Monday 30th June 2025
Blog Page 2168

Thirst Lodge lap-dance plans binned

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Thirst Lodge, a popular nightclub and cocktail bar, has abandoned its plans to host lap-dancing nights after mass opposition from residents and students.

The club withdrew its application for a lap-dancing licence after the parishioners of nearby St Ebbe’s Church voiced outrage at the proposal.

Members of the church, whose entrance is 20 feet from the club, have also accused Thirst of failing to advertise the plans properly, meaning they had no chance to raise their concerns during the council’s period of consultation.

Rector Vaughan Roberts said that the lap-dancing would be “unacceptable not only next to our building but anywhere in our city.”

Regulars at the church echoed the rector’s disgust at the plans. A Hertford student attending St Ebbe’s said, “it’s horrible. I find it really weird. It’s just a massive juxtaposition to walk out of the lap-dancing club and then see the church.”

Rachel Cummings, the OUSU Women’s Officer, expressed her condemnation of the application. She said, “lap-dancing is abhorrent; it’s an activity which presents women as sexual items existing for the entertainment of men.

“Any club holding a lap-dancing license needs to recognise that this activity is degrading. Many customers will no longer feel comfortable attending the club on any of its nights.”

This view has been echoed by Christian groups. Claire Greig, vice president of the Oxford Inter-Collegiate Christian Union said, “we are saddened by the fact that the Thirst Lodge is hosting these nights which involve practices degrading to women, and we hope that the license will not be granted.”

William Iles, 1st year PPE student said, “Thirst Lodge is one of my favorite clubs in Oxford. I was really relieved that is not going to compromise its reputation amongst students by becoming seedy.”

The venue had applied for a variation in its license in early January, asking to offer lap-dancing as part of its entertainment. Clubs doing this must advertise the move both in local papers and on the premises.

Abrahams added, “we learnt of the story very late, we heard it one day after the last day of objections. The ward councilor e-mailed me on the 19th, the day before the deadline informing me about this. However, I picked it up on the 20th, the deadline.”

He noted that he was “worried about the type of people it [the venue] will attract.” This led him to contact the police for consultation.

Rector Vaughan Roberts said that “very strong opposition to the application would have been expressed if it had been known to the public.”

After sparking outrage among the local community, the venue decided to withdraw the application on the morning of the 27th of January. Its spokesperson said, “we’ve withdrawn the application after consultation with the public and our neighbours from the church.”

A spokesperson for Greene King, the license holders of Thirst, said, “the licencee and Greene King have held discussions and decided to withdraw the licence application for the Thirst Lodge. No further applications of this type will be submitted for the pub.”

Mark Abrahams expressed his relief at the withdrawal of application saying, “we’re very grateful that this has ended like this. I think the last session of council which was supposed to be on Thursday is being withdrawn now.”

The decision about the cancellation of the licensing hearing was confirmed by the Oxford City Council.

 

 

Fire services investigate Oxford nightclubs

Fire services are investigating claims that students’ safety may be at risk after a Cherwell investigation has revealed that three Oxford nightclubs could be lacking basic fire safety precautions.

Cherwell investigation of eight nightclubs in Oxford has raised concerns about the compliance of Kukui, Escape, and OFS with fire regulations as stated in the Regulatory Reform Fire Safety Order 2005.

These concerns are being followed up on by the Oxfordshire Fire Service.

The Order states that all employees must be given adequate fire safety training when they commence employment as well as receiving refreshers as appropriate. This must include training in the use of fire equipment.

But staff at the clubs interviewed by Cherwell indicated that they had never received any fire training, a finding described as very disturbing by the fire service.

One Kukui staff member said that the club’s fire and safety training is “pretty casual.” She said they had taken no action for almost half an hour on one occasion when the fire alarm went off in the upstairs of the club.

She said, “the fire alarm went off last November for 25 minutes upstairs. They couldn’t hear it downstairs. I didn’t do anything. People were in the club. Someone eventually heard it and went and told the staff downstairs.” She added, “the alarm was fixed afterwards.”

She also said that she had not experienced any fire drills while she had been working at the club, admitting that she only knew how to use a fire extinguisher from her previous job.

Another staff member also admitted that the club had not trained her to use fire extinguishers.

Two other staff members who have been working at Kukui since October said that they too had never received any fire training at the club.

At Escape, staff spoken to by Cherwell had also received no fire training. One staff member admitted that he couldn’t even use a fire extinguisher.

They mentioned that the club had mock drills but that these were “not treated seriously.” They said that if there is a fire “we just go out” and that there is no specific fire plan. The club also had no first aider present.

At OFS, one staff member said, “there is no fire training due to the company rules.” They added, however, that they knew where the fire extinguishers were and that there was a register for staff signing in and out.

Pat Rosen, the Station Officer of the Oxfordshire Fire Brigade, commented on the results of the investigation, saying, “obviously we’re very disturbed at the findings of this investigation and we’ll be following it up.”

“I’m going to pass the details to the Council and we’ll start the inspection. This will consist of visiting the clubs and talking to the owners.”

Both Kukui and Escape were visited by the Oxfordshire Fire Service on Tuesday. However, both clubs denied claims about negligence in adhering to fire and safety regulations.

The general manager of Kukui said the fire services had visited the club and found that they were complying with fire and safety regulations. He said, “we are 100% complying with regulations across the land.”

He added, “all staff, including bouncers, before we opened our doors, had had fire training.”

When confronted with the evidence from our investigation, he said, “we have recently taken on new staff” and suggested that it was these people whom our investigators had spoken to.

He also said, “I have a record of all my staff members who have signed to say that they have received fire training.”

Barry Stockford, a member of the Fire Prevention Team, commented, “our response yesterday was immediate. The records of the clubs were satisfactory but we couldn’t validate this in terms of questioning staff and we will be following that up in the next few weeks with fire audits.”

He also added that the Fire Services were “far from dismissive of this.”

Pulse, the student run club promotions company, which has organised several events at both Escape and OFS, commented, “PulseNation exists to give students the best night out possible. We only work with people we think will support us in achieving this aim and we are confident that all the venues we work with are complying with the rules. If people are claiming otherwise we’ll speak to the management teams, but we’re committed to providing students with safe, fun and cheap nights out.”

Pulse has worked in collaboration with OUSU since last year.

Rosanna McBeath, OUSU’s VP for welfare, said, “student safety is very important, especially when out in clubs. OUSU knows that the staff at Pulse Nation do check that clubs are complying with Fire Safety laws, we wouldn’t have agreed to collaborate with them otherwise. At the end of the day, though, Pulse Nation has to take the club operators at their word. I hope in light of this investigation both the clubs and the authorities work harder to ensure that fire safety standards are complied with.”

Several students have expressed distress at the findings of the investigation.

Victoria Turk, Oriel JCR Entz rep, added, “it also worries me that Escape doesn’t have anyone who could help with medical problems, as I’m sure these occur frequently among clubbers.”

Alexander Bulfin, JCR President of University, commented, “The question should not be whether Entz Officers should sell tickets to nights at these venues, but whether club night organisers should be using them in the first instance. Students and JCRs pay these promoters to organise nights out for them – this should mean ensuring that it is safe as well as fun and value for money.”

Other students have revealed their lack of concern about fire safety when out clubbing.

Rachel Chew, a St Peter’s first-year, added, “I usually don’t look where the fire exits are as I feel safe and I trust the organisers.”

 

 

Kukui to face license review

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Kukui nightclub is facing a licence review following complaints that the club is failing to address crime and disorder taking place on the premises and is neglecting public safety issues.

Police have expressed concerns that Kukui is neglecting these important matters and have therefore forced Kukui to face a compulsory review of its licence. The review could result in the club having to close.

Last term saw two serious glassing incidents at the pacific island themed club on Park End Street. Both incidents resulted in hospital treatment for those involved.

Since Kukui’s opening in August, police have been called out 22 times.

Police licensing officer Tony Cope told the Oxford Mail “Thames Valley Police has had meetings with the management on several occasions to express concerns”, and that the local force felt that “due to the seriousness, rather than the number of incidents, a review of the licence is the only option left to address these issues.”

A spokeswoman for Kukui said that the two glassing incidents had “been handled in the perfect manner”, and added that the club had now gone seven weeks without a violent incident.

She denied that the club was in danger of being closed down, stating that, “the licensing officer has told us that we are not even on the radar as a problem club”.

She said of the license review that “revocation” was extremely unlike, saying “the licensing authority has confirmed to us that revocation is not their intention, as have the council”.

The press office for Oxford City Council said that problems surrounding capacity had been another issue involved in the decision to call a licensing hearing.

However, Kukui’s spokesperson denied that the club was frequently overcrowded, commenting that “we do not run Kukui at capacity because it affects the level of service that we try to achieve.”

Asked about problems with queuing outside the club, she blamed council policy that refused the club permission to allow smokers to use the club’s terrace.

She said, “due to the council not allowing us to use our terrace for smoking we are forced to put smokers at the front of the venue which is always going to have an effect on queuing options.”

She claimed that Oxford police had voiced support for Kukui’s opposition to the council ban and had agreed that allowing smoking on the terrace “would alleviate any possible issues with regards to queuing”.

Many students have expressed similar concerns to those voiced by the authoritties.

One second-year student spoke of the violence that had taken place within the club, as well as the issues of long queues and overcrowding, but added that closing the club was an unnecessary step. The student said,

“there are a lot of fights and stuff at Kukui, and the queues are always huge. I don’t think they need to close it down though.”

Kukui is the third Oxford club to have faced a licensing hearing recently.

Last April, Imperial was forced to close for six weeks and fire its premises supervisor, after a licensing review was called by police and health and safety officials.

Among the issues raised were an incident of mass brawling, dangerous electrical wiring and the fact that traces of cocaine had been found in the toilets.

Bridge was also reviewed last year after police complained about “the number of crime and disorder incidents at the premises”, and was forced to exchange glasses for plastic cups.

The official licensing review of the club is to be conducted in Oxford Town Hall, on February 26th.

 

Straight to DVD: Mob Doc

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If you’re anything like me, then you probably take a certain pride in eschewing the usual standard fare thrown out with frightening regularity by the Hollywood machine.

When my life-partner Samantha and I walk past our local Odeon – or ‘Oh-No!-Deon’ as Sam calls it, the darling – we just have to laugh. If we didn’t, we might cry. We might cry rainbow tears on behalf of the oppressed billions around the world whose adorable ways of life simply aren’t recognised or represented by Spielberg and Weinstein. People like Samantha and I know that it’s not only a pleasure lost upon the sheep, but also our social duty, to look beyond what we’re being spoon-fed and ensure that we only ever visit independent cinemas or buy DVDs from the ‘world cinema’ section in Zavvi.

This is why I’m absolutely delighted to have recently struck underground pan-global alternative arthouse gold. Kenya’s Jitu studio has begun producing the films I’ve been waiting for all my life – films so non-mainstream that they seem both to actively embody my own personal brand, and to act as a long-overdue shot across the bows of Fox et al. What’s wonderful about Jitu’s latest, Mob Doc, is that it actively avoids almost every cinematic convention that’s been imposed, in an act of cultural colonialism that seems a bit dodgy, what with slavery and all that, by the Hollywood juggernaut. It takes a lot of strength to break free of these century-old shackles, but Jitu has managed it. They say no to ‘sets’, a ‘script’, so called ‘professional’ ‘sound and lighting’, real ‘actors’, a ‘budget’, and a ‘plot’.

Mob Doc is a comedy, but one through which the ancient spear of pathos has been thrown. You feel it powerfully from the moment the titles (done in Comic Sans in flagrant denial of the phoney mainstream belief in ‘making films look as if they weren’t produced by a child’) and as the film comes to deal with alcoholism, marital strife, racial tension and erectile dysfunction, you find yourself welling up, such is the raw emotion of it all.

The film’s boldest and most powerful element is a sensitive exploration of transvestitism that, in a conservative country, has landed the studio in hot water. Yet, as Jitu point out, they have simply adopted a cultural convention with a proud history stretching back to the days of the ancient Greeks, and in so doing, united, after so many centuries of hatred, Europe and Africa, like so much concrete in the Mediterranean sea. It’s like slavery never happened.

Review: The Broken

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When signing up to review The Broken I had no idea what kind of film it was. Thus the fact that I hated every second of it is arguably more a result of my intolerance to horror films than any fault on the behalf of the filmmakers (or my editors).

The story follows Gina, a beautiful young Londoner, played by Lena Heady. After getting into a car crash, she finds her grip on reality beginning to slip as her past and present bceome increasingly difficult to reconcile.

Ceilings leak, mirrors break and X-ray scans appear inversed as Gina tries to unravel what happened to her that day.

In terms of execution, one cannot help but compare it to Hitchcock’s timeless Psycho, or even more to Gus Van Sant’s dubious shot-for-shot remake. Although not in black and white, the palette of The Broken almost undetectably shifts to blue or greyscale for the scenes that are meant to send shivers all the way down to your toes.

The scenes appear fragmented from the very start, instead of freely flowing each begins separately, rhythmically adding to and subtracting from the dramatic tension. Sean Ellis almost apes Hitch’s indelible style and techniques. He keeps violence entirely absent from the first half of the film, but it is always bubbling away just below the surface so that by the time blood is drawn, the effect is nail-biting.

I have a suspicion that The Broken isn’t, in fact, as bad as it seemed whilst I watched it. It might even be quite good. So if you like your films to come with fear-inducing noises, everyday objects acting strangely, shifting identities, and at least a modicum of psychological trauma then this is one for you. Personally I am making sure I’m not sleeping on my own tonight

Somerville JCR fined £1000 for food fight damage

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Somerville students have been fined £1,000 after a food fight broke out at the ebd of term dinner.

College property was damaged during the food fight, including an ornate silver jug and one of the Hall’s portraits.

A member of staff injured her wrist after slipping on food and was taken to the John Radcliffe Hospital as a precautionary measure.

College authorities were unable to identify which students were involved in the disorder. Instead they have fined the collective JCR budget, angering some students who were not at the event.

One third-year student expressed his annoyance at the decision. “I hadn’t even been to the dinner and can’t see why my JCR is spending part of my tuition fees on the fine.

“My fees are going on something that I’ve nothing to do with and I am not responsible for.”

James McDonnell, last term’s Dean at Somerville, justified the decision to impose a collective punishment, emphasizing that “the most just solution would be for the culprits to come forward” but that students had refused to incriminate their friends.

He expressed regret that despite the presence of several elected JCR representatives at the meal “who could help identify those who were guilty” they “miraculously saw nothing” of the event.

“I do understand the culture of not wanting to identify fellow students to the College authorities, but it does limit our ability to deal with this in the most just way possible. In the absence of any cooperation I’m afraid the JCR fine is what we are left with.”

Somerville student Dexter Harries explained that the incident “was not malicious” but that “the situation just got out of control”.

“Everyone was drunk and messing around but they didn’t want anyone to get hurt. I think they all feel pretty bad about that. But I’m not sure that punishing the whole JCR was the right move.”

In an email to undergraduates JCR President Stavros Orfanos accepted the fine while expressing his regret that the “money has to be spent this way” rather than “on opportunities that could benefit us all”.

He provided a breakdown of the fine, including £280 to pay for the clean-up operation. Repairing the damaged silverware cost the college £585.

Oxford student victim of racist attack

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A former student from Pembroke has been attacked after attending a pro-Israel rally in London, despite the presence of mounted police.

Daniel Lowe, the founder of MuJewz, an Oxford society which aims to promote Muslim-Jewish dialogue, was set upon by two men of Asian appearance as he went to visit friends immediately after the rally.

He said, “they asked where I had been. When I told them it was none of their business, they punched me in the head, pushed me to the ground and kicked me.”

He described one of his attackers as wearing a Palestinian flag on his jacket and the other wearing a Keffiyeh – a traditional Palestinian headscarf.

Anne Irfan, social secretary of MuJewz told Cherwell that MuJewz “strongly condemns violence which is racially or religiously motivated.” Co-president of the Oxford Jewish Society, Raphael Cohen, agreed. He said, “attacking someone because of their beliefs is completely unacceptable. The incident involving Daniel Lowe emphasises the fact that moderates on both sides of the debate should assert themselves and raise their calls for peace and tolerance.”

In a letter written to the Jewish Chronicle, the MuJewz committee commented that they were “deeply saddened” by the incident. They said, “nobody should suffer physical violence or verbal abuse for peaceably expressing their political opinions.”

A spokesman for the Community Security Trust, a group which provides physical security, training and advice for the protection of British Jews, commented, “there has been a totally unprecedented wave of anti-Semitic incidents over the past few weeks. This is of great concern to the Jewish Community. Debate is one thing but bringing the actual conflict onto our streets with racist attacks is to be condemned outright.”

Shahnaz Ahsan, Director of Mujewz, commented that to her knowledge there have been no reports of anti-Semitic violence in Oxford and that many communities “both nationally and locally have been very vocal against anti-Semitic violence.”

Despite this, there is recognition among students that there is a need to promote interfaith in Oxford. “MuJewz has been running successfully in Oxford for 5 years. By no means is our work complete, but we have been successful in our endeavours to promote interfaith in Oxford and will continue to do so.”

On the road to nowhere

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Richard Yates’ seminal 1961 novel on the failed dreams of post-war America, Revolutionary Road, was one of the most quietly influential works of the 20th century. It became a secret handshake amongst contemporary writers and its influence is still apparent from the likes of Nick Hornby to Sebastian Faulks.
Yet this new adaptation seems to have failed to capture what it is that made the original material such an influential work. One cannot imagine that Sam Mendes’ film will hold the same longevity in the canon of twenty-first century filmmaking that the novel has experienced in the literary world.

The film represents the fight of ideals and individuality against the white picket fenced suburbia of Middle America. It follows the lives of two young idealists, Frank and April Wheeler, who are fighting the hold of their middle-class suppression. It is basically an episode of Desperate Housewives as written by John Steinbeck. Something in this film however doesn’t quite work. In spite of some Oscar-beckoning performances – expect more tears from Kate Winslet – this is at times a turgid film with little offered us in way of emotional or comic release.

In spite of this however, the highlight of the film is the deft touch of Michael Shannon as John Givings, the son of Frank and April’s Estate agent. Shannon plays a mentally ill mathematician who, in his rejection of the stifling social norms of Middle America, offers us the only character who generally sees what it is that surrounds him. He is a funny yet deeply tragic character, branded as mad for his comprehension of the truth, he is the outsider that we, the viewer, cling on to.

Beyond Givings, there is little here to relate to. DiCaprio and Winslet’s Frank and April are characters simply too frustrating to be believed, they are ‘tortured’ characters from an overused mould. The performances might be commendable but they are working with dry raw materials. A heavy-handed script is the principal offender.

For Sam Mendes, besides the obvious discomfort of watching his wife having sex with another man, this seems an uncomfortable return to subject matter he has covered before, and with far greater success. There are echoes of the brilliant American Beauty in this film, and yet the expedition into suburban America that worked so well with Kevin Spacey seems to have failed here. Spacey’s Lester is a funny and dysfunctional anti-hero who splits modern American suburbia down the middle. The Wheelers follow this same pattern but with reduced success. Spacey’s suburban rebel is a character we love in spite of the fact that he is distinctly un-loveable, whereas the Wheelers should be loveable and simply are not.

The scripting and the characters are too slow: watching great swathes of this film is akin to falling into a giant vat of UHU glue with little hope of struggling out. Even the temptation of eating your way out, afforded by the sweetness of Michael Shannon’s performance, cannot quite counteract the sheer size of the vat. Excuse the extended metaphor.

The suburban rebellion theme has been explored countless times through many mediums, and frequently to much greater effect, revealing far more beguilling truths than can be evinced here. Revolutionary Road is not even this director’s best treatment of this subject matter, with the aforementioned American Beauty remaining the far superior picture. Perhaps it’s a theme close to Mendes’s heart, which would suggest Winslet may be wise not to settle down into cosy home-life just yet.

Despite its solid performances and brief flashes of brilliance it all comes across as a wholly unnecessary effort, for both filmmaker and audience.

Bruce Springsteen – Working on a dream

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The success of Working on a Dream is guaranteed by the continued support of the generation, now ageing, that Bruce Springsteen defined a couple of decades ago. It would be some feat to achieve being adopted so wholeheartedly by another generation of fans, especially given the jealous grip with which that first generation guards its memory of ‘The Boss’. There is a sense that, as much as Springsteen tries, he belongs to the poorly-dressed youth of the early 1980s.

Still, if Springsteen aims at being as relevant as he was back in the days of Born to Run, he could hardly do better than rec-ording an album like this, at a time like this. Springsteen was an active supporter of the Barack Obama presidential campaign, and this album is redolent of the dogged optimism that defined America’s 44th President’s road to power. This is not a political album, but the association of this music with Obama’s campaign and the hope he represents could not seem more appropriate.

Relevant or otherwise, Springsteen should be recognised as producing some of his finest work here. In spite of a depressingly awful title, it is an impressive collection of songs from a man who knows his market, and aims to please without shifting from his well-carved niche. His delivery is alternately triumphant, desperate, or downtrodden. All three facets are powerful, the former being the most familiar to fans of his most famous work, while the latter is the most resonant here. The finest moments on the album are characterised by the desperate-sounding Springsteen, and ‘The Wrestler’ in particular is excellent. The album is reasonably varied, and where there is a weak track it is generally succeeded by something better.

He hasn’t changed much, but he still has the power to move you and this album frequently makes this evident.

Franz Ferdinand – Tonight: Franz Ferdinand

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Three albums and four years into a stuttering pop music career, it’s time for Franz Ferdinand to make like the Archduke, and start a world war. Tonight… should explode, or at least threaten to.

But this album isn’t the aural fulmination one would expect. It slouches, smacked-out on a sofa with the other little scrotes who couldn’t finish a sentence, let alone art school. Franz Ferdinand stomp around, if only for a chorus, on most of the tracks on here: they rip off the Specials; they shuffle like the Stones; most likely brown-sounding you into electro-funk oblivion.

That is until ‘Bite Hard’, the least ‘interesting’ but most fulfilling track on the album. The Franz Ferdinand of 2004 return, not tripping over themselves to make sure there’s a rousing chorus and a rousing verse, happy just to bring out a comical synth and produce a modern companion piece to the Benny Hill theme tune. This revelatory passage is short-lived, however, as the very next track, ‘What She Came For’, engages in a souless dance-off with Death From Above 1979. Yawn.

But I like it. Five-stars-like-it (although I can only give it four due to the credit crunch). The best Franz Ferdinand is earnest and personable Franz Ferdinand, and there are just enough moments on the album to satisfy this. ‘Lucid Dreams’ manages to sound almost exactly like any track of their last two efforts and yet somehow retain a modicum of freshness.

But they want to be a dance band, and they do it hard, fast and dirty. Like all great bands, they leave you with the promise of an even greater day, and album closer ‘Katherine Kiss Me’, suggests a time in the future when we will all be conscripted for the next great war of the pop music age – a day when I will be dancing on the rooftops of Glasgow and Franz Ferdinand will be the soundtrack.