Wednesday 25th June 2025
Blog Page 1236

The next government should prioritise mental health

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Just because you cannot see a physical impairment or an obvious problem with someone’s everyday behaviour, that does not mean they are not suffering from a serious illness. Mental health affects around a quarter of the population each year and ranges from depression to schizophrenia. These illnesses are most common amongst young people, meaning that all of us are likely to know someone suffering from one, even if we are unaware of it.

So why has this government made major cuts to mental health services? According to the Royal College of Nursing, since 2010, there are 3,300 fewer nurses who specialise in mental health, and 1,500 fewer beds, while demand has increased by 30 per cent. After serious progress towards recognising the legitimacy of mental illnesses in recent times, it seems we are now going backwards. Of course, money is tight at the moment, but personally I condemn the cuts to the NHS by a government that has clearly misplaced its priorities.

Perhaps because mental illnesses come from within, the government is under the not uncommon misconception that those suffering with a mental illness should ‘just try harder’. It’s difficult to see how this could be more insulting. Imagine you were suffering from a fatal disease, and when you went to the doctor about it, they told you that you just need to change your outlook, put some effort in, and pick yourself up. Just like mental health, it simply does not work like that.

We often forget that physical and mental illnesses sometimes go hand in hand. A serious mental illness could lead someone to cause physical harm to themselves or others. A serious physical problem could cause a mental illness such as anxiety or depression. It is thus irresponsible of the government to put mental illness on the bottom shelf while claiming it is doing otherwise.

How does this happen? With more than half of local councils in England having to cut or freeze budgets for mental health services between 2014 and 2015, over 80 per cent of GPs are concerned that they cannot manage, believing things to have dramatically deteriorated over the last year. Indeed, in the last two years, there have been seven suicides and a homicide, partially due to a lack of psychiatric beds. One in five family doctors has witnessed a patient come to harm because they were unable to get specialist help in time.

One of the most appalling repercussions of these cuts is that nurses are being forced to prioritise patient’s safety instead of their treatment. This can only exacerbate the suffering of patients and add to the costs of eventually treating them.

What is more, some mentally ill patients have to be held in police cells due to a lack of beds and resources in the NHS. They do not deserve to be incarcerated; they have not committed a crime and are in urgent need of help and care.

Despite the government’s assurances that mental health would be given increased attention, their promises have thus far proved empty. Indeed, NHS England decided to cut mental health expenditure by 1.8 per cent last year. With the NHS not even making David Cameron’s top six priorities for the upcoming general election, it is an increasing worry that we could face another five years of severe cuts to mental health services.

This is an urgent matter. It takes a lot, firstly, for someone to admit to their mental illness, and then to seek help for it. An inefficient and unreliable mental health sector serves merely to increase that burden unjustly.

Where are they now: Toni Basil

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“Oh Mickey, you’re so fine / You’re so fine you blow my mind / Hey Mickey, hey Mickey.” Words of glistening prose straight out of the mouth of Toni Basil, in her 1982 hit ‘Mickey’. Or as I like to the think of her – the post-modern Tennyson. But sadly, these gracefully chanted lines were not straight from her own pen.
 
Her number two hit was actually a cover of Racey’s ‘Kitty’. And not even an original one. She kept the warbling organs, threw in the catchy chant, usurped Kitty and replaced her with Mickey. Sheer musical innovation, no?  And since then? Despite having released only two albums, Basil has still somehow released five ‘Best Of’s’. She has now shifted her talents to film, but we have  yet to hear anything musical from her since 1983. She recently confessed she still owns the infamous cheerleading sweater from the Mickey video – maybe at 71 it’s time for her to give it another outing? 
 

Wolf Alice: From Carter’s cover to album cover

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For a band with a relatively young career, London four-piece Wolf Alice, made up of Ellie Rowsell, Joff Oddie, Joel Amey and Theo Ellis, has been a howling success so far, blazing a trail through the alternative music scene with their earworm choruses and unique blend of folk-tinged pop melodies and grungy riot grrrl hooks. The band, whose name is taken from a short story by Angela Carter, has already come some way since its formation five years ago, having first been brought together by Ellie’s bedroom writing. Now headlining shows across the globe, the foursome is guzzling up the perks that come with rising stardom. “We’ve just come back from Australia, and everyone told me that I was going to get eaten by a spider or killed by a kangaroo, but everyone was really nice. Whenever we’ve gone abroad, it’s always been nice because there’s always been people there. It’s always nice when people turn up to the shows,” Theo tells me, his dry humour unwavering throughout our conversation.
 
Despite the Andrex puppy level cuteness of the cover for their debut single 
‘Fluffy’, featuring two pug puppies playing in the snow, the song, with its ballsy riffs and tumultuous drums, is anything but. “We definitely do have these darker and more introspective, quiet moments but then we have the ability to play really loud, a bit punk, in-your-face and angry stuff,” says Theo. This ability to cross over from soft, melancholy melodies overlaid with Ellie’s breathy vocals, to the anthemic rockier tracks, is what lies at the heart of Wolf Alice’s unique appeal.
 
“As individuals, we have some differing and similar music tastes. It’s very much a melting pot,” he states, “and I think that’s quite obvious with the music that we output – there’s a lot of different things going on. But I think we’ve got a good dynamic as a four”; their second single, the poppy ode to friendship and loyalty, ‘Bros’, is emblematic of the band’s bond.
 
The band is about to go on tour with Alt-J in the US, in yet another exciting chapter of their own short story. Theo seems excited about the prospect. “I actually can’t wait to sleep in a little coffin that goes down the motorway.” But things haven’t always been quite as hopeful for the foursome. “There was a point when we had quite a lot of hype but we didn’t really know how we were going to make the album, and who was going to help us do that and that was quite scary. We were kind of figuring out whether we needed to do a Kickstarter campaign to make that album, or have a car boot sale or something. But we’ve always been very determined to release at least one album, and it’s definitely going to be this year.”
 
Their second EP, Creature Songs, funnelled the band into the category of alt-rock/grunge with its rockier, riff-heavy tracks, which Theo declares, “benefits us for playing the big stages where you’ve got loads of space to run around and do stuff that’s more theatrical”. But the sharpening of their sweet-sounding songs into fodder for headbanging types has perhaps narrowed people’s perception of their sound. “We’re in the middle of finishing the album at the moment, and I think that when people hear the album, it’ll be easier for people to understand, because I think we’ve matured a little bit.”
 
I ask Theo if there’s anything else they have on their tick list for 2015. “Releasing the album and touring is pretty much all we’re doing this year. I don’t know if there’s any extra kind of thing that we can achieve, maybe get on Graham [Norton]? But I think just touring and playing some great festival trips this year. That’s what we really want to achieve.”
 
Were he not in a band, Theo says he’d still be trying to do something within the musical realm, “Or, fuck it, maybe a fireman or something. Though I’m not brave enough.” But with no sign of their feverish energy or soaring international fan base dying down soon, the future is looking bright for these ‘heavenly creatures’…

Review: Drake – If You’re Reading This It’s Too Late

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★★★★☆

Four stars
 
Drake has become the next major artist to drop an album out of nowhere. Just like Beyonce’s last LP, If You’re Reading This It’s Too Late was unceremoniously uploaded to iTunes, without the high profile marketing blitz that usually accomplishes top tier pop releases. This lack of ostentation carries over to the music found on the record. Drake’s sound is stripped back to the bare bones. The production, handled by Boi-1da and Noah ’40’ Shebib, is minimal and brooding. Tip-toeing piano and swirling ambience is met by the taut bounce of snarling 80s. The sound design is flawless as usual, every sound crisp, tight and perfectly placed. The most interesting textures are to be found in ‘Jungle’, which pairs D’angelo-style soulful instrumentation with the harder percussion of contemporary hip-hop. It never moves far from the melodic trap sound that Drake has inhabited for his last few releases, however, failing to push the sonic envelope and staying firmly within the current popular vernacular.
 
Drake himself is on usual form, dispensing earworm loverman melodies. This romanticism is broken up with a more menacing presence upon the harder-edged pieces, coming through with righteous braggadocio on heavy-hitter ‘6 God’. The balance of aggression and sentimentality is shifted further towards the former. Instead of breathless romance, he is more pre-occupied with ‘enemies’ than lovers, calling out those who are holding him back on the cathartic ‘Energy’. Although competent, the record lacks ambition compared to previous Drake releases.
 
The record never produces any truly outstanding or memorable moments in the way previous albums have. The freshest moment comes not from Drake himself, but when rising star Travi$ Scott interrupts proceedings with his gothic stomp and auto-tuned drawl. This can largely be attributed to the nature of the album’s conception. Drake and his fellow label mates are currently involved in a vitriolic dispute with Cash Money owner Birdman. The secret, unauthorised release of this album fulfils his four album deal, freeing him from his previously binding contract. The hand-scrawled album cover is a pointed taunt, directed at his previous boss, ridiculing his powerlessness to stop one of his biggest assets fleeing his control. This record should therefore be viewed only as a transitional piece; its importance is in allowing Drake free reign to craft his upcoming full release, View from the 6, free from interference. This offering will keep the fans thirsty for some new Drizzy going until he drops his next masterpiece. 
 

Review: Father John Misty – I Love You, Honeybear

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★★★★☆

Four stars

Fleet Foxes are a cornerstone of the indie folk scene, and Josh Tillman was integral to their success as drummer and backing vocalist prior to leaving the band in 2012. On I Love You, Honeybear – his second album under the moniker Father John Misty – Tillman’s music, in contrast to the more stripped-back feel of his previous solo efforts, is reminiscent of his former band’s expansive chamber pop sound, with lush string arrangements all over this record.

Tillman differs from the Fleet Foxes sound, however, when it comes to the lyrics. Whilst Robin Pecknold’s lyrics on their records are very much of secondary importance, usually coated in harmonies, Tillman’s words take centre stage in Honeybear. He swings abruptly from caustic wit to heartfelt romantic sincerity, complaining about how his girlfriend misuses the word ‘literally’ in the wonderful ‘The Night J. Tillman Came to Our Apartment’, but remaining totally believable when he tells her, “I can hardly believe I’ve found you and I’m terrified by that”, on the next track.

There’s something of Morrissey in this juxtaposition of sardonic lyrics with exquisite instrumental accompaniment and, though there are a few duds, it comes off extremely well in many of these tracks. This is certainly a more personal take on Fleet Foxes’ style of chamber folk, and some may find it even more appealing.

Review: Peace – Happy People

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★★★☆☆

Three stars

Despite the calmness of their band name, Peace exploded onto the music scene. Debut album In Love (2013) came with the delicious happiness of ‘Bloodshake’ and the startling beauty of ‘California Daze’. Critical acclaim flooded in, sweeping the band away in a swell of paisley shirts and jangling guitars. Two years later, and the Worcester boys are back with Happy People. But is that the state of mind you are left in after listening to the longawaited return of the indie-rockers? 

Initially, it would seem so. Opener ‘O You’ twangs in a delightfully different manner. It retains the swaying swagger of earlier tracks, but re-edifices their sound just enough to make worthwhile listening. ‘Someday’ is an Oasis-like ballad about a failed romance which is so simple it is endearing. The funk on lead single ‘Money’ meanders through your ears, the hook lingering in your mind, although the lyrics are not particularly innovative. 
 
But this is the album’s main problem. It treads water in seas already much explored and passed through. Instead of sailing to new sounds, Peace have chosen to lay anchor in the areas in which they are most comfortable. True, the album prompts you to dance, but only using steps that are all too familiar and which could become dangerously repetitive. If they don’t find some new moves soon, the once happy people could soon vacate their dance-floor. 
 

Bar Review: Lincoln

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Lincoln is a conveniently central, if rather tiny, college. Its bar is a short trek from a handful of colleges, and one which is actually worth making. The bar, called Deep Hall, ingeniously named in reference to its relative placement to the College’s Hall, was identifiable by the sign on the door disallowing externally bought food and drinks.

Although I perhaps wouldn’t have described the cellar bar as ‘atmospheric’, the chosen adjective on the College website (which I first consulted to check that this cozy college even had a bar), it did immediately seem to be a pleasant environment. The room was modern, uncluttered, unpretentious, warm, and surprisingly full. The furniture and decoration was mostly basic and unconventional, with the exception of a few gaudy blue plush couches by the door, which looked comfortable, if out of place, among the wooden benches.

Upon approaching the counter, I was quickly served by the burly, blokey barman, whose confident competence was a refreshing change from the usual lazy confusion of humanities students trying to fund their Park End addiction. When I asked for the college drink, he just laughed at me, and explained that the nine-pound concoction is designed to get rugby lads drunk in five minutes, and would have me under the table. This choice of target market surprised me, considering the content, subdued, hipstery clientele that filled the bar (shoutout to the notable wavey hero in the neon orange suit) but perhaps the intention was to get them out as well as drunk.

Embarrassed, I settled for a pint of pale ale from the fair selection of beers on tap, which was considerably cheaper than the aforementioned toxic cocktail. With a perfectly balanced mix of friendliness and efficiency, he poured it and moved on to the next group, leaving me grateful I’d thought to bring money, as the card machine opposite the entrance charged an extortionate £1.10 per transaction. Despite the friendly, social crowd, it was easy to hide behind a table in an alcove in the wall for a private catch up with an old friend. There we weren’t bothered, due in part to the good acoustics of the lofty cellar, and there we remained until the bar closed oddly early. At 11 pm (and on a  weekend night, no less), we were politely ushered out of the college and made our way to a proper pub.

Although unspectacular, Deep Hall is a pleasant place to drink and socialise, assuming that you remember to bring cash with you and don’t expect the character, uniqueness, nuance, and tradition that your own college bar may offer.

Rating: ★★★☆☆ (3/5)

What’s really going into your ball?

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Often seen as the epitome of Oxford grandeur, the lavish summer balls are an event that every student should experience at least once. But most attendees know little about the work that actually has to go into them from fellow students.

Before matriculation, interviews for our ball committee were advertised. I  eagerly signed up because of my niche set of skills, including obsessive punctuality, and a passion for overloading myself with a to-do list as long as the walk to St Hugh’s. Each role in the committee was given a brief description, and during the ten minute interview we had to have a stab at selling ourselves and our skills to the co-Presidents and Secretary. Admittedly, I didn’t think I’d done a good job of convincing them that my future lay in  marketing and advertising… or that my summer job as a cocktail waitress would greatly enhance my contribution to the planning. However, I made it and within the first meeting we threw ourselves headlong into theme selection. Despite sugar laden sustenance, our creativity often seemed to fail us. After at least two hours, the suggestions had well passed appropriateness and had entered the realm of farce, including a 50 Shades of Grey theme and, my personal favourite, ‘Disco: The Ball’.

After two meetings, we had boiled it down to one idea, which had started to take on a somewhat focused form. The creative team were hard at work on Photoshop designing logos, and marketing were already ‘hot on social media’ and obsessively tracking the most effective techy ‘buzzwords’ to sell the idea of an eerie, yet decadent event amongst some of Oxford’s most divisive architecture.

Our first major tasks were keeping the theme secret and selling the premise to college, tasks which we somehow managed. We accomplished this through a launch party which managed to clash with both what is arguably our college’s biggest social event of the term, the aptly named World’s Biggest Crew Date, and the St Hugh’s ball launch in Bridge. It didn’t seem to matter. Arzoo fuelled our college pride, and the lingering taste of curry was a sickly reminder the next day of this special occasion.

The next hurdle was our first release of tickets to college students, and we were impressively backed by IT skills that I will never understand (Google ‘html’ and ‘coding’ and you’ll soon see why). Over the Christmas break, each team was then tasked with actually getting our collective organisation into gear, making plans, and schmoozing businesses. This included an online battle with a printing firm that shall not be named, which lasted over two days, and included an impressive level of headless-chicken-panic at my inability to format a PDF file.

Now, how many of you have thought about how ball trailers are filmed? Well, it actually takes an awful lot of work, some reasonably professional student directors and some not-so-professional student extras. The efforts behind our trailer included a traumatic trip to Botley for equipment (never going that far past the train station again), a day of freezing in summer ball gowns and a co-
President losing most of his dignity by spending half an hour as a glorified door stop. In a tragic twist of fate, the ball trailer never made it out in time to entice ticket customers. We made it to ticket day in one piece. Expecting to spend my entire session of morning lectures unsubtly replying to queries on my phone, I was pleasantly surprised (read: astounded) when we sold out in nine minutes and 20 seconds. Most likely due to last year’s reputation, and least likely due to my fitting the word ‘hype’ in every Facebook post about the subject.

That allowed us approximately half an hour of ‘pat on the back’ time before returning to the meetings to start actually finalising vaguely important things like entertainment and food. The next weeks of Hilary and the Easter vacation may become a totally confusing blur of caterers, diva DJs and missing marquees, but I can tell that the night will be worth it. 

Bexistentialism HT15 Week 5

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On the day of last year’s Halfway Hall, warfare began. In the house I live in now, a fight broke out. At the beginning of this Michaelmas, five third years remained.

Yes. I am intentionally speaking in a dramatic tone. Now, it is time for our own Halfway Hall. The morning starts with E&M-Mate moping into my room. “Someone’s taken my Mature Cheddar.” I enter the kitchen to aid him in his grumpy quest. But it seems E&M-Mate’s cheese is not the only thievery. My mozzarella is missing. Is-He-My-Mate-3rd-Year is missing two wraps. Boxer-M8 is missing two eggs.

Screams echo about the house. Posts in our Facebook group ensue. A scream comes from Ditz. The toilet is yellow-puddled. “WHY WON’T THEY LEARN TO STOP PISSING ON THE TOILET SEAT?” My mouth opens and shuts. Her door slams, and a minute later a Facebook notification pops up on my phone. She has posted. The third years’ heads rear with anticipation for their response. Mock-retorts follow. My phone ding-ding-dings.

“WHY WON’T YOU STOP LEAVING HAIR IN THE SHOWER?” “STOP LEAVING YOUR DOORS OPEN!”

Cyber passive aggression reverberates about my head. Banter or no banter, by the evening I am glad to get out of the house. As wine trickles from bottles, the weight of the day falls. I ignore the knowledge that I have a term and a half left to gaze fondly at the linguist opposite me. I ignore that I am yet to succeed at existing.

As we glide from drinks to Wahoo, all feels harmonious. Even Wahoo itself. A curse on our house? Pish. The night ends as our ears truly begin to hear the attempts at mixing music. But instead we stumble upon a warfront. An open suitcase which lay lonely on the street earlier is now barricading my bedroom door. Clingfilm covers the toilet. Ditz-Friend decides to have a shower to wash off Wahoo vibes.

As the shower stops, I hear the steady stomp of her feet, and she opens my door. “Come see this.” I follow her into the bathroom. On the shower wall is scribed ‘F U’, in hair. I laugh, and tell her to take it down. “But it took me ages to get the hair out of my hairbrush!” “Take it down. We can’t antagonise.”

The next day, as I pick up my razor, I see something jammed in to the blades. Looking closer, I see that it is cling film. I put the razor down slowly, close my eyes, and quietly sigh.

Oxford town crier exposed as fraud

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Oxford’s town crier has resigned following revelations that he lied over his military record. It emerged over the weekend that the 62 year old town crier Anthony Church had falsified his past service with the army.

Despite wearing military medals and having claimed to have served as a sergeant major, Church has never worked in the armed forces. Church purported to have fought in the Falklands War with the Coldstream Guards as a regimental sergeant major. In 2010, he told BBC Oxford, “As far as getting into town crying, I’m an ex-regimental sergeant major, so I had the voice anyway.”

With a voice that can reach 118 decibels, it would seem Church is well-suited to the role.

An outfit of veterans known as the ‘Walter Mitty Hunters’ exposed Church. The group is dedicated to hunting down those who lie about their military record. Church bought two war medals online, a General Service Medal, and a South Atlantic Medal, and inherited a British Empire Medal from his father, Jack Church, an RAF pilot who served with distinction in the Berlin airlift.

Following questioning by a Buckingham Palace courtier, Church admitted he had not won his medals himself. Church also claimed to have been awarded an OBE.

The town crier has been a regular feature of Oxford life in his 12 years in the role. In 2012, he was one of three representatives from the Guild of Town Criers selected to accompany athletes to the Olympic opening ceremony.

In response to the revelations, Church has apologised for his “grave error of judgement” and resigned his membership of the Loyal Company of Town Criers. He stated to The Daily Telegraph, “I was told several years ago that as the sole-surviving son I was entitled to wear the BEM and put BEM after my name.

“I also wanted, with the anniversary of the Falklands and World War One, to show my solidarity for those people who had served in these campaigns and found a place I could purchase replica medals and purchased a South Atlantic medal.”

The Cowley-born crier said he removed his medals “immediately” upon realising the public assumed the Empire Medal had been earned by him, not his father. He said that lying about service with the Coldstream Guards was “a moment of madness” adding “people will probably feel, with hindsight, that I have misled them. It was never my intention to cause any distress but it has backfired and cost me everything.”

Church was the town crier not only for Oxford but also for the surrounding towns of Banbury, Thame, Chipping Norton, Daventry, and Wallingford. Over the course of a decade, he has become something of a local celebrity, even starring on local television in 2010. Whilst delivering public announcements, he would routinely sport these service medals.

The Secretary of The Loyal Company of Town Criers, John Theman, wrote on their Facebook page, “We wish to thank The Walter Mitty Hunters Club for outing Anthony Church. His actions are deplorable and beneath contempt.”

The chairman of the Oxfordshire Royal British Legion, Jim Lewendon, commented to The Daily Mail, “Wearing the medals is an insult to the bravery of the troops who served,” but added, “I can’t believe Anthony was a pretender and I hope he can put this behind him.”