Friday 15th August 2025
Blog Page 1446

Review: Jake Bugg- Shangri La

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An air of authenticity surrounds this 19 year old Nottinghamian which seems to be constantly undrmined by a series of mediocre offerings intentionally designed to recall the past and shun the dominance of the X Factor top 40 teenybopper genre. Ironically, however, his recollection of 1963 becomes just as generic, just as mediated and just as boring.

Legendary producer Rick Rubin’s fingerprints litter the album, but not in a good way. Unlike another recent credit of the 50 year-old, the Avett Brothers’ Magpie and the Dandelion, which remains particularly earnest and pure in terms of production, Shangri La becomes cliched with the forced crackling effect and ‘vintage’ timbre of Jake Bugg’s vocals which is evidently forced.

Having ‘gone electric’ earlier this summer, Bugg recalled the Bob Dylan controversy at Newport in 1965 but without quite the same level of interest, hype or importance- a publicity stunt, perhaps? Definitely. The influence of Dylan continues on tracks like ‘Messed Up Kids’ which is half ‘Don’t think twice, it’s alright’ half Merseybeat but without the lyrical elegance of Dylan nor the energy, excitment and newly afforded freedoms of Beatlemania and Liverpool in 1964.

In an effort to retain his authentic ‘I’m just a boy with a guitar and some songs’ image, Bugg has pulled out all the stops, just look at the cover! Unfortunately this is without any substance, having not written any of his own material for either his debut or this follow-up which he defends, citing his age, even though Dylan was only 21 when he wrote ‘Blowin’ in the Wind’, without any bigwig artistic help or guidance.

Furthemore, the grit and reality of the Nottingham council estate that characterised Bugg’s debut is now gone, replaced by the sun and sea of the Malibu coastline where much of the recording process took place. The influence of Nashville is also felt on tracks such as ‘Storm Passes Away’, featuring the lyric “they keep telling me I’m older than I’m supposed to be”. This would be completely legitimate- if the album were to be an earnest and effective reflection of Bugg’s personality rather than merely his record company’s perception of what could feasibly sell. In a word, dull.

Things Done Changed: the rise of gay rap

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Rap music is minority music. It is the anger of marginalised youth. Yet it shits all over the LGBTQ community. This is largely the product of fear and suspicion in the ghettoised urban communities that were the crucible of hip-hop. Most homophobia is borne out of survival instincts in an atmosphere of violence where homosexuality is equated to weakness.

This is not an attempt to excuse the myriad snarls of “faggot” or the endless slurs and belittlement. In 2013, though, there is more reason than ever to hope that hip-hop’s attitude to the LGBTQ community will catch up with its approach to social justice in general.

Mainstream hip-hop is making moves in the right direction. Azealia Banks and Frank Ocean came out as bisexual and mercifully few people seemed to care. (Hip-hop behemoth Russell Simmons described Ocean as a “catalyst with courage”.) But like everything good that happens in rap music, LGBT hip-hop is primarily exploding on an underground level.

Y-Love, a rapper who hit a triple whammy of potential prejudice by being born black, homosexual and Orthodox Jewish, came out last year. “Stories like mine are happening in every club in every hood — that gay MC who walks in reluctantly, if he can hold it down on the mic, can get respect as much as his hetero counterpart,” he wrote on his blog. All positive change in hip-hop is enacted through grassroots battles and peformance, as when female rappers broke onto the scene. Hip-hop is a meritocratic culture of respect, and it is from this platform that LGBT rappers will change the culture.

Gay rappers are not a modern phenomenon. In Cali, Deep Dickollective held it down for homo hip-hop 20 years ago in the Bay Area, amongst a host of others. The PeaceOUT WorldHomo Hop Festival ran for years. But in 2013, gay rappers are not simply interacting with one another in insular communities. Social networking is facilitating far wider collusion. From the Floridian booty rap of Yo Majesty to the Canadian rap-Klezmer fusion of Socalled to Michigan’s pan-sexual prodigy Angel Haze, the scene is exploding.

Cultural interchange with the ‘ball community’, a platform for drag queens and other queer artists, is also providing a new platform for the experimental gay hip-hop scene. “Today’s queer mania for ghetto fabulousness and bling masks its elemental but silent relationship to even more queer impulses toward fabulousness in the 1960s and 1970s”, according to the excellent documentary Pick up the Mic.

A queer identity is being transformed from something to be hidden and mocked into a stimulus for creativity. Hip-hop is music for the margins, and it is from the margins that its most daring creativity bursts. LGBT rappers are not finding success as homosexual novelties, but because they are producing exceptionally experimental (and exceptionally queer) music.

Cuntry Living presents an evening of Ladies & LGBTQ hip-hop and rap this Monday at Babylove. 

The disturbing side of quizzing by Somerville’s Captain

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Perhaps the most surreal aspect of appearing on University Challenge is watching how you go down online. My friends and I tracked the response to me on Twitter with a mixture of masturbatory fascination and abject horror, and were met with a sea of creepy, sexually explicit and insulting tweets. I’ve been asked (note “asked”; I’ve not quite reached the heights of self-obsession necessary to propose such a feature) to list my five favourite below, so here they are:

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Being caked in make-up under hot studio lights in a thick jumper clearly didn’t do me any favours.

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HONK. What people think they can infer about your sexual preferences is alarming(ly accurate).

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You could look up “hungry power bottom” but it’s pretty much exactly what it sounds like. The second was an exceptionally creative insult; I was actually trying to smile subtly at my grandma in the audience, but I did look like a bit of a cunt/amphibian so fair.

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Perhaps the creepiest of the tweets, but I’m classing this as being ‘papped’ and thus the start of my ascent to fame.

The sex appeal of quizzing by Brasenose’s Ben Ralph

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I didn’t quite know what to expect on my return to Oxford, freshly annointed by Student Beans, a website whose top story appears to be “18 HILARIOUS googly eyed masterpieces” (you’ll laugh until your eyes go googly) as the fifth hottest University Challenge contestant of all time. It certainly wasn’t rampant apathy.  The thing I learnt about fame that lonely, unheralded day, is that it is relative. University Challenge is perhaps the pinnacle of celebrity for an Oxford undergraduate, bar perhaps some of the more openly racist members of OUCA, or particularly grandiloquent social secretaries of rugby clubs.

I mean, I got added on Facebook by about seven people I had never met, had someone on Twitter claiming they wanted to go “full Miley Cyrus on me” and was even emailed commiserations by a mysterious marriage counsellor in London. I had made the big time. But nobody else seemed to have realised.

The curious thing was that I had reached such extraordinary fame due to my superior quizzing ability.  Now, I can think of two activites at Oxford that are most likely to lead to an appearance on national television, representing the University in some fashion.  One of them is rowing: the Boat Race, which features the cream of Oxford’s physical crop, men who have trained hours a day for months on end for the mere chance of making the eight that rows against Cambridge down the Tideway. The other is quizzing.  I put down my quizzing pre-eminence down to spending a bit more time than most watching BBC4 rather than E4, having a smartphone equipped with Wikipedia and a history of geeky friends.  

By all means, this is an odd basis for veneration.  There is this idea that University Challenge showcases the finest brains of the student population, whereas the Boat Race showcases the most atheletic bodies, but the truth is, quizzing tests a very strange sort of knowledge.  University Challenge favours those with a superficial knowledge of a lot of different things, along with the ability to recall this information unaided almost immediately.  Its sporting equivalent would be something like the primary school sports day, rewarding a good all-round ability at a variety of essentially pointless activities. I’d vouch that the ability to recognise Colin Firth’s voice from Mamma Mia after half a bar is almost precisely as useful as the ability to get swiftly from A to B while balancing an egg on a spoon. 

Yet, bizzarely, the show works. That blue moon of the show, the tie-break, is to penalty shoot-outs what a shot of absinthe is to a lukewarm beer. I often find myself inadvertently whistling an Ennio Morricone theme as the dreaded gong sounds with the scores level. With Roger Tilling’s voice approaching the pitch of a dog whistle and the camera frantically zooming in on the poor quizzer’s sweaty brow, the moment when someone buzzes in is frankly orgasmic.  

Alas, the show I featured in spluttered to an embarrassing climax, with my team all but pulling out just as we were half way in. Luckily for me and my ego, my thirty minutes of fame (well, twenty eight to be precise) managed to sustain some sort of zombiefied, online existence, culminating in my appearance on the previously mentioned third-rate Student Beans knock-off article.  Inevitably though, the train had to run out of steam at some point. My google search history is now an embarrassing witness to my pathetic attempts to find one more adoring Tumblr page, one more tweet proclaiming that I am “dishy”, one more substandard piece of ‘journalism’ featuring yours truly. But no: the rest is silence. So instead I turn to this venerable newspaper to reanimate the twice-dead corpse of my celebrity.

Gail Trimble reminisces on her University Challenge fame

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“She’s a phenomenon. She seems to know what the question is before you’ve even finished saying it.” So said Jeremy Paxman in 2009 of Gail Trimble, the captain of the winning University Challenge team from Corpus Christi.

Now a Fellow and Tutor at Trinity College, Gail shot to fame, briefly, for her stunning performance on UK TV’s longest running quiz show. She remains a strong fan of the quiz, but after mixed press coverage of her triumph in 2009 she says she might have second thoughts if she were applying again.

Gail’s performance was certainly exceptional. In a match against St John’s, Cambridge, she personally scored 185 out of 260 points. In the quarter-finals she won fifteen buzzer rounds, leading Corpus to a 350-15 victory. Their opponents, Exeter University, left with the second lowest score in the show’s history. 

“It’s a sport really and I absolutely enjoy the competitive aspect,” says Gail with a big smile when I meet her this week almost five years after the final. “The fun of University Challenge is working out where the question is going.”

The Corpus team stormed the final in exciting style winning 275-190, and scoring 125 points in the last four minutes. Nonetheless, the mood soon soured as Gail experienced significant negative press for her performance. “What I found interesting was it started with just one newspaper, the Observer,” she states. “That was the Sunday before the broadcast and then it happened incredibly quickly.”

The Observer article picked up on negative comments online about Corpus and Gail in the early rounds. “She comes across as patronising and with a healthy sense of her own intellectual superiority. These characteristics are common in establishments such as hers” one read. Others focussed on her appearance and “tastiness.” It was trolling, before trolling was fashionable.

What followed was a week of self-perpetuating bad press and abuse online about “the human Google.” She made the front page of the Daily Mail with the story “Why do so many people hate this girl simply for being clever?” Incidentally that “girl” was twenty six, had just got engaged and found “being treated like a child” pretty patronising.

Infamously, her brother was contacted by Nuts magazine hoping to be put in touch with Gail for a tasteful photo-shoot. His reply, as the Guardian reported: “Seriously mate, would you give your sister’s contact details to Nuts?”

“A man would have been treated like a child too,” Gail continues. The media “asked me lots of questions like ‘How do I feel about being a clever woman?’ It was a circular thing really.”

It was “interesting for us who live in an Oxford world, where knowing a lot is perfectly fine and there’s no need to get hang-ups or apologise for it. I’ve learnt something from that reaction.”

In a final twist, the Corpus team were disqualified some months later for a minor infringement of the eligibility rules — a team member had started a job before the series had completed filming.

Despite the trying experience, Gail tells me, “Of course I would recommend it. Those second thoughts are only with hindsight. Most people don’t end up being pestered by the media in a really peculiar way!”

Finally, I ask about the training regime, the hours of memorising flags and dates I assumed were necessary before a show. “There was no time,” she laughs. “We didn’t go around learning things, we just happened to have good memories. That’s what was entertaining.”

Preview: Cyrano de Bergerac

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The real Cyrano de Bergerac was famous in 17th Century France for many things: his wit, his free-thinking, and his stubbornness. In the play his courtly enemies, stinging from his refusal to bend to them, are driven to picking on the one thing he cannot disguise with his swagger – his big nose.

Cyrano is a man who, when he is insulted in the lowest way possible, gives back his weight his witty, wordy, self-deprecating comedy. In one such scene, we are treated to a good few minutes of him listing all of the other possible creative insults his antagonist could have used instead of calling his nose ‘big’. Inspecting the noses of his peers and even of the audience, he diagnoses two chimneys with smoke puffing out of them, a writing desk, and even a couple of flats for rent sheltered in a pair of nostrils.

Just because Cyrano busies himself by larking around with wordplay, it doesn’t mean he doesn’t have time for a love interest. However, Roxanne is also the object of Christian’s desires. Christian looks could kill as well as his sword-fighting, but he is sadly, well, stupid. He cannot even write a love letter to Roxanne – and that’s where Cyrano comes in.

Using his poetic mastery Cyrano crafts the courtship of Roxanne and Christian through his words, but is obviously made to face the crushing reality that he cannot have the girl so enchanted by his letters. Here is where the tragedy rears its head. Set against the background of war, the conflict of Cyrano’s and Christian’s love for Roxanne shakes out the deeper side to their human fragility: Christian is all pretty casing around a brain made of air, whereas Cyrano’s witty strength is punctuated by the physical protrusion in the centre of his face.

Although minimal props are used, the stage is usually either full of action – thanks to the wide cast of agile actors – or forgotten under the steady flow of fluent poetry. Anthony Burgess’s modern translation of Edmund Rostand’s play, selected by French director Callyane Desroches, preserves the elastic charm of the wordy original, and the St Hilda’s Drama Society give it a living spark.

Apart from the well-chosen help of live piano music, strobe lighting for the war scenes, and some real steel (yes, sword fights!), the evening of entertainment is mainly left up to the actors themselves, who slip in and out of the tragic and comic roles as effectively as a costume change. Go for the foils, stay for the lines.

Cyrano de Bergerac will be performed at 7:30pm in the St Hilda’s JDP on Weds 27th, Friday 29th and Saturday 30th of November. Tickets are available here

 

Preview: Pericles

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It’s fair to say that there are quite a few Shakespearean plays about travel. And about mistaken identity. And about family relations. And about dreams. But put these together in a new and surprisingly under-performed combination and the result is Pericles: the new production taking over the BT.

The play itself is no small undertaking; I’m reliably informed that this particular cast have managed to condense fifty-seven characters into just seven actors and actresses. But don’t worry – we won’t get confused because apparently they’re all very good at doing accents. Gender, age and nationality are no boundaries for this ambitious crew. Plus, every time an actor or actress changes character, they have a different accessory to wear over their all-black costumes: I’m particularly looking forward to what has been described as a “mouldy faux-fox-fur” which marks out the evil step-mother figure Dionyza.

Added to this audience-friendly use of props, the different countries of Pericles’ travel (and there are quite a few), are separated by their own colour palettes on stage. Antioche, for example, is red. That’s because it’s soon revealed to be the city of incest, lust, and love; complex and sensitive topics which are played out engagingly and thoughtfully by James Moore (Antiochus) and Connie Greenfield (Antiochus’ daughter).

Without giving too much away, I’d get ready for a historically apt use of mime and tableau in this production. Against this neat framework, which arranges an episodic play into something resembling a carefully ordered narrative, director Edwina Christie has interestingly chosen a setting of visual chaos.

The backdrop is a huge white canvas which the cast get to scribble on and graffiti throughout. The props are minimal but actively used: a set of sticks will morph from swords into fishing rods and from truncheons into walking sticks. But as the play progresses, the sticks are discarded by the actors on stage, the white canvas backdrop is covered over, and we are left with a physical and emotional accumulation of all that has gone before.

We are also left with Gower: that real-life pinnacle of English literature who narrates the play. I saw Ariel Levine act this important part only for the length of the Prologue, but even in these brief moments he leapt, Puck-like, around the stage, and with enough enthusiasm to sustain even the most packed auditorium at the Burton Taylor Studio.

If you’re a fan of the metatheatrical, this play certainly does not ever let its audience forget that it is a play. What it does let us forget is that it’s a student performance on a relatively small budget in an even smaller theatre — a combination of imagination and enthusiasm render all of this irrelevant. As Gower says, “New joy wait on you!” And it will, if only you head down to the BT in seventh week.

Pericles is on at the Burton Taylor Studio from 26th-30th November. Tickets are £5-6 and are available here

Preview: Ruddigore

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In a small town in Cornwall called Ruddigore, a terrible curse abounds. Long ago a witch, burning at the stake, jinxed the place so that henceforth each Baronet of Ruddigore must commit a crime a day or else be tortured to death by ghostly ancestors.

The belle of the town, Rose, is in love with Robin. Robin is in love with Rose. But, of course, they are each oblivious to the other’s love and Rose marries another. An evil baronet arrives, a mad woman named Margaret sings, Robin becomes cursed – and after a lot of chaos and comical upset set to music, all ends well. Knowing that everything will be happily resolved makes watching a delight. Though not as well-known as Pirates of Penzance or The Mikado, this show by the Gilbert & Sullivan society looks to be genuinely warm and funny.

The first meeting between Robin and Rose is sweetly awkward. Rose is played by Emily Brinson, whose voice is simply stunning; very feminine and clearly powerful; even holed away in the music room up miles of stairs in Queen’s College, she was enchanting. She laments the fact that she “may not hint” at her love for Robin because her Book of Etiquette forbids it. Robin (played by William Yeldham) arrives and seeks her advice, playing that old trick of pretending his friend is lovesick; she plays along and of course we all know that the ‘friends’ they speak of are themselves.

This scene of true love unspoken contrasts nicely with a scene later in the play, where Mad Margaret (Lydia Ellis) and her old love, the no longer evil Sir Despard (Christopher Pyrah) finally get married. Their song is called ‘I once was a very abandoned person’ – their strutting about the ‘stage’ and wildly exaggerated facial expressions are very comical and the ability to act and sing is a quality seen throughout. This is clear in Mad Margaret’s earlier scene: Lydia Ellis’s voice is perfect for her role, warbling when she wants it to be but not weak; her eyes roll as she spits plosive bouts of spiteful comments across the stage area and her creeping, vague smile screams ‘mad cat lady’.

Despard too, before their marriage, has an equally amusing scene of his own. He plods on stage and in a deep, rolling voice demands (in song, of course) what actually seems sadly pitiful: “why am I moody and sad?” But the play is not all romance. There is also a bromantic scene between Robin and Richard, Robin’s foster brother (played by Oliver Shaw). Richard is a laddish type who tries to alleviate Robin’s pining (reminiscent of Romeo’s for Rosaline) with a good few slaps on the back and some cheering words. Predictably, it doesn’t have quite the desired effect.

If you’re wondering how to get yourself in a Christmassy mood several weeks premature, or just can’t wait for Oxmas, then going to see this is probably the answer.

Ruddigore is on at Corpus Christi Auditorium from 21st-23rd November (with matinees). Tickets are £6-£8 and are available here

Control of online content does not mean censorship

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David Cameron’s comments, this October, over Facebook’s decision to allow graphic videos on its site – in particular, one depicting the decapitation of a woman, thought to be in Mexico – have added fuel to the debate on internet censorship. In an article in the New Statesman, Laurie Penny succinctly skewered Cameron’s choice of words: that Facebook “must explain their actions to worried parents”. As Penny points out, it is the victims of violence that our primary concern should lie with, and hiding crime to soothe fretting parents does nothing to protect these real victims. “Somewhere out there a woman in a pink top may be lying dead. That her corpse can no longer frighten children on the internet will not comfort her family – and it should not comfort us”. The brand of censorship suggested by Cameron’s phrasing is, indeed, one that we should ward against – censorship as closing our eyes to reality, of choosing the privilege to forget.

Does this then mean that the instinct to censor is entirely misguided? Penny is right that if people are horrified and disturbed by a beheading video, that is surely the only natural reaction, and not one that ought to be apologised for. Yet part of the danger of uncensored, unlimited viewing is that it encourages not horror but apathy – an image loses its power to shock, once it has become interweaved into the fabric of our everyday lives. Many of us have left the room for our tea break during a TV appeal for African poverty, or thrown a leaflet on the fate of refugees onto the same recycling pile as the pizza adverts that it came with. In so doing we are not trying to be callous. But it is impossible and exhausting to maintain an emotional engagement with such extremities during every minute of every day – to do so would leave us unable to function. This is why format is so important.

Just as many of the unsanitised images of pain brought to our attention by charity appeals have now become ubiquitous and, thus, no longer shocking, so too may the kind of graphic violence witnessed in the Facebook beheading. It is disconcerting how quickly an internet search can yield promises of terrifying degradation. In just 0.36 seconds (according to Google) I can watch “various masked men assault a man with a bat and electric stungun”, “two partners […] castrated and beheaded” – all part of the proliferation of Mexican cartel (“narco-killings”) videos. Nor have I had to do the pervert’s handshake and enter some shady corner of the web for this – this site is the first result, right below the smiling colours of the Google logo.

It is part of learning about the world around us that we must confront disturbing images. We have all visited exhibitions on the Holocaust, sat through documentaries on trafficking and prostitution. But when we visit a museum or sit down to a serious programme, we are agreeing to approach its material with a particular mindset – to take the time to think seriously about something, its context, its ramifications, and to try and understand all those involved; to meet them halfway, in a sense. The internet often requires no such effort on our part. We do not need to allocate a time to mentally commit in this way, but are all too easily washed through a stream of links. We can end up viewing terrible things out of nothing but morbid curiosity, because it is there – easily and cheaply offered to us, to tempt our disbelief. If what we see troubles us enough to disrupt our day, we can at least take comfort in the fact that we have not lost our sense of wrongness. But the more exposed we are, the more desensitised we will become.

The act of censoring the internet may be impossible. We can only penalise higher profile sites, like Facebook and Twitter, while content will continue to flourish elsewhere. But large, mainstream companies of Facebook’s kind arguably do still have a responsibility, if not in censoring violent material entirely, then in framing it or controlling its access in such a way that viewing it must be a thoughtful and responsible decision on our part. It is unacceptable to have a world in which the extreme suffering of some becomes the mere viewing fodder of others, abandoned as soon as day-to-day distractions call. When it is also easy to sleep with eyes open, we must defend our capacity to be horrified. 

Atheist Churches: A Response to a Response

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Last Sunday, an article written by Leo Mercer published on the Cherwell website described how the new Sunday Assembly or “atheist church” is no contradiction and turns out to be a way of revitalising the atheist movement to become an inclusive community of those who want to celebrate “what it means to be human” through literature, music, scientific discovery and a dash of comedy.

Then comes the president of OICCU (Oxford Intercollegiate Christian Union) along with an article which essentially says “Atheism is stupid, nerrrr”.

So here’s a blow by blow of what he said and what I have in response.

new atheist church in Oxford? Praise God! Who wouldn’t want a movement that’s committed to making a positive impact in our community?

We’re guessing Josh Peppiatt?

It’s wonderful to hear of the Sunday Assembly’s desire to be ‘a place of love that is open and accepting’. Leo Mercer argued last week in these pages that the Sunday Assembly ‘offered those things that religion provides, though without dogmas or liturgy’. He mentioned some of those things that the Sunday Assembly seeks to emulate: ‘community, a place in which to reflect, a sense of purpose, and so on.’

Wow Peppiatt, you’re really selling this to me – where can we sign up? We’re guessing that by “emulating” you mean doing right?

And yet I wonder:

Oh right, that was just a set up for why this is a bad idea. Damn you, Peppiatt!

Are the wonderful aims and desires of the Sunday Assembly really compatible with its self-conscious atheism?

Our atheism is SO self-conscious. It thinks it’s overweight and keeps comparing itself to unrealistic irreligious types presented in the media like Dawkins and Hitchens and Fry (phwoar).

Community and purpose aren’t ideals that Christians have happened upon, disconnected from what it is we believe; rather they flow from our understanding of the world – the ‘dogmas’ the Sunday assembly wants to do without. The two are inseparable.

Whoooa, hold on there, sailor! We know the Bible is big on community and purpose (Bear one another’s burdens, and so fulfill the law of Christ. Galatians 4:9-12. A brilliant message slightly spoiled towards the end) but to say that the two are inseparable? We’re pretty sure the pre-Jesus Jews were pretty community based and had purpose as did the ancient Egyptians or Hindus and pretty much everyone, ever.

Actually, come to mention it, we’ve got a sense of community and purpose. People are fucking lovely and we’ve got purpose falling out of our ears. In fact, we’d go one further and say that humans don’t even have a copyright on “community and purpose”, let alone Christians. Have you ever watched ants? They’re always together striding around with great purpose. If anything they need to chill down and get some ‘me’ time. Then there’s the whole “community is important guys, but remember to fuck up anyone who the man up top doesn’t like!” thing. For more read 1 Samuel 15:3!

I’m not surprised by the Sunday Assembly’s desire to build inclusive communities. The urge to gather in community is common to all humanity.

Wow, we must have been retroactively convincing there. Far from Christianity and community being inseparable, all of humanity gets the social urge now.

But can an organisation that states ‘we come from nothing and go to nothing’ really have any basis for affirming that we should ‘live better, help often, wonder more’?

Yes. We will respond to this point properly when you make one. Enclose an SAE.

By contrast the Christian understanding of humanity being made equally in the image of God was the bedrock of the human rights we all cherish.

While “There is neither Jew nor Greek, there is neither slave nor free, there is no male and female, for you are all one in Christ Jesus,” totally rocks our socks, we can’t help but think that it’s not entirely sincere. A book that says that slaves are equal to owners but doesn’t make that little extra effort to suggest getting rid of the barbaric notion of person-ownership is setting itself up for a fall. But of course we mustn’t forget the more explicitly unequitable:

  • “ ‘Cretans are always liars, evil brutes, idle bellies’. He has surely told the truth”
  • “Let the woman learn in silence with all subjection. But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence.”
  • “An Ammonite or Moabite shall not enter into the congregation of the LORD; even to their tenth generation shall they not enter into the congregation of the LORD for ever;”
  • “Happy is he who repays you for what you have done to us – he who seizes your infants and dashes them against the rocks.”
  • “Slaves, submit yourselves to your masters with all respect, not only to the good and gentle but also to the cruel.”

Yeah, that’s a much better bedrock than JS Mill.

Couple that with the Christian understanding of us as flawed, yet unconditionally loved by God, and you have a strong basis to treat others respectfully and lovingly despite inevitably being let down and letting others down.

At the heart of atheism lies science and the scientific method, and at the heart of science is the ‘understanding of us as flawed’. We’re all fucked up. Humans have blind spots because our eyes are wired wrong, most of us can’t rub our tummies and pat our heads, Justin Bieber has sold 15 million albums. You don’t need to tell us that we’re all messed up in our own special ways.

The being loved by God thing is a bit rich when the only reason you suggest people should be nice to other is because He’s threatening everyone with eternal torture or offering them an utterly selfish way out of the real world as reward, rather than everyone genuinely wanting to help their fellow person to live a better life.

Of course, in practice atheists are often more loving and generous than Christians – but in principle, with an atheistic understanding of the world, there’s no basis for affirming love instead of hate, or helping instead of hindering.

Evidence: “atheists are often more living and generous than Christians”

Claim: “there’s no basis for affirming love instead of hate, or helping instead of hindering”

Nice. You know, maybe you’re wrong, maybe we have actually worked out a basis for affirming love. Maybe it was one of the philosophers. Maybe it was a Romantic poet? Maybe it was Greg Wallace?

You know what, it seems that we don’t even need a well thought out basis for all those things because we seem to be doing preeeeeeetty well without one. There’s likely a hell of a lot more love in the world now than 1000 years ago and it’d be surprising if the number of atheists back then was higher than it is now. It’s pretty bloody bold to claim that those who don’t believe in the Christian god are without any basis for moral behaviour, when that’s just clearly nonsense.

I fear that in their search for loving community, the Sunday Assembly have mistaken the trimmings for the Sunday roast: I’m not connected with this stranger sitting next to me because I’m singing a Disney song with them,

Hey Josh, let’s not say something we’re going to regret here. Are you saying that singing Disney songs doesn’t bring people together? What about Jordan and Peter Andre’s “A Whole New World”?

but because we both know that through Jesus we have been made right with God and are now in his family together.

That’s definitely why people feel community in Church. Cos of Jesus. You know, Harry went to church for a number of years as an atheist and he felt a greater sense of community with the good people of St Martin’s Laugharne than he did in the years before. Peter spent most of the time in church as a kid colouring (still his favourite past-time) and wasn’t too taken in by the God thing, but he did love a good harvest festival.

The same goes for meaning and purpose. Jesus says that we are to love God with all we are and have, and to love our neighbour as ourselves.

But with all my God-lovin’ how are we going to love our neighbour? Aaaaaaagh.

And he provides powerful motivation for those who seek to live out this generous teaching by setting us the ultimate example: loving us so much that he died for us.

Wow, how fucking generous of you Jesus for telling us to love one another. We hope we didn’t put you out of your way to get here?

And how is Jesus dying for us a “motivation”, exactly? It’s definitely an example of (misplaced) selflessness but I wouldn’t say it’s a motivation. Are people thinking “ooo if only I love my neighbour more maybe one day I’ll get the ‘Lover of the Month’ and end up on the big shiny cross”? And what about the fact that even though the guy supposedly dies for our sins but we’re also supposedly still in the shit with the big man and might get “ACCESS DENIED” at the pearly gates? Bit of a waste.

But if we ‘don’t do God’ then can there be ultimate meaning?

TELL US, JOSH, TELL US!

Sartre seemed to recognise this tension in Existentialism and Human Emotions: ‘If I’ve discarded God the Father, there has to be someone to invent values. [You’ve got to take things as they are. Moreover to say that we invent values means nothing else but this:] life has no meaning a priori. Before you come alive, life is nothing; it’s up to you to give it meaning, and value is nothing else but the meaning you choose.’ [In that way, you see, there is a possibility of creating a human community…].

We’ve helped Josh out a bit here and included the rest of the quote in the closed brackets. Clearly he was pushed on the word count and didn’t get the chance to include Sartre’s conclusion: that we CAN create our own values. We wouldn’t even agree with Sartre to say that our created values are entirely arbitrary – We (and many others) believe there is some robust set of morals that we can derive without needing a man in the sky. But that’s just us (it’s not).

Can we honestly feel the depth of this predicament and yet continue to celebrate life with integrity?

So Josh is saying that if we celebrate life, and don’t believe in the Christian god, that we need to feel guilty. That the ‘predicament’, being the lack of any reason to assume some inherited morality from a mystical sky wizard, is even something we should be worried about more than any other philosophical question. Sure, it’s certainly a good thing to make sure we get it right, but why on earth should we feel guilty for wanting to find out those answers properly rather than take your word for it that you’ve got it all wrapped up nicely in a book.

I wish the Sunday Assembly every success as it seeks to impact our city for the best.

You sure gave that impression.

And yet the question remains: can the reality of an atheistic worldview sustain the goals the Sunday Assembly longs for?

No… yes…shit. Your rhetorical questions are confusing!  Also, atheism isn’t a worldview, although you probably know that seen as you’re the president of the Christian Society.

Could it be that the Christian understanding of the nature of reality and the human condition is actually the only basis for living better, finding purpose and building community, ideals that are the centre of what it means to be human?

You know what, everything else you’ve said up to this point has been fine by me. We don’t particularly care too much. But what you’re saying here is that everyone other than Christians, All 6 billlion of them, ALL OF THEM, are completely incapable of living better, finding purpose and building communities. Now you just offend me. We’re not just saying this on behalf of atheists but on behalf of Muslims, Buddhists, Hindus, Jews, Sikhs, Humanists, Shintoists, Bahá’í, Zoroastrians, Jains and even, God help me, the Scientologists.

Are you suggesting that all of these people have been going along without the ideals at the centre of what it means to be human? That’s quite a claim. We hope you’re willing to receive 6 billion angry letters from these sub-humans demanding to know why you didn’t tell them sooner that they don’t have an understanding of the human condition.

In other words, Josh, you’re making Christians come across as arrogant. You claim dibs on a bunch of ideas that predate religion and suggest that non-Christians are not moral. That they cannot celebrate life, that they cannot feel the need to help their fellow human. I’ll admit that the The Sunday Assembly does sound a little odd, but it does nothing other than to try to bring people together as a community, to recognise the wonderful things in life and to provide a way of doing all of those things without all the unpleasant add-ons or the arrogance to suggest they’re the only ones who have got it right.

But all is not lost for Mr Peppiatt. On behalf of all those people above we ask for an apology. An apology for the suggestion that every other group of the world is failing as a human by not following the principles of the Bible. And in return, we’ll follow Matthew 18:21

“How many times shall I forgive my brother or sister who sins against me? Up to seven times?” “I tell you, not seven times, but seventy-seven times”