Tuesday, May 6, 2025
Blog Page 1504

Perranporth: a peaceful place with a past

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After a bleak eight-hour train journey, multiple delays and a slightly bedraggled arrival to Redruth station in the midst of pouring rain, my first thought was that it could only get better from here.

In an age when you can fly to most of Europe in just a few hours, Cornwall has remained noticeably isolated from the rest of the country – Land’s End really does feel like it could be the end of the world. In fact, a strong nationalist movement persists, pushing for more autonomy, with some even claiming it’s a country in its own right.

Looking out from the train windows, I’d watched cities give way to small villages and vast expanses of fields. The busy streets of Manchester, my home town, couldn’t seem further away, but this is the main appeal. Almost a third of the county is a designated Area of Outstanding Natural Beauty, and it’s surrounded by the sea on three sides. The views of turquoise waves crashing against the shore are something I don’t think I’d ever get bored of.

The theme of the week seems to be battling against the strong Cornish gusts and dragging ourselves up assorted hills to look at the view. Luckily, this is completely worth it. At Easter, many of the beaches were deserted, and we wandered around the picturesque town of St Ives, whilst the sand dunes by Perranporth beach provided a vantage point overlooking miles of dramatic coastline, with barely another person in sight.

Perranporth is named after St Piran, one of the patron saints of Cornwall. The story goes that an Irish king, jealous of his saintly powers and miracle working, cast him into a stormy sea tied to a millstone. But the waters immediately became calm, and Piran was washed safely ashore.
He did pretty well for himself, allegedly going on to live to the ripe old age of 206. Even the most innocuous places we visited had some attachment to local folklore; the towns’ histories are brimming with tales of saints, kings and knights.

One Cornish quirk is the meadery; these are medieval themed pubs that don’t seem to exist elsewhere, with cosy, old-timey décor and staff in period dress. Coats of arms of the most prominent Cornish families adorned the walls, and the sweet honey flavoured mead topped off the
experience.

On the last day of the trip, we visited St Michael’s Mount. Steeped in legend, this tiny island lies a little offshore, with a castle and a few houses. It’s actually only a part-time island; when the tide is out, it’s connected to the village of Marazion (near Penzance) via a cobbled granite causeway, and at high tide you could spot many a bemused tourist wondering where the road had gone.

Its Cornish name, Carrack Looz en Kooz, means ‘the grey rock in the wood’, as it used to be surrounded by a hazel forest which was submerged in an eighteenth century flood. Some records link the Mount to the Cornish legend of the lost kingdom of Lyonnesse, along with the nearby Scilly Isles. Local fishermen claim to have discovered parts of ancient buildings in their trawling nets, and there are claims of locals being woken by the church bells of Lyonnesse on dark nights with rough seas.

The castle itself is like something out of a fairytale, perched precariously atop the rocky island, with gardens carved into the side of the cliffs. We were lucky that our visit coincided with the first day of the season, meaning other tourists were few and far between, but throughout the summer it’s one of Cornwall’s most popular sights. One story is that it was built by giants who had been banished from the mainland by villagers. A heart-shaped stone set in the path to the castle is apparently the giant’s heart, and, if you stand on it, you can still feel it beating, though it’s possibly more likely to be the sensation of waves beating against the island.

Whether it started out as a giant’s residence or not, it went on to serve as a Benedictine priory before being captured by Henry V who planned to use it defensively in his war against France, and was later privately bought by the St Aubyn family. I was surprised, not to mention hugely jealous, to find out the family still live there to this day; recent photos hang alongside Gainsborough portraits on the walls. It’s bizarre to think of them going about their daily life in this treasure trove of history;among the items on display were old sets of armour, antique furniture, and a mini replica of the castle made out of toothpicks by a presumably very dedicated former butler.

I was surprised at just how much of Cornwall has been left untouched, with sandy beaches, tiny cobbled and winding roads, and wild moorlands as far as the eye can see. The formerly prosperous mining towns which make up most of the inhabited areas of the county now seem a little faded and forgotten in places, but they have held onto much of their unique charm. Cornwall fiercely defends its own identity – signs are stubbornly given in both Cornish and English, even in the local Spoons, and it seems as though the rich history of the region lingers on, with more than a touch of fairytale magic in the air.

Should college networks ban porn?

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YES

Jennifer Brown

The St Anne’s Feminist Discussion Group this week mused putting a motion before their JCR to ban the use of pornography on the college network.

There are, of course, cases for the proposal. The most widely used argument is that porn is degrading to women and therefore, in allowing students to watch it, colleges are inadvertently allowing male (and female) students to be exposed to the objectification of women.

As I’m sure you will agree, using the words ‘slut’, ‘whore’ or ‘bitch’ to describe females is hardly progressive. Nor is the idea that a woman will submit to anything her male partner demands. And whilst some may argue that this is reality, that this is how some people behave during sex, it does not mean that such behaviour is right. For if that is the case, it is not just college rules which need to change but society’s perception of women also.

Furthermore, I am sure few will argue that porn which depicts women being raped, put into cages or performing oral sex on a dog, is really ‘suitable’ late night viewing. 

And, yes, you may think bringing this up is all a little over the top for a matter solely concerned with students who are not generally associated with sexual abuse. . The majority of students at Oxford and indeed across the country will not delve into ‘violent’ porn like this. At least I hope not.

But the fact remains that it is available on the internet should a student wish to find it. Banning porn from its college network may seem a ridiculous idea, yet if acts such are these are socially unacceptable in some places, any desire to prevent association with them does become a little easier to digest.

The negative effects of porn do not end here. Porn engenders unrealistic
physical standards for the majority. One only has to look at statistics for cosmetic surgery within the UK: 9,843 cases for ‘boob jobs’ are recorded for 2013 alone. Clearly presenting ideal archetypes has a detrimental affect on the selfesteem of individuals. 

And as increased expectations not only affect notions of physical appearance, but sexual performance too, it is hardly surprising that individuals take issue with the concept of porn even prior to any discussion of college imposed bans.

Evidently, what people have failed to realise is that banning porn in
colleges would be a good thing. Banning porn would be sending out the message that we wish to disassociate ourselves from porn’s link to sexual discrimination, the promotion of anti-social behaviour and out of proportion expectations.

Considering the collegiate system and heavy workload, many people in
Oxford often find meeting a potential love interest a challenging task. Thus, they regress to the confines of their room, safe in the knowledge that porn will always provide an adequate alternative to social interaction and indeed, sex.

If St Anne’s adopts the potential JCR motion, then it could become the the leading light of Oxford as porn addicts come out of the woodwork and prepare themselves to find someone real rather than sitting behind their desks (where they work and eat) fixating over videos of people they’ll never meet.

 

NO

Anna Cooban

Banning porn is far too moralistic. If watching porn does provide issues for college internet connectivity then any ban on pornography hits no theoretical or moral brick wall, only a practical one.

Porn, in this context, is watched privately by adults in their rooms. What such a ban hints at is an objection to the personal use of pornographic websites, a prudish revulsion to the masturbatory indulgences of – let’s be frank – a predominantly male demographic.

Perhaps it makes some slightly queasy to know that somewhere in college a student may just be reaching their moment of ecstasy while the rest of us are poring over our textbooks.

However, the issues surrounding porn are clearly much bigger than this – it would be foolish to deny that the birth and subsequent boom of the porn industry has not in some way damaged society. The impossible scenarios depicted in these videos warp expectations of an individual’s own sexual experiences. Watching porn would make anyone feel that they had to climax within seconds and possess E-cup (and yet suspiciously perky) breasts, or a ten-inch penis that is perhaps better suited to a travelling circus than symbolising ‘true’ masculinity.

Porn is a feminist issue and to suggest otherwise is to deny the role it plays in objectifying women. Yet I find it hard to imagine that the proponents of this motion would have the same distaste for pornography if it was a widely accepted fact that men and women enjoyed watching porn to the same extent.

Porn is arguably just as much a male as a feminist issue; from increasingly younger ages, boys are pressured into following this ‘norm’ just as girls are taught to play with Barbie dolls, such that for one boy to buck this trend is an act of defiance rather than an uncontroversial personal choice.

Such a ban would be based on well-founded concerns and a debate that aims to raise awareness of porn-related issues is invaluable. However, forcing through the motion is little more than nannying.

The entire basis of modern capitalism is designed to make us all feel inadequate, encouraging us to yearn for something we do not have. To ban porn on these grounds would be to also ban any women’s fashion magazine that holds airbrushed supermodels as standards of acceptable beauty, music videos that depict pin-thin 20-somethings grinding on their 40-year-old rap overlords.

Men’s fitness magazines promote body builders as the pinnacle of masculinity, yet with hearts so fatty that the irony of the word ‘fitness’ appearing next to these specimens is inescapable.

We are constantly bombarded with reminders of the person we are supposed to be. Any student-led revolt against the porn industry is going to fall on deaf ears when it challenges a problem that is ingrained in our culture.

Porn is a destructive force of modern culture and a result of the 1960s sexual revolution that has, ironically, come full circle to produce a new kind of entrapment. Yet to restrict the personal use of pornography outright is to argue for the banning of any medium which produces the same destructive effect.

5 Minute Tute: Women in Prison

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What do ‘Women in Prison’ do? 

WIP is dedicated to making a difference to women at risk of, in, or leaving custody by working to promote their resettlement, personal development, education and training. WIP also educates the public and policy makers about women in the criminal justice system and promotes alternatives to custody.

Should the justice system treat women differently? 

WIP has always believed that chaotic offending, substance misuse and prison represent the end of a long journey of increasing marginalisation and disadvantage for many women. Often the beginning of the journey is marked by trauma in the form of abuse, neglect or violence. There are many possible points of intervention along the way, before women become entangled in the criminal justice system. There should be a range of easily accessible services in place to meet the needs of abused and disadvantaged women and girls so that they do not end up in the criminal justice system.

What is the alternative to sending the majority of female offenders to prison? 

WIP believes the majority of women should be dealt with in the community in programmes specifically designed to meet their needs. Imprisonment should be used only in cases where women pose a threat to public safety. Prisons, for these women, should be small local units in urban areas offering a range of services including in-reach by community health, housing and social services and enhanced opportunities for keeping in touch with family and other support.

Animal rights protesters offer no credible alternative

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I didn’t quite catch the animal rights protest last Sunday; although I was unaffected, several other fellow students were not quite so lucky.

I’ve heard countless tales of colleges that have been effectively on
lockdown because the protestors were considered to be a security risk.
But whilst the Oxford Life Sciences department is undoubtedly doing
valuable research into how to save millions of human lives, sympathy
for the anti-vivisection movement is lacking.

But what on earth was the demonstration for? Many anti-vivisection
activists would maintain that they are in favour of more humane methods of testing, but that is not the main message of these demonstrations. They never put themselves first and foremost in favour of more
efficient methods of medical experimentation. They always portray a
negative message – what one must not do rather than what one should.

The most controversial actions of the movement are all attempts at stopping scientific enquiry, rather than providing any concrete grounds for improvement. If we consider social movements to be an editing process, the anti-vivisection campaign is something like an indiscreet, chunky rubber.

Not only do they offer no constructive solutions, but their analysis of the problem is also incredibly misleading. For example, PETA claims that the cure for diabetes was delayed because we studied it in other species, with the inference being had we only tested on humans more then we might have found a cure sooner.

Rubbish. Our knowledge of diabetes in humans yielded no results; it was only after a Canadian surgeon named Frederick Banting carried out some perhaps questionable experiments on a diabetic dog that we actually managed to find a working cure. Today, 3 million people live with diabetes, the emphasis being  on “live”. Yet many anti-vivisection groups wilfully blind themselves to this fact.

The World Day for Animals in Laboratories claim that 18,000 people a year are killed by drugs that are tested on animals, whilst failing to mention the millions of people worldwide who are cured from debilitating diseases by medicines –
that also happen to have been tested on animals.

This sort of deception is only necessary because the case against animal testing is impossible to make on pragmatic grounds. If animal testing for medical purposes was really unnecessary, then it would have gone the same way as testing for cosmetic purposes, which is widely unpopular for the simple reason that such procedures are pointless. Nobody is at risk because the secret ingredient in their moisturiser is no longer bunny tears.

However, although there have been consistent reductions in the amount of medical experimentation that does go on, it will never be completely eliminated simply because the alternative methodology does not exist, and the only other option is that people will die. One protestor from Saturday is quoted saying, “We have wonderful techniques – we don’t need old-fashioned cruel experimentation.” Most of the “alternatives” to animal testing that either still require the sacrifice of some animal life, use human volunteers (but only for fairly minor conditions), or required computer models that are  considered amongst the scientific community to be inadequate compared to the amazing complexity of even a mouse brain.

There is a difference between human and animal pain. We do not know if all animals feel a continuity of pain. It is entirely correct to place severe restrictions on testing on primates, because we know that as well as feeling pain, they can suffer – they can remember unpleasant experiences, and can fear future ones.

However, we do not have any evidence whether mice are traumatised by experimentation, or if they merely experience a sequence of individually unpleasant moments. What we do have evidence for is the suffering that diseases cause to humans, both through the unpleasant effects it has physiologically speaking and the emotional pain caused to the families of those afflicted by terminal illness. I don’t wish to be judgemental, but I have never seen a mouse attend a funeral.

I’m not in favour of causing unnecessary suffering to animals. The scientists who perform these experiments almost certainly aren’t. These  experiments are not conducted to be cruel to animals, but to be good to human beings. That is why the public accepts them despite the fact that there is pain involved.

Only when the anti-vivisection movement has a similar positive message and a sense of what it actually wants to achieve will it be credible.

Oxfordshire Tories maintain power, despite election losses

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The Conservatives will continue to lead Oxfordshire County Council’s administration, despite losing their majority last Thursday.

After the local elections there was speculation that Labour would gain control, by forming a coalition with the Liberal Democrats, Greens and Independents. However, on Sunday it emerged that Labour have refused to enter a coalition, and the Conservatives will remain in power.

Ian Hudspeth, Conservative council leader, has not ruled out forming a coalition with the Liberal Democrats or independents. He previously told the BBC he was “disappointed” by results in Oxfordshire.

Stephanie Cherrill, President of Oxford University Conservative Association, told Cherwell, “Whilst it is obviously disappointing that – despite the efforts of CF and local party members across Oxfordshire – we lost overall control of the County Council, we are still the largest party in the county and Karl [sic.] Hudspeth will be looking to form a coalition to continue his good work.

“Where we did lose they were often quite narrow losses, and as a mid-term election, the results were neither surprising nor too damaging.”

In the elections, Conservatives lost councillors in 14 wards, meaning they are one councillor short of a majority.  Labour remain Oxfordshire’s second largest party, gaining eight councillors so rising to a total of 15. Liberal Democrats gained three seats and now have 11 councillors, and the Green Party kept their councillors in two wards.

All 63 seats in the County Council were contested, and the turnout was 32%.

The results mean that no party now has overall control, for the first time since the Conservatives gained power of the council in 2005. This division means that it will be harder for the council to pass policies on issues like primary and secondary education, social services, libraries, and town planning unless a coalition is formed.

The results were announced on Friday afternoon at Oxford Town Hall, after voting closed at 10’o’clock on Thursday night.

Most Oxford students live in one of four wards. Jericho & Osney and St Clements & Cowley both remained Labour controlled, while Iffley Fields & St Mary’s and University Parks both kept Green Party councillors. Overall, Oxford City Council remained controlled by Labour councillors.

A surprise result in Oxfordshire was Witney Central, in David Cameron’s constituency, where a Labour councillor gained control from the Tories.

The Conservative Party also lost councillors nationally. The party lost control of ten county councils, meaning they now only have majorities in fifteen.

Commentators have noted the sudden rise of UKIP, who rose from having eight to 147 county councillors. The Labour Party gained control of two councils, and now have the largest share of voters in the country, at 29%. 34 councils were up for election across England in Wales.

There were also two mayoral elections in Doncaster and North Tyneside, both gained by Labour from an Independent and a Conservative mayor respectively.

After the results, UKIP leader Nigel Farage described their success as “game changing.” David Cameron vowed to “work hard to win back voters” who had gone over to UKIP.

Helena Dollimore, Co-Chair Elect of Oxford University Labour Club, told Cherwell, “We’re delighted with the results in Oxfordshire, which show the public is growing tired of the coalition parties’ record in Government and their track record on the county council.”

She continued, “Labour’s brilliant victory in Witney shows the one nation message resonates even on Cameron’s doorstep.”

Oxford students’ responses to the results were mixed. Verity Bridge, a first year classicist, opined, “It’s not surprising the Tories are losing control, considering the massive cuts which have been affecting everybody in the UK.”

But one St Hilda’s student commented, “There have been some losses, but the recent performance of the economy means things should improve a lot for the Conservatives before the election in 2015.”

Preview: Midnight at the Rue Morgue

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I was apprehensive when director Tara Isabella Burton handed me a torch before the preview. “You know this is immersive theatre?”, she warned. I nodded, although it turns out simply knowing what it entails didn’t quite prepare me for my first ‘immersive’ experience. The door opened, out flowed haunting American folk music whilst ‘the mesmerist’ made a deep curtsey and welcomed me inside. For the next forty minutes we wandered between four ‘rooms’ in the Rue Morgue, set in a run-down music hall from the 19th century and witnessed the disturbing confessions of four characters; a ventriloquist, a doctor, a dancer and the heir of a family who has fallen into lunacy and occult magic. These four are tormented by ‘the mesmerist’, a sadist character who puppeteers the action. Inspired by Poe’s Annabel Lee, The Fall of the House of Usher, and The Masque of the Red Death, Midnight at the Rue Morgue: The Madness of Edgar Allen Poe is an experience rather than a play, essentially transporting you to another world.
 
The problem with this was I had a hard time following the action; thirty minutes in, I was enjoying it but had no idea what was going on. I could tell you what the confessions of the ventriloquist and the dancer were but not the other two; however, this is more likely a problem with the dense nature of immersive performance and lack of audience ‘direction’ than poor directing. I’d recommend following ‘the mesmerist’ from room to room if you want to have a better understanding of the action (I didn’t and this probably accounted for some of my confusion).
 
So overall I thought it was an interesting and engrossing performance; the actors worked very well together and I particularly enjoyed the physical interplay between the Alice Young, the mesmerist, and ventriloquist Filip Falk Hartelius. I was pleasantly surprised with how well it was staged, having four characters in four ‘rooms’ who only interact with ‘the mesmerist’ could have resulted in a very static performance, but they made great use of the space and I particularly enjoyed the puppet-like dancing and mime routine that resulted between Young and dancer Louise Latham. 
 
This combination of physical theatre and the deconstruction of boundaries between actors and audience (I was grabbed by both arms at one point, made to stand on a chair and be twirled by the mesmerist stood on a table) produced a surrealist world where you could really lose yourself in the action. Seasoned theatre-goers and those looking for something a little adventurous this is exciting, different and a must-see, although if you’re touchy about your personal space I’d probably give it a miss. 
 
Midnight at the Rue Morgue is playing from 7th-11th May in the Burton Taylor Studio. 

Preview: Hay Fever

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Hay Fever is a 1920s society romp written by Noel Coward, peppered with sex and dramatics. Set in the affluent Bliss family’s country residence, it will be performed in Brasenose quad in 3rd week as part of Brasenose’s Arts Week. It will appear alongside a screening of The Big Lebowski and a satire in which a man falls in love with a goat (The Goat), I would describe Hay Fever as a more familiar scenario which is nonetheless incredibly compelling.

The Blisses are rich and slightly bored: two parents and two indulged children of around 20 make up the basis of an assured cast. The family is centred around Judith (Emily Lassman) played, in her own manner of speaking, ‘perfectly divinely’.  She is a scandalous matriarch-cum-actress who alternates between her charming façade and biting one-liners. When told that Myra Arundel (Tori McKenna), a flapper-about-town, will be arriving shortly to visit her son Simon, she opines that Miss Arundel ‘goes about using sex as a kind of shrimping net’ and regrets that her son socialises with ‘self-conscious vampires’.

The script is witty, the cast confident and easy to watch. Act I, the only act I was shown, was slick and full of energy. Apart from one occasionally dodgy French accent and a single prompt, the cast have little to tighten up. Repartee is batted back and forth from character to character, making it look easy as they languidly recline on couches. The play opens in a haze of ennui – brother and sister Sorel Bliss (Clare Pleydell-Bouverie) and Simon Bliss (Phil Rigley) lounge and discuss which guests are about to pay each member of the family a visit. Simon sketches as Sorel pouts about her mother’s inappropriately young boxer guest: the mood is frivolous and solipsistic, and also deliciously watchable.  The play corresponds perfectly with what we’ve come to expect from an Oxford summer: afternoon drinks, croquet and lush lawns compliment this pastiche of easy living.

The play’s slightly more resonant side is concerned with the acting seen within the lives of the characters: Judith is an actress, and her children understand how to play a part to get what they want. We observe Judith hastily learning the names of flowers so that she can blag an interest in gardening to her guests when they arrive. The audience sees both sides of a family that is very preoccupied with appearances:  by contrast, their guests are blissfully unaware of the farce they have stumbled into. The idea of a drama within a drama is supposed to lend the script weight, along with an element of social commentary. Whether or not this means the play has a lasting impact remains to be seen: Hay Fever has been criticised for a lack of plot and one-liners. This doesn’t detract from how entertaining Act I was for me – go along with Pimms and pray it doesn’t rain. 

Interview: Tribes

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Johnny Lloyd cuts a relaxed figure as he lounges on a sofa backstage at the O2, long hair covering half his face. But he quickly becomes animated as, after initial small talk, we get on to talking about his band, Tribes, one of the hottest properties in English guitar music since last January when their debut album, Baby, came in at 9. Lloyd describes this as one of the all-time high points in his life. What with this success, and the veritable storm of critical acclaim that has come Tribes’ way, it seems almost criminal that they haven’t been more widely recognized, and remain relegated to the smaller room upstairs in the O2, and the online-only section of Cherwell.

English guitar music hasn’t exactly been dominant in the charts in the last few years, and Lloyd sounds slightly bitter as he complains that “guitar bands don’t get as much support on the radio as they should”. But it’s 2013! It’s the year of the guitar band, as proclaimed by the almighty NME! “They say that every year though,” moans Lloyd, who clearly has an axe to grind as he goes on to say “I resent that guitar music is defined in its own category separate from everything else anyway. It’s damaging to the whole rock n’ roll industry.” So he wouldn’t consider incorporating electronic influences in his own music at all in the future? “Fuck no, I can’t stand that stuff,” he responds earnestly, launching into a mini-rant. “If there’s a computer on stage you might as well go home and listen to the CD. It’s different every night with Tribes. We play instruments, which is almost a redundant thing. It’s like, ‘oh really, you play? Shit, why? Why don’t you just be a DJ?’ We take pride in our musicianship and we always have and we won’t be buying synths any time soon. What’s more exciting, watching the Stones in their prime or watching fucking Basement Jaxx?”

The band’s new album was recorded in the legendary Sound City, Los Angeles, famous for being the studio where Nevermind was recorded. Lloyd says the change of scenery was just part of the drastic change in the band’s mindset with their sophomore effort. When they were recording Baby in Liverpool, Charlie Haddon, a close friend of the band and lead singer of Ou Est Le Swimming Pool, had just leaped to his death from a crane at Pukkelpop festival in Belgium. But Lloyd says LA was “a very cleansing experience”. “The Americans drink less, they go surfing every day,” he continues, outlining what sounds like a very relaxed but also work-orientated nine weeks. Not only that, but they were mixing with the stars. “David Bowie’s pianist did all our piano and we had all the original Motown singers on backing vocals”. In the future, he says he’d love to work with Mick Jones from The Clash, after the great job he did on The Libertines’ first album.

The band are looking forward to festival season, enthuses Lloyd, who insists that British festivals are “better than anywhere else in the world” and goes on to say that “Reading’s one of the best music festivals, it’s my favourite because of the size of it. It’s a great opportunity for guitar music to reach a greater audience.” Tribes play Reading for the third time in a row in August, and are clearly planning to enjoy it.

Wang Leehom visits Oxford Union

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Last Sunday afternoon, Wang Leehom, an American born Taiwanese singer-songwriter, spoke at the Oxford Union to a crowded debating chamber.

Leehom, 36, arrived amongst loud excited cheering and clapping. He focused his talk on how the east and west need to understand each other better and build a stronger relationship “like roommates”. He stressed the idea of generating a novel global music culture called “world pop”.

Leehom spoke of his mixed experiences growing up in New York and the difficulties that he faced as a minority there. Leehom stressed the importance of music in integrating different cultures. “It breaks down walls’, he said, “helping to build bridges, allowing people from different backgrounds to connect”.

He began his speech with a minute silence to pray for the victims of the Chinese Sichuan earthquake and the Boston Marathon bombings.

Leehom moved to Taiwan in his late teens. He learned to play many traditional Chinese instruments and learned what made the Chinese audience connect with “certain structures, melodies and rhythms”.  Thus, Leehom began to fuse his western pop/R&B music with these traditional Chinese song elements and became a pioneer in combining eastern and western soundscapes to create his novel sounds: world pop.

In his talk, and the subsequent Q&A, Leehom strongly emphasised how the east and the west should make more efforts to understand one another, to allow for “more cross cultural exchanges” in order to “break down stereotypes” and remove misunderstandings”.

He said that popular culture can have an “enormous influence on how we think, interact with others, behave and understand one another.

“It is not only pure entertainment”, he said, but it can profoundly shape dialogues, “define values across the globe”.

Summer Day Dreams

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CLOTHES Amelia wears Primark blue polka dot shirt, Topshop black trousers, Mink Pink white shirt, Primark shorts. David wears Hackett jacket, Tommy Hilfiger chinos, Timberland deck shoes, shirts from Jaeger and All Saints, H&M white undershirt.

MODELS Amelia Sparling and David Vigoureux
PHOTOGRAPHER Henry Sherman
STYLIST Tamison O’Connor