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Four take May Day leap

 

Photo: Patrick Macfarlane

 

One reveller makes a run for it

Election: OULC and OUCA lose out

{nomultithumb}Check the final election results here

 



 

The Liberal Democrats have conceded control of Oxford City Council to Labour, despite strong support in student wards.

 

Voters in Oxford headed to polling stations on May 1st to choose 24 of the city’s 48 councillors.

Nationally, the local elections were the first opportunity for voters to
give their verdict on Gordon Brown’s premiership. They were also Lib Dem leader
Nick Clegg’s first electoral outing since becoming party leader.

Labour won four more seats than the Lib Dems, increasing their number in the Council to 22. This is short of a majority, but they are now the largest party by some margin.


Labour will be particularly pleased to win Blackbird Leys, beating the Independent Working Class Association (IWCA ), who have lost two of their seats, both to Labour.


The Lib Dems had signs of strong student support by winning in Carfax and Holywell. These wards cover almost all the colleges and residences in the city centre.

The Green Party won two seats, fewer than the previous election in 2006.

 

The Conservatives notably failed to win any seats, with both their councillors – Lib Dem defectors Paul Sargent and Tia MacGregor losing their seats to Labour.

Close results



In the last elections in 2006, Lib Dem candidate Richard
Huzzey won Holywell, with the Greens‘ Matthew Morton coming second with half as many votes as
Huzzey. The Greens took Carfax with only a 23 vote lead over the Lib Dems.

Of the 25 seats up for election in 2006, Labour won 10, with
the Lib Dems winning 9, the Green Party 5 and the Independent Working Class Association winning 1.

The Lib Dems had been running a minority administration of the
City Council, with Labour only four seats ahead, so the stakes were high with two leading parties neck-and-neck for most of the results.

Nationally, key issues centred around cuts in services, such
as post offices, rubbish collection, and schools, but also antisocial behaviour,
the environment and council tax.

In Oxford, most
candidates had been promoting environmental policies and plans aimed at making Oxford
safer at night. Two other hot topics were animal rights protestors and tuition
fees.

Holywell candidates

Holywell ward was expected to see a close fight, with two
student candidates: Kieran Hutchinson Dean, Labour candidate and student at
Wadham, and Alex Stafford, Conservative candidate and student at St Benet’s.


Yet in the end Lib Dem candidate Nathan Pyle, who works at St John’s and has a DJ slot at the Purple Turtle, won by a strong margin.


The results mean the two majority student wards are now both under Lib Dem control.

 

The final composition of Oxford City Council is now: Labour – 23, Lib Dem – 16, Green – 7, and IWCA – 2. 

 

Final election results:


Holywell Ward

Candidate Party Votes
Kieran Hutchinson Dean Labour  144
Nathan Pyle Lib Dem  481
Chip Sherwood Green  196
Alex Stafford Conservative  239


Carfax Ward

Candidate  Party Votes
Sarah Hutchison Labour  182
Stephen Brown Lib Dem  375
Claudia Fitzherbert Green  208
Paul Sargeant Conservative  284

 

Council Seats Won:

Party Seats
Labour  12
Liberal Democrat  8
Green  3
Conservative  0
IWCA  1
Independent  0
Respect  0

 

More results may be found at Oxford City Council’s website.

Gift Exchange

The theory of The Gift is a fascinating one. We have by now recognised that exchange is not always what it seems. Despite appearances, anything that passes from one to another will always have ‘strings attached’. As an anthropology student currently slaving over these theories, I half-skipped my way to the OVADA gallery, impatient to see how different artists had managed to find a way of visually representing these purely academic concepts.

They hadn’t. Most pieces had such a remote connection to gifts, exchange or relationships that one couldn’t help but feel that they were scraping the bottom of the barrel in trying to link them all to one theme. For example, apparently the light and shadow plays on random surfaces that George Mogg films present themselves so rarely that when they do its a gift that there’s something worth filming. I’m not sure about worth filming, but there was definitely nothing there worth watching!

Vicky Vergou’s film An Odyssey reminded me of why I tend to stay away from conceptual art – two videos run parallel to each other, one displaying blood and the other water. The former symbolises the artist’s long-term illness, the latter achievement. Attributing symbolic meaning to something is fair enough – we do it in every field of self-expression, whether art, drama or literature. But it has to have a purpose – either to communicate something or just be aesthetically pleasing. Vergou just created symbolism and let it hang. It wasn’t even a particularly pretty installation.

Ann Rapstoff’s video of a woman’s neon-pink coloured mouth uttering (in a supposedly inspirational but actually very scary) voice: ‘You are special. You are unique’ was sheer entertainment. She’s got a point – we should remember we are all worthy. But not in that way. Artists should stay away from anthropological theories if they don’t know how to do them justice. Personally, I am still awaiting some conceptual art that will not make me grimace.

Review: Kill Your Friends

 

Stephen Stelfox, a talent spotter for a major record label, is going very quickly insane. His job consists of picking which of the ‘one GCSE merchants’ (the artists) will have a hit record with the ‘animals’  (the public).

 

These decisions are almost always made drunk from an Eastern European brothel, and the hits are drying up. Stelfox’s recent attempts at success (including a German electro pop number called ‘Why Don’t You Smack My Ass?’) ended in disaster.

 

His mind is like ‘a Mission with no Control.’ As the title suggests, Stelfox’s insanity and rising bloodlust is going to end badly for his nearest and dearest.

John Niven’s debut novel draws on the writer’s own experience as an A&R man in the late nineties, and its this semi fictional memoir form that’s perhaps the most enjoyable aspect to Kill Your Friends. Britpop’s at its peak, Girl Power’s just kicked off, and New Labour’s election victory is only a few months away. Niven deftly uses ironic retrospection; the reader cannot help but be amused by Stelfox’s opinion that Be Here Now is Oasis’ masterpiece, that OK Computer will end Radiohead’s career, and the description of Tony Blair as ‘that Labour guy.’

It’s a disappointment, then, that the rest of the novel is so derivative and, ultimately, boring. Niven’s stabs at postmodernism are clumsy and ineffectual, and the surreal, stream-of-consciousness dialogues begin to grate. Similarly, Stelfox’s casual racism, and not-so-casual sexism, don’t shock because they’re so contrived. It becomes obvious within about five lines of Kill Your Friends that Niven is hugely inspired by Bret Easton Ellis’ own bloody satire, American Psycho, and it is this debt that ultimately prevents the book from having an existence of its own. Mockney lads’ culture is not as interesting, or as fitting a target for satire as eighties Wall Street, and the novel’s progression from nostalgic memoir to murderous rampage is a mistake from which Kill Your Friends never fully recovers from.

 

2 stars out of 5 

Theatrical Thrills

Something about the frisson, the chilly tingle of excitement that hangs in the crisp Valentine air, is conducive to theatre. An epic in itself,  I had finally persuaded a lovely young lady, whose name will reamin shrouded in mystery, to follow me to see Indian Ink.

A couple of familar faces on stage, perfect fodder to show off my many, many connections in the theatre world, and a nice piece of light comedy sounded like the perfect start to a perfect evening. I was soon snuggled up against my lady-companion – after some ameteur gymnastics to get to our seats.

Why is it, incidentally, that the bigger a girl’s hair, the more she complains about having to move to let others get to their seats? Do they just assume that that the empty seats on their row will remain unfilled just to please them? The one perched on the end of our row was insufferable!

Thankfully, my own companion  took her seat with perfect decorum, snatching only a contemptuous glance at the primped- up princess who was still in paroxysms of shock at our daring to pass her to reach our alloted places.
As the lights slid down, I let my hand fall into hers. As the actors entered the stage, I… well, I sat still and watched. The play, mostly, but I couldn’t help but let my attention be drawn again and again to the beauty next to me. She was holding my hand in the most casual fashion, her attention riveted on the stage.

At the interval she went done to buy some food. To my mild surprise she returned sans refreshments for me. A bit of a dissappointment. But then we forbear. As any real man would know. I imagine.

As the play moved through its second half, she moved her hand out of mine. And was it my imagination, or was she edging away very slightly? The action on stage was hilarious, and I was giggling away merily; she, though, had fallen silent, her brows creased in consternation.

When the play ended, she turned to me. Perfect, beautiful, sexy.

"You laugh like an oaf. That was the most embarrissing couple of hours I have ever spent in life!"

The shock. The utter shock. My laugh isn’t oafish. It is enthusiastic. It is rich. I dare say it has timbre. By the time I had digested this all, however, she had gone.

But what was worse, what was infinately worse, was the sickly grin I received from the big-haired girl as I squeezed past her on my way out. Cow.

Review: The Audacity of Ideas

The Audacity of Ideas is a new play written by Oxford student Gareth Russell and set on the brink of the French Revolution.

I must admit, going by the title, I was worried that this would be seriously dry drama. Writing a play about ideas and setting it over two hundred years ago seemed a bit like walking the plank voluntarily. I expected the play to be as patchy as a student’s essay written in the wee hours of the morning after too much ProPlus. I couldn’t have been more wrong.

This is a play about ideas, yes; but ideas tested out on the streets of Paris and enforced using the guillotine. Russell’s writing is far from perfect, but it does put extraordinary words in the mouths of his characters. The Bible is memorably described as ‘almost a waste of vellum’; revolutionaries are the ‘excrement of the nation’. The urgency of the impending Revolution is brilliantly portrayed and played out among the highest aristocrats at court: ‘there is no middle road between the throne and the scaffold’, Charles tells his brother King Louis.

The Audacity of Ideas follows the politics of the French court and displays the courtiers in all their arrogance and ignorance. Camped-up Charles, the King’s younger brother (played by Gareth Russell) is excellent as he bullies and seduces his way around aristocratic circles.

The play portrays the extravagance of the upper classes, as they witter on about parties on the very cusp of revolution, and still manages to pull off a discussion of the burning ideas of the time. Yet the characterization suffers from this extraordinarily ambitious task, and sometimes slips into caricature.

Russsell aimed to introduce the audience to the smaller players at court, but I certainly came away remembering the spoilt one, the gay one and the serious one, rather than any actual names. What’s more, the play borrows rather a lot from the intrigues and the mannerisms of Liaisons Dangereuses, staged last term at the Moser theatre in Oxford.

Although a little too earnest at times, this new piece of student writing is definitely worth watching. Centuries later, revolutionary spirit is still in the air – not least on the stages of Oxford student theatre.

4 stars out of 5

Review: Rozencrantz and Guildenstern

An existential crisis drives the plot of Rosencrantz and Guildenstern are Dead. The two title characters are locked into the fate decided for them in Hamlet. While they will die, as they cannot alter what William Shakespeare created, they can debate on life, probability, and meaning- while attempting to remember their own names.

Tom Stoppard’s play takes the two characters, memorable only because they are completely non-distinguishable, and develops them into a play that focuses on their own identity crises, the action of Hamlet swirling around them.

This excellent production, directed by Krishna Omkar, places the characters on a giant chessboard, literally turning them into pawns of a higher will. Guildenstern, played by William Spray, exudes a cool severity as he slinks around the board. His tone remains composed and focused, even if his train of thought rarely makes sense. Rosencrantz, meanwhile, played by Liam Well, moves around the board with excited energy, and manages admirably to combine awe, interest, and confusion.

Finishing off the cast is a group of tragedians, led by Tom Carlisle, whose booming and confident voice makes him the ideal salesman of tragedy. The tragedians also double as the Danish court. This decision artfully meshes the two groups, since both are directing tragedies in their own right. The tragedians slide across the board like dancers, taking positions which mimic the great misfortunes of human existence that occur within Hamlet; murder, adultery, and deception.

Identity and existence are questions that the characters continually debate. Rosencrantz and Guildenstern do not connect with each other or even with their own selves, often forgetting where and who they are. The production emphasizes their confusion by placing the two under a white spot-light, while the other characters languish under dimmer lighting.

As the production progresses, the white light serves to highlight the changing movements of the title characters. Rosencrantz’s, with his bursts of fractured energy, begins to resemble a trapped animal, while Guildenstern has moments of stillness, standing locked within himself. Therein lies the strength behind the production’s minimalist set. While the action may take the characters to court or to a ship, their bodies remain attached to a game in which they cannot deter their fate.

4 stars out of 5

Review: The Nose

Due to an editing error, this play was incorrectly given three stars in Cherwell Print Edition (Friday 2 May). The star rating below is correct. Cherwell apologise for any confusion this may have caused.

‘Noses are not clean’. The trouble with them, according to Nikolai Gogol’s short story, in a new adaptation from Sam Caird and David Wolf, is that they sometimes fall off government officals’ faces, and begin to lead lives of their own. Definitely tricky things, and the joy of this production is that it quite clearly revels in its own absurdity.

The play is helped along by the quality of Gogol’s original vision, hilarious and clever. Kovalynov the offical in question, flirting with various women before his mysterious de- nosing, compares each to a piece of food; clearly a man whose appetites control his life. Maanas Jain plays Kovalynov with confidence and wit, but it is the use of the cast as a whole which is most striking.

The characters all play more than one role, flitting on and off in a manner that not only manages to clearly delineate each character, but is also astonishingly elegant and suggestive. The rich technique also allows Adam St- Leger Honeybone (pictured), a real delight in this play, to narrate while the characters re- position themselves for the next scene. This multi- faceted use of characters is characteristic of adaptations from the page, but rarely have I seen it used with such panache.

The imagery too is potent. When Kovalynov comes across the deranged Chief of Police, excellently played by Eva Tausig, he is led by a line of sugar, sprinkled across the stage. The Chief is, it transpires, is obsessed with sugar, and watching Tausig stuff sugar- cubes into her bra, cubes which later in the scene come cascading from her clothes, is a good example of the lunatic genius of the piece.

The relationships between the other characters are well- drawn also, with Charlotte Bayley particularly good as a highly expressive and amusing mother who is attracted to one of her daughter’s admirers, and Bayley moves smoothly from shrewish to seductive. Her daughter, Sonya, well played by Jenny Ross, is in turn infatuated with Kovalynov. That the relationships between the characters are so convoluted is no surprise. That this production is so smartly produced, directed and acted, is a wonderful one.

4 stars out of 5

Food in crisis?

A spectre is haunting the West – the spectre of Malthusianism. Talk of a food crisis has provoked commentators to claim that there are too many mouths to feed. In fact, despite some environmentalists’ claims that the crisis reinforces their belief in the natural limits of humankind’s ambitions, we already have enough food to feed all Earth’s people, and more.

The current crisis is doubtless a serious one. The market price of basic cereals has doubled within the last year, sparking unrest in Haiti, the Philippines, Egypt, Senegal, Bangladesh and elsewhere. Aid agencies are being forced to cut food aid across the globe, the World Bank has warned that 100m people could be pushed further into poverty, and UN Secretary-General Ban Ki Moon suggested that food riots pose a serious threat to political security in developing countries. Most starkly of all, 840m people worldwide suffer from malnutrition.

The causes of this crisis are complex. They include bad weather, rising fuel and fertilizer prices, and rising meat consumption, since it takes several kilos of grain to produce one kilo of meat, leading greens like George Monbiot to demand that we all become vegetarian. Biofuel production has undoubtedly had a severe effect, leading a UN Special Rapporteur to label it a “crime against humanity”. Certainly, the crisis has exposed the fundamental irrationality and environmentally unfriendly nature of biofuels once and for all.

More disturbingly, there has been a strong streak of Malthusianism in much of the commentary: the idea that there are simply too many mouths to feed. As CNN founder Ted Turner put it, “There’s too many people. That’s why we have global warming… because too many people are using too much stuff.” Once only a preserve of nutcases like the Optimum Population Trust (who want to cut world population by one to three billion), this idea has now been mainstreamed by green campaigners. The Independent must be particularly delighted, since its Environment editor argued four years ago that economic trends were “fulfilling the gloomy predictions of Thomas Malthus”.

Let us be quite clear about the real nature of the crisis: it is a crisis of affordability, not supply. The world already produces enough food to feed more than its current population. There is enough cereal alone to supply everyone in the world with 3,500 calories daily, well in excess of the healthy minimum of 2,500 – and this is before meat, vegetable, nut and bean production is taken into account. Global agriculture today produces 17 per cent more calories per capita than it did thirty years ago. People starve because they cannot afford food, not because there are too many mouths to feed. The food crisis is actually a poverty crisis: it exposes not the planet’s overpopulation but the precarious existence of billions of people for whom a rise in basic commodity prices spells ruin.

The fundamental reason why Malthus was proven wrong is that he systematically underplayed mankind’s capacity to enhance and transform nature to fulfil its needs and desires. That very idea is anathema in an age where environmentalists urge us to bow down to nature and respect the limits it imposes on us. But, put simply, there are more of us today, living healthier, better lives, because we got much better at producing food (among many other things) by introducing scientific techniques, fertilisers and mechanisation. Paul Erlich’s claim in The Population Bomb (1968) that hundreds of millions would starve to death in the late 1960s was confounded by the Green Revolution, the export of modern farming techniques and tools to the third world, particularly the Indian subcontinent.

Crucially, however, these productivity gains have been profoundly uneven and remain concentrated in the capitalist heartlands. While annual food production per capita is 1,230kg in the USA, it is 325kg in China and a mere 90kg in Zimbabwe. Put another way, farmers in countries with highly-developed agricultural sectors produce one to two million kilograms of cereal each; by contrast, of the world’s 3bn peasant farmers, those who benefited from the Green Revolution produce 10,000-50,000kg, but those excluded completely from new technologies produce only 1,000kg.

The underdevelopment of and lack of investment in agriculture in developing countries means that agricultural productivity growth has not kept pace with population growth – in Africa, for instance, the respective rates are two and three per cent. Argentina, the EU, and the USA produce 80 percent of world food exports, on which the poorer countries now depend – hardly any wonder, then, that the US shift to biofuel production has had such a dramatic effect on world-market prices.

This is compounded by perverse rich-country policies, such as the foisting of mono-cultural cash crops on developing countries, crops that have undermined soil fertility. Other problems include the huge domestic subsidies for agriculture, which make many poor-country farmers unable to compete, and the dumping of Western produce on poor countries in the form of food aid. The idea that the issue is one of distribution rather than supply is reinforced by the fact that food production has continued to grow even as the total land area under cultivation in Europe fell from 732m hectares in 1981 to 656 hectares in 2000 – because of a problem of oversupply. EU farmers were being paid to keep their land fallow – and now they are locked into ludicrous 10-year schemes that prevent them from reverting to food-production even though prices are now high.

The facts, then, have not changed since Amartya Sen published his influential 1981 book, Poverty and Famines, which showed that unjust socioeconomic and political structures cause famines, not food shortages. It should scarcely need pointing out that the prevailing economic system, where profit rather than need dictates the production and distribution of goods, is the real problem behind the crisis.

Rather than seeking to change this system (which admittedly shows little sign of being overthrown any time soon), attention is focusing on increasing poor-country agricultural productivity. The Alliance for a Green Revolution in Africa is a potentially promising development, seeking to bring much-needed investment, new seeds, fertiliser, technology and infrastructure to the continent. If it can genuinely empower African farmers rather than serving the interests of Western agribusiness, it may be worth supporting. But without being accompanied by more thoroughgoing structural change – such as the redistribution of land from rich to poor, the dismantling of Western subsidy regimes and the reform of international trade systems – the benefits are likely to accrue very unevenly, and may not address the fundamental problem of gross inequality and poverty that ultimately underlies malnutrition. The spectre of Malthusianism needs exorcising quickly.

Interview: David Willetts MP

David Willetts inherited a mouthful of a title when he became the Shadow Secretary of State for Innovation, Universities and Skill in July 2007. His official role is to coordinate the Conservatives’ policy on higher education, but his importance to the party stretches beyond this, as he is considered one of its leading intellects.

Any discussion with David (affectionately known as “two brains”) promises to be mentally stimulating, as he discusses the big issues of British politics and Conservative ideology. To the common man he might look every bit the archetypal Tory MP but he is far from fulfilling much of the stereotype. His views are moderate and he is clearly willing to challenge received wisdom in favour of brightening up the intellectual scene.

When I suggest that Gordon Brown’s current malaise might be the catalyst for Willetts’ return to government – he previously served in the Treasury under Nigel Lawson – he responds confidently: “I think that the Conservative party is in better shape than it”s been in for over a decade. People can sense that we are changing; they can sense that we are focusing on the issues that they worry about rather than an inward-looking debate that focuses on our own agenda.” For eleven years, Conservative ministers have been saying the same, generally to deaf ears, but now the message seems to resonate. The Conservatives under Cameron have enjoyed a healthy lead in the polls since the “Brown bounce” last summer, and it looks set to continue.

This does not mean, however, that Willetts is complacent. He is eager to be optimistic but makes the salient point that the Conservatives still have fewer MPs in Parliament now than Michael Foot did after the “disastrous” Labour election of 1983. He is a man who understands the uphill task ahead: “no one,” he cautions, “should be measuring the curtains for their departmental office just yet.”

It is still far too early to predict the outcome of the next general election, but most would certainly argue that it will be the first since 1992 in which the Tories will have a genuinely decent chance of winning. As might be expected of Willetts, he puts it all down to the fruition of new ideas. “There is a recognition that the political renewal of conservatism is also an intellectual renewal.” He castigates the old Tory view that ideas have no place in the political discussions in the “Dog & Duck” and is excited by the party’s willingness to re-engage in intellectual discussion.

I put to him, therefore, one of the most tricky questions in British politics, “What is conservatism?”. He is quick to stress that the creed has often changed in the party’s history (so much so one would suspect that “being pragmatic” is akin to “being conservative”) but that the debate is hindered by a false dichotomy. “We had,” he argues, “a conventional political debate in which Conservatives were the party of the market and Labour were the party of the state, but a hell of a lot of what matters to most people lies in between the two – the family, the neighbourhood or the community. This is what we mean by the phrase “non-state collective action.””

Willetts has much to say on how to incorporate economic game theory and even evolutionary biology into Conservative political thought. The general idea is that humans gain pleasure in the brain from being able to forge our own collective institutions, and therefore it serves an evolutionary purpose to allow the individual greater economic and political freedom. These hypotheses are still inchoate, but Willetts is willing to grapple with them and perhaps to provide answers out of left field.

When asked about his student days at Oxford, Willetts responds, “I am one of nature’s PPEists and I regard myself as in some ways still doing PPE.” Politics, it seems, is just an extension of university for a man who spent much of his time at Oxford founding societies and arranging meetings. Optimistically, he suggests that “students work harder now than when I was a student.” And after I regretfully correct his mistake, we move on to discussing Conservative policy on universities.

The “student experience” is as close as a buzz word as Willetts will allow himself, and he turns to this phrase when questioned about student funding. The party has called for a 2010 review of university funding so that the impact of top-up fees can be properly measured, but for now Willetts is most concerned with the quality of university life: “What I’m increasingly picking up on is that the quality of the student experience is something that students across the country raise with me more and more – how many essays you’re going to have to write, how accessible the academics are, how much academic feedback you’re going to get and how crowded the seminars are. You can only justify the fees that students are now charged if students are confident that the money is going into improving the student experience.”

Tony Blair kick-started the university funding debate with his policy that 50% of school leavers should be attending university, thus creating a requirement for extra funding. “I’m sceptical about these abstract targets,” says Willetts, “and we’ve just had some evidence that the percentage of young people going to university has only increased from 37.2 to 37.8 per cent.” He continues: “Your question shows what’s gone wrong with this target, which is that you get a debate about a target rather than a debate about the real world question “how do we ensure that more young people are going to university?” That is a real-world challenge and I’d rather focus on that than on abstract targets that Tony Blair plucked out of the air for effect.”

After our interview I would find it impossible to pigeonhole David Willetts. He understands that government should be realistic and yet believes that it only makes sense in the context of intellectual rigour. He is part of a party which is widely caricatured as “inertia personified” and yet he is keen to draw on the cutting edge of academic research. It’s clear that his days studying PPE at Christ Church have been significant in the making of the senior politician before me. He leaves me with an indication of why the place is so special to him: “There’s a great cartoon of a man sitting in a library, looking up, surrounded by books, and saying, “good God! for a moment then it all made sense.” I learnt about the men of the British Enlightenment at Oxford, and that mix of the cultural, the political and the philosophical is what I think politics is like when it’s at its best. And that’s what makes every day so stimulating as a politician.”