Sunday 13th July 2025
Blog Page 1328

National demonstration for free education planned

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A national demonstration in favour of free education has been called for Wednesday 19 November in central London. The protestors aim to demonstrate their opposition to tuition fees and steps towards privatisation in education.   

Occupations and other forms of local action are also being planned to occur in conjunction with the demonstration.

The protest seeks to bring together a coalition of student groups and campaigns from across the country.  Amongst the groups that have so far come out in support of the protest are the National Campaign Against Fees and Cuts (NCAFC), the Student Assembly Against Austerity, the Young Greens, as well as some local university campus groups, such as Defend Education Birmingham.

The planned demonstration follows the National Union of Students passing a motion in support of free education, at its annual conference in Liverpool in April.

Beth Redmond of the NCAFC said, “Four years on from the election of the Coalition, it is clear that fees have failed. Whole areas of higher and further education are now off limits to anyone without rich parents, and education workers are being squeezed, sacked and outsourced. We are calling this demonstration to take the fight to the government and to demand a public education system that serves society and is free and accessible to everyone.”

James Elliott, a student at St Edmund Hall and member of the NCAFC National Committee, said, “Oxford students should have every reason to attend what could be one of the biggest demonstrations since 2010. Given our Vice-Chancellor’s appetite for £16,000 fees while cutting his cleaners’ pay packets, we should join with the rest of the student movement and demand an education system that is free, public and democratic.”

Oxford Activist Network member Xavier Cohen said, “I expect that the Oxford Activist Network will overwhelmingly vote to support this demonstration and campaign in common rooms for funding for transport so that Oxford students can protest en masse for free education.”

The Ben Sullivan case has exposed our victim blaming culture

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On Sunday evening The Oxford Student published an online article, also published on telegraph.co.uk despite being quickly taken down from the OxStu‘s website, entitled ‘Sullivan’s alleged “rape victim knew her claims were false”‘.

Needless to say, I was shocked when the link appeared on my newsfeed, yet the content proved to be far more breath-taking than I could have ever imagined. It severely compromised one of the alleged victims’ anonymity by divulging personal details and offered up information relating to the woman’s sexual history, conveniently slipped in, as if to suggest that this should make the alleged victim more predisposed to engage in consensual sexual intercourse with Ben Sullivan.

The article was not only legally dubious but also astonishingly slut-shaming, and displayed total ignorance of the importance of respect and protection for sexual violence survivors.

The article states how the woman in question “is understood to have described ‘collecting’ sexual encounters with Union politicians because it feels ‘glamorous’ and ‘naughty’ in an anonymous article”.

It baffles me that the author of this article thought it appropriate to include such comments in the context of an article which suggests that the victims’ claims were false, comments which strike me as bearing a worrying similarity to remarks often used by perpetrators of sexual violence.

I agree completely with the recent Tab article, ‘No, OxStu, being sexually active doesn’t mean you can’t be raped’, which states that these remarks in the Oxstu contribute to the perverse and sadly often widespread belief that a woman who is sexually active cannot be raped, which holds that she consents sometimes and therefore consents every time. This implies that she is, perhaps ‘asking for it’.

The OxStu comments are a clear example of victim blaming, which has been pervasive throughout coverage of the case. The Mail quoted an “anonymous” friend of Ben’s, who said that the pair had been kissing earlier in the evening. Previous sexual activity, or previous consent, does not mean that someone wants to have sex with someone later.

Consent is not absolute, and can be withdrawn at any time. The quotation given here simply reiterates the most regressive and ridiculous rape myths.

This was not the only element of the article which displayed a worrying outlook on consent. The article quoted the alleged victim as saying “I was far too drunk, that’s it” in the midst of a piece which infers that consensual intercourse occurred. However, intoxication can impair one’s ability to give consent. The presence and positioning of this phrase in the OxStu article suggests that it is possible or even likely that someone who is heavily inebriated can consent to sexual intercourse.

Finally, whilst the article prides itself on obtaining a Facebook conversation between Sullivan and the alleged victim and states that she “appears to have told Sullivan directly that she knew their affair was consensual”, it is highly likely that a victim of sexual violence will not directly state that they have been raped or sexually assaulted when facing their perpetrator.

As a template letter of complaint which is currently circulating on the popular feminist zine Facebook Page, Cuntry Living, states, the author’s failure to take this fact into account “shows a blatant disregard for the welfare of the women making allegations and to the 1 in 4 women who statistics tell us will be victims of sexual assault [whilst at university]. The message this sends out to survivors is that society doesn’t care about the nuances and complexities of their trauma and that people will seek to vilify you”.

I am impressed by the quick response of students to this damaging article. Cuntry Living is alive with shocked comments, template complaint letters aimed at proctors and Daily Telegraph writers and information packs on how to submit such complaints.

OUSU President Louis Trup and OUSU Vice President for Women Anna Bradshaw have also encouraged people to send in complaints to [email protected] so that they can fairly voice the varying concerns of students.

Yet I am saddened by the damage that this article has done. As Siobhan Fenton, author of the Tab article concludes, “Rape is never justified. Just writing that sentence seems so obvious as to be absurd. Yet yesterday’s piece in the OxStu is a chilling reminder that it needs to be said.” I cannot agree more. We must all work harder to ensure that these harmful ideas really are the beliefs of a tiny, woefully misguided minority. The women of Oxford deserve better.

Where Are They Now: Westlife

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My first concert was a Westlife one. I even have a commemorative 2001 bean filled bear to remind me of the occasion. It wasn’t something cool like Arctic Monkeys or a hazy recollection of Greenday at my first Reading festival. I was a full-blown, annual Wembley-stadium-gig-attending Westlife fan until the age of 12. So you can imagine my distress when, in 2011, they announced it would all be over after a Greatest Hits album and farewell tour. What a way to go.

However, the boys haven’t completely slipped through the dazzling net of stardom. Nicky and Kian became celebrity C-Listers with the former’s performance on Strictly Come Dancing and the latter’s win on I’m a Celebrity Get Me Out Of Here!

Alas, it has not been a happy ending for all. Frontman Shane announced almost immediately after the split that he was 18 million pounds bankrupt. But he’s bounced back with a solo career and appearance on X Factor, so there’s no stopping him now. That love for the music; sometimes you just can’t fight it.

Review: tUnE-yArDs – Nikki Nack

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It’s the third full-length release from experimental music project tUnE-yArDs, AKA Merrill Garbus. It’s a deliciously confusing and messy mixture of squeaky synths and world music drums.

From the dictaphone and GarageBand history of 2009’s BiRd-BrAiNs to the success of sophomore effort w h o k i l l in 2011, Garbus has never been one to shy away from exploring new sounds and layering them with commercial melodies. Nikki Nack is no exception.

On this record, Garbus drops the music completely on ‘Why Do We Dine On The Tots’, for a spoken interlude about Grandfather Lou and a Tupperware dish (and eating children.) Two tracks later, she’s deployed a pseudo R&B beat that quickly becomes overtaken by barking sound effect samples. It’s like listening to a vocoder wonderfully explode and the result being converted into a DJ set. It may not be catchy, but it’s certainly a party.

Yet, for the lack of obvious catchiness and powerful lyrical content to fill the gaps, Garbus tells us “we wouldn’t let them take our soil,” on ‘Left Behind’ in a defiant message amongst the musical madness. It’s high energy fun and fearlessness that is at the core of this record, but there’s no compromise on sophistication as a result.

Where Are They Now: Chumbawumba

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It’s the question that’s been on everyone’s lips since the late nineties. We all know they got knocked down, but did they really get back up again? Did Chumbawamba’s ‘Tubthumping’ just get to number one with big chat? The answer is, as you’d expect, yes. They maintained their position on the ground through the noughties, then broke up.

That’s not to say they haven’t tried. They attempted to fight the inevitable “One Hit Wonder” label with a plethora of invisible records, but everyone seemed to forget Chumbawamba’s existence after about 2000. Naturally, they had their memories jogged in 2007 when the song featured on the Alvin and the Chipmunks video game. It was a seminal reemergence for the anarcho-punk band, to be rivalled only by UKIP’s use of the song at the 2011 party conference.

Sadly, it all came to an ‘official split’ end in 2012. It was a travesty, but luckily 2013 brought the release of In Memoriam: Margaret Thatcher, an EP ode to the great leader recorded in 2005 to be released upon her death. Rumour has it David Cameron ordered a copy back in ‘07.

Review: Bo Ningen – III

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For those of you who haven’t yet encountered Bo Ningen, let me present to you the (highly pretentious) opening line from their website’s bio page as an introduction: ‘Enlightenment activists from far east psychedelic underground’. Yeah.

Japanese-born but Hackney-based, they’re not ‘60s psychedelic’; more like a sometimes funky, sometimes punky metal band filled with noise and harsh vocals. In fact, the only quality that could qualify them for psychedelia is that they’re incredibly boring. Seemingly unable to decide upon exactly what type of music they want to play, on III they meander around the metal end of the musical spectrum, leaning towards prog, ultimately accomplishing little. They can’t sit still on any good idea they have, and most of the things they try out can be (and have been) done better. Pantera are funkier, Dream Theater are more interesting, and as far as inspired experimental metal goes, I really can’t recommend Thought Industry’s album Mods Carve the Pig too highly.

What you get on III is a lukewarm mixture of half-baked ideas, that goes on for way too long. If it was condensed to half the length, leaving less room for musical waffling, maybe it’d be a better listen. But it’s not, and I’m sure you’ve got better ways to spend an hour.

Review: Black Keys – Turn Blue

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This is an album you can love. The Black Keys have occasionally felt like an NME band: musically weak, sunglasses indoors, happy to play to a crowd of twenty-five. However, Turn Blue feels like real music, like something you could reminisce to in your dotage. The problem is that Arctic Monkeys blew the roof off rock and roll this summer with AM, and it will now forever be nigh on impossible for guitar swindling bands of the ‘10s to match up. To The Black Keys’ credit, the opening three tracks of Turn Blue manage to resuscitate the in-the-room feel of a Hendrix album: there are accidental twitches of imperfection, subtle fault-lines in his voice.

The guitar solos feel spontaneous (a rarity), the deep bass is a welcome heaviness in the age of ukuleles, and the xylophone fl utters are suitably experimental. Even easy plodders like the second track ‘In Time’ have a real thud-in-the-stomach, a disturbing funk. Listen to either this second song

or ‘10 Lovers’ and sit still – I dare you. Perhaps Turn Blue’s greatest asset is its sheer confidence. There’s a pirate’s nonchalance all the way through, and you feel brilliantly talked-down to. The fi rst three songs demonstrate that you don’t need ‘Lonely Boy’ pace and ‘Gold On The Ceiling’ riff s to get your dance on; the ‘less is more’ cliché is really appropriate here. The bass line to ‘10 Lovers’ – despite being washed away by the irritating synth melody – is absolutely amazing.It suffers from ‘Foster The People Syndrome’, a terrible disease – clean and excellent bass lines are vomited-on by idiotic major chords or patronising synth riffs (as a reference, listen to Foster The People’s ‘Best Friend’ from their new album Supermodel, and compare the dire chorus with the excellent breakdown).

Yet, somehow, it unexpectedly, yet brilliantly works. The lyrics are fairly plain, and obviously derivative. Title track ‘Turn Blue’ features lines like, “when the music is done and all the lights are low” that lack originality, and make the duo feel more like an Arctic Monkeys tribute than ever. ‘‘Bullet in The Brain’ should be a killer, but the lyrics, ironically along with the title lack sophistication. But so what? You don’t sing along to this album: you dance around in your pants to it.

Where are they now: Crazy Town

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So you may well ask, who are these orange, topless, tools with the peroxide hair and shitty ink? The answer, dear friends, is Crazy Town, of ‘Butterfly’ fame. “Come my lady, come come ma lady, you ma butterfwy, suga, babey.” Now you remember! Yep, it’s them, that hideous off spring of the ‘rapmetal’ genre, a time in the 2000s everyone would rather forget. Crazy Town, formed by Bret Mazur and Seth Binzer, shot to fame after supporting the Red Hot Chilli Peppers on tour. However, they split up after the largely unsuccessful release of their second album, Darkhorse.

The band announced in 2007 that they were working on a new album creatively entitled ‘Crazy Town is Back’, but alas, the record has never come to fruition. 2010 saw the band play SRH FEST 2010, where they debuted new track ‘Come Inside’. They didn’t specify to where. One might have hoped this would be the end of Crazy Town, but in 2013 they announced a new album, The Brimstone Sluggers, was in the works, and released a free download single called ‘Lemonface’. Perhaps ‘Orangeface’ would have been a more apt title.

Review: Echo & The Bunnymen – Meteorites

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Since forming in Maghull, Liverpool in 1978, the New Wave veterans have had their fair share of ups and downs, including the death of their drummer Pete de Freitas in 1988. They are now reduced to just two members of their original line up: lead singer Ian McCulloch and guitarist Will Sergeant. The eponymous opening track of Meteorites atmospherically opens with the line “Hope, where is the hope in me?”.

Reflection and melancholy appears to be the premise to the album, as demonstrated by its opening song, but the band’s characteristic brand of new wave rock and neo-psychadellica (epitomised in their 1984 hit “The Killing Moon”) is also evident. “Constantinople” avoids what could have been a patronising, cliched guitar riff with eastern influences by adopting the characteristic heavy feedback and trance-like reverb. “It’s so Cold in Constantinople” – a theme seems to be forming here, and is perhaps a little to intense for what should, in some ways, a more enthusiastic return to the studio for the first time since 2009.

Fortunately, the run of self pity is brought to an end with “This Is A Breakdown” where a key change and the repeated lyrics “I don’t think so” ensure that the the rest of the album takes a more positive direction. “Holy Moses”, a track basking in anthemic glory, introduces a more biblical theme which is developed more closely by “Grapes Upon The Vine”: “The devil in you, The devil’s in you” is bittersweetly juxtaposed with upbeat strings. Things take a dramatic turn with “Lovers on the Run” and its acoustic melodies treading the boundary between hope and regret, while “Burn It Down” and “Explosions” have the air of being straight out of the britpop era. The crooning “No survivors will be found” in “Market Town” instead employs lyrics to convey the same characteristically melancholic themes with relative simplicity. The closing track, “New Horizons” goes full circle and is more slow and reflective while sounding altogether more hopeful.

The layered vocals consisting of a low growl and higher pitches along with more upbeat orchestral tones present an ethereal darker presence below the surface of the songs. And this makes it all the more profound.

Review: Cher Lloyd – Sorry I’m Late

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It’s the moment we’ve all been waiting for. The Streisand of our generation, the great Cher Lloyd, has released a follow up to 2011’s Sticks + Stones. Cher Lloyd would probably be a better fit for the Where Are They Now? column than a weekly review. Her career was launched off the back of coming fourth on X Factor and a track called ‘Swagger Jagger’ that had literally everything sonic and visual that it is possible to despise in ‘10s music. But on Sorry I’m Late, Lloyd has tried to reinvent herself by swapping ship-sinking bling and ASDA for black blazers and Sainsbury’s Taste The Difference (it’s not quite Waitrose). 

Opener ‘Just Be Mine’ features a wailing “uh huh ahh” that is so autotuned it sounds like a pink Dell laptop having an orgasm, but it’s undeniably catchy, in a sort of middle-of-the-road, I-really-don’t-want-to-like-this-but-I’m-finding-myself-singing-along kind of way. Unfortunately, any enthusiasm, enjoyment or belief one might have originally felt for the album has well and truly died by track three, ‘I Wish (feat. T.I)’. Ballad ‘Sirens’ is a wishy washy attempt to create something heartfelt, but the dull and predictable melody make you switch off within the first minute. Sorry I’m Late may be a definite step up from Sticks + Stones, but I can’t help thinking that ASDA swag Lloyd was more entertaining.