Wednesday, April 30, 2025
Blog Page 487

(Physical) Money Makes the World Go Round

The words “cash” and “money” are interchangeable, but in an age of invisible systems that do anything (and just about everything) for you, surely using tangible money has become rather passé. Why be weighed down by coins, or struggle to sift through banknotes, when you can simply swipe that innocuous, all-powerful plastic rectangle and escape all the fuss?

On one hand, going cash-free is certainly good for the environment. We save on the paper and energy that goes into churning out notes and coins – the Bank of England estimates there are £71 billion of their banknotes currently in circulation. That’s a lot of paper. The good news is that it’s become more sustainable in recent years, with the UK leaving behind cotton-paper, replacing it with the more durable, more hygienic, more secure polymer notes, with a carbon footprint 16% lower than paper. They are also waterproof, trivia fans. Nevertheless, no carbon footprint is better than some carbon footprint, so cards are still preferable.

Most obviously, bank cards are just so easy to use. Where shops offering contactless payment via credit card or mobile phone used to be a minority, now just you can shop about anywhere without worrying that they’ll say “cash only, please”. Asides from The Lamb and Flag, that is. They even only take card payments for snacks on British Airways flights! If that isn’t a sign that we’re headed for a cashless world, I don’t know what is.

Going cashless is decidedly in at the moment. Tatler magazine has affirmed that it’s something of a power-move. And to some, keeping up with trends is reason enough. But be warned: the credit card as a status symbol has the potential to divide. A bank card is disturbingly defining: right there, unalterably printed, is your name, alongside that of a particular bank (who banks there? What do they offer?), on a certain type of card (who designed it? What colour is it? How heavy is it?), all of which communicate your financial status, and by extension say something (however lamentable) about you. That’s a lot more information than most people are comfortable waving around when popping out for milk. The worst part is that people feel entitled to judge you for it. Raised eyebrow at restaurants, or snide “funny, these cards don’t usually get declined” from hoity-toity checkout staff . So in a world where we strive to eradicate elitism, do we really need another silent class marker?

The most terrifying aspect of it is psychological. Research shows that the subconscious reaction triggered by cash and card payments differs significantly: with bank cards, you don’t feel that you are losing money. Whereas the physical act of handing over cash gives us a feeling of loss, swiping a card elicits no such response. It may even be empowering. And as a bona fide card user, that sends chills down my spine.

Today, in our rampantly consumerist society, bank cards undeniably make sense. The environmental and convenience aspects are certainly steps forward. But with every innovation come new challenges, especially for people who struggle to keep up. Many elderly people still rely on cash, and not all of them can master a self-checkout as effortlessly as a Fresher in a hurry. What’s more, the threat of online scammers and credit card fraud looms large – your card details, like your personal information, are probably much more accessible to everyone else than you think.

Food for thought, I say – and how would you like to pay for that? Cash or card?

In conversation: Greta Morgan of Vampire Weekend and Springtime Carnivore

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Greta Morgan – otherwise known as Springtime Carnivore – has made a name for herself as a touring member of indie rock band Vampire Weekend. Driven by dreamy-pop, psychedelia and punk rock alike, Morgan is a multi-instrumentalist whose talent speaks for itself. Hope Hopkinson chatted to Greta following the conclusion of Vampire Weekend’s Father of the Bride world tour and deserving Grammy win, to talk about all things music, touring, and elusive neighbours.

Across all the projects you’ve been involved with, it’s evident that your driving force is your passion. Could you tell me a little bit more about where this passion came from, and how you continue to inspire and motivate yourself to make music?
“Playing music and writing songs has always felt like part of the basic tapestry of daily living, as natural as making coffee in the morning or going for a walk in the afternoon. I began writing songs as a toddler and learned how to write sheet music before I learned the alphabet. Thankfully, my parents nurtured those early instincts. By the time I was 11, I had studied classical music but was ready to quit piano because I thought it wasn’t “cool” anymore, but then my parents divorced and I began writing songs as an emotional catharsis while I navigated that emotional transition. If my parents didn’t get divorced, I imagine I would’ve become a different type of writer: my teenage dream was to write books or become a journalist prior to that happening. Music is just the best way for me personally to alchemize an emotion and once I learned how to do that, I’ve never stopped.”

“I’m writing all the time, but the intention changes: sometimes I write for catharsis, sometimes for a cerebral challenge, sometimes it’s a means of collaborating or communicating with other people. Occasionally I write on commission for a commercial, film, or for another artist – at those times it feels more like a part time job because the assignment is super clear. But writing has always been there as an essential part of the day. I don’t have a specific writing mantra, but if I did it might be, “just keep swinging,” because I revisit song ideas over and over ‘til they take shape and often I just sit down to ‘open the channel’ and see what’s playing without any expectation.”

Throughout your career, you’ve been involved with a diverse array of projects. My favourite so far is the punk-meets-dreamy-pop cover album, Take it, it’s yours, that you released with Katy Goodman. Your arrangements of punk classics reinvented them as feeling both beautiful and current – what was the creative process behind this project like?

“Katy and I have always loved to play music together. She’s an unbelievable harmonizer because her voice has this pure, silky quality that blends perfectly with anyone. She and I were goofing around in my backyard singing the Misfits with a two-part harmony, and my elusive rock ‘n’ roll neighbor whom I call “The Shredder” (he shreds epic guitar solos but only for 15 minutes a day at sunset), called over the fence and said, “THAT IS BEAUTIFUL, LADIES!” We joked afterward, “What if we made a whole record of beautiful versions of punk songs? Wouldn’t that be funny?” but then realized it was a legitimate idea.”

You’ve been releasing music as Springtime Carnivore for the best part of a decade – with a gorgeous discography of sunshine-meets-psychedelia. Your music feels heavily detailed and authentic; a real labour of love. How has releasing this music been different to your other projects?

“Springtime Carnivore has more of my own fingerprints than any other project I’ve been part of, for better or for worse! There’s much beauty and joy in collaborating, but I feel like I can go deeper when I work in solitude and that’s how the Springtime Carnivore records were written.”

In 2018, you joined the touring line-up of Vampire Weekend. How did this opportunity come about? What’s been your experience so far of joining such a well-loved band on the road – how has the fan reception been, and what have been the highlights?

“Funny backstory here: Ezra Koenig (the singer of Vampire Weekend) and I found out in 2008 that we are third cousins through marriage. We learned of this through a Koenig family email chain which my grandmother Lynn (a distant Koenig), was a member of. Someone sent news of Ezra’s Spin magazine cover in 2008 to the email chain, and my grandmother responded saying, “My granddaughter is on tour with her band too!”.”

“Eventually Ezra and I met. I liked him immediately because he’s funny, brilliant, and has a unique perspective on pretty much everything. A decade went by and I continued releasing records and touring in my own projects. Around 2017, I began to occasionally accompany other singers on tour (Jenny Lewis, Jessica Pratt, etc.), and enjoyed the process of learning another artist’s back catalogue. My rule was that I’d only accompany someone from whom I had much to learn musically. When Rostam left the band and they were re-building the live lineup, Ezra invited me to join the group.  I was super excited, as I have loved all their records for years. And I was grateful I’d had those recent experiences of backing Jenny Lewis and Jessica Pratt because it prepared me for this. Amazingly, I joined the band the week before my grandmother died. I was able to tell her that, because of her insight, she had connected Ezra and I and we were about to travel the world together. It felt like a generational passing of the torch in a beautiful way.”

“When I joined the band, they basically said, “If you can learn 60 songs to start, that would be great. We’re going to play our first show in less than a month.” From there, I went into Vampire Weekend tunnel vision – I spent 8-9 hours a day learning the songs and memorizing lyrics with flash cards. At a certain point, I started dreaming medleys of their songs; it was total immersion.”

“Now it’s almost 2 years since I joined and the musical bond in the band is super strong.  Performing feels like second nature. We play 2.5 hours a night and keep a catalogue of 80+ songs of original material and covers fresh enough to take requests every evening. Before we started touring, we rehearsed for 6-8 hours 3-4 days a week for essentially 8 months. That feeling of musical and personal companionship is a joy for any musician to have. I’m always happy to have a break at home between tours to catch up on my own work and recover physically, but I always miss the guys!”

It’s been incredibly welcoming seeing your addition to the lineup, as well as Danielle Haim’s contributions to the latest VW record, Father of the Bride – shaking up the previously all-male outfit. How has being a woman in rock music shaped your experience, in Vampire Weekend and beyond?

“It’s hard to answer a question about being “a woman in rock music,” because I have no idea what the alternative is! It’s just my life, it’s always been my life. I love playing music with all genders of people and non-gendered people – music is for everyone!”

“The one thing I could directly respond to here is the fact that dozens of female Vampire Weekend fans have sent me messages saying that seeing a woman in their favorite band gave them hope and encouragement to pursue an instrument or a path in music. If me being “a woman in rock music” helped encourage these young women to follow their interests and their talent, then I don’t mind identifying that way.”

What’s next on the horizon? Can we expect to see new Springtime Carnivore music? Do you see your involvement with Vampire Weekend going beyond the stage and extending to the creative and recording processes?

“I’m working on a solo record which I’m deeply excited about. It’s been a joy to use my time off to incubate these new songs and I look forward to releasing some music in 2020 and a new record in 2021. I’m also working on a scripted project with a comedian friend, which has been incredibly fun because it’s an outlet for a different part of my personality than songs. The future with Vampire Weekend is yet-to-be-discovered, but I certainly have loved my time with them and would be game for more.”

Should Manchester City have been banned?

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The recent decision by UEFA to ban Manchester City from European competition for the next two seasons has sent shockwaves through the footballing community. However, City are unlikely to be the only offenders of UEFA Financial Fair Play (FFP) regulations to be punished in such grave fashion, as it is the spending epidemic that has permeated the highest levels of club football that UEFA is combating by the introduction of FFP.

Manchester City had been little more than noisy neighbours to United, the team which largely dominated the Premier League throughout the Sir Alex Ferguson era. Their rise to prominence began little over ten years ago, when Sheikh Mansour took over the club from former prime minister of Thailand, Thaksin Shinawatra. At that time, City’s finances were in a precarious position. Mansour’s acquisition of the club financed a number of high-value bids: City broke the British transfer record in 2008 by signing Robinho from Real Madrid. The club went on to spend more than £100 million in the summer transfer window of 2009, purchasing players such as Kolo Touré, Carlos Tevez and Joleon Lescott. As the club’s spending increased, so did its performances. They won the FA Cup in 2011, their first success in more than thirty years, followed by the Premier League in 2012. In recent seasons, under Pep Guardiola, they have become one of the best English, if not European, teams, winning the domestic Treble in the 2018-19 season. However, on 14 February, the UEFA Club Financial Control Body banned Manchester City from all UEFA club competitions for the next two seasons and imposed a fine of €30 million, due to breaches of FFP. In response, Manchester City has decided to appeal to the Court of Arbitration for Sport.

When it comes to big spending, City is not alone. Other big-name clubs such as Paris Saint-Germain and Chelsea are also under UEFA’s radar, and may face similar consequences, if slightly less harsh. Indeed, the trend of increasing spending to improve performance has existed for a long time, and not only in the top tier of football clubs. In 2009, when FFP regulations were agreed to in principle, then UEFA President Michael Platini said, “Fifty percent of clubs are losing money and this is an increasing trend. We needed to stop this downward spiral.” It was commonplace for clubs to spend considerably above their income in order to stay competitive, often incurring huge amounts of debt as a result. The regulations were implemented at the beginning of the 2011-12 season. Roughly put, clubs are put under rolling three-year monitoring periods, and FFP puts a limit on how much money clubs can lose over each period. For example, for the 2014-15 season, losses in the previous three seasons are limited to €35 million, and for the next season this is reduced to €30 million, and so forth.

The motivations for implementing FFP regulations were no doubt benevolent. Amongst its aims are promoting standards of football, ensuring clubs are well-organised, and improving financial discipline and encouraging responsible spending. UEFA has taken care to exempt some expenditures, such as those related to youth development and training facilities. This leaves some grey areas as to how incomes and expenditures should be classified. The alleged problem with Manchester City is that it directed money from Mansour to the club via sponsors linked to him, thus inflating the value of its commercial income in the form of sponsors, in order to help meet FFP rules. This is only one of many methods by which clubs attempt to circumvent or comply with the regulations. In recent player transfers, transfer fees have sometimes been paid in several instalments across multiple seasons, or after the player is loaned to the destination club.

It seems that UEFA’s punishment of excluding City from future competitions is rather harsh; after all, it is the most severe of the eight punishments available to UEFA,which range from warnings and fines to disqualification from ongoing competitions and exclusion from future competitions. But this punishment has precedent. AC Milan was banned from European competition for the 2019-20 season after UEFA found that it breached FFP rules. Manchester City themselves have previously been penalised, as UEFA limited their squad size in the Champions League to 21 in the 2014-15 season, compared to the default 25. Furthermore, City is appealing to the Court of Arbitration for Sport (CAS), which AC Milan did and subsequently managed to reduce their punishment after reaching agreement with UEFA. The magnitude and impact of City’s punishment thus remains to be seen.

For all the well intentions UEFA have, FFP has always been somewhat controversial. It makes life difficult for clubs that do not have established revenue bases yet are trying to move up the ladder by increasing spending. To be fair, this is the exact scenario FFP is targeting: clubs relaxing financial discipline in the hopes of propelling themselves upwards and sustaining their successful status. This may result in a rigid status quo, under which established big clubs which have high commercial revenues can afford to buy expensive players and maintain their status. However, at least in England, this hasn’t been the case: Tottenham Hotspur has managed to build a solid team since selling Gareth Bale, capable of challenging the top-tier teams; Liverpool owed £200 million to the Royal Bank of Scotland in the 2009-10 season, but since then FFP was introduced, their finances have improved, and at the same time they have become the team to beat. Another criticism is that UEFA effectively makes and enforces its own rules via the Club Financial Control Body, with sole discretion as to, say, what the ‘fair value’ of a sponsorship deal was, and the only way to overturn punishments is to appeal to CAS.

However, most fundamentally, supporters and critics of FFP disagree on their philosophies of how football clubs should be run. In the commercial world, the equivalent of FFP would be anti-competition. For why cannot rich oligarchs spend as much money as they like on whatever they fancy? It is not fair, one might say. But evidently, there are different notions of fairness depending on which stakeholder you ask. If clubs were like companies, nobody would complain about being outspent by rivals and consequently being less successful on the grounds of fairness. Perhaps the problem is that rich clubs can simply buy their way to success, as Manchester City, Chelsea and PSG have done. But for one, that is not always the case. Just look at Leeds, which spent hefty sums and reached the Champions League semi-final in 2000-01, only to fall as low as League One within a few seasons. Arguably, rich clubs have always had a competitive edge and will have an edge; FFP isn’t concerned with this as much as the overall trend of competitive and unsustainable spending, which will only lead to inflation in the market without teams gaining any advantage relative to other spenders. Ultimately, the question is more than whether Financial Fair Play is fair at all. It is how we envision the game of football to be.

Eco-Fiction

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Last November, Waterstones named Greta Thunberg as their ‘author of the year’. Her collection of speeches, No One Is Too Small to Make a Difference, certainly encapsulated the passion and anger of the global climate movement. The book was showcased on stands in Waterstones stores alongside other environmental bestsellers: David Wallace-Wells’ The Uninhabitable Earth, Extinction Rebellion’s ‘handbook’, This Is Not A Drill, and Naomi Klein’s This Changes Everything, to name a few. At the moment, writing about the climate crisis is dominated by non-fiction and polemics; where are all the stories?  

Obviously, in order to better understand what’s happening to our planet, we need to understand the science and policy that’s driving the crisis. Long-form journalism and non-fiction give us a deep dive into the research and the facts in a way that social media can’t; they’re an essential part of climate activism. The thing is, it’s becoming increasingly clear that information alone is not enough. This is a crisis which is underpinned by cognitive dissonance; most of us agree that humans have had an adverse effect on the planet, and yet we go about our lives as if little is the matter. Environmental crisis requires us to change the way we see the world, and one way we can do that is by telling stories. 

Indeed, Thunberg’s upcoming book, Our House Is On Fire: Scenes from a Family and a Planet in Crisis, seeks to tell a story. The memoir, written with her parents and sister, tells the tale of how the family adapted to Thunberg’s sudden rise to eminence. The title alone suggests there is a parallel to be drawn between stories about family and stories about the planet. Rather than simply setting out to argue, as Thunberg did in No One Is Too Small to Make a Difference, it seems that this new book will to confront the ways in which the climate crisis manifests itself in our daily lives, refracted through the lens of relationships and community. Framing an environmental message in terms of a family story appeals to the way our brains work; we respond to emotion better than reason. Stories galvanize; they give us a common cause. Science and psychology writer David Robson says that storytelling is “a form of cognitive play that hones our minds, allowing us to simulate the world around us and imagine different strategies”. We know that we need stories to help us confront the climate crisis; the question remains of how to tell them. 

Let’s look at who’s currently writing eco-fiction. Richard Powers’ lengthy novel, The Overstory ­– shortlisted for the Man Booker prize in 2018 – traces the lives of nine intersecting characters and their experiences with trees. The first chapter reads as a beautiful short story, charting several generations of an Iowa farming family as they take a picture of a chestnut tree on the same day every year. It’s a lyrical reminder of the interdependent relationship between humanity and nature. As the story progresses, however, the novel gets bogged down by an account of radical activists protesting the destruction of a redwood forest. Rather than ask complicated questions about conservation and activism, The Overstory becomes a back-and-forth between two oversimplified standpoints; the evil capitalist corporations and the angelic environmentalist do-gooders. A writer with an explicit agenda is one thing; a writer who is reluctant to challenge and interrogate the intricacies of what they stand for is quite another. It’s not Powers’ environmental morality which poses a problem – in fact, it’s quite refreshing to see such a standpoint embraced by the literary world. Rather, it’s the fact that The Overstory is a missed opportunity. Good literature should not just persuade or preach; it should start a conversation and complicate issues in a way we wouldn’t have done ourselves. 

This is the potential pitfall of eco-fiction. The majority of writers who want to explore the climate crisis come to the topic with environmentalist principles. Thus, at the root of all eco-fiction is a desire to draw attention to the climate crisis and to persuade people to act. Can anything new and exciting be said in the face of this overarching moral? Is there space for imagination and innovation when all writing about climate change is ultimately saying the same thing? 

Part of the answer is to be found in genre fiction; for the last two decades, writing about environmental disaster has largely been the remit of dystopia and sci-fi. These genres have provided an ample playground for imaginative thinking about how human action will impact our planet. While N. K. Jemisin’s Broken Earth trilogyfor instance, isn’t explicitly about our current crisis, it asks some brilliant questions about how we should live in a climate-changed world. Jemisin shows us a society thwarted by constant ecological threat, only to reveal the human-made systems that lie at the foundation of the cause. Likewise, Margaret Atwood’s MaddAddam trilogy imaginatively engages with the consequences of hypercapitalism and genetic engineering. Atwood, praised by critics and readers alike, is somewhat of an anomaly in the field, though; much of science fiction lacks clout, and many of its most exciting voices are pushed to the literary sidelines. We need to shine light on these genres if we are to establish a powerful canon of climate crisis writing. 

This being said, there’s a danger that speculative fiction in particular only tells one side of the story; the side that involves catastrophe and apocalypse. Indeed, in the first of the MaddAddam series, Oryx and Crake, Atwood’s sentiment borders on alarmist. A ravaged Earth can serve as a warning, but can also potentially feed into feelings of fatalism and passivity. Alarmism was an accusation also thrown at novelist Jonathan Franzen last year, following his New Yorker essay ‘What If We Stop Pretending?’. The essay stands out from other climate crisis writing because Franzen says something new; he tells a story of climate change in which catastrophe is now inevitable. He proposes preparation, rather than prevention, should be our plan for survival. The backlash fell into two distinct, albeit related, categories. The first camp found fault with Franzen’s pessimism, arguing that his view perpetuates inaction in a world that desperately needs something doing. The second camp rallied against Franzen’s shaky use of science; he treats the IPCC’s figure of two degrees of warming as a magic number, and runs his own quasi climate models in his head. While valid in some respects, this criticism raises questions about who can write about the climate crisis. On the one hand, it needs hard facts and reliable experts in order to be believed in a fake-news world. On the other hand, however, this mentality excludes creative voices who exist outside the field of expertise. We need to find a balance between talking about the crisis in an accurate way whilst also allowing for new ideas and perspectives. 

While it’s clear that we need to tell stories about the climate crisis, it’s equally clear that the shape these stories should take is not straightforward. As more and more writers are drawn to the ever-pressing discussion, it’s paramount that we fully think about the consequences of how we talk about climate change. Writing about the environment can take us to faraway lands or it can shed light on the mundanities of everyday life on a rapidly changing planet. It helps us to navigate crisis and to discern exactly what our relationship to the environment is. We need to combine imagination, diversity and hope to create sustained engagement with environmental issues. With writers like Paolo Bacigalupi, Amitav Ghosh and Claire Vaye Watkins leading the charge, the story we are telling about the climate crisis is looking ever more hopeful. 

Review: The Oxford Revue and Friends

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To keep an audience laughing consistently at amateur comedy sketches for over two hours is the impressive achievement of the cast of ‘Oxford Revue and Friends’, which was shown at the Old Fire Station Oxford from the 25th to the 26thof February 2020. 

Described in the sales pitch as ‘an eclectic mix of satire, silliness, and strange characters’, numerous skits pushed audience-members to lean over to their neighbours and whisper ‘what?’ – thankfully in hilarity, rather than with disdain. 

Whilst the Bristol Revunions and the Durham Revue did not feature on the opening night, splitting the time between three remaining acts resulted in a good grasp on the central conceits of each team’s performance. And I use the term ‘team’ here to reflect the sense of good-natured competition which accompanied the comedy of the evening (and ultimately conceded the supremacy of the UCL Graters). 

Given the announcement of Joël Stanley as compeer and ‘a black man at that’ in pre-show advertisements, I feared that he may gain laughs in the manner of a young Lenny Henry by ‘getting in first’ with self-deprecating jokes (as described in the BBC documentary ‘Imagine’). However, his endearingly nervy and energetic introductions did just the opposite, reminding audience-members that watching awkward, experimental theatre with your parents, going on disastrous first dates, and avoiding dodgy-looking people on dark streets are universally implicating experiences. Asking rhetorically what it was about himself that the audience should already have noticed, Joël dealt admirably with the response that his bare feet were the most notable aspect of his appearance, despite being caught off-guard by the interjection.    

The Tuesday-night performance included the UCL Graters, the Cambridge Footlights, and the Oxford Revues. The UCL graters provided a fluid series of twelve, highly-varied sketches and switched quickly and convincingly between a multiplicity of character-roles. Of-the-three, their work contained what I felt to be the most impactful satirical jibes, which were directed at figures ranging from the ignorant boss unaware of work-place discrimination, to the fascination of documentary hosts with atypical relationships. Highlights include a sketch about a slug, an X-factor-style sob-story about living life with the permanent companionship of a backup dancer, and John and Edward from South London lamenting their lack of Gucci sliders and chastising their bitch-of-a-mum who refuses to give them a lift home from the marshes (that’s peak bro indeed).

The Cambridge Footlights had fun on stage and their excitement was infectious. However, opening with a gag about UCAS applications very much set the scene. A focus upon satirising student-life in front of students who already do a good job of ripping each-other to shreds with similar, although less nuanced, jokes was perhaps treading too-familiar ground. However, the character of the girl who insists that she’s ‘not like other girls’ because she likes the Beatles was well-done, as was a sketch on a loved-up couple looking to escape university accommodation and set-up-camp together.   

After a slow start, the Oxford Revues impressed with their dark re-workings of childhood classics and their use of a porous fourth wall through which they poked fun at the very act of student acting; wrong lines, awkward framing devices, an otherwise stressful life – they brought attention to all. Sketches on Disney’s Pluto ruled by a tyrannical Mickey Mouse, hobbit-Frodo trading in a gold ring for some new trainers, and Oompa Loompas summoning union-action against Willy Wonka were carefully thought-through and delivered.   

There were too many Michael Jackson jokes, granted, but to Alison Hall, who called out the student journalists of the audience, this review is intended to be better than luke-warm!

Review: ‘Sorry’ at the Jericho Tavern

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Asha Lorenz’s eyeballs roll back into her skull. One half of the songwriting duo behind the band Sorry, she scowls the chorus of ‘Right Round the Clock’, the first single from their forthcoming debut album. It’s an arresting set-opener; jerking guitar riffs and honky-tonk piano laid over an obstinate, clanking beat. Asha’s fellow lyricist, Louis O’Bryen, is stood to her right, the former’s creaky drawl alternating with the latter’s earnest, half-absent vocals. Louis sings from the point of view of a fame-obsessed narrator, intoxicated by the “flash-flash, fuck-me eyes” of a “dolled up” love interest.

If Sorry were keen on fame themselves, you could say they were taking their time to attain it. Having formed in 2014, toured with the likes of Childhood and Pixx, and released a handful of singles all before the end of the decade, they only announced their debut LP, 925, in January 2020. Former secondary school classmates Asha and Louis make up a formidably tight unit alongside Campbell Baum and Lincoln Barrett on bass and drums, and the four are joined on their current UK tour by Marco Pini, who contributes “weird little bleeps and bloops” to their captivating mix of grunge and DIY indie.

Their set is littered with electronic samples and intermissions between songs, harking back to the band’s early ‘scrapbook’ aesthetic. Sorry’s first releases were their ‘Home Demo/ns’ mixtapes, a set of bedroom recordings published on YouTube alongside hand-filmed, crudely edited music videos. Live renditions of their early singles are embellished with glitching synths and droning introductions, which perfectly complement the transfixing, repetitive lyrics on tracks such as ‘Starstruck’.

This movement into more experimental territory might suggest a convergence with the South London music scene that Sorry are often attached to, despite their North London origins. But while groups such as Black Midi tend towards the avant-garde, Asha and Louis’ songwriting has retained a smoother feel, albeit with gritty and sinister undertones. The initial singles from 925 have something of a jazz influence, courtesy of an astute, blues-disposed rhythm section and cameos by Campbell on saxophone (following the trend of other British post-punks such as Drahla and Lice).

The Jericho Tavern crowd are offered a taste of this new, more lavish sound in the form of ‘Rock ‘n’ Roll Star’, a standout of the tracks released from the album so far. Campbell swaps bass for sax and the lyrical focus of washed-up, pathetic characters and their dysfunctional attempts at romance continues. Sorry’s world is one of lewd celebrities and reluctant strippers (“you are just a showgirl, but you don’t even blow girl” snorts Asha on ‘Showgirl’). Looking out over Walton Street from the comfort of the Jericho, it’s hard not to think that their music might be better suited to a gloomy underground dive bar.

Their set takes a brighter turn with ‘Ode to Boy’, one of a handful of ‘Home Demo/ns’ tracks re-recorded for 925. Asha and Louis’ near-bored delivery gains a newfound sincerity, their voices uniting in a genuinely touching expression of devotion (“I’d like to still grow old with you, please, hope you’re somewhere safe, baby…say it’s true ’cause you know I love you”). Standing spellbound in the crowd, I begin to understand why this album is being hailed as a breakthrough for Sorry, and I truly hope this will be the case. The band seem proud of their new material; Asha’s eyes seem less cold and, for the first time in the set, she allows herself a tentative smile.

They end the night with 2017 single ‘Lies’, a familiar, brooding set-closer that explodes into a chorus of grunge guitar, warped synth and the return of Louis and Asha’s signature back-and-forth vocals. A re-recorded version will be released as a ‘refix’ on ‘925’; even this, one of their oldest songs, has evolved immeasurably since the band’s early days. Sorry are constantly updating their tracks, adding and removing parts in a manner reminiscent of the ‘Home Demo/ns’ ‘scrapbook’ approach. But their appearance, Asha and Lincoln sporting ushanka hats, Louis in a blue Adidas tracksuit, Campbell looking like a schoolteacher, seems unchanged from their early gigs in the mid-2010s. Despite all the added bleeps and bloops, Sorry are still the same band as ever.

The Modern Memoir

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“I can’t believe that we’re on the fifth instalment of my autobiography. As usual with me, the three years since my last book, You Only Live Once, have been a rollercoaster ride. There’s always drama with a capital D in my life. Always.” 

Believe it or not, this is not, in fact, from the writings of St. Augustine in his Confessions, widely regarded to be the earliest example of the written memoir. Nor, in all honestly, is it the writings of one Katie Price, whose name – through some bizarre process of association – happens to be on the cover of the bestselling Love, Lipstick, and Lies. Whilst these masterworks of the Western canon are over 1,600 years apart, their similarities are startling: St. Augustine’s declaration of ‘Lo! My infancy died long since, and I live’ is surely no different to Katie Price’s revelation that ‘Now I’m older, wiser, with two marriages behind me and on to marriage number three.’ Add in a ‘Lo!’ and Love, Lipstick, and Lies may as well have been written by what Albert C. Outler, Ph.D, professor of Theology at the Perkins School of Theology, Dallas, Texas calls ‘the first medieval father of the Christian church.’ 

What could be called The Confessions of Katie Price (Vol. 5), is situated in a long tradition of celebrity autobiography and memoir, which underwent a so-called ‘memoir boom’ in the 90s. What changed during this period, following the increased financial pressure on publishing conglomerates to earn back the swathes of cash they were investing in these memoir writers, was the relationship between the writers and celebrity. Katie Price, according to my parents, was a celebrity long before the publication of her initial autobiography, Being Jordan. This was the trend for memoir prior to the genre’s boom in the 90s: well-known figures would write their life-and-times, attracting a huge audience of fans to buy said life-and-times, queueing for autographed autobiographies of their favourite writers and politicians. These writers and politicians, however, were not so keen to have their ‘serious’ endeavours associated with the kind of genre once sold in pharmacies due to its lack of appeal: condoms and piles cream were not, apparently, the kind of market with which Sigmund Freud wished to be associated. 

So, what’s a publishing company to do? Celebrities won’t become memoir writers; why not make memoir writers celebrities? Fool-proof! During the 90s, the airways were ruled by The Oprah Winfrey Show and the like (the enduring legacy of Oprah’s influence is evident in that Microsoft Word dares not regard her name as a spelling mistake), where these common-or-garden memoir writers could talk to the woman herself and inform eager audiences about the kind of issue raised in their writing. The memoir genre, like Buffy, very much grew up in the 90s. These books would often centre around an individual during a specific moment in their life, a moment that would give a subjective experience a topic with wider social implications like domestic abuse, for example. The writer would then tour with their book, which would be used to open up the kinds of discussions surrounding these topics on shows like Oprah and would inevitably make the writer into a kind of figurehead for their particular area of discussion. The life-and-times of these everyday people, focusing particularly on the ‘times’ where their individual life merged with a wider socio-political point of contention, were seen as a way for the general public to ‘understand’ the issues facing their society. 

However, there was inevitably a backlash against the experience of an individual being used to address such serious issues. Memoirs, the argument ran, are sentimental, subjective, and have no place in wider social discourse: Frank McCourt’s depiction of abuse, alcoholism, and poverty in Angela’s Ashes –  one of the most notable cases of this personalised history – was considered too, well, personalised, to properly address the political conversations it was voicing from its place on the bestsellers list. 

Modern memoir, then, has had to position itself against this backlash against the personalisation of politics. Notably, Juliet Jacques’ Trans: A Memoir acts as a self-reflexive discussion of the memoir genre itself. Infiltrating her subjective life story as a trans woman with accurately researched academic discourse on ‘the history of the sex change’ and ‘the politics of life writing’, Jacques educates her readers on the very genre in which she is writing. Trans writers, following the backlash against the memoir boom, were only expected to write memoir; to conform to a traditional story of transition and refrain from any political discussion about the oppression affecting these lives on a systematic level. Jacques uses Jan Morris’ Conundrum as the blueprint for these schematised, apolitical memoirs to which trans writers have been confined. Her publishers would not accept the kinds of politically charged, theoretical discussions she was pitching. Whilst the title declares the work ‘a memoir’, Jacques is rebelling against the genre from the inside out, refusing to conform to the personal/political binary that had been shaping the reception of memoirs over the decades. In a similar vein to Marjane Satrapi’s Persepolis, Jacques uses the memoir form to write from the margin of society, to argue that the individual stories of oppressed people can, and must, be seen as holding political weight: ‘the personal’, she argues ‘is political.’ These modern memoirs act as a meeting point between literary and political criticism. It is easily to see the links between the personal/political divide and the debates surrounding identity politics that are so florescent today. Modern day Margery Kempes, writers like Satrapi and Jacques believe in the political power of a single voice but are also keenly aware that their voice does not represent a community: it is this tension that forms the social, literary, and political landscape of the memoir genre. The lives of these women, whilst perhaps not Drama-with-a-capital-D, can hold the potential for positive social change, even without features from Peter Andre. 

Interview: Rai Kah Mercury’s Nathan De Giorgi

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Rai Kah Mercury are set to break into the Oxford scene with an atmospheric gig in Hertford College Chapel on 3rd March. Known for their blues-meets-indie-rock sound, the four-piece plan to put on an intimate and experimental show, unlike anything the chapel has likely seen before – supported by Oxford’s own Gigi Williams.

I sat down and talked to Nathan de Giorgi, second year music student and keyboardist of Rai Kah Mercury to pick his brains about the upcoming show, balancing being in a band with an Oxford degree, and his ultimate musical bucket list. We chatted in Hertford Chapel itself; a picturesque setting and unexpectedly a perfect venue for a rock show, its acoustics and aesthetics alike well suited to live performance.

Rai Kah Mercury’s signature sound hails from Birmingham – the hometown of all four members and where they have recorded and crafted most of their music. Due to work and university commitments, however, the band are now based all over the UK, with Nathan in Oxford and the other members spread across Brighton, Manchester, and Reading.

I asked Nathan how this impacted their creative and collaborative process – to which he frankly admitted: “It’s hard! Because we’re based all over the country, we don’t have too much time together at the moment. When we do, we try and get a good balance of rehearsal and creative time.” Despite the time apart, the band’s creative process seems to be effective. “Our frontman Tomas writes most of the songs,” Nathan told me. “I actually came into the band a bit later, in late 2018, early 2019. We used to be a three-piece, but the addition of the keys fleshed it out a bit.”

We talked about all that comes with balancing the band commitments with his degree – two opposing yet equally challenging feats.  “I guess it helps that I do study music!” laughed Nathan. “Strangely enough, rock isn’t covered on the syllabus – hip hop is – but sadly no rock. It’s quite nice to have the aspect of performance and creativity on the side, it’s something I don’t think I’d get to explore otherwise.”

Rather than seeing it as a difficulty, Nathan feels that his degree studies have indirectly complemented the band’s sound. “When we’ve been fleshing out songs as a group, it’s good to have input from different backgrounds. I’m the only one in the band with a kind of classical background, so I think when we’re making songs, that element comes through and gives us something more interesting to work with.”

This is a range evident in Rai Kah Mercury’s sound. Their most well known track, ‘Terror Incognita’ (racking up nearly 39k streams on Spotify) has a classic indie rock feel, whilst ‘Road leads to nowhere’ is a heartfelt pop ballad. Nathan ascribes  this to the band’s diverse array of influences: “Radiohead is definitely the main one, but I know some of the boys take inspiration from Neil Young, Led Zeppelin, and Elliott Smith. The first gig we all saw together was the Black Keys – I still have the t-shirt and it still fits, better now actually!”

It’s this blend of inspiration, mixed with the band’s own creative backgrounds, that gives Rai Kah Mercury their distinctive bluesy and experimental sound, “What hopefully makes us stand out,” Nathan commented, “is the variety in our songs. We have a kind of extended and eclectic mix of sounds, from heavier things to the more understated. It’s pretty varied!”

This variety plays a significant part in the band’s live performance, conveying their versatility and originality. “I’d like to think that with keys, we have more options and our sound feels inherently more varied. We can add little synthy bits that keep it interesting. We’re definitely not a straight up synth band, but we’re all interested in playing with soundscapes, something that hopefully comes across when we play live.”

Rai Kah Mercury are no stranger to the stage – earlier in the year they joined the lineup of Discover Birmingham 2020, a showcase of up-and-coming talent in their hometown. They have played several sold-out headline gigs, as well as a range of support slots in London and Manchester – making the most of having members based up and down the country.

Whilst highlights of their live career so far include playing the Salisbury Hotel and the Sunflower Lounge, we talked about the band’s pipe dreams when it comes to performing. “A world tour is the dream,” Nathan laughed, “but in the meantime we’d love to play one of the O2 Academies, Birmingham would be cool, a very full-circle moment. The dream support slot would obviously be Radiohead!”

 Whilst it’s not O2 Academy Birmingham, Rai Kah Mercury are making their Oxford live debut in a very well-respected venue, paving the way for the indie-rock takeover of college chapels movement. Asked what attendees could expect from this one-off gig, Nathan reflected: “it’s our chance to be a bit more intimate as a band. We’re still gonna be amped up, and we’ll still play loud songs, but the focus of our set will be more geared towards the intimate side.”

“People who come along on Tuesday night can expect good music, hopefully! A nice environment, people that are passionate about music making. We’re really lucky to have an amazing support act before us – Gigi Williams, she’s going to play an acoustic set for us. Hopefully we’re gonna have some strings, too, it’ll really complement the whole experience. It’ll be a great aesthetic experience and something more personal than anything we’ve done before, – we’re all really excited!”

To get a taste of the refreshing and experimental sounds that Rai Kah Mercury have to offer, come along to Hertford College Chapel from 19:00 on Tuesday March 3rd. More details can be found here.

Rai Kah Mercury’s music is available to stream here.

You can find them on Facebook here.

“I’m not trying to be a political martyr”: In Conversation with MP Clive Lewis

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The current Labour leadership candidates surely have to answer the question of why, in December of last year, the party suffered its worst electoral defeat since 1935, if the race is to mean anything. There are elements which suggest that the race has done exactly that, albeit accidentally.

When Jeremy Corbyn called for a ‘period of reflection’ following his party’s defeat, somehow such a period never felt likely. This leadership race is one which offers no time or space for any cerebral thinking. It instead represents a titanic struggle between Labour’s warring factions, a struggle for the levers of power over the party machinery. It should hardly come as a surprise to those who have followed Labour’s struggles over the past decade to hear supporters of the race’s two frontrunners, Keir Starmer and Rebecca Long-Bailey are threatening to leave the party if their chosen candidate loses. Yet when I talk to Clive Lewis, whose brief candidacy for the leadership ended in mid-January, he tells me he believes these bitter internal conflicts to be a crucial element within any explanation of Labour’s heavy loss.

“We’re a broad church but very often it feels like our party can turn in on itself and that when one faction takes over, it becomes a winner takes all situation,” he tells me. Which pew does Lewis occupy in this church then I ask, and he replies, “I don’t deliberately set out to position myself outside any wing or faction of the party,” but, “sometimes though if you’re intellectually curious, if you’re prepared to speak your mind about things you believe to be right or things that you think are wrong, then sometimes that is not going to gain you lots of friends and allies, and you make yourself slightly isolated.” At this point, I think of deploying the old Lynn Barber interview trick and telling him I fear this answer may result in him coming off a little smug – in the hope of eliciting a reaction – but ultimately I decide against it. Besides, when Lewis calls me an hour later than scheduled (to be fair to him, our interview is scheduled on the day of Johnson’s cabinet reshuffle), I’m halfway through a panini, meaning I stammer my opening question – “what do you think is the biggest reason behind Labour’s defeat” – as I pace it back to my room in order to record his answer. “One reason?” he asks blankly, my heavy breathing filling the silence with all the grace of a loud ringtone at a funeral. This less than ideal start to proceedings leaves me feeling I have to ingratiate myself with the MP quickly, before I lose his interest altogether, so I hold fire.

Luckily, I have a trump card ready. I grew up in Lewis’ Norwich South constituency and, weirdly, was actually there at the hustings in 2011 when he was first selected as a parliamentary candidate, having been taken there by a particularly political family friend. Strictly speaking, I’ve been following his career since the age of 12. I worry this makes me sound like something of a superfan, but I decide to tell the story anyway, hoping he’ll find it charming. “That was a long time ago,” he says flatly. Oh well!

Despite his reputation as a Corbynite (he undertook three different frontbench positions under Corbyn during his five years as MP for Norwich South), it becomes clear over the course of the interview that Lewis is oddly difficult to place on the almighty ideological spectrum which exists within the Parliamentary Labour Party. There are moments where he faithfully treads the Corbyn line, insisting that he still believes in the values which underpinned the ‘Corbyn project,’ arguing, “it wanted a break with what you might call neoliberal economic dogma, it wanted to stand up against austerity and put forward an alternative, increasing public spending, it wanted to get away from a post-war imperialist foreign policy.” Yet in other moments, his outlook comes across as positively Blairite, such as when he insists that the electorate has “moved on beyond mass trade union membership [and] jobs for life.” People, he stresses, are “far more dissipated in their political tribalism and how they interact and respond with politics in this day and age”, something which he thinks Labour is “yet to grasp”. Though he insists it is not intentional, this versatility has had its admirers. Those who supported his leadership campaign held up Lewis as a figure who could unite the Corbyn left and the more moderate ‘social democrat’ wing of the party. As he tells me himself, he has always seen himself as an “independent thinker”, something which meant he occasionally came into conflict with the Corbyn administration.

In 2017, Lewis as shadow business secretary resigned from the shadow cabinet after voting against legislation which authorised Theresa May’s government to trigger Article 50, rebelling against Corbyn’s three-line whip in the process. This was not, however, the only time in which Lewis found himself at odds with the leadership. At the party conference in 2016, it was reported that Corbyn’s Director of Communications, Seamus Milne, made a last-minute alteration to Lewis’ speech. Lewis, who had been due to say that he “would not seek to change” Labour’s policy of Trident renewal, was told by post-it note just moments before speaking that he was instead to make it clear that, “our party has a policy for Trident renewal”. Supposedly, Lewis punched a wall in anger as soon as he came off stage. When I ask about the nature of his relationship with the Corbyn inner circle, Lewis is careful to avoid going into detail, revealing, “I had my experiences with them, some positive, some of them negative, but I couldn’t tell you whether they would have been worse under consecutive different leaders.” If you were being cynical, you might describe this as a vintage politician’s answer. “What I do know”, he says, “is that there was a perception that there was a problem… Now whether that was true or not, that perception was there, and that perception was damaging in itself.” Again, which pew Clive?

Looking for answers, I ask about his leadership campaign, in which Lewis pushed for, amongst other things, increased democratisation of the Labour Party, significant reform to the electoral system, and a referendum on the monarchy. These are certainly policies which members not yet ready to say goodbye to ‘Project Corbyn’ might have been able to stomach, but Lewis struggled to garner the 22 nominations from Labour MPs necessary and withdrew from the race shortly before the nomination deadline. I ask him if he regrets throwing his hat in the ring, but he insists he considers the experience worthwhile; “Someone said to me, you don’t lose, you learn, and I certainly learnt a lot.” As he speaks, I can’t help but picture a football manager insisting that ‘lessons have been learnt’ after an 8-0 defeat, but Lewis is clear he believes that his contribution was a significant one. “I think people run not for the glory of leadership, they do it because they think they have something to offer which can actually make people’s lives better and their party win, and I believe that I had something as well, and I tried to say that in the week and a half that I had.”

There are some members of the House of Commons who might arch an honourable eyebrow at these professions of humility. While ‘glory’ may not be the primary reason many candidates decide to run for the leadership of a political party, there is undeniably a degree of ego involved. In fact, some might argue that it is an essential ingredient of any successful leader, yet Lewis has at times been seen as someone who is a little too eager for the spotlight, a perception which his unlikely leadership campaign will hardly have dispelled. After his shadow cabinet resignation in 2017, in which there was heavy media focus on his decision, one Tory MP wondered whether Lewis had even only put a suit on especially. Are these accusations fair or is Lewis in fact perfectly content with the life of a backbench MP? “As regards to not finding yourself on the front bench, or in a job you want to do, then you inevitably are on the backbenches, but you know, I think the backbenches are desperately underrated… I don’t think being on the backbenches is something that anyone should scorn,” he says, not totally convincingly.

Figures in the Labour Party like David Lammy have become known for their powerful backbench speeches, which often go viral on social media, but it’s hard to see Lewis comfortably occupying a similar role. Anyway, given the size of the Conservative majority (80 seats), Lewis thinks parliament may have a smaller role to play in terms of effective opposition to this government: “I think so much of what’s going to happen now is going to be outside of Parliament, in terms of activity, in terms of campaigns, in terms of movements, it’s very difficult as an opposition when the Tories have an 80 seat majority to be able to hold them to account.”

Lewis uses the terms ‘movement’ and ‘party’ interchangeably throughout the interview. This equivocation of the two is something which has had its share of critics – writing after the election defeat, Guardian columnist Jonathan Freedland argued that this confusion represented a fatal flaw in Labour’s strategy: “[a political party is] not a pressure group that exists to open the Overton window a little wider. Its purpose is to win and exercise power in the here and now. It is either a plausible vehicle for government or it is nothing.” Lewis has a very different attitude to these issues of power and government. Towards the end of the interview, he tells me that “out of the last 21 elections, we’ve won 8 of them, but arguably the only one where we were both in power and in government was in 1945, when we actually changed the framework of the economy in a fundamental way.” Would he not include Blair’s first landslide victory? “1997 was not a 1945 moment, it was not where we fundamentally rewrote the rules of the British economy and society. Why do you think Murdoch was happy with Blair for so many years? We didn’t take on that neoliberal global economic order.”

As the interview wraps up, we go through the customary routine of awkwardly thanking each other, but then he adds, “I hope you can turn that into something which doesn’t get me shot.” It’s an odd thing to say and I’m not sure quite how to respond, so I just shout, “Of course not!” a little too loudly. I don’t quite understand who he thinks would be doing the shooting, but I decide not to ask further. Besides, my panini is getting cold.

Preview: RENT

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I wouldn’t consider myself the biggest fan of the 2005 film RENT. I know, I know – I’m a bad musical theatre fan. But I tried to be open minded as I went to see a preview of the seventh week performance of RENT by St Catz Drama Society.  As rehearsals began, I questioned what on earth I’d come to see – the cast were making elephants with their bodies (an image I hope the marketing team will exploit to its full potential). Was it some bizarre crewdate – rushing to touch the wall but with no shoe-ing to follow? Fortunately, it turned out that Cydney Beech, the director, was just leading some rambunctious warm-ups. 

The cast is skilled and well chosen, bringing dimension to roles which are easy to play as superficial stereotypes. Lucy Jones, as Mimi, could bring chemistry to a duet with a brick wall. Maureen, played by Roisin McCallion, is rougher than anticipated – leading to a more nuanced characterisation. I only got a brief glimpse of Alex Waldman playing Angel but I want to steal his white heeled boots already. The ensemble are well-chosen and bounce off each other. Particularly, Grace Olusola, Luke Richardson and Martha Haslam stand out for all the right reasons.

Previously, I saw Patrick Cole as Amos in Chicago. There’s a stark shift in character here as he transforms into the angsty Roger but one thing stays the same – he does trauma remarkably well. He began ‘One Song Glory’ by asking “what’s the worst that can happen?” I immediately lowered my expectations, anticipating something under rehearsed. Instead, it is compelling and powerful. There are a few moments where pathos triggers slips in vocals but Nicholas Heymann (the musical director) explains this as a deliberate choice, claiming that the musical was designed to ‘ruin voices’ with a rock score. Hopefully this doesn’t occur for any of the cast! The vocal blends in big ensemble numbers are beautiful – casting was clearly effective here. Will I is a wonderful example of this. While the dynamics are still being toyed with (in I’ll Cover You (Reprise), the ensemble almost overwhelm Jack Whitney as Collins – so devoted to his craft that I was terrified he would burst a blood vessel), they’re promising.

I prefer this production’s version of La Vie Boheme to the official Broadway cast recording. It’s full of life, fresh, unafraid and bold – mostly due to Peter Todd’s fantastic vocals and charisma. The choreography (by Max Penrose) is clever and artful, even if it doesn’t fully translate to the rehearsal room. The set involves scaffolds and levels – while I saw the production on a flat stage, the sketches were certainly intriguing. If you’re a medical student, please go and see RENT – if the scaffolds go wrong, you might be needed. If you’re not a medical student – go anyway. It’s got passion, enthusiasm and a cracking cast.