Friday 18th July 2025
Blog Page 1852

Review: Smother

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When Wild Beasts gave us Limbo, Panto in 2008, its earnest theatricality immediately set the Kendal quartet apart from their indie rock contemporaries. Deploying the contrast of two vocalists (Hayden Thorpe’s coarse falsetto and Tom Fleming’s more standard register) and drawing from the vaudeville and the picaresque, Limbo, Panto described life (and sex) in the North-West with characteristically flamboyant panache. Thorpe crooned in ‘Woebegone Wanderers’: ‘Unstable stands a-flush with fans, pilfered piles and pints in wobbly hands,’ while whispering on ‘She Purred, while I Grrred’ that ‘her fruit was ripe, I bit, I’m nothing more than a humble mongrel, whipped cast, rash and unabashed.’ Follow-up Two Dancers upheld this lyrical ingenuity, but toned down the melodramatic excesses of its predecessor to great critical accolade, including a Mercury Prize nomination. But in so doing – to this reviewer at least – it showed signs of losing the singular aesthetic of the debut.

Smother, I fear, continues this trend. Wild Beasts’ fascinating exploration of fragile masculinity is still present, but the lyricism is far more conventional – no more depictions of the bar fights as ‘bovver boot ballets’. The record features cleaner production, and sparser instrumentation, but ultimately this allows for a far more atmospheric record, and leaves greater room for Thorpe’s still striking vocal ability. Smother is the product of a greater maturity, and the grooves, though darker, are often just as undeniable.

‘Lion’s Share’ couples Thorpe’s haunting voice with a sinister piano backing, while the masterful ‘Bed of Nails’ conveys a sense of unfulfilled lust with stalking bass and shuffling drums. In ‘Burning’, Fleming’s shaky, despairing vocals gradually sink into the mix until they are enveloped by a growing wall of sound. Whether or not one applauds the jettisoning of youthful extravagance for greater sobriety, Smother must be commended as another excellent release from the ever-impressive Wild Beasts.

Papa Loach… and son

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British cinema is a peculiar and unhealthy species of film that is considered by many to be lacking its own identity when it is not either an adaptation of 18th century literature or starring Hugh Grant as, well, himself. Ken Loach however goes against all of this: his films depict a vision that is not based on any romanticized notion of Britishness (Loach is one of the truly honoured few to have shunned the offer of an OBE out of distaste) but a realistic and working class vision that trailblazed the gritty kitchen sink drama. His most influential work is undoubtedly his made-for-TV film Cathy Come Home in 1966.

The film tells the harrowing story of Cathy, a mother in the 1960s who through the inflexibility of the embryonic British welfare system finds her family homeless after her husband’s redundancy. The complete dismantling of her family in the final scenes cuts through viewers like very few films can, leaving only the steeliest of Thatcherites dry-eyed.

Watched by one quarter of the British population at the time, the film highlighted the plight of the homeless in a way that had never been done before and led to the widespread establishment of the charity Shelter.

Formerly a law undergrad from St. Peters, Loach moved on to direct his first feature film, the critically acclaimed Kes (1969), which provides an equally bleak but insightful outlook on British working class life from the perspective of a young boy, challenging the audience not to look away.

Throughout his career, Loach has continued to depict the struggles of those who often do not have a voice, directing such recent hits as Sweet Sixteen (2002) and A Fond Kiss (2004). Loach himself has attracted controversy through his vocally anti-Israeli stance, his advocation of the Chechen Republic and his support of Julian Assange (founder of WikiLeaks) throughout his incarceration.

His new film Route Irish is being shown in the Ultimate Picture Palace in Cowley this month and looks at the lies told with regard to the Iraq War and the impact on the soldiers who fought there. Although not deviating from his formula of challenging unvoiced criticisms of the government and society through fictional accounts, the high octane action involved in this recent release has been criticised by many as a reflection of an unwanted big budget influence on his films.

Loach’s film has, however, proved to be a hit with critics and audiences alike, with the strength of his movies not being based in their budget (be it large or small) but in the way that Loach unflinchingly tackles controversial political topics. With Loach secured as one of Britain’s greatest directors of all time, the focus now turns to his son Jim, who makes his directorial film debut this year. His film Oranges and Sunshine deals with the covered up issue of British children in care that were sent permanently to Australia. Between 1947 and 1967 over 10,000 children were sent to live a life overseas of hard labour and abuse, with many of their parents being told that the children had been adopted into new families in the United Kingdom and the children being told that they were orphans. The influence of his father is strikingly clear – Oranges and Sunshine would comfortably fit as another addition to Ken’s long filmography.  

Jim denies he is just following his father into a career laid out for him; in his defence, Jim has worked his way up, even directing episodes of Coronation Street. There is a pattern however: Ken’s other child, Emma, makes frank and unflinching documentaries. With Jim’s new film receiving excellent reviews thus far and in late 2009 (once Oranges and Sunshine was already in production) both the British and Australian government apologised to the child migrants for the first time – the film is creating ripples for all the right reasons and firmly in its own right. Although I’m sure all of the Loaches would be repulsed at the idea of their name buying them a career – can the British film fan really complain?

Now in his seventies, who knows how many more films Ken is actually interested in directing. If his children have inherited his talent for film making (which all accounts suggest they have) then it is a fantastic opportunity that the legacy of this terrific filmmaker will continue to challenge our views and change our politics long into the future.

US First Lady to visit Oxford

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U.S. First Lady Michelle Obama is set to visit Oxford next Wednesday. She will come to Christ Church College to talk to girls from a North London comprehensive about going to university.

The White House yesterday announced that Mrs Obama would make her trip to the University as part of her continuing “commitment to engage young people around the world, support educational opportunity and promote youth mentoring”.

Christopher Lewis, Dean of Christ Church, sent an email to students informing them that Mrs Obama would be “at Christ Church during the afternoon to speak to some girls from a London school about their aspirations in general and their hopes for their university education in particular”.

Revd Lewis warned that the event would cause “disruption” and “restrictions on movement in the Tom Quad area”, but  urged students to see that it will be “of benefit” to the College and University as a whole.

The lucky 35 students all come from the Elizabeth Garrett Anderson School, a language college for girls in Islington. They will have a day-long university “immersion experience”, involving tours, career discussions and talks with Oxford students, before attending a question and answer session with Mrs Obama. The aim is to encourage the girls to pursue higher education.

One third-year English student at Christ Church, said, “I’m so excited about Michelle Obama’s visit to Christ Church, this has made my finals revision this week pale into insignificance!”

University of Oxford Vice-Chancellor, Professor Andrew Hamilton, said, “We look forward immensely to welcoming the First Lady to the University and to sharing with her and the EGA students something of what makes Oxford and the education it offers so special.

“We are determined to make that education available to the brightest students from all backgrounds, and our outreach programme comprises 1500 events every year, from days like this one to residential summer schools.

“A deep commitment to the transformative potential of education lies at the heart of Oxford’s mission as a world-leading place of learning.”

The First Lady will arrive with her husband in London on Tuesday for a three day trip which will also see the couple stay with the Queen in Buckingham Palace. Security has been stepped up for the event, amid fears of a retaliatory terrorist attack in the wake of Osama bin Laden’s 

Outrage over students ‘handpicked’ for chalet

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The revelation that holidays in a college-funded chalet are being used to reward “favourite students”, has sparked outrage among Balliol undergraduates.

Although the college funds the chalet at a cost of around £5000 a year, students are selected by college trustees, based on criteria that is unknown to the JCR, and there is no open application process. Up until a few months ago, this panel of trustees included the Dean.

A motion was passed this week by Balliol JCR which said, “The college should not be subsidising an Alpine chalet for the Dean and his favourite students.”

The motion called for access to the chalet should be opened up to all students ‘based on a system of random allocation of places (e.g. in groups of 1-4).”

One Balliol undergraduate expressed his opinion that, “The Dean basically picks his favourites, or, less provocatively, choir people and perhaps rowers”.

Balliol JCR President Stephen Dempsey told Cherwell, “Places are selected by the academic administrator in conjunction with particular tutors who make use of the chalet. They obviously choose the people they want to go on holiday with.”

During the Balliol JCR meeting on Sunday night, Chris Gross bought forward a motion that questioned the selection procedure for the chalet.
The motion was passed with an overwhelming majority.

Despite Balliol’s precarious financial situation, which earlier this year led to a proposed £500 blanket charge to all incoming students, JCR members were in general supportive of the college’s commitment to the chalet.

A student at Balliol present at the JCR meeting said, “We decided to support the college’s continued involvement with the chalet, as long as allocaton of places is done on a transparent, random basis.

“This is because it doesn’t cost much to subsidise and it could be a really nice institution to be proud of going forward”.

Dempsey described the motion as “fantastic”.

He added, “The passing of the motion is much more in keeping with the egalitarian principles that we have”.

When contacted by Cherwell, the Dean was unavailable to comment on the matter.

The 1909 Chalet des Anglais is situated in the French Alps opposite Mont Blanc. The chalet is administered by Balliol jointly with two other Oxford colleges, New and University.
Each summer the three colleges take turns in allowing parties of around 14 students to spend a week-long reading and walking holiday in the electricity-free chalet.

At New College, places are filled on a first come first served basis following an email sent out to all JCR and MCR members. University College has a similarly open selection method and any student can apply to go on the trip.

New College student Joey D’Urso who is going to the chalet this summer, said, “I think the chalet is an amazing opportunity and I’m really looking forward to it.

The University Press Office declined to make a statement, explaining that it was a matter for colleges rather than the University. The trustees of the chalet were not available for comment.

Review: The Rover

The Rover is set in the grandiose setting of New College gardens. As you enter the park you will instantly be surrounded by a carnival of beautiful roses, wisterias and daffodils – all there to welcome you to the world of The Rover. The play was written by author Aphra Behn, a dramatist born in 1640, famous for being the first professional female writer in England.  Virginia Woolf said of her: ‘All women together ought to let flowers fall upon the grave of Aphra Behn… for it was she who earned them the right to speak their minds.’

And her reputation is well-founded as the audience hears one of the actresses expounding on the subject of women’s rights within the play. The Rover follows the adventures of a group of English cavaliers; Belvile, Wilmore, Frederick and their female counterparts, sisters Florinda and Hellena. The plot centres on Florinda and Hellena’s decision to escape their brother’s wedding plans and come to Naples to experience real love.

Jack Powell, who plays Willmore the titular rover, is convincing as the dandy in the pursuit of pleasure. He has a great foil in Hellena, played by Eleanor Hardy, who deserves a mention for bringing such great energy to the stage. Of course, playing in an open stage entails some difficulties, the actors’ voices might not be heard equally well in the back rows, and the wonderful open space could arguably be used for more action. Nonetheless, the orchestra delights the audience with some well-chosen music and the large group of actors brings energy and thrust to what is quite a lengthy play.

So if you love all the ingredients that make a story entertaining; love, miss matches, sword fights, weddings – The Rover is your kind of play. And what better way to spend a quiet summer evening then witnessing the unravelling of love and desire? Just make sure you bring a scarf with you: the beauties of a Neapolitan carnival won’t protect you from the chills of an English evening.

Scotland’s constitutional future

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For the most part, the flurry of elections that took place around the UK this month saw a return to business as usual, the reassertion of the status quo. Electoral reform was resoundingly rejected and the Liberal Democrats’ brief venture into electability has ended with the party firmly back in third place. In Scotland however, the 5th May saw politics enter a new era. The Scottish National Party (SNP) now holds a majority of the seats in the Scottish Parliament and intends to hold a referendum on Scottish independence. This result is far more than the misplaced patriotism of a small group of kilt-wearing nationalists somewhere north of Newcastle. The debate on independence is only just beginning and it is not as simple as is portrayed by much of the UK media. It is also one which will have profound consequences for all parts of Britain.

Controlling 69 of the Scottish Parliament’s 129 seats, the SNP has become the first party to secure a majority in the chamber’s short history. Blair’s Labour Party pursued devolution as an attempt to contain separatist tendencies. The Scottish Parliament’s proportional electoral system was supposed to stop the SNP ever gaining a majority. Instead, devolution has been the lifeblood of the SNP, giving them an invaluable political platform. The party whose unifying goal is Scottish independence has risen from obscurity, to opposition, to minority and now majority government. To the casual observer it must seem only a matter of time before the final step to independence is taken.

But it’s not as simple as that. While support for the SNP has risen, support for independence remains stubbornly below 30%. A vote for the SNP is not necessarily a vote for independence. In recent years, the SNP has moved into the mainstream, securing the support of Scottish business leaders (yes, they do exist) and dropping its anti-English rhetoric. For many, the SNP frontbench are simply supported as the most competent politicians in parliament. The recent election campaign was fought on jobs, the economy and spending priorities; the issue of independence has only come to the fore after the surprise election result.

So don’t expect to see border guards on Hadrian’s Wall just yet. While the Scottish people have given their backing to an overtly nationalist party, they are yet to be convinced by the case for independence. There is also little clarity about what independence would entail. We are told the Queen would be invited to remain Scotland’s head of state, but would Scotland keep the pound? Would it have its own military?

In the past week, key SNP figures have indicated that the party may look to secure ‘independence lite’ where social security and defence are coordinated at a UK level. SNP leader Alex Salmond is a wily political operator who has accepted that gradualism is the best means of getting more power for Scotland. He will not risk losing a referendum by presenting a separatist option before an unwilling electorate. Many questions about Scotland’s constitutional future remain without plausible answers. The suggestion that Scotland should have a different currency to its main trading partner, England, is surely ridiculous given the amount of movement between the countries. But remaining in a monetary union would require some means by which the Bank of England would be directly accountable to Scotland. The recent troubles experienced by the Eurozone have also demonstrated that fiscal coordination is a must for countries living under the same monetary policy regime. Some form of federalism seems the only realistic solution.

Whatever the nature of the ‘independence’ option put before the Scottish people, some sort of formalised synchronisation will have to exist at a UK-wide level. This means that the ‘good riddance’ attitude towards the issue of Scottish independence expressed by some of the English media in recent days misses the mark. For even the most cynical English observer, independence will end up being about more than getting rid of the burden of the ‘sponging Scots’. Aside from the fact that an independent Scotland would leave the UK without a place to house Trident and end Labour’s ability to win a parliamentary majority at Westminster, any independence settlement would open a can of constitutional worms for the whole of the UK. Some sort of chamber with Scottish representation will have to exist to make decisions in those areas, such as defence and social security, where Scotland and the UK set coordinated policy. But this UK wide body could not reasonably also be the English legislature. The issue of an English Parliament would again raise its head.

Keeping the status quo is not an option either. Legislation currently making its way through the UK Parliament will give Scotland new powers over income tax with corporation tax control possibly to follow. As Scottish and English taxation and spending priorities diverge, the injustice of Scottish MPs in Westminster voting on solely English matters will only increase. At some point, the so called ‘West Lothian question’ will demand an answer. It is hard to see a possible future scenario where there is not significant change to the constitutional powers of the House of Commons.

The election of the SNP takes Scotland and the whole of the UK into uncharted territory. There are many questions about how an independent Scotland would actually work which will now be debated and are as yet without an obvious answer. What is clear is that the binary view of the nature of Scotland’s future options is naïve. A lack of concern amongst the English population also shows a lack of appreciation of the likely significance for the whole UK of the SNP’s success. Though the AV vote failed, the 5th May 2011 may yet turn out to be the day that the UK headed towards a new constitutional future.  

Letwin: We aren’t ‘Atilla the Hun’

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On one level it is surprising that Oliver Letwin isn’t more of a household name. The Minister of State for Policy has been right at the heart of many of the most important decisions made by the Tory party in recent years, perhaps most notably as a prime mover among the reformers wishing to soften the toxic image of the “nasty party”. After the Conservatives’ defeat in 2005, Letwin sought to influence the selection of their new leader, giving enthusiastic public backing to the then relatively unknown David Cameron. Because of this and other nudges towards the centre ground, not to mention his joint oversight of the coalition agreement with the Lib-Dem Danny Alexander, the present Government is one which can be said to bear the marks of Letwin’s handiwork, both in terms of policy and presentation. So it is perhaps not immediately obvious why he doesn’t share a place in the public consciousness comparable with that of some of his cabinet colleagues.

The hint of an answer came in a revealing comment at the end of our conversation: “I have never been very good at popularity contests”. I had asked Letwin whether he was active in student politics at Cambridge: “I can safely say not at all. I played no part in the student politics of the day. To tell you the truth, my interest in politics is really an interest in practical political action and the ideas that lie behind that. And I didn’t find much of either of those going on in student politics!” Letwin does not come across as a man who enjoys the limelight or courts publicity for its own sake. His student experience sets him apart from, say, Boris Johnson (president of the Union) or Tony Blair (actor, musician), both of whom are (or were) very good at “popularity contests”. Letwin, by contrast, is more of a thinker than a communicator. To put it bluntly, he seems better at alienating the public than endearing himself to it. A notorious example of Letwin’s relative lack of PR acumen was the statement in 2003 that he would rather “go out on the streets and beg” than send his children to an inner-city comprehensive in London. More recently he has come under fire for allegedly suggesting that he was opposed to people from Sheffield going on cheap holidays. Indeed, Letwin has been seen by his party as somewhat of a PR liability: in the run-up to the 2001 general election he tried to stay off the press radar because of hostility met when he revealed his intention to make drastic spending cuts.

Letwin, then, is comfortable when working behind the scenes in the crisis-free world of policy development. Here there is little day-to-day press scrutiny, little need to play the popularity game. It is a role to which Letwin is amply suited: having taken fellowships at Princeton and Cambridge, and with several publications to his name including the philosophical treatise “Ethics, Emotion and the Unity of the Self” (Routledge, 1987) he is certainly one of the more cerebral members of the Commons. Letwin’s wise man of Westminster image combined with his genial manner earned him the nick-name “Gandalf”. He is the wizard behind a new Tory philosophy, one that maintains the Thatcherite agenda of shrinking the State but balances that with an emphasis on building happy, cohesive communities and promoting good citizenship. This touchy-feely outlook surfaced again and again in our conversation.

Having raised the subject of student protests, I asked Letwin whether the vehemence of public opposition to certain Coalition policies made him fearful of a resurgence of divisive class politics, or of a growing North-South split: “I don’t think so. There are, and there are going to continue to be, lively debates about all sorts of things including student finance. But I think people recognise, whether they are supporters of the Coalition Government or not, that it is a government that is trying to unite society not divide it. We are making enormous amounts of effort to cooperate with the Trades Unions and not to battle with them, we are trying to do everything we have to do to get the deficit down in a way that makes it least painful for the public servants that are involved. Across a very wide program we are focusing very heavily on trying to help the disadvantaged … the whole tenor of this government is about trying to make sure that there is more, not less, equality and mobility. Therefore I think it is very difficult for our opponents to characterise us as Attilla the Hun.” This last point was absolutely true. They characterise the government as “Tory scum” instead. I was surprised by Letwin’s answer. Flat denial that there is a risk of growing political division in the country suggests, if nothing else, that he doesn’t watch Question Time (which can get pretty heated). It probably is the case that we can expect to see more and more “lively debates” as the cuts start to bite.

I met Oliver Letwin only a few days after Cameron’s “only one black person at Oxford” gaffe. I was originally supposed to speak to him a lot earlier, but a COBRA meeting (so much more dramatic than “Cabinet Office briefing room A”) about Libya got in the way. I asked the Minister of State for Policy what Cameron meant – was he simply scoring a fairly cheap political point or does the government actually intend to do something about top universities’ “disgraceful” behaviour: “what David was saying, and I think it’s certainly right to say, is that … it’s implausible that there’s only [41] people who are in any sense of the term ‘black’ who have talents equal to many hundreds of others. That suggests that talent is not being sought out, not being encouraged, and is in some way or other, probably unintentionally, being discouraged. We need to change that.” Letwin seemed noticeably uncomfortable on this topic. I asked him whether he thought it was in any way the fault of the institutions themselves that black people were under-represented: “I don’t think attributing fault here is the issue. The issue is who can do something about it… one of the big reasons why we are making huge efforts to open up our schooling system and create more competition and more choice through the introduction of excellent new schools, is precisely to nurture talent. That’s something that the government is trying to do. But the deal we’ve struck with the universities is, if you are an institution that is sufficiently prestigious and desirable to be able to charge high fees, then the tit for tat is you have to make a particular effort to make sure that people who are not well off do apply.”

Letwin explained that the government’s wider strategy with Higher Education, as with so many other areas, is to introduce market forces (albeit in a limited way, given the cap on fees) driven by individual choice: “part of what we’re trying to do is to create a system in which those who are engaged in teaching feel the need to provide something that students want.” Students, i.e. customers? “Yes! In a sense, the whole of society is the customer of universities. One of the things they’re doing is to immensely enrich our culture, and another thing they’re doing is to immensely enrich our economy. In that sense there is a social dividend, and society is the customer. But they’re also there for the education of the student, and it’s important that they should feel the need to attract the student.” Time will tell whether this program of introducing individual choice, set in motion by Blair but with it’s philosophical roots in Thatcherism – now reinterpreted for 21st century Britain by Letwin et al. – will be successful. In one area at least, viz. the NHS, it seems to have completely imploded.

 

 

Review: She Was Yellow

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‘Edgy’ is the adjective upon the audience’s lips as they enter the Burton Taylor Studio. And as much as this can be a pejorative term, Milja Fenger’s original play She Was Yellow is edgy – but in the best sense of the world. Experimental, unsettling and provoking She Was Yellow is some of the best new writing I’ve seen whilst at Oxford.

There is such sweetness and pleasure in the opening scenes of the play, and humour too, that I could easily have watched Alashiya Gordes as Aurelie and Sarah Perry as Ilona for a few acts as they move from hesitant friendship to established passion, such is the ease and joy they communicate. But unfortunately, the business of the play must continue and we zip dizzyingly through their courtship until Aurelie must deal with the implications of two diagnoses; pregnancy and a particularly aggressive form of breast cancer. From here on out, the play delves into a much darker and sadder place; gone is the pleasing accompaniment of bouncy Jack-Johnson style guitar, and a particularly evocative strain of Gershwin-esque saxophone haunts the latter half of the production.

The set is minimal with Gordes and Perry creating the backdrop as the play progresses. The final image they create bringing together the themes of reproduction and perpetuation in a very satisfying climax and I applaud this innovative directorial touch. Most of all however, I enjoy the way in which the play is able to sustain an emotional intensity – I hear more than one person speak of trying not to cry as we leave the theatre – and I think this has a lot to do with Sarah Perry’s endearing portrayal of emotional strength.    

Milja Fenger’s script does something rather special: educating and celebrating scientific knowledge without conspicuously forcing facts down our throats. At its core is a celebration of both story-telling and science, something Aurelie knows and which it takes Ilona and us the rest of the play to find out. A play constructed around intimate dialogues rather than dramatic action it is often very funny. If it has a tendency to sound portentous then it is because the material calls for the characters to talk seriously and honestly to each other. She Was Yellow could perhaps do with a little more polish – there are a couple of moments when lines jar or timing is slightly off, but this did not hamper my enjoyment.

Experimental theatre may not fill the stalls but Fenger’s play deserves to. If you can get a ticket for the last couple of performances at the Burton Taylor I’d urge you to go, if not look out for what Fenger does next – I predict a colourful future. 

Festival Fever

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As the week of Brasenose Arts Festival winds down, it’s a good time to reflect on the anomaly that is such a festival for those who speak in the American tongue. I’ve attended a play, an open-microphone evening, a dinner and a cabaret, and there’s still more to come with a celebratory party at the end. And at many other colleges across Oxford, other students, and denizens of the arts, will be experiencing the same sort of thing.

Yet when I mention it to my friends back home, the closest event they have for comparison is Spring Fling, or Greek Week, or Homecoming; all times of merriment, usually verging on raucous, but of pride in one’s university or its sports teams rather than in the arts. This is not to say that the arts aren’t held in esteem; however, celebration of artistic pursuits isn’t organized in the same way.

I’ve come to realize that this is probably because we don’t have summer music festivals along the same lines throughout much of America. We do have some, from Coachella in California, to Lollapalooza, to the now-ubiquitous Warped Tour (which no longer really qualifies as alternative). But in hearing my Oxford friends reminisce about their times at Bestival and Stonehenge, it’s occurred to me that they’re vastly different experiences.

So I appreciate this time, when entire colleges come together, gathering to watch performances and participate in workshops even if it’s not part of their students’ usual routine. I especially enjoy the chance to learn a few new things about being a Brit when it comes to songs. Before today, I’d thought the only song about a catastrophe in the capital was London Bridge. Now I’ve heard the sweet tune of London’s Burning, sung by my (slightly tipsy) friends on the committee, and it’s changed the way I see the world just a little bit. 

Rory and Tim’s Friday Frolics – episode 3

Rory and Tim have an essay crisis and a TV presenter torments the poor.