Scientists say Drop the term 'man-flu'; here's why
“Man-flu� is defined as “a cold or similar minor ailment as experienced by a man who is regarded as exaggerating the severity of the symptoms.�
A group of scientists has recommended that since men do not suffer more severe flu symptoms than women, the term “man flu” should be dropped.
According to a report in the BMJ, “Man flu” is a term so ubiquitous that it has been included in the Oxford and Cambridge dictionaries.
In fact, Oxford defines it as “a cold or similar minor ailment as experienced by a man who is regarded as exaggerating the severity of the symptoms.”
Since about half of the world’s population is male, estimating that male viral respiratory symptoms are “exaggerated” without rigorous scientific evidence, could reportedly have important implications for men, including insufficient provision of care.
With the aim to “evaluate the popular concept of ‘man flu,’” which was described as the “supposedly subjective hypersensitivity” of flu-like symptoms in men, scientists studied flu-like symptoms in more than 100 men and women patients.
Of those involved in the study, more than half (56%) were reportedly female and the average age across the cohort was about 41.
The study reportedly found “no significant gender difference” between men and women who suffered from symptoms such as headaches, runny noses, chills, or lack of sleep.
While the study published in the Journal of Psychosomatic Research by researchers at the Medical University of Innsbruck, Austria, found that though women tend to recover more quickly than men, the men do not experience worse symptoms when unwell, the Independent explains.
Instead, the small-scale study discovered that men’s flu symptoms were milder than average when compared with women's.
However, researchers suggest that women may recover from illness more quickly due to the “interaction of sex hormones within the immune system.”
They are quoted as saying, “Women have been reported to have enhanced capability of producing antibodies which increases immune activity and thus a faster and more effective resistance to infections.”
The authors of the study also reportedly said that they expected to find that the “myth of ‘man flu’ might actually be true” but noted that other studies have shown that men “are more likely to receive a more thorough examination and treatment than women with the same severity of symptoms.”
For instance, the researchers pointed to a study in Denmark in 2019, which involved the entire population, showing that almost three out of four diseases in women were diagnosed later than in men.
Based on these results, researchers reportedly said, the hypothesis of “man flu” should be “disregarded.”
Apparently, since some of the drawbacks of the study include potential gender bias, as “both the gender of the physician as well as the gender of the patient may influence the extent of reported symptoms,” scientists have called for more research in this field.
Additionally, a Canadian study in 2017 reportedly discovered evidence that adult men are more susceptible to complications and higher mortality from many acute respiratory diseases, thereby suggesting that “man flu” may be a real phenomenon.
However, at the time, author Dr Kyle Sue supposedly said that the term “man flu” is potentially problematic.
“Men may not be exaggerating symptoms but have weaker immune responses to viral respiratory viruses, leading to greater morbidity and mortality than seen in women,” he said.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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