Tuesday, April 29, 2025
Blog Page 1454

International Rescue?

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Now that the international break is over, for another month at least, football fans can go back to enjoying the domestic game. While the current league season is in its infancy, the World Cup qualifying campaign is nearing its conclusion with England the only British team with anything to play for, meaning that many British football fans would have breathed a collective sigh of relief that yet another painful week of international football was finally over and that they could look forward to following their clubs once again.

But before our minds revert back to the domestic side of the game, perhaps it is worth reflecting on how the home nations fared in last week’s fixtures, and trying to begin to understand why disappointment and embarrassment have become so commonplace amongst British fans.

After overcoming a vastly inferior Moldovan team at home in a routine victory, England laboured to a goalless away draw against Ukraine; Wales produced two insipid displays against Macedonia (a team 75th in the FIFA world rankings) and Serbia, deservedly losing both; in the same group, Scotland were outclassed at home against Belgium and needed a late moment of brilliance from Shaun Maloney to overcome Macedonia; while Northern Ireland shipped four at home against Portugal before slipping to an embarrassing defeat at the hands of Luxembourg, a country with a population of half a million and 126th in the world rankings, 40 places below them.

Not the greatest of weeks for the home nations, then; but the fact is that there is a sense of crushing inevitability, an almost tedious predictability about their constant shortcomings on the international stage. While England do qualify for most major tournaments, there is no denying that they have beaten Spain – historical underachievers but whose side is now in the middle of a golden age – to the title of undisputed flops of world football (47 years of hurt and counting). As for the other three British teams, Scotland haven’t qualified for a World Cup since 1998, Northern Ireland since 1986, whilst Welsh fans need no reminding that the last time their national team competed in a World Cup was way back in 1958, where Pele’s first World Cup goal was enough to knock them out at the quarter-final stage.

Despite the fact that England boasts a significantly larger population than the other three home nations, the argument that the failure of Wales, Scotland and Northern Ireland to qualify for major tournaments on a semi-regular basis is expected due to their population size in comparison to England quite simply does not hold water. In the UK as a whole, football is not only the national sport; it is a national obsession. The English Premier League is the richest and one of the most well-supported leagues in the world and contains two Welsh clubs in Cardiff and Swansea, while even Glasgow Celtic attract crowds of more than 45,000 in spite of the absence of fierce rivals Rangers in the significantly less lucrative Scottish Premier League. The UK’s football infrastructure is one of the most developed in world sport, as pointed out in England’s failed bid to host the 2018 World Cup, while the immense popularity of football in the UK is such that it has even pervaded aspects of music and fashion culture. All this has enabled the smaller home nations to produce an impressive amount of world-class footballers – Best, Dalglish, Giggs to name but a few – in spite of their modest populations. Indeed, the world’s most expensive footballer is a Welshman.

So why is it that the home nations are consistently underachieving? We can speculate on a number of different causes, however a strong case can be made that it is the traditional footballing philosophy deep-rooted in the British game that is having the most negative effect on its national sides. Whereas a style of play centred around physicality, no-nonsense defending and long balls dominates the British game, the Spanish (and more recently German) model of developing technically gifted footballers capable of playing a short passing game and dominating their opponents, regardless of their physical stature, has exposed the British model as outdated and, crucially, inferior.

This is not a question of which style is most pleasing to the eye; with Spain witnessing the greatest success in their national team’s history in recent years and Germany a regular fixture in the semi finals and finals of major tournaments, there is no doubt that they are doing something right. When the English FA mustered the courage to adopt a continental approach by appointing the national side’s first foreign manager, the Swede Sven-Göran Eriksson, England proceeded to reach the quarter-finals of three successive major tournaments. His successor, Englishman Steve McClaren, failed to even qualify for the finals of the European Championships in 2008. More recently, Lars Lagerbäck , another Swedish manager, overlooked for the Wales manager post in 2012, is now in charge of an Iceland side in a strong position to qualify for their first ever major tournament. Wales, on the other hand, languish at the bottom of their qualifying group under the stewardship of Welshman Chris Coleman, while on the same night that the senior side lost to Macedonia, the Wales under-21 side suffered a humiliating defeat to San Marino, a country with a smaller population than Wrexham and whose senior side is ranked 207th in the world. Incidentally, the population of Iceland is less than 400,000.

The English FA have finally recognised that the British model is perhaps an old-fashioned one and have taken the first few steps to adopting a more modern approach, most notably with the opening of St George’s Park, a state-of-the-art National Football Centre which, in time, should see England producing technically gifted footballers to rival Spain and Germany. And while the respective football associations of Wales, Scotland and Northern Ireland may not have the financial means to produce such enviable national football centres of their own, by at least abandoning the outdated notion that ‘British is best’ when the best can more often than not be found abroad, we may finally see the home nations shedding their collective tag of hapless underachievers and starting fulfilling their potential on the international stage.

Grand Theft Auto: Society’s Dark Secret

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When I was in my early teens, I harboured a vague interest in video games. Whether it was because of my burgeoning but unrequited sex drive, or because of my rapidly diminishing sporting prowess, I would occasionally sit indoors and play games on my computer, or some console.

One of my childhood friends had a Playstation 2- something that God had not blessed me with- so I’d head round to his house and play games on that, which had more advanced graphics than the Miniclip platform games that I was used to. And, during those grotesque adolescent sessions, we played Grand Theft Auto III, and, ten or so years old, we would routinely beat prostitutes to death with a baseball bat.

Now, this isn’t designed to be a standard Daily Mail diatribe against violent video games. I haven’t gone on to kill prostitutes in real life, or even steal cars. Nor did I find the game particularly exciting, possibly because I got the biggest thrill from trying to observe the rules of the road (waiting at traffic lights in that game is how I developed patience). But with the release of Grand Theft Auto V, and the news that a man was stabbed for a copy, I’m slightly concerned that we might all be missing the point of what immersive game playing is.

At this point, I should point out that the last time I played a video game was several years ago. I find them extremely hard and frustrating, and, frankly, I’d rather watch repeats of The Office. But, once upon a time, I did play Red Dead Redemption, which has been described as ‘Grand Theft Auto in the Wild West’.

I played that game, and even, at one point, hog-tied someone and left them on the railway tracks to be flattened by a steam train. It’s a worryingly violent game, but one whose saving grace is the fact that we can’t actually go back to 1911 and ride around on horses. It’s basically the same thing that stopped me worrying about my friend massacring cave trolls in Oblivion.

But with Grand Theft Auto V, we have a game where players are positioned in the role of the ‘everyman’. No superpowers, no real backstory, just an ordinary guy. And then they’re let off the leash to commit whatever atrocities they desire. If I wanted to go out and recreate the Washington Navy Yard shootings, I could. If I want to slaughter pedestrians for money, I can.

Which, in itself, isn’t necessarily a bad thing. Moralising creative art is an unsophisticated way of tackling the topic. Grand Theft Auto V may have many other virtues as a piece of storytelling that focuses on the decisions of the gamer, rather than the pre-ordained narrative (whereas American Psycho or Complicity wouldn’t give you the option to avoid that path).

What worries me is the fact that the game is unrivalled in its popularity. The game is expected to gross over $1bn and the release has been met by feverish, fetid fan boy fanaticism. People are so overwhelmed by the release of this game that they’re willing to stab someone to get a copy of it. This isn’t life imitating art, it’s just life being shit.

The video game that inspires the greatest level of devotion by its acolytes is the one that most closely resembles the taboo possibilities that are out of reach in real life. I’m not so much worried that the game will breed a generation of prostitute-killers, as I’m worried that we live in a community where that is the fantasy. Nor riding horses, not slaying cave trolls, but having unrestricted access to an enormous arsenal that can be used to level and destroy buildings, vehicles and puny human lives.

It’s not the fault of Rockstar Games, who developed the franchise. It’s the fault of a consumer base who crave unmoralised violence. Sure, I could get knifed for a copy of Rollercoaster Tycoon, but at least my muggers wouldn’t be further dislocating themselves from society when they go home later and play it (unless they’re actually aspiring rollercoaster tycoons, in which case they’ll become hopelessly deluded).

The problem with video games is not that they’re artless or mean-spirited; it’s that the most popular title taps into our darkest fantasies. If Crash or Irreversible were the top-grossing films, then I’d argue that we have a problem there. Likewise, if Earl Sweatshirt were topping the album charts, I’d be slightly concerned (although Robin Thicke is worrying in many of the same ways). If Grand Theft Auto V is a barometer of the moral standards of our society then we should probably be extremely worried, and go out and dig bomb shelters.

And even if it is ‘just a game’, aren’t there better ways to waste your life? Go out and carjack a hoop and a stick, kids.

Vintage style at Goodwood Revival

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Goodwood Revival, the annual vintage motor racing event, is a haven of period dress (circa 1940s – 1960s) and vintage style. Don’t be fooled: although automobiles and airplanes are the focus of the weekend itinerary, everything on site, right down to the pop-up Tesco store, is recreated to mimic its post-war existence. Dress code is no exception, and, judging from the crowd this year, it’s a fact: no one does vintage like the guests of Goodwood.

 

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Street style at London Fashion Week

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Camille Charriere, blogger at Camille over the Rainbow
Tibi shoes and sweatshirt, Malene Birger coat, Sara skirt

 

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Ioana, actress
Zara coat, Topshop hat and shoes
 

 

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Yu Masui, journalist and blogger
Charlotte Olympia shoes, Sophie Webster bag, Comme des Garcons hat 

 

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Marie Jensen, blogger at Nemesis, Babe and street style photographer for Nastygal
Vintage shirt, skirt and belt, Zara shoes, Nastygal bag

 

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Andreea Bogdan, creative director at Secret D’or
Celine shirt, Vintage skirt and coat, Bruno Marli bag

 

All pictures courtesy of Dina from She Loves Mixtapes

Party Conference Season: A Disgrace to Democracy?

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After a long summer, conference season has finally arrived. Political parties from across the country will now gather and assert their ability to lead the nation. You would think that such events would be a full and vibrant demonstration of democratic values. Sadly, the common wisdom seems to be they are not. The media will be there; the lobbyists will be there and the politicians will be there –everyone, but ordinary members will be there in force.

The decline in the membership of political parties is both well documented and often quoted. In the 1950s, the Conservatives had 2.8 million members and Labour one million. Today, political attrition has led to a Conservative membership of approximately 130,000 and a Labour one of 200,000. Correspondingly, attending a party conference has become less and less normal. That is not to understate the facts – the Labour and Conservative conference can both expect an attendance in the region of 10,000. The problem is not a shortage of people wanting to attend conferences, which have become a lucrative way of earning income for cash-strapped parties, but that they have become increasingly distant from the general public.

Is this surprising? Well, considering the ability of ordinary members to shape policies, not particularly. Annual conferences now play a minor role in shaping election manifestos, in both the Conservative and Labour parties. Most of the big outcomes of these conferences are pre-scripted and party strategists have largely decided what the themes of the conference will be far in advance.

It has been a long time since the grassroots of any political party managed to defy the leadership at a party conference. The Liberal Democrats are the only one of the main parties to have a reasonable measure of direct democracy at their conference. However, rather than being praised for this, there is constant speculation about whether the conference attendees will back their conference masters. This makes the politics of presentation seem more important than the politics of substance.

Everyone, in theory, seems to agree that conferences should be for members, yet peculiarly enough that is not what is happening in practise. Fringe meetings continue to be a hub for ideas, but it seems perverse that it is only at the peripheries of a conference where real discussion is taking place.

A partial explanation for this trend is that party conferences are no longer just for the members, but are part of a national political drama. Indeed, the media is already raising the stakes this year; the Daily Mail has helpfully pointed out that Ed Miliband is now as unpopular with voters as Iain Duncan Smith was 8 months before he was dumped as Tory leader, resulting in the Labour leader’s upcoming speech being turned into a crucial moment for his leadership. The focus then becomes less upon self-reflection and critical debate and more about a triumphant display for the party leader.

The concerning part about this issue, is that senior politicians have so little to say about it, or even worse, they deny it. For example David Cameron, in a message to Conservative Future members, claimed:

“Each year our Conference goes from strength to strength, finding new ways to give everyone attending the chance to get involved, have their say, and contribute to our Party’s work.”

The problem with statements like this, from all politicians, is that they radiate positivity, but bear little relation to reality. People begrudgingly pass it off, saying party leaders have to say things like this. In truth, it is damaging, as the issue of internal party democracy can only be addressed once it is admitted.

Naturally, having a conference representative of your base is a risk; it is a lot harder to whip ordinary party members, as opposed to career-minded MPs. It is a wonder how party leaders can express surprise at political apathy, when they are unwilling to even give their own members, who generally agree with them, their own say. Displays of faction on the national stage are certainly damaging, but equally a lack of discussion can lead to both weakly supported and poorly conceived policies.

British political parties have been top-down organisations for quite some time now. The ability of party headquarters, to parachute candidates into seats, makes that plain. It seems party conferences have become so thoroughly scripted that they verge on being a sham to extort media coverage from the BBC.

The decline of the party conference can be linked to several other national trends:  the decline in strong party affiliation, the decline in electoral turnout and, most clearly of all, the decline in party membership. However, a point will come where political parties will have to give power back to their members, even if it is only to maintain an organisation capable of campaigning on a national scale. Rushing activists around the country works fine for by-elections, but in general elections, parties will begin to be stretched extremely thin. A time will come when political parties will be forced to decide whether they wish to be democratically accountable to their members. If the answer to that question proves to be no, then they risk the overthrow of the current political status quo.

The Mercury Prize – A celebration of ‘beige’?

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The nominations are out (!) and it must be time for that two-month window of hype, radio play and sales boosts as the British public deliberates over which British album to be proudest of in 2013. Of course, they get no say in the matter, that is up to industry ‘experts’ who are of course far more suited to handle such a complex and unyielding task. In case you hadn’t seen it yet, here’s the shortlist-

Arctic Monkeys – AM

David Bowie – The Next Day

Disclosure – Settle

Foals – Holy Fire

Jake Bugg – Jake Bugg

James Blake – Overgrown                 

Jon Hopkins – Immunity       

Laura Marling – Once I Was An Eagle

Laura Mvula – Sing to the Moon

Rudimental – Home

Savages – Silence Yourself

Villagers – Awayland

A cracking list I’m sure you’ll agree – apart from perhaps Laura Marling who I wasn’t a massive fan of – but, like Marling, isn’t it all a bit bland? A bit ‘beige’? Come on Britain, you’re better than that!

The Arctic Monkeys had barely released their latest studio offering before it was being added to the list and, although I’m sure Gruffudd Owen would beg to differ, it’s just one drawn out melodious rock ballad playing on the current characterisation of Alex Turner as the epitome of post-Britpop cool and, much like their Glastonbury headline slot, just falls flat on its face. Don’t get me wrong, I’ll be the first singing along to ‘R U Mine?’ in fresher’s, that riff is infectious and the groove runs up your spine like a pneumatic drill on a freshly laid pavement but is it innovative enough, really?

Similarly, it could be said that Bowie’s inclusion on the list is purely aesthetical, the fashion in which he released ‘The Next Day’ with no pre-warning whatsoever was monumental and will not doubt go down in rock history. The album, however, is great but not one of Bowie’s best, and besides, do you really think he cares about a Mercury prize with 140 million album sales under his belt? 

No, the Mercury should be designed to encourage young, often fledging but indisputably innovative, stars to further success. The prize has a reputation as a ‘curse’ with Damon Albarn retracting Gorillaz’ nomination in 2010 describing it as “like carrying a dead albatross round your neck for eternity”. Previous winners Primal Scream, Elbow, Dizzee Rascal, Pulp, Portishead, Alt-J, The XX and Arctic Monkeys don’t seem to be doing too badly for themselves though so this claim seems slightly unjustified! If targeted at the right act, the right talent that actually needs the recognition of the industry could the Mercury’s be force for both celebration and good?

The remainder of the nominees, although slightly less established as modern-day ‘legends’ of British music, are nonetheless all successful and appreciated in their own right, so do they really need another gong? With the BBC sound of –insert year- and the Brit’s ‘critics choice’ awards both having descended into a pre-paid joke within the music industry, surely there needs to be a recognition of talent and innovation for those that actually need a leg up into an increasingly more competitive, yet also less lucrative environment.

In 2013 every Tom, Dick and Harry seems to be able to join the ranks of X Factor/Britain’s Got Talent as ‘finalists’, as the weeks go by every top 40 chart becomes increasingly unimaginative and every mainstream televised music event has now become a celebration of complacency with only one festival headliner this year having released their debut album within the last five years and that was Mumford and Sons who are the definition of ‘beige’.

I may sound like a grumpy old man here, but the average summer festival-goer was 44 so there’s a lot more out there willing to pay three-hundred odd quid for their luxury yurt, is this really a true reflection of British music that we want to promote to the outside world? Probably not.

British music is exciting, it’s diverse and, most importantly, it’s innovative. So yeah, bop along or chill out to your Mercury nominees – I know I will – but if you want to celebrate innovation, what’s actually a true reflection of the British music scene and not merely a jetlagged mainstream catch-up, look elsewhere.

Spotify player temporarily removed. Apologies.

Review: Arctic Monkeys – AM

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★★★★
Four Stars 

‘In five years’ time will it be: “Who the fuck’s Arctic Monkeys?”’ 

It’s now been seven years since Alex Turner first sang those words, and I think it’s fair to say that Turner’s fears of his band being consigned to indie music history have proven to be unfounded. 

Indeed, since the release of their debut LP Whatever People Say I Am, That’s What I’m Not, the Arctic Monkeys have emerged as the kings of British rock music; handpicked by Danny Boyle to perform at the London Olympics Opening Ceremony last year and chosen by Michael Eavis to headline Glastonbury for the second time in their still relatively short musical career earlier this summer alongside the legendary Rolling Stones and, erm, Mumford and Sons, the Arctic Monkeys have succeeded in being mainstream enough to be a popular, Glastonbury-headlining rock band, whilst also making sure not to drift too much into the mainstream by constantly developing their musical style, therefore remaining ‘cool’. 

Given that the quartet are no strangers to musical experimentation, with their sound gradually evolving from straight-out indie rock on their first album – rich in lyrical content and social commentary but not exactly musically ground-breaking – to the heavier, more lyrically abstract stoner-rock of the criminally underrated Humbug and its follow-up Suck It And See, it comes as no surprise that the boys from Sheffield (or perhaps Los Angeles is more accurate, which is where they all now live) are on top experimenting form on their latest outing AM.

Lead single ‘Do I Wanna Know?’ opens up proceedings; aided by heavy guitars and a thumping drum beat supplied by the ‘Agile Beast’ Matt Helders, Turner reaches new-found levels of sexiness both lyrically and vocally (‘I’m constantly on the cusp of trying to kiss you/I don’t know if you feel the same as I do) which is enough to send this 21-year old man listening to the first few minutes of the album giddy with delight.

The follow-up ‘R U Mine?’ continues in a similar vein, this time with a more upbeat tempo and with the added falsetto backing vocals of Helders, although the song’s inclusion on the album seems a little cheeky given that it was released more than 18 months ago for Record Store Day 2012; a rollicking rock song nonetheless, with the inevitable lyrical gem provided by Turner (‘I’m a puppet on a string/Tracy Island/Time-travelling diamond’) who claims to have been inspired by R&B and hip-hop artists Drake and Lil’ Wayne.

This experimentation with R&B and hip-hop is a regular feature of AM – Turner recently said that the album ‘sounds like Dr. Dre’ – and it is something that the Arctic Monkeys pull off exceptionally well. Third track ‘One for the Road’ is a fabulous mix of R&B and Queens of the Stone Age-esque stoner-rock, the influence of the latter thanks in no small part to QOTSA frontman Josh Homme, a frequent collaborator with the Arctic Monkeys who provides backing vocals not only here but also on penultimate track ‘Knee Socks’, another song with a distinct R&B feel.

However it is fourth track ‘Arabella’ that is arguably the stand-out example of the R&B-hip-hop-rock equilibrium which the Arctic Monkeys achieve on the album – the song alternates between verses which sound like they wouldn’t be out of place on an Eminem album and punchy, heavy rock choruses that Ozzy Osbourne would be proud of – a supreme example of two differing musical styles blending perfectly together and evidence, if it wasn’t obvious already, that the Arctic Monkeys are a band who possess such confidence and musical ability that they are fully aware that their bold musical experimentations will pay off.

Elsewhere on the album, ‘Why’d You Only Call Me When You’re High’, with it’s funky bassline and drumbeat and Turner’s high-pitched vocals is yet another glorious concoction of rock and R&B; ‘No.1 Party Anthem’, despite its title sounding like an LMFAO track, is a wonderful, downtempo piano-driven track with echoes of David Bowie’s ‘Life On Mars’ (though such is the audacity of Turner and co. that a future collaboration with LMFAO would no longer be entirely implausible); while ‘Mad Sounds’, a dreamy, psychadelic ballad again catches us off-guard with its song title. Turner brings the album to a close with the heartfelt ‘I Wanna Be Yours’, an excellent song adaption of John Cooper Clarke’s poem; if ever there was a poem written for Alex Turner to turn into song, this would be it.

The album is admittedly not without its flaws; ‘I Want It All’ is a disappointing album filler which is not something that we have come to expect from the Arctic Monkeys on the basis of their previous albums and b-sides, but this is nothing more than a minor blip on what is otherwise a highly-accomplished, breathtakingly ambitious album by the stand-out band of our generation who seem to be going from strength to strength. 

There may be people who claim that the Arctic Monkeys have never bettered their breakthrough debut album and who rue their change in musical direction; but if AM is a sign of things to come, why on earth would they ever look back?

Spotify player temporarily removed. Apologies.

Zaragoza: Spain’s Little Known Gem

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This summer I’ve come to Zaragoza, Spain, for a month to work as an au pair, primarily to improve my Spanish and to get an authentic experience of life in Spain. I couldn’t have asked for a better or more welcoming family to stay with and the children have been sweet and generally well behaved (even though the main phrases I learnt from them are ‘let go of me/it’ and ‘he’s so annoying’). My main job is to help them improve their English, although at times they are a little (alright, very) reluctant to practice. This has included, among other things, explaining the difference between ‘kill’ and ‘die’ and stressing the importance of pronouncing the ‘ee’ in ‘sheet’ correctly…

This month has been an entirely new experience for me in more ways than one. For example, for the first time I’ve been a tourist on my own; armed with a trusty map with the main sights highlighted by my host family, I ventured into the city of Zaragoza to do a spot of solo tourism. Though less well known than the capital Madrid or Barcelona, Zaragoza itself, capital of the autonomous community of Aragon, does not disappoint. For those interested in history, the city has everything from Roman ruins, to a Moorish castle, La Aljafería, and the stunning Catholic Basilica Nuestra Señora del Pilar. The Basilica is pretty much the emblem of the city and the frescoes of its dome are the work of one of the city’s most famous sons, Francisco de Goya. During the Spanish Civil War (1936-9) three bombs were even dropped on the Basilica but miraculously none of them exploded. With the River Ebro running along one side of it and the open Plaza del Pilar on the other, the Basilica offers plenty of opportunity for touristy photos. However, while seeing all the sights by yourself does allow you to go at your own pace and take as many photos as you want, I’ve found that the main downside is that you seldom get to appear in said photos! Also worth a look is the Parque de José Antonio Labordeta with its spectacular fountains surrounding a statue of Alfonso I ‘El Batallador’, who liberated the city from the Moors in 1125. The modern tram and bus network make it extremely easy to get around, particularly when it’s hot and there is even a cycle hire system similar to the one in London.

However, rather than simply being a tourist, I also had the far more immersive experience of living with a Spanish family for longer than a one or two week holiday. Whilst most British holiday makers in Spain are able to cling to their usual routine in the predominantly English holiday resorts, most Spaniards take their meals a lot later – lunch at around 3 o’clock and dinner at around 10. Though at first I found myself starving about three hours before mealtimes, the new timetable was easy to adapt to simply because it makes a lot more sense when you live in a place where temperature average around 38 degrees in the afternoon. A late lunch allows time for the well-known Spanish ‘siesta’, taken during the hottest part of the day. This meant that, when I ventured into the city, the streets of Zaragoza were nigh-on empty between the hours of 3 and 6, with many small shops and tourist attractions closing after 2. Fortunately, shops are also open much later, typically until about 8.30/9 in the evening, though the famous ‘Corte Ingles’ (a department store akin to Debenhams/ Marks & Spencer) is open until 10, so shoppers can take advantage of the cooler evenings. However, along with Greece, Spain has been one of the countries to suffer the most as a result of the Euro-crisis, and the results of ‘la crisis’ can easily be seen, with many shops closed or in liquidation and many recently built apartment blocks left empty.

Some aspects of Spanish culture are very familiar; football is as huge here as it is in the UK and on arrival I was asked whether I was a Barcelona or Real Madrid fan (Barcelona was the only correct answer in this house). On the other hand, I couldn’t quite get my head around the frozen octopus and pre-packaged sheep’s heads on sale at the supermarket. As well as watching a fair few badly dubbed Disney Channel shows with the children, there was plenty of wince-inducing footage on TV of the running of the bulls at the festival of San Fermín in Pamplona and of course extensive coverage of the birth of the Prince of Cambridge. One of the neighbours, knowing that I was English, even congratulated me. Sadly, this news was followed several days later by the horrific train crash in Santiago de Compostela, the worst rail accident to happen in Spain since 1944, killing 79 of the passengers.

This month has been about a lot more than improving my Spanish and earning a bit of money in the process; I’ve stayed with a brilliant family and looked after two wonderful kids and the experience has given me invaluable insight into day-to-day life in Spain.

An editor has to be heartless, but thoughtful too

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My heart skipped a beat or two on Friday afternoon when I learnt online that a participant of a Shark Tales video – a trainee at law firm Clifford Chance – is facing the sack because of comments that he drunkenly made to the Cherwell cameras, fronted by Toby Mather.

Shark Tales isn’t meant to get anyone fired, though its aim – to encourage students to embarrass themselves – can naturally be deduced from the presence of its cameras outside a nightclub at 3am.

As editor of Cherwell last term, I – along with my co-editor – sorted through the video footage before each Shark Tales edition was released deciding what stays, and what goes.

Mostly it’s quite easy. Racism, sexism, serious violence – that sort of thing – is immediately cut out. The perverse ethical effect of this, of course, is to protect students who have said really unpleasant things on camera from the sorts of consequences that have befallen the trainee lawyer, whose offence, if we’re honest, was only to glorify robbing one group of rich people to give to another group of rich people, otherwise known as the legal industry. 

There are in fact multiple cases like the lawyer’s, in which you are faced with content that doesn’t cross clear legal or ethical boundaries but does prompt you, as an editor, to think twice.

The footage with the lawyer had the merit of being hilarious, especially because of his flourish at the end in which he “refuse[d] my consent for this to go on the internet and I will sue you if it goes on.”

It was troublesome for the precise same reason. Legally, we were told that he had no case – consent had been expressed in agreeing to be interviewed for what he knew was a video. But ethically, we had to contemplate the fact that the guy had had a few drinks and sincerely, in a state of sobriety, did not wish for the footage to go online. He sent further emails to that effect.

The footage was included and the rest, it seems, is history.

The truth is that an editor of a student newspaper is placed, through the simple power of selection, on to a quasi-judicial pedestal that, ideally, a twenty or twenty-one year old shouldn’t be on. But someone has to do it.

Though different editors will make different decisions, recognition of the pastoral role that student societies play means that most student newspaper editors – though they may style themselves as mini Paul Dacres – tend to protect students from the full consequences of their actions.

This article, for instance, named the freshers who had unwisely “blacked up” at a college bop in our print edition. But we decided, given their sincere apologies, that it wasn’t worth hobbling their future career prospects by naming them in the online article.

Similarly student editors have to decide when it’s fair to remove a student’s name from an article that embarrasses them or hurts their reputation. We are frequently asked to do so once the student in question, conscious that a future employer might google their name, starts job hunting.

There’s no easy answer, but the right approach, I think, is to try to judge – without sentimentality – whether the penalty that they claim to be suffering really measures up to the thoughtlessness of whatever actions prompted the article in the first place.  

The more pertinent advice, of course, for most readers who are more likely to be watching or reading Cherwell rather than producing it, is don’t be a moron.

Online Learning: The world at our fingertips?

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Online learning platforms have become increasingly popular over the past couple of years. There are few people who have not learned something on YouTube: whether it’s how to play a guitar tune, bake a cake or assemble a table, almost everyone has watched online videos in order to learn basic skills. 

However, more structured, user friendly and advanced websites designed specifically around learning have been sprouting all over the internet in recent years, and their simple, hugely accessible platforms will almost certainly revolutionise the education sector in years to come. Having a computer as a teacher is now a reality.

One of the most well-known and successful platforms of this type is Khan Academy, which fuses educational videos made by Salman Kahn, its MIT-educated creator, and an intuitive lessons programme which not only teaches maths, but allows users to instantly practise what they have learned. Khan Academy’s huge success is due to Khan’s incredible capacity to explain, together with a thoroughly well-developed and easy to use interface. Essentially, Khan Academy makes learning fun. Khan’s vision is that students can practise what they have learned at school in their own time and at their own pace; and it seems to work.

However, Khan Academy is focussed mainly on school children learning maths. Increasingly, well-known (mostly American) universities have been investing in what are known as MOOCs (Massive Open Online Course). The name says it all – these are advanced courses, explained part by video and part by a computer system which test students’ skills in courses which are marketed for a huge online audience. This is the case with edX, Udacity and Coursera, all websites which offer university-level courses (usually ranging around two months in length). The courses offered are mainly associated to science subjects: computer science, mechanics and solar energy are all popular courses, although one can also learn about topics such as Philosophy or “The Ancient Greek Hero”. Each site has its own particular interface, but the concept is generally similar all around; interesting yet rigourous courses taught by real university lecturers. 

Ted, well-known for its thought-provoking videos on a wide range of topics, has not been slow to react, and has launched Ted Ed, where purely educational videos are posted, with the option to dig further, or practise specific skills. iTunes U has been offering free university lectures for a number of years. Other sites have skipped the whole video element, and have focussed purely on practical learning. Such is the case with CodeAcademy‘s incredibly user-friendly interface which has been teaching people around the world about computer code since 2011, whilst Duolingo teaches users a number of different languages whilst they help translate the web. 

edX, a MOOC originally set up as a joint venture by Harvard and MIT, states that its mission is to ” bring the best of higher education to students of all ages anywhere in the world, wherever there is Internet access”. Most of these online learning platforms are non-for-profit, and crucially, they are absolutely free for users. The potential of such a vast source of free knowledge is enourmous. Add the development of mobile apps to the equation and the impact becomes explosive. 

But what is in it for the universities and companies investing all this money in expensive online learning platforms through which they are essentially giving away free degrees? Whilst the benefits of reaching such a huge audience with your image are clear, none of these MOOCs include advertising, which would be the most obvious source of income. Meanwhile, openly for-profit MOOCs such Coursera and Udacity, whilst not charging for courses, have begun to charge potential employers for access to the best online students. Both platforms are also considering charging a small fee for a certificate of completion. Meanwhile, a number of American universities are now considering accepting online credits as part of their degrees, which is surely testimony to the rigour of the courses offered on MOOCs. Google have already partnered up with edX to create MOOC.org, a platform which has not yet been launched but which hopes to draw a large proportion of online learners. 

No doubt there are flaws to such initiatives. The self-discipline necessary to complete a rigorous course online is considerable, whilst some skills, in particular languages, are extremely difficult to perfect simply with a computer as a teacher.

Nevertheless, in an increasingly competitive job market, and with access to higher education becoming more expensive, it is not hard to see how free online courses could revolutionise the higher education sector in years to come; in a similar way to Wikipedia’s open, free access to knowledge, free online courses could soon become a fact of life. 

Crucially, Oxford need to get their act together and get involved in MOOCs and online learning, which may well soon be a benchmark by which to measure a university’s prestige and quality of teaching. You only need to take a look at SOLO or Weblearn to realise that Oxford have a long way to catch up when it comes to computer technology. MIT, Princeton and Harvard are not offering online courses out of pure kindness; they are fully aware of the potential that such platforms could have in future years. If we want to maintain our position among the world’s top universities, online learning is one of many areas in which Oxford needs to focus. And if it’s a problem of funding, then it is up to the government to decide where their priorities lie when it comes to education. If Oxford wants to remain a world leading university, we need to go online now.