Wednesday, May 21, 2025
Blog Page 1214

Review: Carl Barât and The Jackals – Let It Reign

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★★☆☆☆

Two stars
 
In December, British garage rockers The Libertines announced they were working on a new album, over ten years since their last record, which may rather have dulled any excitement over the new solo effort from co-frontman Carl Barât.
 
With or without the anticipation he might have liked, it’s here, and sounds exactly like you would expect a Carl Barât album to sound by this point – at least a Carl Barât album with all the notches turned up to 11. Punky, distorted guitar chords rarely leave the foreground, and Barât’s vocals rarely drop below a rasping shout. It all kicks off pretty well – ‘Glory Days’ boasts a lovely, jagged riff that would have found a space on a Libertines record, and the horns that pop up in the bridge of ‘Victory Gin’ work nicely with the track’s crescendo.
 
Unfortunately, after fifth track ‘Beginning to See’, a solid acoustic guitar-led break from the ruckus surrounding it, things start to get a little tired and formulaic. The choruses of ‘March of the Idle’ and ‘We Want More’, obviously designed to be catchy and anthemic in their repetitiveness, just sound uninspired, and really nothing here holds a candle to anything Barât’s other projects achieved – it’s telling that despite only being 35 minutes in length, it runs out of steam at the halfway point. Better just to stick with The Libertines, and hope the new album offers something less predictable than this.
 

Review: José González – Vestiges & Claws

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★★★★☆

Four Stars

Having released his last solo album in 2007, Swedish folk singer José Gonzáles spent the intervening years touring and recording with his folk-rock band Junip, but as a solo artist went somewhat under the radar.

Gonzáles’ tone has changed in the eight years since his last solo album, and even more dramatically in the 12 since his first. Vestiges & Claws has a few melancholy, quiet songs like the opening track ‘With The Ink Of A Ghost’, which is pleasantly reminiscent of the folkrock duo Simon and Garfunkel, with its gentle but confident melodies, whilst tracks like ‘Leaf Off/ The Cave’ pair the calm music with grandiose lyrics. The change in theme seems natural considering he was in his mid-twenties when he covered ‘Heartbeats’, and is now 36. The lyrics about life, meaning, and loss are nestled mischievously within serene melodies with catchy rhythms, like in ‘Afterglow’.

However, the album does not get bogged down in some of the more serious, slightly morbid lyrics, as tracks such as ‘Let It Carry You’ are far more positive assessments, with Gonzáles stating their purpose as being “To remind of all restless souls of the beauty of being here”. Fans of Veneer and In Our Nature will not be disappointed, for the recognisable gentle rhythms and soothing melodies still remain, and the lyrics only serve to bring greater meaning to his more familiar elements.

Confessions of a metalhead

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“You’re a metalhead? But… you’re so sweet!”

The first time I truly knew this was my world was at a metal club in Melbourne a few years ago. I was normally used to steeling myself when entering a club, one of my first thoughts being, “OK, how much more do I have to drink to make this music tolerable?” Instead, as the sweet tones of Pantera met my ears, the first time I’d ever heard music I actually knew and liked in a public space, I realised that I was no longer isolated; that a veritable world of metal existed beyond the couple of friends at school who shared with me a penchant for the heavier stuff. Needless to say, I drank about half as much and had at least 10 times more fun in that Australian place than I have ever experienced in Wahoo.

Metal is more than just a genre; it’s a way of life. Even, in some respects, a religion. We have our rituals (consisting mainly of drinking beer and headbanging), our clothes (band t-shirts), places of worship (metal gigs) and of course, our festivals. When you identify a fellow metalhead, there is a sense of solidarity which I can only liken to the sense of meeting someone who has the same religion as me. Despite the extremely vast spectrum of sub-genres, and the varying levels of how ‘practising’ a believer is, ultimately, this is a world united by the same thing.

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Also like a religion, we’ve met our fair share of discrimination and prejudice. I don’t want to rant too much about the Grammys, where metal was only introduced as a category in 1990 and which for some reason thinks that Tenacious D merits it this year, but let’s just say its treatment of this genre as a kind of afterthought is extremely offensive. As for prejudice, someone calling our music “just noise” is almost like calling a religious text “a load of gobbledegook” just because you don’t comprehend it. You may not understand the appeal or the complexity of some of my favourite songs but that doesn’t mean they don’t have significance. Furthermore, being confused about how I listen to this music yet still on occasion like to wear flowery dresses is tantamount to saying to a homosexual, “But you don’t look gay.” You don’t have to conform to a stereotype to have a certain identity.

Metal really is an identity. Few other genres consist of so many people emblazoning their clothes, rooms and even bodies with their favourite bands. I’m currently on my year abroad in France and I have to admit that I only really felt like I belonged here when I went to my first metal gig. Despite the (at times) somewhat violent nature of the music, I guarantee you that metalheads will often be the loveliest people you will ever meet. I wonder if there is something to be said for the cathartic nature of the music; I definitely feel a lot calmer after a good old bout of some Swedish death metal.

I should also add that few other genres have such a powerful sense of humour. You may not realise that we’ll often joke about the alleged Satanic rituals and animal sacrifices at least as much as those who mock us. This is Spinal Tap, the hilarious film that parodies a 70s rock band, will forever remain a staple cult classic and bands like Alestorm, whose songs concern solely pirates, rum and ‘wenches’, is beloved by many.

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As for being a woman in this male-dominated scene, there are admittedly some creeps, but more often than not the guys are quite respectful. At metal club nights, I have never felt safer as a woman around men in a club setting, probably because the music and the company are the main motivation for people to turn up, not some twisted laddish aim to ‘pull’. Even so, I accept that the genre still has a long way to go when it comes to its representation of women – I long for the day when a ‘female-fronted metal band’ is seen not only just as ‘a metal band’ but also doesn’t sexualise the singer – but then again which popular music genre doesn’t? It may be mainly a man’s world but I still feel more at home in a metal bar than I ever would in a ‘normal’ one.

To conclude, this music is my life and it’s where I belong. I hope you now understand why. Time for a pint.  

Interview: Paul Trevillion

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“I must warn you: I have a reputation, not only as an artist but as a talker,” Paul Trevillion informs me prior to our interview. “I never finish a sentence because I’ve already started the next one.”

Despite this reassuring presage, anxiety still broils inside me as I prepare a list of topics on which to question him. After all, this was the man who drew one of the most iconic footballing characters of all time, Roy from Roy Of The Rovers; this was the man who created one of the most popular comic strips of the last 60 years, You Are The Ref; and this was a man on first name terms with Pelé, the greatest footballer of all time.

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Yet within five minutes of his charmingly impish North London twang first blustering a greeting, I have forgotten all about my carefully-prepared questions. Trevillion’s illustrious life has furnished him with story after wonderfully pertinent story, and it is a joy to listen to them come tumbling out of his mouth, one after the other.

Trevillion’s life in art began when he was a toddler in the 1930s, he tells me, living in Tottenham, in the shadow of White Hart Lane. “I never had a teddy bear,” he confesses. “I used to take a pencil to bed instead, and to this day I sleep with one under my pillow. At school, the teachers used to let me go over to Tottenham Hotspur’s ground and sketch, and they could recognise the players I drew, so they were happy.”

“You can teach technique, but you can’t teach talent,” he replies, when I ask him how he learnt to draw. “I don’t read very well, I don’t write too good, I don’t know my own address, and I don’t even know my phone number, but I can look at a person, walk away to a sheet of white paper, and see them on it.”

Trevillion, unlike many children living in London during the Second World War, was not evacuated and remained there throughout the Blitz. It was then, amidst the trauma of the air raids, that his love of Comic Art Realism was born.

“American G.I.’s showed me some Superman comics,” he recalls, “and I couldn’t believe these drawings. I wanted to do Comic Art Realism too. So when I was approached to draw Roy Of The Rovers, I told them it had to look real.”

Fleetway Publications were unenthusiastic about using Trevillion’s drawings, but when unforeseen problems forced them to, the results were wholly unexpected.

“After 12 weeks, they were getting letters from little boys asking for Roy’s autograph. They thought he was real. Kerry Dixon, when he played for Chelsea, used to dress up as Roy and sign autographs as him.”

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This realism has imbued Trevillion’s work throughout his career. It can be seen in the evocative illustrations that accompany You Are The Ref, the comic strip detailing difficult refereeing conundrums that Trevillion created in 1957. It can be seen in the sketch of Churchill that was apparently the only portrait of himself the great man ever liked. But it is best observed in his portrait of Pelé, which recently sold for £50,000 at the Strand Gallery.

“I was told by the man who bought it that he could hear Pelé’s heart beating, and feel him breathing”, Trevillion tells me. “One guy saw it and told me he could have a conversation with it in his office every morning.”

One can feel this same vitality exuding from Trevillion himself. His express train speed of thought is evident in his fluid, jittery conversation and his years of living life to the full shine through in his gloriously entertaining anecdotes.

“I once did a drawing of Alf Ramsey heading the ball,” begins one. “I showed it to him to get it signed, but he looked at it and tore it up. ‘Why?’ I asked him. ‘Because I don’t head the ball,’ he told me, ‘and I haven’t all season.’”

Another started, “I remember asking the Professor [Prof.Júlio Mazzei, Pelé’s coach and confidant] what the difference was between Maradona and Pelé. He told me that Maradona was the quick-step, but Pelé was the waltz.”

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Yet Trevillion is much, much more than a mere arsenal of remarkable anecdotes. His is a life full of adventure, from drawing celebrity portraits on the back of menus to negotiate his way across America, to performing standup comedy alongside Norman Wisdom and Bob Monkhouse; from being crowned world speed-kissing champion to inventing a new golf-putting technique.

And such a fantastically rich life has instilled in him an inspiring ‘no regrets’ philosophy, which I will forever associated with this chirpy sports artist from Tottenham.

“I see people standing in shops doing the same thing every day,” he tells me, “and they say things like, ‘I wanted to do this’ or ‘I was going to be that.’ ‘Well go for it then,’ I want to say. ‘Give yourself a chance. Walk out. If you think you can do it, you probably can.’”

“Everybody dies, but not everybody lives,” he asserts. “You can get over disappointments, so it is always better to fail than not to try. You mustn’t have regrets, Fergus. You must never have regrets. ‘He had a go’ is all I want written on my gravestone.”

Picks of the Week HT15 Week 7

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City of Oxford Orchestra 50th Anniversary Concert, Friday 7:30-9pm, Sheldonian Theatre

Taking place 50 years to the day after the City of Oxford Orchestra’s first ever concert, they return to the Sheldonian to celebreate their half-centenary. With a programme that includes pieces by Rossini, Brahms, and Dvorak, this promises to be the celebratory highlight of the week.

Oxroc presents: Last Great Dreamers, Saturday 7-11pm, The Cellar

Regulars of the Soho scene in the 90s, and only reformed last year, Last Great Dreamers come to Oxford with their loud guitars, louder clothes, and powerpop choruses. Having been nominated for Best New Band at the 1995 MTV Awards, head over if you want a nostalgia hit of 90s rock-pop.

Exhibition on Screen: Girl with a Pearl Earring, Monday, 6.30pm, Phoenix Picture House

This documentary goes in pursuit of the many unsolved riddles surrounding the eponymous painting and its mysterious creator, Vermeer. After a two year world tour of the painting, which reignited global interest, this film answers some of the the most pressing questions surrounding the work. Cultural as fuck.

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Anna Wintour, Tuesday 7pm, The Oxford Union

The Devil Wears Prada herself comes to the Oxford Union, so prepare for an evening of frosty glares and perpetual passive-aggressiveness. Editor-in-Chief of American Vogue since 1988, Wintour is by far and away the most influential person in the fashion world, and is also one of the biggest names at the Union this term.

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As I Crossed a Bridge of Dreams, Tuesday-Saturday 9:30pm, Burton Taylor Studio

An adaptation of a classic Japanese text, this story follows a young woman in Eleventh Century Japan, who becomes consumed by her own imagination. Exploring the mythical and the spiritual through an immersive sound and lighting setup, this is also a great warm-up for International Women’s Day, given one of the major themes is women’s roles in society.

Oxford University International’s Women’s Day, Friday, 5:15pm, Jacqueline Du Pré Auditorium

Celebrate 2015’s International Women’s Day by rocking up to St Hilda’s for this talk. Speakers include author Melissa Benn and feminist campaigner Caroline Criado-Perez. The event is free, open to all, and, as if you needed more convincing, it’s followed by a drinks reception. What more could you want?

OUAFC Centaurs Varsity Match, Friday 7pm, Iffley Road Stadium

This is the week’s unquestionable cultural highlight. Come down and watch the Centaurs, OUAFC’s second team, take on Cambridge Falcons. There will be food, chanting, Ed Mole’s magnificent legs, but sadly not your mercurial Culture Editor, who was inexplicably dropped, to the fans’ disapproval.

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National Youth Jazz Orchestra, Friday, 7:30pm, The Oxford Playhouse

The second 50th Anniversary concert of the week, the National Youth Jazz Orchestra are also celebrating their half-centenary with a night of swinging rhythms and hugely talented soloists. Given that the orchestra’s alumni inludes, amongst others, Amy Winehouse, you never know what great talent of the future you might see.

Milestones: Football and Music

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Music and football aren’t natural allies. Both being the sort of hobby people can get immersed in to levels of pretension and obsession found nowhere else, the two fandoms view one another with mutual suspicion. I once heard a friend remark that whilst you can enjoy music and football, you only really go to one or the other – either you see obscure prog-rock bands at gigs in the back rooms of pubs, or you take the six hour coach across England to see your League Two team get trashed in the first round of the FA Cup. Rare is the fan who manages both.

There are times, though, when football and music can come together for spectacles unlike any other. One instance, well-documented, is the ageless tradition of the pre-match song. 45,000 Liverpool (or Celtic) fans singing the last verse of ‘You’ll Never Walk Alone’ unaccompanied is an experience unrivalled in sport, Scouser or not.

Less impressive, but just as ritualistic, are anthems like ‘Blaydon Races’, a favourite with the Toon faithful, ‘I’m Forever Blowing Bubbles’, adopted by West Ham in the 1920s, and Chelsea’s reggae entrance instrumental, ‘The Liquidator’. More recently, Fatboy Slim has been a regular at the Etihad as Manchester City come out to ‘Right Here, Right Now’ (along with almost every Football League team), a song that couldn’t raise the pre-match hype any better.

However, whilst these are all requisite parts of the traditional day out at a match, there is another crossover between the two art forms of football and music – one that only occurs every four years, but has left an indelible stamp on the history of both – the World Cup song.

The brilliance of these songs is that there is no reasoning behind them whatsoever. They can feature footballers and musicians of every status, from the relatively awful – think Ant & Dec’s ‘We’re On the Ball’ – to the disturbingly excellent. New Order had their only UK Number One with ‘World in Motion’, clearly because John Barnes’ rap was so astounding that the British public felt obliged to buy the single to commemorate something so momentous. Barnes rapped after beating Gazza and Chris Waddle in what one can only imagine was the world’s most terrifying rap battle.

The very best songs are the ones that are crap, but not too much so – 1996’s ‘Three Lions’ is so catchy you could almost hear it on Park End’s cheese floor in its own right. Since then, songs have become more polished, and no appraisal would be complete without mention of the total bangers that are Shakira’s pseudotribal ‘Waka Waka’ and K’naan’s ‘Wavin’ Flag’.

So, whether by shambolic England songs to match our national team’s performance, or global hits aimed at the 250m people who play worldwide, long may the beautiful game’s discography grow.

Interview: Nick Jonas

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The urban poetic master of New York, Lou Reed, once sang, “Growing up in public, [is like] growing up with your pants down.” To grow up in the cutting gaze of the public is an experience which can leave you feeling entirely exposed. The modern day cult of the celebrity leaves no stone unturned: a chilling experience for an adult, let alone a child growing up in the midst of such a culture. A man who knows all about such experiences is Nick Jonas, ex-member of the child ‘boy band’, The Jonas Brothers, and now a solo artist and actor.

Performing on Broadway from the age of seven, and selling 17 million records by the tender age of 20, he is truly a man who has felt the glare of the flashing lights throughout his life, both on the stage and off.

From the earliest periods of his childhood, he has always sung. But Nick Jonas’ big break featured neither a flash nor a microphone. It came in the form of a chance meeting in his local hairdressing salon.

“I was about five or six and I was with my mum. She was getting her hair done and I was just doing what I did at that age, which was singing. I had a real passion for it at that age, so I always did it. Someone was sitting next to my mom and heard me singing and said that I should go to this manager she knew. Their son was doing some Broadway shows and she thought that I might enjoy it.

“So I went and saw the manager. She signed me, starting to send me out on auditions. Basically, I think the way that I viewed it was, this was the logical next step. There was never pressure from anyone else except myself. I just was loving it and loving being around other people who shared the same passions and interests.”

Despite his later success, the path to fame and celebrity did not always run so smooth for the child star. The extreme difficulties facing those who attempt to break into show business are by now common knowledge. Some of the most successful and well-known artists of our day faced rejection in their time, and greatly struggled to reach the heights to which they eventually soared.

Jonas joked that in addition to this already difficult task, he faced further barriers in the form of his heavily pregnant mother. Nevertheless, soon after signing with his manager, he was offered a role in Les Miserables on Broadway, beating 250 other children to the role.

But as his mother was seven months pregnant, the family opted to stay in New Jersey where his father was a minister, and so he had to pass on the role until the birth of his new sibling. “I was devastated, as you can imagine. I was thinking, ‘This is it, I’ve ruined the only opportunity to ever be in a Broadway show.’”

Similarly, his first performance on Broadway as Tiny Tim in A Christmas Carol at the age of eight saw him in the grip by stage fright and being unable to sing a single note. But the event gave him resolve never to let stage fright conquer him again, and in 2003 he was successful in re-gaining the part of Gavroche in Les Miserables that he’d had to give up. The appointment gave him the platform to reveal his budding songwriting skills, as well as enabling him to secure a solo record deal.

However, what was to become a world-wide phenomenon almost never made it past a commercially unsuccessful first record. Although Jonas, now working alongside his brothers Joe and Kevin, had secured a record deal, poor sales of The Jonas Brothers’ album It’s About Time (2006) prompted Columbia Records to drop the band.

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To have success given and taken away in such a short space of time can be hard for any adult to cope with, let alone for Nick, the youngest member of the band. However, as with that initial silence upon the boards of Broadway, the slight setback gave him the courage and conviction to move onto bigger and better things.

“I think the biggest thing for me was always about lasting, sustaining, finding a way to be resilient. There are a lot of people who are very talented, and a lot of people who work really hard. But there’s not a lot of people who can just stay hungry when life throws the curve-balls that it does. And so I feel that being resilient is one area of my life that I’ve worked hard at. My dad gave me a good perspective on the importance of maintaining an attitude of resilience, and a willingness to continue to work hard when things get tough and to press on, as you really have no other choice. Life is going to give you life.”

For some child stars, the strain of fame at such a young age is crippling, even unbearable. To have one’s sex life cross-examined before even reaching the age of consent would be unnerving for anyone, and the level of scrutiny aimed at Jonas in this regard cannot have been easy.

Puberty, a period of rampant raging hormones, is an uncomfortable time on an individual level, even without having to share it with millions of others. However, Jonas’ outlook on growing up in public is more holistic than others. For him, the short term discomfort was worth the long term reward.

“I think I have a really different outlook on it to most. I feel like in a lot of ways for me there were moments that were extremely difficult. You know going through your awkward stage in front of the world is not the preference. There was also an element of really knowing that I was always doing something I loved. So there was always
a balance,
but there were moments when it became tough, especially as a family. The biggest thing for us was trying to tread those waters of keeping
our life
personal,
while
giving
some of
it away.”

Jonas
 emphasises the importance of
 family within 
celebrity culture.
But he and his
 brothers also demonstrate the importance of
 placing family before fame.
Unlike the infamous split of 
Oasis, which destroyed the bond
 between the Gallagher brothers, numerous recent humorous anecdotes about family antics emphasise that the Jonases remain a close family in private, though they pursued their own separate careers in public. The band chose to split when it had naturally run its course and to prevent long-lasting discord arising between the brothers. Despite growing up together in public, the siblings chose to mature as a family unit in private.

“I think that being in business with the family did make things interesting sometimes. But all families have their moments, things that make it complicated. So I feel that our situation was unique. Probably for a lot of people, it is hard to imagine spending that much time with your family and being that busy. But for us it was just our way of life and it made sense for us. And now as we transition to living our own separate lives and finding a way to be a solid family unit, we are just taking time to figure it out.”

Although The Jonas Brothers as a band is no more, the individual members continue to thrive. Nick is now a solo artist, his most recent single ‘Jealous’ reaching Number One in the American dance charts. But he is also forging a successful career as an actor.

The recent series Kingdom saw him play a martial artist battling with his sexuality. Those familiar with his Disney image may be shocked to see him acting in sex scenes. But for Jonas himself, going from child star to adult actor has been natural: part of growing up and developing his career to new heights.

“This was over the course of a couple of years for me. Whereas for the audience and the media and the public, it all seemed to happen very quickly. I feel that the transition for me was natural and was not forced in anyway. It all came from a genuine place. It’s been interesting to see the change. It’s felt good.”

The media often forget that like all normal children, child stars develop and grow up. Like all other teenagers, they have their embarrassing haircuts and looks.

But they do grow up. Their images and interests change. What worked for them as Jonas Brothers in their younger days no longer works. But what has not changed in Jonas is his conviction and passion to succeed and to further his career. He is someone who embraces what he has learnt from growing up in the limelight, but takes it and applies it to new situations.

He is no longer a child star and performer, but is now an accomplished actor and singer. Making the transition from child to adult star is no easy feat. Many fall at this hurdle, their fame left behind in the early days of their youth. But Jonas’ ability to adapt has allowed him to buck the trend and to remain successful.

He stifled the opposition he faced when it was reported that he was going for a part in Kingdom by proving his worth as an actor. Fame and fortune’s course is not always smooth, but it seems Jonas has the strength to continue climbing to the top of its fickle wheel.

Porn & Policy at Teddy Hall

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It is not at all an unfortunate time to be a left-wing rabble-rouser at St Edmund Hall. Haunted by the ‘Ghost of Scandals past’, students at Teddy Hall over the last few years have embarked on a long march to liberate the college from its old association with lad culture.

This is a project that is somewhat half-complete. Teddy Hall, with its Men’s Officers, is not yet the envy of Wadham but nor is it deserving of the image of a boozy men’s rugby club with an academic college attached.

The transformation of the Hall has been radical enough that we were among the first colleges to boycott The Sun, a nominally ‘progressive’ step if highly problematic in its attitudes to women who work in pornography. We banned ‘Blurred Lines’ because of its role in perpetuating rape culture, we voted to divest from fossil fuels, and even voted to support a boycott of Israel in 2013 – the only JCR (I believe) to have done so.

But this obsession with cultivating an image of being ‘progressive’ has its own problems. This is in no way unique to Teddy Hall, but it bubbled over at the college last week when the JCR sadly voted to scrap one of its honorary members: the highly successful porn actor, Jenna Jameson. In a brilliant piece for Cherwell, JCR member Susanna O’Brien explained, “Sex workers are among the most stigmatised women in our society, and Teddy Hall missed an important opportunity to stand in solidarity with them.”

By wrongly focusing on how a college would be perceived, rather than the real function of our university in society, Oxford students once again put their foot in it – and the furore was reported everywhere from Cuntry Living to The Times of India.

This is the unchallenged tenet at the core of Oxford politics: that the utmost political priority is to sanitise our image for the sake of ‘access’. It was this thinking that last year led reactionary students to criticise the calling out of racism by “I, too, am Oxford”, as ‘bad for access’, wrongly believing ‘access’ to trump oppression.

In trying to combat a stereotype which is fundamentally true – Oxford is full of white male privilege – students can inadvertently ignore the role of that privilege. Perhaps Oxford politics should give up the unwinnable fight of polishing a privileged turd, and focus instead on dismantling those privileges instead.

Immigrants at Campsfield "guilty until proven innocent"?

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We’ve gathered outside the Cherwell District Council offices in Bodicote, just south of Banbury. Local councillors are about to decide on whether a proposal to more than double the capacity of Campsfield House Immigration Removal centre will go ahead.

Although the rain has been coming down all day, and the small parish takes over an hour to reach by bus from Oxford, the turnout is impressive: campaigners from across the country have gathered to express their animosity towards plans to expand a centre frequently accused of human rights violations by organisations such as Amnesty International.

Campsfield House Immigration Removal Centre, or ‘Campsfield House’, as it is innocuously signposted on the Woodstock Road, has a maximum detention capacity of 216. Converted from a youth detention centre in 1993, the private outsourcing company Mitie won a £27m contract to run the centre through its ‘Care and Custody’ subsidiary in 2011.

Since then, the Campsfield centre has incurred a fire, a suicide, and at least three major hunger strikes. A recent Corporate Watch feature reports, “There were no sprinklers installed, despite repeated advice from the fire brigade, and despite the fact that Mitie claims to specialise in fire safety.”

Under the current proposal, the centre would have its maximum capacity increased to 560, a plan which has received widespread condemnation from, amongst others, the Deputy Prime Minister.

But opposition to the expansion of Campsfield, and detention centres more generally, goes further than merely disdain for the mistreatment of immigrants within them.

There is also a problem with numbers. Of those detained in the UK, an increasing proportion are being granted leave to remain here. The exact figure is 45 per cent of those detained in the year 2014, compared to 35 per cent in 2010.

This is in spite of a trend of increased hostility towards immigrants by the coalition government within the same period. Given the fact that these centres exist for the express purpose of immigrant removal, this should mean a reduced demand on them – yet, incongrously, they are being expanded.

Moreover, this is costing the taxpayer £37,000 per detainee per year.

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The story of detention within the UK is rife with such inconsistencies. For instance, the Home Office claims to follow what it calls the ‘Hardial Singh’ principles. These principles state that detention can only be used when the Secretary of State “intends to deport the person”. The length of the period of detention must be “reasonable in all the circumstances”, and “if it becomes apparent that the Secretary of State will not be able to effect deportation within a reasonable period, they should not seek to exercise the power of detention.”

However, on 30th June 2012, the United Kingdom Border Agency reported at least 174 cases where migrants were kept at immigration removal centres for over a year. There are even reports of detainees being kept for up to six or seven years. Clearly, there is a discrepancy between policy and practice.

There are further discrepancies regarding the Home Office’s policy on the detention of vulnerable people. Rule 35 of the ‘Detention Centre Rules 2001’ was designed to prevent torture victims being locked up in all but exceptional circumstances, but the general consensus among campaigners and detainees is that it doesn’t work.

An audit of its effectiveness by the Home Office found that only 9 per cent of Rule 35 reports led to release. More damning evidence against the efficacy of Rule 35 is revealed in a report by Medical Justice, who assessed the cases of 50 torture victims (verified as such by independent doctors). Of the 50 victims, only one person was released through the Rule 35 process.

Furthermore, six people within the sample were hospitalised from going on hunger strike, and eight attempted suicide; the report concludes, “Whilst Rule 35 is presented as a safeguard, its successful implementation is trumped by wider political and economic goals, thus making it little more than a fig leaf.”

We spoke to Ameena, who was detained in Yarl’s Wood IRC for five months. She told us how, on arriving in the UK, she immediately sought asylum in London, and after giving her story to immigration officers, was detained the very same day.

“I was without a lawyer or interpreter, and my English at the time was poor,” she explained. “I had to do the whole thing alone. My case involved FGM, which I had to discuss with a man. I had never discussed it with a man before, and for me it was terrifying.”

Although the UN recognises FGM as torture (meaning that by the Home Office’s very own guidelines, Ameena should not have been detained), the process went ahead anyway. She told us, “My five months in the detention centre was the worst experience of my life. I was treated like a criminal – even though cutting girls is illegal here, and I was a victim.”

Talking about the psychological damage her detention incurred, Ameena explained how “every day I thought about the sick people, the mentally ill, the people who had been there for years, and I thought to myself: is this going to happen to me?”

One day, Ameena was told she was allowed to remain in the country. “Since I left I’ve been receiving counselling and taking medication. I think about that place every single day.”

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Ameena’s case isn’t rare. Research by Women for Refugee Women has investigated the impact detention has on women in particular. Their report found that 85 per cent of detained women they spoke to had previously been raped or tortured.

Shockingly, there is evidence that such abuse extends into the detention centres themselves. In 2013, a detainee from Yarl’s Wood called Tanja came forward with claims that she had been sexually abused at the detention centre. In one case, she was made to perform sex acts on guards who were “well aware that I did not want to”.

Shortly after these allegations were made, three more women came forward with cases corroborating Tanja’s. Serco, the private-sector company that runs Yarl’s Wood, denies the allegations. However, they did admit to dismissing a male member of staff for “inappropriate behaviour with a resident”, after an incident was captured on CCTV.

Interested in finding out more about life inside Campsfield, we visited a detainee at the centre to get a first-hand account from this near-mythologised institution. Upon entering, we were thoroughly searched, and after passing through six metre high gates, had our fingerprints and photos taken. Usman, who was nearing the end of his third month at Campsfield, had agreed to talk to us.

Describing life inside, he tells us, “I’m lucky in that I’m not sharing a room with anyone. Earlier, I was sharing with several others. A lot of the rooms contain three or four people, all crammed inside a tiny living space. Some rooms squeeze in as many as six people.”

Usman earns £1 an hour working in the centre’s shop for visitors, and is allowed to earn a maximum of £21 a week. The money is needed to pay for extra food throughout the day, as the meals provided “are not enough for one person”.

Describing a typical day of food, he lists, “bread and milk in the morning, chips or white rice with soup, or a chicken burger for lunch. Dinner is often curry; I’d like some more fruit or vegetables.”

Usman is critical of the medical help available to him and his fellow detainees. “The other day I was feeling run down and the only help I got was the nurse telling me to wear a jumper and a hat. There seem to be huge limits to what help they can and can’t give us.”

Usman describes the mental state of detainment as “constant torture”. “I feel my mental health deteriorating; I’m already losing my memory. Someone I know who was in here for 16 months now has lasting mental problems from his detainment. Another guy who was only 19 years old finally got out, then passed out at Oxford Station. The idea of freedom made him feel dizzy.”

Some detainees are led to self-harm, Usman tells us. “A lot of people put in confinement as a result of ‘bad behaviour’ hit themselves to get out of it. One guy’s in hospital at the moment after swallowing a razor blade.”

Usman’s friend explains to us how his nephew was detained several years ago. “Back then, though, there were much better detention conditions, and he wasn’t detained long. There was a gym he could use, the rooms were all singles, he was even allowed to learn IT skills while he was there! I was very shocked when I first came to visit Usman.”

“It’s worse than prison here,” Usman interrupts. “At least in there you know how long you have left in your sentence. I’m not a criminal, we are not criminals, and yet we’ve been put through this process where we don’t know whether we’ll be forced to leave tomorrow.

“They told me I was being deported three times without it actually happening. The last time, I said goodbye to my friends and family. My wife was crying, I was extremely depressed, and then I get a call saying they’ve messed up the travel documents. I have no idea what’s going on until the last minute.”

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Usman believes he will finally be deported next week. “I’ll be back to square one, as though the past ten years never happened,” he says.

While the Home Office looks to ignore the pleas of detainees like Usman, members of the Campaign to Close Campsfield have been protesting the centre since before it was built.

When we visited two members of the Campaign, Liz Peretz and Bill McKeith, it was clear that we’d come during a particularly busy period. Bill was on the phone to a lawyer in London, penning a letter to Cherwell District Council to attempt to get them to reconsider the proposed expansion of Campsfield.

According to Liz, the “official” reason behind the proposal is that the government has recently employed a great deal more immigration officers who will be carrying out increased checks on more families, and need somewhere to warehouse the anticipated influx of people on the way to being deported.

“However, we think it is a very muddled picture,” she added. “It’s quite likely to be the private firms, like Mitie, that have encouraged the Home Office to ‘modernize their stock’ of Detention Centres. This bears absolutely no relation to the other set of arguments that are going on in Parliament as we speak, that there should be a time limit on detention.

“If you could get a time limit on how long someone could be detained for, you wouldn’t be looking at how you can expand the stock – you’d be looking at contracting it.”

Second to Greece, the UK has the largest number of detained people in Europe, and Liz believes that there is a psychological component to the Home Office’s detention policy.

However, detention as an act of “muscle-flexing” by the government, she explained, “just doesn’t work. The Home Office’s own statistics show that more people are coming over than ever before: war and conflict and poverty all over the world won’t just disappear!”

However, a former detention custody officer at Campsfield firmly believes that the centre’s existence is justified by it being a successful deterrent for prospective immigrants.

Asked to elaborate on his former role, he tells us, “I did security: I prevented people getting out, as well as getting in.” Although he considers that he did the most he could to help detainees when he worked there, he believes there is only so much one can do. “If you helped them too much you became targeted,” he explains. “You become known for being sympathetic, and you get more and more people coming to you for help.”

His story corroborates an anecdote shared to us by Liz from another detention centre within the UK. The immigration officers who deported the smallest percentage of their cases, she told us, had a white monkey put on their desk.

Such attitudes show a callous disregard for the realities which asylum seekers face with deportation, which in many cases entails death. This prospect made a significant im- pression on us when we spoke to a campaigner called Ade, whose boyfriend is seeking asylum within the UK, and has been in detention for 11 months since his appeal. His boyfriend is from Nigeria, where homosexuality is illegal, and, in some areas, punishable by death.

“If they send him back to Nigeria, they will kill him,” Ade tells us with the sombreness of a person faced with the prospect of losing a loved one.

With so much at stake in Ade’s boyfriend’s appeal, the policy of “guilty until proven innocent” – the asylum application process as Liz describes it – is in an even more obvious and urgent need of reform.

After 20 minutes outside the Council’s offices, we were told that we could observe the meeting from the public gallery. We filed in, only to leave ten minutes later, the councillors having voted to defer their decision to the next meeting after receiving the letter from Bill.

Reaction to the decision was mixed: on the one hand, Campsfield would not be expanded today, but on the other, the campaign would have to maintain its momentum if it hoped for a better outcome next time.

While it is heartening to see so many people mobilised, these protests can only hint at the severity of the UK’s detention situation, which is putting thousands of people every year through “the very worst kind of mental torture”.

Some of the names in this piece have been changed to preserve anonymity.

Information and Links: 

We are grateful to Oxford Migrant Solidarity for putting us in touch with those inside Campsfield, enabling us to visit the centre.

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Debate: Are crewdates an outdated Oxford institution?

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For

Alistair Sterling

Crew dates aren’t just outdated, they are damaging. Have misogynistic, binge-drinking, stereotype-reinforcing, lad-culture inducing affairs ever been acceptable? I’m generalising of course; not all crew dates are like that, but the concept does have significant issues that need to be identified and addressed.

The typical crew date, like the meal to be consumed, follows a set menu. Two teams of opposite genders arrive at the restaurant, sitting alternately. The more attractive members sit towards the middle of the table, and those ‘less blessed’ are resigned to the ends, where they can mull over the tribulations of aesthetic objectification.

Then the ringmaster introduces the show, welcoming everybody to this spectacle that is, of course, sure to be full of wonder and merriment. The pre-purchased bottles of Tesco Vintage are uncorked (or more likely unscrewed) and the drinking begins. ‘Pennying’ and ‘sconcing’ follow swiftly, each accusation sculpted carefully and precisely for the unwitting crew dater who thought their vibrant sexual encounter had gone unnoticed or that their disturbing foray with a tutor had long been forgotten. Unfortunately, it had not.

As the evening progresses, voices are raised to levels unmatched by the waiting staff in their feeble attempts to communicate that the gruel is going to be late, leaving confusion for both parties. At this stage, however, nobody really cares what’s going on, because it will inevitably taste similar when it comes back up on the walk to Park End. Everyone is now significantly more left-wing, except that one guy sat in the corner, wondering why he bothered coming in the first place.

This behaviour is reminiscent of a teenager’s 16th birthday party – a rowdy, disrespectful group of drunks, with no care for those they may be affecting. If such exploits occurred in an isolated environment, I would have much less of a problem. The crew date is not an inherently troubling concept, but the manner in which they are currently conducted is frankly disgusting. The heteronormativity, the archaic ‘faux-Buller’ behaviour, the pressure on members to get utterly buttered (despite the fact that 21 per cent of adults in the UK are teetotal), are indicative of an institution that still clings feebly onto the notions of yesteryear. In a progressive, inclusive, cultured, and educated environment of which we have the privilege to be part of, why do we still allow such things to go on?

The crew date, steeped in a history of mythical proportions, is an institution so dressed in tradition that we wilfully overlook the damage it causes. Those crew daters with influence over those less experienced abuse their standing t o make others’ evenings a misery. All of this happens under the guise that it’s ‘just a bit of banter mate, if you can’t take the heat get out of the kitchen’. The waiting staff are poorly treated, and women are often objectified, both by sconces and by actions during and after the affair. Too many times I, or my friends, have sat and watched as a burly crew dater stands, taps his glass and announces that the person to his right slept with umpteen ‘birds’ during a ‘night on the pull.’

Crewdates needn’t be like this. A lively meal with a few drinks and lots of people is no bad thing. But currently crew dates perpetuate a culture that jars with the progressive nature of Oxford today. Outdated? Yes, but they are also symptomatic of a student culture which needs to do a lot more introspection 

Against

Harry Gosling

As a fresher who has only recently been initiated into the Oxford tradition of crew dating, I do admittedly have a relatively limited pool of experience from which I am able to draw.

Yet even from a relatively narrow point of view, I can see there is little about crew dates that is inherently wrong or outdated.

The principal purpose of crew dates, it appears to me, is to have fun. They are an opportunity for students to draw breath as they lurch from one essay crisis to another. I think that the chance to meet new groups of people over dinner should be embraced, not rejected on account of the actions of the few rather than those of the many.

The tradition of pennying for example, while arguably serving to perpetuate the existing culture of drinking to excess, is hardly confined to crew dates alone. Sconcing too, despite the inevitable embarrassment caused, is quite simply just part of the fun. Even the horrifyingly over-priced food offered by some of Oxford’s less refined dining establishments can, in spite of first appearances, turn out to be edible once copious volumes of cheap alcohol have been consumed.

Aside from the enjoyment dimension, crew dates serve another important purpose in enabling students to meet other groups of students from outside their usual sphere of interaction. It is particularly the case with arts students that socialising happens predominantly between members of the same college. Societies are a good opportunity to meet fellow students, but crew dates are an almost unique opportunity for members of student societies and sports teams to meet like-minded people.

Of course one of the criticisms levied against the crew dating culture in Oxford is that it perpetuates and further embeds the unsavoury aspects of ‘lad culture’ and predatory sexual behaviour. There are numerous unfortunate examples of crew date members embarrassing themselves by expounding crude stereotypes. The by now infamous email sent by the social secretary of Pembroke College Rugby Football Club to its members during Michaelmas 2013 instructed recipients of the email to “pick” a fresher to accompany them on the crew date.

This type of behaviour is quite rightly condemned. Fortunately, however, this sort of attitude is fairly rare. You only have to look at the growing popularity of crew dating, exemplified by the multiplicity of crew dating websites now available, to see that they are regarded as a predominantly harmless and enjoyable experience, not an outdated one. Students can choose whether or not to attend crewdates; the fact that so many do choose to attend is indicative of their positive reputation.

It is undoubtedly true that a small minority of participants may treat crew dates as something of an ‘opportunity’. Perhaps I am naive, but this supposed crew dating culture does not appear to be particularly pervasive. The real problem is ‘lad culture’ and sexual opportunism, and these are not confined to crew dating alone. Would we argue that clubbing is outdated just because some individuals indulge in unsavoury behaviour?

It is not the crew dating culture in Oxford that needs to be challenged; it is the broader culture of ‘lad banter’ and sexual opportunism that deserves our attention. The attitude of some individuals towards crew dates may be outmoded, but the crew date itself should certainly not be considered an outdated institution.