Telekommunikationsüberwachungsmaßnahmen. Now that’s a word to get your tongue around after a few.

But that hasn’t stopped the Bavarian authorities from using it to their heart’s content, and, in doing so, smacking a heavy punch in the face of the anti-statist brigade.

The word – all 39 letters of it – means “telecommunication surveillance measures”, and, in the latest move by the Bavarian Justice Ministry to deal with terror threats, they’re set to spread from the phone to the internet. That’s right, the German police want to be able to eavesdrop on our Skype calls. My Skype calls.

A leaked memo revealing correspondence within the Ministry outlining the potential cost and pragmatics of a Skype surveillance scheme (the English is quite a mouthful too) has found its way to various minor news networks and campaign groups.

The list of functions available with the €3,500-a-month “Skype-Capture-Software” contains a chilling list covering pretty much anything you can do with Skype, including live export of voice, chat and video communication, outgoing calls, SMS messages and Skypecasts. They can even find out who’s on your Buddy list.

It looks like the nation whose language gave us Kafka’s Trial may be playing host to the real thing.

Hat tip: Spreeblick

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Ahh, the Swinging Sixties. An age of change. Music preached individual freedom, and a potent utopia, mingled with even more potent narcotics, fuelled the nation’s youth. The cocktail was compelling. The decade of equality, world peace and civil rights saw the empowerment of the young in the political arena. But who exactly took up this position at the forefront of a social revolution that broke the conservative shackles? The students of course. The young had arrived, without their chaperones, and they would not come quietly. Sit-in protests, staged across universities in opposition to the Vietnam war, and frenzied street protests in Paris, which almost culminated in the collapse of the De Gaulle government, were all driven by an outraged student population. 1968 saw the period reach its climax in a hot bed of student activism. Having emerged from the oppressive climate of the 1950s, donning a red beret and waving posters, we truly believed we could change the world. But has this flame of optimism flickered out?Lord Triesman was recently quoted in the Guardian, bemoaning the inactivity of today’s youth. The modern student, unlike his parents, apparently no longer deems it ‘cool’ to protest, apparently preferring a night at Filth instead. ‘Students are spending more time socially than before,’ he says. ‘In 1968, being involved was seen as absolutely right and there was a lot of mutual support. But now the alternative might be to do almost anything else.’Even the OUSU elections last term, with an uninspiring turn-out rate of around 40%, was a relative success compared to the voter turnout of just 2.6% at the NUS representative elections at Plymouth University. If it is simply that students no longer want to exercise the hard-won democratic rights of their revolutionary parents, where does this mass of apathy come from?Perhaps students aren’t as eager as their predecessors to leap from their lectures and take to the streets, but is this to be regretted? Was the volatility of past generations an indication of true political engagement or merely an expression of rebellious culture; merely a universal ‘fingers up’ at the establishment? Many of today’s students are simply disillusioned with politics, even at university level. The recent scandal at the Oxford Union elections has tainted an institution of integrity and forward-thinking with the bitter taste of sleaze and corruption.  To label today’s student population as an unthinking mass, indifferent to everything aside from their immediate entertainment, is surely a grossly unjust generalisation. Many students are opinionated, aware and ready to let the establishment know about it. HSBC was recently forced to drop its plans to charge graduates 9.9% APR on overdrafts after a mass student protest via Facebook. Broader issues too are not met with disinterest, but fiercely debated. The Manchester University Student Union general meeting saw the venue overwhelmed as hundreds wished to register their vote on the institution’s recent twinning with a Palestinian university. The media’s addiction to controversy has driven many protests to attention-grabbing extremes. The anti-fascist protest outside the free speech forum at the Oxford Union last term could be seen as an example of this. A number of protesters charged the gate and forced their way into the debating chamber. Whilst these antics provided perfect journalistic fodder, they seemed to distract from the essence of the protesters' purpose. This makes it far easier for the opposition to dismiss their point of view. In The Independent, the day after the forum, Nick Griffin was quoted as saying, “we in the BNP are certainly not in the fascist tradition. Free speech and democracy are our absolute core values”. The fact that the leader of a group of extremists could fashion himself as a beacon of democracy, in comparison to the group of anti-fascist protesters, in my view shows just how confusing the message sent out by the protesters was.  Perhaps we no longer feel our voices will be heard amidst the screaming headlines of celebrity scandal. The 2003 protests against the war in Iraq, which featured around 36 million people in almost 3000 protests, clearly fell on deaf ears. On 19 March approximately 1,000 students from secondary schools to universities sat down outside the BBC studios, blocking traffic. The BBC, however, neglected to film this demonstration. Yet, looking at our position in the wider world, we should feel an overwhelming sense of gratitude. In Iran, University authorities have adopted a ‘star rating’ system, which hinders political dissenters from progressing with higher education. Yet we are beleaguered for our lack of political activism. The wild protests of the past represent an age with a distinctly different flavour. Today’s political menu is rather more bland than the clash of extremes savoured in the 60s. Popular politics have moved to a comfortable and inoffensive centre, where ideals are diluted to create a dish more palatable to the majority. Are we now satisfied and well-fed? The restless students of yesterday have fought our battles,  and the liberal democracy of today is our inheritance. Surely we have more to achieve?Maybe criticism levelled at the students is a call for us to take a position currently vacant in today’s society. We rely on the youth to ignite political engagement and provide a counter-voice to the government. This role is not just for aging commies, and unemployed hippies – it belongs to you. Students, your country needs you.by Sophia Coles and Zoe Savory.

A judge has denied Oxford University’s request for an exclusion zone to keep animal rights protesters away from the Sheldonian Theatre during graduation ceremonies.

A ban on protests against the University’s new animal testing laboratory was requested on grounds that the protesters’ shouts would ruin the “peace and quiet” of the ceremonies.

Mr Justice Treacy of the High Court in London ruled against the University’s appeal on the grounds of lacking evidence to prove the protesters’ threat to students during the Sheldonian proceedings.

Instead, the judge granted an additional 100 meters to the exclusion zone around the nearly completed laboratory in South Parks Road, so that students, faculty, and researchers will not be disturbed. The extension was issued on the  grounds that only construction workers of the lab were being given protection, and not students and faculty.

There have been previous incidents of violent attacks against the University's students and staff. Extremist activists have threatened and attacked University property, saying that the laboratory will be dismantled “brick by brick.”

“There is a high probability that unlawful harassment… will take place as a result from the unrestrained gathering of protesters,” said Justice Treacy.A university spokesman, however, says the institution will not be stirred.“The university remains firmly committed to the completion of a new facility to rehouse animals used in potentially life-saving research. The safety of staff, students and others remain the number one priority.”

“As an institution deeply committed to freedom of speech, we respect the right to protest and to make views heard within the law. However, we will protect our staff and students – and those working with us – from harassment and intimidation while going about their lawful business,” the spokesman added.

A programme consisting solely of Beethoven’s piano sonatas promised to be a challenging recital, but also a very rewarding experience for any pianist or listener.  The concert was performed by Oxford resident, Geoffrey Hopkins, at the Jacqueline du Pré Music Building, St. Hilda’s College, on 18th January. 

Despite containing music written by solely one composer, the recital was very varied.  Hopkins chose three sonatas, which were written at different stages of Beethoven’s life, and therefore differed greatly in style.   

The opening sonata (Sonata in C major, op.2 no.3) was written in the early years of Beethoven’s compositional career and demonstrates the influence of early-classical period composers such as Mozart and Haydn.  Hopkins’ rendition of this sonata began wonderfully, with an expressive melody-line and secure finger-work.  The chords throughout were generally well balanced, although some of the larger chords lacked emphasis on the top line, and thus perhaps felt a little heavy for the style.  The third (Scherzo and Trio) movement was particularly enjoyable, although could perhaps have been a little more energetic, since some of the 'bounce’ of the music was lost in the scalic passages. 

The second sonata Hopkins played (Sonata in F minor, op. 57,‘Appassionata’) contrasted greatly with the first piece.  Hopkins seemed to enjoy the later, more romantic style, and this was evident in his performance. The tone was appropriately warm throughout all three movements of the work, and the first movement displayed some particularly impressive technical playing.  Hopkins’ performance of the ‘Appassionata’ sonata was particularly warmly received.   

The final piece was Beethoven’s Sonata in C minor (op. 111).  This is the final sonata that Beethoven wrote for piano, and contains some unusual harmonies and chromaticism.  Again, Hopkins’ playing was striking and very stylistically fitting; the second movement was particularly beautiful and expressive. 

Overall, Hopkins’ playing throughout this concert was convincing and technically assured, and the programme well chosen.  However, the concert perhaps deserved a more lively encore than that chosen by Hopkins.  After the intensity of the final two sonatas, a playful Beethoven scherzo or Schubert impromptu may have been more appropriate a conclusion than the slow movement from Beethoven’s G major sonata (op. 59).  In general, however, the audience was very impressed by Hopkins’ performance.   

by Sarah Blackford

3/5

An album of covers?  As Amstell would say, "it stinks of Ronson", but Cat Power’s new album is definitely a less indulgent piece.  With one original exception, Power has covered an eclectic group of songs, including a re-interpretation of one of her own songs, ranging from Sinatra to Joni Mitchell, and put her own spin on it.  The result is an enjoyable, eminently listenable album.Whilst there may have been a danger that the songs would be too voice-oriented, given both her previous work, and what must have been a great temptation to move the songs as far into her own territory as possible, there is no gratuitous over-singing, a la Regina Spektor.  If anything, the instrumentation is the star of many of the songs, with the percussion element of the album particularly strong; if anything, it almost distracts from her voice.  More than once did it feel like Power’s voice was merely a supporting act to slick, well thought-out instrumentation.It would be hard to imagine any of the songs setting the world alight as single releases, but there are definite highlights.  The strong opening track, the cover of “New York” immediately grabbed my attention (although again, as much because of the compelling sound of the instruments as her voice), whilst the cover of Silver Stallion was an unexpected unplugged treat, amidst the electro-acoustic sound of the rest of the album.  The album feels a little front-loaded, though; the last 15 minutes of the barely 40 minute album melts together a bit.I can’t help feeling that she didn’t have that much fun making it, (and if anyone had fun, it was definitely the drummer).  The album is good, especially as unintrusive background music, but there is no obvious sign that she let her imagination go. However, it would frankly be a lie to say this isn’t worth listening to, because it really is, if you’re even remotely a fan of Power or acoustic music.by Fayyaz Muneer

Impressive as Barcelona’s Champions’ League win in 2006 was, it was particularly honourable given their kit sponsorship deal with Unicef.  At the other end of the football spectrum, St John’s College Football Club has attempted to do the same this year, with local homeless charity ‘The Gatehouse’ on their shirts. 

To get a better understanding of the charity, and the great work that it does in Oxford, captain Mike Newland took the first team on Tuesday to spend a few hours with the staff and the guests.  It was a touching insight into life outside of the college walls.  It is easy to forget that Oxford is a city as a well as a university, and that it has the same problems as anywhere else in Britain.  Homelessness is one of these. 

Oxford is therefore lucky to have an organisation as good as The Gatehouse.  Located in an old Baptist church – Northgate Hall – on St Michael’s Street, it provides meals, newspapers and internet access to all its guests.  Just as importantly, it is a safe and warm environment for those who need it.  It is currently involved  in a project to provide showers on Saturdays. 

On the given evening, the St John’s team were shown around by the Director, Andrew Smith. Four of the team were then sent to pick up the evening meal and distribute it.  A number of local businesses make generous contributions to the charity for meals, in particular: Pizza Hut, Pret a Manger and Boots.  They then, under the direction of the more experienced volunteers, distributed the food to the guests.  Centre forward James Earle said: “I know that it was more of a learning exercise than a helping one, but even seeing other people put so much into helping the disadvantaged was itself immensely rewarding”.

The Gatehouse has only one full-time, and three part-time paid staff.  It could not operate without the help of volunteers.  Volunteering there is very popular with Oxford students.  St John’s skipper Mike Newland can see why: “Having seen the great work they do, and how rewarding it is to volunteer, I understand why”.

One of the greatest young British violinists playing one of the greatest  romantic sonatas: this was the spectacle at the Holywell Music Room last  Sunday, as Jennifer Pike gave a breathtaking performance of violin sonatas by Ravel and Franck.  Pike won BBC Young Musician of the Year in 2002 at the age of twelve, and her recital last Sunday showed that her early promise is certainly being fulfilled.  The famous Franck sonata was particularly well received by the audience, who filled the hall easily.  It was so full, in fact, that people had to sit on the stage behind the violinist.

Accompanying Jennifer Pike was her father, Jeremy Pike.  The great understanding between the pair was evident, particularly in the antiphonal section at the beginning of the third movement of the Ravel.  This movement was particularly energetic, with dashing semiquavers, and was well appreciated by the audience.  Ravel’s love of jazz was clear in both this and the second movement.  Upon hearing a black jazz band in 1921 in Paris, Ravel asked in a letter, ‘Have you been to hear the negroes?  Their virtuosity is at times terrifying’.  This virtuosity was clearly on display in Pike’s performance.

The Franck sonata certainly lived up to Jeremy Pike’s description as both ‘uplifting’ and ‘tragic’ in different places.  The intense silence of the audience following the third movement showed their appreciation for Jennifer Pike’s playing.  The themes which recurred throughout were brought out beautifully by the young violinist, and the fiendish piano part was exceptionally well played; this was especially noticeable in the second and final movements.

The concert ended with an encore. Jennifer Pike played an arrangement of Gershwin’s ‘It ain’t necessarily so’.  Her love for the piece was clearly on show, and was hence transferred to the audience.  After such a fantastic concert, the next in the series is eagerly anticipated.  It will be held next Sunday at 11.15am, and consists of the Tippett string quartet playing Beethoven and Tippett (tickets available from Tickets Oxford 01865 305305). 

Sarah Karacs goes behind the scenes at rehearsals in Keble.
The Flu Season runs at the Burton Taylor in 3rd week, from 29 January to 2 February, at 7:30 pm.

In the last few days and weeks I’ve blogged about the threat to the ruling CDU in Germany posed by this Sunday’s regional election in Hesse and Lower Saxony, and how both the rise of the neo-communists and the alleged racism of Hessian Prime Minister Roland Koch may turn the tide towards the opposition social democrats.

Well, I was wrong to claim that the election was

certain to get zero coverage abroad.

Today’s Independent and Washington Post, as well as yesterday’s FT, all pick up on the threat to (federal) Chancellor Angela Merkel’s ruling party.

As the Independent reports, Merkel came over to my temporary home of Frankfurt last night to speak in front of the grand opera house in the centre of town. It’s the major city of Hesse (10% of the state’s 6 million inhabitants live here), so the Frankfurters’ votes are certainly, erm, worth their mustard.

Sadly for her, they through ketchup back in her face, and called for “Nazis out” in reference to her support for CDU colleague Koch’s attack on foreign criminals – he’s being called a “racist who talks shit” for the sin of mentioning crime problems among the immigrant community and suggesting the introduction of boot camps.

Whatever the truth of his statements, Koch’s shot himself in the foot and handed votes to the SPD and far-left parties (the neo-communist Die Linke are on a massive 10%, according to one poll — that’s more a bigger share than the Greens, the SNP, Respect, Plaid Cymru, UKIP, the BNP and Sinn Fein got put together in the UK general election in 2005). It looks like his latest contribution to the Hessian melting pot may spell the end for the CDU’s very short political honeymoon.

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5/5 And now, a break from our regularly scheduled programming; Lifestyle skips a meal in favour of a night on the town with DJs Jamie and Rachel at new night Action Stations.Baby Love bar is tucked away just off the High Street down a small, dark alleyway. It’s pretty easy to miss. That would be a shame, because it is now host to one of the most original club nights in Oxford; Action Stations. The posters promised me blues, jive, rockabilly and 1950s music, something I was initially dubious about; I’m a big a drunken fan of “Rock Around the Clock” as the next person, but ‘50s-themed nights generally send my gimmick-o-meter haywire. Settling into the bar though, watching the black-and-white projector throwing images of ‘50s singers onto the opposite wall, and feeling grateful I wasn’t amongst the hordes of shivering people outside waiting to get in, I did begin to see the appeal. The dance floor was packed by 10 with girls in polka dot prom dresses and boys in sharp suits jiving – young people these days – and even I was encouraged to join in. The music really was very good, ranging from ska to rockabilly through the blues, with songs that would be instantly recognisable even to the most hardened drum and bass fan. The main event itself – Action Stations – played seamless 50s rocknroll, prompting a hectic rush downstairs to the dance floor. Twenty minutes in and I was a total convert, loving every minute of their two-hour set. The free CDs and numerous balloons my friends tied to my arm might not be available every night, but Action Stations is definitely worth a visit for the atmosphere, not to mention the fantastic music – although the chance to slap on red lipstick or pretend to be a sharp-suited Jerry Lee Lewis is an incentive in itself.At £4 entry (£2 if you’re lucky enough to make the cheaplist on their Facebook page), the night is great value, although drinks may set you back a bit more. They range from £3 for a Woo-Woo to a fiver for the best Mojito I’ve had this side of Mexico. It’s best to turn up early for their next night on the 6th February; they might advertise with the premise “let’s try and create a real alternative to Filth and the Bridge”, but both were clearly second-best last night.

by Cassie Lester
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