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Month: April 2019

New Rep Hub launched by SU to help connect students to the union

Written by Sam Honey on . Posted in News.

A new system to connect students with their representatives at the University of Manchester has been launched by the Students’ Union (SU).

Rep Hub, a new online portal to simplify communication with reps, was included in the manifesto of incumbent education officer Olivia Meisl in last year’s executive elections.

The portal, located within the SU website, allows students to quickly identify who their student rep is, along with contact details, as well as providing them with the ability to submit feedback online.

Even if students cannot provide the name of their school, or their course is not listed, they are provided with a contact.

The hub will also be integrated into MyManchester for ease of access.

This new mechanism is aimed at increasing student engagement, and further aiding reps in their delivery of support, with a range of materials available for reps themselves, including advanced training and key contacts.

Education officer Olivia Meisl expressed her delight that the hub was finally up and running.

“I’m really excited to finally launch rep hub. It was my main manifesto point and it came about after being a rep for 4 years, and then a faculty officer – it can be really difficult sometimes to get good quality feedback from the students you represent, and equally on the other side, students in many cases aren’t aware who represents them, it changes most years. It’s a particular challenge for our joint honours students. The hub will definitely go far in improving the representation of students to staff in the university, and giving the union a clearer picture of patterns across schools, a faculty, or all 3 faculties.

“The way it works is that you can find out who your rep is, and then submit feedback directly to them, under several categories and as positive feedback and room for improvement feedback. Should someone not have a student rep for their course, they can feedback directly to the SU education team. The team and I get to see an overview of what is going on university-wide. We’ve had some really interesting things so far!”

Photo: The Mancunion.

UoM gender pay gap revealed

Written by Ethan Davies on . Posted in News.

New analysis from the BBC has revealed that the University of Manchester pays its female staff 12% less than their male colleagues – the largest gap of all the universities in Greater Manchester.

That means for every £10 a man earns at the University, a woman earns just £8.80.

Whilst the main University has a 12% gender earnings split, University of Manchester Conferences Ltd. has achieved pay parity – with men and women being compensated equally for their efforts, according to the data.

The University’s gap has decreased from 13.1% in 2018, with the average 2019 split in education coming at an eye-watering 20%.

Other universities in Greater Manchester face similar problems, with Manchester Metropolitan University’s (MMU) female staff earning 6% less than male employees. The Royal Northern College of Music (RNCM) has a 9.4% deficit, again in favour of men. The University of Salford has an 11.2% divide, meaning women earned £8.88 for every £10 men did.

Elsewhere, the University of Cambridge reported a 13.7% gap, with Oxford reporting the same difference. Greater Manchester Police reported a 2.5% larger divide, at 16.2%.

Nationally, figures suggest that the gap actually increased in 45% of businesses, and 7% reported no change. That meant 78% of those surveyed favoured men, 8% have no gap, and 14% favoured women. The average gap in the UK was 9.6% in favour of men.

By law, all companies, charities, and public sector institutions who employ at least 250 staff must publish their gender pay gap figures. 10,428 organisations filed their data before the deadline, with those not doing so facing legal action. The pay gap is calculated by comparing the difference in pay between median-level female and male staff in the same firm.

The data, which the BBC acquired from Government Equalities Office is based on two specific days of the year – 31st March for public sector organisations, and 5th April for businesses and charities – the end of the tax and financial year.

Fatima Abid, General Secretary of the Students’ Union, said: “It is very upsetting to find that the University is still at a 12% pay gap. I really hope that this means the University will try even harder to make sure there are more women in senior positions, more BAME women in senior positions to close that gap quicker than they’re currently [doing so].

“The fact that we have the biggest gap [of universities in Greater Manchester] is not good, considering the reputation of this University, so I really hope they will close it as quick as possible.”

Incoming Women’s Officer at the Students’ Union Ayla Hüseyinoğlu described the news as “a real shame” and added that as Women’s Officer, she will “work to address the gender imbalance in academia; I really hope to make some contribution to decreasing the size of this pay gap at our University.”

English Literature and French student Cachella Smith added: “Universities are institutions that have been created for the very progression of society, the type of organisation that has learning, critical thinking and growth as its foundations. [It] needs to foreground and support the promotion of equality, including that of gender, not actively be work against it.”

A University of Manchester spokesperson said: “We are committed to closing our gender pay gap and the evidence from our equal pay audit (which we undertake with the trade unions every two years) confirms that we do not have significant gender pay gaps within Grades 1 to 8 and all but two of our senior pay bands.

“We take our commitment to equality, diversity and inclusion seriously  and the actions we are taking continue to close the gap and focus on ensuring we have fair recruitment, selection and promotion policies in place.

“Our policies and procedures are actively reviewed to ensure they are accessible and free from bias, and we take pride in the wide range of support that is available to all our staff. We are also actively seeking new opportunities to assist women to progress to the next level of their career.”

Photo: Jackelyn Howell

An Evening With The Chanteuse

Written by Bella Jewell on . Posted in Arts.

By Jackelyn Howell and Bella Jewell

On Wednesday the 27th March, Manchester-based singer, The Chanteuse, graced the Students’ Union with her presence and powerful tunes. The event, which was organised by the University of Manchester French Department, was made up of an hour-long discussion with the singer, followed by a performance of some her favourite songs, as well as music from her new album, ‘Modiano’.

Lucy Hope (The Chanteuse) outlined her musical influences which inspire her to cover the chanson genre. The English Literature and French graduate praised singers like Juliette Greco and Barbara for their deeply personal music styles, describing how Greco’s “inherent sensuality” and the way she “used her body to interpret her lyrics” made her songs so powerful.

The Chanteuse described her passion for the chanson genre to be associated with her love of words. “I’m lyric mad,” she exclaimed. In this way, she is naturally drawn to songs which put lyric and meaning at the centre, songs which share a message, instead of being focused on the music.

It is this lyric-focused approach that led to the production of her latest album, Modiano, which covers a collection of the famed writer’s songs. The Chanteuse described her appreciation of how Modiano approached “universal themes” in songs he wrote for artists like Françcoise Hardy.

In fact, her album will be one of the first unified collection of songs written by Modiano, making her work excitingly avant-garde at the same time as being a nod to the past. To add another layer of authenticity to the album, The Chanteuse and her group decided to use an analogue studio whilst recording. She described how “digital just doesn’t pick up on the same sounds” as analogue, and that the inability to cut and edit as easily means “you have to commit to everything you were singing.”

When asked about the difficulties of singing in another language, The Chanteuse described how she does always feel “a slight distance from being within the text… almost as if it’s in bubble wrap.” She explained, however, that this separation ends up making the feeling behind the music “more extreme”, for example, she reads a lyric “as more happy or sad as [she doesn’t] have the same nuance” as a native speaker. For The Chanteuse, the most important aspect of her music is communicating the message and emotions of a song with an audience which is not necessarily French speaking.

After a short pause, we reassembled to listen to an assortment of Hope’s covers of songs to get a taste of her music style and to see how she has interpreted these French classics. In the short time we had, she covered an hour’s worth of her material with short intervals in between, explaining the context behind each song so that the audience could capture the tone and feel of the chanson.

An interesting and unexpected aspect of her performance was the contrast between her bubbly personality and the serious tone with which she sang. Some of the songs she covered featured more gritty topics such as war and prostitution, but she juxtaposed this by captivating the audience with her personality and jokes in between each song. A highlight of the performance was ‘L’Aspire-à-coeur’, a song that starts with a rapid tempo and considerably slows at the point of the chorus.

Overall, the evening was a fascinating insight into the world of ‘chanson’. The way Lucy Hope managed to convey the intense meaning of a song –  in a language many do not understand – is a demonstration of the raw emotion in her voice. As we listened to her music, one cannot help but feel transported to the music halls of 1960s France.

Photo: Isabella Jewell

Anger over proposed Hardy’s Well redevelopment

Written by Josh Sandiford on . Posted in News.

Mancunians have expressed anger over a proposed redevelopment of beloved public house Hardy’s Well.

The pub, located at the end of the curry mile, hasn’t been in use for a number of years but is seen by many as an artefact and a ‘central part of Rusholme’s identity’.

The new plans – originally submitted to the council a year ago – would see the iconic pub turned into flats and shops, with the pub’s frontage saved and partly kept unchanged.

The 200-year-old pub is the site of Lemn Sissay’s legendary poem ‘Hardy’s Well’. The renowned poet and Chancellor of the University of Manchester describes the piece as “public art”.

Sissay himself told The Mancunion that he was sad that the poem would be removed, and hoped that it would find a new home.

He said: “I’ve been aware for some time that Hardy’s Well was nearing its end. Hardy’s became “the poem with the pub on the side of it” as much as “the pub with the poem on the side of it.

“Since the 1960s, living poets weren’t putting poems in public spaces. Now, from Simon Armitage to Helen Mort, poems in public space have become part of the cultural landscape of Britain.

“I am proud that Hardy’s Well was first. The problem with a lot of the present poetry in public is that a lot of it is physically self-effacing.  Hardy’s Well was written in a place for everyone to see and it was unashamedly bold.”

Some residents have slammed the proposals as a “shame” and “monstrous”, with one resident calling the planning authorities in Manchester “actually bonkers.”

Councillors and residents groups have also raised concerns about the proposed plans leading to additional traffic and congestion, with parking said to be a particular issue in the area.

One masters student, who chose to stay anonymous, said: “Some residents will see this as if the developers are tearing down a beloved statue; it’s a public monument, part of the Mancunian landscape, and many will be sad to see it gone.”

However, some have struggled to see the issue with the proposed redevelopment.

Luke Austin, an Environmental Science and Management student said: “It’s better being flats than it just sat there rotting, at least they’re keeping part of the building. Do you ever think it was going to reopen as a pub? It was only a matter of time before houses or shops got placed on its land.”

Alfie Wells, a second-year Geography student said: “I think as long as Sissay’s poetry is preserved on the Southern wall then regeneration should happen. That end of the Curry Mile is an eyesore to be honest but the poetry must be preserved though as its an important piece of Mancunian history. Personally, I would love for a brewery or independent to take over the lease and turn it back into a bustling community hub it once was.”

Harry Hamish Gray, an aerospace engineering graduate shared the proposed redevelopment on Fallowfield Students Group (FSG), calling it a ‘monstrous tumour’.

He told The Mancunion that whilst he understands the need for redevelopment “a lot of students are unfamiliar with the love northerners have for red brick.” 

He added: “They may just see it as ruins, but many of these buildings are important to our shared history and culture.

“I don’t mind expensive flats just as long as they look nice. There is nothing worse than knowing that somebody is paying £140+ a week to live in such a ghastly building, I feel bad for them.” 

Brexit and Democracy

Written by oliverstorey on . Posted in Opinion.

We find ourselves in a Brexit state indicative of the manner in which we began this sorry process. David Cameron put such an immense question to the people, with a range of possible outcomes. Regardless of previous events, only a decision made through democracy could provide a resolution to such a situation.

Since the beginning, the most likely outcome has been May’s deal. This is a deal that delivers on the referendum, while maintaining the integrity of Ireland, resulting in our managed departure from the Four Freedoms of the EU.

Thus, any claim that we could achieve a deal that replicates all our current benefits and more, without a backstop, is wrong. It didn’t matter how much we “stood behind the vote” (Robyn Mackie, FSG) as a country, emotions and opinions will not be able to change the logistics of international politics and the Good Friday Agreement.

Those, such as Jacob Reese-Mogg, now claim a No Deal Brexit is a feasible option. No politician stood on a platform for No Deal during referendum; they told us specifically, “The day after we vote to leave, we hold all the cards and we can choose the path we want” (Michael Gove, 09/04/16) and “There will be no downsides to Brexit, only a considerable upside” (David Davies 10/10/16).

Brexiteers promised an improved deal, now they are promising that No Deal will be better than that improved deal that never materialized.  The electorate deserves the respect to be consulted again on the performance of their public servants.

This is the real Brexit deal, not “what ‘it said on the can’ but less market access with a higher cost with the same immigration” and now we have facts with which to scrutinize our politicians. If Brexit is a vote for democracy, then this is surely the chance to exercise our rights?

May will not bulldoze her deal through the House of Commons due to her failure to achieve a Commons majority campaigning on a hard Brexit platform. Regardless of this impasse, I would argue a second referendum is the only right and logical way to settle such a divisive issue.

Some students on Fallowfield Student Group, however, oppose this course of action. Rachel Clark calls a second referendum “undemocratic” and Robyn Mackie argues it is “insulting” to people who thought their vote “would carry weight.” Sebastian Short went as far as to say it “reduces the legitimacy of all future votes.”

To get technical, the first vote advised our government to negotiate a new deal with the EU, through triggering article 50. A second referendum would be a different vote; it would be impossible to revoke the first vote since it has been fulfilled, article 50 has been triggered. Theresa May has negotiated a deal that could potentially change the course of our history for decades; it deserves to be (or not to be) ratified by the people.

The insult is to the millions of disenfranchised young people to have their future dictated without their say. It is insulting to not think, “people deserve the right to change their mind” (Lewis Whitmore, FSG). The fact the ‘will of the people’ has physically changed due to demographic shifts, with 235,000 Remain supporters joining and 260,000 Leave supporters leaving the electorate per year since 2016, is further evidence of shifting public opinion.

Tired of Brexit already? This is only phase-one. This saga shall monopolise our political concerns for decades to come. Let the people decide whether we are happy with the course this government has chartered.  If Brexit is a call for more democracy, there has never been a more crucial time to exercise our freedoms.

Tory Brexit. Photo: Tiocfaidh ár lá 1916 @ Flickr

Should I Stay or Should I Go?

Written by Iwan Hopkins on . Posted in Opinion.

With Theresa May’s withdrawal deal taking another overwhelming hit, voted down by 149 votes, opinions on Brexit are again rife across social media. It appears everyone is an expert on the controversial motion to leave, so I’m throwing my hat into the ring and pretending to know exactly what I’m talking about too.

Though the margin of defeat is smaller this time around than her initial proposal in January, May’s suggested route out of the European Union remains a failure. Receiving 242 of the 633 potential votes, opinion of the British MPs isn’t in doubt. Furthering the Prime Minister’s woes is the fact that 97.1% of those supporting her deal were from her own party, leading many to question if this is simply preference falsification to get behind their leader.

She’s since revealed that Tory MPs will get a free vote on a no-deal Brexit (allowing them to vote with their conscience rather than following the orders of the party managers). The BBC’s article reporting the event claims that this is an unusual move for a vote on a major policy, and Labour state that this decision shows May had “given up any pretence of leading Britain with free vote.”

Questions are springing forth from all corners regarding the Prime Minister’s future. While it wouldn’t be unfair to say that she has stepped into the position at the worst possible time, she’s not exactly done herself any favours. With her “Strong and Stable” catchphrase and laughable dance-moves becoming viral memes, it has not filled the population with confidence that she is the right person for the job. Jeremy Corbyn has publicly called for another general election, and Jacob Rees-Mogg has not held his tongue when talking about his party’s leader.

But as Brexit draws closer, Theresa steers the ship, and we are becoming more and more aware of its implications. The once promised £350 million a week to the NHS which was plastered across a red London bus seems merely a distant claim and it’s never seemed quite as ridiculous as it does now. In reality, a study from the Centre for European Reform has shown that we are in fact losing £26 billion every year (or £500 million per week) — far from ideal.

Plus, as an added kick-in-the-teeth, Chancellor Philip Hammond has confirmed that £4.2 billion has been set aside to deal with the exit itself. Money which could have instead been spent on infinite amounts of alternatives, including: 36,850 Doctors salaries for a year, which might make up for those NHS promises, up to 617,000 State Pensions for a year which would help put a smile on most of the leave voters’ faces, 1.2 million Jobseeker’s Allowances for a year, free school meals for 10.5 million children, and most shockingly, 16,800,000,000 Cadbury’s Freddos — say no more.

I know what I’d choose, but any of them would be better than the mess we’re experiencing at the moment. The clock’s ticking for Theresa.

Review: Opera North’s The Magic Flute

Written by Jay Darcy on . Posted in Theatre.

The Magic Flute is Mozart’s mystical masterpiece. The production value of this performance was superb. The set (Colin Richmond) mainly consisted of several massive doors, complete with several of their own windows, that could be moved around by the actors. It was amazing how many set-ups and configurations they created from several of the same basic set pieces.

Indisputably the most magical element of this performance, though, was the lighting (Chris Davey): I have never seen such incredible stage lighting. The doors worked as brilliant projection screens, but Opera North thought of several other ways to project their beautiful moving images. In the first act, the Queen’s ladies lifted a blanket, and a video of Pamina was projected onto it. In the second act, a transparent screen covered the stage-front; as Tamino and Pamina waved the magic flute, incredible projections, such as roaring flames, appeared on the screen. It really was magical.

A standout performance was Gavan Ring as the hilarious Papagino. The contrast between his friendly Irish accent and divine singing voice was impressive. I particularly liked how he broke the fourth-wall, especially when he acknowledged the show’s signer. It was great that the performance included a sign language interpreter, they received roaring applause at the curtain call. Papagino was a welcome contrast to the more intense moments of the opera.

The Queen’s ladies (Lorna James, Helen Évora and Amy J Payne) were also brilliant. Whilst other productions present them as glamorous, Opera North dressed them like nurses with bloody aprons and lightsabers – a truly modernised opera!

The main characters, Tamino and Pamina, were your typical fairytale lovers, desperate and irritating. I was hoping for an ending like Romeo & Juliet style ending, but there was no tragic ending. I was impressed to see the casting of Kang Wang and Vuvu Mpofu, both people of colour playing two of the biggest roles in the opera, both of their singing voices delightful.

The famous Queen of the Night’s second aria is very demanding, the vocal range covering two octaves (F4 to F6) and requiring a very high tessitura. The Queen only appears three times in the performance . Samantha Hay’s performance as the Queen in this production; she was truly captivating. Also, the Queen’s glamorous dress and Sarastro’s opulent caped suit were standout costumes.

Unfortunately, I did get confused with the plot. Whilst the actors sung in English, opera singing can be difficult to understand. I would have preferred we had subtitles, as they were provided at previous Opera North performances such as The Merry Widow.

Whilst this production did not make me an opera convert, I am very glad I experienced Opera North’s incredible adaptation of Mozart’s classic.

Photo: @José Alberto Guzmán Colón

Review: The Ginger Snapped

Written by Anuli Changa on . Posted in Theatre.

Drag Queen Jinkx Monsoon has a reputation that precedes them. A weird and wonderful performer, and the winner of season 5 of Rupaul’s Drag Race.

As a fan already, I was still unprepared for the talent and hilarity of this live performance. It is one thing to watch a performer lipsync and compete in a heavily edited TV show and quite another to see them sing and perform live.

Jinkx and Major Scales performed largely original music from their new album The Ginger Snapped, music composed by Major Scales. Jinkx is an absolute powerhouse  of a singer, they hardly needed the microphone, their presence and voice filled HOME’s biggest theatre with ease. Jinkx was able to flit seamlessly from ballads verging on operatic to catchy, poppy songs, my favourite being Boys in the Band.

Jinkx gave us just enough of the Drag Race gags we needed, joking about Bianca Del Rio and, at one point spitting ‘vodka’ across the front row – this was certainly funnier to behold when you weren’t in the splash zone. Jinkx Monsoon displayed versatility beyond anything expected. They swanned around in minty green lingerie and a lace dressing gown, ocassionally dramatically reclining on a chaislounge – the picture of opulence.

Jinkx had excellent comedic timing, a favourite of mine was as when Jinkx reached forward and grabbed the fourth wall from between the audience, throwing it away and scolding it.

Major Scales was excellent as the pianist/composer/therapist of the show. He and Jinkx had a symbiotic partnership and they never shied away from the fact that the show was scripted, but each break in a song or off hand comment felt natural, genuine, even spontaneous.

Jinkx came well prepared to these UK shows, making topical jokes about Come Dine With Me, Great British Bake off, and reminding us how much we’ve messed up with Brexit.

The story line of the show made it more than a cabaret show, Major Scales helping Jinkx through different mental health issues such depression and substance abuse was handled well. The self deprecating jokes did not take away from the poignancy of these discussions, if anything it heightened the issues and how we use humour to cope with pain.

One of the most powerful stories Jinkx told was about a doctor’s visit, they identify as gender neutral but ticked male on the sheet for the sake of clarity for the doctor. The nurse they handed the sheet back to took it upon herself to ‘fix’ the form and tick female, leading to a confusing conversation about periods with the doctor until Jinkx had to point out they have a penis. Te story highlighted the ignorance and lack of care about peoples’ identification, an extremely important message.

Jinkx Monsoon turned what could have been an expected (and fun-filled) comedic cabaret show, into holding up a mirror to the issues and abuse of Queer communities across the world and the importance of admitting that things are far from perfect, Trump’s transgender military ban and the stoning laws in Brunei for gay sex to name two.

The Ginger Snapped was an absolute triumph of performance, new writing, excellent comedy, and most of all a stark reminder that the world has a lot wrong with it and we need to talk about it if that is ever going to change.

Photo: Marianne @ Flickr

What does Parkinson’s disease smell like?

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

The scent of skin could be used as an early diagnostic tool for Parkinson’s disease. New research by the University of Manchester has found that individuals with Parkinson’s produce a unique smell that can be used to diagnose the condition.

Sebum is a waxy lipid-based compound that is secreted by the skin. It has antimicrobial properties, both pro- and anti-inflammatory activity, and it also delivers anti-oxidants to the surface of skin. Research, funded by Parkinson’s UK and the Michael J. Fox Foundation, has identified specific compounds within sebum that are unique to Parkinson’s patients. If these compounds are detected in abundance, it not only indicates the presence of Parkinson’s disease but also the stage it has progressed to.

Joy Milne, now an Honorary Lecturer at The University of Manchester, inspired this research by her ability to detect changes in her husband’s smell 12 years before he was diagnosed with the Parkinson’s. After realising the scent and disease were connected, she approached researchers and has been working alongside them for three years since.

Gauze was used to swab the upper backs of over 60 subjects, some of whom had Parkinson’s and others did not. The chemical makeup of their sebum was then analysed and verified by Joy Milne, who has been credited in the research paper. Mass spectrometry revealed that the unique odour Joy Milne detects is produced by abnormal levels of hippuric acid, eicosane, and octadecanal. These compounds correspond to neurotransmitter levels, implying that they too have been altered further solidifying the validity of this research as Parkinson’s is a neurodegenerative disorder.

Researchers are therefore hopeful that knowledge of smell’s molecular basis could form an early detection system and thus enable people to access treatment and preventative interventions sooner. Currently, no definitive diagnostic tests are available for Parkinson’s. This makes identification of the disease challenging. Further complications are posed by the fact that the main symptoms (involuntary tremors, slowed movement, and inflexible muscles) are common to other conditions. Additionally, Parkinson’s patients can experience psychological symptoms such as depression, anxiety, insomnia, and memory deterioration.

One in 500 people suffer from this disease and yet the road to diagnosis and treatment is rocky, making new research vital. It is for this reason that this research in Manchester has evoked such excitement. It could isolate the disease years earlier than current methods and even allow for the effectiveness of therapies to be monitored.

Professor David Dexter, Deputy Director of Research at Parkinson’s UK, is keen to stress that further research is needed before skin tests can be used to definitively diagnose the disease. Future research is also needed to establish whether sebum alterations are present in related conditions however this small scale study may have shone light on a whole new field of Parkinson’s diagnostics.

Photo: David Dixon @ Geograph

UoM ranks joint-third in global university impact rankings

Written by Sam Honey on . Posted in News.

The University of Manchester has ranked joint-third in the world and the best in Europe, in the new Times Higher Education (T.H.E.) University Impact rankings, published for the first time this week.

The University of Manchester placed joint-third with the University of British Columbia, behind another Canadian institution in McMaster University and the top-ranked University of Auckland in New Zealand.

With a score of 96.2 overall, the University finishes as the highest-ranked institution in the UK and Europe.

The new system assesses how institutions are performing in relation to 11 United Nations’ Sustainable Development Goals (SDGs) – including quality education, gender equality, responsible consumption and production, and climate action. The SDGs were launched in 2016, as a framework to promote a sustainable future for all, globally.

This varies substantially from T.H.E.’s methodology for their regular rankings, that use academic factors, such as research, teaching, and international outlook.

The new methodology seeks a fundamentally-different way of profiling universities – through scrutinising the wider societal role of higher education, outside teaching, and research.

This new approach has revealed the unmitigated success of the University in this category. Social responsibility is one of the three core strategies of the Manchester 2020 vision, alongside world-class research, and outstanding learning and student experience.

The University boasts some of the city’s greatest cultural institutions, including The Manchester Museum, John Rylands Library, and Whitworth Art Gallery. Furthermore, according to the University, £25 million has been invested into widening access to higher education: 3,000 staff are supported via equality networks, and almost 1,000 student volunteers take part in projects benefiting the local community, alongside a range of other social achievements.

Dr. Julian Skyrme, Director of Social Responsibility at the University, expressed his delight at the rankings, and praised continued commitment to such objectives: “Being recognised as Europe’s highest ranking University in this new index – and third in the world overall – is a brilliant reflection of the work of our researchers, teachers, students, professional services and cultural institution staff, enhancing our global reputation as a leader on social responsibility and impact.”

The T.H.E. University Impact rankings will be published annually, and the full 2019 table can be found here.

 

Photo: Press photo @ Galos Tatés

‘New Space’ comes to Manchester

Written by Jacklin Kwan on . Posted in Science & Tech.

ManSEDS (Manchester Students for Exploration and Development of Space) organised their annual Innovation in Space Festival last month in hopes of bringing the exciting prospects of a career in space to students at the University. The event was a combination of presentations by guest speakers as well as an exhibition of emerging technologies such as the FossaSat-1 PocketQube, a miniaturised satellite.

The ManSEDS festival aimed to connect industry leaders, academics, and students with a common interest in science and space. One of the speakers was Bob Morris, the Chairman of the Northern Space Consortium, who spoke largely about the development of UK space industry (which is a mix between commercial enterprise like Virgin Galactic, a US company within the British-based Virgin Group, and a national space programme that encompasses close cooperation with the European Space Agency). “It has been a massive expansion for space industry. If you’re thinking of getting into this, it never been a better time to get into the space industry.”

The modern space industry, dubbed ‘New Space’, has seen a massive rise in private aerospace companies. New Space is projected to be one of the most lucrative industries globally, and its rise has paralleled increased government expenditure in space programs in places like China and India. Private enterprises have taken on the challenge of tackling many modern issues like cleaning up space debris, mining asteroids for rare minerals, making spaceflight cheaper and more accessible etc.

Just last year, £2.3 billion went into financing private space companies – the two largest being startups launching rockets and creating satellite networks. One of the speakers, Mitch Hunter-Scullion, CEO and founder of Asteroid Mining Corporation, remarked, “If you look at start-ups, there’s basically a dip around three-year period where most start-ups failed. We’re quite fortunate to have made it past that period.”

Though the involvement of commercial interests in space may arise in challenges like drafting comprehensive regulation, many welcome the rise of New Space as it gives more opportunities for a new generation of students be involved in innovating the technologies that will drive the industry forward.

In between presentations, event-goers were encouraged to explore the exhibition space which hosted pocket sized satellites and novel materials used in spacecraft. Material science has become a huge part of the University’s research output, with the recent construction of the Graphene Engineering Innovation Centre. In fact, the Graphene Centre displayed a graphene-enhanced reinforced panel used for constructing mini satellites.

Both the traditional, research-orientated and profit-motivated landscapes of space exploration are changing. In this dynamic time, space proves to be an exciting and diverse industry to build a career upon. If you are interested, ManSEDS also does other projects throughout the year targeted for students, which are titled: Rovers, Rocketry, CanSat and High-Altitude Balloons.

Photo: @Mihaela Bodlovic

The Funeral Director

Written by Alexia Pieretti on . Posted in Theatre.

The Funeral Director is a new play by Iman Qureshi and directed by Hannah Hauer-King, fresh from its run at Southwark Playhouse (London). This was an emotional play which, through a series of drawn-out, naturalistic, personal scenes, discussed intersections between different minority groups.

The play opened with a woman, Ayesha (Aryana Ramkhalawon) crossing the stage and lovingly singing to a baby with beautiful lighting created a purple tint on her figure. It was as the stage brightened that we were introduced to the bitter truth: Ayesha runs a Muslim funeral home, assisted by her husband, Zeyd (Assad Zaman), and this baby was a corpse she was treating.

The inciting action for the plot occured when a young white man, Tom (Edward Stone) arrived at the funeral home, seeking to bury his Muslim boyfriend traditionally. Though only referred to as his “friend” and “flatmate”, it is evident to the audience, and to Ayesha and Zeyd that this was a gay couple, leading them to turn him away. This leads them to become involved in a legal battle on the grounds of discrimination.

However, it becomes clear to us that Ayesha has a personal relationship to the case, which we see through her passionless marriage and her closeness with a female childhood friend, Janey (Francesca Zoutewelle). Ayesha is a closeted lesbian and as well as following this main plot, the play is Ayesha’s journey of self-discovery and learning to balance her sexuality and faith.

The play provided a unique perspective on topics of homophobia and islamophobia, focusing on individuals in a small town rather than on a national level. Qureshi’s script is punctuated with funny moments such as when Zeyd buys Ayesha a sex toy, explaining it is not actually haram, a moment which apparently went down especially well when students from Muslim schools saw the play. These instances were necessary to create well-rounded characters who can be silly at times, yet they were not so frequent that they took away from the serious themes discussed.

It was also wonderfully refreshing to find a play that does not condemn Islam as absolutely homophobic, nor does it erase islamophobia. Many pieces of media suggest that Islam is an overwhelmingly repressive religion and LGBT people with a Muslim upbringing would have to cast off their faith. We learn that Tom’s boyfriend had still believed in Allah, even when his family disowned him for his sexuality, an Allah who was good and had created him this way, and when Ayesha comes out, she exhibits a similar belief.

The play makes a point of having Ayesha wear a hijab, even after coming out. This displays that being a Muslim and being gay are not mutually exclusive, incompatible things. Additionally, we learn Janey’s mother was hostile to her when she came out as a lesbian and stopped Janey being friends with Ayesha, partially because she believed they were in a relationship, but also for racist and Islamophobic reasons. Thus, we see homophobia is not solely a trait of the Muslim community in this town.

In the scene where she tells her husband she is a lesbian, Ramkhalawon’s acting was superior. We watched her through tears struggle to force the words out, then the sense of relief when she referred to herself as a lesbian for the first time.

One issue raised in the post-show Q&A, was the idea of Janey and Tom as white saviours who inspire Ayesha to come out. This was addressed by Hauer-King who explained the cast and crew discussed this and to try to solve it, kept an ongoing dialogue with Muslim communities. She explained how they would have both white characters make naïve and insensitive comments, like Janey saying she felt like a foreigner in her own town. These showed that while others may have had an impact on Ayesha, at the end of the day, they could not entirely understand her experience and it was she herself who powerfully came out.

Photo: Rlevente @ Wikimedia Commons

Erasmus students left in limbo as Brexit fiasco continues

Written by Lucy Menage on . Posted in News.

A parliamentary vote has decided that funding will only continue for current Erasmus+ students in the event of a no-deal Brexit.

The vote, which took place on the 13th March, confirmed that students participating in Erasmus+ programmes that started before the 30th March 2019 will continue to receive funding.

This means current Erasmus+ students will receive funding for the rest of their projects and won’t need to repeat an academic year or risk loosing academic credits.

The vote followed a new Erasmus+ technical note published on the 29th February promising that current Erasmus+ students would be unaffected by the Brexit outcome.

However, there are no such guarantees for the 17,000 British students who were due to begin an Erasmus+ year abroad starting after the 30th March.

Many university language degree courses encourage and in some cases require that the student participates in a year abroad in order to practice language skills.

Studying abroad has shown to be beneficial to students as research published by Universities UK (UUK) shows participants are 19% more likely to achieve a first-class degree and 20% less likely to be unemployed.

A no-deal Brexit could mean no European health insurance, a lack of funding and accommodation for students, and a decrease in the number of international students who come to the UK to study.

Uncertainty over Erasmus+ programmes is likely to continue as the EU has now granted Theresa May an extension until the 22nd May to convince ministers to either accept her withdrawal agreement or leave the EU with no deal.

Photo: @zhangcc_photography

MIFTA Season: The Results

Written by Anuli Changa on . Posted in Theatre.

After eight productions, displaying exceptional talent in performance, design, directing, and writing, the  MIFTA winners were announced at the Drama Ball. Here are the results:

Best Costume/Make-Up

Nominations: Swish Swish, We Have Sinned, Abandon Ship, Love and Information

Winner: Swish Swish

Best Set/Design

A Place, Swish Swish, We Have Sinned, The Greatest Tory Ever Told

Winner: A Place

Best Lighting

Nominations: A Place, Swish Swish, Abandon Ship, Love and Information

Winner: Love and Information

Best Sound

Nominations: A Place, Abandon Ship, The Greatest Tory Ever Told, Love and Information, Do Not Disturb

Winner: Love and Information

Best Music

Nominations: Swish Swish, We Have Sinned, Abandon Ship, Love and Information

Winner: Swish Swish

Best Newcomer

Nominations: Neil John (Enron), Joe Llewelyn (Enron), Mariella Dyckhoff (Swish Swish), Sam Easton (Abandon Ship), Noah Matthews

Winner: Mariella Dyckhoff (Swish Swish)

Best Supporting Female Performance

Nominations: Flora Higgins (Enron), Anna Robson (Enron), Elena Brearley (A Place), Grainne Flynn (Abandon Ship), Kate Gabriel (Do Not Disturb)

 Winner: Kate Gabriel (Do Not Disturb)

Best Supporting Male Performance

Nominations: Neil John (Enron), Joe Llewelyn (Enron), Gary Gannon (We Have Sinned), Hugo Lewkowicz (We Have Sinned), Kwame Owusu (The Greatest Tory Ever Told)

Winner: Gary Gannon(We Have Sinned)

Best Female Lead

Nominations: Mariella Dyckhoff (Swish Swish), Hope Leslie (Swish Swish), Lauren Owen (Swish Swish), Orla Quilligan (Do Not Disturb)

Winner: Mariella Dyckhoff (Swish Swish)

Best Male Lead

Nominations: Charlie McRoberts (Enron), Sam Easton (Abandon Ship), Joseph Conway (Love and Information), Rory Greenwood (Do Not Disturb)

Winner: Charlie McRoberts (Enron)

Best Ensemble

Nominations: Enron, Swish Swish, We Have Sinned, Love and Information

Winner: Love and Information

Best Cameo

Winner: Thomas Valerio (We Have Sinned)

Most Promising New Writing

Nominations: Sassy Holmes (A Place), Ellie Klouda (Swish Swish), Edmund Philips (Abandon Ship), Chloe Weare (Do Not Disturb)

Winner: Ellie Klouda (Swish Swish)

Best Director

Nominations: Lauren Ellis-Stretch (We Have Sinned), Ellie Klouda and Lily Brittain (Swish Swish), Tom Thacker (Abandon Ship), Georgia Brown (Love and Information)

Winner: Georgia Brown (Love and Information)

Best Show

Nominations: A Place, Swish Swish, Love and Information, Do Not Disturb

Winner: Love and Information

Judges’ Award for Originality and Innovation

“For a bold and unfaltering commitment to creating a distinctive psycho-dramatic universe, transforming perceptions of reality through sound, moving image and art design, daring to be strange and taking us to another world, the Judges’ Award for Originality and Innovation goes to”:

Sass Holmes for A Place.

Congratulations from The Mancunion to all those involved!

Photo: Cara Looij edited by Jessica Wiehler
Photo: Cara Looij edited by Jessica Wiehler
Photo: UMSU

Mancunion reform among headline policies at lively March Senate

Written by Sam Honey on . Posted in News.

A proposal to introduce a sensitivity reader to review Mancunion articles and a 45% BAME quota to apply to the editorial team was voted down in a lively meeting of Students’ Union (SU) Senate last week.

The recommendations were made in an amendment submitted by the Liberation and Access Committee to a wider policy proposal to ring-fence Mancunion funding from Trustees (which include Exec Officers) for the next three years.

After a procedural motion moved the policy up to second in the running order, 71% voted against the proposed changes, meaning that the paper will retain the current status quo until May 2022.

The meeting was also the scene of debate regarding the recent SU Elections, as the fallout continues from the controversial results.

An indicative vote was passed with 80% in favour, calling on General Secretary Fatima Abid to write a letter to the National Union of Students (NUS), asking the Returning Officer to annul the results of the General Secretary and Postgraduate officer contests.

While Abid will not be bound by union bye-laws to request the annulments, Senate, as a representative student body, has clearly declared a will that nominations are re-opened in the two cases.

City Centre Community Officer Guilherme Lopes gave a passionate defence of attempts to re-run the Gen Sec and Postgraduate Officer elections, warning that the two candidates in question could face a no-confidence vote from Senate.

Senate included the standard steering report, in which Abid outlined the legal implications of the recent elections, as well as the Exec Officers’ scrutiny reports.

Alongside the evening’s headline Mancunion policy, a range of other proposals were comfortably passed.

The Liberation and Access Committee’s second proposal, which lobbied to improve trans inclusion in university sport, including non-binary changing rooms at the Armitage and Sugden centres, was backed by 84% of voting attendees.

The committee was also successful in a policy that called for the Freshers Fair to be made more accessible, passing with little debate.

Finally, two policies passed with unanimous support.

Firstly, a proposal called on the union to endorse and help implement the H.O.P.E project, a scheme that spreads awareness of sexual assault at universities was also passed. This represents a similar policy to support Survivors Unite, an organisation that supports sexual and domestic abuse victims.

In addition to this, the final order of business for the night concerned a motion to request that the union become accredited with the NUS Alcohol Impact Scheme, an initiative that has already successfully been implemented at neighbouring Manchester Metropolitan University (MMU).

The policy’s proposer, Jack Swan, said: “I’m delighted Senate passed the policy supporting Alcohol Impact. While most students drink responsibly, it’s great to see the SU commit to tackling the excessive drinking behaviours which strain our relationship with the local community and cause problematic behaviour on and off campus. Now the real work begins of working constructively with bars, halls, clubs, and the University itself.”

Two policies were not discussed due to time constraints, with the meeting finishing 20 minutes late.

These policies will be placed on to the agenda for the next Senate meeting, that will take place on May 9th.

Senate agendas and minutes are available on the Students’ Union website, and can be found here.

Photo: Authorised Press Shot

In Conversation with Drenge

Written by jackmelvin on . Posted in Music.

To many Drenge fans their failing to put out a full-length release in four years may have caused unease at the thought of them fading into obscurity. Sitting down with Rory Loveless, the band’s drummer and one-half of the brothers that make up the band’s original members, I inquired as to whether fans would have to wait another four years before another full-length release. “Hopefully not” reassured Rory who quipped “I feel like a naughty school boy handing some work in late or something and saying ‘it won’t happen again, I promise Miss.’ I hope it won’t.”

Strange Creatures is the name of the release that has launched the band back into the forefront of British guitar music and the name alludes to the dark content contained within. The album has been described as a soundtrack to a horror movie – however, Rory noted that the album contemplates the horrors of modern life far more than any conceptualised idea of monsters and ghouls – “We reflect what is going on in our lives, maybe not like explicitly but implicitly in our music and you know, what’s going on in the country and what’s going on in the world right now, it’s not exactly like all smiles. It’s very, very concerning.”

The album is not just thematically unique for Drenge, but has also introduced into the band’s sound a plethora of synths – alongside a deep layering of delays and reverbs to further construct the world of horror and mystery.

With this considered, I was interested to find out how the band was attempting to recreate this soundscape on stages up and down the country without the aid of the studio. This is clearly something that is testing the band, as Rory was eager to note that this tour had been one of the most difficult to date, with him and guitarist Rob Graham having to play two instruments at once in some songs.

The band also recently completed a run of philharmonic shows in records stores across the country to launch the new album, which Rory referred to being “really odd and weird”. It seems that Drenge have been catalysed by the modern consensus to generally overlook British guitar music and have pushed themselves into reinvention and experimentation.

“I think some of my favourite artists are people who can really push themselves and do weird things, it might not always work but they’re able to breach into these different worlds and keep creatively progressing throughout their career”, says Rory. Clearly, the band have translated this inspiration into their own work.

With all this considered, I was excited to get down to the Ritz early and ready to fully immerse myself in the world of horror and mystery that the band are attempting to transfer from the album onto the stage. Framed perfectly by the red velvet curtains of the venue’s stage and casting tall black shadows on the orange-lit backdrop, the band launched into the title track of the new album.

With dark sludgy bass and relentless drumming topped by rising guitars, Eoin Loveless’ voice sat hauntingly on top of the soundscape and left the audience locked in an unsettling trance. Every world he summoned echoed Bowie or Morrison. The tension in the room was almost disturbing as the song reached its cacophonous climax.

Unfortunately for Drenge however, this immersion lasted no more than the first five minutes as they proceeded to launch into the jerky and erratic ‘Autonomy’. Despite the musical quality of the song, it was as if I’d left my Spotify on shuffle – and been taken from Bowie to The Buzzcocks. Although the two songs both appear on the new release, the latter was recycled from a past EP and has a far more adolescent feel than the brooding maturity of ‘Strange Creatures’. This was highlighted to a greater extent in a live environment by this shattering change of pace.

As the gig continued and the band progressed through their set, it became clear that this was going to cause issues all night. Despite every song being received well by the crowd, they were often in states of confusion and disarray attempting to switch from frantic moshing to motionless trances. The two states were symbolic of the conflicting musical directions the band is trying to take all at once.

Although the set remained largely frantic for the benefit of older fans (one of which remarked to me on a slower song “I didn’t realise I was in a library”) the fragments of darker, more mature tracks were glimpses into the psyche of a band eager to evolve. This became very jarring through the night and quite frustrating with neither side of the musical spectrum being fully explored.

6.5/10.

Photo: Tilda Gratton/@matilda_gratton @ Mancunion

Retro presents Monday Night Special, A Pint With Bill & Stray One

Written by Olivia White on . Posted in Music.

Last Thursday night was quite the set up for an intimate evening of live music showcasing what Manchester’s student music scene currently has to offer. With four acts running up to the night’s headliner’s Monday Night Special, there was certainly something for everyone.

Although hosted in perhaps one of Manchester’s more humble and lesser known venues, the Retro bar aptly offered a grassroot and raw setting for Inhalers, In Pink, Stray One, A Pint with Bill & MNS to perform. The range of genres, personas, and instrumental ability made for an exciting and diverse evening filled with an eclectic mix of influences.

Manchester-born indie duo, Stray One instilled a rush of teenage angst yet with a more mature outlook. Frontman Jay Plent kicked off their first track which has sonic similarities to that of U2 and The Temper Trap but soon had me second guessing when the band’s soundscape morphed into heavier and more pop-punk led riffs as their set progressed. Their most recent single ‘Remembering in Colour’ – now on Spotify – is led by a beautiful and tranquil piano introduction revealing a greater range in instrumental layers of the band’s sound.

Stray One were starkly contrasted with a three-piece band, A Pint with Bill. Bold, brash, and boisterous are the three adjectives I’d use to describe this band. I’ve used these so I don’t have to attempt to pinpoint their genre because quite simply, I have no clue. Incorporating influences of hip hop, jazz, and R&B, A Pint with Bill were certainly eye-catching. I remain unsure as to whether they’re having an identity crisis or just that they’re truly embracing the creative process, and revelling in non-conformality – either way, it was entertaining.

Finishing off the night at Retro was headline act Monday Night Special. This flashy four-piece greeted their audience with a surprising and animated rendition of Dick Dale’s ‘Misirlou’. Lead guitarist Edoardo Fusi launched straight into the track’s iconic opening riff and was sharply followed by his string counterparts Jake Searle on bass and frontman/rhythm guitarist Oscar Cloud. Drummer Alex Bell matched the trio’s vitality with each pound of his drum as he reeled on the edge of his seat.

Despite being formed for a mere three months in Manchester’s student hotspot, Fallowfield, Monday Night Special have profound confidence which was illustrated with the ease they showed while performing. The fast-paced, lively and warm presence they held was soon mirrored by the audience who were dancing throughout their entire set.

Monday Night Special’s setlist was rooted in original material and bloomed with hit cover’s such as ‘Dancing in the Moonlight’ and ‘Stand by Me’ which they try to shake up with each performance. The band’s ability to move seamlessly between songs was refreshing for the evening as they humbled themselves with idle chit chat in between tracks. Although these raw interludes reminded us that they are still very much a student band, the band proved themselves to be ones to watch, oozing potential.

Monday Night Special have recently returned back to the studio but be sure to catch them on their next string of dates around the University’s campus.

Photo: Authorised Press Shot by Thomas Coe Brooker

Live Review: YONAKA

Written by Georgina Davidson on . Posted in Music.

Manchester’s Deaf institute was unsurprisingly heaving with anticipation for the arrival of a certain Brighton four-piece. As YONAKA’s first headline appearance in Manchester, it was pretty remarkable to see that the show had sold out in such a short space of time way back in January. I had remained puzzled over the decision not to up the venue size.

However, to be entirely fair the first supports didn’t garner a huge crowd initially. This was a huge shame as the lack of crowd was not equal to the talent on display. In fact, I found it incredibly hard to believe that the 70s glam-rock inspired Cassyette didn’t have a larger following.

This unique and vibrant band had a vicious intensity that was picked up by the crowd as their set progressed. Their style was most certainly matched by their substance with glittering guitar solos and a bright and diverse vocal performance. It seems they are still in the process of putting their work out but I am certain that their dynamic performance will encourage more supporting gigs in the future.

Of course, this performance meant they were a pretty tough act to follow but this did not discourage the stunning musicianship of Valeras who provided a number a brilliant performed songs (despite the addition of the dreaded cowbell) to their set. The quality of the support artists here reinforces the stellar opportunities to see great up and coming acts that are often so easily missed.

Then with a sweep of bright lights and buzz of feedback, the main event finally began; YONAKA stormed the stage with a build up that was both dazzling and dizzying as Theresa Jarvis’ vocals rang out amongst the eagerly awaiting crowd. The night was framed by their strong variety of singles, with ‘Creature’ providing a real opportunity to explore a pop rock sound that seems to be seeping into a number of their newer tracks.

A huge part of the show was dedicated to showcasing the new unreleased tracks that are set to feature on ‘Don’t Wait Till Tomorrow’. The title track is an incredibly powerful and guitar led, with Theresa describing it as her current favourite track from the album at the time.

A personal highlight for me was ‘Own Worst Enemy’ which has one of best, spectacular build-ups to a drop I have heard from a band this year. Paired with often simple but nevertheless truthful lyricism, YONAKA’s tenacity as a band is more than clear in the work that they produce. The tracks provide a tangible excitement in the space that feed into a new generation of alternative rock inspired tracks.

Although there is little space for the metal elements that I had initially encountered in their earlier work, their popularity is clear. Only time will tell as they forge ahead with the new album.

7/10.

Photo: zaigee @ Flickr

Album Review: Cows on Hourglass Pond by Avey Tare

Written by Josh Sandy on . Posted in Music.

Despite his success as co-founder of the Baltimore-based experimental psychedelic pop quartet Animal Collective, US multi-instrumentalist Avey Tare, a.k.a David Portner, has so far failed to translate this level of achievement into his solo career with his first two releases, 2010’s Down There and 2017’s Eucalyptus, both receiving relatively lukewarm receptions.

However, his third studio album, Cows on Hourglass Pond, has managed to buck this trend with much aplomb and delivered an incredibly interesting psychedelic journey into the mind of an obviously extremely skilled musician.

Sonically, the album presents itself as a psychedelic riff on folk-pop, with the album making extensive use of acoustic guitar and drawing from a wide variety of influences. Whether it’s the almost Spanish flamenco sounding ‘Saturdays (Again)’ or the dreamy synthy ‘Our Little Chapter’, the album is clearly a varied listening experience, but the psychedelic overtones allow it to feel like a complete piece.

In addition to the one-off detours, there is an almost Vampire Weekend-esque baroque pop thread running throughout the album, becoming especially apparent on both ‘Eyes on Eyes’ and ‘Taken Boy’. This, alongside the psychedelia, makes for an intriguing genre fusion and showcases the best of Portner’s musical talents. The album’s best track, however, ‘Nostalgia in Lemonade’, takes a wide departure from the folk-pop overtones and replaces them with a simple acoustic backing peppered with bursts of intense industrial electronic noise. This bleak soundscape is augmented by Portner’s melancholic vocals and completed by his genuinely haunting and strained refrain, “My only lemonade”.

Demonstrated throughout the album is Portner’s uniquely versatile lyrical ability to convey a heartfelt and meaningful message through both traditional and abstract means. His skills are also shown by the confident use of often-heavy distortion to his vocal performance which, as well as adding to the record’s psychedelic aesthetic, makes some lyrics difficult to discern.

Although this may be considered by some to be a hallmark of poor production, in many ways it enhances the themes of the record. This technique allows the lyrics to take a backseat to the overall sonic picture Portner is presenting and still deftly manages to leave no doubt over the message being conveyed.

Whilst considering the album’s psychedelic sound, it is impossible not to mention the absolute mind-bending visuals of ‘Saturdays (Again)’s music video. The utterly surreal video perfectly complements the equally bizarre sounds and deserves an elevated status as essential viewing when considering the consciousness-expanding project as a whole.

Overall, Cows on Hourglass Pond is an inspired work which takes an already exciting musical concept and elevates it to a new level with a range of unique influences. Through the album, Portner has finally showcased his full musical range as a solo performer and has created a sizable buzz for his future work.

8/10.

Photo: The US Food and Drug Administration @ Flickr

Male contraception: where are we now?

Written by Ella Gerry on . Posted in Science & Tech.

Hopes that the male contraceptive pill may become a reality have increased after a trial of a once-daily capsule has found no significant side-effects.

Researchers from the University of Washington presented their results at ENDO 19, the Endocrine Society’s meeting, on the 24th of March in New Orleans. The trial involved 40 men, 10 received a placebo pill and 30 took 11-beta-MNTDC capsules once-daily for 28 days. The main focus of the trial being to assess the safety of the drug.

Of the men involved in the trial, the study found that side effects, such as fatigue and headaches, were mild. Such side effects are also extremely common in the female contraceptive pill. Additionally, five men reported mildly decreased sex drive and two men reported mild erectile dysfunction. However, overall there was no recorded decrease in sexual activity and none of the men stopped taking the drug because of side effects.

Researchers now say the next step will be a longer trial that aims to confirm if the drug will decrease sperm production sufficiently to be considered an effective contraceptive. Despite the promise shown by this study, experts suggest that due to the nature of drug trials, a male contraceptive pill may not hit the market for another decade or so.

Yet, researchers believe there is a sufficient demand for a male contraceptive pill. Christina Wang, a co-senior investigator on the trial at LA BioMed, said, “When we asked men about hormonal compounds, about 50 per cent are willing to try this new method. And when you ask their partners, the percentage is even higher.”

Currently men who wish to have autonomy over their fertility have two options: condoms or a vasectomy. Both of these methods carry significant limitations. On the other hand, women have a much wider variety of options such as pills, injections, caps, intrauterine devices, implants, and spermicidal sponges. Thus, it is often the case that the contraceptive burden is carried by women.

For most of history, the study of fertility has almost exclusively focused on the female body. During the 1950s when scientists were working on a female contraceptive pill, there was also a considerable effort to find a male counterpart. However, once the female contraceptive pill was developed, its revolutionary success cast an unintentional shadow  over research into male contraceptives, leaving men almost completely edged out of the narrative surrounding contraception.

Recently there has been a revival in efforts to increase contraceptive options for men. Since 2005, the National Institute of Health in the US has been working on a contraceptive gel.  By rubbing a teaspoon size amount on the shoulder once daily, the gel delivers progestin to shut down testosterone production in the testes in combination with testosterone to make sure the blood levels of the hormone do not decrease too much. If levels of the testosterone in the blood dip too low, it can cause men to lose the ability to have an erection or ejaculate. Hence, the focus of research is to find a suitable middle ground.

Since November 2018, a trial has begun recruiting couples to trial the gel as their only form of contraception with the aim being to recruit 420 couples from nine cities across the globe including Manchester and Edinburgh.

Developing a male contraceptive pill differs from the development of the majority of other drugs. The effectiveness of a drug is usually measured on the person taking it, but in the case of a male contraceptive pill, the success is measured in a woman. For female contraception, the risk of side effects such as blood clots may be balanced out by pregnancy-related health risks; whereas for men, the risk is borne by the man, but the benefits are not a direct health one.

“Unlike, say, cancer patients who are willing to tolerate side effect because of the alternative, we’re treating healthy individuals so we can’t disrupt or do something that would be permanent or damaging,” said Diana Blithe the program director for contraception development at the NIH National Institute of Child Health and Human Development.

Research is also being carried out into non-hormonal approaches to male contraception. A Virginia-based startup called Contraline is looking into reversible vasectomies that involve injecting a gel into the tube that transports sperm away from the testes. A team at the University of Dundee is researching chemicals that impact male fertility and has just received a £700,000 grant from the Bill and Melinda Gates Foundation.

Although research still remains very much in its infancy, the quest to close the contraceptive gap is gaining traction. With estimates that 40 per cent of all pregnancies are unplanned, researchers believe that increasing the options for men to control their reproductive lives is a win-win situation.