Monday 7th July 2025
Blog Page 578

Sexual assault investigations into Oxford Professor expand

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French authorities have expanded their investigation into Tariq Ramadan, prominent Islamic scholar and Oxford academic, to include two further cases.

Ramadan has already been charged with two cases of sexual assault, in 2009 and 2012.

Parisian prosecutors earlier this month instructed the magistrate handling the case to look into “two new potential victims” from incidentals that took place in 2015 and 2016, a judicial source told French news agency Agence France-Press (AFP).

Investigators took witness statements from the two women after they were identified from documents found on Ramadan’s computer. Both women described the relationship with Ramadan in their testimony, seen by AFP.

Le Journal du Dimanche said prosecutors believe this constitutes, “serious and concurring” evidence against Ramadan. One woman said: ““It was something other than physical rape, it went beyond that… there was a moral rape”. The other added: “I asked him to be milder, but he said ‘it is your fault, you deserve it’ and that he needed to be obeyed, which is what I did.”

This comes after Ramadan went on a media tour defending his innocence. He told Al Jazeera last week, “I kept silent … saying I’m not going to talk to journalists, I’m going to talk to judges.

“The problem that I had is that the judges were not even listening to me and not even looking at all the evidences that are just proving that I was innocent.”

“At that point I would say that my take on the whole issue is I knew I was targeted. I knew that for the last 30 years I was demonised because of who I represent in the French political and public scene and the way I was treated here was quite clear. ‘We are going to get him and he will end in jail.'”

A University spokesperson said: “By mutual agreement, Tariq Ramadan, Professor of Contemporary Islamic Studies, has taken leave of absence from the University of Oxford.

“Professor Ramadan’s teaching, supervising and examining duties have been reassigned, and he will not be present at the University or College. “The University has consistently acknowledged the gravity of the allegations against Professor Ramadan, while emphasising the importance of fairness and the principles of justice and due process. An agreed leave of absence implies no presumption or acceptance of guilt and allows Professor Ramadan to address the extremely serious allegations made against him.”

The first accusations against Ramadan emerged in October 2017, when activist Henda Ayari filed a complaint which said that Ramadan had sexually assaulted her in a Paris hotel room.

Ayari had previously recorded the incident without naming the perpetrator in her 2016 book ‘J’ai choisi d’être libre’ (‘I Chose to be Free’).

On 31 January 2018, Ramadan was taken into custody by the French police, and was released on bail nine months later.

Although Ramadan continued to teach for a short while after the first allegations surfaced, on 7th November 2017 he took an ‘agreed leave of absence’ from his University duties.

Lord Mayor of Oxford backs Extinction Rebellion

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The Lord Mayor of Oxford, Craig Simmons, has backed Extinction Rebellion’s call for environmental action in London.

In a video published on the organisation’s YouTube page, Simmons called for activists to “Get down to London on the 7th of October” and join Extinction Rebellion, which is planning to stage almost two weeks of action in London and various other cities from October 7 to October 19. The period of action, known as the “International Rebellion,” aims to shut down Westminster for two weeks.

In a statement on the October Rebellion’s website, they said they would “peacefully shut down all roads into Westminster in Central London and non-violently disrupt the government until our leaders agree to take emergency action now.

“Direct action is a really important part of the political process,” said Simmons, who has taken several measures to support climate action during his time as Lord Mayor, including setting up a £10,000 Climate Change Fund.

He also participated in the Global Climate Strike in Oxford in September, part of a series of worldwide strikes generally credited to 16-year old Swedish activist Greta Thunberg.

Simmons added that “climate change is the most important issue facing humanity today,” in his call for people to join Extinction Rebellion, which will commemorate its first anniversary at the end of this month. Simmons, who began his year of tenure in May 2019, has also committed to being Oxford’s first zero-carbon Lord Mayor by offsetting the carbon impact of his civic activities.

Extinction Rebellion have repeatedly called for the government to declare a climate emergency, a measure which the Oxford City Council took in January of this year following a unanimous backing of a motion tabled by the Green Party.

London-based media have reported that around 30,000 people are expected to take part in the October Rebellion.

St Edmund’s Hall pledges to go green as ten year strategy is launched

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St Edmund’s Hall Principal Katherine Willis has announced St Edmund’s 10-year strategy, which focuses on making the college greener, more diverse and more accessible.

The college’s estates strategy presents its vision as becoming “the greenest and most environmentally sustainable college in Oxford”, as well as meeting the needs of the college community.

The strategy includes a number of notable environmental pledges. The college aims to reduce energy usage by 5% every 5 years, by undertaking an “environmental audit of the entire estate” and taking steps such as “improving insulation, reducing draughts and using heating management schemes”.

The college intends to be “as close as possible to zero net energy use, e.g. implementing energy production through open loop geothermal energy, solar panels, biodigesters and other means.”

The college has also pledged to “examine all our activities in college that have an environmental impact and transition to more sustainable alternatives, e.g. reducing the use of single-use plastics, installing more green walls and improving levels of recycling”.

This news comes in the wake of St Edmund Hall’s new, “living wall”, which is 39 square metres, and is made up of over a dozen plant varieties.

The wall is designed to improve air quality, improve insulation and protect the building from the elements.

Along with these environmental commitments, the college has also made a number of pledges to improve diversity and access within St Edmund’s Hall.

Among these are promises to create funds dedicated to removing financial barriers to applying or continuing further study at the college, formulating a college statement on diversity and ensuring that all the college’s estates are fully accessible.

Oxford’s top 10 food stops

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On-the-Go: Gloucester Green Market (£-££)

Oxford’s answer to Borough Market houses a fantastic international food scene. Grab dumplings or samosa chaat for a couple of quid and wash them down with a cool lassi. Try Lula’s Ethiopian/Eritrean for a feast of stew and lentils, mopped up with injera.

Pizza: Pizza Pilgrims, Westgate Rooftop (£££)

Yes, a chain, but the pizzas here are beautifully irregular, with crusts so tangy you know why they call it sourdough. Swerve past retro arcade machines and a parmesan photo booth to get to your table. What’s not to love?

Scandi: Skogen Kitchen, Centre (££)

Wipe the fog from your glasses and explore the smörgåsbord of Nordic delight. I love the homemade meatball sandwich that screams Sweden more than an ABBA pre’s playlist. A cosy workspace, prepare for your eu-fika moment.

Cake-for-Lunch: Barefoot, Jericho (£)

“Coffee plus cake equals good day” reads a sign inside this pastel coloured gem. So wholesome, it’s hard to believe it neighbours Jamal’s. Step inside and a carpet of rustic cakes and sweet goods awaits. Slices are reminiscent of large slabs; prepare to fill up.

Pie: Pieminister, Covered Market (££)

If you’re looking to replace hall stodge with yet more stodge, this is the gravy-doused place to start. Comforting fillings meet inventive names like Moolin Rouge and, well, Kevin. Fantastic gluten free, veggie and vegan offerings are available.

Salad: The Nosebag, Centre (££)

No, not some kind of obscure Freshers’ Flu prophylactic, but a cute, hidden canteen. The salad options range from slaws to roasted veggies, grains and seeds. Other cold dishes and hot items are on offer and cater for many diets.

Greggs Substitute: Nash’s, Covered Market (£)

For no-nonsense sausage roll indulgence, look no further. However, I hear the city centre may soon be paid a long overdue visit from the original itself… 

Post Night Out: Hmm… (£)

A controversial one. For enabling my first experience of chips-and-gravy (my friend from Barnsley insisted), I’d say Hassan’s. But I’ll let you decide.

Burger: Tommi’s Burger Joint, Westgate Social (£££)

I love the way this Icelandic eatery has recreated its worn, trashed look of their Soho joint in the centre of pristine Westgate. The burgers are deliciously “dirty” and oozing cheese, with great veggie and vegan options available.

Cheese Toastie: Hamblin Bread, Iffley Road (££)

My favourite Oxford foodie destination. Simple tables front a whitewashed sourdough bakery. The menu celebrates uncomplicated, locally sourced ingredients. Flanked with stalagmites of golden burnt cheese, this grilled cheese sandwich is divine.

Making the Case for Bieber

I doubt you could find many people today who would not recognize those iconic opening notes of, statistically, the most hated song ever recorded – even if some would not like to admit it. “Baby”, Justin Bieber’s much maligned big hit from his first album, was undeniably popular, and unlike much of Bieber’s other earlier work, has persisted in the public consciousness. This is not to say it is lauded, however. It has the second most disliked video on YouTube to this day, and from its release to the present day is it seen as social suicide to admit enjoyment of the song. At the time of its release, perhaps no figure in western culture was hated more than Justin Drew Bieber.

Then, in 2015, something miraculous happened. Ladened with poor knockoffs from Austin Mahone and Shawn Mendes, we realized how actually difficult Bieber was to replace. And that year, he did something we didn’t expect – he released good music. Uptake was slow at first – lingering misery from remembering such trite as “Mistletoe”, “One Time” and “Eenie Meenie” made us cautious about considering liking music from him, especially after his public episodes of violence and disorder. But after months of music chart dominance, the public embraced “Sorry”, “Love Yourself” and “What do you mean” as bona fide mainstream hits from an artist no longer just for pre-teen girls, and what had been unthinkable five years previous, happened. It became OK to like Justin Bieber music, even as a grown man.

Such acceptance, however, did not and still does not extend to his earlier, pre-pubescent works. Indeed, much of his public redemption came from his epiphany that he should stop using the word “Shawty”, and pretending that he was Usher, much of which was likely the fault of Scooter Braun in the first place. Much of this early music deserves continued panning – “Eenie Meenie”, for example, made the confusing decision to base a song about indecision on an arbitrary decision making process that invariably makes a direct choice (and whose original and most famous incarnation uses the N slur). Much of these songs continued the strange trend of trying to sell us 15-year-old Bieber, barely more than a sperm, as some sort of cool alpha ladies’ man. It simply didn’t work on any level, and wasn’t helped by the instantly dated late-2000s production.

One song, however, stands above the rest. One song properly fit the artist. This one song would last. I speak, of course, of “Baby”.

“Baby” does not try to sell Bieber as cool. It does not try to sell him as suave. It sells him, quite realistically, as a child expressing how his “first love broke [his] heart for the first time”. It puts him in a more vulnerable position, and for that reason the song works. Unfortunately, due to the surrounding deluge of bad, it has taken me nine years to admit this. It is also incessantly catchy; full of hooks to keep the song in your head for days on end, be you a willing victim or not. This, of course, made the song much more hateable at the time – disliked music can be ignored, but if it is catchy it never leaves your head. Revisiting the song now also reveals the snappy production quality – those opening guitars hit with just the right tone, the vocals have just the right amount of delay, and though the obnoxious late-2000s hip-hop production elements push through in the chorus with those string hits and overbearing hi-hats, I must admit… the production kind of slaps.

I do not know how much they must have paid Ludacris to end his career, but it certainly must have been six figures or more. Even so, by some miracle, his verse on the song actually works. This goes to show to all guest rappers and artists the benefits of sticking to the theme of the song – it would have been easy for Ludacris to come on and write something completely irrelevant to the song, something like we heard on “Move B*tch”, but by sticking to the song’s theme and actually using the word ‘playground’ in its literal sense in a rap verse, it manages to fit with the song. Braun may have contracted Ludacris in some misguided attempt to lend ‘street cred’ to Bieber, but against all odds he actually added the extra sauce needed to make a good song a classic.

With its spinning camera, slow-motion, drake cameos, bowling alley and attempts at acting, the music video acts as the song’s final thesis. If it didn’t have Bieber wearing dog tags, it may even have been good in its own right. Instead, it unjustly sits on YouTube as the platform’s most hated music video, a victim of its own context. So I ask you, dear reader, to return to your streaming platform of choice, and listen through to the end with fresh ears, forgiving the album art that also features those damn dog tags, because when I unabashedly blast this song out of my room this coming term, you might as well enjoy it.

Brazil: What Happened to South America’s biggest democracy?

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This summer, social media fell into a state of shock as the Amazon rainforest burned. Facebook and Instagram were inundated with photos of dystopian scenes, providing a horrifying glimpse into our future world. What much of the coverage failed to mention, however, is that the fires were far from accidental. The tropical inferno was part of a systemic effort by the government and corporations to clear the forest and make space for cattle ranches. 

Although discussions surrounding environmental lobbying and individual action are undoubtedly important, it would be Eurocentric to redirect the conversation away from the country in which these shocking fires are taking place. This event is part of a larger disintegration of the regulatory systems that formerly protected Brazil, and a symptom of the political issues plaguing its society today.

A thorough exploration of the state of politics in Brazil will perhaps allow us to understand how such an event could happen in South America’s biggest democracy.

As a Brazilian, in the last three years I have seen an incredibly divisive miasma fall upon the country. Most nights, sitting at a mahogany table and tepidly grasping a glass of white wine, I breathe in deeply as familial warfare threatens to break loose. Such vehement discussions have plagued dining rooms all over the country. The Americans have Trump, and, with historically significant mimicry, the Brazilians have Bolsonaro. 

In October 2018 Jair Bolsonaro was elected as the 38th President of Brazil. The biggest democracy in South America made a disturbing move from electing its first female president to electing someone who infamously said, “I wouldn’t rape you because you don’t deserve it,” to a congresswoman. 

What happened?

Ironically, the rupture in the country’s democratic processes and institutions began with an investigation into corrupt politicians. Operação Lava Jato is an ongoing investigation into allegations of corruption at Petrobras (a state-led oil company) that was judicially commanded by Judge Sérgio Moro. The public were elated. It felt as though, finally, a stand was being taken against a system that had been forever riddled with corruption. 

These hopes quickly dissipated, however, when it became clear that the investigation was partial. Through claims of corruption, Judge Moro was incriminating a large part of the Brazilian political left. Both Worker’s Party former presidents Luiz Inácio Lula da Silva and Dilma Rousseff were investigated, which led to the jailing of the former and the impeachment of the latter. 

There was no evidence that Rousseff was involved in the Petrobras controversy. But in the age of ‘fake news’, the facts became irrelevant when allegations started flying around WhatsApp and Facebook. The public signed her off as a criminal.

Rousseff’s administration was, however, found to have committed fiscal pedalling, by using state-owned banks to front funds without officially declaring a loan. It was on these grounds that, with a disapproval rating of 71%, Dilma was removed from office on 31stAugust 2016 and succeeded by Michel Temer, one of the central plotters of her downfall. 

On 17th May 2017, recordings were leaked by O Globowhich revealed Temer discussing hush money pay-offs with Joesley Batista, the businessman who runs the country’s biggest meat-packing firm, JBS. This sparked protests and calls of impeachment, with 81% of Brazilians favouring his indictment. Unlike Rousseff, there was coherent evidence of Temer’s corruption. Yet, he was shielded in Congress, unveiling the duplicity of the system. 

The ramifications of the investigation extended to the 2018 presidential race. The frontrunner Lula, a former president of Brazil, was barred from running. Prior to being disqualified, Lula led the polls for the election, with a projection of winning 45% of the vote compared to Bolsonaro’s 15%. A number of international intellectuals, activists and political leaders, from Noam Chomsky to members of the US Senate, complained that the legal proceedings against Lula were designed to manipulate the election results in 2018. An investigation by the UN Human Rights Committee “requested Brazil to take all necessary measures to ensure that Lula can enjoy and exercise his political rights while in prison, as a candidate in the 2018 presidential elections.” This formal request was completely ignored.

More recently, Judge Moro has been implicated in what looks like a political conspiracy against the Workers’ Party. An investigative journalist, Glenn Greenwald, has uncovered excerpts from the app Telegram that suggest Moro collaborated with prosecutors to jail Lula. For many observers this is proof of the ‘plot against the left’ and malpractice in the 2018 elections. 

Lula’s indictment, alongside an extensive misinformation campaign on Whatsapp, was considered to be the main reason why an ‘antipetista’ sentiment proliferated in Brazil. From the perspective of voters, they had allowed the Workers’ party 13 years to deliver on a promise made to them in 2003: the promise of a democratic, egalitarian and transparent government. Yet, here were the party’s leaders, accused of the same crimes they spent their political careers denouncing. 

It was the oldest trick in the book. If you cannot beat your adversaries, get rid of them – then destroy their reputation and legacy.But this wasn’t just a strategic move in a game. These actions have real political, economic and social ramifications. 

As a vocal opponent of same-sex marriage, environmental regulations, abortions and secularism, at first sight Bolsonaro is not very different from other right-wing strongmen we see dominating the political world today. But Bolsonaro goes a step further than Donald Trump. He has instigated violence against the LGBTQI+ community, stated that it was a “shame” that the Brazilian cavalry wasn’t as efficient as the Indian-exterminating Americans, and suggested that “the poor” should be sterilised. 

If his inflammatory comments aren’t enough, Bolsonaro also opposes the very system that allowed him to rise to power. Bolsonaro is a supporter of the Brazilian military dictatorship that was in power from 1964 to 1985, having even suggested that the armed forces should march through the streets of Brazil to commemorate the beginning of military rule.The President enthusiastically celebrates a regime that was notorious for torture, censorship and murdering its critics. In a statement so sickening as to be unbelievable, heargues that torture is a legitimate practice, and that “the error of the dictatorship was that it tortured but did not kill”. This is a far cry from the former president, Rousseff, who was a member of the resistance during the dictatorship and was tortured by the regime. Bolsonaro didn’t forget this, and paid homage to Colonel Brilhante Ustra, who headed the torture unit where Rousseff was held.

This isn’t simply rhetoric. Bolsonaro ran on the promise to restore the Brazilian economy by exploiting the Amazon’s economic potential, whether it be in mining, logging or ranching. Since his inauguration in 2018, he has stripped the indigenous affairs agency FUNAI of the responsibility to identify and demarcate indigenous lands, worked zealously to privatise the Amazon and generally deregulated the economy. A climate change denier, his budget cuts on Brazil’s environmental enforcement agency have amounted to a scandalous sum of 23 million dollars. Recently, Bolsonaro fired the head of Brazil’s National Space and Research Institute when his findings reported a sharp increase in environmental devastation.

These policies are calamitous not only for the environment but also for those living in the rainforest. The ingenious population is being gradually stripped of its rights and its land, in a Machiavellian attempt to pawn off the Amazon to corporations. 

On July the 23rd, Amyra Wajãpi, an indigenous tribal leader, was found dead in Amapá. The Wajãpi tribe say he was stabbed to death by 15 non-indigenous invaders as they invaded the area to set up mines. The United Nations High Commissioner for Human Rights characterised the murder as part of a systemic encroachment into indigenous land, expressing her fears that such violence could be used to “scare people off their ancestral lands.” 

This isn’t a lone event. All around the country land is being recklessly stolen. The Xikrins, an indigenous population in Pará, have taken things into their own hands. On August the 25th, armed with rifles and knives, they took back their property from land-grabbers. However, this was met with fierce hostility, and messages threatening to “hunt the Indians” circulated WhatsApp. The Amazon has become a battleground. The images of smoke and flames we saw so frequently splayed across our telephone screens this summer came with a body count – a fact that was sadly edited out of the prevailing narrative.  

In August, Amnesty International stated that the Brazilian government was responsible for the raging fires in the Amazon.The group has documented various illegal land invasions and arson attacks in the rainforest, and it has been reported that the majority of the fires in the Amazon were caused directly by human actions. Local sources claim that it is Bolsonaro’s regressive politics and pro-business attitude that has inspired such a surge in arson attacks. While there is no apparent proof of Bolsonaro’s directinvolvement in the fires, it is undeniable that, at the very least, his deregulation and rhetoric have contributed to the eruption of illegal operations in the Amazon. Regardless, the discussion around the fires is much more intricate than a vegan panacea or an immediate regression to discussions about the Paris Climate Change agreement. The specific context of the fires matters, just as Brazil matters. 

This tragedy is symptomatic of a larger stain on the society, and this administration’s noxious effects can be felt on all fronts. In 2018, Brazil has reported an alarming rise in racial abuse, sexual assault, femicide and violence against LGBTQI+ people. 180 rapes per day are being registered, with 54% of the victims being less than 13 years old. These figures make Bolsonaro’s comments about Congresswoman Maria do Rosário even more poignantly horrific. Indeed, the executive director of the Brazilian Public Security Forum, Samira Bueno, cites Bolsonaro’s inflammatory language as a potential cause of this epidemic of violence, stating that “people are more prejudiced because we have political leaders who articulate this.”

Bolsonaro’s political decisions often appear to arise out of a desire to be controversial. The President is currently proposing laws that provide legal cover to police officers who use lethal force. In the first six months of 2019, Rio police killed one person every five hours. A similar trend can be seen in São Paulo, a city that has experienced its highest number of killings since 2003. The UN High Commissioner for Human Rights has criticised his proposals, saying that rejecting state crimes can “entrench impunity and reinforce the message that state agents are above the law”. Bolsonaro, with his infinite propensity for wit and diplomacy, responded by taunting her father’s torture by the Pinochet regime.

Brazil is a country with intrinsic inequality – the rich fly around São Paulo in helicopters, while the poorest don’t have enough to eat. Bolsonaro’s administration has only exacerbated this disparity, cutting back on workers’ rights and education spending.

Bolsonaro promised economic prosperity. He assured the public that by deregulating the economy and reducing taxes the Brazilian economy would thrive. However, these electoral promises have proven to be empty, with the growth forecast being lowered from 2% to 0.8%. His economic and social policies have caused fear to spread widely within the international community, and investments into the country to steadily slow. For all his talk of job creation, the situation looks dire, with the unemployment rate still lingering at 12%.

On his 100thday in office, Bolsonaro had the lowest approval rates in the country’s history, and it is currently wavering at 29%.

It is easy to say that democratic processes can protect a society from a certain politician and his administration, and whilst they may be curbed by the senate and a limited term, a society cannot go back after electing a leader. Once a leader is elected they are acknowledged as a spokesperson for a nation; their actions and statements have real, tangible impacts. As Bolsonaro frequently dispenses shockingly homophobic, sexist and racist opinions, he validates these opinions, and such endorsements have the power to completely alter the culture of a society. Because of this, we cannot ignore Bolsonaro as a ‘blip’ in Brazil’s democracy; we must seriously consider the long-term impacts of a president who entirely rejects the democratic due process and watches as the Amazon burns. 

Review: Don’t Call Me Angel

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“Lucy Lui with my girl Drew, Cameron D, and Destiny…” oh wait that’s the wrong song. Let’s get this out of the way now – it’s 2019 and we shouldn’t be pitting women against each other. That said “Don’t Call Me Angel” by Ariana Grande, Miley Cyrus and Lana Del Ray is bound to suffer some form of comparison to the former Destiny’s Child hit “Independent Women” and suffer it most certainly will. The lyrical talents of three of pop’s biggest contemporary stars cannot compare with the iconic lyrics of female empowerment that Beyonce, Kelly, and Michelle belted out 18 years ago, so lets park any head to head sing off’s right there and move on.

Don’t Call Me Angel starts off well, and the melody was ingrained in my head from first listen (partly because it doesn’t stop throughout the entirety of the song at its own detriment). I must say my little gay heart started doing backflips at the thought of this trio of women collaborating on a song for a film that has all the hallmarks of being iconic in LGBT+ culture – the Charlie’s Angels reboot. However after Ari has told you not to call her angel for the 10th time you start to realise this song is low on originality, trading on the pulling power of its three stars and far inferior to anything on her Sweetener album. Her verse is completely forgettable and her usual trick of slurring words together makes it almost impossible to discern what it is she is actually saying. 

The worst part of the song, however, belongs to Lana Del Ray who seemingly wasn’t present during the recording or writing of the rest of the hit. That’s the only reasonable explanation as to why her verse sounds like it belongs in a different song or indeed why her vocals can’t be heard anywhere else on the track. 

Miley most certainly has the best verse but then her lyrics about writing her own checks and paying her own bills are almost lifted right from the aforementioned Destiny’s Child track which as I’ve already said is far better written and performed.

To give credit where it’s due, the song is still stuck in my head playing as I write this and I will most certainly be listening to it again and again. The music video, whilst borrowing heavily from Taylor swifts bad blood, is fierce and captures the fun of Charlie’s Angels. However, it’s also obvious this song has been written with the film in mind in which the background melody is far more likely to feature prominently than the rest of the song. I also cannot deny that in the trailer seeing the three Charlie’s angles strike their iconic pose as this song plays filled me with joy, but that was before hearing the whole song.

I love all three of these women and really wanted to love this song but I can’t escape the feeling of being unfulfilled and disappointed that a song that had so much potential ended up being another cookie-cutter track with clunky changes in tone and dull lyrics.The real problem with the song isn’t that it’s bad (Lana’s part aside), it’s just so basic when it could and should have been so much more. Inevitably in 12 months, I’ll be watching a drag race lip-sync to this song and wonder why I never showed it more love in this review but that time isn’t now and if that day never comes this song will leave our collective memories with little fanfare. 

Review: The Leisure Society at the Bullingdon

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Brian Eno likes the Leisure Society. So does Ray Davies. These facts alone are reason enough to persuade anybody to go and see a band. A listen to the Leisure Society on Spotify ought to dispel any lingering hesitation. Their music is compulsively listenable, easy on the ear, musically clever without being pretentious, lyrically versatile and emotionally complex. If you’re not persuaded, then here’s another fact: their members include a flautist and a violinist as well as the usual suspects.

The band were performing at the Bullingdon as part of a tour to promote their latest album, Arrivals and Departures. It’s their fifth album, in the works for four or five years, and it tracks the break-up of the relationship between the band’s lead singer (Nick) and flautist (Helen). It charts every stage of the process, from anger to confusion and on into resignation and separation; Nick wrote most of the songs while living out of his suitcase. Both Nick and Helen are still members of the band, but Helen wasn’t part of the touring group. Nor were any of the band’s ad-hoc members. They were reduced to the essentials: bass, synth, drums, electric guitar and violin. The result was a cleaner, leaner and more powerful sound than you’ll hear on their recordings.

The band had just arrived from Dublin and were, said Nick, ‘a little delirious’. I was also a little bit delirious as I had forgotten to eat anything. An unfortunate side effect was that I found myself continually reaching for food similes. My conclusion? The Leisure Society are the musical equivalent of a really satisfying cheesecake. They’re built on a solid, gingernutty base of guitar and drums; Nick’s voice is thickly layered on top like ricotta mixed with cream; Mike’s violin, with its plucked notes and flights of vibrato, is like lemon zest grated over the top. It adds colour and a certain twanginess when played pizzicato.

You know what you’re going to get from a cheesecake. It will probably taste of cream, cheese and biscuit. Similarly, you know roughly what to expect from a song by the Leisure Society. They are purveyors of happy mellifluous melancholy, of songs with sumptuous melodies, a strong rhythm, longing lyrics, and the hum of a violin. They have, in other words, a trademark sound. You can’t fail to recognize them once you’ve heard a couple of their songs.

A classic example is ‘The Last of the Melting Snow’, the first song from their first album, which is as gentle and melancholic as can be. ‘Save it for Someone Who Cares’, also from their first album, is an alternative archetype. It begins with some fluttering from the flute before the beat breaks in (dum-da-dum, dum-da-dum). Then the words come. At the end of the song, the band launch into a series of up-down, country-sounding scales accompanied by rhythmic clapping and some long trills on the violin. Another song in a similar but different style is ‘Fight for Everyone’ which, with a few lyrical adjustments, could serve as a Corbynite anthem. It’s gloriously upbeat and infectiously optimistic, opening with a simple trumpet melody and building into an expansive tune based on a series of overlapping keyboard riffs and a meandering synth. It’s almost too easy on the ear, too musically unadventurous. Still, it’s fun. I can guarantee that everybody in the crowd enjoyed it when it was played, myself included

Many of the songs on Arrivals and Departureshark back to these models, but others spring surprises. In the middle of one song, Mike flipped his violin over and started strumming it as though he’d mistaken it for a guitar. He did, in fact, switch to electric guitar for a couple of songs. ‘Mistakes on the Field’ begins slowly with variations on an arpeggio; then in come the guitars and trumpets; then the synth starts again with its six note, up-down arpeggio. Eventually we get some simple lyrics. In the last minute, the guitars are set loose. There’s a gap – people clap, they think it’s all over – and then the band play a two-minute instrumental. The sound here is denser and less pastoral.

I found myself paying particular attention to the lyrics, which are are quick-witted and occasionally approach the almost-poetic. ‘ ‘Leave me to Sleep’ even finishes with a snatch of poetry from Liz Berry, a Black Country poet perhaps best known for ‘The Republic of Motherhood’. The combination works perfectly: the notes end and the words continue, a resonant echo of what came before. Of course, not all of the songs are particularly elevated. ‘We were Wasted’ was directly inspired by a particularly memorable night out in Burton-on-Trent, the band’s hometown.

The Leisure Society are the sort of band who always get four-star reviews. Disliking them is virtually impossible. I’ve tried to induce it under laboratory conditions, with little success. Nonetheless, reviewers usually have reservations. Aren’t they a bit too safe, too same-ish, too sweet, like Marmalade made without Seville oranges? These are valid complaints, but I have no qualms in awarding the Leisure Society five stars. I could say something like ‘their most recent songs add musical texture and emotional seriousness, improving…’ But the real reason is this: They made me deliriously happy for an entire sixty minutes. What else can I say, except listen to this?

Grown Ups Play Dress Up – The World of Live Action Roleplaying Costuming

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When I was a kid, I didn’t care about clothes or fancy dress at all. Now, it’s literally a matter of life or death for me. Well, at least life of death for my character in the UK’s largest Live Action Role Playing Game (LARP), Empire. Four weekends a year, I and roughly 3,000 other nerds gather at a campsite, put on costumes, and do everything from engaging in battle, to baking homemade cake, to performing improv comedy in character. You sign up to not break character for three days straight, and essentially stay in a fantasy army camp constructed out of enormous tents. That’s not to mention all the subsidiary events run by players outside of the main game – weekend stays in castles, balls, fancy dinners run by matchmakers, food festivals, assault training courses, you name it. There are around 3,000 players attending a single event, so it’s fully possible for them to build a replica of a medieval army encampment town in a weekend out of tents. It’s the closest thing you can get to actually going to a fantasy world. 

The specific piece of clothing you wear determines where your character is from, what cultural interests they have, what magic they can cast and what religion they follow. The armour you change into determines where you are actually physically protected as a character (you have to wear gauntlets if you want your hands to be safe!). There are hundreds walking around the camp in full plate. As a result of this my procrastination now involves sewing or painting runes onto a corset belt to make myself some magical armour. Whenever I go into a thrift store I’m not thinking about what I should get – I’m thinking ‘oh that long skirt would work for the in-character ball I’m going to – Maddala needs some formalwear.’

One thing that sticks out to me about costuming in Empire is that almost every piece of clothing has symbolic value to the person wearing it. It’s hard to be a character 24/7, so giving people around you visual tells really helps. For example, I was sent on a mission as a new player by one of the game masters (called the ‘Harlequin’ in my nation) to make myself a hat to fit into our nation’s costuming. I went to a trader (fully willing to conduct business in character), bought a purple base hat, but had to pin it up on one side to fit the bill for the slightly foppish fantasy Republic of Venice (called the League) my character was from. I chose a brooch to pin up the hat that looked like a few sapphire playing cards (after all, my character is a trickster magician), and a black feather as a decoration to match my jacket. The in game traders dress up like merchants, and sell racks and tables of clothes out of tents, and are there to help you customise your outfit to signpost your character as much as possible. My red gloves cover a cursed scar on my hand from when I broke a magical promise to my mother, my mask enables me to cast magic by playing a character while wearing it, every ring on my finger is associated with another player and an in-game promise I’ve made to them. 

At this point I’ve stopped buying normal clothes as much as I used to. I have enough normal clothes. Sure I’ve worn the same long black coat for 5 winters in a row and it was cool to look like Sherlock when I was 15 and I should probably get another one… But if I don’t use my money to get some battle clothes… Maddala could actually die. Have you thought about that one, Isabella?! (Also if I hadn’t bought that leafy cloak last time, I might have frozen to death in the cold camping overnight). Right now I’m spending time sewing runes onto a corset belt my friend gave me for some magical warding. Under that I’m applying a rose applique to a sweater with phoenix-like flame decals along the sleeve I found from the closing down Brick Lane designer RAGYARD. My guild Ash and Embers has a phoenix emblem, and it was too perfect. I chatted with the store worker about the fact I intended to use one of their last bespoke ‘sacred heart’ pieces for LARPing and I have no idea whether they saw it as a past hurrah or spitting on the store’s grave. But catch me going into a fight as a battlemage next year in phoenix feathers, a ruff, corset, with wand and a custom-ordered foam rapier. Thanks for making me learn how to fence when I was a kid, dad. I’m so so so sorry this is how it’s getting used.

Everyone at Empire is so desperate to express themselves as a character, many take up sewing, embroidery, tailoring, painting and are in general the craftiest lot of people I’ve ever met. Oddly, it seems incredibly well gender balanced. I was at a Magic the Gathering tournament today where there were about 5 women out of 50, and it felt like a lot of women for Magic (queue the eternal 3% jokes). But at Empire no one outnumbers anyone else, with loads of female and nonbinary players. I wondered about this for a while – why are there so many more women at larping than any other nerd hobby I’ve been to? But then I started to see all the crafts items people produce, and realised this is the place where every kid who made fairy jewelry as a kid went when they grew up. Doing things like making necklaces and remembering trivia about monsters are equally valuable skills here, and everyone does a bit of both. Because you can get ahead through basically any talent, (performing your own plays, running a publishing house, brewing your own alcohol, buying votes for the Senate – or writing farmer erotica and drawing lewd orcs as my friends in the Smut Council do), there is an incredible atmosphere of inclusivity and equality. All grown up nerds know how to fight and to sew. I’ve always been more interested in the former, but I’ll be damned if I go into battle looking bad – I won’t be featured in the in-game fashion magazine The Looking Glass with an attitude like that. 

Muddy, exhausted and sore from camping on the ground, I go home on the Sunday night of the long weekend eager to get back to Empire as soon as possible. But on the train home I see loads of people carrying their gear – those costumes which mean so much to them, and are used to express their characters boldly to the world. These people are more often than not just wearing jeans and t-shirts – a million miles away from the styles they’ve just been in and clearly spend so much time constructing. Probably only a fraction of the LARPers I know would consider dressing that way on a regular day, and it always makes me a little melancholy that culturally we don’t have that attitude towards clothing. It looks odd if you use a million accessories to telegraph who you are, and often we care more about trends and combinations than we do as using clothes as a way to express your real character. I wouldn’t wear my LARP clothes around (it’s hardly comfortable to drag a cape on the tube, and besides I need to be spending my daily life dressing in trashy space glam), but it has made me think a lot more about a world where every piece of clothing has personal meaning, and maybe in future in life I’ll look for clothes with a little more of a story behind them.

If you want to start with LARPing, don’t feel intimidated about the costuming – a lot of people turn up for their first time in just black trousers and a white tunic. The pieces of clothing, accessories and artefacts you assemble mean a lot more if you acquire them as a result of in-game interactions – turning up with next to nothing gives you flexibility, and I’d strongly encourage anyone reading to start playing! 

Photos below taken by my request from the official Empire LRP photo forum, and permissions to present them online given by the players featured. Photographers credited beneath respective photos.

Photo credit: Charlie Moss – http://charliemoss.eu/

Secret police database harvested Prevent data from education sector

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Police in the UK have a secret database containing the details of thousands of individuals referred to counter-extremism programme Prevent, with almost a third of referrals coming from the education sector, the Guardian has revealed.

Documents obtained by human rights group Liberty revealed the existence of the database, which contains personal details and reasons for referral for every one of the thousands of people referred to the programme. The person added is not notified.

The precise number of individuals on the database is unknown, but official statistics show that 21,042 individuals had been referred from 2015 to March 2018 alone.

Of the 7,318 people were referred to the Prevent programme in 2017-8, 2,426 were referred from the education sector.

The public aim of Prevent is to divert people from terrorism before offences are committed, but it has been criticised for being counterproductive and disproportionately targeting Muslims. The programme is currently undergoing a review in light of these accusations.

Information on the National Police Prevent Case Management (PCM) database is derived from referrals made by public servants, such as teachers and doctors, who are compelled under a statutory duty to report signs of extremism.

The PCM database is managed centrally by the national counter-terrorism policing headquarters. A Freedom of Information request by Liberty showed that the database is accessible to all police forces across the UK, as well as the Home Office.

Police chiefs said recording referrals ensures accountability and allows the forces to understand when vulnerabilities are increasing.

A National Police Chief’s Council spokesman said: “The public would expect the police to maintain professional records of those individuals referred for support as potential victims of radicalisation. This is no different to the way we record other forms of supportive safeguarding activity such as child sexual exploitation, domestic abuse or human trafficking.

“Good records ensure we are accountable, allow us to understand when vulnerabilities are increasing, and ensure we act consistently and proportionately, only taking action int hose cases where our support is necessary.

“If we did not maintain proper, legally compliant records, the public would rightly have far less confidence in the police.”

Any rank of police officer or staff can access the database, but users are vetted and given training before access.

Liberty policy and campaigns manager Gracie Bradley said: “This secret database isn’t about keeping us safe. It’s about keeping tabs on and controlling people – particularly minority communities and political activists.

“It is utterly chilling that potentially thousands of people, including children, are on a secret government database because of what they’re perceived to think or believe.”

Prevent was created as one of four strands of the government’s counter-terrorism strategy in 2003.