Friday 22nd August 2025
Blog Page 1234

University refuses to fund OxHub

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The future of student-run charity OxHub is under threat due to the University’s refusal to continue core funding, leaving the charity short of about £70,000. Earlier this week, the OxHub executive committee set up a petition calling for the University to provide the organisation with a long-term sustainable source of funding.

The charity previously received approximately 40 per cent of its funding from the University, most of which came from the Van Houten Fund. However, funding for OxHub has never been part of the University’s budget, which is what OxHub is petitioning to change. Contributions in the past have instead come from various funding pots, but the money from the Van Houten Fund was limited to three years and ended in Michaelmas 2014. University cuts mean they have not been offered any other sources of funding.

Makena Löhr, the OxHub President, told Cherwell, “The Vice-Chancellor suggested last year that we should fall into the Academic Administration Division budget. However, despite protracted conversations, those budget holders have since informed us that we will not now be receiving core funding for our work. The Vice-Chancellor’s office has been unable to offer opportunities for funding elsewhere.”

OxHub is a student-led charity which, according to Löhr, seeks to “engage Oxford students in social and environmental projects both locally and globally”. 600 student volunteers are currently involved in projects run by the charity, including the Schools Plus programme, the Homelessness Action Group and OxGrow. In 2014, the charity was recognised with the Queen’s Award for Voluntary Service for its work over the last seven years.

With core funding in place from the University, the charity was able to raise 45 per cent of its funding externally. However, while this external funding goes towards project costs, the cut University funding was necessary for the charity to meet many of its core operating costs, such as staff time for processing expenses.

On Sunday 22nd February, members of OxHub’s student executive created a petition, calling upon “Oxford University to secure long-term core funding for the Oxford Hub”. At the time of press, the petition had received 224 signatories on Change.org.

Löhr told Cherwell, “We understand that the University faces budgetary pressures, and that savings need to be made. However, cutting Oxford Hub’s funding is damaging to the Hub’s future, and is thus retracting the University’s support of students, who despite all their time pressures and other commitments of their degrees, want to be drivers of positive social change.

“Furthermore, it undermines the University’s public role, in connecting with the local community outside of our University bubble. We don’t really think it is appropriate to pull out the support Oxford Hub provides across the city, given levels of social inequality and the needs of the local community. We would just like to reach a sustainable solution for the Hub that would then preserve the work that students carry out to support social issues across the city.”

A spokesperson for the University commented, “The OxHub is a great venture which we were happy to support as it got off the ground, but it was always made clear that this money came from funds that were strictly time-limited.”

The University spokesperson continued, “We also have to prioritise other areas of student support which have recently been subject to significant funding cuts, such as the UNIQ summer schools, teachers’ conferences, National Scholarship programme, and the Access to Learning Fund, as well as respond to projected reductions in the Disabled Students’ Allowance.

“In discussing this financial situation with the OxHub, we have stressed that there is now an opportunity for them to work closely with other areas, including the Careers Service and OUSU, to identify how a collaborative approach might reduce costs, particularly where there is a degree of overlap in services provided to students.

“This might reduce some duplication of effort and enable more limited resources to be focused on those areas with the greatest impact.”

Sonia Morland, a finalist at St John’s and a volunteer on the Schools Plus programme, was disappointed with the news, commenting, “The Hub is absolutely great for empowering students to volunteer in a wide range of schemes that help different parts of the Oxford community. The Hub facilitates a lot of great work – though in my experience it sometimes has difficulties in co-ordinating projects with the community in a way that maximises the impact of volunteers’ time.

“Like most charities, the Hub isn’t perfect, but it’s thanks to their programmes that I, and several of my friends, found a way to put our skills to use in the Oxford community. It would be a shame, both for students eager to volunteer and for all the projects which receive Hub help, if that came to an end.”

Oli Davies, next year’s joint-VP of Giving What We Can Oxford, told Cherwell, “Regardless of the effectiveness of the charitable programmes it runs, the role Hub plays in directing Oxford graduates into careers that enact good is invaluable. Resources such as OxFID are a powerful long term investment in terms of training students to do good in the long run – it seems inconceivable the University has anything better to spend that money on, both as a resource for students and just as its social responsibility.”

Where are they now: O-Zone

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Rewind to 2004. Whilst climate change is taking hold of the globe, Moldovian-Romanian band O-Zone was stronger than ever. Everyone remembers their international banger ‘Dragosteia Din Tei’, or, to give its English title, ‘Love From the Linden Trees’. Ring any bells? Maybe the less poetic, viral craze Numa Numa man fist pumping and miming along to the hit is more memorable. The song topped the charts across the globe, and even had the great accolade of being sampled by Rihanna.

However, the band tragically disbanded at the height of their career in 2005. But there was hope! Each member has continued to spout more hits for potentially younger and sassier Numa Numa men to dance along to. Band member Dan became alter ego Crazy Loop, his hit staying at Number One for an entire month in Romania. As well as his solo career, Arsenie came second place in the Romanian version of Dancing With The Stars. At home, O-Zone’s members continue to reach the heights of the trio’s namesake as soloists.

Moon King: mooning the music industry

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Having arranged to meet Daniel, one half of the Canadian duo Moon King, outside the 02 before their gig, but having my calls repeatedly evaded, I resorted to sneaking through a hefty fire exit door to find him. Walking in on their soundcheck, I was treated to an intimate performance of their punchy reverb layered guitar playing. If you haven’t heard of Moon King yet, the sum of Toronto-based Daniel Benjamin and Maddy Wilde, then you should; their brand of shoegazey fuzz-pop will pique the interests of those with a predilection for the glacial, atmospheric sounds of Cocteau Twins or a penchant for nostalgic dream-rock.

Currently touring the UK, Daniel tells me the response “has been better than we could have hoped for”. I ask Daniel how he would describe Moon King’s sound to someone in the dark. “Usually I tell people we play like bummer, sad songs but with a lot of joy and energy,” he says. “When we play, I kind of try to get in the mindset that this might be the last time we ever get to do this, and try to do that every night. It sort of fucks with your head, but I think it gives the right feeling for people watching,” he tells me.

Although the band is only a couple of years old, the pair have known each other all their lives, having grown up a block apart, and this is felt in their inextricably meshed androgynous vocal timbres. “We have this way of collaborating that we’ve been doing for so long, it’s just psychic at this point,” Daniel states. “I’ve been writing for Maddy’s voice for so long that it feels very natural – there’s certain parts where I’m not sure which of us is which on the recordings, and a lot of people have told me that they thought it was all Maddy. I want to reverse things a bit and do something that’s a little bit different and unexpectedly feminine sounding.”

Their debut LP, Secret Life, out in April, has a distinctly different vibe to their EP, Obsession, Daniel tells me. “It’s a sort of shadowy, twisted album. The EP was kind of like, turn-everything-up-as-loud-as-possible and really quite punchy in the face. I really like doing that stuff, but this one felt very cathartic to make and I feel like there’s a little bit more depth to it and things going on in the songs lyrically and sonically that are a bit under the surface,” Daniel discloses. “We’ve also waited a long time to release it, and there are only nine songs on the album, and because they’re the songs that have stuck around, I’m very sure that I like them.”

Daniel tells me that the duo, unsurprisingly, listen to a lot of older stuff, which is reflected in the nostalgia of their dreamlike melodies over buzz-saw guitars. “There’s so much music coming out all the time, that it can feel a little overwhelming, so I tend to revert to the things that make me feel comfortable as opposed to constantly checking out new things . But that doesn’t apply to dance music at all. When we’re driving, we mostly listen to Boiler Room sessions,” he reveals. “It just keeps you going – put on six hours of really good techno, pop a couple of Red Bulls, and that’s your American tour right there.”

But despite their shoegaze post-punk influences, their full embracement of electronic percussion and shimmering synth also sets the band apart from other current artists operating within a more traditional instrumental framework. “We really don’t fit in in Canada at all, because it’s a very indie rock scene and I mean we’ve got guitars and stuff but like, we don’t even use amplifiers,” Daniel tells me. “I’m hoping that it’s a sort of forward-thinking idea of how a rock band could be, because I still like the idea of a live band and being able to move around and kick things on stage, rather than sit at a laptop. But I do use almost exclusively electronic instruments for recording.” Perhaps Moon King have tapped into a new market with their IDM-ish dream rock.

Daniel tells me they’re hoping to come back to the UK for some summer festivals. “I remember being 14 years old and watching bands play at Glastonbury on TV, and we don’t really have stuff like that. In Canada there’s no festival culture. I think the UK just loves music,” he says, somewhat despondently. “We’ve had a much better reception over here than anywhere else we’ve played, so I’m hoping we just come back here.” I’m hoping so too.

Review: Ibeyi – Ibeyi

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★★★★☆

Four Stars

With chants of dedication to a deity of the Yoruba religion in their native tongue, Ibeyi’s opening track on their debut album ‘Eleggua (Intro)’ lulls and lures the listener in with beautiful harmonic tones. Through eerie organs and sampling oddly reminiscent of Parisian rap, the listener meanders through choral swells and the odd sappy lyric about love. The album is a beautiful rhapsody.

However, the album’s spell is not without lulls. ‘Think of You’ is perhaps an example of their less successful experimentation. 20 seconds in and already two tonal changes under their belt, Ibeyi introduce a third, orchestral segment. Such a change is a decadence which just isn’t needed or particularly effective. And, when you think it can veer no more, the song pops in an unmixed sample of vague soul, before returning to its majority combination of electro beats and plangent singing.

‘Behind the Curtain’, on the other hand, is uncomplicated, earnest, and moving. Choral echoes and a hair-rising surprise of tam-tam beats work together in a waltz which creates compelling intimacy. Building in strength, ‘Stranger/Lover’ shows the twins come into their own at the core of their album. It’s got an oddly poppy push to it: think a tale of lost love that is more shining and more cultured than any of Taylor Swift’s many shrieks.

The twins must have known they’d uncovered something special with ‘Mama Says’. The vocals are exquisitely pure. The harmonising vibrates the heart-strings: it is simplistic, but has a shimmering beauty in its heartfelt tones. Although the muffled tri-tone isn’t an innovative beat choice, it serves as a perfect backbone and perfect timing.

The album seems to dare to bare as it nears its end. ‘Faithful’ has a lingering a cappella start, and Ibeyi have definitely simplified their production. It’s a move which cleans out the slightly confused heaping of the earlier songs, and proves their skill at sonorous pairing. ‘Singles’ displays a fine-tuned sense of symmetry. Ibeyi’s penultimate song matches its jazzy piano line to vocal notes and the insistent, driving beats (faded just enough so as not to be intrusive). The eponymous album finishes upon an eponymous song. ‘Ibeyi’ is entirely un-backed acapella, until the twins are ever so softly supported by hand-beaten, barely audible drums. You can hear their celebratory delighted laughter and clapping as the songs fade. Their album is complete and the listener is left hungering for more. Ibeyi’s soaring, at times searing vocals are a force to be reckoned with. Their album shows profound talent and vision, a talent I hope will gain ampleness without losing its entrancing power..

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.