Sunday 12th April 2026
Blog Page 1251

Interview: Lil Jon

Ben Wilkinson-Turnbull
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Interview: Lil Jon

To those acquainted with the Atlanta crunk scene of the 1990s, Lil Jon shines out like a star on its Walk of Fame: like the gold and diamonds adoring his trademark grill, it blinds you with its brightness. Like many subcultures, crunk has been left behind in the annals of the nineties. Crunk may have died, but Lil Jon’s career has evolved with the times and continued to be extremely successful. From his early days and hits with Lil Jon & the East Side Boyz through to his work with Usher and his international hit ‘Turn Down for What’, Lil Jon continues to be a musical tour de force. He has not only survived, he has thrived.

One plausible explanation for Lil Jon’s longevity in the business is his versatility. He is certainly no stranger to sticking his fingers in a few pies at the same time. Whether it be musically, or in an entrepreneurial capacity (see his two series on the American Apprentice), his interests and talents are diverse. Looking back, his approach to the game has always been the same. His signing to So So Def Records in 1993 forged the beginning of a career that continues to flourish with no end in sight. But despite jumping between DJ sets and his original productions, his journey to success has not always progressed as smoothly as one would perceive from looking at his large back catalogue of A-list collaborators. In his eyes, he has always been the outsider in the industry.

“Throughout my career I’ve been the underdog. I’ve used all that negative energy to fuel myself and show them that I was going to do better, to be successful. The first single I did, I remember taking it to the radio station and the DJ laughing at me for having no rap on it and for having a monotone sound. They were just dissing my beat. But I knew it was a hit. I made it for the club. This one DJ said, ‘Imma play this song five times a night.’ And he played in the hottest club in Atlanta at the time. And sure enough, his repeated playing in this one club made it a hit in Atlanta. My advice is always to use that negativity to work harder and to do the best job you can do. Make the haters your motivators. I’ve been using that as my motivation for my whole career.”


Whatever motivates him, there is no denying that the business in which Lil Jon operates in has evolved dramatically. Gone are the days when you had to hire studios, pay for tape and then find some way to get your music heard beyond a mixtape given to friends. However, Lil Jon remarks that such a development has both positives and negatives. Although the freeing of recording space and internet distribution has allowed budding musicians to be heard anywhere and by anyone, he remarks such
a move has resulted in a form of oversaturation of the business. But what continues to thrive is the Atlanta scene in which Lil Jon grew up and partook. Although now, over 20 years down the line, it perplexes him at points.

“Atlanta’s artists are always so different
from anywhere else. Some of the stuff is good. But as I’m getting older, I can’t digest some of it if I’m honest. But we’ve always made catchy records. Although even if you don’t like it, you still find yourself tapping your feet to a lot of the stuff: you know the lyrics, you know the chorus. But I think for me it’s that I’m older. This is a different generation creating this music. Some of it is cool, but some of it I don’t know what the hell is going on. Although the scene is still important, I think trap is turning into the real party music now, which is pretty cool; that a hybrid of EDM and southern hip-hop has turned into its own thing now. Trap has the energy in the EDM world right now. I thought that EDM had got too commercialised for a second. Then trap came and it was fresh and new and different. I think that’s my favourite stuff right now.”

But in the changing music scene, how does someone who started his career in a completely different musical environment continue to remain on trend? To Lil Jon, the answer comes in the form of constantly remaining open to new forms of inspiration. He may have been raised on funk by his mother at her house parties, but his mind has remained constantly open to new creative sources. “From the disco, to the funk, to the soul. Everything I’ve listened to has influenced me. That’s why I feel I can jump around so much with what I do.

“I’m going to keep going with the flow, going wherever it takes me. I’m doing all types of stuff. For example, I’m doing some Arabic fusion stuff right now. I’ve been in Morocco, Beirut – all over. And those influences have been hitting me. That’s how artists are. When some influences hit you, you take it. When you can work on it, you work on it and try and make something special. I’m just going to keep doing all types of stuff and see what happens.”

One facet of the industry which has been a constant source of controversy is its treatment of
women. Rap videos have
never shied away from
their sexualised depictions
of scantily clad women gyrating on camera. Lil Jon’s latest
music video for the track ‘Bend
Ova’ continues to propagate said “tradition” as women of all shapes and sizes dance as he raps, “Wiggle that ass like it’s shaped like a jello.” But as a co-director to most of his videos, Lil Jon argues that it is the media, and not the rap game, which has problems with depicting women in such a manner.

“I think it’s just the media. I mean nowadays, women like to express themselves, they like to show off their bodies. They work hard in the gym, they want to wear that sexy dress like Beyoncé, or the other girls did at the Met Gala. They’re showing off what they want to show off.

“It’s funny, I saw a meme and it says ‘This is a picture from the AVN [Adult Video News] Awards, the porn awards, and this is a picture from the Met Gala. And all of the girls were naked at the Met Gala. So it just shows you, you know, they know what they’re doing. This is how they make a living. They know their bodies, what their body looks like. They know that people will buy this stuff if they show a little bit more skin, that’ll keep people talking. I mean look at Kim Kardashian. They probably sold a lot of magazines or whatever.”

Talk of magazines brings us onto Lil Jon’s view of corporate America. To him, the “corporate” is a world to be treated with great care and caution, only entered into when absolutely necessary.

“I guess corporate is what you call corporate. Sometimes it’s too strict, by the book. I don’t really hate ‘corporate’ America. It’s just not for me all of the time. If you’re doing something in a major way, say if I sign a television deal, I’m going to have to deal with a corporate company. I guess what I was really talking about when I said I hated corporate America is in the sense of the record company business. Being independent, being free is a better way to go than being on a major label. Because a major label wouldn’t understand me. And also major labels don’t give time for artists to develop. Artist development is just gone. They want to a song out and for people to react and if they don’t, then they just move onto the next song and the next artist. Being independent and out of that corporate environment works better for me and a lot of other artists as we can move around the way we want. We don’t get caught up in all that scheduling and this corporate way of rolling stuff out.”

As well as his solo work on such independent labels, Lil Jon specialises in drawing big names to work with him. Next on his hit list? None other than Jay-Z and Kanye West. But after so long in the game, what is that Lil Jon looks for in a collaborator? Someone doesn’t get so successful by plucking names out of thin air and hoping they share the same vibe as his own music.

“Kanye just has this certain kind of energy and his flow is just crazy. He’s also a producer, so it’d be cool to make and maybe even produce a track with him. And Jay-Z is just… damn. His lyrical style is amazing and he just kills it on every track, not matter what kind of track it is. I just think creatively we could come together and just do something really good.”

In his constant evolution, the wheels of Lil Jon’s well-trained and well-oiled music machine show no signs of stopping. His passion for music and his love of all things new suggest Lil Jon may continue producing, rapping and directing until the very end.

“Well, I look at it as God giving me this voice and this talent. And I should use it until I can’t use it no more. I mean I look at people like James Brown, who was performing until he couldn’t perform no more. I want to keep using my voice as long as I can talk. I think God put me here for the specific reason of helping people to forget about their problems for a while, to let loose and enjoy their lives a little. So that’s what my music is about. I don’t regret anything.

“This book has already been written. If something really bad happens, you pull out of it. You learn. And you keep moving forward.”

The most contentious exhibition in Britain?

Emmanuelle Soffe
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The most contentious exhibition in Britain?

The graceful figure of Aphrodite, crouching against the glare of the spotlight. Myron’s discus-thrower, radiantly white amongst the shadows of the room. Phidias’ marble torso of a river god, leaning against a flow of water turned to stone. The opening display at the British Museum’s Defining Beauty: The Body in Ancient Greek Art is spectacular. In one single room stand some of the most renowned and influential works of art the world has ever known. It is a room dedicated to the glorification of the human body, to the way the Ancient Greeks revolutionised the perception of nakedness and formed a new reverence for the nude. 

The room is in darkness, save for the spotlights focused on these masterpieces, and on the walls are projected quotations from some of the Western world’s most important figures; Socrates, Pythagoras, Plato, Homer, Sappho, Bacchylides, and Theognis. It reminds us that the Ancient Greeks have helped to form the society we now live in, not just through their art, but also through politics, literature, theatre, philosophy, mathematics and science. 

As the exhibition progresses, we are confronted with plaster casts of familiar statues painted and gilded in bright, patterned colours. Greek sculpture was not always a dazzling white. Traces of pigments have led experts to believe that they were brightly coloured and often heavily patterned. These modern reconstructions are shocking for those unfamiliar with this actuality. The Ashmolean Museum has had the very same display of painted ancient Greek sculpture in their Cast Gallery since January 2015. The problem with both displays remains the same nonetheless; we have no exact evidence of the colours, of the decorative designs or the way the ancient Greeks arranged these forms. The modern colour reconstructions, therefore, are no closer to the ancient reality than the commonly admired white marble.

The exhibition develops into a study of Greek society, ordinary day-to-day life, death, marriage and even the gender divide. There is an extravagant display of Greek ceramics and sculpted figurines. The exhibition exposes the influence of the Ancient Greeks not only on the Renaissance, but also on eastern art forms and the ancient kingdom of Gandhara, where it helped invent the third century AD image of Buddha.

The exhibition finishes with another two well-known sculptures; the Belvedere Torso from the Vatican Museum and the figure of Dionysus from the British Museum’s very own Elgin Marbles collection. With a range of collected sculpture from Croatia, Germany and Italy; it is noticeable that the Greeks themselves have not submitted any sculpture or artefacts for the exhibition. A large percentage of the exhibition already belongs to the British Museum, including several marble metopes and pediment sculptures from the notorious collection of Elgin’s marbles. These marbles in particular stand as examples of supreme artistic distinction amongst some of the finest samples in European art history. Yet there is the sense that this exhibition, focused on the defining of human beauty, is in fact politically
motivated. 

This rich display of Greek artefacts is a reminder to the world that the British Museum is not the only institution who owns large amounts of ancient sculpture. It professes its deep admiration and reverence for antiquity and attempts to show the way in which this ancient civilisation has shaped societies throughout the centuries, giving the entire Western world a rightful claim over its heritage. This stems from the 200 year old debate over the ownership of the Elgin Marbles, housed in the British Museum’s Duveen Gallery. 

The Elgin Marbles, hacked off the Parthenon and ‘legally’ sold to the government in 1816, have been at the centre of political tensions between Britain and Greece for almost two centuries. In the 1930s, they underwent a horrifying ‘cleaning’ causing Greek and international outrage. Ordinary housework acids were used on these 2500 year old sculptures, scraping off a layer of marble and damaging some of the detail. Despite a very frail legal claim and a newly built Acropolis museum in Athens waiting for the return of the marbles, the British government has refused to refute their ownership of these works. 

It is no great wonder then that the Greeks want nothing to do with this new exhibition. As spectacular as it is, Defining Beauty is the British Museum’s attempt to convince the world that the Elgin marbles, along with its vast collection of Greek sculpture, belongs and always will belong to them.

Trinity votes to keep gendered curry nights

Kim Darrah
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Trinity votes to keep gendered curry nights

A motion to stop gender-segregated curry evenings at Trinity College has failed to pass, although the JCR did decide to condemn the song ‘Chicago’ that is traditionally sung at men’s curry nights. 

Trinity undergraduates have a college tradition of separate male and female curry nights twice a term, starting from Freshers’ Week.

Controversy arose over the curry evenings due to the nature of their segregation and arguments claiming that there are sexist aspects to the song ‘Chicago’.  

The first motion stated that the JCR “would condemn the song ‘Chicago’ at any JCR-affiliated curry”, and passed with 63 votes for, 30 against and 11 abstentions. 

The Presidents of the Trinity Feminist Society jointly condemned the song to Cherwell as “a very clear manifestation of the toxic ‘lad culture’ that continues to disrespect and devalue women”.

They added, “‘Chicago’ may be ‘just a bit of fun’, but to some of the women who are hearing these songs chanted as they attempt quietly to eat a meal it can be a triggering reminder of an event they haveworked so hard to forget.”

In particular, some of the lyrics that have caused offence are variations of the refrain, such as “banged she got”, “screwed she got” or “shagged she got”.

One welfare rep told Cherwell, “I don’t see anything wrong with a bit of light banter, it’s just a joke, can’t these whiny feminists see that?”

The motion urging de-segregation, which stated, “this JCR would endorse only mixed-gender curries,” failed to pass with 32 votes in favour and 61 against. there were 11 abstentions.  

The debate over the motion focused on the concept of gender-split events and whether JCR events should be as inclusive as possible or whether JCR members preferred the atmosphere specific to the gender-divided curries.

The issue of the split was also questioned due to the problems or damage it could cause to someone of a non-binary gender. In the JCR meeting, Crawford Jamieson pointed out that he felt it was wrong to send the message to new students in Freshers’ Week that they must choose a gender in deciding which event to go to.

A member of Trinity FemSoc told Cherwell, “I think the concept of male/female curries is incredibly damaging. It reinforces the structural gender divide that hinders the progression of gender equality, and creates an ‘us vs them’ attitude that fuels sexist, cultish behaviour.

JCR President Eleanor Roberts commented, “The curries have long been a tradition at Trinity aimed at welcoming new students into a close-knit community, and providing an opportunity for people of different years and subjects to socialise together. They have been organised by the JCR in order to be as socially inclusive as possible.

“However, as the curry motions attest, recently there have been concern on two fronts, that the content and the structure of the curries may be exclusive and failing to provide the open social platform intended.

“The singing of the song ‘Chicago’ was a part of this issue. In light of these discussions, the curry motions were brought before the JCR to get a representation of the student opinion on the subject. As I have said, I can’t comment on the outcome of the motions, only that they are the result of this debate.”

Second year English student Thea Murray-Jones commented, “Whilst the existence of gendered curries may not be toxic in and of itself, it points to the existence of a culture of heteronormativity within College. I am therefore disappointed with the results of the JCR meeting last Sunday, because it led to the JCR continuing to lend its name to an event which embodies outdated and cisgendered notions about gender.”

Aliya Yule, OUSU Women’s Officer, commented, “WomCam stands in solidarity with Trinity’s feminism society’s president, and the proposers of the motions. That a welfare rep – who is in a position to care about the well-being of all Trinity students – would dismiss students’ concerns because ‘it’s just a bit of light banter’ is false, offensive, unacceptable, and jeopardizes the wellbeing of all women students at Trinity.

“Dismissing those who voice their disgust at a misogynistic song as ‘whiny feminists’ shows their disregard for the welfare of women students at the college. Moreover, gender segregated events are at serious risk of alienating trans students and reinforcing a damaging gender binary, yet alone encouraging a toxic masculinity of men students who sing the song ‘Chicago’.”

 
 

Catz JCR declares independence from College

Jack Schofield
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Catz JCR declares independence from College

In an extraordInary open meeting held on Tuesday evening, St Catherine’s JCR declared itself independent from its college with 154 votes in favour, five abstentions and no opposition.

The motion to declare independence from the College stated, “This JCR believes that it is necessary for the Junior Common room to cease to be an incorporated body of the College to effectively protect its interests as a Student Union [as it is defined by the Education Act 1994].”

This followed a decision taken by the College at the end of Hilary, without consultation, to incorporate JCR financing into the College structure, giving the College the power to oversee and veto purchases.

This decision was made by the College on the basis of its responsibilities under the Education Act 1994 and the Charities Act 2006 to ensure proper financial accountability throughout the College.

St Catherine’s College argued that incorporating the JCR financing into the College structure was a necessary measure, owing to a period during the tenure of a previous committee in which records were shown not to have been properly kept by the JCR.

The JCR Committee responded that this was unnecessary, however, given that a change of practice within the JCR had been put in place since then and that there had not been any cause for financial concern “in years”.

JCR President Jack Hampton presented the case for independence to the JCR, stating at the meeting that the College had been “unreasonable” in the scale of the changes made and expressed a sentiment that the College “disregards” the JCR, having felt that “verbal notice made in passing to a committee member to be sufficient to communicate such a significant change to the JCR.”

He further argued, “Independence is necessary due to the College’s potential to overrule our actions, and to encroach into JCR business, should [the JCR] accept the changes enforced by the College which put the JCR under the financial arrangements of the Clubs and Socs system, which is impractical for out-of-hours purchases.”

The Clubs and Socs system is the method by which clubs and societies are funded. Students who are members of a club or society foot the bill of any society expenses themselves, and the College later reimburses them. However, expenses can sum up to several hundred pounds, and the College can take up to a month or longer to pay students the money.

By becoming independent from the College, the JCR funds cannot be controlled by the College under a Clubs and Socs style system. Independence will, in practice, mean becoming an ‘unincorporated association’ of the college.

The third resolution of the motion stated, “The Common room remains proud members of the College, and expresses its belief that independence is a normalisation towards the standard practice elsewhere in Oxford, and no way affects our commitment to the College itself.”

Hampton told Cherwell shortly after the meeting, “[this move] is a clarification [of the relationship] but I have no doubt certain parts of College will see it as a rebellion.” He added, though, that he was “ecstatic” with the decision and proud to have had “the highest turnout of his tenure” for any JCR meeting with almost half of all undergraduates present to pass the motion unopposed. Hampton informed the JCR of threats that the College had made should they opt for independence, including charging to use college space “presumably at conference rates” and ceasing to add the JCR levy to batells and pass it on to the JCR’s account.

He joked to those present at the meeting, “I’d like to see them try to stop us using the JCR.” When asked by Cherwell whether he thinks these threats will now be carried out by College, Hampton replied, “I reckon they won’t do anything.” While this move is likely to elicit a negative response from the Home Bursar and the Dean, Hampton reported that on Tuesday morning the Master of the College, then unaware of the later developments in the extraordinary open meeting, remarked that “that sounds perfectly reasonable” when informed by Hampton of what independence would involve.

Four other motions also passed by wide margins, including accepting loans from some or all of the 13 other JCRs which have offered such support in the last week (£500 each). Currently, the College is withholding a fee of £5,400, which was ue to have been paid to the JCR on Saturday of 3rd Week. The loans from other colleges will allow Catz JCR to continue to run as normal until relations with the College improve.

JCR Treasurer Saleem Akhtar told Cherwell, “The decisions made in the extraordinary open meeting were the beginning of a normalisation process which will bring the relationship between St Catz and the St Catz JCR in line with that of the rest of the University and indeed student unions nationwide. In my two year membership of the JCR, I’ve never seen its members rally around an issue quite like they did yesterday and that’s important; the JCR President certainly wasn’t exaggerating when he said this was the most important decision that the JCR has made in recent times.

“I think it’s important to remember that although a big step was taken yesterday, this is far from the end of our issues with the College. Alt hough t he JCR is now legally independent from the College, the College still has control of the JCR’s finances, which is why we’re very grateful that other colleges have shown solidarity in not only vocally agreeing with our cause but also actively helping us by offering interest-free loans – we’ll need these in the weeks to come to continue offering the services the Committee provides (including entz, welfare, publications and maintenance, among other things). The Committee will continue to fight to regain control of our finances until the end of our respective terms and probably even afterwards.”

A motion of confidence in JCR President Jack Hampton, proposed by first year PPEist Dominic Norcliffe-Brown, also passed unanimously and was greeted with cheers and applause. Norcliffe-Brown stated, “College has attacked Jack [Hampton] over his efforts in recent weeks and we should demonstrate that we are fully behind him.”

A further motion, which passed with 94 votes for and 11 against, resolved the JCR to “have collective mobilisation on this issue against College” in response to its “disregard for the JCR”. While no specific action was agreed or voted on, suggestions included occupying the SCR, blocking the bridge to the college and refusing to stand for the fellows at that Friday’s Hall. The action taken will be determined at a later date or by individual students’ own initiatives.

The final motion mandated the creation of a sub-committee to continue working on this constitutional issue and on relations with the College after the hand-over in Michaelmas following the JCR’s upcoming elections.

OUSU President Louis Trup said in a statement to Cherwell, “It was great to see Catz JCR make such a strong statement to the college. OUSU, as well as other JCRs in Oxford, will continue to support Catz JCR in achieving the demands they have made. Solidarity forever.”

The Dean of St Catherine’s and its Home Bursar both declined to comment.

Review: Passion

Patrick Oisin Mulholland
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Review: Passion

★★★★☆

Four Stars

‘Passion’, that “incurable disease”. Seldom has so befitting a title been so misleading. Hauntingly beautiful, the word’s origins trace back, far back, to the Greek term πάσχω, meaning to ‘suffer’. Through it all, whispering sweet nothings, tugging on heartstrings, from clichés to a flowery turn of phrase, it is this, this suffering that underlies, that lurks beneath the surface of Sondheim’s 1994 adaptation. Boldly, it advocates for an unsettling, even destructive, premise. Love, regardless shape or form, possesses reasons that reason knows nothing of.

Soaring intensely from the get-go, an abrupt flourish rises above a steady march – hurry, hurry! Music hurdling toward us, we rush into the opening sequence. The tempo is set. The scene is set. The stage, awash with sultry hues, reddish tints and tones struggle to keep apace with two scarcely clothed figures, tossing and turning in the thralls of passionate romance. Gradually, the music softens as it seeps from behind a distinctly Mediterranean edifice, its weathered walls shedding flakes of paint.

Sondheim’s long “rhapsodic score” wafts alongside Giorgio (Alex Ohlsson) and Clara’s (Georgia Figgis) melodic voices, dreamily hanging their words aloft. Suddenly, Giorgio announces he is to leave Milan for a remote military outpost. Clara, distraught though she is, vows to maintain lengthy correspondence with her lover. Embarking upon his duties, Giorgio encounters Fosca (Emilie Finch), the fragile and reclusive cousin of Colonel Ricci (Richard Whitney). Taken in by his intellect, kind heart and comely looks, the smitten Fosca relentlessly pursues the reluctant captain. What follows are a series of trials and tribulations, which prove riveting indeed. Giorgio discovers “love is unconditional” – not something to be negotiated or scheduled!

Otherworldly, Figgis endows the lavishly dressed Clara with a touch of the fanciful. Both within and without the action of the musical, she sustains the strange duality of her role marvellously. Recounting each and every appearance, she manages, time and again, to light up the room – mind you, this is in no small part due to the painstaking precision of the lighting team! Meanwhile, Finch imports an acute sense of vulnerability to her emaciated character, battered and bruised by love lost and love unrequited. It is through her that we come to know Giorgio; why he joined the military, whether or not he has siblings – even the startling disclosure that Clara is actually married to another man! If these performances are to be admired, Ohlsson is to be venerated – he most certainly stole the show. Acting as a fulcrum point he brings balance, without fail, to every single scene down to the very last. As if conducting a symphony, the sheer weight and command of his presence oftentimes outshines the talents of his fellow co-stars. One masterful stroke, the scene featuring Giorgio, Clara and Fosca somehow manages to juxtapose joy and torment all at once. The manner in which these disparate elements came together to form a rich polyphonic texture is nothing short of astounding. 

Of what shortcomings there are, many can be dismissed as minor incidents or the familiar misfortunes that are part-and-parcel of orchestrating such an elaborate design. The occasional sound glitch, stray note from the band or failed igniting of a candle are easily forgivable, given the circumstances. The management of the stage was largely impeccable – that is, effective and efficient. Fastidious attention to detail from costumes to cutlery, and breadth furniture; including a bed and a makeshift pool table, provided a creative spark, lending some much needed verisimilitude. One criticism, however, could be levied against the transition from one scene to another or perhaps, the number of scenes themselves. It must be said that the director has recognised this issue – as evidenced by a quartet of soldiers forming a human palisade to cover the frantic shuffling of dark-clothed stagehands rearranging the set behind, preparing it for what’s just around the corner. Yet, one hesitates to consider, is this too cluttered; does it break up the continuity of the piece? On the whole, I think not, but there may be something to be said for keeping it simple, especially when you’re dealing with a much smaller stage than the Broadway original.

This is an ambitious project; one, which I daresay, has paid off. That it is the highlight of Oxford theatre this year – well, maybe that is too tall an order. However, only a fool would write it off, with gutsy performances like these, it cannot help but be in the running. Intelligent directing with a magnificent cast – don’t miss out on this rare treat! 

Review: Snoop Dog – Bush

Sam Joyce
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Review: Snoop Dog – Bush

★★★★☆

Four stars

With his new album, Snoop Dogg returns from a two album detour into the
realms of reggae and funk, which were overseen by alter egos Snoop Lion and Snoopzilla respectively. And this lengthy experimental trip has clearly done him good, as Bush, his thirteenth album, is easily his most confident, enjoyable work since at least 2006’s Tha Blue Carpet Treatment.

The album finds Snoop reunited with frequent collaborator Pharrell, who executive produces every song here. Surprisingly, for two artists whose public images, and debatably work, have of late veered dangerously close to becoming pop cultural punch lines, the natural fit and easy chemistry between the pair makes for a surprisingly fulfilling team up.

It’s very much a collaborative record, with Pharrell’s instantly recognisable spare beats bringing out the best in Snoop’s laid back Cali drawl, and the two have great fun bringing some funk to the album’s laid back, loosely structured tracks.

Running at just ten songs, the album is slight, which is just as well, since the record has little on its mind other than a good time. Lyrically a meditation on girls, drinks and easy living, Bush knows the best things in life are passing pleasures. Current single and album opener ‘California Roll’ draws us immediately into the album’s zen outlook, establishing the blueprint for the album’s chilled, funky production, with an assist from Stevie Wonder.

Bush is full of great collaborations, particularly from Pharrell’s stable (or should that be kennel!?) of regulars. ‘Edibles’, with its T.I. guest appear- ance, finds both rappers either loved-up or with the munchies, depending how you want to read it. Elsewhere Gwen Stefani, firmly in deadpan mode, is utilised to far more interesting effect than on recent Pharrell re-team and comeback attempt, ‘Spark the Fire’. She and Snoop trade silly come-ons in the undeniable chorus, her voice recalling the female background singer that dips in and out of the record, allowing Snoop’s eye for the ladies, like the record’s sound, never quite to spill over into uncomfortably sleazy territory.

Other highlights include the playful ‘So Many Pros’, ‘Peaches N Cream’ and ‘I Knew That’, all chock full of Snoopisms, ad libs and good, summery vibes. Only ‘This City’ really changes up the formula much, with its slightly heftier production and meditation on ambition providing a nice counterbalance.

The album’s uniform production, loose hooks, and relatively interchangeable concerns make for a coherent listen, crafting a breezy forty or so minutes with Snoop and pals. If album closer ‘I’m Ya Dogg’ tells us anything, with his easy-going flow holding its own against the more aggressive presence of Rick Ross and Kendrick Lamar, it’s that Snoop knows exactly what he’s best at. With Bush, Snoop is back, and he’s still our Dogg. 

Students vote overwhelmingly to retain subfusc

Alex Doody
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Students vote overwhelmingly to retain subfusc

Students have voted overwhelmingly in favour of keeping subfusc, with 75.8 per cent opting to keep the dress code compulsory for examinations. A similar margin of students chose to keep mortarboards and gowns mandatory too, with 78 per cent voting in favour.

Marking the highest ever turnout in the student union’s history, 8,671 students voted out of a student population of 21,345 meaning 40.6 per cent of students voted.

A total of 6,403 people voted to keep subfusc, 2,040 voted against and 103 abstained. 6,242 voted to keep gowns and mortarboards, with 1,759 voting against and 128 abstaining.

In a tighter result, the question of whether to move OUSU Statutory Elections from Michaelmas to Hilary Term saw 2,445 votes in favour and 1,455 voting against. However, a large proportion of voters (3,986) abstained. The Returning Officer confirmed to Cherwell that the elections will now move to Hilary, as abstentions do not count as votes in OUSU referenda. 

The referendum, called by OUSU, ran from 8am on Wednesday to 6pm this evening and asked students whether or not subfusc should be required for University Examinations. In a separate question, students were asked whether gowns and mortarboards should be required for exams too.

Subfusc has been a longstanding tradition at Oxford University and is currently required to be worn at matriculation, University Examinations and graduation. It consists of a dark suit, skirt or trousers, a white shirt or blouse, black shoes and a bow tie or ribbon. A referendum on subfusc in Oxford was last held in 2006 in which 81 per cent of the4,382 voters chose to keep the full academic dress.

The debate surrounding the motion focussed on several issues including access, comfort, and gender. Campaigners arguing for the ‘No’ campaign had labelled it restrictive and elitist, focussing on the compulsory nature of the dress code. Members of the ‘Yes’ campaign on the other hand had argued it promoted a community spirit and ‘levelled the playing field’.

Harrison Edmonds, leader of the Save Subfusc campaign, hailed the significance of the referendum result. “The issue has been put to bed for the foreseeable future. I think the high turnout shows that this is an issue many Oxford students care heavily about. It has also vindicated my belief that subfusc is egalitarian and a great unifier.

“I think that there are valid concerns that have been raised over negotiating with the proctors and the rules of what constitutes subfusc, and I hope to help get OUSU more involved in rectifying those concerns.”

Writing on their Facebook campaign page, Subfusc OFF commented, “We at Subfusc OFF are of course very disappointed by tonight’s result. However, we want to say thank you to everyone who has contributed to the debate.

“We still believe that the arguments for making subfusc optional hold and we hope that more people’s minds will change over the coming years. To all those that voted to make subfusc optional, thank you for your support. We also wish all those who are currently sitting their exams the very best of luck.”

Returning Officer Joe Smith commented, “I’m really pleased with the engagement in the referenda. This is the highest turnout for any English university student union on record, which is astounding!

“Congrats to the Campaign Leaders and OUSU for getting such a high turnout. I hope this engagement will be carried on and I’m pleased to say these elections were carried out fairly, democratically and properly, which is always nice to see in a Trinity term referendum!”

OUSU President Louis Trup told Cherwell, “It’s amazing that there has been such a high turnout in these referenda. It shows that students care about how Oxford works and will be vocal on the issues they care about. This means that OUSU needs to keep asking questions that interest people and then campaigning for the changes wanted.

“I hope students are taking a greater interest in OUSU and remember that it is here for whenever you want something in Oxford to change.”

Review: I Nominate

Mark Barclay
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Review: I Nominate

★★★☆☆

Three stars

In Sophie Sparkes’s play, the unfortunate John is the first nominated victim. He iscoerced by the unrelenting gaze of his flatmate’s iPhone into a neck nomination. By the end of the play, it’s not just John who has fallen captive to this gaze. All the characters seem to be prey to the spectral yet somehow real presence of the online world. It chases them through sticky nightclubs and grimy flats. It changes how they see themselves, how they see each other and how they see the world. They have been nominated to participate in a world where reality and its representation have become one.

The search for authenticity glimmers in every drop of dirty pint, every note of the Pokémon theme tune and the notification banner when a new like has legitimised the new profile picture. Only in meaningless extremes and ridiculous self-indulgences do these characters believe they can come to some truth. Living in this hyper-reality of multiple, conflicting narratives is at the heart of I Nominate and its depiction of the millennial life experience.

We see our characters thrashing away to cheap techno as one of them repeats verbatim Buzzfeed articles and Facebook comments. Indeed, Jodie and John can’t seem to get off without Jodie thinking about the ‘15 celebrity couples who should break up’. Meanwhile John’s taunting flatmate, Caroline, seems to be present in John’s recounting of the story, constantly distorting and questioning the narrative. The whole thing is some sort of postmodern nightmare in which the structures of ‘68 not only continue to walk the streets but now grind it out to the sounds of ‘Call Me Maybe”.

All this is great but it’s been done before. Much of the play feels like a mid-to-late-90s film. It’s all very fragmented and yet terribly knowing. There’s throbbing dance music abound and monologues set to slow motion raving. Think Run Lola Run, The Matrix and all that. Indeed one scene (which I won’t give away) is so startlingly similar to a scene in Pulp Fiction that I wonder whether the replication was intentional or not.

In many ways it makes perfect sense if (as the play perhaps suggests) we are still trapped in the same postmodern malaise of the 90s. What is unsatisfactory is that these stylistic choices do

not really seem to lead anywhere. In the 45 min- ute run time, we are effectively told two stories. In the first story we see John and Caroline neck nominating each other and then John recounting multiple versions of how he met Jodie in a club. In the second story Jodie and John’s friend Chris stumble into the flat and a small crisis ensues.

Neither of the stories really come together with any form of resolution. The intriguing premise of showing our online obsessed generation should have been developed in order to say somethingabout it. Is there a ‘real’ world anymore? Does the extremity of a neck nomination have something authentic about it? All issues flirted with but ultimately not properly explored or commented on.

In spite of this, one cannot fault the cast. Their drive was incredibly professional, never flagging in energy or focus throughout. John is in some ways the heart of the play in his pathetic submis- siveness to everyone around him.

There is something incredibly natural and convincing about Will Spence’s forlorn resignation as he gazes out at us while Chris (Christian Amos) goes of the hinges. Chris is the impulsive egomaniac of the piece, one of those people who seems to believe he is as faultless as his profile picture. Christian Amos brings a real edge to these antics. Rebecca Watson plays Jodie, a character that is very difficult to pull off, being at once an archetype of a generation but also an individual character in her own right. Watson does it, however, with great panache, mixing an aloofness in the club with desperate naivety later on. Finally, the lynchpin of the proceedings, Caroline, is played with abundant confidence and control by Katie Piner, a real tour de force in naturalism from her.

In short this was an extremely strong ensemble with real commitment to their project. One just wishes, however, that it had been a project with a clearer sense of direction and coherency

Review: Killing Hitler

Paul Ostwald
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Review: Killing Hitler

★★★☆☆

Three stars

It’s the early 1930s. Adam von Trott zu Solz (Linus Ubl) has just been awarded one of the only two German Rhodes Scholarships. Whilst reading PPE at Balliol College, he watches the rise of the National Socialists from afar and decides to leave his beloved Oxford. After graduating, he travels back to Germany to embark on a mission that will eventually cost him his life.

By no means a supporter of the fascist regime, he joins the Department of Foreign Affairs to convince both the Allies and Nazis that peace is the only solution. 

It is in this responsibility that he returns to Oxford one last time in the early 1940s. In his quest to find support from the most influential British figures of the time, he finds himself in the office of Maurice Bowra (Jonnie Griffiths). But Bowra has lost all trust, and accuses him of collaborating with the regime and demanding he disappear at once. Disillusioned and desperate, Trott zu Solz returns to Germany. 

It is during these days that he makes the acquaintance of Claus Graf von Stauffenberg, the iconic general and war hero with great influence in Berlin. In what came to be known as the ‘July Plot’, they decide to assassinate Hitler. With determined gestures and strong convictions, Gene Zinngrebe presents a man whose only regret is that he “didn’t kill the monster any earlier”. But how far can your convictions carry you, if one wrong word could cost you your life? 

The July Plot eventually missed its target by no more than 13 minutes. 

This year’s German play spins this intriguing web of lies and friendship between a group of friends drawn together by a common enemy. Both the great costumes and the mix of historical sound recordings and short visual excerpts from the trials liven up this quite weighty production. With English subtitles for the few German passages, this play makes the experience authentic.

Especially emotional was the opening night in the presence of both playwright Bernard Adam and the daughter of the protagonist, Verena von Trott zu Solz, who had come to see the city her father had loved. 

Nevertheless, some of the characters remain quite shallow; perhaps the actors were juggling too many lines to focus on expressing the emotions that moved their characters. The British characters were, however, exceptionally great. Oxford don Maurice Bowra (Jonnie Griffiths), Foreign Secretary Anthony Eden (George Robarts) and George Bell (Sam Shepburn) are all portrayed with great wit and British charm. Their eloquence lightens up the sinister atmosphere in Nuffield’s Chapel.

If I had to criticise this production, I would say that it seemed too lengthy. It was almost as if they wanted to tell us so much more about these people, whom we never thought existed, about those individuals with such thorough convictions that they were willing to stand up for what they believed was the right thing, even if it eventually cost them their lives

Equal access: the work of ‘Target Schools’ in Oxford

Ben Peacock
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Equal access: the work of ‘Target Schools’ in Oxford

Egremont is a town in West Cumbria around 300 miles away from Oxford, made up of a population around 8,000. It is here in a remote location, that I submitted my application. I was from a school with little record of Oxford applications, which found itself in ‘special measures’. These factors made it very difficult for me to decide whether Oxford was for me. I had also heard of the stereotypes. But I managed to put these things to one side, focusing on the importance of a world-class education for my future. Staff at my school tried their very best to support me with my application, but a lack of experience and knowledge of the process left me in a one man boat, trying to sail my course to Oxford.

This story is not unique. I know of several hundreds of other sixth form students trying to make this journey today. I know of their stories because of Target Schools.

First, a quick statistics break-down: according to The Guardian, only 11.5 per cent of Oxford students come from ‘working class’ backgrounds, and in 2012 the BBC reported that teenagers from the richest 20 per cent of households were seven times more likely to go to university than those of the poorest 40 per cent.

Having had this experience and then hearing of Target Schools, I applied for a committee position as soon as I could. I hoped I could help support some people like me. Proudly, I can say that Target Schools achieves this on a weekly basis. So when I was asked to write an article about the organisation, I took the opportunity. I write to tell you wonderful Cherwell readers about who we are, what we do, and how you can get involved.
Target Schools is OUSU’s flagship Access & Outreach programme, designed to help such students by busting myths about the university and providing practical support for applications. We support those from backgrounds who are less likely to gain an Oxford education according to statistical analysis. This maximises the impact we can have on young people’s lives, ensuring that our time is best spent. It is all about where you are going, rather than where you are from.

Our bread and butter is the Shadowing Scheme. The scheme invites sixth formers from across the South of England to Oxford to shadow an undergraduate in tutorials and lectures for a morning. Then sixth formers receive workshop-based advice for their applications. Shadowing days are only possible because of the help our fantastic undergraduates provide, many of whom regularly give up their time. The days are integral due to providing a firsthand experience that showcases Oxford. This is a perfect thing to get involved in at Oxford, supporting access & outreach work whilst improving your CV.

Target Schools also run an annual Roadshow. Our tours are created with the purpose of reaching students in areas of the UK who would struggle to visit Oxford. It was sensationally complicated to get to here from Cumbria for instance. This year, we’re off to Medway and Cumbria, to talk to students about aspirations, and how the university can help students facilitate their dreams. We want to challenge the grassroots stigma that is sometimes attached to Oxford, which will hopefully result in higher numbers of applications to the university. We well know that the ability is there in so many of the students we will see. We need them at Oxford. If you live in Medway or Cumbria and want to lend a hand, get in touch!

If you are excited by what you have heard, there is the opportunity to get involved with the running of Target Schools. Currently we have a 21 student strong committee who run all operations. There will be interviews for these positions in Trinity and Michaelmas.

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