Tuesday 1st July 2025
Blog Page 2019

Street pastors help Oxford

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Oxford is to see the introduction of a ‘Street Pastor’ scheme later this year.

The Street Pastors will patrol Oxford’s streets on a Friday night from 10pm until 4am and will be armed with lollipops for drunks, flip flops for women unable to walk in high heels and a listening ear.

The church-run initiative was first introduced in London in 2003 and is currently running in 135 towns and cities across the country.

Mark Mills, a 3rd year History student at St Edmund’s Hall and Liberal Democrat Councillor for the Holywell ward, has praised the introduction of the program in Oxford.

He stated, ” I think this is a fantastic scheme that has real potential to make the city of Oxford safer and more pleasant for everybody.”

“The point is more that there are dangers out there and this is something we can do to reduce them.”

Street Pastors, which is run by the nationwide body Ascenion Trust, will first take to the streets in June. CRB checks and training will take place in the meantime.

The volunteers will receive 50 hours of thorough training, in part provided by the police, to ensure they are prepared for the problems they might face.

The pastors will be identifiable by their bright blue coats with ‘Street Pastors’ emblazoned on the back.

David Burrowes, MP for Enfield, said “Street Pastors is about Christians rolling up their sleeves and getting involved in practically responding to the problems of crime and safety. They are like beacons on our streets and I want to see them shining brightly in every constituency”

Students have also been expressing their support for the scheme.

Andy James, a second-year law student, said, “It is great to know that there is someone looking out for you. Most people have needed someone at one point or another and, if nothing else, its nice to know there is someone there to just to listen to your problems.”

The launch of the initiative, which took place on Monday evening, attracted more than forty potential volunteers.

Following endorsements from Oxford City Council and Thames Valley Police, co-founder Reverend Katherine Bracewell is excited to see the project gaining momentum.

“As well as offering a service to people, we want to listen to them; learning about the highs, lows, headaches and heartaches of many people who, for whatever reason, are on the streets at night-time in Oxford city centre.”

 

 

Review: A Chaste Maid in Cheapside

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The Edward’s Boys’ performance of Thomas Middleton’s A Chaste Maid in Cheapside in Somerville chapel last night was a testament to the timelessness of great comedy, the value of imaginative direction and our frequent underestimation of young actors.

Middleton’s play of cuckoldry, bawdry and impotence may not seem typical youth theatre fodder but the comedy was indeed written for a children’s company and worked surprisingly well when returned to its cross-dressing roots, newly transported to modern-day Cheapside. The contemporary setting worked extremely well, creating a sense of place and community which a city comedy needs. Rap and freestyle dance sequences were probably a step too far, but only because this, in one case, detracted from the dialogue and distracted audience attention from what is a complicated plot.

The acting was exuberant and confident – even when onstage in large numbers, each boy seemed to be acting and reacting well – but a few performances showed particular promise. Jack Fielding’s Yellowhammer and Harry Davies’ Allwit stood out amongst the lead roles but Harry Bowen (as the Country Wench) was extremely memorable and did much with a relatively minor part.

The main problem, however,  with the play was the very poor visibility in the chapel and I don’t see why a more suitable venue could not have been found for the Oxford leg of their tour – I missed a lot of the action at the front of the church, which was a little frustrating. The tone of Whorehound’s (Oliver Hayes’) repentance scene also seemed to miss the mark a little, but this particular episode is a challenge for any director as its language seems so far removed from the rest of the play.

Overall, director Perry Mills deserves credit for pulling off a production which an adult company could be proud of. The audience remained engaged and entertained, and not only at the novel elements – the actors were able to communicate Middleton’s words, to let a modern audience engage with seventeenth century wordplay. The spirit of city comedy found its place in Oxford last night and will too, I’m sure, in Stratford-upon-Avon in the final two performances.

4 stars

A Chaste Maid in Cheapside will be performed in the Levi Fox Hall, K.E.S., Stratford-upon-Avon on the 4th and 6th of March

Sex blogs and social subversion

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Zoe Margolis has a lot to say about sex. Having it, wanting it, fantasising about it, and most of all, not denying that she has a lot of it. In her famous and now published blog, Girl With a One Track Mind, she writes about her variety of sex-related experiences with complete frankness and clarity. Intercourse, oral sex, threesomes, masturbation, it’s all there, with no explicitness left out. As Zoe herself says, “it’s graphic, but then, that’s shagging for you – it’s a sticky thing, no matter how you approach it.” But there’s one f-word she makes no apologies for using – feminism. She is unafraid of calling herself a feminist, and clearly sees her writing as more than one blogger writing about her (albeit incredibly interesting) sex life. On behalf of the Women’s Campaign, I invited her to speak at the Moser Theatre in Wadham to an audience of men and women, and interviewed her on her blogging, and social attitudes to sexuality.

I ask Zoe how her sex-blogging differs from the huge volume of sex-related writing out there in our sex-saturated media. “I had to try to create a different space, because I thought women’s magazines were incredibly restrictive in terms of how they portrayed women and female sexuality – it was always about making yourself the object of desire to men, rather than about owning that desire and desiring men. The other alternative to women’s magazines seemed to be the idea that you get liberation through selling your body for sex. I wanted to be able to talk about sex in a really open and honest way, and say “Yep, I want sex, I have my own desires and I’m happy about that, you can call me what you want – I don’t give a shit.”” She certainly was called a whole range of names, from “slut” to “seedy” to “shameless”, and those playground epithets appeared in newspapers as mainstream and respectable as the Times. “The only reason I still have confidence, after all that, is because I get emails from young women saying the book helped them. I think well, that’s what it’s all about – letting young women look at their sexuality in a different way.”

It’s clear that spreading the message that women can be active in sex and in their desire is very important to Zoe. “It’s not said often enough or loudly enough, but there are a lot of us out there, I know. When I first started writing, I got thousands and thousands of emails saying “we feel the same””. But it’s even more astonishing that this is not a mainstream idea for women’s media. “I recently pitched an idea to a very well-known women’s magazine, about masturbation for women, about owning your pleasure, and they said – can’t you just write a piece about how to give your man pleasure in bed? It’s always about positioning women’s desire in terms of men and not in terms of their own pleasure. It’s so undermining – I wanted to be able to say, I have my own desire, and I want to express it myself.” Surely, I say to her, this bizarre view of passive desire is counterproductive on the part of women’s magazines – surely women want to know about pleasure as much as men do, because pleasure is so central to a sex life? “I hope more women begin to realise that the way sex is talked about can be so undermining of female pleasure. If you take it all in, it’s almost like brainwashing, and you start to see yourself as an object rather than the subject of desire.”

I ask Zoe how she thinks the mainstream discussion of sexuality is changing. She isn’t optimistic. “I’m desperate to separate out the conflation between sexual desire and the sex industry, which has started to emerge. My work is about making it easier for women to express their desires about sex, rather than trying to persuade them to become a stripper or sell their bodies. There’s the freedom to sell your body, but that’s not the same as the freedom to express sexual desire. The sex industry is often falsely talked about as liberating – it may be liberating in a financial way, but it’s not liberating in a sexual way, and those are very different things.”

Zoe talks on a whole range of issues, from the way female bodies are always presented in the media from a male point of view, to the lack of pornography made for the female perspective, to the need for better and more open sexual education in schools. There is a real feeling that Zoe is saying things that are both true, revealing and important about the way we treat sexuality in society, and the men and women in the audience burst into applause several times. Towards the end of the talk, one audience member asks how we, in the student community, can create a better social attitude of understanding one another’s sexualities. Zoe responds, “I say aural sex is the most important part of sex – the ability to listen to what women and men want and need. People don’t listen enough and talk enough. Men want love as much as women want sex, but it’s unmasculine or unfeminine to admit to those things. By talking about them honestly, we can challenge those stereotypes, and have better relationships, both sexually and emotionally. We need spaces to do that in, in which we can be open about our wants and needs.” This is why Zoe’s writing is not just about one woman and her sex life – she is trying to show us an alternative voice, a voice that says that women desire sex in so many different ways, and it’s okay to talk about that.

 

Zoe Margolis is the Author of Girl With a One Track Mind: Exposed, published 5th March 2010 (Pan Macmillan £7.99)


News Roundup: Seventh Week

Antonia and Natalya look at the confusion at Cardinals’ Cocktails, the Sexbridge blogger (as well as the sexless at Oxford blogger) and violence at Oxford.

They then take a cheeky peek at the centrespread on Chatroulette and fill up on their weekly dose of Fit College and Blind Date.

Link to Sexless at Oxford blog: http://sexlessatoxbridge.blogspot.com/

Conservatives in Crisis

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What on earth is going on? Gordon Brown is exposed as an office bully who screams at his staff and shoves his most trusted advisors around (including Magdalen politics tutor Stewart Wood), the “forces of Hell” have been unleashed on the Chancellor by Downing Street for telling the truth about the recession, and there are renewed signs that the economy may well dip again before the next quarter. The public response? Labour improves in the polls. More than improves in fact: the current polls are the best for Labour since Gordon Brown came to power, and on a “uniform swing” would produce a parliament where Labour would have the most seats. How has David Cameron managed to throw away an election that was his for the taking? Would the British public really prefer a Bully to a salesman?
I think that there are four issues that need to be untangled if we are to understand what’s happening in the polls, two statistical and two tactical.

First, while the Tory lead is indeed down to two percentage points it’s really not that simple. The poll referred to was conducted by YouGov on Friday and covered about 1000 voters. At first glance for the reported swing to have occurred the sample would’ve needed about 20 more people who said that they would vote Labour then the poll the day before. This is well within the margin of error (the allowance that pollsters make for mistakes). When we look a bit deeper we note that YouGov, like most of the pollsters, weights voters by the party that you voted for in the last election. Something that the political websites have been noting for a while is that it is becoming rather difficult to find enough Labour-leaning voters in each sample, and those who are “labour type voters” have to be heavily weighted. So we’re no longer talking about 20 people, but maybe 10 or 12. This may well be down to sample bias (that YouGov aren’t targeting the right people), but may also be because there is something odd going on with the polling. While the unweighted numbers are somewhat unreliable, the method that YouGov use (ie. Online sampling) means that what we might be seeing in the unweighted sample is a reflection of enthusiasm. Think about it, if you are a labour-type voter and are generally dissatisfied with the Labour party you’re probably not that likely to fill in an online survey. This might well prove to be a somewhat weak proxy for whether you intend to vote. What are the unweighted vote shares? The Conservatives are on around 42% (as they have been since July) and Labour has risen from 27% to 28% over the same time period.

Second, there is no such thing as a uniform swing. British politics is still constituency based, however much the media may focus on the party leaders, and the seats that matter are the marginals. The issues that matter in marginals are different from the rest of the country. For example, as I mentioned in an earlier article, people who live in the British marginals tend to be more likely to be married then the rest of the country so policies that benefit married couples may well be unpopular nationally whilst still helping the Conservatives towards victory. There hasn’t been a reliable set of figures for the marginals since the Angus Reid poll of 24 February, but that poll had the Conservatives on 42% in the marginals and 38 % overall.

So it’s not quite as low as the weekend papers might suggest. But it is still bad for them. Whilst the scale may well be wrong, there has been a slide in Conservative support. I think that there are two strategic issues at work here.

The first is that the Conservatives appear to have well and truly lost the plot. Their message is confused and difficult to relate to. Most people haven’t been particularly badly affected by the technicalities of the recession, have short memories and don’t really know what the deficit is. When David Cameron says that the country can’t just get a new credit card when its current credit card runs out of money they ask a simple question, why not? They care about jobs, schools and the NHS: the very things that the focus on deficit reduction makes them worry will be cut. And they don’t know what the Conservative party want to do about jobs, schools or the NHS. Frankly, I’m not sure that Tory MP’s know what their party want to do about jobs, schools or the NHS.

It gets worse. This weekend the Conservatives laid out the six key issues that they will fight the election under. Yes, you heard right, six. This is madness. The first rule of running an election is that too many messages confuse voters. Three is about as many as most people can remember. Six is insane, especially when no one really knows where you stand on anything. Whilst “ a future fair for all” might sound stupid, it’s easy to understand, and given that everyone knows that Labour are fighting the election on the economy, easily highlights the strengths of the party. “Vote for Change” on the other hand means nothing. David Cameron isn’t Barack Obama. He’s a Tory. Tories don’t like change. Everyone knows that. So change what? To what? Back to Thatcher? To Blair? Who knows.

Which leads me to my final point, Gordon Brown is clawing back what I think is the most important part of any modern campaign: the personal narrative. The interviews and bullying story have, in an odd way, made him seem more human and also stronger. When your choices in a crisis are between a big clunking first and a used car salesman, many of us would choose the former. People voted for George Bush over Kerry in part because he reminded them of themselves. He shared their distrust of the over educated, the elite, the rich kids in school (even though he was one himself). He made them feel like he understood where they were coming from. David Cameron all too often comes across as too slick, too confident, too cocky. He has the smile of someone who knows his place and lets you know that he knows yours too. Salesman Dave not only appears to have nothing to sell, but looks like he may well take you for a ride. Forget the six points if you want to become Prime Minister Mr Cameron: It’s all about crying on television and the televised debates.

Obama Debate

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I’m sure many of you have been missing our intrepid debating correspondent since his last appearance on this blog, so here’s Jacob Donovan’s report on last week’s Obama Debate.

‘Thursday’s debate was a slightly odd spectacle on two counts. First, the motion: This House believes that Obama has failed to live up to expectations. As one of the speakers noted in the opening speech, whose expectations? Democrats? Republicans? What Bonnie Greer called “Obama-maniacs”? Or the “average American voter” (If they in fact exist)? This question became increasingly problematic as neither side could agree with the other side, or even their own side, as to how to judge the Obama Presidency.

For the Proposition the fact that Obama hadn’t ended all warfare, brought peace to the Middle East, created a world of plenty for all, destroyed racial inequality and ended boom and bust (not everyone can be Gordon Brown) meant that he had fundamentally failed. This seemed a bit of an excessive burden for, as noted in a Point of Information from Ashvir Sangha (Ex-Treasurer-Elect), Obama isn’t the Messiah. Yes he hasn’t turned water into wine, but he’s done a pretty good job repairing the image of America abroad, helped transform the image of what it means to be black in America and managed to help mitigate the effects of a potentially devastating economic crisis.

Which meant that when the first Proposition speaker, the Chairman of Republicans abroad who looked and sounded a little too much like Fred Flintstone to take seriously, sat down it looked like the Opposition would need to do very little to sweep the floor. Unfortunately, just like David Cameron, they seemed intent on doing quite a lot to throw away certain victory. Bonnie Greer’s down to earth demeanour and charm which served her so well against Nick Griffin on Question Time was refreshing, but she dropped the ball. Instead of facing criticism of Obama head on, she told us that the way to assess his Presidency was to judge it on Obama’s potential. We should just give him a chance. Really Bonnie? Come on. As James Kingston (Librarian) noted in a floor speech, as unfair as it is to presume that he is the Messiah, it’s also unfair to treat him as some sort of Affirmative Action candidate with special needs who has to be judged differently to everyone else.

The Proposition as a whole didn’t take advantage of this however, and the second odd feature was just how insane they became. Nirj Deva, a Conservative MEP who no one I spoke to had heard of, and David Amess, a Conservative MP who I found out at drinks was only famous for a particularly idiotic appearance on Brasseye, were terrible. Truly awful speakers. Illogical, incredibly angry for no apparent reason and at times just plain rude, this was the old Tory party at its worst. Quite why they cared so much about Obama wasn’t clear but their anger seemed especially directed at anything to do with change. Whoever crafted the new Conservative election slogan clearly did not have these two in mind. On the other side, the two best speakers of the debate by far were two academics, Professor Michael Cox and Professor Phillipe Sands QC, who proved that the length of your Wikipedia page bears no relationship to your speaking prowess. Their speeches go some way to explaining the Opposition victory, though it did fall short of the margin that one would have expected, a symbol perhaps that the audience eventually left about as confused as the speakers.

Postscript

For all its flaws this wasn’t a bad debate, and it was a shame that it wasn’t better attended. If it hadn’t have been for Stuart Cullen’s rent-a-schoolkid delegation the chamber would’ve been almost empty by the end. Whether it’s been due to poor publicity and advertising, a lack of any big name speakers or maybe just too many debates this term, attendance has been worryingly low. Not a good sign for the future.’

 

Underrated

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The greatest criticisms facing the third film in the Alien Quadrilogy inevitably stem from comparisons, as ultimately David Fincher’s addition to the franchise must stand alongside Alien and its sequel Aliens: two very different films that are nevertheless broadly recognised as seminal and high quality works in the cinematic genre. Already under pressure to perform, Alien 3 was the result of an over-complicated creative process that involved six screenwriters and numerous revisions. Such trials and tribulations gave rise to the film’s initial reputation as a confused and regrettable footnote to its masterly precursors.

The plot has Ripley crash-land on the barren prison planet of Fury 141, where an all-male enclave of murderers and rapists is forced to accept her unwelcome presence when the eponymous alien begins to stalk the prisoners through the confines of the facility. It’s pretty basic and rather slow to start, and the often flimsy dialogue doesn’t sound any better in crude British accents. But look closer, however, and there is much to acclaim.

Thematically, Alien 3 is surer of itself than its predecessors; ideas of redemption, of sacrifice and duty, all well-suited to the penal setting, are intertwined with a millenarian Christian element that invites interpretation without taking itself too seriously. Charles S. Dutton, playing the charismatic leader of the prison’s religious sect, is more than able to carry off a role prone to disastrous bathos. And while the prison doctor, Clemens, is underused despite the character development he is afforded, the inmates’ varying responses to their grisly predicament belie claims that they are simply fodder for the murderous beast.

The talented Fincher, who went on to direct Seven and Fight Club, deserves praise for a number of memorable sequences, including a funeral scene intercut with the alien’s gory birth and the final frenetic show-down in the prison’s lead works. Sigourney Weaver, in an inversion of the maternal action-hero role that contributed so much to Aliens’ success, remains fresh and convincing. Ultimately, Alien 3 was always going to be easily criticised, yet learn to look past initial disappointment and we find a film quite worthy of its parentage.

Feature: The Next Dimension

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3D cinema is by no means a new phenomenon. It first found fame in the 1950s when pioneering films such as House of Wax used the illusion of depth perception to astound cinemagoers. As 3D experienced a new lease of life in the 1980s, audiences watched in horror as Jaws 3-D hit cinema screens. However these projects had limited success but the recent revival could change that. So what’s all the fuss about?

The 3D technology of today is slightly different to that of the past. Whilst the essential idea, making the picture ‘jump out’ of the screen, remains the same, the techniques are more sophisticated. Audiences 30 years ago would have watched two images coming from two separate projectors (one for each eye). There are several competing projection methods; some rapidly alternate between the two images, whilst others still use a dual-projection system to put both images on the screen at the same time. Either way, the end result is the same; each eye receives an image at a slightly different angle to the other. The glasses act as a filter, allowing each eye to see only one of these images, leaving the brain to do the rest. Yes the ticket prices are substantially higher than for 2D features and the glasses (no matter what they try to tell you) don’t make you look cool, but the experience is out of this world. 

Although the experience of watching 3D in IMAX is undeniably powerful it can be a bit of an optical assault. I found that the opening 20 minute sequence of Harry Potter and the Half Blood Prince in 3D was quite enough for me on an IMAX screen (which is just as well because that’s all there was!). However the producers definitely selected the most appropriate scenes to present in 3D; whirling through the streets of London following the death eaters’ destruction of Diagon Alley and the Millennium Bridge was nothing if not impressive.

Of course the biggest buzz of 2009, 3D or otherwise, was for Avatar; 14 years in the making and costing over $200 million to create – only one word can describe Avatar and that word is ‘epic.’ It is easy to immerse yourself in the world of Pandora when it is so perfectly captured for us onscreen. The use of 3D is at times subtle and at others mind-blowing; it can touch us or it can have us clinging to our seats. Avatar was much more than just a gimmick. To those who have claimed that in creating a technical masterpiece Cameron has neglected his craft, I can only say that I disagree emphatically. Whilst Avatar is undoubtedly more impressive in 3D it is truly great entertainment however many dimensions you watch it in.

2010 is set to be a huge year for 3D cinema with Alice in Wonderland and Toy Story 3. With each passing year the output of 3D films becomes greater and greater. In as little as a decade 3D films could become the standard format. I have mixed feeling about this prospect; granted, there are many films which look amazing in 3D , such as thrillers, but it is unlikely that the average rom-com would greatly benefit from the technology. There is a danger that film makers will rely on the novelty of 3D to the detriment of quality. Whilst new technology can improve our cinematic experiences it can’t, and shouldn’t, be used as the basis for a film. But, if Avatar is anything to go by then we have no need to worry. 3D is back and looks bigger, brighter and better than ever.

Feature: Best out of show – 2010

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For what is supposedly the most prestigious and authoritative celebration of cinematic excellence on the planet, the frequency with which the Oscars gets it wrong is startling and not a little depressing. This isn’t exactly a new problem – in 1942, How Green Was My Valley beat Citizen Kane for Best Picture, while in his long and brilliant career, Hitchcock never won Best Director (though the Academy subsequently realised their mistake and attempted to cover their tracks with a conciliatory memorial award in 1967) – yet it still persists to this day.  In 1995, Oscar deemed Forrest Gump to be superior to both Pulp Fiction and The Shawshank Redemption while in 2006 the heavy-handed Crash was favoured over the braver and subtler Brokeback Mountain. Indeed, while smaller ceremonies such as the BAFTAs are far more discerning in their decisions – as seen in the recent sweeping victory of The Hurt Locker over Avatar [working title: Smurfahontas] – it’s a rare thing indeed for the Academy to get it right, with last year’s victory of Slumdog Millionaire being an unexpected and extremely welcome surprise. Yet although the nominations this year haven’t been too disastrous, there were some gaping and unforgivable omissions from the shortlists. Some of the best of 2009 were forgotten by the Academy, so this is a chance to sit the Oscars in the chair, clamp open its eyelids and force it to acknowledge its mistakes. Preferably to Beethoven’s Ninth.

One of the finest British comedies of the decade, In The Loop, was rightly nominated for its screenplay, but it was Peter Capaldi’s blistering and surprisingly heartfelt performance which was the film’s sweary centrepiece. His absence from the Best Supporting Actor category is conspicuous and worrying, “like a big hairy rapist at a coach station,” to quote the man himself.

On a purely aesthetic level, the cinematography of the adaptation of Cormac McCarthy’s supposedly unfilmable novel The Road were astounding, as it brilliantly and beautifully evoked a slowly dying world. But the film also showcased two heart-wrenching performances courtesy of Viggo Mortensen and Kodi Smit-McPhee as the Man and Boy respectively. The film owes much of its success to these two actors, yet the Academy has ignored both.

While the merits of Sex & Drugs & Rock & Roll can be debated, what cannot is the powerhouse performance of Andy Serkis as the late, great Ian Dury. Perhaps the CGI ghosts of Gollum and King Kong still haunt him, but whatever the reason, he was denied a deserved Oscar nod.

Staying with acting, Moon is a film that succeeds or fails with the central actor’s performance, and fortunately Sam Rockwell knocks it out of the park in a part written specifically for him. His portrayal of the lonely Sam Bell is fragile and affecting, and so, predictably, he was denied a nomination. Indeed, the film itself has been entirely ignored by the Academy, despite being a superior sci-fi to District 9, which received a somewhat bizarre Best Picture nom. Fortunately, its director, Duncan Jones, was given due recognition at the BAFTAs, yet this ingenious little film deserves so much more.

This selection barely breaks the surface of the under-appreciated films of 2009, yet the Academy seems insistent to keep its mainstream blinkers firmly on. It might be the biggest event in the film calendar, but it seems that as an arbitrator of excellence, this ungainly leviathan cannot be trusted. Not one little bit.

Czech-ing new places out

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Stood in my work clothes next to a pair of Czech junkies in what seemed to be an abandoned shopping centre, I guess I did feel slightly out of place. I was beginning to wonder whether I’d taken a wrong turn, and was about to risk being robbed of my budget phone to call a friend, when I noticed the name of the pub scrawled in tiny lettering next to a doorbell. Eager to leave the crackheads behind; I pressed the buzzer. “Ahoj!” came a voice from inside the machine. I panicked. Was there something I was meant to say? A password, perhaps? Some kind of codeword that pledged my allegiance to whatever was going on behind those doors? I apologized several times over, and after a baffled silence over at the other end, I regained my wits and stammered the name of the place; “Èítárna“, or “The Reading Room”.  

The door opened and I walked into an empty, dark hallway in what looked to be one of those apartment blocks with art decor banisters and winding staircases. There were no signs, but I presumed I was supposed to walk up the stairs until some other little clue presented itself. 5 flights up and I’d approached this massive rusty iron grill, like the ones you’d imagine they have in places Notorious BIG visits when he’s not busy writing poetry. I walked tentatively through and into the foyer of an apartment that also had a bar, and which looked like it hadn’t had a makeover since communism ended. And, aside from the handful of typically pierced and stoned students with Czasta’s –  (that’s Czech rastas, for those of you unacquainted with the Czun, or Czech pun) – the same could be said of its guests (the makeover, or Czakeover. not the Czun.) who seemed to be championing the fashion of the 70s. (By the way, If you’re finding this difficult to follow, that’s because I’m being deliberately Kafkaesque. Did you notice the door motif, the mysterious passageways and the disembodied voice? I was this close to describing my new exoskeleton, but thought that may have been a bit of a giveaway). 

Èítárna“, as it turned out, is a coffeehouse/pub that holds small lectures and jazz music events. The establishment also collects magazines and books, and is home to a very large and lonely fish who spends his days watching the comings and goings of Prague’s self-proclaimed intellectual crowd. Some say, in his salad days, he’d chat to Rilke about life in a fish tank, and inspired the Prague born German poet to write “Der Panther”. I walked past a poster of “Plastic People of the Universe” (the Czech rock n’ roll band partly responsible for the fall of communism in Czechoslovakia) and one of Frank Zappa (a famous Czech dissident during, and political figure after the Velvet Revolution, who, incidently also sang the classic; “Don’t you eat that Yellow Snow”), and ordered a drink at the bar. That’s when I spotted a young Jarvis Cocker lookalike, who peaked timidly over the top of his book and tactically moved it closer to me so that I could notice he was reading Wittgenstein. Sure, that kid seemed a bit of a, well, what Salinger (RIP, brother) would refer to as a phoney. But the place in itself seemed pretty authentic. I have to admit, I was pretty czuffed with myself for finding what seemed to be a secret ex-dissident hangout. I wanted to find out more about its history. 

I got talking to a guy who looked like he’d been sitting on that mangy beige couch, pondering deep and meaningful things and blowing smoke rings since the Prague Spring. “Oh yes, this place is where all the Czech intellectuals (Czintellectuals?) have been coming to discuss politics, literature, and philosophy for decades. It had to be kept secret back then, of course, because the government were watching” he said proudly, stroking his ponytail and blinking behind his massive lenses. How exciting! “Really!” I exclaimed “Like who? Vaclav Havel?”, I peered eagerly around the room of chin-stroking fogies and detendu students brandishing gaulois cigarettes. “Oh, well, maybe not him, I don’t think. But others”. “Milan Kundera?” He shook his head. “Bohumil Hrabal? Vladimir Holan? Jan Beneš?” “Well. I don’t know. But this is where intellectuals have come to escape and discuss things for years!” Gesturing to his group of friends, he continued; “We’re here all the time, we don’t like to leave. Out there, people have got stupid.” His friends nodded. When asked why they thought that to be the case; each had his or her own opinion. One cried “globalization!”, the other “modern technology!”, another “Food!” (perhaps I misheard the last one. The Czech is still a bit ropey). My ponytailed friend finished; “Our society is stupid. But in this country, there is a revolution every 20 years. So we’ll just sit here and wait for the next one”.  

After a tram ride home that involved a drunk and disorderly skinhead football hooligan getting thrown out of the carriage by a driver who may as well apply for a role in the next Rocky, I had my own little ponder about deep and meaningful things. I then typed in the name of the pub into google. Not much came up; no star studded frequenters or any indication that it was once a hot spot for political dissent. In fact, it only opened a couple of years ago.