Tuesday, May 27, 2025
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Is Britain Ready for the Coronavirus?

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Since this article was written, it has emerged that the first British person has tragically died from the disease in Japan.

Fears of the coronavirus threat have intensified after health officials’ warnings of a potential global pandemic.

Italian authorities have begun to fine individuals found entering or leaving its northern outbreak areas, after the country’s death toll rose to 152 – the worst outbreak in Europe. Schools and universities have been closed, and the last days of the Venice Carnival cancelled.

Similar closures have been enforced in Iran. Public buses are being disinfected, and posters put up telling people to wash their hands. Its neighbouring countries Turkey, Iraq and Pakistan have shut down borders or imposed stricter health checks. Meanwhile, a sudden spike in cases was reported in South Korea this weekend, with the southern cities of Daegu and Cheongdo declared as quarantined exclusion zones. People are encouraged to wear face masks, and hand sanitizers have been placed in public spaces.

According to the official website of the European Centre for Disease Prevention and Control, the UK’s risk of ‘clusters, similar to the ones in Italy’ is considered as ‘moderate to high’. But the UK’s comparative placidness appears in striking contrast to the urgency voiced by affected countries. And while Trump has expressed fury over coronavirus patients being flown back to the US, Boris Johnson has stated that the UK should remain ‘confident and calm’.

Evacuated Britons are quietly flown back, quarantined, and treated. Headteachers have been told that there is ‘no need’ to close schools. Face masks are suggested to be ineffective, though washing hands is still important. Sadiq Khan has emphasised that public transport is safe. However, while the government seems calm, others may disagree.

Earlier this month, a family from Southeast Asia complained about their treatment at a local surgery in London after possible coronavirus symptoms were found in the mother. Although measures were promptly taken by the GP to quarantine the family, the ambulance took nearly four hours to arrive (between about 11am and 3pm). Only water was provided during this time. The family, who were visiting the UK to celebrate their daughter’s graduation, eventually phoned their embassy. A director at the embassy then intervened, negotiating with the GP to allow them to order a takeaway.

Overreaction is certainly better than underreaction, and the swiftness of the GP’s response is commendable. But this example echoes the pressure on GPs described in Channel 4’s recent documentary ‘Coronavirus: Is Britain Ready?’, as well as a lack of clarity over procedures for the patients’ information. At one point in the documentary, a member of Brighton’s health board berates the council, noting that ‘Public Health England have really got to step up and be more open in their communications’.

‘We’re being drowned in demand’, another GP adds. The problem of delayed ambulances reflects more long-term concerns over the strain on the underfunded NHS. Coronavirus, if it spikes in the UK, could test this strain to breaking point.

The case may moreover anticipate the ease with which coronavirus patients can be seen primarily as threats rather than humans. In the struggle to contain the disease, the patient’s welfare could be forgotten – the incident at the surgery, unfortunately, recalls the difficulties getting food in quarantined Wuhan . A failure to recognise coronavirus as an international issue can reinforce the simplistic and unhelpful notion of the disease as a ‘Chinese virus’.

There is every reason to have faith in UK’s response to coronavirus: the 2010 independent review by Dame Deirdre Hine in relation to the 2009 influenza pandemic, observed that ‘the NHS and public health services… responded splendidly and the public response was calm and collaborative.’ Meanwhile ‘the vast majority of the reporting of the outbreak’ was ‘highly responsible’.

Nevertheless, coronavirus presents a slightly different threat in its implications for identity politics, when UK post-Brexit is arguably more volatile, more isolated. We cannot be too complacent in expecting to remain ‘confident and calm’.

University commits to the Oxford Living Wage

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The University today announced that they have committed to paying the Oxford Living Wage, which will see a pay rise for nearly 2,000 employees, at a cost of around £5.5million over five years.

Wages will increase to £10.21 minimum hourly pay from 1st August 2020 onwards, when the commitment to paying the Living Wage will be implemented. The Oxford Living Wage is 95% of the Living Wage Foundation’s London Living Wage. The University is the largest employer in the city, and this represents a significant success for the council’s efforts to get employers to pledge to pay the Living Wage. 

This does not include colleges, who employ workers separately. St Cross College and Campion Hall already pay the Oxford Living Wage. A number of colleges currently pay the Living Wage Foundation’s Real Living Wage, which is currently £9.30 an hour across the UK, and £10.75 in London.

These are all voluntary rates: the two government rates that employers must legally pay are the National Living Wage, which is £8.21 an hour for over 25s, and the Minimum Wage, which is £7.70 for those over 21 and under 25. 

A statement from the University read “As part of its strategic plan, the University is committed to creating an environment that is supportive of wellbeing while ensuring Oxford remains an attractive place to work.

“Employees in a wide range of jobs are set to benefit from the new rate of pay, with office/clerical support staff, library assistants, museums’ staff, security staff, invigilators, technicians, secretarial and personal assistants and retail workers just some of the roles most affected.

“Apprentices, who were included when the University moved onto the Living Wage Foundation’s Real Living Wage, will be included once again. The University will initiate discussions with suppliers regarding a move to Oxford Living Wage where practicable.

“Professor Anne Trefethen, Pro-Vice Chancellor for People and Gardens, Libraries and Museums, said “There are many wonderful things about Oxford that make it an attractive place. However, it is known as being a city that is expensive to live and work in.

“Recognising this, I am very happy that the University Council has approved the introduction of the Oxford Living Wage for University staff, demonstrating our commitment to fair pay for our employees.” 

Councillor Susan Brown, Leader of the City Council, said: “I am delighted that the University of Oxford has signed up to pay the Oxford Living Wage. This is a huge commitment from one of the city’s biggest and best known employers, and will have a positive impact on hundreds of people they employ.

“The cost of living in Oxford is one of the highest outside London, but wages in the lowest paid jobs often do not reflect this. We think that the Oxford Living Wage is a good way for employers to show they recognise the financial pressures for their staff, demonstrate the value they place on their employees, and support a more inclusive economy for Oxford.”

“We recognise some businesses and organisations will have concerns about increasing the monthly payroll, but the University has demonstrated that even employers with significant numbers of people on the lowest rate can make that commitment. We hope that other employers will follow the example of the University.” 

Analysis from the University indicates those who will be most affected by the changes.The estimated five-year cost of implementing the Oxford Living Wage for University staff is £5.5 million.

The implementation of Oxford Living Wage will affect 2000 employees. This represents 8.2% of University employees and 6% of casuals.

The jobs that will benefit most are: Office/clerical Support (19.6%), Library Assistants, (17.6%), Security Staff (9.0%), Invigilator (7.9%), Technician (7.5%), Secretary/ Personal Assistant (7.3%), and Retail (5.2%).

Analysis indicates that a greater proportion of women (55%) than men (45%) will benefit from this move by the University.

This House Believes…The Government’s VISA Changes Will Be Bad For Britain’s Economy

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Proposition – George Beglan

The Government recently announced plans to change how the UK’s VISA system works. The chief impact of this will be to block low-skilled migrants from coming to the UK. 20,700 ‘Tier 2’ General VISAs will be made available annually, divided into monthly installments. It seems that ‘Tier 1’ Exceptional Talent VISAs will be issued solely on a case-by-case basis. This is despite basic flaws in centrally-calculated economic sums.

Knowledge about immigration is, perhaps paradoxically, local in nature. It therefore exists mainly outside the knowledge of any central government or authority. Net immigration exists, as a statistic and to a lesser degree as a general debate, as an abstraction from individual context by sum addition. Whilst this can be a useful intellectual work-around when discussing general principles or debating it on television, it is illiterate to deploy it within practical economic policy. Every immigrant is surrounded by their own set of circumstances, as well as their own unique talents and knowledge. As a consequence of this, the Johnson government could never attain enough worthwhile knowledge of each and every individual. As such, they could never hope to forge a completely fool-proof economic plan. Setting a hard limitation, on a first-come-first-served basis, is a rapid and dangerous way to end up with a multitude of individual economic misallocations. Johnson’s plan could never either predict or effectively combat these issues.

In order to successfully calculate what the economy requires, there needs to be deeply detailed co-ordination between those planning it. The basic info needed for such co-ordination is usually local, temporarily valuable and difficult to compare between different cases. It’s not made easier to compare of people who can’t agree on what is valuable. What a prospective immigrant is valuable about their potential contribution to Britain, and what Johnson’s government thinks is valuable, maybe radically different.

This is the essence of the problem with the government’s proposals. People coming to this country may well have a very different understanding of what they can bring to Britain than the government’s tick-boxes. The VISA system prevents effective communication between these two parties and thus any sort of coordination between Home Office policy and prospective migrants. The government’s policy, pax Pink Floyd, makes each immigrant just another brick in the wall either facing in or out of Britain. It neglects the unique personality and potential contribution of every individual.

Subjectivity comes to the heart of the government’s problem. Who decides what the country needs? Central government? UK businesses? Voters at the ballot box every five year? Immigrants themselves? A quango? The day-to-day whims of Priti Patel? All these perspectives pulling in radically different directions mean that any simple conclusion of what’s best for Britain’s economy is impossible to arrive at. It’s amazing that a government that claims it represents a “People’s Government” has no idea just what sort of people it’s referring to in one of its central policies.

Opposition – Jasper Evans

Before I begin, I would like to make clear that I disagree with this policy. For one, I find it emblematic of Boris ‘watermelon smiles’ Johnson’s attitude towards migration, and the larger ‘hostile environment’ attitude of the recent Conservative party. Perhaps more importantly, as the son of an immigrant, I would like to be allowed to come back home in the next vacation.

So I disagree with this policy with my heart, but that doesn’t mean my wallet can not see its potential benefits. I am not going to make the tired argument that migrants take up more tax money then they produce, which despite its aggressive disconnection with the truth still manages to trundle out once in a while on Question Time. Instead, I am going to posit that in the long run, a decrease in low-paid migration may be the solution to the British economy’s greatest weakness, productivity.

The British economy is stunningly unproductive. It lingers at the bottom of the G7 table, more than 30% lower than the United States and 10-15% lower than Germany, France or Sweden. Productivity, a measure of the amount of GDP produced per hour, is vitally important to economic growth. As Nobel prize winner Paul Krugman states : ‘productivity isn’t everything, but in the long run it’s almost everything’.

The government policy will (if implemented fully) vastly limit the number of migrants coming to the U.K. Especially low-paid low-skilled workers, who will be banned altogether. This will lower the number of working people in the U.K. and as any first year PPEist should be able to tell you, less supply with the same demand leads to a higher price. Wages will rise.

This may well, in the short run, be detrimental to the U.K. economy. Higher wages mean higher costs and some firms may not be able to compete. However, in the long run, firms will see higher wages as an incentive to invest in their workers. The ratio of the cost of labour to the cost of capital (machines, computers etc) will increase, and so other methods of increasing the amount produced in a firm will become more attractive. This will lead firms to invest more in machines, in training and in emerging technologies such as AI. This investment will allow each worker to produce more goods or services in the same amount of time. Productivity will rise.

At the same time, higher wages for workers and higher costs for firms will mean the economy will level out. Workers will become more valuable and receive a higher cut of revenues, while lower profits (at least in the short run) will limit the growth in wealth of the super-rich. The policy could lead to a more egalitarian society. In other words, the new Conservative policy may solve the productivity crisis and create a more egalitarian society. If it wasn’t such a morally distasteful thing to do, it would be a brilliant idea.

(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.