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Review: Red, The Waterstones Anthology

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Life at Oxford has a reputation for being like living in a bubble. We move from one reading list to the next, diving into the lost centuries and ideas of days gone by; but what about today?

This is exactly why reading Red is so refreshing. It’s a collection of brand new short stories, essays and poems from today’s leading writers, put together by Waterstones. It’s so up-to-date it even mentions Tesco Metro, a reference I found sadly lacking in Eliot’s novels.

In this anthology, the writers respond to the colour red (which the editor describes as the colour of “danger and passion”). The result is a work that is bursting with energy, including coverage of everything from crimson love to bloody violence to “seeing red” with rage.

It may seem strange to mix fiction with non-fiction in the same anthology, and at first this does jar. Having lost myself in David Almond’s short story, I felt almost slapped around the face with Suzanne Moore’s anti-Conservative feminist rant. I soon realised this would not be the smooth-flowing narrative of Victorian prose, but something more abstract, and something that reflected the disjointed tapestry of 2012.

At times, I wondered whether the anthology had gone far enough in reflecting the past year. It dips into our history-in-the-making whilst leaving many major events untouched. But, instead of writing a Wikipedia style entry on 2012, the writers are trying to capture the spirit of our year, using individuals to relate to it. After all, we don’t have a collective consciousness: we experience only our little corner of life.

Cecelia Ahern’s story crosses age and time barriers to relate powerful advice about the choices we make: “When you’re in the middle of it all, you don’t see it too well, it’s a spin.” And we don’t. Our society has more variety in it than ever, but we’re unable to see it all at once. We’re plunged into a similar set of themes when faced with Hanif Kureishi’s humble narrator, a self-sacrificing Pakistani woman who has escaped to Paris for a better life.

Red tries to take a step back from the world and allow us to see it more fully, breaking down these barriers. It’s a poignant anthology that everyone can relate to, and which relates everyone to each other. As Alice Oswald notes, below the skin we’re all “dressed in matching red.”

Review: Umbrella, Will Self

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Visualized as a film, Will Self’s Umbrella is rather like a mix of Noveceto and One Flew Over the Cuckoo’s Nest. Umbrella is a piece of modernist fiction, and reads accordingly, but that shouldn’t frighten anybody away.

Despite being a little overwhelming with its abrupt change between narrators and from narrative into thought, it is so clearly and expertly expressed that it is a joy to read.

However, at times it feels as though the whole novel is tilting towards structural instability. The reader is submerged into a stream of consciousness: there are no chapter breaks at all, and the majority of the sentences are long, with odd pauses thrown in. However, Umbrella is no ramble. Rather it seeks to come across as far more chaotic than it is. Self is a man with a plan, and the stories of Audrey Death, a patient in an asylum and Dr. Zack Busner, her psychiatrist, interweave beautifully.

The book is a double biography spanning the course of the twentieth century: we see Audrey in childhood and as a young adult, then we have the middle and old age of Bus- ner, all in the context of Audrey’s crippling post-encephalitic condition of which Self writes expertly.

It is a stark reminder of the precariousness and fragility of human existence and perception. In his interweaving of existences, Self can showcase a century of life and change. His ability to paint the past so vividly through dialect, detail, and pop culture is amazing. He moves subtly from the Kinks’ ‘Ape-man’ to Sam Wood’s masterpiece of black and white cinema, King’s Row, and undoubtedly to many others that floated dreamily over my head.

This might be why Umbrella works. Although it doesn’t present the narrative in chronological order, it is so firmly anchored to, not a specific time, but a place: London. A strength of Self’s writing is that he breathes life into London, not just the London of our lifetime, but most fascinatingly, London when a cab was still pulled by a horse – London right on the cusp of the modern age.

There is a pleasing circularity to the composition, stressing at the same time the fact that on one level nothing ever really changes, and equally that when a place is revisited everything is different.

Finally, Umbrella makes you think, the highest praise that I can give it.

Supermarkets Don’t Like ‘Whore’

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Katy Darby, English alumna of Somerville College, has recently published her debut historical novel The Unpierced Heart. Anyone with a soft spot for Jericho would be shocked to hear that before it became the go-to location for quirky cafes, yummy mummies and frequent Raymond Blanc sightings, it was a place of debauchery, its sordid backstreets home to the “lowest sort of brazen female as ever lifted her petticoats.” 

As a Somervillian who spends more time in the Jericho café than in libraries, I spoke to Katy about writing, Oxford, and why certain supermarkets aren’t inclined to display a cover featuring the word ‘whore’ on their shelves. 

On The Unpierced Heart

“I didn’t have the idea whilst at Oxford; actually it first came to me at UEA. It started as a short story, a homage to Sherlock Holmes. I had the idea of a love triangle, of love getting in the way of friendship. I enjoyed writing it and it got too long to be a short story. I got carried away.

The story starts in Worcester College then moves to Jericho. I had a friend who was researching the history of Jericho for an article. She asked me if I knew it had been the red light district. There had been dodgy bits of Jericho up until the 1950s: I think you could always get yourself a good time – I took that idea and ran with it in the novel, inventing a refuge for fallen women on Victor Street.”

Benefits of Studying English

“Huge. Doing English Literature as a degree gives you ideas and allows you to read critically. Also, a rookie error when writing prose for the first time is overwriting: I was a terrible over-writer so the Creative Writing MA at UEA was a great benefit. I saw examples of other people’s work and got feedback. I had the bad habits knocked out of me.” 

On Being A Writer

“Lots of people closet themselves and won’t tell others about their work unless they feel it’s genius, but this doesn’t help you improve. You must have a thick skin, or grow one, to become a successful writer. If you have perseverance you can be a writer; if you have talent you’ll get encouragement eventually as long as you show others your work. There’s nothing worse than a bad writer who is oversensitive. Tutorials, writing classes and writing groups teach you to handle criticism and learn from it.” 

On the Market

“Even if the market loves a particular genre, if you hate it, don’t write it. With commercial fiction, the priority is never beautiful prose, but there’s always at least one thing a commercial book will do really well, whether that’s making women horny or keeping readers hooked with a great plot. A ‘good’ book will just do more of those things well.

Many 19th century best-sellers were awful – they’re just not read any more. In the 21st century it’s different but it doesn’t mean that in 100 years today’s bestsellers will still be read. Build a career that is based not on other people’s sales figures, but on what you want to write.” 

What’s Next?

“If your first book is in a particular genre, your readers perceive you as that type of author. For Penguin to pick up my second novel it would have to be historical, it’s what’s expected. Luckily I enjoy writing it!

“There’s lots of research involved in historical fiction. To get the voices, or the incidental details like how people address each other and how many pence a mile it costs in a cab.

The new book I’m working on is based on the so-called ‘Newgate Novels’ or ‘Gallows Stories’. A Victorian housemaid is accused of murdering her mistress: she’s tried and sent to Newgate to await execution, when a journalist asks her to tell her story.

I’ll make sure not to give the new one a controversial title: the first novel was originally published as The Whores’ Asylum, but supermarkets don’t like ‘whore’, so it’s been renamed as The Unpierced Heart. Thereby hangs a tale!” 

An idea whose time has come

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Ed Miliband said on Monday morning that the Living Wage is an idea whose time has come. David Cameron said the same thing several years ago. The Living Wage is something (perhaps the only thing) that the unions and Boris Johnson agree on. But, despite being a cause with wide bipartisan support, many have never heard of it.

The Living Wage is an hourly wage, higher than the minimum, which means that those who earn it actually have enough to live on. It’s set by experts at Loughborough University and is revised carefully each year. It has just been raised to £7.45 an hour outside of London. The amount is still quite low, but it can add a massive £2,500 to the before-tax income of a full time employee who would have otherwise been paid the minimum wage, of £6.19 an hour. This makes a significant difference to an employee’s quality of life and their ability to provide for their children. It also means they are less likely to prefer benefits to employment.

The Living Wage Campaign, to which Mr Miliband is the latest recruit, exists to encourage and pressure employers to pay their staff a wage that will provide them with an acceptable standard of living – basically one where they are not in poverty. It has had great success over the past 10 years and there are now 94 employers that pay it, one of which is Oxford City Council. Sadly, though, Oxford University is not one of those 94. Our University, the second wealthiest in the country, does not pay its staff a fair wage. I, and other members of the Oxford Living Wage Campaign, think that needs to change and are working towards Oxford University becoming a Living Wage Employer.

It is unjust that Oxford University does not pay a living wage to its staff, especially given that it can afford to and the cost of living in Oxford is so high. But not only is it unjust, it is unnecessary: the University will not go into financial meltdown if its lowest paid staff are paid an extra £1.26 an hour. If UCL can be a living wage employer then Oxford can be too. Implementing a living wage would be beneficial for Oxford: paying staff more signals you value their work, and is proven to lead to increased productivity and reduced absenteeism. If Oxford University were to pay a living wage, it would also help our image problem. A fusty, elitist, backward institution pays its cleaners the minimum. A caring, inclusive, progressive University pays a living wage.

The arguments are sound both ethically and economically, but if we want a living wage paid in our University then we need to put pressure on those in power to make sure that it happens. We must not think that just because some individuals and colleges support the living wage it will automatically happen on a University-wide level. We need to make sure that those who make the University’s financial decisions realise that this actually matters to students and staff. We don’t just care about issues that affect us and our finances, but we represent the University to the resident community and work with them towards a more equal and fair system.

To put pressure on those with the power we have to be organised. We have to work together, and to do that we have to meet each other. That’s why coming along to Living Wage Campaign meetings (Thursdays, 5pm, OUSU) is so important and why I have chosen to be involved in the Living Wage Campaign nationally and within Oxford. The Living Wage is something that requires support institutionally through JCRs, MCRs and OUSU. The Living Wage needs you too – to use your vote in meetings and elections to guarantee that Oxford University and your College do not keep their staff in working poverty.

Review: Titus Andronicus – Local Business

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The third album by this New Jersey band is pure unadulterated fun. 2010’s The Monitor was a punky concept album about the American Civil War, but there’s nothing like that to be found here. Local Business is full of deeply personal epics or silly riotous interludes, and it’s truly fantastic for it.

Titus Andronicus’ great talent lies in creating a bombastic sound with supercharged guitars and full on drums, with Patrick Stickles’ growly yelps on top. Likenesses to Bruce Springsteen are often thrown around, and with good merit – ‘anthemic’ doesn’t give Titus Andronicus enough credit. Take for example the live staple ‘Still Life with Hot Deuce and Silver Platter’ – the song moves with frenetic pace until we come to a two line chant repeated again and again- ‘Here it goes again! I hear you took it to another level!’ (A lyrics website informs me they repeat it 57 times).

But it doesn’t ever get boring – the band never gives you a second to relax. Perhaps even more anthemic is ‘(I Am the) Electric Man’, a song written after Stickles had an unfortunate incident in New York which resulted in 200 volts of electricity surging through his body.


It’s undoubtedly punk, but a lot more introspective and in fact poppy than we’d come to expect from the band. Arguably the most important song on the album is the mid-epic ‘My Eating Disorder’, a song about Stickles’ own lifelong troubles with food. No metaphors to be found here – “Spit it out!” he screams, “If it’s not too late to start again, open up that womb and I’ll crawl right in.”  The introspective judging continues with the next song, where Stickles repeats the same line (“I’m going insane!”) repeatedly over crashing guitars. Songs like these make Local Business more accessible and personal than their previous albums, so when the final track ‘Tried to Quit Smoking’ announces its triumphal entrance, we’ve truly been taken along a musical journey, bumps and all.

Review: Alt-J – An Awesome Wave

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Twenty years in and many would argue that, as far as the Mercury awards’ history goes, this year has brought forward a middle-of-the-road selection of nominees. Yes, the token folk/jazz albums were included, but general consensus seems to be that nothing terribly era-defining was present, contrary to what we have been led to expect. So then, when self-styled “alternative indie pop quartet” alt-J were announced the winners of the Barclaycard Mercury Prize, I surely wasn’t the only one to be not totally overcome with a sense of captured zeitgeist. If their winning album, An Awesome Wave, were to be put in a time capsule and dug up in 50 years, what would it actually say about 2012?

Yes, the band’s very name (taken from the delta sign created on a Mac when you hold down the ‘alt’ and ‘J’ keys) is more alternative than a hipster’s knitwear collection, but as much as the delightfully hallucinogenic qualities to the tight vocal harmonies, quirky sampling and the dreamy falsetto of Joe Newman are appealing, they would not have been out of place at any other time in the past decade. That said, alt-J spent the last 5 years lovingly hand crafting the album, and with its wonderful narrative, with 3 short interludes, they cleverly side-stepped around the whole ‘substandard album track’ issue to produce something very listenable – and not in a bad way either.

The Intro track comprises of a rather Adele-esque piano introduction, soon joined by indie-rock quirky guitar and drum beats leading to more trip-hop, heavy synth led sections. The wonderfully bare, folksy two-part Interlude I leads almost seamlessly into Tessellate, effectively the first ‘song’ of the album, a laid back trip-hop/bass track, with the rest of the album continuing in a similar vein. Highlights include Breezeblocks (with wonderfully simple but dramatic video – definitely worth a watch) and closing track Handmade, containing a bizarre, but somehow oddly fitting, sample of Julia Lang’s famous line from “Listen With Mother”. If you fancy decoding the blurred consonants of Newman’s vocals, then the lyrics are also pleasingly off-beat (favourites include “triangles are my favourite shape”, “stickle brick, tickle quick, laugh at the beautiful” etc).

All in all, I rate the album fairly highly but am yet to be convinced, especially with the likes of Plan B’s part-political commentary Ill Manors hot on their toes, that alt-J are the sound of this year.

FOUR STARS

Interview: Spector

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The last time I interviewed Spector, it didn’t go very well I will admit. Radio Oxide refused to air my tour de force owing to frontman Fred Macpherson’s incessant, rambling and ludicrous chat. Choice nuggets included ‘I like your jacket. Turquoise. More people should wear that.’ when asked about musical influences. With neither the supreme inclination nor superior editing facilities apparent, the interview was unexposed to the Oxford airwaves. But with their headline slot at Oxford’s Gathering comes potential atonement. That’s right dammit. Spector Interview Round Two! Predictably, the disappointing fact that Fred isn’t actually present (‘He’s watching a horror film. It’s got a one word title I think.’) means this interview is both much shorter and more coherent than the previous. But more than most contemporary bands, Spector is reliant on the dynamism of its lead, so it feels like the equivalent of Beef Wellington with no pastry. And maybe no beef. Feel free to swap in an alternative food analogy.

Exuberantly courting controversy and ever mindful of fame, Spector’s debut album Enjoy It While It Lasts represents both anthemic indie rock in the vein of The Killers and Arcade Fire, but also a quasi-ironic dig at a transient celebrity culture.

But are they a pastiche of an indie boy band?

Aside from some initial confusion over the word ‘pastiche’, Jed Cullen replies ‘Music is our job. We’re musicians not personalities. If you want to put music to a lot of people, which is what you have to do to survive as musicians you have to do things like interviews. We’re entertainers and we like to make interviews entertaining and we like to enjoy ourselves when we do it, that’s really what its about. If were having fun usually other people will have fun.

But have they sacrificed musical integrity by aiming to grab headlines and sound bites? ‘Absolutely not. We don’t try and get headlines in any way, it’s not relevant to our music. Someone very high up in the music industry said to me, ‘You’ve got to remember that there’s the music, and everything after is bullshit’. It’s so important to have journalists and media, they have to exist, and as musicians it’s part of our job but were not [actively] trying to achieve headlines.’

Is this partly also because they’re very obviously emulating The Strokes, The Killers et al? ‘That’s like saying to Roy Lichtenstein, ‘oh you’re just copying someone’. Actually not Roy Lichtenstein, I hate Roy Lichtenstein. But it’s the difference between copying someone and using a motif, and motifs are very important.’

So how do they respond to people who say indie guitar bands are dead?

‘I agree with them. I guess in depends what you class as indie guitar bands. With the genre ‘indie’ we never use it in a serious way. We’re not indie, we’re on a major label.’

If this is testament to the band’s success, much of this must be attributed to Fred’s charismatic frontman persona. Perpetually cracking onstage wisecracks, sometimes it seems like the band is a vehicle for Fred’s ego.

Jed frowns. ‘Fred has worked so hard for this to happen. And if it was all about him I don’t think I’d mind… I’ve known Fred for eight years and the thing you have to understand is that he has a completely instinctive want to entertain people, and that’s greater than his ambition. Whether he was in a band or not people would probably say he was an attention seeker … but he’s a joy giver.’

In a brief moment of Fred-esque humour, Jed tells me Fred is a fan of One Direction; ‘He likes the music and the songs. Harry Styles has an incredible taste in music! But I mean it’s not all great because he has all those horrible cougars after him’.

Even so, it ultimately feels like the spectre of Spector is Fred himself. Both subscribing to and subverting the modern allure of fame, with a winning humour Spector could be a band with strong music credentials if we could only get past all that bloody faux-irony beforehand…

The dark side of a bright city

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Zoom in on….club photography

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Chris Russell-Gray works for Shuffle Nights and Wahoo nightclub in Oxford as well as private shoots and event photography, including fashion, wedding and family portraits. 

What made you take up photography?

Well, it was actually my friends. I went to a lot of car meets and started taking photos with a compact camera, but then a few of my mates said that I was good at it and even came up with a name, ‘CRG-Photography’. Then I just had to work on getting my name out there. I saw a photography job going at a Lava & Ignite, which I took up with a company called Picture-Pal, and they hired me directly after seeing my photos. Four years down the line, I’m now working for Shuffle nights and Wahoo nightclub

 

Do you enjoy your job?
Very much so. Not only do I get to party for free, but I meet some lovely people and have made many friends over the years. It has also led to further jobs with students wanting photographers for charitable events and house parties.
Any funny moments in your club photography career?
Millions! Often guys and girls turn around after having a photo taken and say “Please delete that, I have a partner back home!” which makes me laugh. If I didn’t delete it, they’d claim they were drunk but I know that they were aware of what they were doing at the time, as well as the possible consequences! I also regularly see people falling over or being sick, and one of my photos has even appeared on the Facebook page ‘Embarrassing Nightclub Photos’.
Are you inspired by any photographers?
Not especially. That may sound bad, but I’m more likely to become inspired by the photos than by a particular photographer. In a way it’s the same with music. No one will like every song by an artist or group and I suppose I apply the same logic to photographers.
What do you like most about photography?
My favourite aspect is giving people confidence – I like to try to break people’s safety level and push them a little. For instance, I recently did an implied nude shoot with a person and Skittles! She thought that she was vile-looking, but afterwards she had a huge smile on her face and was really proud of herself. I feel a gre

Do you enjoy your job?

Very much so. Not only do I get to party for free, but I meet some lovely people and have made many friends over the years. It has also led to further jobs with students wanting photographers for charitable events and house parties.

Any funny moments in your club photography career?

Millions! Often guys and girls turn around after having a photo taken and say “Please delete that, I have a partner back home!” which makes me laugh. If I didn’t delete it, they’d claim they were drunk but I know that they were aware of what they were doing at the time, as well as the possible consequences! I also regularly see people falling over or being sick, and one of my photos has even appeared on the Facebook page ‘Embarrassing Nightclub Photos’.

Are you inspired by any photographers?

especially. That may sound bad, but I’m more likely to become inspired by the photos than by a particular photographer. In a way it’s the same with music. No one will like every song by an artist or group and I suppose I apply the same logic to photographers.What do you like most about photography?My favourite aspect is giving people confidence – I like to try to break people’s safety level and push them a little. For instance, I recently did an implied nude shoot with a person and Skittles! She thought that she was vile-looking, but afterwards she had a huge smile on her face and was really proud of herself. I feel a great sense of achievement when that happens.

Does the darkness of clubs ever make it difficult to get a good shot?

At the start, the technical side of things was a little frustrating. I began by following other photographers who use a fast shutter speed with a high ISO rating. This gave me good photos but there was no energy in them, so I decided to opt for a low ISO with a slow shutter speed, which gives me clear pictures, but allows the photo to show the movement of light. If people are dancing it makes them a bit blurry around the edges too, which I feel adds dynamic to the overall finish.

What are your goals for the future?

I would like to branch out of Oxford, as well as eventually expanding in the nightclub scene. I hope to provide loads more people with great photos for memories of their partying days (and to show off on Facebook!). But I do love what I’m doing now: holding photo shoots and always just trying to create a great picture.

 

The Addiction to Prohibition

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‘At best, controls may have kept the lid on the scale of the market. At worst, they may have exacerbated drug problems.’

These are the words of a report published in October by the independent UK Drug Policy Commission (UKDPC). Finding that current policies do not address the fact that there will always be a market for drugs, and that prohibition represents bad value spending of tax payer’s money, the report seriously suggests decriminalization as a viable solution.

The war on drugs costs £3bn a year. And despite declining drug use in the UK, its citizens still comprise 380,000 problem drug users. Every year, 2,000 people die from causes relating to drugs.

The European director of LEAP (Law Enforcement Against Prohibition), Annie Machon has observed this losing battle from the front lines. Working in MI5’s counter subversion department on terrorist logistic during the 1990s, Machon liaised closely with HM Revenue and Customs. Colleagues told her that actively looking for drugs in transit was ‘just a drop in the ocean.’ Uncovering and preventing the export and import of narcotics was simply too great a task.

‘It is impossible to stop the free flow of drugs,’ Machon asserts. From human drugs mules making it through airport security checks, to substance movement across deserts on camels through Iran and Central Asia, the international drugs trade is a many headed Hydra – hack one off and another will grow in its place.

‘Can you imagine any other trade worth about 500 billion per annum around the planet being left entirely in the hands of organised criminals?’ asks Machon, with exasperation.

According to UN estimates, there are 50 million regular users world-wide buying heroin, cocaine and other synthetic drugs.

Even David Cameron and Barack Obama have admitted to smoking cannabis as teenagers. When asked if she had ever tried drugs as a student, Machon laughed. ‘I would find it very difficult to find anyone under 60 in this country who hadn’t dabbled.’

The profits reaped from Western party habits, and life-shattering addictions, fund violent criminal gangs and even terrorist organizations, causing untold harm throughout the world.

And at the other side of the transaction, the money to buy drugs is often sourced through lower level criminal activity, from petty theft to armed robbery.

The war on drugs in the UK is a battle of attrition, one that has been waged for over forty years. The opening salvo was the 1971 Misuse of Drugs Act. For many, this is a set of laws which sentences people who should be rehabilitated.

‘At the moment we already have the associated problems (of drug addiction),’ says Machon. ‘The thing is that because it is illegal, people are frightened to go and get help.’

The penalties are severe. In the UK, possession of a Class A drug, such as heroin, cocaine, ecstasy or LSD, is punishable by a seven year prison sentence and/or an unlimited fine.

Machon points to the method instituted by the Swiss government when faced with the high criminality, increasing numbers of drug-related deaths and AIDS epidemic of a massive heroin problem in 1994. ‘They made it legal in clinics.’ The change was a ‘win-win’ for Switzerland. ‘No-one has died of an overdose in Switzerland since then.’

As for ‘soft’ drugs, being caught with cannabis, a Class B substance, could land you in jail for five years. So if the 6.8% of people aged 15 to 64 in England who use cannabis were arrested and charged, the prison population could be swelled by well a good million or two.

Law can hardly be enforced on that kind of scale, and cannabis offences are low on police priorities. Yet 42,000 people are sentenced under cannabis laws every year, and 160,000 are given warnings. Many people have questioned whether this 41 year old legislation, and the money spent on policing it, still makes sense.

Smoking a joint may be a socially accepted past time amongst millions. But the mind- altering experiences of cannabis and other drugs have been linked to a number of long term mental health problems, which include schizophrenia and depression. Some people worry that decriminalization would encourage more people to experiment with drugs, potentially causing an epidemic of psychological disorders.

‘We need to be aware of the harm issues inherent in it,’ says Machon, highlighting the reductions in smoking that have come with better education about its damaging effects. But for her, drug taking is a matter of personal freedom, a choice to be made by individuals.

Illegality still fails to put people off choosing to use drugs, or prevent access to them. Machon believes that many children would confirm that it is easier to get hold of cannabis than it is to buy alcohol or cigarettes.

‘At the moment it’s a free for all,’ she says, ‘What we’re discussing is strict regulation.’ She thinks that only by legalizing and strictly regulating the sale of drugs can you properly impose age limitations (although it could be argued that the age limitations used to regulate alcohol consumption are easily dodged by savvy sixteen year olds anyway).

As the report by UKPDC shows, the arguments put forward by groups like LEAP and UKPDC are gathering legitimacy.

‘More and more senior politicians have realised that talking about the war on drugs is not a third rail which will electrocute them,’ says Machon. ‘I think there has been a sea change in the tone of the debate. But every day we delay, more innocents are killed around the globe.’

For her, this war is ‘hysterical, it’s hyperbolic and it causes more damage than it stops.’

Bloodshed is an inevitable part of war, and the war on drugs is no different. American intelligence was this year used to justify the shooting down of two suspected drugs planes over Honduras. But it is unclear whether there were actually drugs aboard, and both incidents constituted violations of international law.

And in the six years of US military action in cracking down on supply from Mexico, 62,000 Mexican civilians have been murdered, and 20,000 have disappeared. Civilians are caught between brutally territorial cartels and the apparently indiscriminate authorities.

In 2011, 150,000 Mexicans marched to raise awareness of their plight. And a ‘Caravan for Peace’, made up of Mexican victims caught in the cross-fire, travelled through the US this summer to protest against the continuing violence.

This looks like an increasingly inaccurate and dirty war, a waste of both financial resources and human life.

‘I think it’s just going to get worse,’ sighs Machon. ‘It’s such a lucrative trade…And the kind of violence we’re seeing in South America and North America will transfer into Europe.’

So, strike criminality from drugs use, and remove the drugs trade from criminals. The anti- prohibition argument is an attractive one. Over ten years, LEAP has gathered 80,000 supporters, and is represented by senior law enforcers from ex-intelligence professionals like Machon, to former chief constables. It remains to be seen whether the Home Office will take the UKPDC proposals seriously and ‘loosen up’ drugs laws. But with Portugal leading the way, as the first European country to completely abolish criminal sanctions for possessing drugs in 2001, the decriminalization movement is gathering pace.