Wednesday, May 14, 2025
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Interview: Roger Bootle

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For almost everyone, the New Year brings with it a fresh sense of optimism, a feeling that this year will be different, better even, than the year just passed. But after only a week of 2015, the overbearing reality of the state of the world’s affairs seems quite enough to extinguish any lasting optimism. Conflict and change, it appears, will be common themes in 2015. But how do we go about forecasting political and economic trends, as well as significant events that will undoubtedly punctuate the year ahead? 

It was with 2015 in mind that I looked forward to interviewing Roger Bootle, Executive Chairman and Founder of Capital Economics, an independent macroeconomic forecasting agency. The firm, as Bootle is proud to admit, has “a really quite impressive track record”, and emerged as the top economic forecaster of 2014 in a Sunday Times study.

In an amusing twist, it becomes apparent that Bootle is able to empathise closely with my experiences as an undergraduate at Merton, having also studied PPE there. Much to my disappointment, he confirmed that Merton had the same reputation when he was an undergraduate as it does now. Bootle mused that it had good food but “it was pretty academic,” and everyone regarded it as full of students who “work all the time and don’t have any fun”. It is interesting, we agreed, to see how reputations and trends persist through time.

The notion of trends persisting across generations is one that Bootle applies to his own macroeconomic forecasting. He informs me that both he individually and the firm Capital Economics have a very different approach to other macroeconomic forecasters.

“We place a lot of emphasis on history. At Oxford when I was a graduate student, I was briefly supervised by Sir John Hicks who although he was a great theoretician, was also very interested in economic history. He made me constantly want to look at previous periods for historical parallels with today’s events. So, for instance, when it came to Britain’s exit from the ERM in 1992, which was probably one of our greatest forecast successes, I was fully aware of the experience of 1931, when Britain came off the Gold Standard. Most of the economists in the City were not.”

It is Bootle’s ability to relate current events to historical trends which appears to set him and Capital Economics apart from the competition. Given his impressive forecasting record, I decided to pick his brains about what he expects from the world in 2015. Bootle suggests that elections in Greece scheduled for later this January are “already the big story of 2015”. Opinion polls point to victory for Syriza, the far-left populist party. Its leader, Alexis Tsipras, wants to maintain the country’s status as a member of the Eurozone, but end austerity arrangements, repudiate some of Greece’s debt burden, and ditch the bail-out conditions imposed by Germany and the ECB. “A very inter- esting package,” muses Bootle, a hint of irony in his tone, “I think there’s a significant chance that Greece is going to be out of the Euro.”

Were this to happen, what would be the plan? Bootle, referring to his winning entry for the Wolfson Economics Prize, insists that people would have to continue using the Euro and that “accordingly the denomination of the new currency [the Drachma] should be exactly the same, so that people carry on using the Euro domestically.” Tantalisingly he tells me: “We’ve had a certain amount of interest in the [Wolfson] report and the issues it raises from at least one government in the Eurozone.” Unsurprisingly, however, Bootle declined to disclose to exactly which government he was referring.

With much of the continent in dire straits, many people, I suggest to Bootle, will wonder why the UK would want to continue its close relationship with Europe, at the expense of free trade with China and the US for example. He agrees that the EU is “a very flawed institution” but contends that the UK and Europe have “a number of interests and attitudes in common” and that therefore “it makes sense for us to have some sort of association. The question is what sort of association that should be.” Reform is needed but seems unlikely to happen soon, given the bureaucratic nature of many of the EU’s institutions.

Bootle does not, however, agree that Britain should vote to leave the Union should there be a referendum during the next Parliament.

“It is possible, it seems to me, that for political reasons, if we left, the remainder of the EU could be quite nasty with us, even if it was against their immediate economic self-interest.” Britain cannot simply pick–and-choose which parts of being in the EU it wants to retain, and which parts it wants to discard. The European question has no easy answer it seems.

Concluding the interview, I begin to recognise the balance of change and continuity as we move from one year to the next. As Bootle shows me the way out, he asks me whether I’ve got Collections before term starts, recounting his experiences of them during his time as an undergraduate. It looks like although there will be considerable change in 2015, some things always remain the same.

Interview: Shami Chakrabarti

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Jon Gaunt famously referred to Shami Chakrabarti as “the most dangerous woman in Britain” in his column for The Sun, a label which he apparently intended to be negative. Chakrabarti seems now to wear it as a badge of honour.

In her time as Director of the human rights group Liberty, the organisation has campaigned on behalf of whistleblowers, fought against legislation such as Gordon Brown’s proposals for 42-day pre-charge detention for terror suspects, had the courts confirm that evidence obtained through torture is inadmissible, and fought modern slavery, amongst a myriad of other causes.

Despite all this, Liberty is still not that widely known. Chakrabarti explains, “We’re a multi-disciplinary team of human rights campaigners. Inparticular, we’re the champions of the Human Rights Act. We are also a membership organisation, and I’d like to say that loud and clear, because we’re dependent on our members.”

Liberty works in litigation, bringing test cases to the courts which they believe will move the law in the right direction. “We’ve got scarce resources,” says Chakrabarti, “so we have to choose carefully, and it’s heartbreaking, because of course legal aid has been all but destroyed. Civil legal aid in particular is all but dead in this country.” Liberty also does parliamentary work: policy analysis and research, “mostly around government legislation and legislative policy that impacts on human rights”.

Before she joined Liberty, recalls Chakrabarti, “I did Law at the LSE. I was always drawn to the idea of Law as a means of achieving a better life, a better society; as an agency of change, not just a means of maintaining the status quo. In particular, that grey area between law and policy and politics always fascinated me.”

After bar school, Chakrabarti’s first work in law was uninspiring to say the least. “Getting up at five in the morning to go and possess somebody’s house in Folkstone one day and going to wind up some company the next didn’t do it for me. The glamour and excitement of standing up in court wasn’t enough, it was the issues that I was most interested in. And I saw an advert for a job as a lawyer in the Home Office, and I thought that would be more interesting.”

She’d heard about Liberty at university, Chakrabarti tells me, and read about cases in which they’d been involved, including numerous important cases against the government. Harriet Harman had been a lawyer at Liberty years before. There’s a famous case called ‘Harman and the Home Office’ where she’s taking on official secrets and” – a slightly derisory laugh here – “abuses of power and so on.”

Harman, of course, was heavily involved in the 2010 scandal surrounding MPs’ expenses. After she failed to make MPs’ expenses exempt from the Freedom of Information Act in 2009, it was revealed that she was amongst 40 MPs who had secretly repaid wrongly claimed expenses between 2008 and 2010.

This scandal is extremely important for Chakrabarti’s perception of the state of modern politics. When I wonder why people are so disillusioned with politics at the moment, she is quick to reply.

“We’ve had crises of trust. The government misled us over weapons of mass destruction. That’s the executive. Then you’ve got MPs, who were wagging their fingers at ordinary people saying ‘don’t be a benefit scrounger, don’t commit crime and anti-social behaviour’ on the one hand, and on the other hand rifling through the till – that was MPs’ expenses. So now we’ve lost trust in the executive and the legislature; then we have the bank managers, who we think are the most trustworthy people, and they’re in the back room with a roulette wheel, and we lost trust in them. And then even the journalists, who we rely on to hold power to account, with phone hacking and all that, and then the police…

“It’s not necessarily that these institutions are more awful than they’ve ever been, it’s partly proper scrutiny and exposure and so on. However, we do need these institutions, because democracy relies on institutions. We do need government, we do need a parliament, we do need journalism, we do need banks.

“These various institutions, particularly the political leadership, have not done enough to show us a new direction and inspire us; instead they’ve been leading us down this cul-de-sac of politics of fear and hate and xenophobia.”

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The recent rise in xenophobia in Britain, argues Chakrabarti, grew out of political battles in the late 90s, when Michael Howard and Tony Blair “fought an authoritarian arms race in British politics”.

“Yes, it was law and order and terrorism, but it was immigration too. Many of their battles in the courts in the mid-90s were about immigration. They started putting home affairs issues on the front pages again. And then when 9/11 happened that escalated, and immigration and anti-terror policy became conflated. Administrative detention, to which immigrants have been subject for a long time, now became used as a device for circumventing criminal charges in the anti-terror context. With rhetoric and politics you demonise the other, and then you use immigration-type laws as anti-terror laws.”

It is often argued that the rise of UKIP and other far-right parties across Europe owes much to hard circumstances brought on by the recession.People in difficult times,it is said, are driven to the authoritarian right. “I don’t think they’re driven,” Chakrabarti insists, “but I think they can be led.

“They’re not driven,” she underlines, “but they’re misled.

“The people are scared, and they’re rightly scared, of economic uncertainty, and crime and terrorism and so on. But they’re being offered scapegoats. Talk is cheap, tough talk is cheap, legislation is cheap, and picking on vulnerable scapegoats is cheap and easy. The bottom line is, it’s a quick fix but it doesn’t work. It’s pure divide-and-rule, and I think the powerful have been doing this to the vulnerable all over the world forever.”

Chakrabarti talks about the political and economic elite whom she holds responsible for so many of the human rights issues which exist in our society with anger.

“Tony Blair was so tough on asylum seekers, and what an irony, when this man is now a great world traveller. He’s the globe-trotter of the first-class lounge.

“The biggest irony of all is: capital is globalised, the internet is globalised, climate change is globalised, and the one thing they say shouldn’t be international is human rights. What [they think] shouldn’t be global and international are the values which protect ordinary people and link them to each other all over the world. And that should give the game away.

“There is internationalism for the powerful! They’re in the first-class lounge, they’re trading their money from one country to another, from one Byzantine financial arrangement to another, and they’re all mates in the first-class lounge, but they’re saying we the people outside the first-class lounge shouldn’t be brothers and sisters and have human rights protection all over the world.”

The Human Rights Act is Liberty’s main project at the moment. Passed in 1998, the act protects all persons resident in the UK, and is based on the articles of the European Convention on Human Rights. The act effectively means that judges must act in a way compatible with the Convention, and that it is unlawful for a public authority to act in a way that is incompatible with it.

Chakrabarti calls the Conservative government’s plans to scrap the act, “the existential threat to rights and freedoms in this country at the moment”.

The “fundamental question of our time”, she says, is, “do we want to be human beings everywhere, with shared problems and shared solutions, or do we want to retreat into the cave, and be citizens with privileges bestowed upon us by the ruling elite of our little country?

“Remember, it’s still a young instrument, which had a really traumatic infancy. It came into force on October 2nd 1998, and soon after we had 9/11 and the War on Terror. It’s a lot of pressure to be put on a young Bill of Rights. Bills of Rights need time to bed down, to be shared by the people, to be read. But our politicians don’t want to share this with us, and most people who comment on the Human Rights Act have never actually read it.

“How many politicians can tell you that they’ve actually read the Human Rights Act, and that they understand how it operates, what the rights and freedoms are in it?

“The reason Guantanamo Bay still stands is that someone advised the American President that despite their great written constitution, and their American Bill of Rights, they’re for Americans. So if we stick these people off- shore, and we only do it to foreigners, we can get away with it. When we retreat from human rights towards citizens’ privileges, that’s the way to Guantanamo Bay.”

Liberty has come a long way since Shami Chakrabarti was appointed Director, but it’s clear she has no intention of resting on her laurels. Liberty’s battle over the Human Rights Act is just beginning, and when I ask her if she thinks it will survive this threat to its existence, she enthuses, “Will it survive this week, next week, next general election…? The real answer lies with you and your colleagues”.

We need students to participate

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Oxford students, indeed students all across Britain, are dangerously disengaged from politics, both national – only 40 per cent of us have registered to vote – and local – only 14 per cent voted in the OUSU elections, attendance at common room meetings is often ropey and our student political parties are populated by tiny groups of dedicated keenos.

I’ll hold my hands up as pretty much the archetypal Oxford student politician: I am a sabbatical officer of the student union, and before that was JCR president and a member of the Labour Club.

You won’t be surprised to learn that I don’t think the solution to the problem of engaging students in politics lies in gimmicks or politicians trying to be cool.

The solution, and my proposal for 2015, is simpler than that: politics needs to have more impact. Both national and student politicians often seem interested more in personal gain for themselves than in making change happen.

It’s my view that only when student politics makes more of a tangible difference in the day-to-day lives of more students will we have created a real incentive for students to care. OUSU is changing: finally, thanks to last year’s team, we’ve got the budget we need. Your sabbatical officers finally have the support they need, and we are all committed to changing this university.

To achieve this, I’ll be launching OUSU’s first ever Vision for Education this Hilary. This process will involve OUSU spending serious time listening to what Oxford students want from their education, and then devising a plan to campaign effectively and systematically over the next five years to make that happen. Feedback on prelims, better doctoral supervision, a more diverse curriculum: we’ll be joining up the most vital student academic issues for the first time, and campaigning on them consistently, year after year.

I believe students are some of the most passionate, proactive and progressive people in the world. I’m proud to serve the students of Oxford.

You deserve politics to achieve more for you. Only once we do more for you will we have earned the right to moan about you not engaging with us.

If you care about education at Oxford, get involved in the Education Vision process this term by sending me an email at [email protected] 

Warwick’s occupation shows students how to fight

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While most students were packing up to head home for Christmas, myself and a group of friends camped out on the top floor of a conference centre in the University of Warwick, the most visible and notable of last term’s resurgent wave of student occupations.

You may have missed how this began. Students carried out a peaceful sit-in for free education in a reception area of a University building, not unlike the Exam Schools sit-in that took place a year ago here in Oxford. They were then met with police tasers and CS gas being sprayed in students’ faces. This was unprecedented – the first use of such weapons on students at a British university. Students then occupied a university conference centre in protest at the police violence. Rather than apologise for management’s decision to call in the police, or condemn the police brutality, Vice-Chancellor Nigel Thrift rushed to defend the heavy-handed tactics.

The demonstration following the use of CS gas saw over a thousand students gather on Warwick University campus, the largest demonstration in the institution’s history. Fol- lowing that, students rushed into the Rootes building, the University’s most lucrative conference his was a commercialised space in the University, reclaimed by the student community in protest not only at how education was being marketised, but also against how the institution perceived of and treated its students. In response to this occupation, the University went to the courts to seek a possession order and an injunction, banning occupations on campus for a year. They have effectively criminalised the last form of protest available to students, when all other channels are closed off.

The student protests that have bubbled up over the last 12 months have resulted in a variety of responses from management, some of which have been as draconian as Warwick’s. Two students at Birmingham were suspended for nine months for their part in an occupation, while the University pushed for them to be expelled outright. Five students at Sussex University were suspended for organising an occupation to protest the outsourcing of 200 jobs on campus, later to be reinstated after a campaign.

The mechanisms by which universities repress people are well known. The more interesting question is why universities act in this way. It is not simply a feature of ‘the neoliberal university’ which is repressive. My father’s university, Lancaster, tried to expel him in the 1970s for his part in organising an occupation there. The pre-Blair ‘public’ university could be just as repressive towards students.

Education has always been a function of the status quo where norms become ‘good behaviour’. Any student wishing to challenge that, to question the way we organise our universities, our society, puts themselves at great personal risk. 

University bosses are not our friends. The bosses who cut cleaners’ pay, victimise their union activists and then cajole them, are the same bosses who demand that we pay more tuition fees, that our loans are privatised for profit, that our repayments are changed, and that our welfare as students is secondary to our purchasing power as consumers – all this while raking in an average of over £250,000 a year, and in our own vice-chancellor, Andrew Hamilton’s case, £424,000 a year!

It needs to be understood that violence on the part of the University and the police is not an unexpected twist, but a part of the struggle.

If we fight, then people will be hurt, arrested, beaten by cops and tear-gassed. Someday soon, those tasers brought to the Warwick sit-in could even be used. But leading activists are suspended and threatened with expulsion to cow the rest into accepting the present order. These are risks that Warwick students have shown they are willing to overcome. The challenge for the rest of the student movement is to join with them 

Cuba and the US? Close but no cigar

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A few weeks ago, the US and Cuba announced to the world their plans to restore full diplomatic relations. A happier Christmas wish there could not have been. The global analysis of the situation has been optimistic – a positive change for Cuba, a step towards the democratic nirvana the West supposedly enjoys. Then, just before the New Year, Cuba went and detained several well-known political dissidents in Havana. And once again the world was reminded that though Cuba’s relations to the US might be changing, those to its people remain grimly unchanged. Beyond looking at the potential for a myriad of invisible trade routes to open up, the world needs to remember the Cuban people. Economic freedom does not mean social freedom. When private enterprise is still strictly regulated in Cuba, the possibility to buy US Coca Cola over Cuban Cola means little to the average Habanero or Guantanamero.

So what does the historic announcement made on 17 December 2014 mean for the two countries? Well, for the US, their citizens will now be able to travel to Cuba and use their American credit cards there. It will be easier to buy Cuban goods (ideal for those congressmen partial to a good cigar), and easier for the US to export its own products. But who in Cuba will benefit from this trade? The state-controlled economy has hardly allowed the average Cuban to acquire a disposable income. That the effects of trade and business might eventually trickle down to the Cuban people is of course hoped for but, while the current regime remains in place, even this seems unlikely.

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However, most of our assumptions are being made (perhaps erroneously) on the premise that the US trade embargo of Cuba, otherwise known as the Helms-Burton act, will be lifted. Unfortunately, there seems little hope of this occurring anytime soon. Relations between Cuba and the US frosted over in the early 1960s when Castro and his guerrillas overthrew the corrupt right-wing dictator Batista who had let US businessmen make their fortunes and launder their dirty money on the island. Obama’s proposals to end the trade embargo are still awaiting approval by the US congress, where they are being met with strong opposition.

The US trade embargo has shaped the island through economic and political isolation for over five decades. Walking through downtown Havana, the lack of brands and product advertising is striking. Cuba has remained sealed off from tidal waves of global brands and advertising that have swamped nearly every other corner of the globe. It’s nigh on impossible to track down a can of Coca Cola in Cuba, though of course their own version, Cuban Cola, is on sale everywhere. The extremely limited scope of goods on offer in shops, just like those elegantly dilapidated colonial mansions, may seem charmingly quaint to a burgeoning tourist industry that pulls nearly 3 million visitors a year to the island (set to grow once the gate is opened to US citizens). But it is a stark reminder of daily life for the average Cuban.

What is not so immediately obvious when you visit Cuba is the sheer enormity of state-control the government has over its citizens, who are neatly indoctrinated through their education system from an early age. Although Cuba’s atrocious record of human rights was allegedly one reason why the US clung to the frosty relations (in the mean time turning a blind eye to countries such as China, Vietnam and Venezuela), the US seems to have put to rest all hope of changing Cuba’s internal politics through the embargo. Certainly, it should not have taken the US over half a century to realize the futility of its aim – the embargo was benefitting no-one – but one is now left to wonder how realistic the dreams of democracy are for the Cuban people.

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While its aged figurehead Fidel Castro has retreated from public life, his younger brother Raúl has tentatively allowed the development of a small private sector, and many Cubans are beginning to voice their opposing views. Yoani Sánchez is one such example. She writes an award-winning blog, Generación Y which records the oppressive reality of life in Cuba’s capital city. The regime censured her website in Cuba but it is maintained abroad via emails of blog posts Sánchez sends to her loyal friends and supporters. In April 2014 she established Cuba’s first independent digital media outlet, 14ymedio.

However, with Cuba it can sometimes seem one step forward, two steps back. Sánchez’s husband, journalist and dissident Reinaldo Escobar, was among those arrested on 31 December 2014. His arrest, like many of those before him, comes under the ominously titled Law No. 88 for the Protection of National Independence and Economy of Cuba. It prevents organized group meetings, protests or any action suspected of bolstering so-called anti-Cuban measures. The law has resulted in numerous human rights violations and prison sentences last between seven and twenty years for those found guilty.

Since Law No. 88 repeatedly cites as its raison-d’être the US’ Helms-Burton Act, many are hopeful that better US-Cuba relations would remove a pretext for the regime’s repression. Yet again though, without any concrete assurance that the US will repeal the Helms-Burton Act, significant domestic political change in Cuba seems far off.

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In light of the recent arrests, the regime is not showing any sign of abandoning its strong grip over its people. According to an independent Cuban human rights group, the regime carried out a record number of detentions in 2014, totaling nearly 900.

The US have found a short-term solution to the tricky subject of human rights. As part of the deal, the two countries agreed to trade political prisoners. US Aid-worker Alain Gross, who was convicted of espionage five years ago, was released in exchange for the three remaining Cuban spies who formed part of the Grupo de Los Cinco, imprisoned in the US since 1998. Cuba has not published the identities of the 53 people who will be released which has aroused concern. Without the details of each prisoner, for all anyone knows, the 53 people could be US common criminals instead of Cuban nationals and dissidents who truly deserve their freedom. This trade-off of prisoners changes nothing.

If life for the Cuban people is to improve, two key things need to happen: the US trade embargo needs to be lifted and Cuba needs to introduce real political changes to aid the move towards a more democratic form of government. Amid the excited flurries from international press that a new era of friendship has dawned between two historic enemies, a closer examination of the actual terms of this new friendship is needed. The world also needs to be reminded that the official Cuba, whose envoys speak to the US and arrange such deals as the one in December, is still not the Cuba of the Cuban people. While the dictatorship continues, so does their hardship. 

Free speech does not mean we have the right to offend

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As Charlie Hebdo releases their ‘Survivors’ issue, in which the Prophet Mohammed is depicted, people have appealed to the values of a society in which such publications can exist, and defended our right to offend. But whilst we might accept no one has the right to not be offended, is it the case that we do have, as Charlie Hebdo’s lawyer argued, “the right to blaspheme” or, in general, the right to offend?

For many in the wake of the attack in Paris, upholding the right to free speech is the most important thing we can do. Drawing the Prophet, making jokes at the expense of Islam or parts of it, no matter how insulting it is to some, is crucial in showing that we will not be swayed by the oppressive actions of others.

And of course, there is something powerful in that message. We know all too well that we could have called for an invasion or an upping of the bombing over IS-held areas. We’ve done it before in response to terrorist attacks. But this time, instead, we pledged to buy a magazine, brandished pens in the air, walked through the very city that was attacked and declared that our values will not be swayed by the actions of a maligned few.

Yet, this is to encourage the publication of images that we know will probably be insulting not only to radical extremists but also to the overwhelming majority of Muslims that do not hold the beliefs of the Hebdo attackers. That we desire to offend a few at the expense of many who are our friends, neighbours and fellow citizens seems contradictory to another of our beloved values: tolerance.

The depiction of Prophet Mohammed to a non-Muslim is inconsequential. In isolation, for any non-Muslim individual, it means absolutely nothing at all. Depicting him only becomes meaningful to a non-Muslim when it’s done in relation to others – when it’s done to provoke, to insult, to offend.

There will be those who argue that in a tolerant society, there will be opinions against particular creeds, and whilst we tolerate religion and religious diversity we must also tolerate those who speak out against what they see as something damaging for society. We cannot be tolerant of one without being tolerant of the other.

Certainly, I have no right not to be offended by the words and actions of others. I might be offended when someone preaches the Second Coming or that abortion is sinful, but I have no right to have these people silenced. As I express my opinion, so too can they express theirs.

Neither, however, do I have the right to intentionally offend others.

I am offended by the street-corner preacher because my beliefs are in conflict with those of the person who offended me. The preacher’s intention was to change my beliefs, to persuade me, and not to offend me. Were the preacher to say certain things just to make me angry, I would question his right to say those things. Similarly, I have no right to swear in a church just because I wish to rile the local Vicar.

I can be offended, and accept that as the case, without someone having the right to offend at the same time. This ‘right’ as a concept seems nothing more than a glamorous attempt at justifying the entitlement of people to be deliberately hurtful towards others.

In the aftermath of such horrific attacks, where we seek to reassert and find solace in our values, we should be careful not to misconstrue their meaning and damage those values in the process. We hold free speech dear because it promotes tolerance, acceptance and constructive debate.

Publishing depictions of Prophet Mohammed is not a re-affirmation of our values in the way we think it is. Whilst no one has the right not to be offended, we certainly don’t have the right to offend. Free speech and tolerance are values we hold to ensure cohesion and peace, not animus. 

Review: Foxcatcher

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★★★★★
Five stars

Two’s company, three’s a crowd in Bennett Miller’s latest powerhouse drama. He demonstrated his masterfully controlled direction in Capote and Moneyball, and now Foxcatcher presents a superb continuation of his technique. It’s a quiet, slow, but always ruthlessly tense and uneasy drama based on an inexplicable true story. If you know nothing about the terrible outcome of this twisted tale before watching, you will very quickly gather from the very first scene that the entire film is building up to something unquestionably sinister.

Steve Carell, in an uncustomarily chilling performance, is John Du Pont – an enigmatic millionaire who takes a special interest in 1984 Olympic gold medal winning wrestler Mark Schultz (Channing Tatum) and generously offers to host and mentor the entire American Olympic team at his grand home, Foxcatcher Farm, ready to compete in the 1988 Olympics in Seoul. Mark stands a chance of winning gold again, but he has forever been stuck in the shadow of his elder brother (also a gold medalist), Dave Schultz, played by Mark Ruffalo. When Du Pont acquires Mark – the more isolated and desperate of the brothers – he assumes that Dave will follow suit and join them at Foxcatcher, but Dave is unwilling to leave his wife (Sienna Miller) and children. Du Pont does not take well to being rebuffed.

And so the stage is set. A complicated triangle ensues. Everybody wants something from the other. Du Pont wants to win a gold medal through the Schultz brothers; Mark wants to topple his brother and succeed at Seoul with Du Pont’s generous funding; and Dave, the most selfless of the three, just wants to take care of his little brother and his family. The seeds of tension are planted straight from the start. Du Pont wrestles for Mark’s loyalty; Mark wrestles for Du Pont’s money; Dave wrestles for his brother’s integrity. There’s a lot of wrestling going on. It’s an absurd arrangement, but it comes together because of one thing and one thing only: Du Pont’s money.

Is this a spoilt rich kid who’s always got what he wanted, or a genuinely impassioned man trying to put his wealth to a good purpose and carve a name for himself outside of his family’s fame? It’s hard to tell. Du Pont is ludicrously frivolous with his wealth at times (we see him strop when a tank he ordered arrives without the correct guns on top), so why should he be taken seriously when he decides on a whim to single-handedly take on the entire USA Olympic wrestling team? The answer is simple. Because he can afford it, and nobody else can afford to question it. There are unspoken allusions to class divide throughout Foxcatcher, and the integral fact of the film is that everything that happens happens because of John Du Pont’s fortune. After we first see Mark at the beginning of the film and the near-destitute state of his life, it’s no surprise to us when he leaps at the opportunity to go to Foxcatcher when Du Pont contacts him on the phone. But Du Pont is using Mark just as much as Mark is using Du Pont. For John, Mark is just a vessel – or, in his own words, an “ape” – through which he can align himself with a great American success. It’s a strangely touching sentiment despite its seemingly random origins.

Wrestling is an unusual sport for Du Pont to take up. He comes from a family of upper-class equestrian competitors, and we never learn exactly where his enthusiasm for the sport has come from. It’s not entirely clear from some rather suggestive scenes as to whether wrestling provides for Du Pont some kind of homoerotic or simply paternal pleasure, but either way he is absorbed by a very masculine obsession. In fact, there are very few women in the entire film. Sexuality is not something ever talked about in Foxcatcher – it’s as if it provides nothing but a distraction from Du Pont’s dream. Dave is the only member of the main trio with a wife and family, and there is no doubt that Du Pont resents his attachment to them. Dave appears to have his life in fine shape altogether, and it’s highly probable Du Pont envies that above all else.

Du Pont emerges at times as something of a Norman Bates figure, hopelessly yearning for the approval of his elderly mother (Vanessa Redgrave). In one fantastically uncomfortable scene, Du Pont attempts to show off his prowess in the wrestling field in front of his mother, who is always telling him that she believes it to be a “low” sport. As his mother watches silently from her wheelchair, Du Pont plays inspirational coach to his team and even, rather awkwardly, tries to demonstrate some moves for himself. When he looks up, his mother is gone.

Is that what this is all about then? Is Du Pont’s entire grand gesture of committing himself to the Olympic team just one big scheme to prove himself to his judgemental mother? It never feels right to sympathise with Du Pont, but Miller seems to try every now and again to make us understand where his final impulsive act comes from. It’s a tricky balancing act for Miller because there can of course be no justification for what Du Pont does, but at the same time we crave some kind of explanation. If it has to be said, the one major pothole of the film – into which it seems to frequently stumble – is that we never really get a rational reason for Du Pont’s terrible crime. But, then again, perhaps we don’t need to. It’s far from a rational act, to say the least. Perhaps Miller doesn’t see it worth cracking into the deranged mind of John Du Pont because there really is no deep psychological trauma – there really is no profound mental inhibition – this is a man who acts entirely of his own irrational accord, and there is no way to justify his actions, no matter how far we delve into his subconscious.

It’s worth taking a moment to appreciate the sheer acting talent on display in this film. Steve Carell is, quite possibly, in the process of changing his entire career. It’s not that we hadn’t seen him tackle dramatic roles before (Little Miss Sunshine comes to mind), but it is a shock to see him plunge so deeply into this character. Once you’ve got past the obtrusive prosthetic nose, it isn’t hard to appreciate Carell’s introverted and harrowing brilliance. In Du Pont, the actor has found a role he can really sink his teeth into and it’s almost a moment of pride to see him rise to the challenge. Before long, you find yourself covering up the goosebumps he sends down your arms. Undeniably, Channing Tatum is also re-shaping his Hollywood image. After Magic Mike, he’s proven that there’s more than meets the eye, but Foxcatcher has taken him wildly out of his comfort zone, to astonishingly impressive results. Tatum’s Mark is brutish and insecure. In one scene, we see Tatum completely and utterly inhabiting Mark’s downtrodden frustration as he smashes his head into a mirror repeatedly. The final segment of the trio, however, who must by no means by exempt from praise, is Mark Ruffalo as Dave Schultz. Ruffalo is quite revelatory in a tenderly sincere portrayal of a big brother looking out for his little brother. He is understated and fiercely protective of his family, which makes the final scenes all the more excruciatingly heart wrenching. There is sure to be an Oscar nomination coming Ruffalo’s way in the Supporting Actor category.

This is not so much a sports movie as a gritty drama concerning sport, rather like Raging Bull or Million Dollar Baby, but the idea of wrestling serves as a suitable metaphor for what’s really going on here. Du Pont and Mark Schultz are both out for themselves – they are in the game to win, and they’re not afraid to take each other down to gain that coveted gold. Dave Schultz dares to show some form of altruism and go head-to-head with Du Pont in looking out for his little brother, and his fate ends in tragedy. Miller has created a disturbingly bleak picture of modern America.

In defence of celebrity feminism

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There are plenty of reasons to be frustrated with celebrity feminism. In the past couple of years young, pretty, mostly white celebrities have started rushing to assure the world of their sparkling feminist credentials.  The most cringeworthy moment surely came last September, when Chanel’s Karl Lagerfeld – a man whose grasp of feminism had previously been restricted to the insight that ‘no one wants to see curvy women’ – staged a mock feminist protest on a Paris catwalk. Nascent grassroots feminism suddenly became just another way of selling clothes.

But despite all this, we shouldn’t absolutely condemn celebrity feminism. Feminism is at its root very different from the other causes that celebrities jump on. When Leonardo Di Caprio talks about climate change for the UN, few seem to notice or care. But when Emma Watson stood up and made that He For She speech last year, social media exploded.

The reaction to Emma Watson’s speech strikes at the heart of why celebrity feminism matters. First, Watson talked about her own experiences of sexism, recalling that the media started sexualising her at the age of just 14. Of course, the experiences of one of the wealthiest women in the world will inevitably be very different from most women’s. But there’s a reason that feminism starts from the principle that the personal is political.

Throughout history women’s issues have been belittled because they are concerned not with the public sphere but the personal, the private. Watson’s ‘personal’ will be very far from mine, and farther again from the ‘personal’ of the 15.5 million girls who she says will marry as children in the next 16 years. But that does not make her experiences of sexism and inequality any less true. And in speaking out about those personal experiences she links them to a wider system of oppression that affects everyone.

What is more important, though, is that celebrities’ personal experiences are not just their own experiences. In a Hollywood where only 15% of screenwriters and 9% of directors are women, women on camera are all too often simply sexist caricatures, as the Bechdel test demonstrates. Off-camera, the press scrutinises female celebrities remorselessly. And that has consequences that go beyond those women as individuals.

When Miley Cyrus is forced to deny that she is pregnant because she dared to appear in public with body fat, or when the press sexualises even young girls in the public eye, it tells all women that they will be forced into narrow categories and judged on them. Paradoxically, the women who seem most powerful are actually used to oppress and belittle other women.

So when Beyoncé chose to open her fantastically successful last album with the song ‘Pretty Hurts’, or when Cyrus called herself a feminist, or when Watson made that speech, it changed what it meant to be a female celebrity. Without rejecting all the tropes the entertainment industry uses to define women, female artists have shifted the meaning of those tropes. Recently Taylor Swift – another convert to feminism – did just that in her ‘Blank Space’ video: Swift takes sexist scrutiny of her personal life and turns it into a parody that forces us to laugh at the stereotypes we foist on women in the public eye.

Increasingly, instead of accepting the two-dimensional images the media makes of them, female celebrities are taking control of the interplay of those images. And when that comes together with a declaration of feminism, that act of subversion becomes explicitly political. From this perspective, Lagerfeld’s mock protest starts to looks like a doomed attempt to take control of a movement quickly escaping the boundaries of patriarchal control.

All this isn’t to say we should sit back and applaud celebrity feminism. It’s still just as true that celebrities are the winners in a system that overwhelmingly favours young women who conform to Western beauty standards. Correspondingly, we should expect that they will have an interest in maintaining a status quo that disproportionately values what young, rich and privileged women have to say. But neither should we reject celebrity feminism altogether. In claiming feminism, celebrities strip back the images and illusions that the media uses to oppress women, and show us that they are not just caricatures but real, complex individuals; individuals, in fact, like all women are.

Covering Oxford’s underground music scene with Deep Cover

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Oxford may boast of many things- but its nightlife has never been one of them. But despite the paucity of reputable clubs and big names coming to perform, there have been a few people trying to change that; one of whom is Simon, the brains behind Oxford’s biggest hip hop night and antipode to Retox, ‘Deep Cover’. 
 
Deep Cover has been paving the way for alternative music nights since launching almost two years ago, in reaction to the sufficiently stale music scene. “There was nowhere to reliably listen to Hip-Hop on a night out – save the Park End R&B floor” Simon tells me. “I was sick of it, so thought I’d have a crack at starting a night.” 
 
Following the success of The Bug and their ‘Serious Business Show’ with Flowdan last year, Friday sees Deep Cover reeling in Grime heavyweights P Money and Big Narstie for the Oxford stop of the ‘ORIGINATORS TOUR’. “In the last year or so I’ve been privileged enough to link up with some seriously talented DJs, producers and musicians, so now we’ve been taking things a lot more seriously, for their sake and for the sake of the scene they represent” Simon tells me. 
 
But artists like these coming to Oxford are still few and far between, and Simon tells me how the scene hasn’t changed all that much since Deep Cover’s early days. “The university nights still lean too heavily on nostalgia, gimmicks and irony for my liking. Although there have been some significant moves – Calligraphy linking up with Switch at the O2 for example, Deep Cover bridging the town-gown gap and booking big artists, and Functions on the Low making Grime nights work with the Oxford University crowd.” 
 
But despite these developments, there’s still a much smaller following and support network for underground and progressive music in Oxford, compared to other student cities like Bristol or Leeds. “I don’t think Oxford students in particular really know what they want, which makes it very difficult for someone like me to predict how events will be received.” Simon tells me. “They’ll often attend nights because of whoever else is already going, moving in packs towards whichever event currently has the most socialites endorsing it.  We try to be an exception to the rule by keeping our nights strictly content-based, but it’s not always easy.”
 
And the task of keeping the alternative music scene alive has been made all the more difficult with the closing of Carbon last term, giving the Shuffle nights a one-up. “Fundamentally though, I don’t feel pressure to keep anything alive” Simon says. “My cards are on the table, I’m putting in enough work. It’s the general club-going public who should feel pressure. Each and every one on a night out in Oxford has a kind of voting power, and if nights concerned with music aren’t receiving enough support, then they’ll disappear.” 
 
But if Deep Cover’s upcoming line-up is anything to go by, we needn’t worry just yet. “Booking someone like The Bug from beginning to end involves weeks/months of emails, argument and compromise, and often come to nothing” Simon tells me. “These days it’s a little easier getting things off the ground because we’ve proven ourselves capable, got a few contacts and a bit more money to play with. Fortunately we’ve found that hard work pays off.”
 
I ask Simon what’s on the horizon for Deep Cover, and whether we might be seeing any collaborations with other local grime promotor Calligraphy.“The DC-Calligraphy link up will definitely happen soon; myself and one of my DJs are already playing at their upcoming event on Valentine’s day with Mumdance & Riko Dan, but the full collaboration show will take a bit longer to put together. It’ll blow doors off hinges though, for sure.” 
 
“After P Money we’re going to step back from big bookings for a few months. Deep Cover nights will run as usual, but with the focus returning to our acts, local artists and what we represent. We’re beginning our transition from an events/promotion organization to something more like a record label, and that will require a lot of attention. We’re also looking to get some shows sorted in other cities in the Spring. And a few other collaborations I’m sure.”
 
A whole lot more ground to cover…
 
Where: The Cellar
When: This Friday
How much: £8 with flyer
 
 

Review: Birdman

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“People, they love blood. They love action. Not this talky, depressing, philosophical bullshit” sneers Birdman, mocking his pathetic actor alias Riggan Thomson. This taunt, along with the dual title, delivers the integral tension of the movie; the age old battle of popularity vs. prestige, high culture vs. low culture, celebrity vs. artist. In the era of reality television and the Transformers franchise, Birdman or (The Unexpected Virtue of Ignorance) is the perfect meta-critical response, and, after all, Oxford students love ‘meta’. It poses behind its trailer as a popular action movie of the people, but in reality it is much more akin to the ‘talky philosophical bullshit’ that the subtitle suggests – offering its audience a taster of both movies, but surrendering its integrity to neither.

Riggan Thomson is a washed up actor, famed for his role as ‘Birdman’, trying to kick-start the twilight years of his career with a shot of artistic integrity, and so turns to Broadway. He attempts to adapt, star in, and direct Raymond Carver’s “What We Talk About When We Talk About Love”. Whether this is brave or merely self-indulgent is something each character questions. The casting of the movie offers another layer of wry self-awareness. Riggan is played by 90’s Batman star Michael Keaton, a former superhero actor in his twilight years. His difficult but highly praised co-star Mike Shiner is played by difficult and highly praised Edward Norton, coincidentally (or not) also former superhero The Hulk. Riggan’s daughter, Sam, is portrayed by Emma Stone, of The Amazing Spiderman franchise– famed for coming out almost immediately after the Spiderman trilogy. Its miraculous success was due to capitalising on social media, updating its image and generally becoming more relevant. These are the very same qualities that Stone’s character attacks her father for lacking in her biting monologue, which criticises his egotistical attempt to shed Birdman and regain the respect of the people.

 Even the aesthetics of the film encapsulate the superhero-cum-super-arty vibe. There are no cuts between shots, and the film is made to look like one continuous take (done by Gravity’s Oscar-winning cinematographer Emmanuel Lubezki), a trajectory mirroring the vertigo-inspiring flight sequence of Birdman himself. There is a vibrant percussion score throughout, with occasional appearances from the drummer (Antonio Sanchez), who crops up often and just out of focus, slipping from extra-diagetic to diagetic (a la Mel Brooks’ Western parody Blazing Saddles). Whenever Birdman is reintroduced, it is marked with a dramatic, swooping Hollywood blockbuster number, interrupting the subtle drumming with, of course, an unsubtle superhero theme tune. Birdman is to the theatre what Charlie Kaufman’s Adaptation is to writing: so self-conscious of its own self-consciousness, both on and off stage, and both in front of and behind the camera. But this is also its charm.

The supporting cast are amazing. Ed Norton is a real scene-stealer despite his character being, at times, so blinded by his own arrogance and misogyny that it makes for uncomfortable viewing. Andrea Riseborough’s original and refreshing turn as Riggan’s younger girlfriend and co-star doesn’t get nearly enough screen time, nor does Amy Ryan playing the deeply poignant supportive ex-wife, or Lindsay Duncan’s dragon-like critic, who is seldom seen, but a resonant force. Russell Crowe’s recent comments show the damage done by failing to recognise and support parts for older women, whose careers struggle for longevity as it is, so it bothers me that Emma Stone has been receiving the most praise and nominations, even though I think her performance was the most lacking in nuance. She plays the troubled and stubborn teenager, which a stereotype both written and performed many times before, and often done better.  A couple of scenes in the film sit uneasily as well – such as Laura (Riseborough) and Lesley’s (Watts) moment of vulnerable solidarity in the dressing room, which leads into an arbitrary lesbian kiss. It is never explained or explored, which is a shame, as it becomes reduced to mere voyeurism, rather than an honest interaction.

The titan of the film is naturally Keaton. He stated in an interview, “I probably relate less to this character than anyone I’ve ever done… that’s the irony”, but one cannot help feel deeply invested in his comeback, as well as Riggan’s. The line between Keaton and Riggan, as well as Riggan’s imagination and his reality, becomes increasingly blurred. Riggan smashes up his dressing room with superhuman rage, but when his lawyer Jake (Zach Galifanikis) walks in, and intrudes on his fantasy, we are shown a pathetic, aging man throwing a tantrum. He oscillates between headstrong and passionate, to crumbling and fragile. When he walks down a street in New York, with Macbeth’s soliloquy being shouted in the background by a gravelly-voiced homeless man, one wonders whether his stunt will pay off, or if he too is on a tragic downward spiral of ego and ambition. But the film never answers this. On every matter – Riggan’s sanity, the morality of each character, the ideals of fame – the film is ambiguous, and offers us no answers. Having been made painstakingly aware of our role as the critic, we are forced to conceive our own.