Saturday 18th April 2026
Blog Page 1097

Of Dogs, Doughnuts and Depression – 3

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It has just occurred to me, at the time of writing, that no less than two weeks ago, leading charity Depression Alliance launched what was to date their “biggest ever” Depression Awareness Week (18 – 24 April 2016) in the United Kingdom. As one can obviously deduce from its name, the nature of the campaign is rather obvious. It seeks to destigmatize and to raise general public awareness of depression, or more broadly, mental health illnesses.

This is a cause I feel strongly about, and the reasons why, I guess, are fairly obvious.

I do not know why I have allowed myself to be oblivious the entire time such a meaningful event was getting under way. This piece, therefore, I hope, will serve as an atonement of sorts.

In order to make up for my absent-mindedness, and to perhaps play my part, however little it may be, in such a worthy movement, I have decided that this week I will write about nothing but Tom only. No dogs, no doughnuts – just Tom. He is a mischievous little weasel and ought to be dragged out into the light and open, where everyone can see him for who he truly is.

I am aware that I have not written in weeks, not least because my return to Oxford was anything but a smooth one. But I am in a better place now. I am able to make it out of my room without panicking that often and without stumbling down the stairs. I am able to eat at least one meal a day and drink 5 cups of water. And now, I can write again.

What I am about to write about Tom is a very candid and uncensored account of the past 16 months of my life. It is a very rocky story of how two very different individuals have, quite literally, been forced to spend each and every second together, like a pair of conjoined twins. And alas, in the context of Tom and I, and contrary to what a Taylor Swift pop song might suggest, two is far from better than one. I would also like to suggest to my readers that If you are looking for something dainty and light to read to round off your night, perhaps you should look somewhere else.

This is, undoubtedly, the most taxing and emotionally consuming piece of work I have ever penned down. This will also be a very disjointed narrative too as my thoughts roam far too wild, so please bear with me.

Depression is a peculiar condition. The sensation is difficult to explain, to say the least. If you have experienced it, and made it through, I congratulate you from the bottom of my heart. I truly am happy for you. But, if you have not, then I wish that you never will have to. For the pain of depression is something that I would not wish even on my worst enemy. It is a mental prison without parole, and a never-ending dark tunnel with a sealed exit.

I do not intend to deploy a hyperbole when I tell you that there are simply no words adequate to describe very aptly the excruciating pain of depression. It extends far beyond than a malady of the mind. It is a very real, very morbid, and very physical sense of pain. It does not just happen in your head, as so many would ignorantly claim. You feel it ripping your insides apart, you feel it trying to yank off all four of your limbs, and the raging hellfire inside, no matter how hard you try, is inextinguishable. It burns on and on, and on, and on.

It would also, in my humble opinion, be wrong and far too simplistic to classify depression as being “sad”. Sadness, no doubt, is indeed a present element, but it is far from being the sole emotional constituent. The more dominant sensation that I have felt throughout these months, is the sense of absolute loneliness. I felt and do still feel that I am the only person on Earth. Even if my family, and whatever friends I have, were to surround me this very moment, and tell me how much I meant to them, it would not make a difference at the very slightest. I would still, very willingly, place myself in self-isolation, perhaps in the safe dark corner of my bathroom where I have spent many a night weeping silently, and sometimes not so silently, voicelessly asking God “why?” and begging Him, on all fours, for Him to pluck me away from the living inferno I am in.

Depression means seeing visions of your loved ones being crashed into pieces and pieces by an endless succession of cars every single night, while you stand there, screaming, powerless to reverse their fates. Depression means tearing vigorously at your skin and hair, and clawing at your table with your fingernails in utter desperation to distract yourself from what is burning inside. Depression means punching the wall over and over and over until your knuckles bleed, with a faint naïve idea that maybe the negativity inside you will trickle out your body along with your blood. Depression means taking pill after pill after pill every night before you go to bed and hoping, praying even, that you do not wake up in the next morning.

In the days of old, I never could bring myself to comprehend the idea of suicide. Why would someone, with a sane mind, want to end his life when his whole future is ahead of him, when there is so much yet to be done, yet to be explored and experienced? Why die when you know it’s going to be all better eventually?

Upon hearing this, Tom, at this stage, comes in, pats me on the shoulder and with a sly smile tells me: “Tough luck mate, it’s all going to be the same for as long as you live. You hear me? The. Same.”

Step by step, I found myself becoming that certain “someone”. The idea of death was no longer alien to me. It was, in fact, a very, very welcoming prospect. It would mean no more pain, no more suffering, and no more Tom. What could possibly beat that? Death no longer was irrational. In fact, it was the only thing that made sense and appealed to me at that stage. Why bother living, when living is worse than death itself?

I recall having a conversation with a friend last May. I had back then, and still have a daily ritual of removing the medicinal tablets I need every day from their respective packages and putting them into a small plastic box, where I carry around with me wherever I go. I was prescribed pills of all sorts, sizes and colors. The blues ones were for anxiety, the pink ones were antidepressants, the white ones were sleeping pills and some I did not know what they were but still took them just for the sake of it anyways. It did not really concern me as to whether I knew what I was taking in, when I should take them and whether I should be taking them in the first place. But I was too apathetic to care.

The pills were like candy, in that they supposedly made things more bearable. They numbed my senses, rather than stimulate them. They, at times, made me less sad and on lucky days, perhaps gave me an occasional dose of vitality, but inevitably the post-medicinal slumps would always set in. I distinctly remember taking a mouthful of pills, more than I was supposed to, one particular morning and immediately starting to count down, for I knew this farce of normalcy would soon break. Perhaps there was no point in taking them in the first place.  But oddly, amongst this chaos, I did find some temporary moments of peace. Arranging my pills into the small plastic box was strangely a very therapeutic task. It was something, for once, that I had complete control of. I was clapping and giggling, fist-pumping the air whenever I got the job done. That, really, was how delirious I was.

One particular morning in late May 2015, I remember, a very fresh idea suddenly crossed my mind. It was a fleeting one at first, but then it slowly settled. As I looked at my small plastic box freshly stocked with pills of all sorts, I realized that I could actually put an end to all this. All I needed was a generous gulp of water, followed by a big swallow, and that would be it. No more panic attacks, no more fear, no more darkness and no more pain. Nothing.

It was at this very moment, literally so, that a close friend of mine, from all the way in Boston in the States, called me. “Don’t you f*cking do it, Nathan, don’t you f*cking dare.” I was surprised. This certain friend, one of my best mates, has always been quite an interestingly aloof character, albeit nevertheless always in good spirits, yet this was the first ever time I heard his voice trembling and raging with unbridled emotion. “You’ll f*cking break us,” he screamed, “Gear the f*ck up and be the man you’ve always supposed to be!”.

What this friend had said to me was harsh, very harsh in fact. But it was exactly what I needed to hear. And I am truly indebted to him for my life.

After a few minutes, he called me again. I assured him that I was safely in my room, sprawled on my bed, with my small plastic box safely out of reach from me. He gave out a sigh of relief, and asked, moaning even, “Why did you have to do all that? Why? Why are you not afraid of dying?”

I chuckled, and replied, “I am not afraid of dying. I am afraid of living

He told me he did not understand. But, I guess the one thing that he could not see nor understand, was that neither did I.

Now that it’s been a while, I’d like to think I’ve coped with things better. The future is still rife with very unsettling scenarios that I have yet to face and I struggle to return to become the person I once was before Tom came into my life. The days ahead are indeed uncertain, scarily so, and I have never been so afraid. But I do not need a telescope to see, however faint it may be, that there is hope. And that makes me feel brave, and that makes me feel big like a damn mountain.

But even now, I have not finished triumphing over my inner demons. Sometimes I forgive myself for slipping into old habits and caving into my depression, other times I do not. In the ordinary hours of the day, I try not to dwell on it, but every now and then, when I’m reading a case judgment or just folding my shirts, I’ll look up and see Tom coming out of the cupboard next to my bed. I’ll watch him walk slowly towards me, draped in his usual blue polo and khakis, holding a very familiar-looking small plastic box filled with white and blue and red pills. He’ll pass in front of me and stop, putting down the small plastic box filled with white and blue and red pills onto the table. He’ll open it and put a mug of water next to the small plastic box. He then flashes me his sly smile, like the one I’ve seen so many times, and before he heads back into the cupboard, he asks: “You hungry?”

 

Oliver’s Twist: Ru Paul’s Drag Race

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I’m back and ready again to bring you all my opinions on entertainment! Gentlemen, start your engines, and may the best WOMAN win! Yes, I’m revving up my bitch critic 9 billion horsepower engine by kicking off the summer with a review of Ru Paul’s Drag Race.

I hadn’t come across Ru Paul until relatively recently, when a friend tweeted in ecstasy that she had discovered his show on Netflix. Intrigued, I decided to investigate. The ‘Drag Race’ part, contrary to popular ignorant opinion, actually refers to ‘drag’ in the sense of drag queens. The ‘Race’ is to become ‘America’s next drag superstar’ by being the last (wo)man standing after an X-Factor style elimination process throughout the series. I’ve recently finished watching season 2 of the most hilarious, bitchy, fabulous show on Earth.

Each episode of the show follows the style of ‘America’s Next Top Model’, in which the queens have several challenges to overcome: designing outfits, dancing, filming and photo shooting – in essence, everything it takes to be as queenly as Ru Paul him/herself. If you are in the bottom two after being judged by Queen Ru and his fierce companions, you must ‘lip sync…. for you LIFE.’ All the contestants are eccentric and full of attitude, making the series exciting and funny, and even, at times, moving. Their backgrounds are very interesting – the winner of season 2, for example, had a 3 year old son, and until he won the show was sleeping on the sofa of his ‘drag mother’ (a sort of mentor character in the drag world).

Ru Paul’s Drag Race is easily the most quotable thing since Mean Girls. The quips, comments and retorts that Ru Paul and the queens come out with are insurmountable. Ru’s catchphrase is “good luck, and don’t fuck it up.” Another favourite quote from the series is “when my mommy sent me to a military school she told me I’d grow up to be her little soldier. But of course, she got a drag queen.” If you enjoy laughing, you really have to watch this show.

Backstage: Doctor Faustus

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“We’re building the set at the moment, at the producer’s house, and it’s currently 150 metres of black pipe that we’re spray painting and then cutting and putting together. It’s bizarre, it’s weird – I hope it can look okay!” Director Cai Jauncey is describing their vision for Doctor Faustus and the work that has gone into its set so far. “The O’Reilly is kind of a big, blocky, concrete-y space, and we’re keeping it that way, which I’m quite excited to do, because a lot of the shows that I’ve worked on before are very elaborately staged,” they explain.

The concept for Faustus, by contrast, is grungy, industrial and relatively minimalistic. “You’re actually gonna see it as the O’Reilly Theatre without anything on it; we’re not hiding any of the lights or anything. I’m quite interested in playing with the space that we have.”

There aren’t many set designers left in Oxford – only a handful of people do it consistently – and their approaches vary. “What was really cool getting involved with Phantom last term was seeing all the TAFF guys who are going out now taking this huge elaborate thing and somehow making it work. At the same time I’ve seen people do very minimal but also very interesting things with set: I was assistant stage manager for His Dark Materials Part II last year, which was basically a lot of wood frames with some canvas over them, and that was so versatile.” That freedom is appealing, though the pressure is great. “I think it’s something people are a little bit scared to go into as well because everybody depends on the set – the lighting, the actors, and with Faustus the dancing is very much dependent on where the set goes.”

Still, everything comes together in the end. “The drama scene is kind of weird in that it’s really big – we’re probably one of the biggest drama scenes in British unis – but everybody knows each other, so you always have something like, ‘Oh, what about that person, they’re on that show,’ and you can always pull people in, and everyone’s willing to help out, which is really, really nice.” The Faustus team also started set construction early, which Cai cites as an advantage. “However, it also does mean that it’s taken over your life,” they admit wryly. “Because we started so early it’s an ever-present thing.”

Although translating a strong directorial vision into something that both works in practice and is compatible with the ideas of other members of the team is not without its challenges, they find the process rewarding. “It’s quite fun to work with what other people want to do, and how other people see things can inspire you to want to do something different.”

Why we should say #YesToNUS

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At this year’s NUS Conference, Malia Bouattia was elected as NUS President. She was elected to lead a strong, united student movement; one that stands up to austerity and the Tory government’s attacks on Higher and Further Education; one that is – at its core – anti-racist, pro-welfare, and pro-democracy. NUS’s first black Muslim woman President won her election in the first round of voting by over 50 votes, unseating a sitting President (a rare occurrence in NUS), in the largest democratic union of students in the world, representing some seven million students.

But her election has sparked an array of attacks against her in the media based on racist lies: she was cast as an ISIS sympathiser for calling out Islamophobia, and a radical Islamist for vocally opposing the racist PREVENT agenda; a supporter of terrorism and violence when the opposite is true, as laid out in her speech, and she was subjected to death and rape threats on social media.

Calls to disaffiliate from NUS have largely been mobilised on the back of these attacks, alongside attempts to belittle and deride the work that NUS does. Articles in leading national newspapers trivialised motions passed at conference: the much reported motion ‘banning YikYak’ was actually a mandate to work with social media outlets to stop online harassment during elections. Simultaneously, these articles failed to mention so much of the good work that was highlighted during NUS Conference – a deliberate attempt to undermine the student movement, and stoke calls for disaffiliation.

Some students have argued that we should disaffiliate from NUS because of accusations of anti-Semitism levelled at Malia, many of which were derived from comments taken out of context. Articles reporting these accusations have taken recourse to Islamophobic stereotypes, suggesting they go hand in hand with her being Muslim. I agree with the Union of Jewish Students, who have called upon Jewish students to remain in NUS – this is vital to fight anti-Semitism in all its forms. The upcoming NUS institutional racism review – that will address all forms of racism, including anti-Semitism and Islamophobia – is most likely to yield constructive results for how we can move forward as a student movement and stamp out all forms of racism.

Given, then, that calls to disaffiliate have been mobilised on smears of the NUS and its new leadership, and that anti-Semitism within our student movement can best be addressed by remaining within it, it seems clear that people driving the ‘NO to NUS’ campaign simply disagree with NUS policy and election results.

        But, as Tom Rutland (OUSU President 2013-4) said in an email to all Oxford students during the 2014 referendum, “we won’t agree with every decision made at NUS – but that’s democracy”. There have been many students who have felt unrepresented by NUS Presidents in the past – myself included -, but we haven’t called for disaffiliation, for two reasons.

First, NUS is much more than its leadership.

Second, to demand an exit from an institution because you don’t like the outcome of a vote is profoundly undemocratic. So what is different about this election? Many students calling for disaffiliation have said that Malia’s election indicates how out of touch the NUS leadership is with “ordinary” or “normal” students: but who gets to be counted as an ordinary student? Are black students unordinary? Are Muslim students abnormal? Are we to dismiss those who care about liberation as “out of step” with the “real world”? As Shelly Asquith – NUS’s Vice-President for Welfare – wrote last year: “This bizarre trope is used to dismiss and undermine issues which those employing it politically oppose”. Saying that NUS no longer represents “ordinary students” is a smokescreen for saying “I disagree with the way they voted”. It is not a reason to disaffiliate.

There are so many reasons why we should stay in NUS that will be set out by the #YEStoNUS campaign in the coming few weeks. The NUS Women’s Campaign has set up a government task force to overturn the 1994 Zellick Report, which has resulted in a failure of universities to support survivors of sexual violence. This year, NUS voted for the first fully paid full-time Trans Officer in the country. The NUS campaign against PREVENT had an instrumental role in forcing a review of the legislation. NUS Conference voted this year to form a national student mental health task force, particularly looking at suicide prevention.  NUS provides solidarity networks for international students who face deportation, and provided evidence to the Home Affairs Select Committee, which persuaded them to launch an inquiry into the illegal deportation of 50,000 students. Over 2,000 Oxford students have NUS Extra Cards, giving us discounts we can’t get with our BodCards. If we disaffiliate, we lose these, costing individual students money.

Moreover, NUS is the only national organisation conducting nationwide research on student issues – from mental health, to sexual violence, student poverty or the impact of maintenance grant cuts on working-class students. Without NUS, this vital research would not be provided. NUS provides training for our Sabs, multiple trainings such as Women in Leadership, Black Leaders, Disabled Activists, and 26 democratic conferences which include training and workshops for delegates on a number of issues. And this is just the tip of the iceberg.

        Saying #YEStoNUS is more important now than ever. Next month, the government will publish its White Paper on Higher Education, alongside the HE Bill later this year, which will introduce radical changes to how universities work, including introducing higher fees for elite institutions like Oxford. This has dire consequences for access, which will be further undermined if Oxford votes to leave the national campaign against the bill.

        The democratic election of the first black Muslim woman NUS President – the most progressive President to date –  is something we should celebrate. More than this, we should be celebrating our National Union of Students, which time and time again has supported us – from campaigning against PREVENT, to providing legal guidance to support rights we have won for Suspended Students, to selling condoms to OUSU at a next-to-nothing price. If Oxford disaffiliates from NUS, it will send a clear message that it is us who are out of touch with students. Come the referendum, say #YEStoNUS.

Preview: Me & Mike

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There are, I think, two truisms that deserve to be noted before we start. The first is that new writing at Oxford is ridiculously hard to sell. No one’s heard of the play, so marketing it requires extreme ingenuity to be considered anything close to a success. The crew are usually a group of friends (who else would put the time, sweat and tears that a production requires towards a play written by some floppy-haired, probably pretentious student?) It’s all a bit unknown and insular, perhaps even a little cliquey. The second truism is that the BT, the little brother to the gargantuan Playhouse, has always had a problem with quality. There are only occasionally true gems amongst the collection of baloney – I once heard someone comment that productions at the BT make pornos look well acted, and whilst that comment is perhaps a little ribald for my liking, the sentiment stands.

The Queens-based team behind Me & Mike thus faced a difficult task when I arrived at the Shulman Auditorium to watch a scene from the latest piece of new writing to be staged at the BT. My expectations were, to be completely sincere, not high.

In regards to the first truism, Me & Mike are doing well. The combination of Ksenia Kulakova’s artwork and Izzy Boscawen’s graphics make for a gorgeous visual identity. The gif Facebook profile pictures are an arresting, original idea. So far, so good. But of course the real question is whether the production itself is any good.

A one-man play (save for some input from a voice actor playing Mike), the success of Me & Mike thus rests squarely on the shoulders of Will Stevens, the eponymous ‘Me.’ With his stuttering vulnerability and slightly squinted, perhaps close-to-tears eyes, he immediately forges a bond between himself and those watching. Though not all scenes will break the fourth wall, this one does, and to startling effectiveness. One feels a sense of intimacy, perhaps even slight intrusion, whenever Stevens speaks. Five flats set up behind him will have images projected onto them, representing his laptop screen whenever he consults it. But the flats are mismatched and distorted, creating a broken image that varies depending on the position of each audience member. Each spectator’s perspective is a little different.

This plurality of interpretation is, director Laura Day tells me, central to the narrative. As the play progresses we will have increasing cause to question Stevens’s character and the things he is telling us. It is up to the audience to string together the vignette-style scenes and make sense of the character that is being unfolded before us. Indeed, in the short preview scene, the narrator’s strange, deflective reliance on Mike – on his actions, beliefs, observations – was reminiscent of the narrator of Fight Club and his now oft-quoted declaration, “I know this because Tyler knows this.” As we find out at the end of Palahniuk’s novel, Tyler is a creation of the narrator – a means of escape and an ideal to venerate. In Me & Mike, the constant deflection of the narrator points to something similarly unhinged within his own psyche. But what exactly? Go, take forty minutes out of your evening of procrastination and see the play to find out – for once with new writing at the BT, you won’t regret it.

Ray’s Chapter & Worse: 3rd week

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I’ve just had the smug, narcissistic satisfaction of getting over a hundred likes on Facebook for a post- it always feels so good, and yet so indescribably dirty, when this happens. It’s like completing a mundane task and then looking around expectantly in a busy street, waiting for a spontaneous round of applause. We’re all looking for confirmation that we’re doing the right thing, and that other people care about it.

What was this magnificent occasion, you ask? Did I save a baby koala from the top story of a burning skyscraper? Did I solve the problems of ISIS armed with nothing more than a toothbrush, a biro and a vague optimism? Did I even give birth? Well, it was none of the above. It was something much more traumatic and stressful. For I, ladies and gentlemen, have just put together a debut book of poetry.

Now, on one level this blog is a shallow, self-serving pitch to subtly convince you that buying my upcoming book is the best thing you could possibly do (‘After the Poet, the Bar’, released June 20th by Indigo Dreams Publishing, if you’re interested). But on a more general level, I’m writing this to let you know just how bloody hard it is editing poetry for publication. When there is the vague possibility of anyone else reading your work, every tiny word suddenly takes on gargantuan significance… do I really mean ‘obfuscate’ in this phrase? Does ‘college’ need a capital letter? Should I take out the sheer amount of Oxford references to make me come across as less of an Oxford Wanker?

I’ve gained new respect for those poets who manage to publish anything and keep their sanity- let alone come up with anything original and interesting. Wendy Cope’s witty one-liners make any weak puns I concoct seem worthy only of the bathroom mirror- no wonder William Carlos Williams went down the path of veiled simplicity. His poem ‘The Red Wheelbarrow’: ‘So much depends/ upon/ a red wheel/ barrow/ glazed with rain/ water/ beside the white/ chickens’ ostensibly seems to have less of a chance of driving you mad than trying to write Keats’ ‘On the Eve of St Agnes’ does. But then, who am I to judge?

As a poet barely out of my teenage years, with the traditional mix of experimental poetic styles and crap love poetry that I now feel very uncomfortable rereading, I can only admire those who craft poems for others (and that includes William Carlos Williams, if you’re wondering). Poetry should be intriguing, challenging, unsettling- a cauldron of emotions and reactions that can turn you upside down on a single line. But, above all, poetry should be interesting- why on earth should we bother reading it, let alone write it? The poem below, by Edward Lueders, epitomises this need for fascination: ‘a walrus chewing on a ballpoint pen…’ Poetry is the antithesis of a shallow Facebook post garnishing hundreds of likes. It is subtle, beautiful, and utterly absorbing. Maybe instead of posting on Facebook, I should go out and try and save a koala from a burning skyscraper- it might make for a more inspiring piece of writing.

Your Poem, Man… by Edward Lueders

unless there’s one thing seen
suddenly against another–a parsnip
sprouting for a President, or
hailstones melting in an ashtray–
nothing really happens. It takes
surprise and wild connections,
doesn’t it? A walrus chewing
on a ballpoint pen. Two blue tail-
lights on Tyrannosaurus Rex. Green
cheese teeth. Maybe what we wanted
least. Or most. Some unexpected
pleats. Words that never knew
each other till right now. Plug us
into the wrong socket and see
what blows–or what lights up.
Try

untried

circuitry,
new

fuses.
Tell it like it never really was,
man,
and maybe we can see it
like it is.

John Mann MP addresses Antisemitism with OULC

John Mann MP, Chair of the All-Party Parliamentary Group against Antisemitism, addressed OULC on Monday. He stressed the need of OULC to accept the Macpherson definition of racism, whereby a racist incident is “any incident which is perceived to be racists by the victim or any other person”.

Mann emphasised the difference between debates about Israel and Jews and other minorities such as the Rohingyas in Burma. Relating to his position as chair of the APPG against Antisemitism, he said “I receive scores of emails asking ‘Who is paying me?’ and ‘Who is pulling my strings?’ Isn’t is strange that I don’t receive these types of emails for any other issue.”

Mann touched on the long history of antisemitism, claiming that Britain is reverting to the antisemitism common in the 1980s. He stressed the public’s propensity to jump to conclusions of conspiracy when talking about Israeli politics.

Asked whether he condemned Malia Bouattia, Mann replied that although he didn’t agree with her, there are two ways to fix these problems.

“I’ve not been happy with her statements. [But] there are two options. One is you call them out, you condemn them, you isolate them. The other is you educate them. I called for Naz Shah not to be suspended by the Labour party. I was working with her and my office was working with her.”

I thought it was very significant that a prominent, reasonably young, Muslim women MP had shown she understood why what she’d said was offensive.”

Talking about attitudes in the UK, Mann said “I represent one of the most white working class communities in Britain, there is what I call a benign antisemitism in my constituency. If you said ‘Jews’ and ‘money’ people wold make an association immediately – Jews are rich….This type of low-level anti-Semitism is usually in the Muslim community.”

Mann has recently made national news for shouting at Ken Livingstone declaring him a ‘Nazi apologist’ after Livingstone defended Naz Shah.

After Mann’s talk, OULC passed a motion on empowering women in the Club. Noting that men dominate both OULC events and the committee, the motion introduces gender quotas. It also states that one of the holders of the position of Chair and Deputy Chair (both equal in co-chair status) must identify wholly or partially as a woman.

Two committee positions will also be reserved for those “who self-identify partly or wholly as a women or transfeminine.” If no women stand, the committee will produce a report and a remedy.

During the Q and A, David Parton, Co-chair of OULC, twice encouraged those who self-identified as women to ask a question. Following the talk, all men had to vacate the room so the women members of OULC could hold a discussion in private.

This article was amended to correct a previous error concerning the gender status of holders of the positions of Chair and Deputy Chair

Live review: We Are Scientists

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As a pre-teen I vividly remember shredding corners in Burnout 3 as We Are Scientists’ ‘The Great Escape’ jangled behind the roar of my desperately out of control car. A decade later, as I queued in characteristic Bristol drizzle to see the band perform the second major gig of their UK tour, I wondered if they had ever become more than a video game’s backing track, or had simply faded into the traffic.

My concerns soon disappeared. On this side of the pond to promote their latest release, Helter Seltzer, We Are Scientists sure know how to put on a show. From the headbanging opening of fan favourite ‘This Scene Is Dead’ to the pseudo-electro chimes of ‘Too Late’, the three men sharing the stage held the low-ceilinged Bierkeller enraptured.

Frontman Keith Murray and bassist Chris Cain played a short acoustic set in Bristol’s Rise record shop earlier that day, during which they asked for “any requests – so long as they’re ‘The Great Escape’…” This throwaway quip had scared me at the time – were We Are Scientists a one-trick indie rock pony? Far from it. Besides new material, there’s the strong four album back catalogue to dig through, littered with big-chorus bangers seemingly designed to set small venues like the Bierkeller alight. The opening riff of ‘Nobody Move, Nobody Get Hurt’ was almost drowned out by the roar that greeted its arrival, while the anthemic ‘After Hours’ brought with it arm-waving and moshing in equal measure.

Murray and Cain kept the audience laughing with quickfire asides between songs, but this was in no way an apology for, or an attempt to cover up any musical shortcomings. In fact I was glad of the brief interludes from the evening’s break-neck freneticism.

“David Cameron, you wanker!”

Wolf Alice were the band of last summer. The fiery North London-based quartet played a multitude of festivals and had their faces plastered all over NME. They gigged relentlessly, playing sold-out shows across the UK in March, April and September, as well as across North America throughout May. Last year also saw the release of the alt-rock group’s debut album My Love Is Cool, nominated for both the Mercury Prize and the BRIT Award for Best Album. When I speak to guitarist Joff Oddie and drummer Joel Amey before their headline set at Oxford’s O2 Academy, they are (unsurprisingly, for a band who are by now well used to this touring malarkey), very relaxed. “This must be the fourth time we’ve played this venue”, says Joff, almost having to count the number of alcohol-aided, sweat-infused shows on his fingers. Joel talks of “crowds kicking the shit out of each other. It’s not that we like to see people hurting each other, but seeing that many people move en masse… that’s the reaction we play for.”

It’s a reaction they get later that night, playing the venue’s larger room for the first time. Even early on, during support sets from Bloody Knees and Swim Deep, the crowd are anxious to get moving. By the time Wolf Alice appear, with Joel and Joff joined by lead Ellie Rowsell and bassist Theo Ellis, the room is sticky. But the energy of the crowd does not cease throughout their set, although the tunes peak early and the exciting anguish in their sound plateaus after the fourth song or so, stalling any expected sense of momentum. The crowd don’t seem to catch on, though. Earlier, Joff had said, “I think our live shows are a bit more aggressive than the record.” Just a bit.

It is fans like these, moving with wild thrust, who are so crucial for a band whose live shows are such a vital part of their existence. Joff mentions one girl and her dad who come to every Oxford show, and Joel is even grateful for fans teaching him how to play his own tracks. Laughing, he says “There was a phase where I couldn’t remember what I ’ d done on ‘I’m a Germ’ and so I found someone who’d covered it on YouTube and I was like ‘Fuck yeah! That’s what I did!’ It was so helpful, having someone teach me to play the songs.” It is this lack of pretension which makes Wolf Alice so likeable.

They are likeable, too, because they know what it is to be a fan. Joel tells me how he used to go to every gig of The Horrors, made especially exciting because they played such unusual venues. “But I became disillusioned with fandom pretty fucking quickly when I realised how much it costs you.” Furthermore, these unusual, independent venues just aren’t around anymore.

For two ordinary boys swept up in the whirlwind of rock ‘n’ roll, the politics of their industry is still very much at the forefront of what they do. Joff gets most riled up when considering the money behind it all, but he’s unsure of Wolf Alice’s position in all of this. “I don’t know if there’s much bands can do. I think it’s all about funding from the top down. Our government are cutting arts funding – and this is a part of that. If you want the output, the arts need to be accessible. David Cameron, you wanker!”

Yet art that has come out of times of strife has so often excelled. “Grime is the punk sound of now”, Joel says. “It’s frustrated colloquial poetry, self-sufficiency; it’s putting on your own shows. The work you have to undertake to do that is phenomenal. That’s why I have a lot of respect for so many people who are killing it right now.” It’s not just grime’s practical output, but the musical output too, that gets Joel so impressed: “There’s so much being made all the time. It’s physical music. You’ve gotta be fucking astute, like lyrically smart.”

As Joff reminds me, “You should never judge the industry by the few anomalies that go through”. But, surely their home-grown success, alongside their continuing down-to-earth nature, can only instill a hope that the British music industry still has something to give.

A Beginner’s Guide to… Kikagaku Moyo

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Modern psychedelic rock music has within it a decidedly conservative element – an insular attitude that music peaked in ‘67 (man), that all modern music is rubbish and that a musician’s life goal is to imitate that which came before. Kikagaku Moyo however take the spirit of ‘67 to be the key – to push the form forward, whatever that may mean.

The sitar becomes the lead instrument, yet it doesn’t feel at all like cliched raga rock. Instead, guitars drenched with reverb and tremolo form the backdrop to unearthly harmonies, while the drums form unobtrusive and atmospheric trills and frills around the lilting sway of the sitar and bass. It is perversely fitting, then, that a band so sonically supernatural should write their songs about nature. “It’s in three parts – first a blizzard, then a gentle stroll in the woods finding birds, foxes and squirrels, and finally a descent into a bottomless cave,” says drummer Go Kurosawa of new single ‘Green Sugar’.

The band’s aim of creating evocative landscapes with their music is achieved. Expressive and richly produced, their cavernous sound fuses airy musical forms with modern electronic techniques to hint at the other side of the psychedelic vision: the yin and the yang, the dark side of the moon. If you hear this band, you are hearing the future of neopsych.