Oxford's oldest student newspaper

Independent since 1920

Blog Page 1999

Review: ‘The Betrayed’ by Lost Prophets

Ian Watkins said that this album would be darker. The static at the opening of the first track implies as much. The fact that the lead single of Liberation Transmission, ‘Rooftops’, was unbelievably well received, despite its lack of originality, made me hope as much. The band don’t disappoint – not for the first two tracks.

‘If It Wasn’t For Hate, We’d Be Dead By Now’ might have a P!AD aesthetic, but the compulsive Test-Icicles drum-hook and dark delivery give it edge (even if the concept is a repeated-to-death pseudo-paradox). DSTRYR/DSTRYR is Mellon Collie Pumpkins meets RATM’s ‘Bull’s on Parade’; again, Watkins’ delivery is a highlight. ‘The Light That Burns Twice As Bright’, a sombre, piano-led closer, touches on poignant, exploding after three minutes in an impressive fashion.

Unfortunately the attempt to make atmospheric tracks doesn’t last long. ‘Where We Belong’ is a cheap and inferior Blink-182 imitation, and things don’t recover until the very end. Darkened musical interludes don’t hide the fact the songs are very standard Lostprophets; even the interesting violin-led intro of ‘A Better Nothing’ descends into the same pop/punk style. ‘Streets of Nowhere’ has an incomprehensibly ‘mod’ beginning and breaks down like ‘Town Called Malice’, but by the chorus, it’s unavoidably pop/punk.

They try reach out to all sorts of genres but it ends up sounding confused. In a way, the more standard sounding songs, like ‘Dirty Little Heart’, are more effective because they don’t pretend to be anything else. There’s an audience for this album, but songs like ‘For He’s A Jolly Good Felon’ are as annoying as you’d expect. Mind, if you find standing on rooftops, screaming, ‘Aaahaaah,’ cathartic, not irritating, then this album might just be for you.

The Great Coll(abhor)ations

According to their Twitter feeds, the collaboration between The Smashing Pumpkins’ Billy Corgan and Newly Weds’ Jessica Simpson is going well. The two are showbiz’s most unlikely romantic item, with one half a bastion of musical credibility, and the other, the lead singer of The Smashing Pumpkins.

Only cynics would doubt the longevity of the relationship between the serial celebrity-dater and Courtney Love’s ex, however all Pumpkins’ fans are asking ‘why the musical collaboration? What will it add to music’s rich tapestry?’ – the same questions triggered by many of pop music’s strange coalitions.

Collaborative works have been ample – some brilliant, some hideous, and some, frankly, bizarre – but what makes a musical union work? Surprisingly, it is often the most unlikely combinations that produce the best results.

But first, more partnerships in the Simpson/Corgan vein. Why, I wonder, did Ozzy Osbourne, the man famed for ingesting more illegal substances than Mr Doherty and Miss Winehouse combined, and who reputedly bit off a live bat’s head on stage, join forces with Miss Piggy? Could anything reduce his credibility more? Don’t get me wrong, I have no problem with a heavy metal godfather appearing on The Muppets, but somehow it just doesn’t feel right having ‘The Prince of Darkness’ releasing a single with an anthromorphic pig. The song, released in 2005, is a parody of Steppenwolf’s ‘Born to be Wild’, in which Miss Piggy, looking for Kermit, stumbles across Ozzy who insists she stay and listen. Of co

urse, the song is supposed to be ironic but few find it funny. Not only does the union cheapen the legacy of the original song, it also lessens the reputation of a musical great.

The same bewilderment is conjured by the rework of fabled anthem ‘We Will Rock You’ by two of Queen’s original members, and boy band Five. This version took the top spot of the British singles chart in 2000, to the dismay of music fans the nation over. The song, audaciously credited to ‘Five featuring Queen’, reworks the epic that caught the world’s attention at the original Live Aid, and features some of the wettest rapping one is likely to hear: ‘Watch your back, we got Queen on this track’. Profound eh? Freddie would have turned in his grave. Again, the collaboration achieves nothing; it makes Brian May look silly and Five, sillier.

Of course, joint projects have spawned great music. One of the masters of the musical collaboration is crooner-composer Burt Bacharach. Not only does he have an instinct for lush orchestration and catchy choruses, but he also knows how to select compatible work-mates (maybe the falling point of post-Mercury Queen and Billy Corgan). He’s created enduring sounds with a plethora of great acts since the ‘60s, including The Beatles, Elvis Presley and Dionne Warwick; but perhaps most unusual is his 2005 work with rapper-producer Dr. Dre. The album At This Time is a work that fuses the best attributes of both its creators: Dre’s synthetic beats supplement Bacharach’s orchestral arrangements and gentle vocals in an unexpectedly gimmick-free and cohesive fashion. Perhaps there is hope for Corgan and Simpson.

Unsurprisingly Thom Yorke’s work with Bjork is quite sublime. Yorke has mentioned in the past that he finds working with the right collaborators invigorating, and is noticeably picky when it comes to choosing his sparring partners (he recently turned down an offer of joint work from Paul McCartney). His effort with Bjork produced the number ‘I’ve Seen it All’. Its sound is one you’d expect from such a partnership, though this predictability fails to detract from its beauty. Sparsely orchestrated strings and sporadic percussive beats define the aesthetic, which is glossed with an ethereal and melancholic tone.

It seems that when different artists join forces a reaction of sorts occurs, skewing the output quality in one of two directions – towards the desperate or the exquisite. And it’s this that makes collaborations intriguing. Despite some joint projects representing the woeful, they can appeal in their own way, even if purely for the wince factor. So as long as Bob Dylan doesn’t announce a joint effort with Joe McElderry, I’m happy to listen to any collaborative work that comes my way.

Top 10: Drama Freshers

1. Sarah Perry (Oriel)
After shocking Cuppers as director of a highly unusual interpretation of Harold Pinter’s The Lover, Perry went on to win the lead role in The Odyssey, Trinity term’s only Playhouse show.

2. Ollo Clark (Teddy Hall)
Shot to prominence during Cuppers as director and star of the Best Show winner Hansel and Gretel. He takes to the stage again this week in The Magic Toyshop.

3. Carla Neuss (St. Peter’s)
A graduate writer from Berkeley, California, Neuss stormed into the New Writing Festival with Revival, a play about secret cocktail societies.

4. Ruby Thomas (Regent’s Park)
Before claiming the Cuppers Best Actress award, Thomas had appeared in Barnaby Rudge. She once reputedly told a talent-scouting student producer to contact her agent.

5. Chris Wallwork (Christ Church)
Acting runs in his family, with a brother at LAMDA. He impressed the critics in last term’s As You Like It.

6. Chloe Wicks (Brasenose)
What play hasn’t she been in lately? Since arriving in Oxford, Wicks has performed very strongly as an actress and director in Cuppers and elsewhere, as well as making lots of friends in high places. Look out for her in 7th Week’s Blood Wedding.


7. Nicholas Higgins (Teddy Hall)

‘Nik’ Higgins, as he likes to be known, followed a brief but hilarious Cuppers appearance with sterling work in Chris Adams’ excellent A State Affair the week afterwards. Watch out for this talented young actor.

8. Cassie Barraclough (Regent’s Park)
One of the many rising stars at Regent’s Park, Cassie is already known for her unusual method-acting approach. She hugely impressed our reviewer at the preview of Far Away.

9. Ella Evans (Wadham)
Author of Superwoman, which made the initial New Writing Festival shortlist and caused immense controversy among the Cuppers judges, Evans is clearly going to carry on her serene progress through drama at Oxford – leaving a tempest in her wake. And she can act, as well.

10. Jack Peters (Univ)
Peters has impressed everyone he’s come across with his charm and down-to-earth manner – and with his acting, for that matter. He has large amounts of previous experience, landed a diverting role in The Odyssey, and you’ll definitely be seeing more of him in future.

 

Here’s What You’ve Missed: 1st Week

Audiences give their verdicts on the theatrical highlights from the past seven days. This week, stand-up comedy from David O’Doherty at the OFS and ‘Die Fledermaus’, a Johann Strauss operetta at the Playhouse.

Arsenal’s massive month

As my previous post suggested, reaching irrational conclusions is the Achilles heel of the footballing world.

Unsurprisingly, irrational conclusions can be drawn more than once in a week. On November 27th, when Arsenal were comprehensively outplayed by Chelsea, their title bid was considered dead and buried. Now after an excellent comeback against Bolton saw them extend their unbeaten run to eight games, not only do they actually sit atop the league, they supposedly possess the fortitude to stay there.

The praise is a deserved reflection of a turnaround few would have thought likely, and the hyperbole thrown at the Gunners is more deserved than that which followed Wednesday’s Liverpool-Tottenham game.

However, amongst some rightful praise a few salient points should be taken into consideration. Firstly Arsenal’s recent run has seen them beat a stagnating Stoke, a depressingly low on confidence Liverpool, rubbish Hull, penniless Portsmouth and now Bolton, twice. Any side with title pretensions should win those games, no question. These wins were also coupled with some very disappointing draws; in slack fashion at Burnley, and then extremely fortunately at home to Everton. Only the 3-0 Fabregas led demolition of Aston Villa signals a significant performance. So close has the margin been between success, and disaster. All of this alongside Chelsea’s perplexingly poor form, a run unlikely to be repeated regularly.

Much of the praise since garnered has reflected that some of the games were won playing badly, with a raft of injuries and mental knocks that might have derailed previous Arsenal teams. Yet the fact remains that these games were winnable. To an extent, the praise is worthy, but whether it will remain so will be seen between now and February 17th.

Arsenal’s next four league fixtures are Aston Villa away, Manchester United at home, Chelsea away, and Liverpool at home. This demanding run is bookended by the pressure of potentially two tough FA Cup ties, and the first leg of the last 16 of the Champions League.

Only after such a string of fixtures can the mental, as well as technical qualities of this Arsenal side truly be judged. In one month’s time Arsenal could be challenging for major honours on all fronts, or their entire season could be in tatters.

What represents a good return from these fixtures? It will be hard to say, and much depends on the form of Chelsea and Man United, but Arsene Wenger will be looking for at least 9 points. Little else will suffice, especially if defeated by Chelsea.

So feel free to praise Arsenal now, but if people really want to call them worthy of becoming champions, they should wait until the real test. It should be a fascinating month. 

Editorial: Do we need drugs to switch on?

Mediocre individuals have never been attracted to Oxford, nor is it a place that nurtures mediocrity. In fact, it is despised. The atmosphere is inescapably intense and the thought of being described as ‘average’ fills many students with a sinking dread and an urgent need for self re-evaluation.

But what is it that drives students? An 8-hour day in the library or lectures, followed by an extra-curricular drama or sport, and then a night with friends, whether in the pub or Park End. Sleep (sometimes). Repeat. We don’t stroll between one activity and the next but hurl ourselves irrespectively. And yes, most of the time it’s fun, and there’s definitely a strong argument that we wouldn’t do it if we didn’t find it exhilarating. But its far too easy to get caught up in a cycle of higher expectations. There just aren’t enough hours in the week to fit everything in, but as Oxford students, we’ll try.

Mephedrone’s described as an easy switch. A way to instantly pick yourself up and flick between exhausted at 9pm and ready to go at 10. No effort required. But why are more and more finding that increasingly they need something to, effectively, flick this switch for them? And to flick it quite so aggressively? Mephedrone as a student drug of choice is hardly limited to Oxford, but here it seems to be required by many, rather than simply as a casual party aid. It’s become somewhat elementary, made all the more ambiguous by unclear legal restrictions and imprecise health concerns. Increasingly, mephedrone’s seen as an easier way to party; you’ll reliably be commandingly confident and continue to ‘have it all’. Just like we’re supposed to.

The notion of ‘a healthy body and a healthy mind’ certainly has scientific credence, yet is there not something highly amusing about the lengths and sacrifices we’re willing to entertain to ensure this ‘balance’.

Escapes and distractions from work are undoubtedly necessary to keep one sane, noted particularly as Finalists are starting to enter libraries not to be seen for the next four months. But when students are switching from drugs such as modafinol to enable them to stay awake and study for days (literally) on end, then exchanging this for something such as mephedrone to ensure they can party as hard as everyone else, there is something sincerely amiss.

Mephedrone may be the flavour of this term or year, but once it’s illegalised or too difficult to get hold of, something new and unknown will take its place. Individual’s disregard for their long-term health demonstrates that this is a systemic problem that certainly can’t be blown away by updated health advice. The larger question is why students willingly jeopardise themselves rather than slowing down, if even just a little. Questions, however, are far easier to pose than find solutions.

Health risks (largely unknown, which is possibly more concerning), and legal technicalities aside, why do we bring this upon ourselves? And do we really want to change the intense lifestyles that it prompts?

See Cherwell’s investigation into drug use in Oxford: http://www.cherwell.org/content/9568 

5 Minute Tute: Google vs. China

How important is Google’s presence in China?

Google is a fairly minor player in the search engine market in China. The prominent company is baidu (baidu.com) – an indigenous Chinese search engine which takes the largest share of the market. It is estimated that Google has approximately a 30% share in the market, against the 59% taken by baidu.

Why have Google threatened to pull out of China?

There are two reasons, really. Google seems to have faced a real moral dilemma about compromising their normal freedom of search in line with Chinese censorship laws, even during the period of their initial entry into the Chinese market in 2006. At this point, and since, they have received a lot of flak as to how this impacts on their core brand values and many argue that their decision to withdraw from China is shaped by this.

The second reason, offered perhaps by the slightly less generous onlookers, is that Google’s gesture is a result of their failure to win the majority share of the market from indigenous competitor baidu. Some argue that this decision comes from a company who is second in the market, and that if they were number one, Google may have gone a different way.

How strict is censorship in China?

Censorship in China is very real, and there are restrictions in place which would certainly not be tolerated in a Western liberal democracy. However, it is a much freer place than forty to fifty years ago, during the period under Chairman Mao, and there is a tremendous amount of freedom of information which was not available then.
There are however certain things which cannot be questioned in China; the single party rule of the Chinese Communist Party cannot be contradicted, and there is strict laws against the mention of events such as the Tiananmen Square protests of 1989, or the separation or independence of Taiwan and Tibet.

How has the internet impacted on Chinese attempts at regulations?

The internet has been one of the biggest revolutions in the way in which the Chinese state can interact with its population. As a result of the internet, there exists a kind of virtual conversation between the government and areas of the Chinese population. People can post complaints about corrupt officials, for example, and the internet can be used to debate and discuss the situation in China. It has become a powerful social tool.

More generally, what difficulties are faced by Western companies operat

ing in China?

For Western businesses going into China, the market is a place where they can go and make a lot of money – but they can easily lose it again. There are laws which are constantly in flux, and the society and mode of doing business are significantly corrupt – there is a need to keep local officials happy in order to be allowed to continue, and ultimately to succeed. For Western companies, the Chinese market is extremely lucrative, but very unpredictable.

How fair are Chinese claims that Google should adapt to local rules when operating in China?

The Chinese would argue that any company who wants to do business in China has to obey Chinese law. However, companies – as is the case with individuals – have to think about what they stand for, and what are their brand values. And for an information company like Google, being asked to limit or censor the information which they distribute puts them into some fairly tricky moral knots.

Rana Mitter is the Professor of the History and Politics of Modern China at the Institute for Chinese Studies.

 

The errors of a decade

It is perhaps necessary at this point in the year, before January slips past and we stumble head long into 2010, to reflect on the significance of the passing of the first decade of the 21st century. Looking back it is perhaps the great misfortune of our generation that we were to come of age in the ‘noughties’; a decade which began shakily and went on to implode in a spectacular fashion.

‘9/11 ruined the prospects of the decade’

In retrospect the disasters of the later years were foreshadowed by the of tragi-comic images that greeted us in the early years of the new millennium: Tony Blair singing ‘Auld Lang Syne’ with a bored Queen whilst hundreds of functionaries saw in the New Year stuck in public transport en route to the Dome, the inauguration of George W Bush as 43rd President after an election which he almost certainly hadn’t won, and then, as if on cue to cement these unpromising portents, came 9/11 which was turned from a human tragedy into an excuse for a group of academics to start justifying the carpet-bombing of slums from Fallujah to Jalalabad.

Essentially, 9/11 ruined the prospects of the new decade. There seemed little possibility after that any world power would behave in a responsible way. While Cheney set the Justice Department to work to find more Byzantine methods of justifying torture, America and her allies lost sight of other parts of the world, and from Myanmar to Grozny and Lhasa governments quietly got to work on the violent repression of minority groups.

Throughout, the one axiom we clung to was our own economic invulnerability. Even if the British had become partners in crime with Bush Jr, even if we were widely despised in Europe and the Middle East for our spinelessness, even if our country had become unhappy and dispirited – at least we were still rich.

As if inevitable, came the crash and we were left laughing emptily at old footage of a younger Gordon Brown announcing an end to boom and bust. A broke and unpopular Britain has emerged into a new decade – which will no doubt have its own chances ruined by being a given a name like the ‘teenies’ – and our generation is left wondering what exactly to do with ourselves. My advice: start learning Chinese, maybe Hindi.

 

Guest Columnist: Entrepreneurship is the way forward

Thirty years ago Cherwell help change my life. I wanted to meet Richard Branson – who was much less well known in 1980 than today – to ask advice about how to become an entrepreneur. So a friend (Hugh Osmond) and I asked a colleague who edited the paper if we could interview Branson for publication. It was agreed and we met the bearded one on his houseboat on the Regent’s Canal in Little Venice – curiously only a few streets from where I now live.

It was an inspirational visit – we heard about the Sex Pistols, recording studios and the importance of taking risks to seize your objectives. And it helped us both on the road to self-employment.

Since then attitudes towards entrepreneurs at Oxford University have changed dramatically. In those days students aimed to become management consultants, bankers, advertising executives or train at the BBC once they had graduated. And while they still do, no-one planned to start a business. In fact we started one in our first year by accident. We held boisterous parties in my college rooms, and the Dean threatened to send me down unless they stopped.

So we stumbled upon the idea of using the nightclub in the Westgate Centre then known as Scamps as a student venue on a Monday night, with a different musical theme each week – hence the name, The Era Club. Originally we simply wanted a place so we could carry on meeting girls – and then Hugh suggested that we charge on the door, while the club took the bar money. And instead of hosting a party, we were in business – using zero capital.

I can still recall the moment I arrived half an hour before our first evening: a queue of guests had already formed outside the door. The exhilaration was fantastic, and I knew then that I wanted to build and own companies – the freedom and excitement of creating new ventures, with the satisfaction of seeing them succeed. We ran various clubs in Oxford, and also in Cambridge and Bristol – and even Hollywood, California one summer.

So even when I came down and took up respectable employment for a few years, I moonlighted in various projects at weekends and the evenings, knowing I was merely deferring the inevitable. And when I was 27 I decided that I wanted to control my own destiny: as William Ernest Henley said in his poem Invictus: “I am the master of my fate/I am the captain of my soul.”

And that is really my message. That if you want to make a difference, if you want to feel the pride of invention and ownership, if you want to live life to the full, then I know of no better way to achieve that ambition than by embracing capitalism and working for yourself, rather than being a wage-slave for a boss.

Today the university boasts Oxford Entrepreneurs, the largest society of its kind in the world. I came to speak at an event a few years ago, and was hugely impressed by the enthusiasm of the attendees. I am enormously impressed by this level of keenness towards business, and it gives me great hope that Britain will continue to be a source of brilliant new commercial ventures and that Oxford will play a big part in that renaissance.

 

Don’t underestimate Tottenham

Jumping to conclusions; the perennial curse of fan, pundit and journo alike. Liverpool defeated Tottenham 2-0, at home, last night and suddenly they have put Harry Redknapp’s jumped-up top four pretenders in their place. Suddenly the media are praising a Liverpool side overcoming the odds shorn of four major talents and predicting the imminent annual Tottenham collapse to top-half ignominy.

Sure, Liverpool did remarkably well under the circumstances, but while they can claim to have produced a measured, controlling performance they were leagues short of scintillating. Producing a largely dominant performance against an off colour Tottenham does not a turning point make. This was a relatively turgid encounter which largely showed what both clubs are lacking, not that one is superior to the other.

Liverpool’s starting line-up, and by extension their limited squad, remains a serious cause for concern and will continue to do so in the coming month as their injury woes persist. They have produced one positive backs to the wall display and are certainly not out of the woods. One need only look at continuing threat of Manchester City and Villa to tell you that, never mind Tottenham themselves.

Tottenham were poor on the nigJumping to conclusions; the perennial curse of fan, pundit and journo alike. Liverpool defeated Tottenham 2-0, at home, last night and suddenly they have put Harry Redknapp’s jumped-up top four pretenders in their place. Suddenly the media are praising a Liverpool side overcoming the odds shorn of four major talents and predicting the imminent annual Tottenham collapse to top-half ignominy.

Sure, Liverpool did remarkably well under the circumstances, but while they can claim to have produced a measured, controlling performance they were leagues short of scintillating. Producing a largely dominant performance against an off colour Tottenham does not a turning point make. This was a relatively turgid encounter which largely showed what both clubs are lacking, not that one is superior to the other.

Liverpool’s starting line-up, and by extension their limited squad, remains a serious cause for concern and will continue to do so in the coming month as their injury woes persist. They have produced one positive backs to the wall display and are certainly not out of the woods. One need only look at continuing threat of Manchester City and Villa to tell you that, never mind Tottenham themselves.

Tottenham were poor on the night, but casual onlookers should take note of the absence of Aaron Lennon, so often the star of their show, and the man that usually feeds him the ball in Tom Huddlestone. Add this to an unfit defence and Liverpool were hardly facing the finest Tottenham could offer. The Londoners had an off night, but Harry Redknapp still has far less to worry about that his Spanish counterpart.

Tottenham have produced football this season worthy of only a handful of other clubs. Liverpool have been largely shocking and one hard fought result does not change the balance of an entire season.

ht, but casual onlookers should take note of the absence of Aaron Lennon, so often the star of their show, and the man that usually feeds him the ball in Tom Huddlestone. Add this to an unfit defence and Liverpool were hardly facing the finest Tottenham could offer. The Londoners had an off night, but Harry Redknapp still has far less to worry about that his Spanish counterpart.

Tottenham have produced football this season worthy of only a handful of other clubs. Liverpool have been largely shocking and one hard fought result does not change the balance of an entire season.