Tuesday, April 29, 2025
Blog Page 1546

Peter Huhne doesn’t deserve notoriety

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On Tuesday morning Peter Huhne, a second-year at Oxford, woke up to find his name splashed across national newspapers, his adolescent picture featuring prominently on its inside pages.

Peter Huhne’s big mistake, his unforgiveable crime, was to be born to someone famous. Whilst he was at school, preparing for his A-levels and applying to Oxford, his father, the former Lib Dem Cabinet Minister Chris Huhne, was misbehaving in both his private and public life. He conducted an affair and forced his family through an unpleasant divorce.

Forgetting that it’s generally a bad idea to cheat on someone who’s provided you with an alibi, he then perverted the course of justice, denying that he had been at the wheel of his car a decade ago when it was caught speeding. To covnceal a fairly innocuous crime – speeding and then ‘points sharing’ – Huhne committed a serious one, namely lying about it in front of a judge.

In the poisoned relationship that developed between Chris and Peter, the then-teenage Huhne sent his father a series of aggressive and spiteful text messages. Two of these strongly implicated the former Energy Minister in a crime to which he was publicly pleading innocent. The first: “We all know that you were driving and you put pressure on Mum. Accept it or face the consequences. You’ve told me that was the case. Or will this be another lie?” And the second: “Are you going to accept responsibility or do I have to contact the police and tell them what you told me?” It is eminently sensible that these were disclosed to the court. However the rest indicated nothing more than a dysfunctional relationship between a father and a son. Chris called Peter “Tiger”; he replied labelling him “an autistic piece of shit”.

Simon Kelner, a former editor of The Independent, describes the pain Huhne must have felt much better than any fatherless student can. “[Imagine] he sends a text to his son, proffering a hand in reconciliation, or sending a message of support, or simply expressing paternal love. A few minutes later, his mobile pings, and for a brief moment his heart lifts, hopeful for what has been delivered. But then he opens the text to reveal an implacably hostile response. Again and again, over the course of a year, Huhne put himself through the same gut-wrenching process.” Why did these anguished exchanges need to be disclosed to the court?

The Indy reported that the texts were read out “as part of an ill-fated attempt to have the prosecution case against Huhne thrown out.” That’s potentially misleading, because it suggests that Huhne used the hostile texts he received from his son to undermine the veracity of his son’s accusations.

Lianna Brinded, a legal affairs journalist, doesn’t think that was the motivation. “Technically, the text messages were not actually hugely important to the judgment, but they were relevant to the applications Huhne made in open court. The disclosure of the texts occurred after Huhne made an application for a case dismissal and so therefore circumstantial evidence, such as the text messages, became relevant and admissible for the Crown Prosecution.”

In any case, that is how the texts entered the public domain. Chris Huhne’s defence team, not the newspapers, put them there. However that the public should now be privy to all the messages – private messages – remains unpleasant. The newspapers’ collective decision to publish a deeply personal and wretched correspondence between a father and son, both under immense pressure, is morally dubious.

Jane Merrick, a political editor, spoke for the journalistic class when she insisted to me on twitter that “the media will always cover details of court cases once [reporting restrictions] are lifted.” But just because the papers were entitled to publish the texts doesn’t mean they should have done. Nor is it correct to infer that the public ought to be told the grisly details from the fact that they could, in theory, go and find them out themselves. It is a classic case of journalists purposefully conflating what interests the public with the public interest. And it stinks.

Clearly to expect censorious behaviour from one paper, not to mention several, is unrealistic. For one paper to break ranks would be impossible; in a struggling industry newspapers need to squeeze as much juice out of every story as they can. Collective action is the only way the industry can restrict its most odious practices. This does not constitute an appeal for the full implementation of the Leveson recommendations: state regulation of the press remains an ugly and unpromising prospect.

If the press could exercise the sort of collective self-restraint on reporting that it does when Harry goes to Afghanistan, for instance, then the likes of Peter Huhne might sleep a little easier at night.

 

Review: Biffy Clyro – Opposites

The first held notes of this double album held my attention straight away. The shock transition that follows sets up the right expectations: Biffy Clyro milks the contrast between punchy and sustained on both albums. The use of staccato phrases intoned in vocal harmony is a feature of the album, noticeably on the opening ‘Different People’ and on the second song, ‘Black Chandelier’, with the lyrics “Drip, Drip”. This can give a delightfully weird, mechanical feeling, also apparent on the second disc’s ‘Woo Woo’, where the deadpan “I will love you” and “can you love me” mirror each other, providing no answers. Rhythmically tight and irrepressibly melodic, this is primarily a studio recording rather than a live-sounding one. Opposites is rich in textures, with sparse, crystal-clear verses giving way to warm enveloping choruses. Stand-out tracks include the electronica-channelling ‘Fog’ which ventures off the beaten track with weird dissonances, disintegrating into noise and a low, pulsing, biological buzz. ‘Accident without Emergency’ brings a tangy surrealism, with retro harmonic progressions, the crisp bass offset by the eerie slithering “ooh” figures in which voice and instrument blend, building to a deeply cathartic conclusion.

“This is noise…for your entertainment,” claim the lyrics: the band had big ambitions for this record, which was made with an awareness of older bands that used the same studios to produce classics. Opposites already feels as though it could have been released a decade ago. Reminiscences of other songs lurk in places, consciously or unconsciously. At the beginning, the lyrics are about being lost, and the musical landscape is uncertain, but the progression from pessimism to optimism intended in the design of the double album is not felt as clearly as expected. I’m not sure this is distinctive enough to be a classic in 20 years’ time, but it’s certainly a strong album.

THREE STARS

Review: Local Natives – Hummingbird

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Local Natives are a band with a contrarian bent. Their music hasn’t received the widespread attention it deserves, but has critics weak in the knees. You’d think that their next priority on Hummingbird, their second album, would be to transform that critical appeal into a wider fan base. However, this seems to be the last thing on the LA four-piece’s collective mind. They have eschewed a wider, brighter, poppier sound for dark, legato grooves. Vocalists Kelcey Ayer and Taylor Rice soar above a thumping rhythmic backdrop, whilst guitar parts pirouette around their harmonies.

The unconventional nature of their rhythmic tendencies makes comparisons with Dirty Projectors impossible to ignore. However, where DP’s music can be obtuse and obscure, jerky and uncomfortable, Local Natives seem far more relaxed and honest, despite having drums like a cardiac arrest. Openers ‘You & I’ and ‘Heavy Feet’ demonstrate this admirably, with laid back vocals accompanying upbeat and anthemic orchestration. However, this hyperactivity can get in the way of the music. You only realise how crowded the music is when the band strip it back, as they do at the start of ‘Black Spot’. This is the band at their most powerful and emotive, accompanied most by a single, stabbing piano part. It’s a shame that they use the song as one long crescendo into their usual tricks. This is an opportunity wasted.

A second problem with the record is that it tends to lapse into stylistic repetition; that is, it all sounds the same. After 45 minutes with Local Natives, I couldn’t really tell whether I’d heard 11 songs or one song with a shifting tempo. This is an inherent risk with groove-based music, but it is also fatal. It weakens the impact of the album, making even the moments where it really works seem cheap and boring. If Local Natives want to appeal to anyone other than the editors at Pitchfork, they’d better learn to change their tune, literally.

 

TWO STARS

How Not to Write About Music

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Writing about music is a notoriously difficult pastime or career. Whilst both writing and music seem to be modes of expression that can make sense separately, the two rarely fit together. The insanity of trying to express music in writing was captured perfectly by Elvis Costello, when he compared it to “dancing about architecture”. However, there seems to be a type of technique, perfected through the decades, that allows the music journalist to make some sort of sense. It’s a shame then, that most music writing eschews this for a sort of messy scrum of adjectives. Just what has gone wrong?

Well, the honest truth is that, faced with a massive interpretative problem, music writers simply become lazy, and rely on the same old tricks to sustain their commentary. The first, and by far the worst, is the clichéd adjective. Certain phrases seem to come pre-programmed in the mind of a music journalist, such as “crashing cymbals”, “angular guitars” and “groovy bassline”. These are a problem. They range from the platitudinous (of course cymbals crash, that’s what they do) to the nonsensical (why anyone would anyone describe any music that isn’t a soundtrack as “cinematic” is beyond me). None of them add anything to the piece and they don’t make for interesting reading.

A related problem is that of “put-it-in-a-blender” syndrome (or PIIABS for short). The obvious way to describe a band is by comparing them to other, similar bands. This allows the reader to check whether a new band may tickle their fancy based on their current taste in music. This is all very well, but it doesn’t justify sentences that call a (hypothetical) new band “what would happen if Prince, Wild Beasts and Belle and Sebastian were put in a blender”. This is an unacceptable level of whimsy and pretension for what should be a simple statement of comparison. This also applies to putting said bands into a lift, a boat or any other receptacle.

Other writers don’t bother with the whole “writing about new bands” thing, instead choosing to revive old favourites ad nauseam. These bands are routinely described as “back to their brilliant best”, or “making a triumphant return” but rarely are (like a musical Woody Allen). This is just dishonest. To pretend that anything Oasis released during the long, slow suffocation of their career was anywhere close to a new Definitely Maybe is either deluded or an attempt to delude the readership. 

The same goes for proclaiming bands as the saviours of guitar music. Guitar music does not need saving, and if it did, it would be unlikely that Glasvegas or Tribes, or Viva fucking Brother would do the trick. This routine sanctification of new bands before they even release their debut album (partly the result of a hyperactive promotion machine) needs to stop. One final technique that is used by bad writers is the superlative. Scarcely a week goes by in which the NME doesn’t claim that the BEST BAND EVER or the BEST ALBUM OF ALL TIME has been uncovered (usually some washed out, monochrome teabag of a band). This is a shameless attempt to keep the attention of the reader, and appeal to those who are already fans of the band. The same goes for those reviews that proclaim THE WORST MUSIC I’VE EVER HEARD. Such writers are irritatingly insincere and obviously haven’t heard the music of Milli Vanilli.

I admit that I have, when writing about music, committed each and every cardinal sin in the book, but in fact I feel that this may be the thing which qualifies me to write this article. Take it from someone who reads and writes a lot of rubbish music journalism (Nick Kent I ain’t!): this is what’s wrong with it!

Interview: Imogen Cooper

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Imogen Cooper’s appointment as a Humanitas Visiting Professor in Classical Music and Music Education tops a list of glittering achievements. She regularly gives recitals in prestigious concert halls worldwide, and also performs regularly as a soloist (alongside a number of major orchestras) and chamber musician. With such a stunning resumé, her thoughtful and softly-spoken manner comes as a pleasant surprise.

I meet Imogen the day after the inaugural Humanitas recital (a programme of Schubert). When I raise the topic of her new position, I find her to be remarkably self-deprecatory. “When I got the email, I was on holiday in France. I read it, and I thought it had been sent to the wrong person!” Imogen had to consider what she could bring to the position. “I thought that it was not to be academic, because that’s the one thing I don’t have in my makeup. It must be something to do with what I can bring to my playing. I found myself asking myself what happens in a great performance. What happens for the performer; what happens for the audience; what happens with the audience, between the performer and audience.”

These are questions that Cooper intends to explore over the subsequent parts of her Professorship, but she acknowledges that not everyone wishes to confront these issues. “I was fascinated by that aspect of having to dig deep into myself to put words to something that I myself have not had to put words to, and that not many people choose to do. I probably have colleagues that would rather keep off the subject, who don’t want to name something that they consider better off unnamed.”

I ask what other issues she hopes to examine. “I’m also fascinated by the difference of performance art which is wordless, and the performance art which has words. It seems to me that the words pin you down much more than the non-word performance art does. I want to get an actor of either sex involved. There are some wonderful possibilities: I’m keeping all fingers crossed. Actors have filming schedules and they don’t know when they will be available!” Cooper’s delight in her new position is tangible. “I’m astounded and honoured to be asked, and I just hope I can do it justice. If you see the list of people who have taken up Humanitas Visiting Professorships before, it’s just mind-boggling!”

Schubert has long been a central part of Cooper’s repertoire, and so it seems only right that I should bring the composer into our conversation. Cooper was first drawn to the composer’s music by Dietrich Fischer-Dieskau’s Lieder performances. She reveals that it was the composer’s humanity which intrigued her the most. “There was something so direct about his utterance, be it tenderness or love or fear, terror, a feeling of death…He always had this black beast on his shoulder, even from before he was ill. I think it was in his temperament: he was very melancholic, but also a great lover of life, and he would swing between the two.”

Something which has particularly struck me about Cooper’s Schubert interpretations is the connection between the violent and calm: it seems almost inevitable that one emerges from the other. “I think it was part of his psyche that everything is completely intermingled. Schubert had this particular capacity to switch you around from one bar to the next. You can be in the most violent thunderstorm, and suddenly he shows you what’s happening in the field next door where the sun has come out. I’m fascinated by those immediate swings.”

Schubert composed a jaw-dropping amount of music in his last few months and completed his last three sonatas in September 1828 (he would die in November). However, Cooper sees no point in wondering what might have been. “Whether it’s planned from on high or elsewhere or deep inside, it seems if there is to be a short lifespan that everything is packed into it. Those that say, ‘Think of what he could have done if he’d gone on!’ I’m quite happy with what he did already. Yes, it would have been fascinating to see, but there isn’t greater.” At one point, Cooper pauses. “I really love him. I really love him as a person. I feel I’ve got to know him really. It’s a very bizarre feeling.”

Cooper tells me of a good luck ritual she shares with the baritone Wolfgang Holzmair. “Before going on the platform, we spit on each other’s shoulders and say “erzähl die Geschichte” (“tell the story”).” Whichever direction her career should take, long may the story continue. 

Review: The Oxford University Orchestra

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The Sheldonian was packed out on Friday night, with locals and students alike, in anticipation of the Oxford University Orchestra’s take on three classic pieces. Although Shostakovich’s Festive Overture, Rachmaninoff’s The Isle of the Dead and Mahler’s First Symphony (or Titan) are all pretty important and standard pieces of any serious orchestra’s repertoire, they make slightly strange bedfellows. The first is lively and upbeat, the second is an exercise in unease and mournful disquiet and Mahler’s work is characteristically ironic and anthemic in equal measure. It is a tribute to OUO’s technical prowess and enthusiasm for the material that they manage to draw out the strands in each piece that tie the three together.

The Festive Overture should begin with a majestic fanfare. However, the OUO take a little while to warm up, and the result is that the opening seems to drag. As soon as the lighter, faster section takes hold, the woodwind take the lead and show us exactly how delicate and observant the orchestra can be at its best. A real sense of urgency and joy throughout from everyone involved (especially the conductor, Thomas Blunt) lifts the music from its rather clunky beginning, and the result is a bombastic and energetic take on Shostakovich’s overture – a piece supposedly inspired by the death of Joseph Stalin.

The next offering was a rather different affair. The Isle of the Dead begins by invoking the rhythm of Charon’s oars as the audience are guided towards the eponymous isle. To begin with, the OUO perhaps fail to mine the darker elements of the symphonic poem, but really builds towards a pretty uncomfortable climax before blossoming into something bittersweet and quite beautiful. The funeral march section of The Isle… is both stately and fleet-footed, the perfect expression of the theme of the piece.

The funereal themes continued as OUO took to Mahler’s Titan. Although the first movement celebrates the spring, and invokes the sound of the cuckoo, the symphony as a whole is a deceptively dark affair, with twists and turns leading the listener through many themes, moods and images. It’s the third movement that the OUO really take to. The funeral march to the tune of Frere Jacques and the faux-Klezmer section are two of the most darkly ironic moments in Mahler’s oeuvre, and the OUO really puts their all into it. It’s strange to hear such a sinister touch performed with such gusto, but it really works, taking the funereal themes from the past two (both light and dark interpretations) and mixing them into a synthesis of the two – a perfectly Mahlerian touch to the evening.

These three classics may not have been perfectly performed, but it’s a real nitpicker who will have come away from this concert without a smile on their face and real admiration for the work of the three masters and their interpreters, the OUO.

Why business degrees matter

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On 4th February, Prince Charles opened a new wing of the Said Business School, currently ranked the 24th best institution in the world to study for an MBA, and 12th in the Financial Times’ ranking of European Business Schools. Dean Peter Tufano described the addition, complete with three lecture theatres, three classrooms and eighteen other work spaces, as a “fabulous asset to the School” – but was it worth its £28m cost when only a small number of MBA and Management students will be able to make use of it?

And generally, is it still worth investing in supporting business-related degrees, considering how much the business world has changed in the past five years? Can a business qualification really help in such a hostile business environment, where even established companies seem unable to weather the storm?

It’s a undisputed fact that business degrees are popular – in 2012, whilst the average ratio of applications to places for an arts subject at Oxford was roughly 5.5 to 1, the ratio for Economics & Management was 12 to 1. Acquiring business knowledge is not just a priority for university students either: nearly 30,000 students took Business Studies at A-Level, which is more than Economics, Politics or Religious Studies. It would seem that, thanks to the country’s intense interest in small businesses and the media’s emphasis on their plight, the labour force of tomorrow is interested in the business world.

Whilst the situation is still worse than in pre-crisis times (according to the accountancy firm BDO, business failure rates are likely to remain above pre-2008 levels until well into 2015), there are just as many stories about successful entrepreneurs as there are about businesses collapsing. For example, Richard Moross, who founded business cards company MOO.com in 2004, suffered a major cashflow failure in 2005, but was able to relaunch in 2006 with photo-sharing website Flickr as a commercial partner. They are proof that it is still possible to be a self-made success – MOO.com now has revenues of £12m a year – and perhaps as a result, people are still interested in learning about entrepreneurship and the way that businesses operate, because the climate is right for them to succeed in the future.

But what relation does that have to the utility of a degree? It is true that not everyone who takes a business-focussed degree will go on to found their own business, but such degrees don’t just teach you how to found a business: the Business Management course at KCL involves elements of foreign language, accountancy and economics. More theoretical courses, like the E&M course at Bristol, involve significant amounts of non-business elements, such as maths and economics, alongside managerial theory. The degrees are designed to provide an increasingly able cohort of students with the ability to succeed regardless of their eventual career path, and however much the business world has changed in the last five years, skills of organisation, leadership and numerical aptitude are still crucial.

The LSE’s Growth Commission has recently advocated education as a means of improving the status of the British labour force, and companies have recently complained that the key skill lacking from British graduates are transferable skills – and it is business schools which often have some of the highest levels of graduate employment six months after graduation. The 11 UK business schools in the FT’s Top 100 Business Schools in the world had an average employment rate of 91%, proof that the business schools are able to produce successive cohorts of employable and successful graduates.

So, was the Said Business School’s extension worth its £28m cost? Only the future will prove if it is used effectively, but by spending millions on the expansion of its facilities, even if they will only be regularly used by a small cohort of students, the School makes a statement – that regardless of the changes in the business world, it is prepared to support a new wave of students from across the world in their pursuit of success. Prince Charles joked that, had it been around, he would have visited the school when he founded his ‘Duchy Originals’ biscuit business in 1990 (which is now part of Waitrose), but he makes an important point – sustained investment in providing business skills to the next generation will ensure that the country will have entrepreneurs who have the ability to prosper, and keep the UK economy innovative and competitive. However, the government must maintain and expand its support for small businesses – without this support, even the best business school graduate has a much lower chance of founding a successful business. The Said Business School has put its faith in the graduates of the future, and so should the rest of the country.

The Secret College Footballer: Rivalries

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Every footballer has their personal rivalries, some uglier than others. Whether born out of a hard tackle in a match, or a brawl on Park End’s R’n’B floor, the best on-field contests are driven by personal animosity.

Before kick-off I always scan the opposition for any familiar faces. The targets I recognise should strap on their shin pads and expect 90 minutes of relentless pressure. And I would only expect my counterpart to reciprocate. It’s all part of the contest. 

Call me a thug if you like, but I bet you’d think differently if you’d ever played the game at this level. There’s nothing wrong with the odd strong challenge. As Roy Keane once said, “What goes around comes around.” 

“I’d waited long enough. I fucking hit him hard. The ball was there (I think). Take that you cunt”

In any case, the most bitter disputes seem to arise for non-footballing reasons. I know of two current players involved in a really messy affair, which started when one of
them snared the other one’s partner into the Bridge toilets to commit an act of infidelity, fully aware that he’d be coming across him on the pitch the following day. The match ended with one party receiving a red card; the other a broken metatarsal. Let’s just say the post-match handshake was abandoned and only a court injunction prevented this love triangle appearing on Cherwell’s front page.

The fact is, you don’t go to a JCR reserve league relegation dogfight expecting tiki-taka. College football is about passion – and it’s inevitable that sometimes it’ll boil over.

Photo Competition Winner!

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Congratulations to Ben O’Connor, for his photo “Sheep!”

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Good Morning Vietnam

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All of our photo essays and our competition winners so far can be found on our Flickr page!

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