Saturday 28th June 2025
Blog Page 1046

Do we wrongly hate hypocrisy?

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Everyone hates a hypocrite. It might be Russell Brand attacking the rich from some multimillion pound penthouse, David Cameron calling for an end to tax avoidance whilst holding shares in an offshore fund, or the tutorial partner who claims they’re a utilitarian, while failing to donate any money to charity.

But hypocrisy, in the vast majority of cases, doesn’t deserve its poor reputation. First, hypocrisy is the inevitable outcome of high ideals. Those who aspire to strict morality are just as fallible as those who don’t. All too often they fall short, and become hypocrites for preaching what they cannot practise. It isn’t appropriate to jump on their imperfection, itself so often an reflection of internal doubts. Instead, we should encourage moral hypocrites in their efforts: nurture rather than disparage.

Moreover, charges of hypocrisy are largely irrelevant to genuine political debate. Think of the Daily Mail distracting its readers with outrage at world leaders flying to a climate summit (they should, I presume, be taking sailboats). Or consider the derailing of a debate about immigration by ‘revelations’ that Nigel Farage has a German wife and a French surname. Both divert attention from the message to the messenger, adding nothing relevant to the argument. An idea’s veracity is independent of those who hold it, hypocrites or not.

Finally, hypocrisy is ubiquitous in its misapplication. Nothing is easier than to perceive inconsistency in opponents, especially when you’re searching for it. But all too often such allegations of hypocrisy are the result of mistaken assumptions, misconstruing your opponent’s positions or eschewing research.

Warren Buffet supports higher taxation, so why doesn’t he give more money to the US government? Well, he wants higher taxes so the government can provide public goods to solve collective action problems, something his singular contribution won’t accomplish. The Prime Minister opposes tax avoidance, so why does he have shares in Blairmore? Actually it was the fund that was tax exempt, not the investors. These misapplications are themselves invidious, as well as diminishing the force of genuine hypocrisy.

Hypocrisy can be galling and, when from dishonesty or real vice, rightly so. But in most cases, a charge of hypocrisy is at best distraction, and at worst deception. Next time you consider calling someone a hypocrite, think twice. It’s better to play the ball and not the man.

Debate: ‘are Oxford degrees valued too highly?’

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Yes: Akshay Bilolikar 

For some people, the second week in January feels like the culmination of a lifetime’s thrift; for others, it delivers a nail in the coffin of a dream of academic achievement, success and recognition. Either way, the Oxford acceptance or rejection letter represents a judgement of sorts. Though it may not be a particularly fair judgement, or a judgement with any validity beyond aptitude and interest for a specific degree, it is a judgement which can either inflate someone’s pride or burst it.

Yet ultimately, the unfathomable disappointment which few of us, reading Cherwell, had to feel is overblown. The consequence of an offer letter – a degree from the University of Oxford – is no magic key to the gates of the elite. An Oxford degree will not unlock doors for you, but will rather grease the handles much like any other university degree. Upon graduation there will be opportunities beyond your dreams, but these will be available to graduates from across the world. To just graduate from this university is, rightfully, no free pass to the upper echelons of society.

We all know, however, that an Oxford education is far more than just three years, two sets of exams and one piece of paper. The value of the degree is found not in what you learn from dusty old books but from what you do, what you add to the collective memory of the institution through drama, debating or sport. Few other universities, it’s true, provide opportunities like this one: two student newspapers, the Oxford Union, a vast corpus of budding student politicians. Yet, in spite of this, an Oxford degree specifically will not add value to your person beyond that added by the experience of university in general.

All that you may gain from the social side of university can be gained elsewhere. It is true, undoubtedly, that debating and drama are particularly strong here. But where we are strong in some areas, we are notably lacking in others. Oxford University makes up for its more distinguished societies with a lack of activity in ‘untraditional’ areas. The social dynamics of the University make it hideously unrepresentative; the activities and pastimes of ordinary society are ignored for more intellectual or elite tastes. As much as this may broaden the horizons of some new students, for many more it perpetuates the ultimate harmful stereotype of the Oxford student: the out-of-touch snob.

One source of our snobbery is undoubtedly the tutorial system. It just might make us more capable of running the local council, lending out subprime mortgages or receiving fat pay-cheques than other university graduates, who only ever had to write two or three essays a term. However, the tutorial system is, for all its benefits, no marked creator of a ‘special’ breed of graduate. The graduate of Oxford’s tutorial system may be able to hold it on their own with a world-class academic on a subject, the reading list for which was skimmed at 3 am after returning from Hassan’s, but can be just as unprepared and unsuited for the 9-5, 48 weeks a year slog as the rest of the UK’s university graduates.

Tight deadlines teach you not to hone your skills and engineer a dangerous complacency. The incentives of the tight essay deadline are such: if you do not do it, you will get an angry email; if you put in a full shift and do it really well, you will get a high 2:1; finally, if you put in a half-hearted effort and skim a third of the reading list, you will get a low 2:1. These aren’t the incentives which create productive and valuable graduates; they push you away from conscientiousness towards a cynical mode of work that ultimately stops you developing as an individual, let alone as an employee.

True, deadlines in the real world are tight and unforgiving. Even your grumpy old don is likely to be kinder and more understanding of a missed deadline than the corporate yuppie line manager at Goldman Sachs. Unlike the don, however, the line manager expects high quality, consistent work for which a significant level of preparation has been done. The don knows that undergraduates are chronically under-prepared, and has adjusted for it. Learning to prepare properly is a skill that Oxford, through its tight but ultimately forgiving deadlines, will not teach you.

An Oxford education will not leave you the same as you were before – far from it – but neither will it shape and mould you in such a way as to prepare you for the world of work, or to develop you for whatever else you wish to achieve in life. Just like any other university degree, the roll of paper you will gain upon leaving is certainly worth its weight in gold, just not any more so than any of the other of the world’s universities.

No: Alec Fullerton 

For many, receiving that long awaited letter in the post telling you that you’ve been offered a place to attend Oxford University is a dream come true. However, cynics are questioning whether or not a degree at this prestigious sanctuary of academia is actually all it’s cracked up to be.

I am a firm believer that getting into Oxford and studying for a degree here is one of best opportunities you could ever be given and it provides an unparalleled platform for future success. However, what it is not, at least not anymore, is a guaranteed free pass to the high life.

Before diving in, it is first vital to work out what we’re talking about here. There is a significant difference between the actual value of an Oxford degree and our perception of it.

After getting into Oxford (or, as I reluctantly feel forced to admit, Cambridge), it is all too easy to slip into a state of complacency and think that all the hard work is over. You’re set for life. This may well have been true 50 years ago in the glorious (sic) days of nepotism and snobbish discrimination against anyone who wasn’t ‘an Oxford or Cambridge man.’ However, increasingly nowadays this is no longer the case, and nor should it be.

So, although there may exist an unwarranted sense of entitlement amongst some students, not exactly their fault given the overwhelming glorification of Oxford, this shouldn’t detract from the actual benefits that can be reaped from a degree here.

The world class quality of the teaching staff is complemented perfectly by the tutorial system, which, quite simply, is the stand out feature of an Oxford education. It is rare that I’ll come out of a tute without having had my mind blown, left speechless by some subtle point only revealed to me through the intellectual direction of a tutor.

I realised just how lucky I was to benefit from this teaching system near the end of first year, where it only clicked upon walking into the first tute with a new tutor that it was them who had written the seminal text on modern literary theory that I had been dipping into all year.

More importantly though, the daunting experience of tutes is a lesson in coping when you have absolutely no clue what’s going on. They teach you how to respond on the spot under pressure and deal with being underprepared.

The other major defining feature of an Oxford degree is the sheer mountain of work placed in front of you. I’ve often been left in complete dismay after speaking to friends at other universities that whilst I might be struggling through, desperately clinging onto my sanity with two or three essay deadlines in a week, they’d have the same number, if not less, in an entire term. The time management skills these intense eight week work-orgies teach you will prove invaluable in the workplace.

That’s a load of bullshit though isn’t it?

If you manage to balance the Oxford workload correctly, then you’ve definitely got the balance all wrong on your metaphorical work-play scales.

Realistically, since the first essay deadline in week 1 Michaelmas term of your first year, this intense workload teaches you, via a baptism of fire, how to cope with intensely stressful and depressingly recurrent essay crises. This prepares you for the real world where deadlines are tight and unforgiving. Oxford numbs you to the pressure of deadlines and the anxieties of perfectionism, as you become used to the weekly battle, working right up to (and almost always past) the deadline to get a piece of work in.

However, a degree at Oxford isn’t just about the work. I’d argue that the opportunities of living as a student in Oxford are just as important. The sheer array of possibilities on off er is astounding; countless engaging talks and debates, multiple student plays a week, future employers desperately fighting to get you on internship schemes, getting involved in college life and countless initiatives to teach and travel abroad.

Finally, there’s something that’s easily overlooked but, I’d argue, is one of the most beneficial and formative elements of being at Oxford: the people around you- a huge variety of different people, all with one thing in common, a passion for their subject and a desire for knowledge. This creates a truly once in a lifetime atmosphere of intellectual curiosity and it is this very atmosphere that makes Oxford what it is. I urge you all to make the most of it, because if you don’t, one day you’ll be kicking yourself.

Rights? What rights? The way Europe treats refugees is wrong

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I don’t know what I am supposed to do,” Allam, a 37 year old Iraqi tells me, after narrating a story involving death threats from the so-called Islamic State and a subsequent forced escape from his home town, “I’m just going to wait.” The truth is, I do not know either. It is 2 pm in a squalid stone warehouse in Piraeus port, Athens, and we both lack any information about the procedure by which Allam can exercise his rights. In my week in Piraeus, I have seen no officials from the Greek Asylum Office, nor any UNHCR officers. I am told that they are present in the port, a few teams for over 5,000 migrants: finding them is like looking for a needle in a haystack. Sure, I can give him a new set of clothing from our makeshift distribution center, but you know what he needs so much more? Rights. To be able to claim asylum, to live in a safe environment. Yet I can’t do anything about that. I can’t even direct him to someone who can.

As Greece carries out deportations under the EU-Turkey deal, Allam is one of 52,000 who remain literally trapped on mainland Greece. Europe’s attention has turned to the post-March 20th migrants, but those who remain mustn’t be forgotten. Their stories – those I collected during my two-weeks volunteering in Lesvos and Athens – haunt me as I watch the latest developments in this ‘refugee crisis’.

Their backgrounds make up a great diversity which citizens of Europe often fail to recognise: rich and poor, educated and not, large families and single men. They had jobs, all kinds of jobs. From our warm beds at home, our desks and daily lives, it is easy to look down on these men and women as less human somehow – so unlike us. Not entitled to the same privileges we enjoy.

Yet, those I meet are coming to Europe not in search of a handout, but because they have little choice: they are fleeing war, violence and death. These people all long for the freedom our generation seems to take for granted. Staying back and fighting for it is not an option, as regimes and extremists overwhelmingly have monopoly over violence, making any attempts to fight back a death warrant. So they flee.

I heard innumerable accounts of lives being reduced to nothing by extremists. Whether it was that of Allam, who was deemed not to be religious enough, or of Rahib, a Yazidi from Northern Iraq whose family had to escape after IS launched a barbaric attack on his minority in August 2014. In broken English, he painfully recounted how he was stranded on Mount Sinjar for one week, facing starvation and dehydration. The horror he felt as 5,000 Yazidis were slaughtered that month. The sleepless nights fearing for the lives of his wife and children as over 4,000 women and children were abducted by IS.

Coming to Europe is no safe journey either, and even once they arrive, their hopes and dreams of a better life are often shattered as they discover that they are deeply unwelcome in so many parts of Europe.

As Greece continues to implement this new deal, it is time to examine the roots of the current European mind-set. Is it the fear of an inflow of people impeding upon our living standards? Those living in poverty enable the West to live in relative opulence; reports have shown that seven planets would be needed to satisfy demands if Western living standards were enjoyed worldwide. Or is it that of losing our European ‘identity’, with its shared values and institutions? The EU was built based on this construction, on a perception of a common culture which these migrants are not thought to fit into. I have yet to find the answer, and I don’t think many of our politicians have found one either.

But this doesn’t mean that we can’t treat migrants with dignity, even if they are economic migrants who will most likely be sent back. These people are human beings, not some kind of plague that can be reduced to mere numbers. They deserve adequate asylum-processing structures, not the mere three hours per week Greek Regional Asylum offices allocate per language for all asylum-seekers’ mandatory Skype interview. They deserve more than ‘limbo’: nothing to do but wait for something to happen, for the police to come and send them off to the next camp, as I witnessed in Piraeus. Powerlessness and hopelessness, as I felt for the majority of my trip, should not be the prevailing sentiment among refugees and volunteers alike.

Refugees don’t have a choice. But we do. We, citizens of Europe, have the choice of doing something positive in this crisis by demanding dignity and respect for migrants’ fundamental rights, and questioning the roots of our fear. Only then will we be able to say we are on the right side of history.

Nordic Blues

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Photography: Eve Nieminen

Models: Alexander Takko / Emilia Laine / Henriikka Heinonen / Matti Pousi

Styling: Veera Kivelä

Hair & Makeup: Ina Granström

Creative Directing: Aini Putkonen

 

Interview: Emmakaisa Soisalo on Nordic fashion

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When thinking about Finnish fashion, undoubtedly, Marimekko is one of the first brands that comes in mind. Founded in 1951, it is one of the most iconic Finnish design houses. This week we had a chance to interview Emmakaisa Soisalo, the Design and Product Development Manager and Designer at Marimekko. She works under the creative director Anna Teurnell and helps in constructing the collections for Marimekko with the creative director, as well as helping with supply and product development. We asked her what Nordic fashion and designing for a Nordic design house is like.

How would you describe Nordic fashion?
Practicality is one of the key elements of Nordic fashion and design. It is also often associated with minimalism. In general, nature is a great source of inspiration for Nordic designers. For instance, Maija Isola’s 60-year-old Kivet [Marimekko’s iconic print, the name meaning ‘stones’ in Finnish] was inspired by the stones on the yard of the designer herself.

Who would you identify as the Scandinavian fashion icons?
Being a fashion icon means a lot more than clothes for me. The Nordic designer Vuokko Eskolin-Nurmesniemi and the artist Tove Jansson are especially interesting characters, who have always had their own aesthetics.

How does Nordic fashion differ from fashion around the world?
Nordic countries have four distinct seasons, which create endless possibilities for design. The winters are long and fashion needs to be practical, which makes people want to play with and add colour to their lives when the summer comes. This is in line with Marimekko’s design philosophy, which emphasises practicality and the beauty of the everyday. Since the founding of the company, Marimekko has tried to bring joy and colour to the everyday lives of people.

How popular is Nordic fashion in the international market? How will this situation evolve in the future?
Nordic and Finnish fashion are gaining international attention. For instance, Japan has had Marimekko’s biggest market share after Finland for a while now and Nordic design has been very popular there. In addition to Marimekko, Samu-Jussi Koski’s Samuji and Tuomas Merikoski’s Aalto have gained a lot of international attention. I believe that the position of Nordic and Finnish design in the international marketplace will strengthen even further in the future.

Does Marimekko take into account the international audience in fashion design and product development, or is the intended customer base mainly the Nordic region?
Even though Marimekko is heavily a Finnish design company, we do take into account the needs of our international customers in design. Especially due to the globalisation of the previous years, we have developed our collections to take into account the needs and wishes of our international and domestic customers even better.

What is currently your favourite trend?
A perfectly fitted trench coat and a parka are always on the top of my list of favourite trends. I am also always willing to invest in a simple patterned dress. As the spring comes, kaftans are easy and beautiful pieces of clothing, which are suitable for many occasions.

Interview: Emmakaisa Soisalo on Nordic fashion

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Aini Putkonen interviews Emmakaisa Soisalo from Marimekko to gure out what NWordic fashion is really about when thinking about Finnish fashion, un- doubtedly, Marimekko is one of the rst brands that comes in mind. Founded in 1951, it is one of the most iconic Finnish design houses. This week we had a chance to interview, Emmakaisa Soisalo, the Design and Product Development Manager and Designer at Marimekko. She works under the creative di- rector Anna Teurnell and helps in constructing the collections for Marimekko with the crea- tive director, as well as helping with supply and product development. We asked her what Nordic fashion and designing for a Nordic design house is like.

How would you describe Nordic fashion?

Practicality is one of the key elements of Nordic fashion and design. It is also often associated with minimalism. In general, nature is a great source of inspiration for Nordic designers. For instance, Maija Isola’s 60-year-old Kivet [Marime- kko’s iconic print, the name meaning ‘stones’ in Finnish] was inspired by the stones on the yard of the designer herself.

Who would you identify as the Scandinavian fashion icons?
Being a fashion icon means a lot more than clothes for me. The Nordic designer Vuokko Es- kolin-Nurmesniemi and the artist Tove Jansson are especially interesting characters, who have always had their own aesthetics.

How does Nordic fashion differ from fashion around the world?
Nordic countries have four distinct seasons, which create endless possibilities for design. The winters are long and fashion needs to be practical, which makes people want to play with and add colour to their lives when the summer comes. This is in line with Marimekko’s design philosophy, which emphasises practicality and the beauty of the everyday. Since the founding of the company, Marimekko has tried to bring joy and colour to the everyday lives of people.

How popular is Nordic fashion in the international market? How will this situation evolve in the future?
Nordic and Finnish fashion are gaining inter- national attention. For instance, Japan has had Marimekko’s biggest market share after Finland for a while now and Nordic design has been very popular there. In addition to Marimekko, Samu- Jussi Koski’s Samuji and Tuomas Merikoski’s Aal- to have gained a lot of international attention. I believe that the position of Nordic and Finnish design in the international marketplace will strengthen even further in the future.

Does Marimekko take into account the international audience in fashion design and prod- uct development, or is the intended customer base mainly the Nordic region?

Even though Marimekko is heavily a Finnish design company, we do take into account the needs of our international customers in design. Especially due to the globalisation of the previous years, we have developed our collections to take into account the needs and wishes of our inter- national and domestic customers even better.

What is currently your favourite trend?

A perfectly matted trench coat and a parka are always on the top of my list of favourite trends. I am also always willing to invest in a simple pat- terned dress. As the spring comes, kaftans are easy and beautiful pieces of clothing, which are suitable for many occasions.

“The music of our generation”

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When I wander backstage at Oxford’s O2 Academy to speak to Swim Deep, the psych-rocky Birmingham five-piece supporting Wolf Alice, I find Austin ‘Ozzy’ Williams and Cavan McCarthy curled up on the floor in a narrow dressing room. They refuse seats (words to the effect of “we like the floor” reverberate around me), and quickly offer me a bottle of water. Rock ‘n’ roll. Swim Deep’s second album, Mothers, was released in October last year, and a successful 11- date UK tour culminated in a show at Camden’s famous Roundhouse.

For now, they are back with old mates Wolf Alice, in an environment that’s hardly unfamiliar. Ozzy reminisces about good times spent in Oxford’s very own Purple Turtle and a certain “Jamaican bar down the road”. No longer so keen on Purple Turtle once I explain its Union ownership (“that’s disgusting”), and put-off by Cavan’s memories of what happened last time they were in said Jamaican bar, perhaps it’s for the best when they tell me they are heading off straight after the gig this time around. Initially, Swim Deep were synonymous with Birmingham boys Peace, both bands having come out of Digbeth around 2010 and dubbed as part of the “B-Town Scene” by the largely London-based music press. Cavan expresses bemusement at the term, saying, “yeah we were only joking – everyone took it really seriously. I mean it’s kinda changed now, but at the time…”.

Even more irritating than the labelling of their scene was the labelling of their sound. Ozzy tells me how annoying a lot of their early press was: “I find it bizarre that we were called a guitar band. And we were coined that because maybe people saw us live and we have guitars live, but there’s literally just one guitar-led song on that first album. When there was that big push of indie bands, we were lumped in with them.” Ozzy thinks Swim Deep are “just quite diverse and dynamic, I don’t know… I like neo-psychedelic. I like that. Psychedelic is about stuff that no-one’s heard before and stuff that’s mindbending. Psychedelic music is not what bands that call themselves psychedelic are making at the moment because they’re just copying Can – they’re doing this ride beat with everything, you know. These jangly guitars and stuff. I’ve heard it a million times. It sounds good – don’t get me wrong – I’ve got no qualms with people repeating themselves. But I don’t think that’s how you’re going to make psychedelic music.”

The idea of the working class struggle – for the B-Town scene is all about working lads from Digbeth, of course! – is important to Swim Deep. “I think the proudest moment of my music career was when my first royalties cheque came,” says Ozzy. “It was the same time that these bailiffs were knocking on my mum’s door and I felt so good that I could go out there and say one: ‘Calm down, Mum’ and two: ‘I can pay you guys. Fuck! I can pay you guys! You guys can actually leave.’ I don’t care about headlining the Roundhouse or whatever – that was something of a moment for me.”

This year the band are crowd-funding to help raise money to tour the US. Although signed to major label Sony in the UK, Swim Deep have not been given the off er to release their album in America on the same label, and so have decided to ask their loyal fans for support. Sadly, Ozzy sees this as part of a wider problem. “The whole music industry is terrified of losing their job at the moment because it’s just so ruthless. There’s a lot less risk-taking which is really hindering the music of our generation. It’s making it very content and bland.” Fighting back against that blandness are two of five neopsych rockers clad in the clothes of local vintage, sitting on the grubby floors of venue dressing rooms. Since our March interview the band have announced nine stateside tour dates for this June. Power to the people and all that.

Review: We Are Scientists – Helter Seltzer

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We Are Scientists know how to write a chorus. However, what makes Helter Seltzer, their fifth studio LP, quite so exciting is that their pop sensibilities have now been coupled with a synthy sheen. The result? An elevated scale, while channelling enough of the duo’s endearing scuzziness to maintain their recognisable indie-rock sound. This equilibrium, demonstrated effectively by the strong first half of the album, finds gently distorted guitar underscoring new synthy pop hooks, resulting in many of the more immediate tracks sounding massive; indeed, ‘Buckle’, ‘In My Head’ and ‘Too Late’ are a powerful album-opening trinity. Seriously, many of the hooks and melodies (see their tremendous album closer ‘Forgiveness’) simply belong in a live setting.

This keenly-honed pop potency goes hand-in-hand with just how streamlined the album is; just two of the 10 tracks are over four minutes long. This lean songwriting belies the title and the band’s assertion that this is their “messiest” album in ten years. Granted, some of the tonal switches could be smoothed over, such as that between the dreamy ‘Want for Nothing’ and the propulsive ‘Classic Love’, but it feels crude to criticise the band when they achieve so much within such confines. In fact, it is when the album slows down and tends to strain for the more expansive, tentative realms of M83, Chvrches and their synth-pop peers that the album suffers for its ambition. Despite this, the yearning ‘We Need To Have a Word’, which closes the first half, still manages to sound beautiful. Such an adjective might be new for We Are Scientists, but they earn it. Gone is the frenetic distortion of With Love and Squalor (but it does make a resurgence in ‘Headlights’ and the glorious middle eight of ‘Waiting For You’).

“Go be unimpressed – you and all your unfair assumptions”, the band decree in ‘Hold On’. No need: Helter Seltzer is very impressive indeed.

The Oxonian Dandy

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Fashion. Clothing. Two independent and not-necessarily-linked concepts. But I find myself asking, what is the point of one without the other? Championing the two, surely, is the aim of any young bullock studying among the dreaming spires. Why (the question truly begs!) trudge up the great staircases of Examination Schools in some decidedly common chinos when one can prance around in a pair of malachite corduroys? Oh, the sound of supple velvet ribbing caressing opposing inner thighs!

In this men’s wardrobe supplement, as I shall call it, I aim to provide insight and advice for the man-about-Oxford who wishes to stand apart from the rest by blending in to the history of this great city, picking up and accepting the mantle generations of well-dressed swain have left.

In this first issue, let us start with the great corner stone of attire: colour. In this modern era, vibrancy is paramount for pre-eminence in the on-looker’s eye. Avoid black at all costs: the progressive nature of our time invites distance from stuffy charcoal and sooty browns of ages gone past.

Having established the need for a posi- tively garish palette, one must take care in pairing garments based on pigment. There’s no worse sight than a variation in hues – you don’t want to look like you’ve just hauled yourself out of a water-well in a Lloyd-Webber musical, donning some awful entire-body, technicolour shell-suit.

It’s all about blocking. They’re all doing it at the moment: Simons, Vavartos, Bidjan- Saberi… they all take meticulous care to assemble an outfit from head to toe based on a common tint. So: stick to what you put together yourself: yellows, reds and oranges could all be integrated into one line-up.

Twin a magenta floral shirt with a vermillion waistcoat and a pair of peach chinos. Now that’s a rather extreme example – but I’m trying to hit the nail with a hammer.

The problem with the modern man at Oxford is he doesn’t block, and he wears too much neutral. You’ll see a chap in the same navy Next jeans and retro bomber jacket strolling down Radcliffe Square that he wears strutting along Park End Street. It’s just saddening.

Style has a time and a place – all the time and everywhere. What separates us from caveman but the desire to dress not in what is convenient or warm, but visually appealing? Absolutely nothing, I tell you. Nothing at all.

For ideas, try browsing the new Statement T line from Tom Ford. If you’re on a budget, cheaper alternatives can be found all over the web – Asos marketplace does the job nicely. Or, for those who prefer to see what they buy face-to-face, just take a look upstairs in Toast (it’s on the HighStreet, opposite Brasenose). I can particularly commend the (on-sale!) silk button-up pyjamas.

Review – Animal Collective at the O2 Ritz

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Kurt Cobain has a lot to answer for. Flannel shirts, quiet/loud dynamics (it’s nothing new godsake, Zeppelin did it) and the creation of a culture where it’s apparently embarrassing for a ‘high art’ band to be ashamed of playing their biggest hits. As with Nirvana, so with Animal Collective.

Song after song from the latest album was interspersed with judicious spatterings from the back catalogue – and when they actually brought these tracks out (such as the more Pop-like ‘Daily Routine’ from Merriweather Post Pavilion), the mood finally picked up; with people going from a semicatatonic sway to actual dancing. ‘Alvin Row’ from their debut formed something of a focal point to the show, its jarring psychedelic euphoria showing what it is that makes Animal Collective one of the best bands of the 21st century. The quality of the show itself was undeniably high. Sound levels were used to great effect to enhance the power of the vocal melodies, creating a pseudo-religious atmosphere with ethereal organ and Gregorian chant style harmonies. Trippy as fuck, in other words.

Harking back to the glory days of Pink Floyd’s psychedelic light shows, the back wall of the stage was constantly glowing multifarious colours and patterns. Totemic smiling faces stood behind the band, alternating from red to blue to appearing as if fishes were swimming against an azure background. There is no denying that the light show formed a crucial part of the ‘art’ of the show – it was, honestly, breathtaking.

Despite the quality of the music and the light show, however, there was something fundamentally missing from the night. My temptation is to blame it on the pretensions of the band’s set list, but whatever it was, it is evident that people simply weren’t feeling it – and if the Manchester crowd aren’t feeling it, then God help any other.