverage of the race is generally very exciting. The immersive handheld footage gives the audience a real sense of the terror of the seas. Holmes intersperses it well with emotive accounts from the crew. As the race and film go on, the magnitude of what those women were achieving becomes apparent. It’s incredibly emotional.

This film tells one specific part of the story incredibly well, but it does leave an awful lot of the tale — a short online search would reveal just some of what is omitted. At times, it seems like a biopic of Edwards, and less about Maiden. Perhaps, however, this is the point. There is no way that Maiden would have happened without Edwards. Everyone was incredibly truthful about their tricky relationships with Edwards and her turbulent personality, but they were equally as complementary about her determination.

Maiden is a hugely powerful documentary. It is empowering and inspiring in spades, particularly during its International Women’s Month release. Holmes tells the story creatively and beautifully, combining archive footage and interviews to craft a fantastic retelling — this is a must watch.

4/5.

Author’s note: I have some bias towards the story. My parents met on board the boat: my dad was an engineer and member of the shore crew, and my mother was the original doctor. I wouldn’t be alive without Maiden: it’s a pretty fantastic story to me.

Photo: @Roman Armstrong

MIFTA Season: The Greatest Tory Ever Told

Written by Cathy Wippell on . Posted in Theatre.

Roman Armstrong’s The Greatest Tory Ever Told was a punchy story — or should I say ‘tory’ — that provided many valuable comedic moments which were well received by its audience. This being said, the plays themes ran deeper than its entertaining front, dealing with issues such as social exclusion, differing opinions, and acceptance. This provided some more thought-provoking, if not touching, moments. 

About three weeks into his first semester, Cameron Davidson experiences a chaotic and frustrating day. In his morning lecture, he is challenged to prove that he is ‘not a tory’ by the head of the Labour society, Yvonne. Instead Cameron ends up forming a close bond with the sole member and head of the Conservative Party, Donny. Not only this, but he is also kicked out of his halls by his own mother, played convincingly by Eloise Russell (who has started dating his flat mate). After a house party, a close encounter with death and a strange experience with Gareth’s eagles, order is restored with a message of accepting each others’ opposing opinions.

The pitiable yet hilarious character of Donny (Kwame Owusu) was especially well written by Armstrong, the crazy succession of plot twists demonstrated an inventiveness and eye for comedy that was outstanding. Both Armstrong and Evie Appleson’s direction, showed informed attention to detail, from the feuding, red and blue lighting to the ironically theatrical puppets used to illustrate the scene of Donny, Cameron and Gareth’s struggle in the rapids of a river. It was clear the creative team had approached the script with a very clear image of what they wanted, and this enabled a comfortably assured performance from the whole cast.

Kwame Owusu delivered an impressive performance as Donny, the sheltered Conservative party leader. His impeccable comic timing and outstanding focus, meant he fulfilled the  challenging aspect of his character fulfilling some of the funniest moments, contrasted with uncontrollable fits of rage that could only be soothed by a relaxing cup of PG Tips. Making a small assumption that the audiences were largely left wing, Owusu’s ability to make such an audience pity the, at times, ignorant (Tory) Donny, is validation enough of Owusu’s skills as an actor.

Another outstanding comedic performance was that of Ross McFadden as Gareth – aka Lord Grindolf, the enthusiastic head of the Fantasy Battle Re-Enactment Society – who’s omnipresence in the plot acted as a welcome satire of Cameron’s conscience. McFadden created a character that was both overly dramatic and unexpected, he was positively greeted whenever he appeared onstage.

Ciara Ewing as the intimidating Yvonne and Nick Bond as the suitably named Cameron Davidson, settled comfortably into their main roles. They delivered informed performances that held the plot together and gave it a successful arc of action. Their juxtaposition of character highlighted the relative traits of both personalities well.

Daisy Jones as Holly and Abi Brinan as Gracie delivered contrasting characters that acted as a perfect opposition to each other, and to both sides of Yvonne’s character. Jones portrayed the snide character of Holly with impressive assurance and confidence, while Brinan’s more gentle portrayal of the modest, eager-to-please Gracie created an extremely likeable, endearing character.

A mention must also go to the integral role of the ensemble. Though a small group, the three members (Sam Grieve, Daisy Shuttleworth, and George Clark) really owned the space and gave the impression of big crowds, especially in the party scenes. Their use of synchronised movement and mastery of vocal skills were also commendable, delivering an opening sequence that really set the tone for the whole play.

Fundamentally, Armstrong’s play was a relevant satire of the two main parties of Parliament and the place they hold in the younger generation, as well as an entertaining outlooking on the looming ‘Brexshit’. The play was exceedingly well cast and the interplay of its informed visual and audio aspects meant the colourful plot line came across as comfortably assured.

Photo: Alan Levine @Flickr

Review: Cheat

Written by izzysharp on . Posted in Film.

Cheat chronicles the relationship between a Cambridge student and a lecturer who accuses her of cheating. Time will tell if the rest of the series can live up to the slick, clever first instalment.

A large part of Cheat’s success is down to the stunning performance by Molly Windsor as the enigmatic and privileged student, Rose Vaughan. I first came across Molly in the film discussed in last week’s review, The Runaways; I wanted to write more about her then but didn’t have enough space. Quite simply, her performance is exquisite. In Cheat, she achieves that which was just out of her reach in The Runaways, and it is likely down to the role. In The Runaways, she was playing younger than her age, the surrogate mother to younger siblings, while her role in Cheat is nuanced and insidious. You can tell she’s relishing it and it’s impossible to look away.

Windsor has a face made for acting, and the talent of a performer that far exceeds her 21 years. There is a chameleon quality to her appearance; pale blue eyes that snap from icy to electric within seconds, and an understated style that speaks of emotion brewing just below the surface, though all you’ll get out of her is a twist of her lips or a flicker of the brow. There’s a chilling scene where, after failing her coursework, she sits in front of the mirror and practises an emotional appeal, accusing Leah of a vendetta against her. She then restarts the process and tries a different approach.

That’s not to say that Katherine Kelly as lecturer Leah doesn’t measure up; it takes real talent to make us actually like the everywoman, especially when treading on well-worn territory of a struggling marriage and fertility troubles. If anything, the disparate styles of the actresses make the conflict between the two even more believable.

Kelly is more human, less incendiary than Windsor. Similarly, director Louise Hooper takes a light hand with Cambridge, her cinematography innocuous and restrained whilst retaining an appreciation for beauty. There are a few requisite scenes of students punting on the Cam, and violet dusk drifting through the twisting, dimly lit streets. However, these are pared down in favour of a more original take, a drone mounted camera descending like an insect to follow Leah through the colleges. It’s to be applauded. Surfeit is tempting in such a rich backdrop as Cambridge, especially with the overhanging legacy of Oxbridge visual feasts such as Brideshead Revisited.

Cheat fills a space that currently has a dearth on TV: the dark academia genre, specifically college dramas. Its only notable companion was 2017’s Clique, which followed an Edinburgh University student becoming entangled with a mysterious all-female group of overachievers. In the end it felt little more than a watered down The Secret History, both slow and sensationalist by turns. Cheat’s script is tauter, more intelligent. I am bored of oversexed, narcotised teenagers that fail to shock — give me young adults with more intelligent methods of malevolence.

5/5.

Photo: @Magnus Manske

Behind the Scenes: Working in tech theatre

Written by Kayleigh Crawford on . Posted in Theatre.

Working on the technical aspects of production is like being a background character in a play. The tech crew are meant to blend in and become invisible whilst the stage environment is built, and often remain so throughout performances. It’s a strange position to be in – simultaneously in the thick of all the action yet so far removed from it at the same time.

What is tech theatre? It’s everything that goes on behind the scenes – the lighting, sound, sometimes even the set. We come in before the production starts and leave after it’s over, usually staying through the course of a production to run the show and make sure none of the equipment malfunctions during its run.

Although I’ve only been involved in tech theatre a short time, it has definitely been eventful. My first job was hauling heavy boxes of equipment down the stairs at Antwerp Mansion, and I’ve run all over the Students’ Union carrying scaffolding, and sliding along on flight cases. I’ve made my fair share of mistakes, too. No one will forget the time I accidentally ended a blackout too early during a show, treating the audience to a lovely view of the cast mid-scene change. It’s certainly true that sometimes the only time people notice the tech crew are when the tech goes wrong.

One thing that continues to surprise me is the distance between the people who do the tech as opposed to the cast and creatives of a production. At the end of a show, you’ve seen the show so many times you know the lines almost as well as the actors, you’ve been there for the tech rehearsal and the dress rehearsal and have designed the lighting for each individual scene – and yet, most of the cast leave on the final night without ever knowing your name.

It’s not a criticism of the performers, they are busy enough, but it is a very weird experience to be watching the same people every night and almost feel as if you know them (or at least the character they play) – yet they don’t know you.

Despite this strange existence between involvement and obscurity, I enjoy tech theatre – whether it’s fixing equipment to ceiling bars, designing light sequences, or simply turning up on the night of a production and running the technical aspects of the show. I don’t think I’ll ever be able to see a performance ever again without commenting on the technical aspects behind it, or cheering extra loudly when the cast motion to the tech desk during bows.

Photo: @Rudhira Sambrey

Review: The Vagina Monologues 2019

Written by Anuli Changa on . Posted in Theatre.

It was an absolute pleasure to return to The Vagina Monologues this year. Based on the play of the same name by Eve Ensler, The Women’s Theatre Society impressed yet again with a combination of Ensler’s original monologues and pieces written by the performers. Overall, I found the pieces written by the performers to be the most impressive and impactful.

Director Edda Vallen reminded the audience that the Ensler’s orginal play was criticised for a lack of representation, focussing on the experiences of (mainly) white women. The Women’s Theatre Society, however, are committed to representing a wide range of identifying women in their performances. This year’s Vagina Monologues was no exception.

The simple and powerful staging of The Vagina Monologues created the perfect atmosphere, with the performers all in black lining the back of the stage on chairs. This staging created a sense of solidarity amongst the performers, this solidarity was echoed by the audience with cries and whoops of support throughout.

Juliette Lewis was a standout performer. Lewis had the audience giggling, as she listed the different words and phrases used to avoid saying the word ‘period’. This ranged from the classic ‘time of the month’ to the French slang: ‘les Anglais ont débarqué’ (‘The English have landed’). Lewis’ easy comedic style and relatable quips about wishing away periods, seamlessly became a personal anecdote of Lewis’ period stopping due to her health. Lewis’ monologue was positive when she recounted her period returning when her health improved. This performance was brave and encouraging, reminding us that periods are healthy and to be celebrated.

Lena Horak’s monologue recounting her sexual assault was unapologetic. It was incredible to watch her state: “my experience is not a tool” and “I don’t care”. This shed light on the use of sexual assault experiences to garner support (and perhaps sympathy) and a negative side to this which I had not considered. I really appreciated listening to Horak own the experience with graphic words, whilst also dismissing it and demoting it.

Elena Brearley was also an excellent performer. She told a story of hating her vagina until a sexual experience with an “average” man named Bob, who took such joy in looking at her, taught her to love her vagina too. This was performed so honestly and comically by Brearley, that I had to remind myself that she was performing Because He Liked to Look At It, one of Ensler’s orginal monologues. Brearley made this monologue her own and it was relatable to the point that I could believe it was her story.

The final standout for me was the duologue, written and performed by Lae Carbon-Wilson and Millie Loveday Inglis. This performance created a unique point of view about their experiences on tinder, in particular as mixed race women. The duologue was well written and effective, as the two took turns reciting racist and belittling messages they’d received (with a very enjoyable dance break to ‘Independent Women’). This performance was genuine and importantly, did not generalise all their tinder experiences as negative.

The Vagina Monologues 2019 was a wonderful balance of empowering, comedic and moving performances. Another year, another success.

Photo: Martin Schumann @ Wikimedia Commons.

Live Review: Sleaford Mods

Written by Bella Fleming on . Posted in Music.

Last Friday night, Nottingham locals Sleaford Mods played an underwhelming gig to a crowd of 2,000 people in Manchester’s Academy 1 following the release of their new album Eton Alive. This is the first tour and album to be released since Sleaford Mods parted ways with Rough Trade Records, and from the low quality of this gig I suspect being out in the music world on their own is harder than Sleaford Mods imagined.

The gig started with Eton Alive album opener ‘Into The Payzone’ and Sleaford Mods came bounding on stage with big energy and a bigger greeting from the crowd. Considering how long they’ve been playing gigs it was not surprising to see how effervescent the audience was, and the Sleaford Mods boys really did get a lively welcome from their adoring fans. ‘Into The Payzone’ sounded good live and definitely paved a promising path for a good gig to follow.

However, as the songs rolled on, the gig didn’t seem to really go anywhere. It was interesting to hear how the sounds sounded no different live than they did playing them on Spotify, and this was what made the gig so uninspiring. Every song played was good, but it was not memorable, and this made the gig drag on slightly, making it seemingly monotonous and characterless. There was little emotion from the band – making it seem like it was just another show they had to play, ignoring the fact that they had a crowd of adoring fans waiting for something more.

The lack of love for their audience was seen further through the minimal interaction Sleaford Mods had with the crowd, except for the periodical shouting of swear words that followed every song. Maybe being un-emotive and uninspiring is all part of the Sleaford Mods persona, but considering everyone had paid £20 to see them, they could at least have shown one smile.

A major distraction throughout the gig was Sleaford Mods member Infant, who looked frankly idiotic as he stood towards the back of the stage throughout the gig with a beer in his hand as he wearily side-stepped to each song in an attempt to dance along.

Lead man Jason Williamson seemed to do all the hard work (if you can call singing over a backing track hard work), whilst his partner unintentionally took all the attention from the crowd. In all honestly, Jason could run the band on his own, Infant seemed to be completely purposeless for the whole set.

Considering how successful Sleaford Mods have been throughout the years, it was a disappointment to see them live. Also, seeing how this is the first album and tour for Sleaford Mods on their newly formed record label Extreme Eating I had high expectations for a great show, or something vaguely memorable at the very least. Perhaps having the backing of the very well-established Rough Trade Records was more vital to Sleaford Mods than they know.

Overall, it was a mediocre gig filled with mediocre songs and below mediocre stage presence. For such a credited band, I expected more.

4/10.

Photo: MANIFF

MANIFF 2019: Short Film Session 8

Written by jackgreeney on . Posted in Film.

Manchester Film Festival 2019’s Short Films Session 8 encompassed a broad range of themes and genres over eight professionally produced short films.

First, the rather soulless Invaders — a small UFO vies to win the approval of two mischievous friends around a Christmas Eve home. With the feel of a rejected Pixar demo and a highly clichéd orchestral soundtrack, the faceless UFOs produce little comedy or emotion — the punchline gets a few laughs from the audience, but otherwise Invaders is pretty tumbleweed-inducing.

Francesca Reale stars in The Last Line’s UK premiere, playing a budding actor performing at an audition with mild confidence. The director’s commands and emotional manipulation eventually wear her down: “You want the part, don’t you?”. Despite being one of the shortest on the billing, the film delivers a powerful critique of male power in the arts, leaving a lasting impression on a jarring note. The Last Line is the best film of the night.

Sketch portrays courtroom illustrator Anne’s love at first sight when soon-to-be convict Simon is brought to trial. Fantasy soon overrides reality; set to the wonderful ‘Funky Town’, the mismatched pair dance exuberant 70s styles with perfect execution. Anne was head over heels — the choreography was that good. Funny and bizarrely endearing, Sketch had the audience cooing and chuckling throughout.

Gagarin biopic Yuri makes its world debut, depicting the first man in space re-entering the atmosphere. Landing in a Kazakhstan farm, Yuri meets an old farmer and her daughter and mulls over the life that brought him there. Unconvincing acting and incoherent overlaid poetry fails to deliver on an intriguing premise.

CC, named after its main character, presents the aftermath of a violent encounter between a human-like, AI-driven nanny and an overwhelmed mother. This film would make a decent episode of Black Mirror, Jewel Staite playing CC appropriately cold and unfeeling. A good contribution to the evening, but not the best of the bunch.

The world premiere of Japanese film Prowler portrays the daily struggle of a homeless man searching in and around vending machines for change. Director Toshiharu Yaegari took the subject in good humour, particularly during the man’s encounters with the other homeless people he meets. An unexpected resolution leaves the viewer to decide the significance of all before it.

Why Call the Police, a Chinese-language music video by Haonan Wang, follows an unravelling toilet roll through an apartment block. Despite some intriguing shots of old men in bleak rooms wearing VR headsets and a young woman tied up by laptop cables, the film lacked anything much to hold the interest. This view on apartment-life dystopia was as uninspiring as apartment life itself.

Finally, comes the UK premiere of Sides of a Horn, portraying South Africa’s poaching war from both sides. Refreshing and dramatic, the film gave an understanding of the motivations that lead people in poverty into poaching gangs. Well-acted, realistic, and informative throughout, the Zulu and English language picture went on to win the festival’s Best International Film.

Photo: Catrin Stewart @ The Mancunion

What makes the perfect burger?

Written by Catrin Stewart on . Posted in Food & Drink.

I recently received a message from my brother. It said ‘Can I write an article for you?’ Now, considering he’s 11,000 miles and 13-hour time difference away, travelling in New Zealand, I was a little taken aback. And no – unfortunately he can’t write an article for me.

But I’m going to tell you why he wanted to. It all started with a burger – specifically “the. best. burger. in. the. world.” according to him. The best thing he ever ate, that would apparently stop all my ‘veggie nonsense’. Turns out he had just eaten at Fergburger, which is a famous Burger joint in Queenstown.

But it got me thinking, what is it about burgers that sends us so crazy? I feel like every city has a restaurant claiming to have the best burger in the world. Is it the combination of meat, bread, and cheese? Is it the numerous possible flavour and topping combinations? Is it the fries on the side, or the ‘eat with your hands and get grease all down your chin’ vibe? Is it the gherkin?!

It’s such a universal dish that you’ll see on almost every menu. And whilst my brother seemed to truly believe that the Fergburger is the best in the world, I, as a recent vegetarian, will not know this pleasure. I did, however, recently get to try Honest Burgers’ vegan burger, a collaboration with ‘Beyond Meat’. And boy, did it deliver.

Made from chickpea shells for the texture and beetroot for a medium rare look, the beyond meat burger was truly convincing. The smoked gouda (which actually melted, which can’t be said for most vegan cheeses) and rosemary-salted fries were a welcome accompaniment. Honest Burgers are opening in Manchester this April. I really do insist you go. Plant burger or meat burger, it’s bound to be great.

Photo: Catrin Stewart
Photo: Catrin Stewart

After asking around, I found a huge array of answers to the question: ‘what is the defining factor of a great burger?’ These included; good burger sauce, quality of the meat, structural integrity, (relevant to most veggie burgers) and a good cheese melt.

For me – controversially – it’s about the bun. I can’t be doing with brioche buns (too sweet), sesame seed buns (too messy) or pretzel buns (I mean come on). I want a good, white bread that’s firm enough to hold the burger but not so crispy that it’s difficult to eat. We all know the pain of taking that first bite only to find a soggy mess in your hands, or going for the burger and managing to only get bread.

I don’t think the perfect burger really exists, because as those responses show, we all want different things. But one thing I have learned is that is doesn’t matter. No one cares why burgers are so great, they just are.

Jailbreak 2019. Photo: Manchester RAG.

How far can you get in 30 hours without spending a penny?

Written by Ethan Davies on . Posted in Societies.

On the 5th April, the University of Manchester organises its most renowned challenge where teams of participants have 30 hours to get as far as possible without spending any of their own money on travel: Jailbreak.

Those who partake can experience the thrill of racing across the country, and beyond, to raise money for Worldwide Cancer Research whilst also making unforgettable memories.

The idea is to get as far from Manchester as possible without spending any of your own money, and you’d be impressed how far you can get.

It’s quite normal to see students pop up in European cities – Rachel Thomson “made it to Oslo… wearing only an elephant onesie as I had no coat”, but in previous years, students have reached as far as Istanbul without spending any money — Jack Hargreaves was one: “We were the last jail-breakers to leave Manchester that year, but the first to leave Europe in five years. In total we raised over £700 for Breast Cancer Care UK and had a trip I will never forget!

“I thoroughly recommend for anyone to have a go, regardless of how far you get, you will have an adventure you will not forget. Simon and I decided to make our own giant [boob] costumes from papier mache to attract some attention for our adventure. We ended up wandering around the city for about five hours and as we were unable to exchange money through anything other than the cut out nipple, we had strangers feeding us and getting the odd itch we couldn’t scratch.

Photo: Manchester RAG.
This boob made it as far as Turkey. Photo: Manchester RAG.

“During our wild Halloween night in Manchester city centre we raised a lot of money from the very generous public to contribute to our flights. A quick scan of SkyScanner showed that we could get return flights to Istanbul, over 1700 miles away from Manchester for the money we managed to raise in the city centre. We had an incredible time there, we couch-surfed, got shown around by Syrian refugees and saw the Blue Mosque in our short 22 hours visit.”

Jailbreak organiser Denisa Manda said: “Jailbreak is definitely the challenge that will push your limits and help you rediscover yourself. It is a way in which you can support Worldwide Cancer Research while having crazy adventures and unforgettable memories.

“We work hard on making it the best experience for our participants, thus I encourage you to take part and challenge yourself in one of the most popular events across universities in the UK.”

Interested? You can find out more about the information session online here. The deadline to register is 26th March.

Photo: Jeshoots-com @ Pixabay

2019’s most dangerous destinations

Written by Josie Fowler on . Posted in Features.

A new map, published by International SOS and Control Risks, details the most dangerous places to visit in 2019.

As the dangers of the world changing year on year, it’s important to stay up-to-date with where is considered a risk when planning a trip. The map is divided into four categories: low, medium, high and extreme. It details both countries and cities in order to make sure that people are aware of where dangers may lie when considering travelling.

The Foreign and Commonwealth Office runs a campaign called Travel Aware, which has detailed information of over two hundred different countries, and it is massively advised that this be consulted for information, updates and advice when considering going to one of these destinations. Firstly I will explain the rankings and then I will provide some examples  to shed some light onto what can be expected from a low, medium, high or extreme risk country.

Low risk countries are defined as countries with a low crime rate. They also will have infrequent violence motivated by issues such as politics and race, and terror acts are rare. Countries in this category form the bulk of the map, and the UK is a part of this.

Other examples include almost all European countries, as well as the United States, Canada, Japan, South Korea, and Australia. While these countries may fall into the friendlier of the categories, it is still  important to research the country you intend to visit, to be aware of perhaps some more minor issues you could face, such as certain areas being more prominent for street crime or knowing about some of the laws and customs. For example, while Japan may be considered low risk, the importance of researching the customs of the place you plan to go can be reflected in the items classed as contraband there which can be legally enforced, including the banning of products such as Vix Vapo Rub.

Medium risk countries are identified as countries that have periodic political unrest, as well as sporadic examples of issues such as violent protests or terror attacks. Moreover, for travel to states in this country it is recommended to be aware that travellers can face risk from violent crime targeting a particular race or community.

Countries in this category include  South Africa, India, Turkey, Ukraine, Russia and Bolivia. However, what also falls into this category are countries that are considered a medium travel risk generally, but with areas that are high risk. This emphasises the importance of knowing whereabouts in a country you plan to visit if you’re travelling across, as well as preparing for the risks you might face in this situation. Countries falling into this category include Peru, Mexico, Madagascar, Saudi Arabia and Mozambique. For travel to the states listed, it is massively advised to get regular updates as the level of risk may vary from time of booking to time of travel.

High risk countries as classified as having frequently violent protests that may target or disrupt foreigners. Additionally, there is significant risk of violent crime and terror attacks, as well as political or racial violence being commonplace, and foreigners may find themselves directly targeted.

Countries in this category include Georgia and Papua New Guinea, as well as areas of the Philippines, Nepal and Tunisia. Should you find yourself choosing to visit one of these countries, it is important to be informed as to what services the FCO could offer in case of emergency. This is readily available through their website, and is advisable when going to a country that has a degree of uncertainty with regards to the safety of it.

Extreme risk countries are those in which the government controls law and order, as well as serious threat of violent attacks by armed groups specifically targeting travellers. Large parts of the country are inaccessible to foreigners, and government and transport services are barely functional. Countries in this category include Somalia, South Sudan, Yemen, Iraq and Afghanistan; while not often considered popular tourist destinations, they are still visited year on year by thrill-seekers and those who want to experience something different. To anyone considering following a similar path, it would be a big risk to not research the potential dangers first.

There is no negative that can come out of going the extra mile to prepare for a trip away, and while there are varied levels of risk and danger involved, it can still be invaluable to understand the country that you visit. Both the International SOS and Control Risks map and the FCO can offer a detailed account of what can be expected, with the Travel Aware campaign offering information on everything from the environment to traditions to terror warnings for each country.

Steely Dan. Photo: Wikimedia Commons @ Kotivalo

Live Review: Steely Dan

Written by Lily Martin on . Posted in Music.

Firm ’70s favourites Steely Dan graced Manchester Arena as part of their star-studded European Tour, delighting both old and new fans with a packed set, supported by Steve Winwood.

Their musical influence is beyond significant. Since their 1972 debut album Can’t Buy A Thrill, they’ve inspired musicians, writers and artists with their jazz-rock tracks and charismatic stage presence. Despite only frontman Donald Fagen remaining from the original line-up, age clearly hasn’t harboured his sheer talent and natural grace onstage. With the death of bandmate Walter Becker in 2017, it does feel somewhat bittersweet with the tour stretching over what would have been his 69th birthday. A subtle but beautifully tender moment in recollection of his late musical partner feels appropriate, with a microphone left empty in his memory reminding the crowd of this iconic partnership.

Steve Winwood provided a set which perfectly complimented what was to come. With old favourites and new tracks seamlessly blended, it didn’t feel like he’d aged a day from his early work. His vocals were strong and poised, his supporting band staggeringly talented and he effortlessly set the groundwork for the headliners, drawing the audience into the evening.

It’s a hard feat to make the intimidatingly large Manchester Arena feel intimate; the smooth jazz chords and lush vocals of Steely Dan’s best hits require some intimacy. But somehow this was obtainable. The room felt tight, intimate and friendly. And there was over 10,000 of us tightly packed into seated rows – it shouldn’t have been possible. It’s testament to Fagen’s skill and experience in performing to a big room that he tacked such a feat so fluidly.

The dynamics of the set is equally as impressive; it’s a level of live perfection that the music scene is lacking of late. There are no backing tracks, no over-producing; it’s a twelve-piece band, including brass section, which oozes talent and suspended the audience in awe at the power and passion behind each note. From the groovy funkiness of ‘Bad Sneakers’ to the staggering, ricocheting sax solos of ‘Bodhisattva’, this is a part of musical history that is truly timeless. It’s as though everyone in the audience is being taken back to the first time they heard each track, and it doesn’t take long for people to protest against the regimented seating and take to the aisles to dance to the empowering chords of ‘Dirty Work’.

Most of the people in the audience were listening to their tracks when they were new on the scene, but there’s a satisfying number of young faces in the crowd too, which is refreshing. It’s good to know that the roots of the music industry are still stretching out to new ears decades later. The passion, grace and ease of elegance in each of Steely Dan’s tracks is something that modern music desperately lacks. Every beat and key is laced with emotion conveyed seamlessly to the listener. The revival of Steely Dan to new ears couldn’t come at a better time, with Fagen being far from the end of his tether and their work in need of fresh recognition.

For many, it was an experience of a lifetime, transporting them to hot ’70s summers and reminding them of better times in a way that only the purest music can. Harmonies and perfectly timed solos, guitar riffs that encompass the best of the era like the closing one to ‘Kid Charlemagne’, left the crowd desperate for more.

Despite a understandable wariness of a British headline for an all-American band who have a reputation for straying into Europe rarely, Steely Dan left the crowd feeling poignantly sentimental. Closing on ‘Reeling in the Years’, Fagen successfully not only created musical art, but achieved the almost unobtainable, transporting his fans into a sphere of raw emotion, soul-bearing songwriting and rhythmic jazz-rock arrangements.

9/10.

Photo: whenyoung at The Deaf Institute

In conversation with whenyoung

Written by Lily Martin on . Posted in Music.

I meet the trio in the midst of soundcheck at Manchester’s Deaf Institute. They’re friendly, if a touch icy, and seem excited about being on their UK tour. Self-described as having a “striking musical identity”, whenyoung are known for their distinct image and Irish roots, playing over 100 shows in anticipation of their debut album release. Having supported The Vaccines and Blossoms, their fanbase seems to be enlarging at a rapid pace, although that wouldn’t be initially evident from spending even a brief amount of time with them.

It’s clear that they enjoy being on the road, they even admit that “it’s nice to come back” after an “intense year”. As a female-fronted band they offer promise, too. The combination of smooth talent from the three of them, with Aoife’s velvety vocals and ease on the bass, Niall’s confident guitar solos and Andrew’s drumming create tracks that feel immaculate.

Although it is always refreshing to see a band tackle the music scene with such determination, I couldn’t help but feel a little let down by their Deaf Institute gig. That’s not to say that they didn’t perform well; the crowd grew exponentially as the night progressed, and anyone I spoke to at the venue seemed enraptured by the anticipation of their performance, however having never heard or seen them play before, I felt disengaged… and dare I say it, bored.

This wasn’t helped by their preceding line-up. The absence of a first support band did feel, initially, bizarre. When I asked them about it before hand, no-one seemed to think it strange that the gig was just a two-band show, when normally I would expect to see a local band open, to bring in a new crowd, as well as to endorse an up-and-coming band to their current fanbase. The Ninth Wave filled up this gap impressively. It has been a while since I have seen a band with such sheer onstage charisma as well as musical promise. The combination creates a jaw-dropping excitement at the potential this Glaswegian group have to offer.

Initially, the powerful male-female harmonies of singers Haydn and Millie drew me to the iconic duo of Stevie Nicks and Lindsey Buckingham. Their vocals are idyllically matched, completing what feels like a perfectly choreographed musical dance onstage. Their live set feels less produced and more pure than their recorded work too, which is a relief. There’s not a member of the band that seems to hold them back either; each bandmate seems equally as talented and this produces an onstage harmony of skill which is electrifying. This partnership works well. The Ninth Wave have established ground-breaking tracks that engage and impress a crowd live. They are the embodiment of everything I like to see thriving in the music industry – identity, talent, equality and partnership.

whenyoung therefore felt somewhat overshadowed by their predecessors onstage. The crowd’s engagement and enthusiasm was unmistakable, but for me, it felt like the set really lacked something. They were certainly great, but at times I felt like their tracks delved into the generic, and as an old-fashioned gig-goer, I like there to be distinction between a body of tracks in a set, each having their own character. This wasn’t something that could be found in whenyoung. Tracks were driven, catchy, clearly familiar and well produced, but lacked something to make them truly distinct and recognisable to me. Nevertheless, the crowd loved it. The room was packed and an aura of enthusiasm was definitely present.

whenyoung’s Irish folk roots remain strong in their shoegaze-y songs, but their lack of energy live made it impossible for me, an outsider, to engage with their music. They embraced the venue entirely, and played well, but I’m not convinced they’ve recruited me to their cause, and I probably won’t be adding them to my playlists any time soon.

6/10.

Photo: Alex Stagg @ Mancunion

Live Review: Jacob Collier

Written by Alex Stagg on . Posted in Music.

Letting the grip loosen on his ‘one-man-band’ approach, Jacob Collier took to the sold-out stage of Gorilla, with band in tow, to produce a magical and memorable music experience that will no doubt divide opinions.

Leaping onto stage with the grin of an over-excited child, Collier immediately set the tone for what was to come, encouraging the audience to respond in a call-and-response-like fashion to his virtuosic scat chants. We, as an audience, immediately felt part of his band, integral to the show as one of his fellow accompanists on-stage.

Collier asked, “How many musicians do we have in the audience tonight?” and was met with an eruptive wave of shooting hands from a pick ‘n’ mix of concert-goers, young, old, hippy, and even suited businessmen. This is typical of the two-time Grammy award winner’s musical style unsettled in any genre, as an effusive explosion of converging sound-worlds if you like. It was clear from the get-go that this was a concert by an effervescent progressive musician suited for the musical intellectuals out there.

Kicking off with heavy bopping R&B, Collier funkily pranced between instruments, masterfully smashing polyrhythms on the drums before fingers went flying up and down the keyboard in a dazzling fashion. This was swiftly followed, almost interrupted, by a dramatic change in style into one of his more well-known tunes, and a personal favourite, ‘Hideaway’, a hit from his debut album In My Room.

A melodically soft yet timbrally powerful song, the seemingly simple opening was quickly diluted into a series of complex harmonic movements that engaged the audience with a plethora of rich sounds. The performance was absorbing, yet I couldn’t help but feel surprised about the extent to which his band members were playing such a prominent role. Not only did this strip Jacob of his established ‘one-man’ image, but also blurred a lot of his instrumental playing, rendering a lot of his wizard-like virtuosity potentially unnecessary.

The instrumental force, however, did seem to make more sense as the show progressed, and Collier took a moment to briefly explain the four-album journey of Djesse, the first of which was described as exploring the mass of sound of the orchestra. Representing the ‘orchestra’ in Gorilla were three other exceptionally talented musicians from across the globe. I’d imagine this as a deliberate choice, slotting in nicely with Collier’s desire for worldwide musical collaboration and participation. Collier and band, switching between a variety of instruments, moved through a set-list consisting of songs from this particular album — his debut — and a few of his early popular YouTube covers (‘Lean on Me’, ‘Fascinating Rhythm’).

The set-list felt a little disjointed and spontaneous by skipping between songs, and even cutting them apart. Certainly, some of the drawn-out ‘sing-along’ tunes at the end, although great fun, could have been cut shorter. This is typical of Collier, fluttering between musical ideas that pinball around and consequently result in mostly unsettled and overly busy sound.

Although this rings true it is hard not to admire the boldness and sheer skill of this sort of juxtaposition. All of Collier’s work is of the highest pedigree. The live performance didn’t feel lacklustre either — despite the heavy production involved in his recorded work it was recreated effectively with multi-octave harmoniser and effects.

Collier certainly is a pioneering innovator of sound, technique, and tools, and to be able to witness the musical prowess he bestowed on each instrument was utterly mesmerising and truly an honour.

8/10.

Photo: @The Other Richard

Review: Mother Courage and Her Children

Written by alfieclark on . Posted in Theatre.

Moving, unsettling, and violent — Mother Courage and Her Children is a harrowing watch, but unquestionably worth it.

In this production, Anna Jordan rewrites Brecht’s original play, changing the setting of the 17th century Thirteen Years’ War to a dystopian future set in 2080. In this future, Europe has collapsed and two factions, the ‘reds and the blues’, fight over the ‘grids’ that are left in the world.

Almost all theatre, and indeed all current forms of art, will attempt to make a comment on the state of the world, and often the focus of this is on Trump or Brexit. I was concerned that this production would focus too much on Brexit, that it would lose focus on the story. However, my fears were unfounded. In this new setting, the central focus remains fixated on the struggles of the titular character and her children, and the question of why we choose to carry on even in dire circumstances. The gritty set evoked a feel similar to that of Cormac McCarthy’s The Road. It consisted of wired fences, a run-down ice-cream truck, and large barrels used to make fires or to sit on, creating an appropriately bleak tone.

We journeyed through this apocalyptic wasteland with the protagonist Mother Courage, as she tried to make a living dispensing food, weapons, and medical equipment to the warring factions. At the same time she must keep her three children safe from such horrors as being enlisted to fight in a savage war, killed, or raped. Julie Hesmondhalgh as Mother Courage brought a captivating energy to the stage. Every time she was on stage you were unable to take your eyes off her. Small gestures such as a roll of the eyes, or a moment of emotional pain in her face, served as some of the funniest or most heart-wrenching in the play.

Hesmondhalgh had the difficult job of portraying a character who is selfish, ruthless, and greedy, yet to whom the audience will ultimately be sympathetic. She excelled at this. Her performance never shied away from the morally reprehensible side of the character. However, she achieved likability through witty, humorous dialogue, and moments in which her love for her children shines through, no matter how twisted that love may be. The supporting cast also have to be praised here, particularly Rose Ayling Ellis as Courage’s mute daughter, Kattrin. She was able to convey the curiosity, dissatisfaction, and pain of the character all through facial expression and movement.

The sound design for the play was highly effective in building suspense and creating an atmosphere of constant threat. Loud sirens, explosions, and gunshots were in almost all of the play’s 11 scenes, putting the audience on edge even during quiet moments. Additionally, the musical sequences added a lot to the play, drawing out more of the elements that could deem it a dark comedy. It is true that this play can be difficult to sit through due to its violent content and cynical worldview. However, Jordan perfectly paced the story, keeping it at a trim two-hours-and-twenty-minutes including the interval. I personally never lost engagement in the narrative.

Though the switch to a post-apocalyptic setting worked in some ways, I also feel that it created some significant problems. This was most notable in the emotional climatic scene. What was originally simply a stealth attack on sleeping victims became a gas attack. I felt this took away from my immersion into the drama. Surely a gas attack would kill these civilians regardless of whether they were asleep or awake? Thus the tension of whether or not they would wake up in time lost much of its impact for me, which is a shame as other than that it was a perfectly performed and directed conclusion.

Despite some minor issues with the setting, I would highly recommend Mother Courage and Her Children, both to fans of Brecht and to relative newcomers such as myself.

Photo: AM Smith @ Wikimedia Commons

Is Nemo a person?

Written by jasper scofield on . Posted in Science & Tech.

Self-recognition has long been thought of as a trait of the highest levels of cognition. Such self-awareness has only been displayed by a handful of animals such as chimps and elephants. However, recent research suggests that a small cleaner fish may be part of this elite group.

According to a study conducted by researchers from the Max Planck Institute for Ornithology (MPIO) and Osaka City Univeristy (OCU), the cleaner wrasse (Labroides dimidiatus) is able to respond to its own reflection.

This was displayed by the mirror test, a psychological test often thought to indicate abilities of self-awareness and recognition. The test involves marking an animal with a spot, and placing it in front of a mirror. The ability to comprehend the reflection is measured through behaviour regarding the spot.

The test was devised by psychologist Gordon Gallup in 1970, who used it to make claims that chimpanzees were able to recognise their reflections. Since then, only a select group of animals have passed the test, including bottlenose dolphins, elephants, orca whales, and magpies. Even humans can’t demonstrate this behaviour before the age of around 18 months.

After being placed in front of the mirror, the cleaner wrasse was observed attempting to remove the spot by scraping its body on hard surfaces. However, when marks were transparent, or the mirror was absent, these behaviours weren’t seen. Furthermore, there were no attempts to remove marks when interacting with another fish across a mirror, or remove marks put on the mirror itself. These set of results show strong evidence that these fish are able to recognise themselves, the first fish to do so.

Research leader, Kohda, could hardly contain his amazement at the findings. “When I observed the scraping behaviour of [the] marked throat in the video the first time, I was so surprised that I fell down from my chair,” he says.

However, Gallup himself is sceptical of the findings. “Scraping the throat where the mark is may simply represent an attempt to call the attention of other fish in the mirror to the presence of an apparent ectoparasite on its throat,” he claimed.

Further caution in interpreting these results was urged by leading primatologist at Emory University, Professor Frans de Waal. “What if self-awareness develops like an onion, building layer upon layer, rather than appearing all at once?” he asks. “To explore self-awareness further, we should stop looking at responses to the mirror as if it’s a litmus test. Only with a richer theory of self and a larger test battery will we be able to determine all of the various levels of self-awareness, including where exactly fish fit in.”

However they are interpreted, these results will have implications for the study of self-recognition. It may be that there are many more animals capable of this behaviour than previously thought. Or it may raise questions over whether the mirror test is a suitable tool for measuring self-recognition.

Photo: Aaron Bauer @ Flickr

How 147 companies control 40% of the global economy

Written by lukeedwards on . Posted in Science & Tech.

A new report detailing the relationships between 43,000 transnational corporations (TNCs) has identified a small nucleus of companies that hold a disproportionate amount of power over the world economy.

The study, undergone by a trio of complex systems theorists at the Swiss Federal Institute of Technology in Zurich, determined that due to their shares and influence over subsidiaries and affiliated companies, this small group of corporations was incredibly well-connected and powerful. The researchers found that out of a total of 37 million companies and investors worldwide, 1,318 companies with interlocking ownerships had ties to two or more other companies, and on average, they were connected to 20.

Their power lies in the fact that through their shares, in addition to representing 20 per cent of global operating revenues, the 1,318 companies own a majority of the world’s large blue chip and manufacturing firms – the “real” economy – representing a further 60% of global revenues. When investigated further, it was discovered that there was a ‘super-entity’ of 147 even more tightly knit TNCs that controlled 40% of the total wealth in the network.

Although they may be a relatively new development, super-entities have been at the forefront of the media. Movements such as New York’s Occupy Wall Street and protesters elsewhere have been demonstrating against financial power and influence.

The Zurich report seems to confirm the protesters’ worst fears. “In effect, less than one per cent of the companies were able to control 40% of the entire network,” says James Glattfelder, a researcher on the Zurich team. Most of the most powerful companies were financial institutions. The top 20 included Barclays Bank, JPMorgan Chase & Co, and The Goldman Sachs Group.

As the world learned from the 2008 recession, such interconnected networks can be inherently unstable. Concentration of power is not good nor bad in itself, says the Zurich team, but the core’s tight interconnections could be. The links that these companies share with each other means that if one company suffers distress it propagates.

“It’s disconcerting to see how connected things really are,” agrees George Sugihara of the Scripps Institution of Oceanography in La Jolla, California, a complex systems expert who has advised Deutsche Bank.

However the report has attracted some criticism. Yaneer Bar-Yam, head of the New England Complex Systems Institute (NECSI), argues that the study assumes that ownership equates to control, which is not always the case. Most company shares are held by fund managers who themselves do not have much influence over the operation of the connected businesses, despite the fact that they partly own them.

Contrary to what the protesters believe, the super-entity is unlikely to be the result of an international power-accumulating conspiracy to dominate the planet. “Such structures are common in nature,” says Sugihara.

The Zurich group has been determined to not fuel the distrustful relationship between the public and super-entities. “Reality is so complex. We must move away from dogma, whether it’s conspiracy theories or free-market,” says Glattfelder. “Our analysis is reality-based.”

In a sense, this interconnection may be beneficial to the economy of the world. Understanding the architecture of the worldwide business network may allow the weaknesses and vulnerabilities in the system to be identified before it causes a major issue. Through this, economists can suggest measures to prevent future collapses spreading through the entire economy. Many figures advocate global anti-trust rules, which now exist only at a national level, to limit over-connection among TNCs where firms could be taxed for excessive interconnectivity to discourage this risk.

The real questions asked by the Zurich team is whether the 147 can exert political power. Many feel that 147 TNCs is too many to sustain collusion. Others suspect that they will compete in the market but act together on common interest. Resisting changes to the network structure may be one such common interest.

Photo: Seniju @ Flickr

Genetically awake: Insomnia linked to genes

Written by Ruhi Walsh on . Posted in Science & Tech.

Tired of being tired? 30% of the population regularly suffer from insomnia but little is understood about the condition. Genetics might provide an explanation, but this brings its own problems.

Insomnia is a sleep disorder characterised by an inability to fall asleep or stay asleep for long periods of time. It can leave sufferers exhausted, agitated, and accident prone as well as increase their risk of alcoholism. Clinically, its definition is vague as the amount of sleep each person requires varies, and periods of stress or uncomfortable sleeping environments can make falling asleep harder. Typically though, if a person is struggling or failing to fall asleep three nights a week for at least three months and they feel drained the next morning, then they are considered to be an insomniac.

Not much is understood about the causes of insomnia. It is often attributed to excess consumption of stimulants such as caffeine or mental health issues such as anxiety, stress, and depression. However, these can also arise as a result of insomnia itself.

Genetic factors are also involved. A study by Massachusetts General Hospital, University of Exeter Medical School, and the Universities of Bristol and Manchester identified 57 gene-regions that are associated with symptoms of insomnia, including the four regions that were known of previously. These gene sites studied were involved in regulating protein destruction and were expressed in multiple regions of the brain, adrenal gland, and skeletal muscle. They are also not known to be affected by risk factors for insomnia. Researchers are hopeful that they could therefore be used as new drug targets and tackle the route mechanisms of insomnia and other related sleep disorders.

Interestingly, the study also reported that insomnia can double a person’s risk of developing coronary artery disease and that it shares genetic factors with restless leg syndrome. This may explain why the gene sites studied were expressed in the skeletal muscle. Further study is required to understand the mechanisms behind these associations. However, with insomnia alone costing the American economy an estimated $107.5 billion a year, there is a dire need for more to be done.

Scientists and those in the medical profession should proceed with care though. There are inherit problems associated with linking genetics to a trait or disease. Whilst such knowledge can be useful for diagnostics, counselling, drug treatments, and preventative measures, it is important to stress that for most behaviours genetic associations are just that: associations. They are not always directly causative and often work in conjunction with environmental and social factors to determine the final effect.

If this is not stressed, biology can be perverted. That is not to say that knowledge about insomnia and coronary artery disease will lead to eugenics, but the overemphasis of genetic links can lead to a narrow focus on treatments such as gene therapy at the expense of solutions that target environmental factors.