Tuesday, April 29, 2025
Blog Page 491

Classics faculty proposes removal of Homer and Virgil from syllabus

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Oxford University’s Classics Faculty is considering a proposal to remove the study of Homer’s Iliad and Virgil’s Aeneid from the Mods syllabus, a decision which has shocked undergraduates and tutors across the university.

The move is part of a series of reforms proposed for the the preliminary stage of the Oxford Classics degree, known as Honour Moderations. Unlike students of other humanities courses, who sit their preliminary examinations at the end of first year, moderands sit their exams in Hilary of second year. Mods consist of ten papers based on material covered over the four terms preceding the examinations, two of which cover Homer’s Iliad and Virgil’s Aeneid.

The content of the Mods course, as well as the way in which it is taught, has come under increasing scrutiny in recent years, largely owing to the significant gaps in marks attained by Course I students, who have studied Latin and/ or Greek to A-Level, and Course II students, who study one of the two languages ab initio. There is also a significant gender gap in marks received for candidates sitting both Mods and Finals.

A number of other proposed reforms, which include changing the way in which Courses I and II are differentiated, as well attempts to standardise and increase the amount of language tuition available to all Classicists have been welcomed and praised across the faculty. However, many students and tutors have regarded the removal of Homer and Virgil as unnecessary and a step too far.

Jan Preiss, a second year undergraduate studying Classics at New College and the president of the Oxford Latinitas Project, has set up a petition to stop the proposal from further consideration and to rally support for its reversal among both students and educators at the university.

Speaking to Cherwell, Preiss said: “Removing Homer and Virgil would be a terrible and fatal mistake. [The proposal] would mean that firstly, Oxford would be producing Classicists who have never read Homer and never read Virgil, who are the cen-tral authors of the Classical tradition and most of Classical literature, in one way or another, looks back to Homer and interacts with the Iliad. Removing it would be a shame because Homer has been the foundation of the classical tradition since antiquity and it is impossible to understand what comes after him without studying him first.

“One of the big issues is that these reforms are marketed as ones that will increase access, but the proposal [to remove Homer and Virgil] would go completely against this because it will effectively mean that there will be people coming to Oxford with previous knowledge of Homer and Virgil, who have studied Latin and Greek at school, but no one else will be taught Homer or Virgil until Greats (the second part of the course) and that is only if they choose it as an optional paper. Because of how fundamental the study of Homer and Virgil is, it would put the latter group at a disadvantage in trying to understand the literary canon and this disadvantage would carry through Mods and possibly beyond.”

Preiss went on to praise a number of other reforms that have been proposed, including the removal of the labels “Course I” and “Course II” and their replacement with Beginner, Intermediate and Advanced levels, as well as the proposed construction of text-based papers designed to simultaneously aid students’ grasp of the classical languages. However, he along with others believe that removing the study of Homer and Virgil from the Mods syllabus would be an extreme step.

Classics is one of the few courses at the university which is perhaps as old as the institution itself, and the study of Homer and Virgil is one that has been continuous and uninterrupted since the course’s inception. As the faculty approaches its fifth decade of accepting ab initio students of Latin and Classical Greek, many of its members, both students and tutors, are rightfully sceptical about whether removing Homer and Virgil from the syllabus would really be a move that benefits these students.

Regardless of the outcome of the debate within the faculty regarding the passage of such proposals, it is clear that the new decade is one that has brought new challenges for Oxford’s oldest course, which will surely be followed by classicists and non-classicists alike with interest.

A spokesperson for the University of Oxford said: “Over the last thirty years, the number of students starting the undergraduate classics course with both A-level Latin and Ancient Greek has decreased, and the number of those acquiring one or both ancient languages while at Oxford has increased.

“The Faculty of Classics monitors these changes and keeps the course under review to keep it equally stimulating and engaging for all students. In this connection we are reviewing the first part of the course, called Honour Moderations in Classics. As part of this we are considering the question of whether Homer and Virgil are best studied in the first part of the course or the second. We are currently consulting staff and students and no final decision has been made.”

Boardroom feud at Uni spin-out company

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Oxford’s £600m spin-out, Oxford Sciences Innovation (OSI), has been shaken by boardroom disputes with two key figures leaving the venture. Patrick Pichette, former Google chief financial officer, stepped down as chairman this month, following Charles Conn who left his position as chief executive in November.

OSI stated that Pichette stepped down “to focus on his other international commitments,” though sources claim that a “misalignment in views” was behind his decision. The Telegraph reported that the disagreements arose from the emergence of South African company Braavos Capital as an investor.

Backed by South Africa’s richest woman, Magda Wierzycka, Braavos has become the OSI’s largest shareholder in the last sixth months. The investment fund has seen its holding in the company rise to 20%, after buying shares from Neil Woodford.

A former Rhodes scholar at Balliol, Conn said: “I wish to thank management and the board for the opportunity to serve OSI for the last year and look forward to the company’s next phase of growth.”

He will be succeeded by Chris Chambers, an OSI board member and investor.

Jim Wilkinson, interim chief executive at OSI, said: “While the last few months have seen changes to our board and executive team, our strategy has always remained the same – to identify and develop cutting edge science and technology from the University and create and grow world-leading companies.”

OSI is Britain’s largest university spin-out company, with its funds being used to invest in science and technology companies.

If an Oxford academic starts a company, the University takes as much as a 50% stake, with half of that given to OSI.

This is unlike other universities, where it is optional to work with venture funds.

Entrepreneur Hermann Hauser has criticised this system. In 2017 he said: “It’s a double whammy that Oxford suffers from. One is this monopoly that the university asks for. But then they have done this deal with OSI where they basically pledged all the IP to a single fund, preventing competition in spinouts, which is always bad.”

OSI is one of 62 spin-out companies Oxford produced in 2007-2016, the most of any university. It previously attracted controversy due to investment from Chinese tech company Huawei, which ended after the University suspended donations and sponsorship from the company.

Torpidoed: winter rowing faces rules upheaval

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Oxford University Rowing Clubs (OURCs) has announced drastic changes to the structure of this year’s Torpids, the University’s winter rowing races. Changes mean that only crews from the top two divisions will be allowed to race. It marks a dramatic reduction from the six men’s divisions and five women’s divisions which would race normally.

Results from this year’s race will also not affect overall college rankings or determine the new head of the river.

Although Torpids has been cancelled in previous years, the decision not to let race results affect college rankings is the first action of its kind since the Second World War, during which crews were forced to amalgamate crews, and rankings from 1939 were carried over into 1945.

OURCs were forced to change the rules for this year’s races as heavy rain and flooding have made conditions on the Isis dangerous.

The rule changes were decided during an extensive captains’ meeting attended by over 80 voting members of OURCs.

In the end, the motion to change to “pseudo-torpids” was passed by 45 votes to 24.

Pembroke, with both their men’s and women’s boats currently second on the river, attempted to amend the motion so that results from the top 12 crews could affect college rankings, while pseudo-torpids would be run for the rest of the boats. The amendment failed by a sizeable majority.

Currently the Isis stands at red flag, meaning that no crews may row on the river.

A number of crews have already withdrawn from Torpids, including Christ Church’s M1 boat, which finished in sixth place in 2019.

Speaking to Cherwell, the vicecaptain of Oriel College women’s rowing said: “Disappointing that it is that Torpids will not be going ahead as usual, the vast majority of rowers realise that OURCs are working for the safety and benefit of everyone. Not all clubs are lucky enough to train off the Isis, and it ensures that only crews that are safe will race. I’m very proud of the work that Oriel women have put in, and looking forward to (hopefully) a great four days on the water, regardless of whether the results count or not.”

Joe Lord, OURCs secretary, told Cherwell:“I look forward to a week of fun and safe bumps racing, if the river allows.”

Brits And The Yemen: Wilful Ignorance?

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The British middle-classes are walking idly by, whilst from pretty Menwith Hill, the people of Yemen are being bombed.

At the innocent age of twelve, a school-friend invited me to her birthday party, to be held at the two-laned bowling alley in RAF Menwith Hill. A site referred to locally as ‘the golf balls’, Menwith Hill had always seemed to me an unproblematic feature of my home landscape; in fact, I was rather proud of it. As a young and impressionable teenager, it seemed amusing that I should be getting ten-pin strikes inside a giant golf ball that could be seen from space. I accepted the invitation and went along.

Growing up in the middle-class spa-town of Harrogate, recently voted to be the happiest town in the UK, I never thought to question my surroundings. Whilst my family were hardly the upper-echelons of the town, I was undoubtedly culturally privileged, and lived very much within the local bubble. We never travelled far; I only went abroad for the first time when I was 17, and, with such a comfortable life, it did not occur to me that I was missing out. With this happy upbringing in mind, it was scarring to learn of the evil that was right under my nose all along. Since the beginning of the millennium, RAF Menwith Hill has been directing unmanned drones to bomb innocent civilians in the Yemen.

In an area of sleepy, idyllic villages, Betty’s famous cafes and Yorkshire Tea, North Yorkshire is a British paradise. Yet, this paradise is also a place of murder. It is the town where Agatha Christie mysteriously disappeared in 1926, and the location of a handful of the murders of The Yorkshire Ripper. Yet, most of all, it is a place from which mass killing is ordered. Due to the secrecy of their operations, it is not known how many Yemeni people are targeted from Menwith Hill alone, but human rights group Reprieve suggest that a significant proportion of the 100,000 killed by 2019 were targeted from this airbase. 

As part of the USA’s targeted killing programme, RAF Menwith Hill intercepts more than 300 million emails and phone calls a day, in an attempt to track down and kill enemies of the US. 600 British personnel work alongside American military counterparts at this base, utilising disturbingly-named software programmes such as GHOSTHUNTER and GHOSTWOLF to locate their targets. NSA, the National Security Agency, recently released information that this software can be used ‘to locate targets when they log onto the internet’. Once found, individuals can be targeted by almost immediate, unmanned drone strikes, regularly killing hundreds of harmless civilians in the process.

For the Harrogate locals working at Menwith Hill, their day jobs simply become an endless series of video games; locate target, strike, repeat. Yet, for those on the ground in Yemen, these video games are their real lives. When visiting the Yemen in 2015, MSF emergency coordinator Karline Kleijer recorded that the children there have a game called ‘One, two, three, airstrike’, at which they all fling themselves to the ground. What these children do not know is that the middle-class men of Harrogate are joining in their games halfway across the globe – and that these men will, inevitably, always win.

Yet, the lack of information provided to the British public has meant that little progress has been achieved to stop this unlawful bombing in recent years. As with the majority of current US administration, misinformation on the topic of drone warfare is rife. In a letter to the ICO, charity Reprieve recorded the experience of the al-Manthari family in Yemen, who were caught in a 2018 drone strike sent from Menwith Hill. While the US claimed the strike had killed members of Al-Qaida, Reprieve claim that all of the victims of this strike were civilians. Often hidden from discourse on drone warfare is the plain fact that GHOSTHUNTER cansometimes get it wrong, leading to a futile, large-scale loss of life.

Having regularly attended debating club at my Harrogate Sixth Form, we frequently touched on the topic of unmanned drone-bombing in the Yemen. Yet, what they failed to tell me was that we were all complicit in this crisis. With little intervention, RAF Menwith Hill has been free to lead the way for software programmes such as GHOSTHUNTER. Its success at the North Yorkshire airbase has meant that this surveillance has been rolled out by the NSA at bases in both Ayios Nikolaos, Cyprus, and Misawa in Japan, inevitably leading to many more drone bombings. In 2008, Menwith Hill was responsible for 99% of FORNSAT geolocation data, and still to this day it plays an integral part in the US’ targeted killing programme.

Disregarding the increasing controversy around the airbase, RAF Menwith Hill has recently seen significant expansion. In a programme named ‘Project Phoenix’, the airbase’s number of employees increased from 1,800 to 2,500 in 2015, whilst $68 million was spent solely on a new generator plant hoped to provide power for new supercomputers at the site. With the NSA stating openly that this expansion programme was designed ‘to provide qualitatively new capabilities for intelligence-led warfare’, it seems disarmament was never on the agenda. 

Indeed, the number of RAF airbases involved in the US targeted killing programme has only increased in recent years. In 2013, it was exposed that RAF Waddington had been flying RPAS over Afghanistan from its base in rural Lincolnshire, and Waddington is now home to 13 Squadron’s ‘Reaper’ – the only UK drone involved in the US-Afghan war that is armed. Despite significant protests from the UK’s Campaign for Nuclear Disarmament, little has been done to reduce Waddington’s involvement in unmanned drone warfare, and in 2016 it saw a £35.4 million NSA-funded upgrade.

Whilst human rights groups such as Reprieve and online news publications such as The Intercept have forced the British public to become more aware of the UK’s role in drone warfare in recent years, there is still a long way to go. In order to prevent unlawful bombing and force US airbases in the UK to be transparent, it is imperative that awareness be raised further. The efforts of singer Declan McKenna to publicise the issue in his recent single ‘British Bombs’ should be commended; in the oddly upbeat tune, McKenna discusses the integral position of the UK within the arms trade, and directly references ‘British bombs in the Yemen’. With his audience largely consisting of teenagers and younger adults, it is refreshing to hear indie-rock music that is so educational and politically switched-on. 

With these horrors under my nose for my entire childhood life, I regret that I was never educated on the reality of my surroundings. As with the majority of British foreign policy, the controversy surrounding the air-base was quickly swept under the carpet, and to this day I am certain that very few Harrogate locals have even the slightest clue of its purpose. The happy memories of seeing the ‘golf balls’ on the horizon during frequent family hikes on Ilkley Moor will now forever be tainted, and I deeply regret ever celebrating that idyllic view. Yet, the air-base will remain at the forefront of the Yorkshire Dales for the foreseeable future, and paradise will continue to be stained with blood.

In Defence of the Middleman

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The recent rise of political polarisation in the West, and the corresponding growth of populist movements of all ideological persuasions, has been widely discussed in recent years. Astute analysts have recognised a poisonous culture of scapegoating, through which a helpfully unspecified ‘liberal elite’ may be blamed for almost every socio-economic issue, lending appeal to any half-baked movement which claims to oppose the prevailing orthodoxy.

The role of the media has also attracted significant comment: gone are the days of Walter Cronkite imparting the uncontested truth to Middle America. Instead, we now see a plethora of outlets which enable ideologically-minded individuals to inhabit comforting bubbles of assurance, while branding anything which does not castigate the aforementioned establishment as ‘fake news.’

Though this widespread impression appears to ring true, particularly for those who view themselves as enlightened and immune to closed-mindedness, it omits one fundamental aspect of the efforts of nascent political forces to gain a media foothold. The US President’s pontifical Twitter feed exemplifies a perturbing willingness to cut out the middleman.

Perhaps this issue is best viewed from a historical standpoint. When nineteenth century statesman William Gladstone affirmed his support for electoral reform publicly, he addressed a huge meeting of interested citizens at Manchester’s Free Trade Hall. Enthused attendees could boast of how they had heard the ‘People’s William,’ and how he was now on their side. But they had no concrete guarantee of this: without the middleman, they had little choice but to take him at his word.

Most learnt of Gladstone’s famous speech through print. Respected newspapers could compare sweeping assertions with previous convictions and existing policy, enabling readers to reach educated judgements regarding the truth of public statements and wisdom of legislation. Recognising the value of good publicity and the vast perils of hostile coverage, party-media links rose throughout the next century, culminating in the prevalence of carefully spun press releases which ultimately became characteristic millstones around the necks of movements such as New Labour.

However, the recent social media explosion has enabled political forces, which may otherwise have remained fringe movements, to spread their message to a receptive audience of which Gladstone could only have dreamt. Anyone with internet access can read Donald Trump’s fresh observations on Twitter: high-octane information, straight from the horse’s mouth.

Politicians and activists may encourage ideologically-minded individuals to receive information from their favoured causes directly, rather than enduring seemingly biased yarns, warped through the multifaceted prisms of established broadsheets or BBC News. Why should we endure the middle-men, when the President’s quotes are recorded with unvarying accuracy on Twitter? Yet, as any History student will tell you, accuracy and reliability are very different. And primary sources aren’t necessarily more trustworthy than secondary ones.

Contrary to popular belief, good journalism doesn’t just report facts. Instead, informed articles should consider various factors to determine whether glimmers of truth lie within the murky sea of sound-bites. Personal convictions disguised as facts are troublesome, but well-versed opinions remain the foundation of healthy debate.

Contemporary efforts to circumvent media scrutiny entirely, deploying contiguous communication under the premise of increased reliability, are just as worrying as the ‘media bubbles’ of Fox News. Though all self-respecting political movements have recently endeavoured to cut out the middleman where possible, those which have benefited most are perhaps those which are likely to have wilted under the unfiltered spotlight of good journalism. Donald Trump’s Twitter feed is symptomatic of attempts to associate simplicity and directness with honesty: a dangerously false premise.

Review: Angels in America

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“Holocausts can occur,” Larry Kramer asserts in his Reports from the Holocaust: The Making of an AIDS Activist, “and probably most often do occur, because of inaction.” Indeed, it’s no mistake that in advocating awareness for AIDS, the Silence=Death project adopted the pink triangle as its emblem, a stark reminder of LGBTQ persecution. It is precisely this danger of silent oppression, of ‘inaction’, that makes Tony Kushner’s Angels in America such an important work of theatre. It presents to us the effects of the AIDS virus in its aggressive and distressing reality: the night sweats, the lesions, and the emotional turmoil. It ensures that the devastation suffered by communities vulnerable to AIDS is not censored nor forgotten. Between its heavy subject matter and significant length, Angels in America Part One: Millennium Approaches is a substantial undertaking by Matter of Act Productions, but one that is executed with great sensitivity and sincerity. 

Set in 1980s New York City, Kushner’s 1991 play retains its pertinence to a contemporary audience as it grapples with questions of tolerance, identity, and the effects of both physical and mental illness. Louis Ironson (William Ridd Foxton) struggles to come to terms with the AIDS diagnosis of his lover, the exuberant Prior Walter (Zakkai Goriely) who becomes steadily more vulnerable as his health declines. Meanwhile the Republican lawyer Joe Pitt (Connor Johnston) wrestles with his sexuality as well as a strained relationship with his Valium-addicted wife, Harper (Maya Jasinska). 

What is most striking about this production is the talent of its cast. I was particularly moved by the performance of Zakkai Goriely as Prior Walter who brings a tenderness and charm to his role, whilst his evocation of the distress of illness is committed and emotionally charged. William Ridd Foxton is also superb as the fraught Louis Ironson. The precision of his mannerisms and subtlety of expression are expert and contribute to a truly authentic performance.

It was a shame, then, that such wonderful performances should be marred by lighting difficulties. On a few occasions the actors’ facial expressions were masked by shadow which unfortunately impacted the emotional resonance of their performances. Eddie Margolis, for instance, delivers a spectacular speech as the lawyer Roy Cohn: “AIDS. Homosexual. Gay. Lesbian.[…] Like all labels they tell you one thing and one thing only: where does an individual so identified fit in the food chain, in the pecking order?” It is a wonderfully vitriolic tirade that introduces a powerful discourse about the way in which, as Susan Sontag puts it, AIDS “confirms an identity” and, in doing so, “isolates the ill and exposes them to harassment and persecution.” However, the full dramatic force of such a moment is dampened slightly by ill-lighting. Evidently, this is an easily-rectifiable fault that will hopefully be adjusted for upcoming performances. 

Whilst the set wasn’t particularly arresting, Luke Dunne’s direction ensured that space was used well. Particularly effective was the spacial interweaving between scenes. As dialogue between two distinct scenes began to converge, location boundaries began to dissolve and characters occupied each other’s performance spaces, allowing multiple events to run concurrently without feeling spatially restricted. This helped propel the pacing and flow of the performance which ultimately felt slick, excepting a few laboured transitions.

Such minor technical issues are easily overshadowed by both the actors’ and the creative team’s sympathetic engagement with the text and subject matter. The depiction of the AIDS crisis is both raw and heartbreaking. However, amidst the bleakness, precious moments of humour, warmth, and tenderness ripple to the surface, reminding us of the bonds that connect people, even as illness rips them apart.

HS2 Shows the Tories Don’t Know the North

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The question of how the Conservatives would keep their new Northern voters has troubles allies and critics alike. For Labour, it seemed that if Johnson decided to inject cash into the North, Labour’s ‘red wall’ of support would inevitably crumble down. The plan to ‘level-up the North’ with HS2 linking both halves of England – a new backbone, in Johnson’s rhetoric – therefore poses problems for the opposition.

The project is expected to create up to 30,000 jobs and link London to the Midlands and Northern cities like Sheffield and Leeds by 2040. However, Johnson has somewhat backtracked on connecting to those Northern cities, revealing the project will initially only extend to the Midlands. There are fundamental issues as to why this would not work. Many Northern cities are ill-connected with the South and London, but more importantly with each other. The primary use for transport via train is for commuters, and this leads to over-crowding on trains in and out of Northern cities.

While decongesting London stations is an ambitious project, this is not what the reality of HS2 suggests. The projects’ primary stations from London would be Euston and St Pancras; while Euston is the least-congested station in London, the issue of filling such high-capacity trains even in rush hour seems improbable. A YouGov poll found that trains from Euston to New Street were on average only three-quarters full. The St Pancras station too seems to be ill-advised, when the station will not be the pre-existing one but one half a mile outside. How will “two St Pancrases” work?

This symbolic connection between North and South thus seems a hazy project at best. It does not include freight; thus the quicker movement of goods from North to South, and vice versa, is ruled out. Whilst the project hopes to reduce carbon emissions, it will therefore have little impact on freight, which will still be carried by lorries.

Moreover, the creation of HS2 will itself impact negatively on the environment due to the huge infrastructure construction it requires. Many feel fobbed off by the lack of interest in making the project green. Originally projects such as the Lincolnshire Crowder’s Nurseries, projected to plant 7 million trees and shrubs creating 650 hectares of green land, were popular, but the momentum behind similar projects elsewhere has all but dried up.

Up to seven nationally protected areas of land are affected by the project, some which have endangered species in them which could suffer without an effort at rehabilitation. In South Cubbington Woodland there were fierce protests against the destruction of their protected and treasured space. It fell on deaf ears. The Kenilworth Gold Club, which clearly couldn’t survive without its 18th hole, was spared by the government. This lack of care is indicative of the government’s whole approach to the project.  

As with the idea it aids the North, any environmentally-conscious elements of the project are window-dressing. The ramping up of the costs of the project, and the willingness of the Tories to put up with it, shows their myopic self-interest in their ambition to save a project they think will benefit them electorally, despite the incoherent case for it.

In a recent YouGov poll, voters in the North and Midlands were against the project. It shows the government is tin-eared. They don’t really care about connecting the North up for commuters. Their environmental plan will do more harm than help. But it’s in their interests and London’s, so why not chuck another £100 billion on the bonfire?

It’s certainly not a popular project on the Tory benches. We might find before too long that Johnson’s new backbone of Britain is what comes along and breaks his.

Lose Yourself: A Sign of the Times

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If you want to feel the sensation of your skin crawling, watching Eminem’s unexpected performance of ‘Lose Yourself’ at the Oscars should certainly do the trick. There was something distinctly off about the biggest names in Hollywood singing along to Eminem’s gritty hit. One of the only appropriate reactions came from 77 year old Martin Scorsese. He was sporting the face of someone two and a half hours through ‘The Irishman’, only to discover there are still sixty minutes to go. Much like Scorsese, maybe we’re all getting tired of figures like Eminem, who seems to represent the omnipresence of stars past their prime.

Eminem’s name was in the news recently when lyrics from his new album distastefully referred to the Manchester Arena terror attack in 2017. He has never shied away from edgy opinions in the past, but that attitude feels decidedly uncomfortable nowadays. We have our own controversial social-commentary-spewing superstar in the form of Morrissey. The ex-Smiths frontman has courted rage and fury for his statements on immigration, politics, and Brexit; so much so that artist Verity Longley introduced a range of tote bags sporting the slogan, “Shut up Morrissey,” for when bigmouth inevitably strikes again. Just why do so many artists resort to inciting outrage; is it the prospect of irrelevance and waning fame, or nothing but artistic integrity?

Particularly in music, the nature of consumption by streaming necessarily splinters influence, as anyone can now listen to anything, down their own rabbit-hole of algorithm-inspired exploration. It is easier than ever for an artist to get lost in instant streams, with the small amount of income being starkly contrasted with previous generations. The rapidity with which something can be consumed also dulls its impact: an album listened to and forgotten within 40 minutes, and little lasting sign that that ever took place. 

Pop stars no longer have the experience of fame they did in the 20th century, as the idea of pop itself has changed: the defining culture diverged into individualised experiences. While the 60s had the Beatles and ‘Free Love,’ the 2010s and 20s may be known as the years of Netflix and Spotify. This sheds potential light on why Eminem may have to resort to statements of headline-grabbing contentiousness. As evidenced by the reaction, this loudmouthed approach at attention-seeking certainly works; Eminem’s song ‘Lose Yourself’ underwent a 217% increase on streaming sites.

Another alternative for the method to Eminem’s madness is resorting to things that worked before in an attempt to please old fans. We’re in a cultural moment of ‘same old, same old,’ with endless prequels, sequels, and remakes consistently outperforming and suffocating any strands of genuine creativity. Scorsese himself might not be in a position of superiority in this regard; ‘The Irishman’ uses the well-trodden gangster trope and even reaches so far back into the past that it stars digitally “de-aged” versions of De Niro, Pesci, and Pacino. Meanwhile, we’re faced by the terrifying prospect of concerts with holograms of dead musicians like Tupac or Roy Orbison on stage. 

One of the trends of the final years of the decade was a flurry of British-pop-rock-musical-films with Rocketman, Bohemian Rhapsody and Yesterday all coming out in the space of nine months. “I took a walk with my fame down memory lane, never did find my way back” sang Oasis, a rather appropriate reflection of a modern state of nostalgia. Lauryn Hill explained after her long hiatus that ‘I realized that for the sake of the machine, I was being way too compromised’, and it looks as though the machine of pop-culture industries are still compromising artistic individuality for the sake of security.  This isn’t necessarily a bad thing, but an obsession with past trends might stifle creativity. The stratospheric rise of artists like Billie Eilish and Stormzy of course counters this line of argument, but a defining movement is yet to appear, and some would say grime’s time is already up. At the Oscars, instead of performing her monster-hit ‘Bad Guy’, Billie Eilish sang a fifty-five year old Beatles song, and we were treated to an Eminem track from 2002. Undoubtedly, as a result of new forms of media-consumption, there are more opportunities for variation within art but as a consequence there is division, a series of subcultures.

So then what to do, as a musician whose peak years are behind them? Perhaps, it would be better if some hung up their instruments. This would give a chance for a new school to fully develop and their own presence would be maintained eternally in playlists around the world. Walking the line of controversy is often a negative and unpleasant method that manipulates the state of current discourse, and can tarnish one’s reputation. There is the approach of The Rolling Stones; morphing into some-sort of self-tribute act who make little to no attempt at producing anything new. David Bowie’s Blackstar (2016) managed to conquer this issue, creating a fantastic album that was new and experimental. Unfortunately, few artists demonstrate the self-awareness and experimental nature of Bowie, but if more of them could follow his example, the music-world might be a better, more interesting place. Despite everything, Eminem’s performance was social media’s most talked about moment of the night. It overshadowed the genuinely exciting awarding of Best Picture to a deserving Parasite, the first international film to ever hold this title. We should be focusing on the new: the Parasites of this world, rather than the Eminems.

Review: Caging Skies and Jojo Rabbit

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When depicting the world and ideology of Nazi-Germany, the theme of childhood or the child-like figure is quite a well-used one. Key examples include Günter Grass’s Oskar Matzerath in The Tin Drum, to Kerr’s When Hitler Stole Pink Rabbit. The state of innocence implicit within childhood lets us appreciate how insidious and jarring the changes within society, ideology and political life were in World War Two. Especially considering the centrality of the Aryan family unit – its dominance, its perpetuation within the Nazi’s racial-hierarchical world-view. A grim example is in Hans-Peter Richter’s Friedrich, in which the course of a German-Jewish childhood, friendship slowly degrades and dissolves against the current of world war two, and the protagonist ends the novel meeting his best friend. He dies outside the communal air-raid shelter stretching out his hand for help.

Christine Leunen’s Caging Skies and Taika Waititi’s subsequent film adaptation JoJo Rabbit explore this theme of childhood in contrasting ways. Both tell the story of little Johannes (or Jojo), growing up in mid-war Austria. Jojo is a little ten-year-old growing up wanting to be an Aryan war hero until his plans are foiled by a terrible accident. In the book, this comes as a result of an air-raid, and in the film, it’s a hand-grenade at a Hitler Youth summer camp. Recuperating, he becomes aware of his mother’s secret activities as a resistance activist and her hiding of a Jewish girl (‘Elsa’) in the attic. The subsequent portion, in both the film and book, charts the relationship between JoJo and Elsa. 

Both veer around exploring the absurd and comic in what would normally be an intensely disturbing and tragic state of affairs. In the film, Taika Waititi plays a quite camp and wacky Hitler who exists in the mind of Jojo. Playing the imaginary friend lets us see the absurdity and childish fanaticism that he has grown up with. Contrasting this with his love-hate relationship with Elsa after he stumbles across her in the attic, the two relationships chart his shifting allegiances. Throughout the film Jojo is gradually changing in his world-view, falling at last to his mother and Elsa’s constant appeals to sensibility, when they observe that: “You’re not a Nazi Jojo, you’re just a little boy who likes to dress up in uniforms.” Something to be remembered as he narrowly escapes a firing squad by slipping out of his uniform. The shared depiction of child-soldiers in both book and film provides one of the most harrowing examples of how childhood is perverted in a state of war.

Where the film diverges from the novel is in the treatment of the corruption of childhood. The film allows Jojo to at least gain awareness of his childhood, whereas the novel does not afford him that luxury. Here, we see him becoming the mouthpiece and conduit for the Nazi Party to tear the family apart. From echoing propaganda at the dinner table and causing arguments with his father – ‘“My father admitted that sometimes he forgot it was me he was arguing with—he felt more he was talking to ‘them’”, to causing multiple Gestapo investigations and his father’s death. The novel takes a darker turn. Jojo is left as the only person knowing Elsa’s secret existence. His love-hate relationship has taken on something of a strange obsession, and the two are trapped together in a web of lies- physically and figuratively. At first, he conceals the fact of the war ending and her existence to the outside world, she is trapped with him for decades. The two are stuck together, stunted socially and intellectually through the loss of their families and Nazi persecution, all they have is the wreck of their own lives.

There is an element of clunkiness within both works. Jojo Rabbit, with its aim at achieving ‘arthouse-comedy’ quirkiness, struggles to balance its use of light and darkness. Compared to his handling of Hunt for the Wilderpeople, adapting Barry Crump’s Wild Pork and Watercress to a suitable blend of pathos, light irony and comedy, Jojo Rabbit struggles to maintain this balance. Similarly, the sudden dark turn spins this reflection on childhood within a totalitarian state into something resembling a crime drama. Experiencing both in parallel is definitely to be recommended though. Gaining an insight into what has been borrowed, what’s been abandoned, what’s been radically changed – these differences are interesting to tease out. The good-natured humour and quirkiness of the film and the drama of the novel are quite fun to contrast, and both are impactful in their own right.

Bumpy roads to the top: The future of African cycling

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Africa is not known for its cycling. Despite the continent’s domination of endurance running for generations, the surface of global professional cycling has only been scratched by African cyclists. This is largely a result of two key issues that face development more generally on the continent; a lack of resources and widespread corruption in government. However, African runners have been able to dominate the world stage with access to very limited resources, so why should African cycling not do the same? 

Cycling culture has been around since colonial times and the large quantity of resilient, talented and determined athletes, combined with the high altitudes on the continent, should have resulted in African cycling being at least a force to be reckoned with. It seems that the resources required to be a successful cyclist may be the deciding factor, making it more difficult to be a world-class African cyclist than a successful runner. Despite this, there is good reason to expect improvements in the future. 

At the heart of African cycling is Eritrea. The Horn of Africa nation was an Italian colony from 1890 to 1947 and was established as the Italian industrial centre for East Africa. Whilst the story of Eritrea’s Italian occupation, known by many as ‘the new Roman empire’, is a typical one of exploitation, violence and damaging political leadership, it left behind a rich and passionate cycling culture. Italian settlers brought their passion for cycling to Eritrea, taking their road bikes with them and establishing a vibrant racing scene. Eritreans took up a wild enthusiasm for the sport and after the end of Italian occupation in the 1940s they took ownership of the cycling culture, training and competing hard in races and learning how to maintain the road bikes left behind by the Italians. Though some had very little, most households took pride in having a bike and local races became a very frequent a popular occurrence across the country. The staggering altitudes, which exceed 3000 metres in the central highlands, combined with the rich national culture of endurance running certainly supported the growth of Eritrean cycling. 

Fast forward to the 2000s and Eritrean cyclists had finally made their breakthrough onto the world stage. Leading this charge was Daniel Teklehaimanot, who had dominated the African continental championships as well as picking up GC wins at African stage races like the Tour of Rwanda. Despite having to overcome numerous difficulties, including often being unable to obtain visas and lacking sophisticated equipment and support, Teklehaimanot was able to become competitive at the highest level, becoming the first black African to ride in a grand tour by competing in the 2012 Vuelta a España. In 2015, he and his compatriot Merhawi Kudus wrote history in becoming the first black Africans to compete in the Tour de France, marking a significant moment in Le Tour’s vividly rich history. In addition to this, Teklehaimanot took a special liking to the King of the Mountains classification, which he successfully targeted, wearing the coveted polka-dot jersey for four days. This felt like a turning point in cycling’s history, with Teklehaimanot’s team Dimension Data pledging to deliver the first African winner of the Tour de France by 2020. 

Unfortunately, the impressive performances of Teklehaimanot and other Eritreans has not marked a significant turning point as black Africans remain very poorly represented in the ranks of the professional peloton today. Dimension Data as a team does not exist after having to change sponsor following a disastrous 2019 which saw them at the bottom of the global rankings. Furthermore, there is significant evidence pointing to a decline of African cycling in recent years, despite the massive potential contained in the continent. In 2018, after a year at the bottom of the rankings, Dimension Data decided to reduce the number of African riders on their team in an attempt to keep their status as a world tour team. Black African riders clearly are not yet ready to ride competitively against those cultivated in resource-rich European cycling centres such as the UK, Italy and France. 

There is little doubt that the lack of resources and governmental support in Africa is the main reason for the continent’s lack of success, although this is not necessarily a result of most African countries being undeveloped economically and politically. Whilst being a resource-poor country with low Human Development Index (HDI) scores, Columbian cycling has been hugely successful in recent years, perhaps best exemplified by Egan Bernal’s stunning Tour de France victory at the age of 22 last year. The key difference between Columbia and African countries is that the cycling culture is so rich, reaching every corner of the nation, with the government placing cycling at a high priority. This culture, combined with the high altitude of the mountainous terrain, has allowed talented riders to get the attention of wealthy European and American teams in which they have been able to excel. In contrast, endurance running often competes with cycling in terms of resources and popularity in Africa. A lack of political will and widespread corruption in government has not provided enough support for cycling, as was sadly exemplified in December 2019 when Nicholas Dlamini’s arm was broken in an assault of excessive force by park rangers in Cape Town. Unlike Columbian cyclists, African athletes are not targeted by wealthy western teams, and Dimension Data, their sole representative, has been struggling with a lack of financial resources and poor results. 

However, there seems to be no good reason why African cyclists should not succeed and even dominate global cycling in the future, as they have done in endurance running for generations. Infrastructure across the continent is slowly improving, with more and more paved roads. The success of Eritrean cyclists like Teklehaimanot and the grand tour dominance of Kenyan-born Brit Chris Froome mean that increasing attention is being paid by the public and government towards the sport. Bikes are no longer so expensive and difficult to obtain, and much of the infrastructure and the high altitudes available for training runners can be applied for cycling. Across the continent, cyclists have been joining runners on training camps to access the accommodation, coaching and physiotherapists that they have long been denied. Even in Iten, Kenya’s ‘home of champions’ for endurance running, has seen increasing numbers of full-time cyclists training there with aspirations to appear on the global stage. It seems that it is only a matter of time before African riders will be competitive at the highest level, challenging the white hegemony that has dominated the sport since its birth.