Blog Page 1492

Is England’s ‘New Era’ a false dawn?

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In the last couple of weeks the ECB has drawn a firm line under a period which saw English cricket enjoy prosperity, the likes of which largely hadn’t been seen since the 1980s. As well as winning three out of four Ashes series between 2009 and 2014, England came away from India with a series win for the first time this century, and won their first major limited overs trophy at the 2010 World Twenty20. But in the wake of a winter of humiliation this golden age judged to have ended, and seismic changes have already taken place.

The main headlines have rightly focused on the abrupt sacking of Kevin Pietersen last week, England’s highest aggregate run scorer both in the latest Ashes series and in history. After much media wrangling the ECB finally re- leased a statement on Sunday explaining that it was important that Captain Alastair Cook could rely on all players “pulling in the same direction and able to trust each other.”

This might seem sensible given Pietersen’s track record of irritating every dressing room he’s ever played in, but the language of this explanation is troubling. Having everyone working together is all well and good as long as it doesn’t deteriorate into an authoritarian regime where no discussion of tactics or planning can take place among the senior group of players. As was evident from last winter, Cook still has a lot to learn as captain. An open environment which encourages the experienced players such as Bell, Broad, and Prior to take some responsibility and help make decisions is what the ECB needs in the wake of such embarrassment.

Whatever the spirit of the dressing room, it is surely more important to have the most talented players playing as many matches as possible. I’m all for team cohesion but it can’t take priority over talent, form or record. Gary Ballance in his early career has come across as a model team player but when a Dale Steyn or Mitchell Johnson has just ripped out your top order, threatening to spark yet another England collapse, I know I would rather see Pietersen swaggering to the middle.

Geoffrey Boycott, one of the most vociferous critics of Pietersen’s style and maturity, was a nightmare to play with because of his overwhelming egocentricity. His teammates still found a way to accommodate him because of the sheer weight of runs he promised.

The timing is particularly odd when you consider the short term plans of this England team. With the World Twenty20 in March, a format which Cook has not played since 2009, wouldn’t the best thing have been to select Pietersen, arguably one of the most accomplished T20 players in history, and drop him for future test matches?

Another area which needs more explanation from the ECB is the departure of Andy Flower. In one sense this move, if really instigated by Flower rather than his employers, is understandable. Building a successful cricket team takes commitment; ideally a coach prepared to manage in all formats, and a lot of effort.

Flower has already been through this process once, leading England to number one in the world, and may feel that he doesn’t have anything prove by doing it all over again. The assumption on which this very reasonable decision rests is questionable because it depends on whether the 2013-14 winter really saw the end of Flower’s glorious era.

True, England have under-performed in recent months. They played dour but functional cricket in the summer Ashes, and capitulated completely in the return fixtures. But before this there were few signs of ill-health. New Zealand put up a good fight at the start of last year, verging on beating England on several occasions, but anyone who looks at their recent successes against India will see a team in resurgence who no one can roll over anymore.

The classic English trait of taking defeat as the end of the world seems to apply to the whole reaction to our recent losses. Many of the central issues accounting for Australia’s sud- den dominance can be explained simply by fatigue. Jonathon Trott’s stress, Graeme Swann’s increasing injury count, Cook’s jaded tactics, and a general loss of form could all have come about because of the hectic cricket calendar. Perhaps instead of sacking our best player and implicitly persuading a successful coach to leave office, the ECB should have been looking at changing their schedules, largely defined it seems by commercial arrangements.

This would allow the England players to properly recover from a demanding series like the last Ashes, and the peaks and troughs of recent results would become less pronounced.

This might be an international issue, but solving it would certainly help the English.

Preview: Night of the Absurd

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Buy one, get one free: each Night of the Absurd promises to fill your evening with two plays and more existential lines than you can wring your world-weary hands at. Prepare yourself for a double bill of Camus’ The Misunderstanding and Sartre’s No Exit: two plays which were proclaiming the meaningless of life before it was cool.

The first half is given over to The Misunderstanding – a euphemism if ever there was one. The set-up is a mother and daughter who make ends meet by running a guest house. Murdering their visitors for their money, of course. And then along comes the long-lost son in disguise… The tension is teeth-grindingly high, even when the conversation turns to tea. In fact, all the conversations are tense, so after the fifty-sixth semi-subconscious ultra-profound absurdist double entendre, the jokes get a bit old. The characters are great to watch as walking philosophical doctrines; but in terms of psychology, they feel more like a scrap-book than a story. There are flashes of depth though, and some of them deeply sickening, but that also means there’s plenty of “oh no they didn’t!” moments.

After a quick interval, it’s back to the instruments of mental torture. And not just for us – No Exit imagines a hell without the pokers and fat-sizzling fires. Nothing but a room kitted out with Second Empire furniture, a paper knife, a bell that doesn’t work, and a locked door. And three very desperate human beings who have just started eternity. Sounds cosy, but everything soon crumbles into a very sophisticated, very brutal, and yet uncannily everyday verbal brawl. Technically, this is one of those plays where you find yourself lost in trying to sum up ‘what it’s about’. But this is a world away from Waiting for Godot: it’s relentless, it’s edge-of-the-seat, and it will sink its claws into your brain.

The material is heavy, yet the sets are light; the cast have given themselves a real challenge. In the bleak plays there isn’t much to hide behind. With just a dab of make-up and some furniture, all the drama is in the words and the gestures. Acting is tough anyway when you’re trying to pretend to be someone else; and with the absurd, it’s more like pretending to be someone pretending to be someone else. Each twitch and every tone can make a difference. There’s the potential to seem eerily flat; but there’s the reward of being more fleshy than life itself. Pembroke, break a leg.

 

 

 

Review: The Last Days of Mankind

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There’s nothing quite like a full-throated bellow from an actor for dramatic impact. If the audience isn’t expecting it, shouting can bring home the rawness of an emotional moment in a powerful way. The problem with Die Letzten Tage Der Menschheit is that the characters are so stereotypically of the WWI military ilk that the jarring shouts never stop, and the play’s satirical look at the rabid bellicosity pervading Vienna during the First World War loses its impact in becoming predictable.

The play, written by the Austrian writer and journalist Karl Kraus in 1922, traces the experiences of a range of Viennese citizens – from jingoistic generals to a flirtatious female journalist looking to get in on the action on the front line. What’s startling is that Kraus actually used dialogue from contemporary documents when writing Die Letzten – a fact which seems at odds with the play’s stereotypical characterization: the army generals are pompous, narcissistic nationalists who thump their subordinates for entertainment and the solitary non-conformist pacifist seems in a constant state of disgust with life (no surprises there, then).

Some of the scenes were funny, but rapidly became repetitive in this two hour long production. This was the first time I’d seen a subtitled play, and it’s possible that the nuances of Kraus’s humour are simply harder to grasp when translated and awkwardly projected onto a screen at one end of the stage (the problem was exacerbated by the fact that the subtitles, as well as taking the audience’s gaze away from the characters themselves, were often out of sync with the actual dialogue, sometimes flickering back and forth as if confused about which scene was taking place). As the play progressed from its Catch-22-esque phase – the mad Austrian generals seemed drunk in the earlier stages on the idea of war – and moved into a more serious, less slapstick stage, so the scenes gained some political power. One particularly striking example was a scene in which two deserters are shot by their commanding officers, only to rise moments later and carry out the same action on the officers themselves – a reversal of roles which highlighted the army’s self-destructive actions.

Such glimpses of powerful symbolism were, unfortunately, rare in this rather clumsy production. Awkward staging meant that we could often hear noises coming from backstage, a reminder that, despite the actors’ fluent German, we were in the Burton Taylor studio, not an underground WWI bunker. Even the incessant assault of roaring, though aiming to bring the audience into the action of the play, had the opposite effect by highlighting what an inappropriately confined space the BT is for excessive amounts of yelling. Once this had died down the experience improved, and the play’s sudden movement into a bizarre expressionist ending at least compensated for the repetitiveness of the earlier stages of the play.

 

Review: Snarky Puppy – We Like It Here

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Following their recent Grammy success with Family Dinner, Snarky Puppy return with We Like It Here, a live recorded ode to jazz and funk that proves their skill, not only as a musical collective, but also as song writers. 

We Like It Here is clearly an evolution on Snarky Puppy’s earlier albums, but the remnants of previous work lingers. It is an album built upon far grittier foundations than any previous album. Electric bass is traded readily throughout for the powerful rasp of the Moog Keybass to create deep, moody funk and, when combined with one of the most rhythmically creative percussion sections around, spectacularly unleashed on ‘What About Me?’, the result is groovier than George Clinton’s Hair.

As the title suggests, We Like It Here captures Snarky Puppy at their most comfortable creatively. Perhaps their most stylistically varied album to date, they exchange soulful vocoder riffs on ‘Sleeper’ for Latin American grooves on ‘Tia Macaco’. But each track is a movement in itself. ‘Kite’ transitions from film score-esque orchestration to winding trumpet and piano solos while opening track ‘Shofukan’, moves from fusion through to a barrage of dirty horn-led funk that has the live audience off their feet with excitement. 

Though it is an album at the jazzier end of the spectrum, We Like It Here is melodic enough to be easily accessible. And luckily for us, Snarky Puppy are releasing a video performance of each track every Monday for the next 6 weeks.

Rating: 4/5

Balliol look set for the drop as Wadham inflict woe

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Balliol versus Wadham, the final game of the season: a clash of the liberals hasn’t mattered this much since Asquith took on Lloyd George. For Wadham, sitting in fourth in the Premier Division, this was, admittedly, a game of minimal significance. For their Broad Street near-neighbours, they don’t come much bigger. Following St Catz’ shock victory against Worcester, Balliol suddenly found themselves in a relegation dogfight; a win against Wadham would guarantee survival, whilst anything else would leave them nervously dependent on rock-bottom Hughs producing the goods against Catz.

Wadham started brightly, drawing a series of well-timed tackles from defensive rock Matt Lynch, followed by an impressive save from Alex Potten. The resulting corner was only partly cleared, the ball swept into the net on the half-volley from the edge of the six-yard box by Julian Albert. Balliol’s day was not going according to plan. As we have come to expect from this Balliol team, they reacted strongly, with the tireless Sam Atwell – a man well-versed in Balliol’s special brand of long-ball football – delivering a succession of inch-perfect balls into the Wadham box. Nevertheless, the situation went from bad to worse for the older college, with Jeremy Stothart converting clinically for Wadham for his eighth goal this season, following enterprising work on – predictably – the left wing.  

Balliol, now 2-0 down within the first half hour of the most crucial game of their season, kept knocking on Wadham’s door, with Colenutt beating his man on the edge of the area and producing a sublime low drive – only the post prevented a rapid Balliol revival. It was not all Balliol, however. Wadham winger Chris Nicholls frequently troubled the Balliol defence with his tricky feet and rapid movement, whilst Wadham’s quick passing allowed them to move the ball quickly up-field and threaten on the break. After a highly entertaining forty-five minutes, with all three spectators thoroughly enthralled, Wadham entered the half-time break 2-0 up.

For Balliol, this was crunch time. Captain Hooker rallied his troops for the second half, his cries reminiscent of King Leonidas in ‘300’ (or actual Sparta): the team had forty-five minutes to save their season. Wave after wave of Balliol attacks were thwarted by impressive defensive work from Wadham centre-halves Lyle and Vivian, who managed to keep last season’s top-scorer Jack Hostick isolated. When Rob Wight fed Hostick just inside the penalty area on sixty minutes, however, the striker produced a moment of magic, effortlessly turning his man and sweeping the ball into the bottom right corner. Kids around the world will be attempting to copy Hostick’s turn for decades to come; Balliol’s substitutes were trying it within seconds.

The comeback, it seemed, was on. Balliol piled on the pressure, with fresher Laurence Warner forcing a clearance off the line, but this disciplined Wadham side retained their shape effectively. With Hooker’s boys throwing everything at the Wadham defence – including Hooker himself, who moved up from centre back to spearhead the attack – they were inevitably left vulnerable to counter-attacking play. The warning lights were flashing when Potten was forced to produce a spectacular save from a Tom Johnes piledriver. Soon after, Balliol were made to pay the ultimate price for their valiant efforts when Wadham snatched a late goal on the break, leaving the final score at 3-1.

Balliol, then, despite dominating, now look likely candidates for the drop. First year Laurence Warner saw the silver lining, musing “It’s not even cool to be in the top flight these days. Far too elitist.” Balliol certainly have plenty to be optimistic about considering the talented team Hooker has assembled, and the college’s remarkable strength in depth, with Denvar Antonyrajah’s fearsome 2nds outfit currently making waves in the Reserves Second Division.

Wadham captain and goalscorer Jeremy Stothart, meanwhile, was proud of his team: “It was a great result considering that was our third game in four days, and we had our bar man in goal”. Stothart, ever ambitious, is delighted with Wadham’s performance this season, as “mid-table mediocrity… is what it’s all about.”

 

 

Preview: REPLAY

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Typical to Oxford’s theatre scene is the play in which some misguided, middle-class protagonist careers out of control following an irrational passion, or paranoia about the dreaded mention of suicide. Alex Wilson’s REPLAY has all this genre’s hallmarks.  The acting and the direction was certainly promising; the sense of creativity with the stage is admirable, and I certainly received the impression that the next two weeks are going to be spent ironing out the creases. 

Mary Clapp portrayed a Freya, this play’s pilgrim, who was profoundly rational about the process of story-telling. I might have expected a more passionate blindness in the turmoils of the potential pornography behind a role as a piano-teacher.  The chorus, a highly effective group that reflect and blend in with Freya’s isolation, portray her story well and flesh out her rememberings.  Benedict Morrison has very good diction ; Soraya Liu used the stage space well ; and Poppy Clifford opens the action with vigour. 

Taughtneness, rigour and defined lines are crucial when trying to reproduce a Young British Artist version of Sarah Kane. It is clear that Wilson’s text has enabled the creative possibilites of the black-box interior of the Burton Taylor and lighting potential will also be explored.  These factors certainly help define the lines between imagination, reality and storytelling, but never quite letting on which one is which is effective too.

After all, the representation of the most chaotic events of an individual’s misfortune, and the apparent terror that one seeks to reflect on them with, is an extremely delicate enterprise.  The metrical madness of a more formal theatre conveyed in language what this type of play is expressing with a music-box and a suited-and-booted ghost of the classical Chorus.

As a late-evening distraction from the library or bar, REPLAY could indeed replay a very touching and dramatic series of events in a woman’s life – but make sure you’re in the mood for something intense. 

Replay will be on in 6th Week, 9:30pm Tues-Sat at the Burton Taylor

The MP’s View

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A recent advice surgery I held at St Hilda’s specifically for students brought for­ward some important and interesting issues – showing how students talking with their MP can make a difference. Some of the issues raised with me included the campaign for the Living Wage to the menace of smoking at hospital entrances. 

Student participants of the OUSU’s Living Wage Campaign came to see me to see me to discuss the campaign and let me know their view that it should be extended across all uni­versity departments and colleges, including all subcontracted staff (e.g. cleaning staff) who are often paid a lower rate. I fully sup­port the campaign and have raised this with the University’s Vice-Chancellor. 

I also met with a student who raised con­cerns that smokers are lining up just out­side the entrance to hospital, meaning that visitors and vulnerable patients entering the building are in a thoroughfare of passive smoking. 

He made an interesting suggestion, based on his experience of hospital services in Can­ada, that smoking should be legally banned within a fifteen metre radius of the hospi­tal to prevent this occurring, which I have since taken up with the Secretary of State for Health. 

Another important issue I have become in­volved with is the campaign over restrictions to student visas, after a number of concerned students contacted me to express concerns about the difficulty of acquiring visas for study. I contributed to a debate in the House of Commons on this, and regularly take up the cases of individual constituents who con­tact me about having visa difficulties. 

I have also recently met with a campaigner for fairer gambling who raised concerns with me about the increased incidence and risk of gambling amongst the student population. I very much welcome student views on this, and ideas on the best way of tackling the problem.

Student voices can make a difference, as I hope the above examples show. It sadly remains the case that 18 to 24 year olds are less likely to vote than any other age demo­graphic, and this is a statistic including a large number of students, which is a worry­ing trend. 

A number of the policies pursued by the coalition government — the unprecedented rise in tuition fees, and scrapping of the Education Maintenance Allowance, policies which have caused so much damage toa gen­eration of young people — show what can happen when young people’s needs are mar­ginalised in the democratic process, and they accordingly don’t exercise their vote whether through disillusionment, or for a variety of other complex reasons. 

I have always valued the contribution of our students to the local quality of life and vigour of political campaigning. As the City and European Elections come into view – and with individual electoral registration on the horizon too – it is important to underline that students can not only talk with me, but be heard through local campaigning and by exercising that most fundamental of demo­cratic rights – their vote. 

Debate: Are boycotts against college services effective?

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Yes

In 2012, I arrived back for my second year in Oxford to a perfect storm of bumbling contractors, inaccessible pathways and JCB-branded accommodation. Every morning I awoke to the sound of someone drilling, seemingly into my headboard. Every afternoon the fire alarm would malfunction and force us out onto the street.

Ah, what memories. In compensation, we were given a 50 per cent rent reduction for a term and a half. Compared with Exeter’s demands, this was a pretty staggering victory.

Colleges are businesses – as much as they would be loathe to admit it. I’m a Pembrokian and financial mismanagement recently brought us to the brink of bankruptcy (and coined the timeless pun: PemBroke). Now, the college is solvent, successful, and has just built a £30 million new development.

But it has come at a cost. Rent rates are some of the highest in Oxford, there’s a compulsory meal plan and room banding is done via a free market system, rather than a ballot. It’s one of the reasons why Pembroke has the largest private school intake of any Oxford college (not ChristChurch as some are led to believe) with only 46.2 per cent state acceptance over the last three years. That’s bad on paper and in practice, but Pembroke is now financially stable.

Exeter, like Pembroke, has limited financial endowments (£48,763,000) and assets (£68,650,000) and cannot be as generous as St John’s, ChristChurch or Queen’s. Most colleges are still self-regulating and rely on financial sustainability.

If colleges are businesses, students are customers. You pay for your university experience and you expect a certain level of service in return. At Exeter you are paying exponentially more than a St John’s student for an experience that is likely to be similar or inferior, and we shouldn’t be expected to passively accept that.

Striking is an effective means of pressurising colleges, but not because it will significantly impact their financial yield. The Exeter hall-strikers have already paid their battels with the extortionate £840 catering charge, so the strike is a symbolic gesture. It is equivalent to Tweeting angrily at a company’s customer services department.

We achieved the 50 per cent rent reduction at Pembroke because the college feared negative publicity, student dissatisfaction, future years living out and myriad other concerns. So the Exeter student demonstration is not futile – it will serve as a mass consumer feedback session and the message will be communicated publically.

While Pembroke’s rent reduction was negotiated without a strike, Exeter’s JCR is in a strong position. A demonstration of student dissatisfaction, with support from OUSU and covered across the university might not banish the £840 charge with the flick of a wand, but it strengthens their negotiating position enormously.

Their JCR President has an arsenal of objective data and student feedback at his disposal. If I were seeking a rent freeze, then that would fill me with positivity. It is unlikely that all demands will be met but the protest will force action.

 by Nick Hilton

No

Viva la revolución! For many, the liberal sentiment behind the chants of Oxford students is undermined by their affiliation with a university which represents everything wrong with the British class system. Setting this small irony aside for a moment, Exeter does seem to have a problem that needs solving. 

An £840 catering charge on top of payment for meals every day, is exces­sive. Exeter JCR tells us that the aver­age student spends around £13.00 a day eating in hall, with the sur­charge making it the most expensive undergraduate college. It ranks bot­tom among colleges for living cost satisfaction, and according to OUSU, it is the second most expensive col­lege in terms of student living. 

All this is likely to have an adverse impact on access and make the day to day lives of students more prob­lematic. When JCRs feel that the college has treated them unjustly, they should certainly protest. In this instance, a boycott seems to be the simplest and most obvious method for demon­strating discontent. However, I don’t think that it will have the intended results. 

This is because Exeter’s catering charge is paid upfront. Over an 8 week term, students have to pay £5.00 a day even if they don’t eat in hall. If the aim of the boycott is to withhold money from the college to force those in charge to acquiesce in students’ demands through fi­nancial necessity; it is important to remember that Exeter students have already handed over the money. The JCR is probably wasting its time. 

But even when boycotts are suc­cessful, this is undercut by a sense of collusion with the enemy. In 2011, St Hugh’s boycotted formal hall be­cause of a ban on bringing in alco­hol. The price of tickets was raised to include a moderate amount of drink provided by the college. 

The boycott worked, the ticket price was lowered. But then the JCR released a statement that said it had accepted the offer “in the spirit of compromise”. Not because they thought it was the right thing to do, but because it didn’t tread on the toes of their superiors. 

Compromise – code for abandon­ing your convictions to accommo­date those of your oppressors. 

Then again, perhaps the term “op­pressors” is too strong a term to de­scribe people that are charging you a bit too much for a three course din­ner. 

However, the fact remains. Boy­cotts are the safest form of civil disobedience. There’s no law against not attending hall. Or not riding the bus to work. Or not buying Nestlé because you disagree with their business practices. As protests go, it’s pretty safe. It’s not like you’ll get beaten, or “killed, or worse ex­pelled!” It is a kind of protest that shows your opinion, without kick­ing up too much of a fuss. It works on the assumption that it’s best to play by the rules. 

If I were an Exeter College student, I’d call off the boycott in favour of a more radical approach. I’d wait for my battels to come in next term and I wouldn’t pay them. They college can’t sent everyone down, after all. There would definitely be a financial incentive to listen to the JCR then. 

by Billy Beswick