Saturday 18th April 2026
Blog Page 1131

"Nothing to hide, nothing to fear, right?"

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“Nothing, to hide, nothing to fear, right?” Shami Chakrabarti repeats, slowly building up the image of an ever more invasive state, watching everyone’s daily lives “just to check” nothing suspicious is occurring. In this internet age she explains how our location, relationships and the websites we visit can be tracked by those wishing to listen in. Shami continually assets, “you’re ok with that, right?” acknowledging the government’s belief in their right to listen in to ensure our safety. But as her picture of a Big-Brother state emerges it is evident that Shami thinks we should definitely not be “OK” with this blanket surveillance.

Shami Chakrabarti is the director of Liberty, the British civil liberties advocacy organisation, and has campaigned against “excessive” anti-terrorist measures that give governments the power to watch our presence online. Explaining how Liberty formed in 1934 as a reaction against undercover police officers posing as hunger marchers and inciting violence, Shami talks about the organisation’s current concern with government interference, citing Edward Snowden’s revelations about global surveillance programmes. She highlights the lack of democratic debate and checks and balances in government monitoring systems, and warns about how information can be kept in databases with the potential to be brought up and used against individuals in the future without proper context or background. It is clear that Shami is concerned that the benefits gained from the reasonable use of targeted intelligence are being counteracted by this blanket surveillance in which everyone is treated as a suspect. Her arguments are reasonable, measured and logical in a debate that is often wrought with extreme opinions and panicked positions, and it is hard to disagree with her.

As a prominent human rights lawyer, it is unsurprising that Shami moves on to discuss the necessity of preserving the Human Rights Act in Britain. Drawing on the topical issue of censorship on university campuses, she explains the need for the right for freedom of speech and expression, asserting that there is no such thing as “no platform” in an internet age. She instead argues for counter speech as the most effective means of combatting against the misguided and again, whilst her beliefs may not always be practical (especially in communities which are entrenched in potentially violent ideology) Shami presents a convincing case.

Listing the first fourteen human rights acts one by one, Shami explains recent cases involving slavery, torture and arbitrary detention , crimes that seem remote from modern British life, that still need to be fought against on a daily basis to ensure justice.

“Everyone loves their own human rights and those of the people they identify with,” she observes, but “other people’s freedoms seem cheaper until it’s almost too late.” And it is this point which Shami wants to highlight – that although the Human Rights Act may seem irrelevant to us in our broadly democratic, stable society, it isn’t the same everywhere. By removing or rewriting the act without democratic consultation we effectively remove our rights, with no legislative body existing to support us, and could end up in a situation where these human rights abuses become more common. For this reason Shami copies the entirety of the Human Rights Act in her book, On Liberty, in the hope that people will read through and fully understand them to perceive just how crucial they are in upholding our liberty.

Words here don’t mean what we think they mean

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★★★★☆

Mercury Fur is the second Philip Ridley play I’ve seen this term and I don’t even watch that much theatre. Ridley’s appeal to student directors is I suppose obvious. His plays aim to shock in the way that Beckett’s or Albee’s once did, but with the advantage of still being relatively new – not yet chewed up and spat, normalised, back out again by decades of their own stifling fame. At their best, Ridley’s plays shock a lot. And while Mercury Fur’s Hilary predecessor, 2nd Week’s The Fastest Clock in the Universe at the BT, often fumbled in delivering this promise, Mercury Fur has moments where it fully succeeds, where it really does shock. At the very least it’s a production which recognises that a ‘brave’ choice of play, while an admirable first step, needs to be matched by even braver choices on stage if it’s to stand on its own feet.

The Fastest Clock in the Universe is an apt point of comparison because at a basic level they’re very similar plays. A chamber-piece alternate reality with a dysfunctional but sweet pairing at its heart is carefully constructed, put under increasing stress by the intrusion of characters from ‘outside’, and eventually stretched to breaking point in a fiercely horrible ending. The relationship at the heart of Mercury Fur is between Calam Lynch’s too-literate-for-this drug dealer Elliot (“he’s read books”) and his younger sister Darren, played by Mia Smith, performances which for me helmed the play and were easily its best. Smith in particular swerves wonderfully between fear of her brother’s angry outbursts and the jittery childish enthusiasm which so often causes them – the opening salvo of dialogue between the two siblings has all the energy and verve that a play which begins with a doorway being torn open deserves.

Ridley’s dialogue is showily profane, expletives scattered throughout and often where you least expect them. At one point in berating Darren, Elliot mashes together a hyperspeed run of racial and ethnic descriptors and insults, leaving the audience to work out whether the effect is hideous or comic (see also: his definition of ‘alacrity’). Words here don’t mean what we think they mean. ‘Butterflies’ for example are hallucinogens which Elliot delivers by ice cream van; as an audience member you spend much of the play working out exactly what the ‘party’ for which so much preparation is being made will actually entail (another similarity with The Fastest Clock in the Universe). This, clearly, is an environment of desensitization writ large – one where torture and assassination give Darren sexual pleasure, where her new mate Nas’s reminisces of her family lead blandly into recollecting witnessing their deaths from a supermarket cereal aisle.

To a certain extent there’s only so far you can take such piano-wire verbal tension though, and for me there was a point about 2/3rds of the way through where we had one too many characters onstage with a penchant for shouting at the rest in a vain attempt to assert control. Such a constantly high volume threw those performances into relief that didn’t resort to such techniques – Elliot’s transvestite girlfriend Lola (played wonderfully by the nevertheless slightly too well-spoken Cassian Bilton), or their sinisterly camp city boy client (Charlie MacVicar). And the violence which inevitably closes the play is disappointingly lurching in intensity, albeit with some wonderful sound design that’ll leave Chuck Berry’s ‘Johnny B. Goode’ ringing in your ears in all the wrong ways. To the credit of the playwright and the production however, the play doesn’t rest at simply being violent – and in examining its repercussions provides an ending that is startlingly, wonderfully intense. It shocks a lot

Review: Giselle

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★★★★☆

When I walked into New Theatre Oxford to see the Russian State Ballet of Serbia perform Giselle, I thought I knew what I was going to get. It would be the usual, somewhat twisted, romantic psych thriller I had seen before, with country-style costumes in earth tones to accompany the extreme display of emotion that is essential to the plot. What I found instead was something more like the Disneyfied version of a Grimm Brothers tale, and I half anticipated that Giselle would somehow return from the dead to marry a remorseful Count Albrecht at the end. 

While the dancing was phenomenal and the lifts were sharp and snappy, I was completely thrown by the costume choices. All of the peasant girls who danced in the first act had tutus of nearly neon shades of yellow and orange, with some also in what looked like lime green silk shower caps. Their costumes then clashed perfectly with that of Giselle, danced by Ekaterina Bulgutova, who looked more like Dorothy than a nineteenth century peasant girl. The whole first act seemed as if it were about to cross over into the land of Oz.

The costumes may have been functioning as an overly explicit form of signposting, with the Countess who steals the Count away from Giselle wearing a jet black gown punctuated in blood-red ribbon that weaved in and out of her bodice through metal-rimmed openings in a strange nod to retro punk fashion. That the two male leads, Georgiy Bolsunovskiy as Hans the forester and Yury Kudryavstev as Count Albrecht, were plainly dressed was an unexpected twist. I would have at least liked to see commitment to the colorful eccentrism of the costumes if it were to appear at all.

That said, Bolsunovskiy and Kudryavstev also performed well, though I found that the former overshadowed the latter in emotion. The forester, who is typically presented as a rather hateful figure who tries to prevent Giselle from following her heart, was perhaps the redeeming grace of the show. It may have been an accident of casting, but the forester was so likable here that I almost felt indignant that he was not the one to have the final dance with her ghost.

Though it probably sounds by this point as if I did not enjoy the ballet, I thoroughly did, and it made a miraculous comeback in the second act. The costumes of the Wilis were on point (no pun intended) and looked like something out of a Vera Wang show. The choreography was fresh but still intelligible within the scope of the plot, and the music was equal parts celebratory and mournful. The Queen of the Wilis, danced by Elena Pogorelaya, was perfectly terrifying.

My main wish for the show is only that the strange costuming had not disrupted the intensity of the so-called “mad” scene, in which Giselle threatens to kill herself after realizing the Count is engaged to the Countess but dies of a broken heart before she ever gets the chance. Bulgutova danced her part here beautifully, but I found myself a bit thrown as I watched what looked like an attempted suicide in the land of the munchkins.

Believe it or not, the skill of the dancers in my mind won out in the end, and I give Giselle four stars. 

Feel the Bern… while you can

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Just a few years ago, the prospect of a self-described Socialist winning the democratic ticket would have seemed preposterous. It was this view, now largely anachronistic, that prevented Vermont’s Sen. Bernie Sanders and his bid for the White House from being taken seriously. Yet, we were, almost all of us, utterly wrong. His increasingly momentous campaign has certainly shaken the all-time Democratic favoured, Hillary Clinton, especially after her landslide defeat in New Hampshire and the unexpected draw in Iowa. Even before these two debacles, the pressure was mounting, forcing Clinton to reconsider her views and move to the left, especially on the issue of minimum wage and on Wall Street regulation. Despite this, it is all over. Or at least it will soon be. The Nevada caucus showed Clinton’s strength and the cause of her future victory: the Mid-West and Southern states and their coloured minorities. In these two categories, Sanders seems unable to climb mount improbable and revert the situation as he has done in the East Coast, which appears to be by now a ‘Bernite’ stronghold. His lack of campaign funds and Super PAC sponsors, in this case, does not favour him either, especially in appealing to low-information voters in the deep South.

Until now, these factors did not suffice to bring the duel between the two to a premature end, making the race a thrilling but time-wasting head-to-head, but next Tuesday, they will. Coming up on the 1st of March, ‘Super Tuesday’ will see a line-up of 11 states (plus residents abroad and American Samoa) and, you guessed it, they are disproportionately Southern. Ranging from Texas to the Clinton family’s historical stronghold and home state of Arkansas, the caucuses will be a bloodbath. As if this wasn’t enough, Southern States tend to present a disproportionate number of delegates per state, as Texas has almost ten times Vermont’s. By now, it should be clear where this is going. Sanders’ probable victories in Massachusetts and Vermont will mean nothing when juxtaposed to Clinton’s expected victories virtually everywhere else.

But Super Tuesday’s lacerations will not be limited to the sheer delegate numbers, as the media perception and coverage of the Sanders campaign will revert to its original state of dismissive disregard. Bundled with the lack of Super Delegates, and the widening delegate spread, currently sitting on a solid 502 to 70 in Clinton’s favour, the Sanders phenomena will be promptly dismissed, and the party will rally around Clinton and her name recognition. It is true that the Super Delegates’ support is not yet binding, and their endorsement can be changed at any time, as happened in 2008 when many defected to Obama’s camp. But the polling numbers do not justify such a rearrangement, especially considering Sanders’ alienation from the party leadership, from where the Super Delegates are picked. Again, at the cost of appearing redundant it must be said once more: it’s over, and it is time to clean up and go home.

While Clinton’s defeat is highly unlikely at this point, the Sanders campaign will not evaporate as did Jeb Bush’s. The reason is simple. Sanders does not count on the support of large donors which will de-fund his campaign in case of serious and unexpected political beatings, allowing him to carry on nevertheless,  and making him likely to stick around and give Clinton and her Super PAC donors heart palpitations. But this foreseeable panic will have to do more with Sanders’ extreme stances, by U.S. standards at least, and Hillary Clinton’s unmatched desire to make Bill her First lady. This said, the Sanders phenomena and presidential bid should not be quickly dismissed as a temporary phantasmagoria from which the Democrats were bound to wake up. Along with Trump, he was the political revelation of the race. It did stir up an astonishing enthusiasm in the American left; a body which nobody really thought existed. It did influence other candidates on both sides. It did pose a threat to the, otherwise unchallenged, Clinton; but, as of Tuesday, the use of the past tense will become imperative. 

California is Loaded

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‘From Disneyland to farmland, we’ve got Scientology and superstars, Silicon and silicone, crips and bloods. The border. Krumpin’ Clownin’ Jerkin’. The surf and the turf. The boom and the bust. California is humanity run amuck and then packaged, branded and sold. California Cuisine, California Love, California Casual, California Gold, California Girls, and of course, California Dreams. If it exists in the world, it exists here and it does so with pizzaz.’

Introduction to the Video series ‘California is a Place’

 

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Excuse my French!

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As a second year French sole student who will have to take both translation and grammar papers in fourth year, you can imagine my feelings of surprise, outrage and frustration when I learnt of the recent changes to the French language, affecting roughly 2400 words, being implemented from the start of the 2016/17 academic year.

First things first, what is actually going to change?

  • The deletion in some words of the hyphens.
  • Circumflexes to be removed above the letter i and u in certain words.
  • The bizarre removal of letters creating jarring new words. For example, the French for Onion: ‘Oignon‘ now becomes ‘Ognon‘, which looks like the name of a villain from Lord of the Rings.

The Académie Française, watchdogs of the French language, initially approved this set of reforms a staggering 26 years ago in 1990, but it is only now that they are being acted upon. It must be noted they are only ‘optional’- a laughable proposition on its own. How can a set of official spellings be optional? I mean it’s optional for me to spell anything wrong, but that doesn’t make it right does it?

Also why create this unnecessary confusion? If the aim is to improve learning, then we should be simplifying the process, not complicating it. Good spelling is about precision, a word is either spelt completely correctly, or it’s wrong. There’s not meant to be any middle ground, so having an optional ‘i’ in ‘oignon‘ is counter-intuitive and frankly bonkers.

The announcements provoked an enormous backlash amongst the French public, who were outraged by what they considered to be an attack on their language, culture and national heritage. On Twitter, the hash tag of #JeSuisCirconflexe was taken up in protest.

The only potentially valid argument in favour of these changes (brace yourselves for its subsequent dismantling), relates to France’s immigration problem, which has arguably never been so pressing. The lack of integration of new settlers into French society results in the creation of ethnic ghettos in the suburbs of major cities such as Paris and the infamous ‘banlieues‘ de Marseille. Since many of these people are coming to France with little or no knowledge of French, then surely making the language as easy as possible to learn will help them settle into mainstream French society and form a link with the culture, as opposed to what happens far too often; individual ethnic groups living together in small, insular communities and having very little interaction with the rest of French society, with many making no effort to learn the language. This is the perfect breeding ground for racial/ethical tension and more worryingly, extremist radicalisation, which is an ever-growing and very real problem being faced in the West.

However, changing a handful of words in an arbitrary manner won’t suddenly encourage people to engage with the rest of society and learn the national language. The problem lies in the social segregation and the atmosphere of tension, which is what the French government should be focusing on, rather than taking away the circumflex.

In response to criticism, the AF claimed the changes reflected an evolving language. This is a fair enough point, us British too aren’t shy of adding new words to our language. It was only last August that ‘ awesomesauce (adjective): extremely good; excellent’ (truly embarrassing) was added to the OED. Of course this is an intentionally bizarre example and I wouldn’t disagree that new words should be officially added to languages to keep them up to date, but changing words that have proudly stood for hundreds of years and have made up the backbone of countless works of literary greatness and cultural significance is an out-right attack, and doing so in the name of simplification is an insult to the French peoples’ intelligence.

All languages have idiosyncrasies, especially English; funny little rules that you only learn by getting wrong, and they’re something to cherish. I savour that little jolt of smug pleasure you feel when you hear someone getting something wrong that you had previously gotten wrong but learnt from it. Take ‘hanged’ for example – you say ‘the nasty villain was hanged’, not ‘he was hung’, it’s ‘hanged.’

Finally, poor spelling abilities could be blamed on the reduced importance placed on reading in our society, where everything is condensed to a 140-character tweet, with little attention paid to the spelling or grammar.

If I were in charge of the Oxford Modern Languages faculty, I would have released a formal statement, announcing that the faculty isn’t acknowledging these changes and is sticking to good old fashioned, traditional French. If it was good enough for Voltaire, it’s damn well good enough for me.

So, if the word ‘onion’ comes up in my finals translation paper, rest assured, I’ll be spelling it ‘oignon.’ 

A response to Max Leak’s Israel ‘experiment’

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Max Leak’s article published online in Cherwell the other day painted the Israeli-Arab conflict as a simple and monolithic issue of justice and equality vs. oppression and evil. To back up his point, Leak embarked on an ‘experiment’. He took an apartheid apology and replaced South Africa with Israel, and succeeded at getting it published in the OxStu. He claimed that this proved the worth of the apartheid analogy to Israel.

Leak’s experiment lacks any argumentative worth. This was a poor attempt to construct what he perceived as stereotypical ‘pro-Israel’ arguments, followed by the claim that these arguments were analogous to defences made against apartheid. It’s worth dealing with this first.

Leak’s article claimed that many of the arguments made by Israel’s defendants are the same as those made by apartheid apologists. He cites the following arguments:

‘We are told that the natives are barbarians who will slaughter their former rulers as soon as they get freedom; we are invited to look at a troubled region, and then at the little island of repressive stasis under discussion, and draw the conclusion that oppression works better than freedom in such a savage, unruly part of the world.’

Sure, there may be a small section of hardliners that may occasionally make these embarrassingly poor arguments. But if he ever cared to properly investigate what constitutes pro-Israel thought he would discover that this quite simply isn’t the case. Those who believe in Israel’s very existence (a bizarre claim to have to justify anyway) do so from a range of important normative positions.

The most common arguments in favour of Israel tend to fall into two categories. Firstly, many see Israel and Zionism as the fulfilment of Jewish collective rights to self-determination. The Jewish people, in an age of nation-states, sought to fulfil their own collective rights through creating a nation-state of their own through mass immigration to an ancient homeland. Secondly, and perhaps more significantly, others see Zionism as a vital refugee movement, providing one safe haven for Jews around the world in a period where anti-semitism led to a genocide from which the Jewish people still haven’t recovered. It is an argument that seems anachronistic, but yet in 2016 there is something of a Jewish Exodus from France to Israel.

I could go into these arguments in more depth. I’m sure Leak was well aware of them. He could have quoted pieces from student publication Zionish, or have looked at the output from liberal Zionist organisations Yachad or JStreet. He could have looked at the ideology of prominent early Zionists such as Ahad Ha’am, Be’er Borochov or Chaim Weizmann, or of Israeli political parties such as Meretz or the Zionist Union. But he undoubtedly chose to ignore these sources because they didn’t suit his pre-chosen narrative.

In short, Leak can only sustain his analogy with a weak parody of what arguments constitute ‘pro-Israel’ discourse. If he ever cared to talk to anyone who even remotely claimed to be ‘pro-Israel’, he would have realised this. Instead, he picked and chose from the dregs of the internet and hard-right organisations.

The absurdity of his argument is also worth pointing out. Because some people justified both A and B using the same argument, Leak claims that A and B must therefore be the same thing.

Well, to apply Leak’s argumentative structure to his own cause, let’s try this. Hamas, a brutal and deeply anti-Semitic terrorist organisation, uses anti-colonial rhetoric and the language of oppression in its screeds against Israel. Leak and other Palestinian solidarity activists also use anti-colonial rhetoric and the language of oppression in its opposition to Israel. Therefore, as justifications for Palestinian solidarity activism are the same as those used to justify anti-semitic terrorists, all Palestinian solidarity activism must be anti-semitic terrorism.

I’m sure Max will agree that this is ridiculous. In short, the only conclusion we can draw from Leak’s experiment is that a rushed OxStu student editor agreed to publish a poorly written and weakly argued opinion piece. Some ‘experiment’.

It’s also worth turning to the narrative that Leak seeks to promote. The author’s slander of all pro-Israel and Zionist discourse with the tag of apartheid apologetics is particularly awful. Fundamentally, it fails to reflect the reality of the situation. The distinction between Green Line Israel and the Occupied Territories is one which did not exist in South Africa. The Occupied Territories are not part of Israel; they are Palestinian land in which the Palestinians should form a sovereign state.

This is the reality of the situation that Max ignores when he describes Israel as apartheid. The plight of the Palestinians living in the Occupied Territories is an awful human tragedy, and should shame the state of Israel. The occupation must end. But to conflate this with green-line Israel is an astonishing claim. Palestinian citizens of Israel have the same rights as any other Israeli citizen in crucial areas – not least the vote. There is discrimination, sure, but to claim wholesale that Israel is an apartheid state is nothing short of intellectual fraud.

Leak’s fundamental narrative of the conflict is also worrying. In the last paragraph, he states that, ‘If you want to know about that struggle – if you want to know how you can be on the right side of it – come to our events at Israeli Apartheid Week, running Monday to Saturday of 6th week.’

In my view, precisely the problem with much of the discussion around the Israeli-Palestinian conflict is that it is an issue of ‘us and them’; two opposing sides and activists on either side must choose one side to place their flag. The idea there is a ‘right side’, that we must all stand with in uncritical solidarity, in a conflict as complex and nuanced as the Israeli-Palestinian one is laughable.

To say that one side is flawlessly moral and just, while the other is a den of racists and colonialists, is simply untrue. There are many problems in Israel, its society and its politics, I don’t deny that, and I’m sure you can learn about them at Israeli Apartheid Week. But Palestinian society and politics is hardly blameless. Israel is currently in a wave of random knife attacks, where elderly women are stabbed to death whilst walking down the street. Mahmoud Abbas was elected to a four year term in 2005 that he’s still serving, and Hamas is designated as a terrorist organisation by the EU and the USA.

Nor is each side monolithic. Many Zionists and Palestinian activists share criticisms of both the Israeli government and the Palestinian Authority. Many on both sides actively campaign for the two state solution. Leak’s conception of the conflict as a zero-sum game of good and evil is a dangerous one that threatens to alienate the moderates on both sides who are genuinely capable of making peace.

We should not restrict ourselves to blindly standing with one camp or the other. Many on both sides do this, including Max Leak. To claim that Israel can do no wrong, like some pro-Israel activists do, is misguided. But the opposite position is equally so. Max paints the conflict as a black and white issue, right vs wrong, justice vs apartheid. This is an unhelpful distortion of the realities of the conflict. I’m not asking anyone to view the conflict in 50:50 terms. But 100:0, in either direction, is ridiculous.

If we want a constructive discourse about the conflict that includes all voices, then it’s imperative to ditch worldviews which force activists into extreme positions. In Oxford, of all places, this is something we should strive for. 

Bexistentialism: HT16 6th Week

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It’s a Saturday night, and my friend is problematically drunk.

We are not at an inappropriate location for being drunk (which, after some analysis, I have decided is only limited to a) a funeral of someone you don’t know very well b) if you are looking after small children c) whilst you are operating heavy machinery, or indeed, operating d) driving e) all of the above). We are not participating in any of these limitations. In fact, we are at a bop – of all places, a perfectly acceptable location for inebriation. But before you eschew me as a prude, let me at least explain.

At this particular bop I have gathered together friends from different colleges. Thrilling, I know. As expected, we dance, and as expected, we are drunk. My problematically drunk friend in question is already a little alarming. She is adorned in a very long and very large white nightgown with pink cardboard ears, and dirt on her face. (It’s more amusing to not tell you the bop theme). Therefore she is already visually discomforting. But then Nightgown-Girl quite rudely tells my friend to go away.

“Mate” I say, in the medium where it is loud enough to reach above the music, but not loud enough for him to hear. “What are you doing?”

What sounds like “Fucking fuck fuck stupid person dancing with MY fucking fuck friends can fucking fuck fuck off from my fucking fuck fuck bop” appear from out of her mouth. These eloquently framed remarks continue as I tactically and tactfully guide her out of the main room by performing Robot-esque dance moves in front of her, forcing Nightgown to reverse at a calm but firm pace.

But my steady tellings-off are delayed by the sight of someone peeing in the corridor. Mr Piddle accompanies his fierce hissing with ‘Wahey’, flourishing his weapon of choice with much joy. A swift kick and puddle-jump and Piddle is forced back into the toilets. I turn around. Fuck. I’ve lost Ms Nightgown.

By the time I find her, we’re about to head to Fucking fuck off friend’s room for a nightcap. And with the choice to walk Nightgown home or bring her with me, she comes too. A Gregorian chant accompanies us, “cigarette cigarette cigarette” emitting – humming – screeching from her lips. ‘I will dream of cigarettes tonight’, I ponder sadly, ‘she has enveloped my subconscious. Singed it with her tobacco hue’. I look at Nightgown with sadness in my eyes, and she looks up silently. “Cigarette?”, she innocently questions. I look away.

After Nightgown has insulted every inch of the college we are walking through, as well as everyone in the vicinity, a reliant friend decides it is time to take her home. I feel the fresh and sweet breeze of freedom upon my brow, and think no more. It is only a few hours later, when I wearily get home, that I find Nightgown snuggled in my bed. I have never seen her look so peaceful.

Common People announces Big Top line-up

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Rob Da Bank and his team behind Bestival present Common People, to be held at Oxford’s South Park on this year’s May Bank Holiday weekend (28th-29th May). In its second year, with last year’s event being held only in Southampton, the musical weekend now comes to Oxford as the team expand this “two-day metropolitan adventure”.  

The line-up for the Big Top has now been confirmed. Saturday’s headline slot is to be filled by legendary DJ David Rodigan MBE, who will present his Ram Jam with My Nu Leng, DJ Zinc, Prince Fatty and Venum Sound. House duo 99 Souls and Oxford’s very own Housewurk will also take to the stage.

The tent will feature fantastic dance-based acts and DJs on Sunday too, including Brentford’s Kurupt FM. The Hospitality takeover will include Austrian electro duo Camo & Krooked as well as London Elektricity, Fred V & Grafix, Etherwood with Dynamite MC & Wrec, and beats from exciting London-based DJ Amy Becker.

The Big Top stage is sure to be a main attraction well into the early hours as more acts confirmed include those at the Sugar Skulls Cocktail Bar: Ben Gomori, Cornerstone Soundsystem, Ghettospheric, Mims & Thirsty, DJ Giles, Joel Kane and DJ Hectick will perform on the Saturday. The following day will see Simple Presents with Jasper James, Em Williams, James Weston, Xavier, Tim Gore, Tom Baker, Stay, Dan Gascoyne and Burt Cope.

These DJ and dance acts are to join the existing line-up on The Common. Duran Duran will headline the Saturday night, with renowned rockers Primal Scream taking the top spot on the Sunday night. Adding to this high-profile line-up are Katy B, Soul II Soul, Jamie Lawson, The Cuban Brothers, and Chas & Dave on Saturday, with Craig David’s TS5, Public Enemy, Gaz Coombes, Ghostpoet, The Sugarhill Gang and Don Broco joining Primal Scream on Sunday.

Festival curator Rob da Bank says: “Well, what can I say? Some of my favourite DJs, new and old, are coming to our Common People shebang in Oxford. Rodigan is a legendary party starter and reggae god, Kurupt FM are the funniest, funkiest garage crew ever and Hospitality promise to bring the jungliest ruckus… See you down the front”.

To stay up to date with Common People news and buy tickets for the festival, visit: http://oxford.commonpeople.net/