Get this. The German elite are up in arms over the Frankfurter Allgemeine's latest "redesign". If you can call it that.
The leading national paper, always a serious and erudite title, has decided that now, in additional to the striking red box (dimensions 3cm x 3cm) on the far left column, it should lead with a (tiny) photo – yes, a photo – on the front page. A photo?!A media expert here in Frankfurt tells me that, two weeks after the relaunch, the intelligentsia aren't too chuffed. Pictures, they cry, should be saved for big stories – like skyscrapers being destroyed or Berlin Walls coming down. But a photo of a rock star? And he's not even got a Nobel Prize? Outrageous.The explanation, I'm told, is that 90% of the FAZ's readers are subscribers, who are attracted not by on-the-spot hooks but by respectability over a long period of time. Compare this with Bild, their answer to The Sun, which offers no subscription and has to grip its readers with the cover if it wants to make any money.The UK broadsheets, on the other hand, are somewhere in between the two extremes, while our tabloids are more like Bild.And all this on the day that The Times leads with a photo of Tom Cruise and the Daily Telegraph runs a cute badger. UPDATE: It appears Harry de Quetteville's Telegraph blog from Berlin had the same thing to say. Unfortunately he got there a couple of weeks before me. Oh well, speed's not all.

by Christopher Perfect

In today’s Oxford, the enormous changes of the last thirty years, of which we are reminded at every opportunity, sometimes make it difficult to imagine an era before mixed-sex colleges, informal hall and Friday night at Filth.  Simultaneously, constant demands for ‘modernisation’, ‘transformation’ and the ‘equalisation of opportunity’ make the stereotypical picture of Oxford one which often goes unrecognised by the modern undergraduate.  These two conflicting approaches to viewing the University are harmoniously brought together by the exhibition at Sanders on the High, consisting of maps, prints and lithographs of the University and of the City, dating from the last four-hundred years.

Oxford, as presented in a 1705 prospect from the ‘Britannia Illustrata’, was, initially, a city primarily dedicated to religion. As the tourist buses sail up and down the streets in search of Harry Potter, Sebastian Flyte, or just an unfortunate finalist in sub-fusc, they miss the dominant aspect of the prospect: the sight presented by the spires and towers of Oxford’s religious institutions. Churches outnumber colleges in the piece’s annotations and consequently present a pointed reminder of both the university’s origins, and its long existence, as a primarily religious institution.

Some exhibits, of course, are immediately recognisable;  Charles Murray's 1896 etching of the High Street, with a view towards Carfax, features the familiar sweep of the street and the  unrivalled dominance, then, as now, of St Mary’s Church, enhanced, perhaps, by the marvellous absence of traffic.  And yet, even when presented with the most immediately familiar view of the great university city, we are still faced with the unaccustomed sight of students and academics in academic dress, and reminded of Waugh’s description of Oxford as ‘a city of aquatint’.

A large number of smaller exhibits by artists such as Mortimer Menpes, M.K. Hughes and Sydney John present individual aspects of the Oxford we all know taken from the late nineteenth and early twentieth centuries.  The pelican of Corpus Christi, the dominance of Tom Tower as viewed from Pembroke Street, and the magnificent dome of The Queen's College, all serve to reinforce the exhibition’s status as a window into what is an unfamiliar world, framed within unforgettable, hauntingly beautiful architecture.

'Light and Shadow'-An Exhibition of Oxford in Early Twentieth Century Print, at Sanders of Oxford, High Street, till November 3rd.

Our reviewers round up the best and worst of this week's single releases. 
Sons And Daughters – Gilt Complex (Dan Rawnsley) *** 
A best of Sons and Daughters should be in the soundtrack to your insanity.  The guitar scratches up your spine and the bass threatens to fracture your skull.  ‘Gilt Complex’ has a place in that best of, but Sons and Daughters have produced two albums of spine scratching brain beating songs.  The sound is tweaked and tightened; it scratches in an oh-so-slightly more pleasurable way, but it’s more of the same.  A stable rather than innovative track, but then again innovation might not have been the aim.  Bonus points for the b-side ‘Killer’, which managed to break my back.  
Willy Mason – Gotta Keep Walkin’ (Charlie Radcliffe) **** 
It is a huge injustice that the implausibly wet James Blunt, nice chap he may be, headlines Wembley Stadium while fellow acoustic strummer Willy Mason is still making do with a support slot on KT Tunstall’s tour. New single ‘Gotta Keep Walkin’’ does not have the infectious tune of his Tunstall collaboration We Can Be Strong or the sing-along factor of breakthrough hit Oxygen, but it still manages to combine adept storytelling with a swirling melody. ‘Gotta Keep Walkin’’ is not Mason’s finest moment, but it still makes Blunt et al look incredibly pedestrian.  
Keane – The Night Sky (Rees Arnott-Davies) ** 
I feel guilty about giving a charity single a bad review, but nowhere near as guilty as how I’d feel if I were to pretend that ‘The Night Sky’ was anything other than a droning mess of self-congratulatory pretension. The opening verse ‘One day I will be / Back in our old street / Safe from the noise that’s falling around me’ eerily captures the feeling of listening to this song. Through strained ears, every now and again I can make out some semblance of a tune, but mostly it’s just noise. But buy it anyway, for charity and stuff…   
Beverley Knight – Queen Of Starting Over (Portia Patel) ** 

Beverly Knight is one of those artists from whom you know what you’re going to get. ‘Queen Of Starting Over’ from Knight’s latest album Music City Soul, is no different to the usual fusion of pop and soul that she has traded in over the years. There is no denying that Knight is a talented soulstress; however, this track does not really do justice to her passionate and flamboyant vocal abilities, failing to take off after a promising opening. The lyrics are repetitive and unmemorable, and the chorus is seemingly non-existent and gets lost amidst a background of southern soul-inspired horns. ‘Queen Of Starting Over’ is no ‘Piece Of My Heart’. Beverley, sorry to say, but you ‘Shoulda Woulda Coulda’ done better!

Photo of Sons and Daughters by Jason Evans.

“It was a feeling of total inertia. I just didn’t want to do anything, not even get out of bed”.  “Everything I used to enjoy seemed pointless”. “I felt very alone.” 

Depression is a serious medical condition. It is not something that you can remedy by ‘pulling your socks up’ or simply ‘getting on with it’.  The causes are complicated and still not fully understood.  In some people it is caused by an under-active thyroid gland which can make you put on weight and feel sluggish and lethargic; other people may experience it as a response to certain foods; and still others become depressed as a symptom of illness. Often though, it has no apparent physical cause. Some experts describe it as a form of ‘unfinished mourning’ following a major life change or a major shock.  And while it is unclear as to whether there is a genetic basis for depression, it seems that some people are more susceptible to it than others.   

As far as Oxford goes, the environment that students are in is one which can be conducive to depression.  It is a very intense place.  Many of us find when we get here that, although we were easily among the most able and talented at school, at university we are suddenly just part of the crowd.  There are other changes too.  The workload can at times seem not only daunting but physically impossible and as a fresher you might be separated from your family and friends for the first time.  Suddenly your old routines and your old support networks are gone.  Even if you’ve been here two or three years already, it can still be difficult to cope at times. It is easy to feel that you are not as successful, as popular, or simply as happy as many of your peers. 

It is important therefore to keep things in perspective: to remember that most people here are not superstars.  They are just like you, and just like you they have low points and times when they feel that they aren’t getting the most out of university.  However, a ‘low point’ is reasonably common amongst most people.  Think of it as the mental health equivalent of the common cold.  It is no fun, but it will pass after a while.  The clinical term ‘depression’ on the other hand, refers to something more serious.    

The main symptoms of depression include: having negative thoughts, feeling extremely anxious, not enjoying things that you usually enjoy, wanting to distance yourself from others, feeling restless and agitated, having difficulty sleeping, feeling helpless, feeling aches and pains with no physical cause, and feeling tired.  There are other symptoms, and people with depression may experience a different number of symptoms, in different combinations.  The way people experience depression is very varied. For some, it can even be a strangely productive period.  One student told me “I sometimes relish those days when I feel depressed. I can wallow in pure selfishness.  I don’t care about anyone or anything else. I do a lot of thinking then.” For others however, depression is extremely dangerous and can lead to self harm and even suicidal thoughts. 

In Oxford there are reasonably good welfare services. OUSU provides counselling services run by trained professional counsellors where most students can get an appointment within a week, there is the student run ‘nightline’ open from 8pm to 8am and each college runs its own welfare system, often with student peer supporters and professional members of staff.  However, the symptoms of depression can mean that it is difficult for people to get help, and students can fall through the welfare net.  A depressed person often lacks the motivation to actively do something about the way they are feeling and may also be less inclined to talk to others than usual.  So it is important that friends and neighbours keep an eye out for each other.  

The good thing is that depression is treatable.  Exercise, for example, is particularly good because it stimulates the endorphins in your brain and also eating a healthy diet, especially one containing oily fish, can help a lot too.  But it is not an easy battle.  Depression is something which feeds off itself and fighting the negative attitudes that it creates is tough.  Oxford does not always provide the best atmosphere in which to deal with this, but the support is there if you need it.  The important thing to remember is that you are not alone.

Employees found misusing internet networking websites like Facebook or MySpace will face disciplinary hearings, it was warned earlier today.Local district councils, such as the Vale of the White Horse and Oxfordshire County Council have already put measures in place to prevent employees from accessing the site, but elsewhere, staff have been warned "we are watching you" as access remains unrestricted.Oxford City Councillor Dr Tia McGregor commented: "Employees have a responsibility not to waste time. I think some people are spending too much time on it."The past five years have seen as many as 21 council employees disciplined on the grounds of internet misuse. Under a revised internet policy, some businesses are allowing networking websites were left open for employees to use, though the changes are being monitored to ensure that workers do not abuse the priviledge, with regular usage reports are being produced to ensure employers are aware of the situation.Thames Valley Chamber of Commerce spokesman Claire Prosser said: "These sites are highly addictive. Businesses are under enough pressure to become more efficient and issues such as this add to their already mounting workload."

A Liberal Democrat leadership contender found his days at Oxford coming back to haunt him this weekend as an article he wrote advocating the use of hard drugs surfaced in a national newspaper.Chris Huhne, who is one of the favourites to take over from Sir Menzies Campbell, waxed lyrical about Opium, Heriod and LSD in a February 1973 issue of Isis magazine, which he wrote while an undergraduate at Magdalen College. The article, which was published under the heading 'Oxford escapism,' presents a beginners guide to a plethora of drugs. Of LSD he says, “Acid is manufactured in the labs and is the only drug which is getting cheaper . . . The considerable number of students at this university who drop acid are well-balanced highly intelligent people . . . if one is able to live with oneself . . . then acid holds no surprises.”But at the weekend the MP for Eastleigh claimed he couldn't remember writing the article, and said, “the views that were [expressed in the article] are certainly not my views as they are at the moment."

It should be noted at this stage that I’m in no position to review this album objectively. I fell in love with Jimmy Eat World the summer I was 15, and have probably played at least one of their albums at least once a week ever since. Fortunately, any idiot knows that music reviews cannot and should not ever be objective – how can you give a detached opinion on something that by its very nature should aim straight for the heart?

Having got that out of the way; Jimmy Eat World are a band frequently misunderstood, who have charted a deceptively varied musical path in their 14-year career. I would quite happily rate each of their last three albums – 1999’s stunning, heartbreaking Clarity, their adrenaline-charged 2001 breakthrough Bleed American, and 2004’s darker but similarly beautiful Futures – ten out of ten. It seemed that when I first listened to all of them, they managed to exactly match my mood and life situation at the time.

Chase This Light is not a ten out of ten album. It’s flawed. Butch Vig’s production is ludicrously over-the-top at times. The lyrics are perfectly serviceable but lacking in the emotional depth-charges they used to deliver (see 23 and The World You Love on Futures, If You Don’t Don’t on Bleed American, or basically anything on Clarity). The album fails to deliver on the signpost marked by the murky, emotionally wrought standout tracks on 2005’s Stay On My Side Tonight EP, and isn’t anywhere near as cohesive as their previous works (especially Clarity – you can probably tell by know that I consider that album to be a landmark work not only in the emo genre, but for music in general).

However, all of those criticisms are based on the fact that Chase This Light isn’t really the record I was expecting, or perhaps hoping for. Taken on its own merits, Chase This Light reveals itself to be, unexpectedly, a pretty awesome album of straightforward pop-rock. Jimmy Eat World have been slowly bleeding away the emo-tag from their genre classification over the course of their career, and Chase This Light is the moment where you realise they aren’t an emo band any more in any possible sense of the word.

The album sprints out of the blocks with first single Big Casino, which sounds absolutely huge (one of the occasions where Vig’s production definitely works). “I’m the one who gets away, I’m a New Jersey success story,” yells Jim Adkins in one of their finest choruses to date. Chase This Light is chock-full of up-tempo rockers, none quite as brilliant as Big Casino but all of them bright, uplifting and endearing.

Let It Happen and Always Be fly by in a flurry of big, OC-friendly choruses (and I don’t mean that as a slur). The energetic Electable is absurdly catchy, enough so that you don’t mind the vagueness of its political slant. Feeling Lucky is essentially a less-good rewrite of Bleed American’s Authority Song, but something about its guileless enthusiasm makes it hard to resist. Most successfully of all, Here It Goes experiments with synths and danceable beats, resulting in a delirious piece of pure pop that beats Hellogoodbye et al at their own game.

The slower moments provide more mixed results but occasionally great rewards. Gotta Be Somebody’s Blues feels out of place here but is still a welcome throwback to the prevailing mood of Futures, all shuffling unease and queasy strings. Carry You and the title track aren’t exactly weak songs, but they tend to collapse slightly under the weight of their own sappiness. Closing track Dizzy, on the other hand, is quite wonderful, a spiralling emotional climax that sparkles and burns like the most perfect October sunset.

All in all then, there’s a hell of a lot to be enjoyed here, so long as you don’t want it to be something it’s not. Maybe they won’t ever match Clarity, but there’s always room for great pop bands and that’s what Jimmy Eat World are at the moment.

**** (4 stars)

by Griselda Murray Brown
 

‘The Journey so Far’ brings together various media and diverse places. Adeniyi’s mainly large scale, colour photographs counterpoise Konstanty’s intimate line drawings. Almost subliminally, they bring each other into relief.

Entering the exhibition space, I was struck by one of Adeniyi’s largest images, ‘mk Adamu’. It is a portrait of an old Nigerian destitute wearing a large straw hat, who, I am told, lives rough on the streets of Lagos, begging for food. Adamu’s face and hat are dead centre, and fill the frame: he looks out, yet resists engagement. The textures of his face are startlingly clear, his skin lined and wrinkled, his chin pierced with stubble of black, grey and white. There is an implicit dignity in his face. Quietly and without pomp, Adamu transcends his social place; his large straw hat becomes symbolic, evoking the haloes of golden light which crown religious figures in European Renaissance painting. The photograph won the ‘Outstanding Achievement in Photography Award’ (2007), from the International Society of Photographers.

Adeniyi was a war photographer for the British Army in Northern Ireland. Next to ‘Adamu’ is a smaller, asymmetrical, black and white portrait of a soldier in London-Derry. His look is intense, his eyes narrowed, but not hostile. The image resists specificity – the soldier’s face is streaked with camouflage paint, the wedge of background is blurry, and all is cast in timeless black and white – he is the ‘universal soldier’, so to speak.

Beside this is ‘Survival’, a colour photograph of a layer of rubbish strewn over grass in Isara-Remo, a town in Nigeria. On first glace, the objects look like strips of cardboard, bits of wood, but they are, in fact, mainly flip-flops. In the absence of a central focus, the eye jumps to the occasional coloured flip-flop, which punctuates the greens and browns. Adeniyi comments: "Isara is a society that just wants to survive for now. Everything in the image could be recycled, but lack of knowledge and the standard of living makes recycling difficult". I felt an uneasy sense of guilt, as though the mass of flip-flops were the remnants, the hangover, of the generic beach holiday.

Round the corner is Konstanty’s work. There is something deeply, indescribably satisfying about his line drawings. They are intricate, delicate, but solid; his lines are perfectly placed. His work has a cartoon quality: facial and bodily features are exaggerated, goblin-like, or grotesquely distorted. In one drawing, a figure squats on the tip of an inescapably phallic creature, as if about to launch into the air. Jack-in-the-box meets sex toy, perhaps. A disturbing sexual theme runs though the illustrations – disturbing, because violent and distorted. Genders are fused, confused, anatomically. What looks like an umbilical cord grows out of the penis of a man into an indefinable beast.

In Konstanty’s work, precision of style jars against shocking, sexual content; a thrilling tension results. As if to enact this artistically, other media is played off the delicate pen. Garish yellow highlighter winds out of the mouth of a half-monster, half-human creature, like some noxious vapour. Flower genitalia are stuck over the mouths of an alien couple having (human) sex; these mouths seem to cry out in a vocal expression of sexual sensation. Georgia O’Keefe’s erotically suggestive flower paintings spring to mind. Konstanty’s work describes the mind in over-drive: its nightmare hallucinations; visions of lurking shadows of the self; sexual ecstasy and torment.

‘The Journey so Far’ is quietly powerful. The work touched an innate, buried sense of western guilt, and of sexual shame and revulsion, within me.

Hertford College issued a warning to its students about fire safety earlier in the week after a student's pyjamas caught fire.The incident occurred when a student left their curtains open during the day. Light reflected off a mirror onto a nearby chair, burning the pyjamas that were lying there.The JCR bulletin reported: "This fire was caused by accident rather than by negligence or design but please be careful."

Our second week pubcast reviews the past week in Oxford drama, featuring an interview with Elizabeth Gray, writer and star of Wish I Had a Sylvia Plath.
Part One: Guardians
Part Two: Greek
Part Three: Wish I Had A Sylvia Plath
Party Four: Interview with Elizabeth Gray
Check back weekly for new episodes!