Monday 21st July 2025
Blog Page 2122

OUSU in funding crisis

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Oxford University Student Union has lost £41,447 in the 2007-08 financial year, suffering its biggest financial loss since 2005.

This information comes at the time when OUSU’s 2009/2010 budget comes under criticism and its company’s projected income for this year has staggeringly decreased by £28,000.

Documents obtained by Cherwell have revealed that OUSU had less than £18,630 net remaining at the end of Trinity 2008, after the financial year 2007-2008 brought a shocking loss of over £41,000.

Criticisms of the budget have been led by Ben Britton, the MCR co-President of St Catherine’s College. “The budget is far less specific than previous years, the numbers don’t add up and OUSU is at serious risk of a shortfall this year, which could bring it dangerously close to having less than zero net funds”, he said.

OUSU predicts that they will end the 2009/2010 year with a profit of only £110.

This will leave the organization far short of the estimated £100,000 target of reserves when registering as a charity later this year. It also puts the organization at a risk of huge financial shortfall, as will be forced to rely on unstable income.

The budget is based on an estimated £80,00 income from Oxford Student Services Limited (OSSL), OUSU’s trading arm. However, the accounts for 2008 show that OSSL only returned £15,109 to OUSU.

Similarly, this year’s projected income of OSSL has recently been dramatically reduced by £28,000, more than one the £19,161 cost of one sabbatical officer.

OUSU President Lewis Iwu has explained the difference in the accounts saying, “Both sets of figures are forecasts. Forecasts by their very nature change.”

OUSU further notes that its budget “is dependent upon earnings from OSSL which too often in the past have not materialised.” Further in the document, the Union emphasizes that it has taken a “conservative approach” in developing the budget.

OUSU is also relying on £91,857 worth of affiliation fees. This figure assumes no further disaffiliation or reaffiliations. With Christ Church, Balliol and Oriel college JCRs voting on whether or not to disaffiliate or reaffiliate just last week, affiliation fees could vary considerably in the next year from what has been budgeted.

One first year PPE student commented, “It’s ridiculous to have a student union that doesn’t seem to stand for anything or do anything useful and yet still see it losing money.”

Criticisms have also been raised about the detail of the budget, which lacks a lot of the detail of former years with much of the text having been directly copied from the previous budget. For example, previous reports detailed the amount of reserves and an invitation for comments, queries and concerns; this year’s did not.

Iwu has stated that he is willing to answer any questions about the specifics of the budget. He also said that several factors will ensure greater OSSL profitability.

He explained, “having a dedicated member of staff who will oversee the qualityof our publications will lead to more revenue being generated by our publications hence reducing the amount of forced discounts that we have had to give out to advertisers due to problems with publications.

“We also plan on exploiting web advertising more which is a lucrative market with little cost. Finally we will see a strategy in place next year to start selling fresher’s fair advertising earlier on in the year. We explained this to the University and they acknowledged these changes are key to getting better performance from OSSL.”

OUSU divided over OxHub partnership

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A war of words has erupted between senior officials of the Oxford University Students’ Union (OUSU) over a controversial partnership with another student society.

The row came ahead of a motion that will be considered today at OUSU Council, which if passed would cement the student union’s relationship with The Oxford Hub (OxHub); a student-run organisation focused on the promotion of charitable activity and social enterprise.

The “Memorandum of Understanding” would give OxHub a range of benefits, including advertising space in The Oxford Student, three stalls at the Freshers’ Fair and various other promotional opportunities, all free of charge. In return, the OUSU logo would be placed on OxHub publications.

The terms of the deal have been condemned by members of the OUSU Executive.

Among the critics was Common Room Liaison Officer, Jack Matthews, who claimed the Student Union would be giving up funding and influence for little in return.

“One of the most glaring faults with the memorandum is the inequality between what OUSU gets, and what it is giving away,” he said.

Matthews added that he was also concerned by the future implications of the proposal, which could lead to the Student Union supporting OxHub financially.
“OUSU will be giving all of this away for free, at a time of national financial concern, and when we are one of the poorest student unions in the country.

“We should be supporting students directly – not hiring in others to do it instead.”

There were also concerns that the new link-up could overlap with existing OUSU services. The Student Union already has a charities campaign in Oxford RAG, but although it carries out similar activities to OxHub, it will not be involved in the new plans.

Further doubts were expressed by OUSU Environment and Ethics officer, Daniel Lowe, who admitted he had “strong reservations” that common rooms would be angered by the costs involved.

He said, “In a joint common room meeting two weeks ago at Lincoln College, concerns were expressed about the amount that OUSU spends in its charities portfolio, and to be adding to this expenditure may be unwise.”

Others were keen to defend the proposed partnership however, with OxHub President Jake Leeper eager to stress that the link would see benefits for both parties.

He said, “The aim of this partnership is to formalise our productive relationship and ensure we are making the most efficient use of our resources in providing a service to students and raising the charitable profile at Oxford University.

“OUSU is the political voice on charitable activity, whilst Oxford Hub facilitates charitable activity.”

His thoughts were echoed by Jack Wellby, OUSU Vice-President (Charities and Communities), who said the criticism from his colleagues was completely unwarranted.

“The Oxford Hub is precisely the sort of thing the Student Union should be supporting,” he said. “I know of no student union that makes money from encouraging students to volunteer – this is a service to offer not a revenue stream.

“The argument about lost revenue goes both ways – The Oxford Hub are supporting OUSU in spaces where a commercial logo could be placed as they recognise the benefits of being supported by the Student Union.”

Members suspended after OUCA’s racist hustings

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The Oxford University Conservative Association (OUCA) has been rocked by the allegations of institutional racism, prompting the suspension of two members of the society from the national Conservative party.

The controversy erupted following hustings for the society’s elections this week, with candidates asked to tell the most racist joke they knew and what was their least favourite minority.

In response, one of the candidates answered the question with a joke about a black person hanging in a family tree.

The other said, “What do you say when you see a television moving around in the dark?”, with only the intervention of the Assistant Returning Officer preventing the racist punchline from being uttered.

The episode has sparked universal outrage, with officials from the national Conservative Party moving to suspend the students from the party within hours of them being notified of the incident.

“We take matters of this kind incredibly seriously,” said a Conservative Party spokesman. “People who behave in this disgusting and reprehensible way have no place in the Conservative Party.”

A member of the society’s committee has resigned from OUCA as a result of the controversy.

Anthony Boutall, the president of the association, admitted that the situation has turned into “a bit of a row”. He added, “I don’t want this shit hanging around in my term and on my watch, so we’re going to have a
 DC to sort it out.”

He explained situation saying, “There was a great deal of noise at the OUCA hustings on Sunday. I did not hear a racist joke, but it has come to my attention that something offensive was said.

“A Disciplinary Committee has been called for Saturday and, while I do not have the power to prejudge the decision of the DC, I can give a personal pledge that if these individuals are found guilty, I shall use my powers to their fullest capacity, making it my top priority to ensure that they play no further part in the Association.

“I cannot reiterate strongly enough that OUCA has no place for racism, and abhors and rejects all racial prejudice.”

In light of the controversy, Lewis Iwu, President of the Oxford University Students’ Union, said he would be submitting an emergency motion to OUSU Council today which if passed would prevent OUCA from attending Fresher’s Fair.

“I intend to submit an emergency motion to OUSU Council to make it clear just how disgusted the student community are with these events,” he said.

“Oxford University is the most famous and the most fascinating University in the world. However recent events regarding race have created a moral stain on this University’s reputation. I seriously believe that Oxford needs a very clear and public strategy on how it intends to be not just reactive to events such those that happened at the OUCA husts but proactive.

“I also call on the Oxford Union to consider whether or not OUCA should be able to use their premises, given what has recently occured there.”

The Oxford University Labour Club (OULC) has also canceled a debate they were due to have with OUCA on Monday of 8th week, with a statement issued by the society declaring: “There is no way that we could stand on the same platform with an organisation which advocates racism and bigotry of the most hateful order.”

Asked to comment further, OULC co-Chair Jamie Susskind said he was shocked and appalled by the recent events.

“Anthony Boutall looked me in the eye and told me that OUCA had changed. Clearly he was not telling the truth.”

He added, “Statements of condemnation by the national Conservative Party are not enough. It is time for Baroness Thatcher to resign as Patron of OUCA, for William Hague to renounce his Honorary Presidency, and for David Cameron to disown this shameful organization.”

Michael Howard, the Conservative MP who was to attend OUCA’s termly dinner yesterday has cancelled his visit in the light of the events.

It is not the first time that OUCA has attracted negative headlines. In 2004 the ex-Treasurer of the society, Anatole Pang, was found guilty of bringing OUCA into disrepute after posting “offensive” comments about India in a newsletter, whilst in 2000 four members of the association were expelled from a meeting for making “Nazi-style salutes.”

The latest allegations have met with mixed reaction from the OUCA membership.

One member described the jokes as “tongue in cheek, ironic would be the word for it…More banter than anything else.”

Another member added, “It was loud. The R.O. was getting angry, there 
was loads of yelling…It was a pretty funny situation.”

A number of committee members have stated that the Association’s hustings have always included non-political questions. “It is somewhat of an OUCA tradition to ask two or three slightly outrageous questions” explained the source, “Everyone who’s there expects certain things to go on. It’s all in good spirits.”

“We sometimes get questions in hustings, ‘What sort of animal would you go to bed with?'”, stated committee member, “Unfortunately, it shows how old-fashioned the society is.”

Another added, “It goes up upwards by ranks, then you get asked ‘What sort of position would you like to have sex with an animal?’ Presidential candidates also get quizzed to name all British territories. We really need to reform OUCA before the elections.”

Emmanuel Efunbote, an OUCA member, commented, “This isn’t my first Conservative association, I was a member at Durham and King’s College and we didn’t get things like this.”

However he added, “Neither OUCA nor any other Conservative organisation that I have been part of are racist in my own personal experiences.”

Danny Buck, an OUCA member, stated the association’s need to reform. He said, ” I’m willing to attest to peer pressure and the atmospheres at hust having served in them 3 times. The only way I avoided racism was by silliness and that the current president and president elect said a lot worse things… The hidden corruption is that of old school ties and more vitally masonry. We need a new Tory reform group urgently.”

Review: Twelfth Night

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This week sees the performance of the Worcester college garden play, a production of one of Shakespeare’s best-loved comedies, Twelfth Night. This comic tale of cross-dressing, mistaken identity and disguise is a popular choice for student productions, so it fell to director Katie Reisz to make her production stand out, and I think she succeeded.

For the uninitiated, the play tells the tale of the tale of the ship-wrecked twins Sebastian and Viola, who find themselves in the foreign land of Illyria. Thinking her brother dead, Viola dons her brother’s clothes and adopts the identity of a young man named Cesario. She then forms a friendship with the Duke Orsino working as his servant and is sent as a messenger to the household of the beautiful Olivia. What follows is an increasingly farcical comedy of errors, as Olivia falls in love with Cesario (to Viola’s dismay).

Meanwhile Olivia’s drunken uncle Sir Toby Belch contrives to trick the bad-tempered steward Malvolio into making a fool of himself. Things will complicated further by the return of Sebastian. This is Shakespearian comedy at its best; the play focuses on disguise and performance, and is astutely aware of its own theatricality and Reisz’s production perfectly communicates the easy wit and charm of the script.

This was an ensemble piece of theatre, and the acting was excellent all round. The comic scenes with the drunken Sir Toby Belch (Sam Kennedy)and his accomplices stood out, with the use of a certain leafy disguise adding to a particularly farcical scene. Likewise, Adam Bouyamourn’s Feste delivered some of the shows most memorable lines, and demonstrated his vocal talents (“Vox!”) with his brilliant performance of the fool’s songs.

Heading up the cast was Viola (alias Cesario) Rosie Frascona, who amply demonstrated that she possesses the great range required by the gender-swapping role. She was witty and eloquent when bantering with Feste, yet subtly affectionate in some of her scenes with Orsino. The character provides the central thread to the play’s eclectic action, and her subtle performance carries the part well.

The setting of the play in Worcester’s gardens was suitably impressive, creating a relaxed atmosphere, enhanced by the use of comfortable blankets as seating. The staging was set all around the seating, which worked well, and was well utilised. However, the location meant that college life continued around the play, and the occasional slightly bemused passerby was somewhat distracting at times. The play also saw the guest appearance of some of Worcester’s resident ducks, who wandered around the area throughout the performance. One duck in particular exhibited a good sense of comic timing by quacking on cue as Olivia called for her husband!

This is a highly enjoyable production of a brilliant play; if you find yourself at a loose end this week, and the weather is good, put on something warm and make your way to Worcester.

four stars out of five

Twelfth Night (or What you Will) is on at Worcester College until Saturday.

Review: The Pursuit of Laughter

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As I write this, voting for the EU Parliamentary elections is just entering its final round. By the time this review makes it to print, we will know if the British National Party have finally achieved their long-awaited first MEP. I admit to being rather worried. Growing up in a run-down factory town in Yorkshire inflicted enough BNP rhetoric on me to last a lifetime, and I don’t relish the idea of Nick Griffin clones taking a big metaphorical shit all over European democracy.

With these cheerful thoughts in mind, I was given a copy of The Pursuit of Laughter to review. The Pursuit of Laughter is a thematic collection of the personal diaries of Diana Mosley. Diana Mosley is interesting primarily because she was the wife of a certain Oswald Mosley – yes, that Oswald Mosley. I didn’t know much about the founder and head of the British Union of Fascists; we spent about half an hour on his party in my History A-Level, and how politically irrelevant it all was. I expected his wife’s diaries to shed a little light on this remarkable political failure, to display a more interesting side to a minor historical footnote of a man. I wanted to tut-tut over his reprehensible views, and shake my head sadly at her attempts to defend them.

Sadly, Diana Mosley didn’t give me much excuse for indignation at all – not because her husband’s politics weren’t reprehensible, or because her justifications aren’t pathetic. She just doesn’t talk about his politics much, and she doesn’t offer any justifications at all. For any detailed discussion on any of these, I had to turn to her brief portrait of her husband (fifty pages out of a six hundred page book). Even there, she just mentions he wasn’t anti-Semitic and he didn’t like imprisonment without trial. Not a very interesting Fascist at all, really, and seemingly at odds with his apparently cordial relationship with Hitler and Goebbels. Oswald’s political beliefs are discussed mostly when they affect his and Diana’s marriage (most interestingly, when he was thrown into prison during the War, and, ironically enough, was not tried). There’s a section with reviews of German (in some cases Nazi) books, but there’s not much juicy nastiness to be squeezed out of here, either.

So no political catharsis for me, then. Is the book worth reading anyway? Diana’s life is fairly eventful, and she describes it skilfully enough. There are quite a few interesting insights into upper-middle class life in the 1950s, and it all flows pretty well. If it had been written by someone with a less controversial spouse I’d be satisfied, if not inspired or enlightened. If you’re interested in 1950s Britain or you’re a politics enthusiast, pick it up at full price. If you’re neither of these, it’s still worth a go if you see it at a used bookshop or something.

A final word must go to Oswald Mosley himself, with his oddly prescient view of the Labour Party-
‘‘It looks powerful, but always breaks in your hand,’ he used to say. It was too deeply split within itself, something now obvious to anybody’.

Economics with a social conscience?

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The message of Green Economics is one which, in these harsh times, is particularly welcome, looking beyond mere money and profit and putting more emphasis on social, environmental, and political impacts of policy upon many of the problems that face the world. Here, Cherwell talks to one of its Founders about the institute’s ideas and projects.

Oxford stays with Labour

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Oxford has bucked national and county trends by more than doubling its Labour councillors in Thursday’s local elections.

Nine of the city’s sixteen wards are now controlled by Britain’s governing party, as opposed to just four before the elections. Oxford’s City Council, for which elections will be held next year, has long been dominated by Labour.

OULC president Jacob Turner said he felt that the result was a consequence of “a very great effort from the local party including Labour Club members. We’ve been going out, meeting people, and asking them not to vote for us, but just how our councillors can help them. We’ve built up a relationship with residents which is ultimately expressed in voting.”

In central areas of Oxford, Labour advanced at the expense of the Greens. West Central Oxford abandoned its Green councillor to elect Labourite Susanna Pressel, while East Oxford ended its unusual status as an all-Green ward by electing Labour’s Saj Malik.

The Conservatives once again failed to win any council representation in Oxford, receiving less than 10% of the vote in many areas.

The results stand in stark contrast to the pattern on the national level. Across all the wards up for election in this round of voting, Labour lost the majority of its sitting councillors and all three of its councils.

This was reflected more obviously in rural areas of Oxfordshire, where the party received an overall vote share of just 15%, leaving it with no wards left in the county outside Oxford itself. However, its success in the capital means that it has made an overall net gain of one seat on the county council.

Turner said he accepted that national issues were having a negative effect on Labour’s performance in council elections. However, he added that he felt Oxford provided a good example of the party at its best.

“Regardless of the state of the cabinet, or how politicians are being portrayed in the media, our basic principles are correct – we’re the party that cares about the people and what the state can do for the people. As long as we keep this in mind we can keep being very strong in Oxford.”

The Conservative Party benefited most from the swing in rural support towards Labour, and now dominates the county council with 52 of its 74 seats. A weak showing in both rural and urban areas by the Liberal Democrats saw them lose five seats, although they remain the largest opposition group.

 

Review: Paperweight

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Paperweight, another first rate piece of alternative and inventive theatre at Summertown’s North Wall, is a play in which not very much happens. In fact, for the first five minutes or so, the audience is made to look at a unused stage – a generic office space with computers, files and nick-nacks – with no characters, bathed in half light. We grew a bit nervous and some people began to laugh nervously. My companion, ever the optimist, turns to me, deciding, “it’s going to be one of those plays, isn’t it?”. Well, yes, it is one of those plays, if these plays denoted as “those” are plays which challenge, entertain, surprise, shock and move. If those plays are the plays that make you see life in a totally different light, then this Edinburgh Fringe-first winning production is certainly one of those that will be talked about for a long time to come.

The company describes Paperweight as a near-silent comedy and the play depicts a day in the life of two men, Harry and Anthony, whose dead-end jobs in the Resource Department of an electrical appliance retailer simultaneously wear them down, and yet force them to look for alternative ways to occupy themselves. For a lot of the time the script is done away with and the action is key: whether it emphasised slow-motion eye rolling while watching a kettle boil, a hilariously elaborate mouse-trap like contraption that ends up popping a balloon, practical jokes or the never ending shifting of paper.

The humour in such situations ranges from the slapstick, to a dark and brooding irony, to the out and out bizarre. This is a frustrating show – and so it should be. The nullifying boredom of our two characters’ lives takes over audience members as yet another extended sequence of repetition begins, and their desperation to fill the day, to make something or simply to exercise their existence as thinking human beings, parallels our intense desire to see something happen. A touching equilibrium of co-dependency is set up between actors and observers, building our sympathy for them. The fact that the whole seventy minute piece is so beautifully acted only adds to this relationship we begin to feel we have with these two stifled eccentrics.

What also motivates our empathy is the inescapable knowledge that the world goes on around them. They are not Estragon and Vladimir, stuck in a timeless and motionless arena of expectant nothingness: they inhabit the real world, haunted by real aspirations and worries. One character’s father is soon to be put in a home, while the other frets about asking a colleague out on a date. Yet these real life details rest on the periphery of this deeply human play as most of the action concerns them, in this office, and what they do to pass the time. At times surreal (the description of a female co-worker’s escapades behind a filing cabinet with a dog and another colleague is marvellously absurd) and at times profoundly touching, we watch as their human instincts are crushed by work.

Work, it seems, robs us of our animal free-spiritedness, as well as our capacity for fun. In the final moments of the play (and I won’t spoil it for you, in case you should come across this play at some point in the future) we see a reversion to the primitive that might seem positive, but due to the overarching oblivion of the piece looks like a submission to life and, as is semi-confirmed by Harold, to death.

I could go on to mention the brilliant way in which music and tape recordings are used to both create humour and to suggest the passing by of the outside world. I could also wax lyrical about the physical stamina of the actors and the commendable focus and great skill of their performances. But I won’t. Instead, I will conclude by saying simply telling you that this is a show I will not forget, will look out for in the future, and one which in my opinion should become a classic and confirms North Wall’s credentials as a centre of pioneering theatre.

55 years and four minutes ago

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You read the interview with Roger Banister in Cherwell, now hear for yourself what the athletics legend had to say!

Sound and Vision

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Isn’t music amazing? The things it can do to people, the way it influences and shapes pretty much everything we see and experience throughout our lives? Think about it, imagine it, spot it the next time you’re out. See the girl everyone’s watching as she clicks her heels across a dance-floor; hear the roar as ‘Mr Brightside’ first chimes through the room; feel yourself lose it pulling shameless shapes to raise a smile from the angel across the room. You might call it a kind of magic. One man knows what you mean.

I’m outside Euston station to meet Kieron Gillen, author of graphic novel and under-underground cult sensation Phonogram, currently half-way through it’s second sell-out series. The premise is a world identical to our own (to Bristol, if you’re being technical) where this musical magic is pushed to just the other side of literal, to be manipulated by people with enough musical sensitivity. It’s used for plenty of ends, whether it’s getting you onto the guest-list at exclusive cubs, helping you pull at the end of the night, or staging a nation-wide comeback of the guitar-driven Britpop that made Oasis and Blur household names.

Still not quite getting it? You will. As we sit down at a nearby pub, we get a nice illustration of one of the most accessible concepts in Phonogram; curse songs. Think of an old loved one. Does a specific song leap to mind? Some film score maybe, or a track that for some reason you just can’t do anything but associate with them? How does it feel to listen to it again? Painful, right? That’s a curse song.

As we sit down, a song (which will mercifully go unnamed) comes on that’s one of Gillens. The relevance is that the latest issue of Phonogram explored this same concept. ‘Curse songs’ in the Phonogram universe literally invoke these memories, forcing you to relive them with crushing vivacity. It’s the same reason I can never watch Amelie again, or listen to Lady Gaga’s ‘Just Dance’. You’re probably thinking of a song yourself right now too.

I put to Kieron the idea that the appeal of Phonogram is that, as much as it’s a fantasy, it’s a very real one, something very easy to identify with. ‘It’s the idea that these things which are very, very normal, are actually magic, and it’s the kind of fantasy it is to me. It’s a kind of manifesto, and it’s also my way of re-imagining reality. Its like Parkour. I love Parkour because you see these guys living in big tower blocks in Paris, and saying ‘This is designed as a prison, but this is actually a playground. Or graffiti artists like Banksy.’

Manifesto is a fair summary. One of the joys of Phonogram is the back-matter included with each issue. The current series, The Singles Club, draws its name from the structure of the narrative. Each of the 7 issues, the ‘singles’, comes with a main plot line, a glossary of the not-too-exclusive musical references, a short essay, and two ‘b-sides’; two to three page comics illustrated by a guest artist. Each single stands alone as a statement about some insight in some way familiar to anyone who’s ever listened to the same song 50 times in a row because it was that good.

It’s the inclusion of these features which helps outsiders understand part of the reason Gillen has gone for comics as a medium over any other. With each single, the opportunity is there to do something unique and deliberate. ‘Comics are very much about the structure of the thing. Something like Phonogram has me thinking hard about panel layout, about specific angles, about how things should be done on a page. It’s like poetry; things like Meter, Stanzas.’

The amount of thought that goes into every detail is staggering. ‘With every script I do for an artist that’s not Jamie [Mckelvie, Phonogram head artist and Gillen’s collaborator], I write heavy scripts. I like heavy scripts because I want to make sure there’s a solution, but I’m happy to say ‘You’ve got a much better visual eye than I do, and if there’s something you think could be done better, please do’. Heavy script means that for an issue of Phonogram, which might contain up to 1000 words of dialogue, the script that goes to an artist will be 10,000 words. ‘Most comic scripts are 4000.

‘And then, some people are like ‘Alan Moore [creator of Watchmen] writes scripts that are 22,000 words long, I know! I’ll write scripts that are 22,000 words!’ without really seeing the point. If you read an Alan Moore script you see he’s doing that for a reason.’

Gillen gives you the impression that what he’s trying to do couldn’t succeed in any other medium, for several reasons. For example, the issue of getting away with it in a financial sense. Running away with his self-described ‘wanky’ tendencies, he describes this writing for a particular group of hardcore music lovers as ‘memic engineering’.

‘It’s easier to do that kind of memic engineering in a comic because the risk is so low. Me and Jamie are playing the same game as other comic writer and artist teams because it comes down to the same playing field. Whatever one man can draw versus whatever one man can draw. However, an indie film maker isn’t playing on the same field as someone with a multi-million budget.’ A Phonogram movie, as he puts it, ‘wouldn’t be Phonogram’, because the idea just wouldn’t have enough mainstream buoyancy.

The other is the array of tricks he can accomplish with comics as a form that convey so effectively his ‘music is magic’ motif. Even details like the number of panels to a page. ‘I quite like the shape of an 8 panel page; it’s like how the human eye sees the world. As opposed to the 9 panel, which is strangely claustrophobic’. There are something’s on a script that have to be done just so; something he’s noticed on other scripts is how writers highlight details that might seem arbitrary that have to be included. ‘You might see, ‘There’s a red door in the background’; ‘red door’ is marked out.’ While he allows the artist freedom, he’ll stick to his guns where necessary.

With the very sensory-focussed visual influence that comics have on the reader, Gillen writes to control the pace of the narrative. He makes the comparison between song and narrative structure. ‘Issue 7 [of The Singles Club] will be about me translating [the two]; it’ll have that long intro, and then it kicks in, and it pounds. Then you’ve got a couple of choruses, and the bridge, the bridge absolutely melts, and it kicks back it. And that’s the structure of the issue.’

I ask about the method he goes through when sitting down to write something so personal like Phonogram. ‘Drunk!’, he replies instantly. Because of what he describes as the ‘emotional warmness’ of the books, he finds that there are various tricks he can use to settle into the mood for a particular character. One recent experiment has involved ‘method drinking’. ‘I’m often thinking, ‘I want to write something now’, will sit down, open a bottle of wine and have a play with it. But edit sober!…I’ve thought, ‘I know, I’ll drink what the character would be drinking in the club, so I can be closer to the character.’

‘The first one I wrote with drinking was issue 5. So I went and got the cheapest own-brand Vodka, I think it said ‘such-and-such makes the happy vodka’ on the label. [For another] I drank alcopops…Didn’t realize they were caffeinated!’-this exclamation is accompanied with furious fist pumps by means of illustration. Hearing rumours that a particularly respected visiting philosopher was spotted drinking vodka while giving a groundbreaking seminar, this is definitely a method that might deserve some exploration…

Phonogram is definitely worth reading. As someone not a naturally massive fan of comic books, I was pleasantly surprised when I was pushed onto it. Gillen as a writer has a gift for making very complicated, very difficult to explain ideas from an abstract medium like music, understandable to anyone.

He’s described Phonogram in the past as a particular kind of music criticism; this seems more than fair. It’s a manifesto of music being something more than just listened to, but experienced. Phonogram, basically, goes a long way towards paying music the respect it deserves.
Nip to Amazon and pick up a copy of Rue Britannia-you won’t regret it.