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Profile: Randall Kennedy

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Randall Kennedy Was born in South Carolina in 1954. He attended Princeton for his bachelor’s degree, Balliol College on a Rhodes scholarship, and Yale Law School, before doing two judicial clerkships, the second for US Supreme Court Justice Thurgood Marshall. In 1984, he accepted a teaching post at Harvard Law School, where he has stayed ever since, penning magazine articles and books on race and the law. In other words, Kennedy is an academic – and a very good one. But he is also an advocate and an intellectual: He is not only engaged in the pursuit of truth (‘Veritas’ reads Harvard’s motto), but a fighter in the world of ideas, whose scholarship is intended to be part of, and shape, the public discourse.

Kennedy is also black, and his work grapples with issues of race. He is working on two projects currently, he tells me, in his spacious office at Harvard Law School: a book of essays and a book on the consequences of the Civil Rights Movement. The projects complement each other. The first is a history of Kennedy’s work: he is revisiting, revising, and expanding upon old essays and books, addressing new developments and realisations. The second is, indirectly, a history of his life – his own and all the other lives of African-Americans born since 1954.

“There are a couple essays,” Kennedy says, that will form the core of his first book. One of them is called ‘Where is the Promised Land?’, in reference to a speech Martin Luther King Jr. gave the night before his assassination. That night, Kennedy explains, “King said to his audience ‘I might not get there with you but I’ve seen the Promised Land, and we as a people will get to the Promised Land.’ My question is, what is the racial Promised Land? What does it look like? What are its borders? What is its topography? What is it?”

“I don’t care who you are, everybody says they’re for racial justice, for racial equality. Everybody!” Kennedy continues. But what we mean by racial justice is deeply ambiguous – we have declared ourselves for racial equality and against racism, without focussing on what we mean by those terms. For example, Kennedy asks, “if you say you want a race blind society, ok, does that mean that you want the abolition of all associations that are designated by race? Does that mean that you want an end to, let’s say, the Congressional Black Caucus? Does that mean you want an end to any private association that has race in a title? Is it a bad thing for a black person to walk down the street and to interact in a special way with other black people?”

Kennedy himself admits to being unsure of the answers to these questions. One of his essays in the Atlantic speaks to racial solidarity and kinship – its thesis that politically and intellectually, the practices are indefensible. The essay stuck with me: it had taken a hard line about what I felt was a much less clear-cut issue. I ask him about it and he tells me he’s been considering “publishing that essay as is, and then responding to it.” He says something else that is remarkable as well: that he was undecided about racial solidarity even at the time he wrote the piece. “I wanted to try on that view,” he says. “Let me try this on, let me really argue for it strenuously. How will I feel about it? So I did.” But his ambivalence did not go away.

A third essay being featured in the book is on one of the long-running themes in Kennedy’s work – that in the history of American racial thought, there have been two camps: optimistic and pessimistic. The pessimists – whose ranks include Thomas Jefferson, Abraham Lincoln, Malcom X, and Kennedy’s own father – say “we shall not overcome. Let’s just get that straight: America was born in racism, will remain a racist nation-state, and that should be understood.” The optimists – Frederick Douglas, Martin Luther King Jr., Barack Obama, Kennedy – disagree: we will reach that promised land.

“Now,” Kennedy says, “I’m going to revise [that essay], because, frankly, we are in the middle of a presidential election, and what has already happened is very alarming and very disturbing. And I need to talk about that. Frankly, if Donald Trump was to win the presidency – I don’t think he will –  but if he was, I would really have to rethink what I wrote.” A related revision will be to his 2012 book The Persistence of the Color Line. “Did I think when I wrote that book that the backlash, that the racial backlash would be as vivid, would be as sharp, would be as deep, would be as just open and unvarnishedvocal, visceral, as it has been? Nah! I have been taken a bit by surprise.”

But the book Kennedy says he needs to revise the most is his first, Race, Crime, and the Law. Kennedy’s thesis at the time was that African-Americans have been under-protected against criminality – a conclusion drawn in 1997, before discussion of mass incarceration and the hyperpunitiveness of the American criminal justice system entered the mainstream. “I don’t talk enough about that,” Kennedy insists. “And I am going to talk about that. I made it seem as though somebody goes to prison, it is all about them. I did not talk about the way in which everybody is part of a web. If some person goes to prison, it’s not just about them. What about their kids? What about their parents? What about their cousins? What about their neighbours?”

Another Of The compendium’s essays will be about Derrick Bell, briefly a colleague of Kennedy’s at Harvard and an “ideological adversary” for a long time afterwards (Bell died in 2011). Following the publication of Race, Crime, and the Law, Bell wrote an essay in New Politics declaring Kennedy “the impartial, black intellectual, commenting on our still benighted condition and as ready to criticize as commend.” His criticism amounts to this: Kennedy, for reasons of naivety or personal indulgence, has betrayed the civil rights movement; his positions only harm the cause, providing “a comfort to conservatives and advocates of the status quo.”

Consider the severity of this attack. Kennedy is enormously thoughtful; he is highly animated and cares tremendously about his work; and he considers himself a fervent supporter of American liberalism. Bell’s article, then, goes after the core of Kennedy’s intellectual identity – and Kennedy was harsh about Bell as well. But nevertheless, Kennedy says, “I am writing about him because I don’t think he’s ever gotten his due. I don’t think I gave him his due when he was alive. And I think he was an important person, who warrants a good, careful, rigorous examination. Any intellectual, that’s what they want.”

One of the subjects over which Kennedy and Bell disagreed most was the responsibility of the black intellectual. “I do various things,” Kennedy says. “There have been times when I have been a polemicist, really pushed hard.” He cites his work concerning interracial adoption. “I was involved in litigation about it. I was involved in lobbying. I lobbied Congress to pass a law, and was very successful in doing so. In those years, I was very much the polemicist: here is the subject, here is the way you should think about it. I was take no prisoners, very single-minded. I portrayed the other side, but I did not give much scope to it. I portrayed the other side in order to knock it down. But that is unusual for me. That has not been my typical way of being. My typical way of being is to be a little bit more cool, more distant, more appreciative of the other side, more interested in just setting forth for the reader the ironies, the paradoxes, the complications of things, and not being as much of an advocate for a particular view.”

Kennedy points out that Bell has not been the only one to take him to task for this approach. “I’ve had students who have gotten really impatient with me, who say, we are engaged in a struggle, and you act as if you’re just an aesthete. You’re talking about this as if we were talking about a poem.” On one level, he argues that this line of criticism is misguided: that the more effective strategy of persuasion is to be able to convince “a reader that if they read something by me, they are actually going to get a very rounded view of the subject.” He claims that his most recent book, For Discrimination: Race, Affirmative Action, and the Law, was able to bring people around in support of affirmative action by not pulling any punches – just proving that its arguments were stronger.

More fundamentally, however – and I think, more compellingly – Kennedy questions the logic of implying that the critic’s contributions are not worthwhile. His work can be meaningful, he suggests, regardless of whether it is successful advocacy. “If I am writing about a phenomenon like the 1964 Civil Rights Act, I think if I allow somebody to really learn about this phenomenon, I think I’ve contributed to the world. The more detailed, the more subtle, the more I allow people to understand why there were people who were against the 1964 Civil Rights Act, I think that is a contribution in and of itself, and I feel completely comfortable with that. Intellectual life is broad. It calls for different performances at different times.”

Another fundamental point of tension between Kennedy and Bell was over the optimism that pervades Kennedy’s work and thought. We will overcome. A compelling argument will succeed in changing hearts and minds. The same spirit of optimism also motivates his book exploring the impacts of the civil rights movement. The same year Kennedy was born, 1954, the Supreme Court also ruled school segregation unconstitutional in Brown v. Board of Education. “Now, has that been evaded?” Kennedy asks. “Are there public officials that engage in invidious racial discrimination through subterfuge? Yeah, sure, absolutely. But it is unlawful. They are not doing that legitimately. That was changed – and that is very important. It’s very important. So nowadays, since 1954, public officials – do they do that sort of thing? Yeah, they do that sort of thing. But they have got to lie about it!

“I feel absolutely inspired writing this book,” Kennedy adds. “In a way it’s the story of my life. Did the Civil Rights Movement change my life? Absolutely! Are you nuts? Yes! Where are you talking with me? Harvard Law School for God’s sakes. When you come to Harvard Law School in the entering class, in 1954 there might have been, maybe there was one black student, maybe. Maybe there were two. Not more! Entering class at Harvard Law School now, you got to make sure that you have got a class that can contain the African American contingent of students.”

The book is also an ode to American racial liberalism, to the thinking “that repudiates the idea that white people should be on top, that white people have a right to run things, that white people should, of course, have first dibs on the best of American life.” Kennedy reiterates that there is still far to go (“the United States is still a pigmentocracy, even with Barack Obama in the White House”), but he lauds the achievements of the Second Reconstruction – the 1964 Civil Rights Act, the 1965 Voting Rights Act, Brown v. Board of Education – as “the great landmarks of liberalism” and progressivism. “I’m no Pollyanna,” he says, but “people of my political ilk should be proud of that.”

In November Of last year, portraits of Harvard Law School’s African-American professors were defaced with black tape. The student body was outraged and upset: this was, many believed, an unequivocal case of racism – and emblematic of a deeper, systemic racism with the institution. “As a black student, it was extremely offensive,” the president of the student body told the New York Times. “And I know the investigation’s ongoing; we’ll see what happened, but to me it seemed like a pretty clear act of intolerance, racism.”

To Kennedy, it wasn’t so clear. In a Times op-ed published a week later he urged reflection and suggested other plausible explanations for the incident besides racism. Even “assuming that it was a racist gesture,” he wrote, “there is a need to calibrate carefully its significance. On a campus containing thousands of students, faculty members and staff, one should not be surprised or unglued by an instance or even a number of instances of racism.” He warns as well against a “tendency to indulge in self-diminishment by displaying an excessive vulnerability to perceived and actual slights and insults.”

New York Times commentators were appreciative; many students were not. On December 5, Two activists respond to Kennedy’s op-ed in the Harvard Law Record. For paragraph after paragraph, they tell him he is missing the point, insensitive to the systemic racism at play, diminishing the student body. “He is redefining racism and trivializing the experience, insights, and courage of the students who perceive something that he doesn’t,” they write. “He may unwittingly be a source of [black students’] disempowerment.”

A steeliness in Kennedy’s voice emerges when I ask him about the incident. “I think there were some people who viewed me an ideological enemy of the antiracists within Harvard Law School,” he says. “And it seems to me that they were profoundly mistaken.” The steeliness fades into frustration. “I talk with students about this all the time. I’ve said, first of all, since when is being a critic necessarily – you view me as being an enemy because I was being critical of you? Oftentimes, criticism is friendly. I was trying to be your friend.”

“You want people to save you from yourself,” Kennedy says. “Do I think that every time I write something, I’ve got it perfect? No! I don’t! I am all the time writing, sending out drafts to people, and either implicitly or explicitly, I am asking people, save me from myself. So, as far as I was concerned, I was an ally saying, hey listen, I think a lot of what you’re doing is good, but you’re strong. Glory in that. Why talk yourself into being weak? I think some of you guys are talking yourselves into being weak. ‘I’m so traumatized by this, I can’t study anymore.’ Nah, nah, nah, I see you guys, I talk with you, you’re in my classes. I’ve seen you. You’re strong.”

Kennedy does acknowledge a narrowness to his definition of racism. “I tend to be a little bit more demanding in evidence. So for instance, when this incident happened, I went around to people, and I said, Gosh, you are really so angry, you are really so alienated. I’m here, I’ve been a long time here, I must see things differently. Give me some examples of why you feel disrespected, so deeply alienated from Harvard Law School. Because I don’t understand. And then we would talk, and people would give me an example, and I would say, to tell you the truth, just given the example that you just gave, I don’t see it the way you see it. You see it as racism. I am not persuaded of that. There are a bunch of other alternative explanations. You just gave me an example – why do you think it is racism as opposed to somebody being a jackass? There are jackasses around. Maybe it is racism! I’m not saying it’s not. On the other hand, maybe it’s not.”

“Racism has a particular status in our society,” he adds. “If you are going to say that the institution is racist, yeah, well, people who are predisposed to go along with you might go along with you, just because you said it. But there are going to be a lot of people who, nah, they’re not going to go along with you just because you just said it. In fact, they may be very skeptical of you. How do you get through their skepticism, how do you draw them onto your side? I am training advocates for God’s sakes.

“And I should say one more thing: one thing that I think that came up after that piece, because there were some people here, some activists, who were very angry with me. One thing that I ultimately said to them is you need to be very careful in dealing with people, including me. Because you can make enemies out of people. I wrote the piece I think very much as a critical ally as yours. But some of you are acting in a way that if you are not careful, you are going to make an enemy out of me, and I would advise you not to do that, because frankly you’ve got enough enemies. Why make an enemy out of an ally? That doesn’t make any practical political sense. But you seem to be doing that from time to time. That, it seems to me, is something that you would want very much to avoid doing.”

Similar Struggles Over the boundaries of racism and discrimination have been playing out across higher education campuses. Protests have erupted over cultural appropriation, controversial speakers, ‘triggering’ content in course material, and – in the variation certainly most familiar to the Oxford student – institutional commemorations of bigoted historical figures. Does Oriel’s statue of Cecil Rhodes signal that Oxford is an exclusionary space? How about a residential college named after an unapologetic defender of slavery? Or a law school crest that pays homage to a slave-owning family?

These questions are the foundation of what Kennedy calls the “dememorialisation struggles”: on the one hand are student-led calls to eliminate symbols celebrating racists and bigots; on the other, there are cries to preserve history and the sanctity of free speech. We had Rhodes Must Fall here at Oxford; Princeton saw protests over the Woodrow Wilson School; Yale over Calhoun College; Harvard over the Royall Crest. There have been similar denunciations of vestiges of the Confederacy, like statues of Confederate soldiers and representations of the Confederate flag.

“For all of these,” Kennedy says, “my basic thing is, as a presumption, addition rather than subtraction. I don’t want people to lose sight, too much, of what’s in the past. Yeah, there was a guy named Robert E Lee, and Robert E Lee was a quite substantial person, admirable in certain respects, but this person who was admirable in certain respects fought for the Confederacy, which was willing to go to war to maintain a system that allowed for and that actually reinforced a regime of making people property. I want people to remember that boy, wasn’t that screwed up? And didn’t even people who were admirable in certain ways fall into that? That’s a hell of a cautionary tale. I want the cautionary tales to stick around.”

“Now, when somebody talks about Thomas Jefferson,” he continues. “I want the Jefferson story to be fully out there. Here’s this guy who wrote wonderful things about liberty, and the pursuit of happiness, and all men are created equal, and he was a damned hypocrite. I want that out there too, I want the whole thing out there, but we are going to keep the Jefferson Memorial. Okay, I can live with that. And I would say the same thing, by the way, about Rhodes.”

At the beginning of my conversation with him, Kennedy told me the advice he always gives to American students heading to Oxford – a lesson based on the deep regret he says he feels about how he treated his time at Balliol. And maybe it applies here too, to those of us who risk letting Oxford’s flaws blind us to the privilege of being able to study within its walls. His suggestion was this: Be in awe. Be impressed. And take advantage of the opportunity for deep reading and study at this unique academic institution.

Laura Trott and Jeremy Irons among speakers at Oxford Union

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Stephen Hawking, Laura Trott and Jeremy Irons are just some of the big names that will appear at the Oxford Union this term, among an array of politicians, entertainers and other public figures. But amidst the furore of Freshers’ Week and impending essay crises, are you short of time to choose which talks to queue for, and which to skip? If so, fear not; Cherwell has chosen its top six picks out of this term’s Union speakers. Click on the images below to find out more.

The full Oxford Union termcard can be found here.

University Challenge edited when students can’t answer questions

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Presenter Jeremy Paxman revealed that, in the editing process of the BBC’s University Challenge, some questions both teams are unable to answer are cut out of the final version.

Speaking at the Henley Literary Festival about his autobiography, Jeremy Paxman said, “I’ll let you into a secret [about how] University Challenge is recorded. If we get a run of questions, it doesn’t happen very often, say one show in seven or eight or 10 or something, you might get a run of unanswered starter questions, they all get edited out.”

Paxman explained that the episodes were edited in this way because “as a taxpayer you do not want to think your money is being wasted”.

In the same talk the University Challenge quizmaster described the license fee as an “antique mechanism” in a digital age and commented, “The BBC is too big, it makes mistakes and then it refuses to apologise for them properly.”

The Telegraph has reported that no contestants are able to answer a string of questions around two to three times a recording.

Questions contestants have been unable to answer include the weekly Department of Health alcohol guidelines for men (14 units per week) and the hereditary title of one of the great officers of state, who is responsible for royal affairs at the Palace of Westminster (Chamberlain).

A BBC spokesman commented, “Viewers should not be in any doubt that University Challenge contestants are the cream of the TV quiz crop – if minor edits are made they always accurately and fairly represent each team’s performance.”

A fresher’s guide to Oxford Drama

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Oxford has an amazing history when it comes to the theatre, with countless stars of yesterday, today and tomorrow cutting teeth and treading boards in the theatres and rehearsal rooms of our university.

However, regardless of whether you fancy yourself as the next Richard Burton or Rowan Atkinson, or you’re just an exhibitionist with a penchant for silly voices, Oxford has an incredible array of opportunities for wannabe thesps of all varieties.

The first experience which most people have of theatre in Oxford tends to be the Oxford University Dramatic Society (OUDS) cuppers competition – teams of freshers from every college in the university put together half hour productions to be performed in the Burton Taylor studio in 5th week. Various prizes are awarded for the most promising, exciting and professional productions – with a variety of plaudits to be awarded by a variety of pundits.

If you’re feeling strident and industrious, I would advise attempting to pen a new piece of writing, if you’re feeling lazy choose a piece which is already 30 minutes long. For the love of God do not do what I did, which was try to condense a two hour play into 30 minutes and have to cut scenes during a dress rehearsal – that broadly explains why I’m writing for Cherwell this year rather than behind the scenes at OUDS.

Beyond Cuppers, your first port of call should be the OUDS mailing list, which sends out a weekly newsletter announcing the productions you can go and see, as well as calls for auditions and production teams. If you want to act, audition for as many things as you’re interested in – prepare to get turned down for things, but aim to have as much fun in the audition room as you can.

If you’re interested in production and technical work, the TAFF (Tabs Are For Flying) mailing list and training days are invaluable in understanding all of the hard work that goes into making productions happen (not least in understanding their name). Like everything at this university, productions are run by over-caffeinated, sleep deprived, passionate yet grumbling adolescents. Turn up with a smile on your face and willingness to learn, and there will be a place for you in the theatre.

There are a few major theatre spaces in the university, which regularly play host to student productions. The Oxford Playhouse, the large professional theatre opposite the Ashmolean, is used for one or two student productions of a massive scale every term. These tend to be spectacular shows of a quasi-professional quality, with a lot of seats which marketeers desperately try to fill.

The Playhouse also has a small black box space, with a capacity of about 50 people, called the Burton Taylor Studio – look here for new writing, and confusing but charming turtle-necked productions. Balliol College runs the Michael Pilch Studio in their Jowett Walk graduate centre, with weekly productions from a variety of student groups. Similarly, Keble College’s O’Reilly theatre is a large versatile space, which runs productions every fortnight.

All of the productions in these theatres tend to be run by student production ‘companies’ – assortments of friends and thespy types who receive funding loans from OUDS and other funding organisations, then use these loans to produce the sets, marketing, costumery et al which populates the stages of our wonderful city. A lot of these production companies look scarily well organised, with active social media presences and an aura that they know what they’re doing.

Whilst I can neither confirm nor deny these rumours, I do know that it is astonishingly easy to make drama happen yourself as long as you’re enthusiastic and willing to put in the hours. If you want to direct or produce a show in one of the above theatres, you will need to produce a bid document a term in advance – outlining your artistic vision, marketing strategy, budgeting etc. Running a production from this perspective is not only enormous fun, but a great opportunity to learn lots of skills – not all of them explicitly creative.

Your first stop next should be the OUDS Freshers drama fair on the 10th October at the Oxford Playhouse. You should also have a peep at the stage section of Cherwell every now and again, and if you think your opinions on theatre are worth reading, email [email protected] for free tickets and shows to review.

Why Science Must Not be Left to the Scientists

What is science? School might convince you that science is a string of facts to be memorised and recalled; media often promotes science as a world of dense, technical jargon and misleading experimentation into things we cannot see or hear. These perceptions of science are not only incomplete, but harmful.

Instead it is helpful to think of science as a mindset or method of critical thinking in which experimentation assesses the validity of logic or observations. Then the validity of the experiments themselves must be critically assessed; if the test is wrong, we cannot accept the conclusion. And scientific ‘knowledge’ is in a continuous state of flux as new and improved experiments yield new information that must be added to the picture to slowly (and usually indirectly) hone in on the ‘truth’.

A lack of discussion between scientists and the public domain, along with a lack of appreciation of the nature of scientific progression – with its wrong turns and pitfalls – can promote a fear of the unknown and two-way mistrust. Tabloid health alerts distort isolated cases of fatal infections into the next global pandemic, while even mainstream media can provoke longlasting medical implications, for example in the memorable media frenzy surrounding a rogue claim that the MMR vaccine causes autism.

The claim (which, millions of dollars later, has been debunked by multiple rigorous scientific studies) received far more attention than the methods it employed. Articles failed to mention the study’s lack of control group, without which scientific studies are meaningless. They failed to discuss the tiny sample size of 12. They failed to note the retrospective parental reports relied upon; autism symptoms usually present themselves at the age that children receive the MMR vaccine. And they failed to point out the selection bias and researchers’ vested interest.

Inevitably the pen proved mightier than the microscope. Vaccination rates fell, pathing the way for the measles outbreaks we are still seeing today. Vaccination rates in the UK today still lie below the 95% necessary to ensure herd immunity (meaning we will continue to see outbreaks hit the headlines and remain at risk of deaths) because both authors and readers gravitate towards dramatic, attention grabbing headlines: ‘vaccinating may give your child autism’ will be remembered over ‘MMR vaccine safe’.

So what can be done? We need honesty from the media, with context and specifics, rather than distortion or sensationalism in the hope of getting more hits. We need scientific literacy. We need schools to teach science like a logic puzzle rather than a memory game; to teach that if a scientific report carefully chooses the word ‘suggests’, it does not mean ‘proves’, and that ‘correlation’ does not mean ‘causation’. We need scientists to speak out. We need to have the courage to question what we read.

Seville: A Young Traveller’s Dream

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If somebody from Seville ever invites you to La Bicicletería (or ‘The Bicycle Shop’) after 2am, then don’t hesitate. Whilst this seductively smoky private bar in the backstreets of Santa Cruz may not actually sell bike bells or baskets, the cassette tape lampshade, the comfy chairs and the hazy, dreamlike ambience were certainly enough to draw me in.

Young backpackers tend to head for traditional hotspots like Amsterdam with its famous nightlife and Prague with its paved, picturesque streets. Being located in the southern-most autonomous community of Spain, Andalusia, Seville is undeniably out of the way for British travellers in Europe. However, it presents a wonderful alternative to the typical Interrail track, offering a range of quirky hangouts for coffees and conversations. I’ll never forget Bryan from Florida who taught us the intricacies of both the Arabic language and the Spanish marijuana laws as we sat in the shady, book-filled courtyard of El Viajero Solitario (The Solitary Traveller). A city with a café that’s purpose built for reading and meeting people surely deserves to be more widely renowned in the backpacking scene.

For those such as myself who want to see some sights as well as sip espressos, Seville is home to some incredible tourist attractions. Decked out in a hat and sunglasses and applying copious amounts of sun cream, I queued for almost an hour under the scorching midday sun to see the Alcázar, an ancient Moorish palace and world UNESCO site. I marvelled at the intricate hand-crafted tiles, the grandeur of the imposing stone walls and the crystal clear, fish-filled fountains contained within luxuriously green, labyrinthine gardens. The rich religious history of Andalusia was almost tangible amidst the mixture of Islamic and Christian architectural influence. As a student ticket only costs €2, it’s worth a visit no matter how long you’re there or how tight your budget is!

So as a bicycle stared down at me from the ceiling and the owner’s quaint, lyrical tunes played through his laptop in the background, I drank red wine with three Parisians and we talked about life, the universe and everything – as one does at three in the morning. I would definitely recommend putting in a few extra air miles and spending a tiny bit more of your student loan this summer in order to have an utterly unique, completely cultured backpacking experience – that’s every bit as wild as Amsterdam.

OxFolk Review: ‘II’

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When you find yourself playing an album straight through for the fourth time running, you know something is going right. Moore Moss Rutter’s latest album, the imaginatively named ‘II’, is an absolute tour de force- the perfect mix of verve, originality and a respectful acknowledgement of the music’s historical roots. Fiddle, guitar and melodeon combine to create a sound that is much, much more than the sum of its parts. Whether it’s hypnotising the listener with the soft cadences of the final tune ‘Idle’ (written by Moss about a band member’s clock that ticks but never tells the correct time) or forcing the room to get up on their feet and dance along to the beautiful harmonies and steadily building pace of the first track ‘Barrows’, this album has something for everyone.

Whilst listening to the beautifully soaring fiddle of Tom Moore, I couldn’t help thinking that this album reminded me of nothing else more than Chaos Theory. Whilst the album can sound in parts like a brilliantly crowded, out of control festival, under the surface it becomes clear that these musicians are incredibly skilled and that each song is crafted minutely, giving the impression of ease whilst simultaneously displaying great complexity. This comes as no surprise from Moore Moss Rutter, a group that has been a rising star on the folk scene since they won the 2011 BBC Radio 2 Young Folk Award. Their subtle mix of modern, electro-acoustic elements and traditional styles to create an intoxicating take on many old folk tunes makes for compelling listening: for example, the group’s innovative interpretation of the tune ‘Jenny Pluck Pears’, from Playford’s ‘English Dancing Master’ of 1653, is a haunting, ghostly waltz-like piece that seems to hang in the air long after the music is finished.

The gorgeous simplicity of the two-tone album cover and the album’s very name counterpoint the complexity of the group’s performance, and I find myself being immensely impressed with the unity and balance the music displays between the three members. Each instrument is allowed an equal space to weave its magic, making it all the more stunning when they all come together again to form a strong wave of sound. This is accompanied on some tracks by singing, an element that brings stories to life in the music- in ‘Wait for the Wagon’ Jack Rutter’s rough, honest voice, gives the American song a time-worn air that fits in well with the other tunes in the album. Indeed, there are so many fascinating aspects and depths of Moore Moss Rutter’s album that one can’t help just playing it again… and again… and again.

 

OxFolk Reviews: ‘The Fade In Time’

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Listening to Sam Lee & Friend’s latest album, ‘The Fade In Time’, is like sitting in on a storytelling session by one of folk music’s most fascinating singers. Sam Lee has certainly led a life worthy of song: from forager and burlesque dancer to apprentice of the great Scottish Traveller singer Stanley Robertson, his adventures seem to be mirrored in the timeless songs he has learnt over the years. ‘The Fade In Time’ is a collaborative effort with a talented group of musicians, including a cellist, trumpeter, dulcimer and koto player, to bring these traditional songs to life in new and intriguing ways. With many of the tracks containing, in Sam Lee’s own words, ‘Bollyood beats, Polynesian textures and contemporary classical music’, these progressive reinterpretations of British folk songs and styles gives the album absorbing new levels of interest beyond the simply musical.

Many of these tunes, learnt by Lee through his years of song-collecting, were gathered on his iPhone and laptop, with modern and older recordings weaved seamlessly alongside his distinctive voice: for instance, in the track ‘Lord Gregory’ the voice of Charlotte Higgins floats across the years to us from a 1956 recording from song-collector Hamish Henderson, whilst in ‘Bonny Bunch of Roses’ an early recording of choral singing leads the listener into the song’s themes of war in Russia and the unity of England and Scotland. The sheer inventiveness and creativity in Sam Lee’s treatment of these songs is incredible- it seems each track introduces new rhythms and melodies that bring each song’s individual story to life, whilst being treated with sustained respect by the musicians. The extensive biographical notes that accompany each song listed in the album sleeve is testament to this- the varied, colourful heritage of British folk song is here laid bare in all its glory. From the wistful longing of ‘Phoenix Island’, collected in scattered snatches by Lee from Traveller communities all over Britain, to strange eeriness of ‘The Moon Shone Brightly on my Bed Last Night’, the last song handed down to Lee from his tutor Stanley Robertson, these songs absorb, fascinate and steal the listener away to different worlds, and different times, amongst the many patterns of our cultural folk heritage.

It is hard to sum up the magical collection of this passionate and ambitious project that is encapsulated in ‘The Fade In Time’- each song not only tells a story individually, but adds up to create a tale of Traveller community culture, folk heritage and the art of song collecting. The beautifully cluttered nature of the album’s cover, featuring Lee sitting swamped by a paraphernalia of organ parts, scarves, weights and other random items, only helps to highlight the eclectic nature of this album- it is an expression of Britain’s deep tradition of folk song, retold in a fresh, absorbing way. Listening to this music, time does indeed seem to fade.

OxFolk Review: ‘Abyss’

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There’s something infectiously joyous about Talisk’s debut album ‘Abyss’- each tune has the ability to bring a smile and elicit a toe-tap. The tight combination of Mohsen Amini on concertina, Hayley Keenan on fiddle and Craig Irving on guitar work perfectly together, seeming to broaden, not shrink, their musical horizons with this select choice of instruments. Indeed, the amount of musical variation on this well-formed album is frankly astonishing, managing to hold the listener’s attention throughout and demanding to be played all over again once the final track has faded away.

Each tune on ‘Abyss’ adds a new flavour to the listener’s experience- whether it be the blistering speed of Amini’s concertina playing in ‘Picc’, the subtle build of Keenan’s fiddle playing in the title track ‘Abyss’ or the smooth guitar introduction of Irving in ‘Echo’, there is always some impressive show of skill going on. And this comes as no surprise- winners of the 2015 BBC Radio 2 Young Folk Award, Talisk are rising stars in the world of British folk music, and in the last year have garnered many other accolades including Amini being made 2016 BBC Radio Scotland Young Traditional Musician of the Year. With such a strong line up, the group have gained an impressive list of successes that belie their years- and ‘Abyss’ thankfully lives up to this new reputation.

Whilst the restriction to the group’s three instruments might have potentially limited the scope for reinterpretation (though there was pipe accompaniment on the title track ‘Abyss’), Talisk’s take on the music never fails to absorb and entertain: toying with speed, dynamic and style, the instruments interact and play off each other in ways that surprise and engage. For example, the interweaving of fiddle and concertina in the track ‘Echo’ creates a depth of sound that evolves as the tune progresses, with each instrument taking it in turn to experiment with the melody as the other accompanies. The tour de force of the final track, ‘The Millhouse’, pushes the listener back into their seat as the Keenan’s fiddle performs intricate leaps around Armini’s frantic concertina, all underlain with the steady support of Irving’s guitar chords.

All in all, ‘Abyss’ is a masterful debut onto the folk scene, from a group that has already gathered a long history of successes. A beautiful, soaring collection of tunes, this album is bound to delight. Expect great things from Talisk in the near future!

OxFolk Review: ‘2’

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It’s hard to describe to listeners exactly what The Gloaming is: a contemporary folk group? An experimental exploration of jazz, classical and traditional music? Or a mix of all of these things? Perhaps The Gloaming describe themselves best: they sit at ‘a musical crossroads’, encapsulating all of these things and more. This group draw from the enormous breath of skill and influences, from the incredible fiddle skills of Martin Hayes & Caoimhin O Raghallaigh and the sean-nos singing of Iarla O Lionaird, to the more experimental tones of guitarist Dennis Cahill from Chicago and pianist Thomas Bartlett from New York. These are world class musicians joining together to create something astonishing- and The Gloaming’s latest album, ‘2’, is certainly worthy of their credentials.

The wonderful breadth of emotion this album manages to create within the listener is frankly astonishing- in the opening track ‘The Pilgrim Song’ the quavering, evocative voice of O Lionaird swells above the steady, melodic build of Bartlett’s piano, whilst O Raghallaigh’s glorious fiddle dances and soars in between the two, bringing the piece to life. The standard just doesn’t slip throughout the album- with The Gloaming showing they have the impressive knowledge that sometimes, less is more. The minimalist, pared-back accompaniment of Cahill and Bartlett on many of the tracks creates a wonderful illusion of simplicity and ease, when it may have been tempting to layer the sound with many other harmonies. Instead, the listener is presented with a subtle mix of textures and sounds that is never overwhelming, and is always compelling.

And, as with the best traditional music, these tunes have a strong history behind them, giving the album depth and interest far beyond the first listening. Song, melody and contemporary poetry are all explored and shaped here, with each song telling a story. For example, ‘Farewell to Maigue’ is an inventive interpretation of the work of 18th century poet Aindrias Mac Craith, whilst ‘Wanderer’ relates an ancient tale of magic. Although all of the songs are sung in the group’s native Gaelic, this only seems to add to the mystery and magic of the tunes, giving the listener the sense of something ethereal and otherworldly.

The success of The Gloaming- with their first album winning various awards, from winning a BBC Radio 2 Folk Award to taking the Meteor Choice Music Prize for Album of the Year- had a difficult task to follow with their second album. However, ‘2’ definitely achieves this, and much more: it is a soft re-iteration of their immense skill and ability to reinterpret Irish traditional music, using simple interplay and relations between their instruments to expertly shape the sound into something new, fascinating and exciting.