Dear Harry,
We were rather disappointed with the deprecating comments that you made towards left-wing women that were printed in Student 23/9/08.
We do wonder how can one advocate that ‘Life is better under a Conservative’ with the superficial reasons that you gave to support the statement and through your encouragement of sexual exploitation and the objectification of women.
To encourage an advertisement that alludes to women being subordinated sexually by men with the tagline that ‘Life is better under a Conservative’, not ‘under the Conservatives’ is extremely shocking. It is not a poster that is promoting a better life for modern women, but as a means to con women into accepting a secondary place to men.
Life is not better ‘under a Conservative’ and we much prefer the ‘woman on top’. You should try it; you might even like it.
With kindest regards,
Women of the World.
Sunday 2 November 2008
Last Shadow Puppets Preview-unpublished.
The Last Shadow Puppets, Domino Records. Five Star *****
UNREQUITED LOVE, poignant orchestration and the most sought after man in modern music. What more could one want in a gig? Finally, the anticipation is over with Alex Turner's decision to take his 60s quintessential side project, The Last Shadow Puppets, to the road.
The Arctic Monkey's lead singer and his sidekick Miles Kane, from the Liverpudlian band The Rascals, took the current music scene to new levels with their inventive debut album The Age of the Understatement. Their duet recollects the music of the 1960s and aspires to the likes of Scott Walker and early Bowie.
The Last Shadow Puppets played Leeds and Reading Festival 2008 prior to their first U.K. tour in a bid to get some live practice. They entered to mud-filled stage suited and booted, reminiscing the 60's glamour both visually as well as audibly, with their entourage of a full orchestra from the London Metropolitan Orchestra. Unfortunately, this glamour and culture was not enough to take the mud encrusted, wellie-cladded crowd back to the 1960's, but expect a certain nostalgia once the boys enrapture their audience at Glasgow's Carling Academy.
For those who are afraid of being enclosed in a small space with teenage Arctic Monkey fans. Don't be. The Last Shadow Puppets are worlds away from Turner's claim to fame. Turner musically diverges, displaying a previously unknown affinity to the ballad form. He contemplates the fragility of love instead of how he and his mates are going to sneak past the bouncers into a grotty Sheffield club. Turner yearns for another era by opting for an acoustic guitar and tambourine in place of his electric Fender Stratocaster. This produces an antiquated feeling, but with an edge. That edge being Turner's charisma and Kane's trademark guitar distortion.
Killer tracks, "Standing Next To Me" and the dark "Separate and Ever Deadly", will blown your mind once heard live. The allure between Turner and Kane as well as the power of the grand orchestration and the hypnotic melody of the tuba takes the album tracks to new heights.
The Last Shadow Puppets’ tour is an apt opportunity to see both Turner and Kane at their best, playing the most ambitious and awe-inspiring music of modern times.
UNREQUITED LOVE, poignant orchestration and the most sought after man in modern music. What more could one want in a gig? Finally, the anticipation is over with Alex Turner's decision to take his 60s quintessential side project, The Last Shadow Puppets, to the road.
The Arctic Monkey's lead singer and his sidekick Miles Kane, from the Liverpudlian band The Rascals, took the current music scene to new levels with their inventive debut album The Age of the Understatement. Their duet recollects the music of the 1960s and aspires to the likes of Scott Walker and early Bowie.
The Last Shadow Puppets played Leeds and Reading Festival 2008 prior to their first U.K. tour in a bid to get some live practice. They entered to mud-filled stage suited and booted, reminiscing the 60's glamour both visually as well as audibly, with their entourage of a full orchestra from the London Metropolitan Orchestra. Unfortunately, this glamour and culture was not enough to take the mud encrusted, wellie-cladded crowd back to the 1960's, but expect a certain nostalgia once the boys enrapture their audience at Glasgow's Carling Academy.
For those who are afraid of being enclosed in a small space with teenage Arctic Monkey fans. Don't be. The Last Shadow Puppets are worlds away from Turner's claim to fame. Turner musically diverges, displaying a previously unknown affinity to the ballad form. He contemplates the fragility of love instead of how he and his mates are going to sneak past the bouncers into a grotty Sheffield club. Turner yearns for another era by opting for an acoustic guitar and tambourine in place of his electric Fender Stratocaster. This produces an antiquated feeling, but with an edge. That edge being Turner's charisma and Kane's trademark guitar distortion.
Killer tracks, "Standing Next To Me" and the dark "Separate and Ever Deadly", will blown your mind once heard live. The allure between Turner and Kane as well as the power of the grand orchestration and the hypnotic melody of the tuba takes the album tracks to new heights.
The Last Shadow Puppets’ tour is an apt opportunity to see both Turner and Kane at their best, playing the most ambitious and awe-inspiring music of modern times.
Tram line chaos-published in Student 14/10/2008.
EDINBURGH’S RECENT tram development is set to cause further chaos with Princes Street , Edinburgh’s main retail street, set to close for six months.
MSPs unanimously voted for the Edinburgh Tram Bill in March 2006, claiming that the tram line would decrease inner city congestion, entice tourists to visit the city, help local business to thrive and would be also be a more eco-friendly form of transport than travelling by car or bus. Work began on the £512 million public transport investment in March 2008.
Edinburgh has seen problems already beginning to rise in the early stages of the estimated three year project. There has been an increase in traffic congestion with Leith Walk and, most recently, Princes Street reduced to one lane.
Local businesses have claimed that their trade has declined by approximately 25% since the tram work began. The government has offered all independent businesses a £4,000 compensation grant, however this is not covering the extreme losses that businesses are facing.
Tram developers, Transport Initiatives Edinburgh (TIE), are planning to fully close Princes Street from January to July 2009 in an attempt to keep the project on track in the hope of meeting the 2011 deadline. This has provoked outrage from shop owners and commuters with the problems already caused by the tram work set to escalate.
It is expected that the complete closure of Princes Street will result in rocketing congestion with all traffic being diverted to George Street. As well as excessive congestion, University of Edinburgh students can also expect irregular bus routes to and from their part-time jobs. The result of the tram work is going to increase commuting time for all inner city workers.
It seems that the Edinburgh trams are creating more problems than the line is set to solve. The tram service will only operate a limited line from Edinburgh Airport to Newhaven, Leith. Therefore the trams will not be a solution for those who live outside of the city who continue to face limited public transport into the centre.
MSPs unanimously voted for the Edinburgh Tram Bill in March 2006, claiming that the tram line would decrease inner city congestion, entice tourists to visit the city, help local business to thrive and would be also be a more eco-friendly form of transport than travelling by car or bus. Work began on the £512 million public transport investment in March 2008.
Edinburgh has seen problems already beginning to rise in the early stages of the estimated three year project. There has been an increase in traffic congestion with Leith Walk and, most recently, Princes Street reduced to one lane.
Local businesses have claimed that their trade has declined by approximately 25% since the tram work began. The government has offered all independent businesses a £4,000 compensation grant, however this is not covering the extreme losses that businesses are facing.
Tram developers, Transport Initiatives Edinburgh (TIE), are planning to fully close Princes Street from January to July 2009 in an attempt to keep the project on track in the hope of meeting the 2011 deadline. This has provoked outrage from shop owners and commuters with the problems already caused by the tram work set to escalate.
It is expected that the complete closure of Princes Street will result in rocketing congestion with all traffic being diverted to George Street. As well as excessive congestion, University of Edinburgh students can also expect irregular bus routes to and from their part-time jobs. The result of the tram work is going to increase commuting time for all inner city workers.
It seems that the Edinburgh trams are creating more problems than the line is set to solve. The tram service will only operate a limited line from Edinburgh Airport to Newhaven, Leith. Therefore the trams will not be a solution for those who live outside of the city who continue to face limited public transport into the centre.
Hope for Diabetes sufferers-published in Student 21/10/2008.
SCIENTISTS AT the University of Edinburgh have made break-through stem cell discoveries that could result in the progress of medical treatment for diabetes.
Dr Josh Brickman and his team of researchers at the University's Institute for Stem Cell Research and Centre for Regenerative Medicine have discovered a new method of developing stem cells that will replicate the cells that are found in the liver and pancreas.
Previous methods were unsuccessful as the cells created developed as a mixture and therefore created tumours once in contact with bodily organs. However, Dr Josh Brickman and his team have discovered a way to purify the cells to reduce the risk of tumours.
These new developments mean that purified cells can be produced from cell embryos under laboratory conditions, and then used to treat diabetes in place of insulin. The embryonic stem cells will be used to replace the damaged cells in the pancreas that inhibit the natural production of insulin in those who suffer from diabetes.
Dr Josh Brickman stated that "for the first time, we have found a way to generate and purify precursors of liver and pancreatic cells."
He continues, "remarkably these cells can grow in a dish, providing a renewable source for future applications in medicine."
Further research will be conducted before the discovery can be used in the treatment of diabetes.
Dr Josh Brickman and his team of researchers at the University's Institute for Stem Cell Research and Centre for Regenerative Medicine have discovered a new method of developing stem cells that will replicate the cells that are found in the liver and pancreas.
Previous methods were unsuccessful as the cells created developed as a mixture and therefore created tumours once in contact with bodily organs. However, Dr Josh Brickman and his team have discovered a way to purify the cells to reduce the risk of tumours.
These new developments mean that purified cells can be produced from cell embryos under laboratory conditions, and then used to treat diabetes in place of insulin. The embryonic stem cells will be used to replace the damaged cells in the pancreas that inhibit the natural production of insulin in those who suffer from diabetes.
Dr Josh Brickman stated that "for the first time, we have found a way to generate and purify precursors of liver and pancreatic cells."
He continues, "remarkably these cells can grow in a dish, providing a renewable source for future applications in medicine."
Further research will be conducted before the discovery can be used in the treatment of diabetes.
It's a Hard-knock Life (for Students)-published in Student 28/10/2008.
THE LOOMING recession and the soaring food prices are hitting University of Edinburgh students hard. Students are resorting to increasing the number of hours they work, on top of studying for a full time degree, in order to make ends meet.
A report by the Department of Education and Skills (DfES) discovered that more than half of U.K. students now work during term time in order to meet basic living requirements. Those who study in Scotland are the students who most likely to work, with 67% of Scottish students holding a part-time job during term time.
The lack of government help is making university life increasingly difficult for students. In the U.K. student loans fall short of covering accommodation expenses, leading to the students bearing the burden of working to meet basic living costs while studying for a full-time degree. Surveys have found that students are mostly reliant upon financial help from parents, savings and government grants. However, it was leaked that the government have over-estimated their annual budget of £17 billion, by £100 million. The government is currently in deliberation as to make up this miscalculation by limiting of the number of student grants they promised to make available. If this cut happens, students are going to suffer considerably during the economic crisis.
Students in Scotland are already working on average 20 hours a week according to a financial survey conducted by the Halifax bank. This figure is five hours more than the recommended maximum number of hours a student should work per week. Research by Unicorn Jobs, a student focused careers agency, showed that students should work no more than 15 hours per week in addition to full time study, as working long hours has been proven to have a negative effect upon university education.
A recent study by the National Union of Students (NUS) showed that 59% of students surveyed felt that part-time work did adversely affect their studies. While 38% admitted that, they had missed lectures in order to attend work. The rising cost of living and the potential withdrawal of government aid will force students to put even more of their time into part-time work, which could have a catastrophic effect upon university students.
James Gribben, a fourth year politics student at the University of Edinburgh who is juggling a full-time degree with a part-time job states that "student loans do not cover flat rent and then I have bills on top of that. I would like to work more hours from the point of view that I would like more money because I am supporting myself through university. But I don’t have the time to give from uni work."
Student life is becoming increasingly more strenuous as students are not only having to cope with moving away from home, but also have to manage a demanding work life balance that consists of academic work, paid work, society work and, if possible, a social life. Potential graduate employers are beginning to value society involvement and volunteer work, over regular part-time student jobs such as bar and shop work.
Niamh Ó Maoláin, second year Law student at the University of Edinburgh, believes that part-time work is an aspect of university life that helps to prepare you for the world of work after graduation. She stated that "part-time jobs can actually be really beneficial. You get used to a routine and learn how to get on in an office environment. Plus the money helps."
The question is should students have to be forced into minimum wage jobs that do not give them essential skills particular to an area of work that they are interested in? Should students be inhibited from focussing on their degree due to a lack of government funding? The government’s motto was ‘Education, education, education’. Yet it is making university life financially more difficult for students, which is set to become more arduous with the looming economic crisis.
A report by the Department of Education and Skills (DfES) discovered that more than half of U.K. students now work during term time in order to meet basic living requirements. Those who study in Scotland are the students who most likely to work, with 67% of Scottish students holding a part-time job during term time.
The lack of government help is making university life increasingly difficult for students. In the U.K. student loans fall short of covering accommodation expenses, leading to the students bearing the burden of working to meet basic living costs while studying for a full-time degree. Surveys have found that students are mostly reliant upon financial help from parents, savings and government grants. However, it was leaked that the government have over-estimated their annual budget of £17 billion, by £100 million. The government is currently in deliberation as to make up this miscalculation by limiting of the number of student grants they promised to make available. If this cut happens, students are going to suffer considerably during the economic crisis.
Students in Scotland are already working on average 20 hours a week according to a financial survey conducted by the Halifax bank. This figure is five hours more than the recommended maximum number of hours a student should work per week. Research by Unicorn Jobs, a student focused careers agency, showed that students should work no more than 15 hours per week in addition to full time study, as working long hours has been proven to have a negative effect upon university education.
A recent study by the National Union of Students (NUS) showed that 59% of students surveyed felt that part-time work did adversely affect their studies. While 38% admitted that, they had missed lectures in order to attend work. The rising cost of living and the potential withdrawal of government aid will force students to put even more of their time into part-time work, which could have a catastrophic effect upon university students.
James Gribben, a fourth year politics student at the University of Edinburgh who is juggling a full-time degree with a part-time job states that "student loans do not cover flat rent and then I have bills on top of that. I would like to work more hours from the point of view that I would like more money because I am supporting myself through university. But I don’t have the time to give from uni work."
Student life is becoming increasingly more strenuous as students are not only having to cope with moving away from home, but also have to manage a demanding work life balance that consists of academic work, paid work, society work and, if possible, a social life. Potential graduate employers are beginning to value society involvement and volunteer work, over regular part-time student jobs such as bar and shop work.
Niamh Ó Maoláin, second year Law student at the University of Edinburgh, believes that part-time work is an aspect of university life that helps to prepare you for the world of work after graduation. She stated that "part-time jobs can actually be really beneficial. You get used to a routine and learn how to get on in an office environment. Plus the money helps."
The question is should students have to be forced into minimum wage jobs that do not give them essential skills particular to an area of work that they are interested in? Should students be inhibited from focussing on their degree due to a lack of government funding? The government’s motto was ‘Education, education, education’. Yet it is making university life financially more difficult for students, which is set to become more arduous with the looming economic crisis.
Smashing the Glass Ceiling-printed in Student on 28/10/2008.
Over thirty years after the Sex Discrimination Act was administered in the U.K. women still face sexual disparagement within the workplace. Shocking statistics recently revealed that the gender pay gap has widened, and that women in Scotland now earn 32% less than their male counter-parts.
Women make up half of the workforce, with around 13.6 million women employed in the U.K. Yet women's work continues to be undervalued, with women treated as second-rate employees within society. It has been approximated that women are cheated out of £330,000 during their lifetime. It is irrational and detrimental to the workforce to discriminate against half of the skilled workforce.
Even though men and women are supposed to be equal citizens within society, men are much more likely to be given unjustified larger wages for the same number of hours as a woman, as well as being much more employable when it comes to the top occupational positions. Women currently represent only 11% of the Financial Times Stock Exchange (FTSE) 100 directorship positions and female MPs make up only 19.3% of U.K. parliament, according to the Sex and Power report published this year. Women are highly unrepresented in the top positions in society. This gender imbalance at the top is ensuring that women continue to be exploited by their employees and forced to endure unacceptable gender discriminate wages.
Change is at a stand still for recent graduates. Three years after university graduation women still earn 15% less than male graduates. With 40% of men earning above £25,000 three years after their graduation, compared to only 26% of women. In education, women are expected to pay equal tuition fees and receive the same education as men. Yet once women leave University and enter into the workplace they are discriminated against purely based upon their gender. This pay inequality is making it increasingly difficult for women to pay off their tuition fees and various student loans. The gender pay gap that is still prevalent throughout society is not encouraging women to invest within their future and continues to make education economically unattainable for women.
Female graduates are not the only women within society who are feeling the burden of being a part of the female sex. Mothers are being further penalised by the sexism that is prevalent within the job industry. The unequal paternity and maternity laws, means that women are encouraged (some may say forced) to be the main caregiver. This disruption in women's careers, plus the added pressure of profit driven bosses and their negative attitude to women, pregnancy and maternity leave, means that women suffer. They are often forced to go part-time for unreasonable pay and in some cases leave their jobs to go into less skilled and low paid part time jobs. With childcare expenses, soaring and women's pay considerably less than men's pay; women are forced into the acceptance of low wages during motherhood when women need financial support the most.
The Equal Pay Act that first came into force in 1970 was a government attempt to eliminate gender pay discrimination, but the fact that the pay gap is still an issue shows that law is not going to make the crucial difference to women's lives. A recent survey showed that 29% of women believe that the gender pay gap will never be eliminated, highlighting that something more needs to be done in the U.K.; the European country with the widest gender pay gap.
There have been remarks that pay secrecy allows pay discrimination to thrive within the workplace. Yet an invasion of privacy and the exposure of corruption will not make sexism within the workplace disappear. We need to take a more radical approach to sex discrimination and attempt to change the cultural attitudes towards women in education and the workplace. We need to ensure that women’s work is not disparaged. That women are not continued to be seen as secondary citizens. That women are not stereotyped as being the main child carer. Women are essential to the workforce and need to be treated with the same respect that is shown to their male counterparts. In times of economic crisis such as these we need to encourage the development of the workforce to ensure that the economy continues to progress. The only way we can progress the work force is by changing cultural attitudes and by eliminating exploitation so that both men and women are paid equally for the hours that they work.
Women make up half of the workforce, with around 13.6 million women employed in the U.K. Yet women's work continues to be undervalued, with women treated as second-rate employees within society. It has been approximated that women are cheated out of £330,000 during their lifetime. It is irrational and detrimental to the workforce to discriminate against half of the skilled workforce.
Even though men and women are supposed to be equal citizens within society, men are much more likely to be given unjustified larger wages for the same number of hours as a woman, as well as being much more employable when it comes to the top occupational positions. Women currently represent only 11% of the Financial Times Stock Exchange (FTSE) 100 directorship positions and female MPs make up only 19.3% of U.K. parliament, according to the Sex and Power report published this year. Women are highly unrepresented in the top positions in society. This gender imbalance at the top is ensuring that women continue to be exploited by their employees and forced to endure unacceptable gender discriminate wages.
Change is at a stand still for recent graduates. Three years after university graduation women still earn 15% less than male graduates. With 40% of men earning above £25,000 three years after their graduation, compared to only 26% of women. In education, women are expected to pay equal tuition fees and receive the same education as men. Yet once women leave University and enter into the workplace they are discriminated against purely based upon their gender. This pay inequality is making it increasingly difficult for women to pay off their tuition fees and various student loans. The gender pay gap that is still prevalent throughout society is not encouraging women to invest within their future and continues to make education economically unattainable for women.
Female graduates are not the only women within society who are feeling the burden of being a part of the female sex. Mothers are being further penalised by the sexism that is prevalent within the job industry. The unequal paternity and maternity laws, means that women are encouraged (some may say forced) to be the main caregiver. This disruption in women's careers, plus the added pressure of profit driven bosses and their negative attitude to women, pregnancy and maternity leave, means that women suffer. They are often forced to go part-time for unreasonable pay and in some cases leave their jobs to go into less skilled and low paid part time jobs. With childcare expenses, soaring and women's pay considerably less than men's pay; women are forced into the acceptance of low wages during motherhood when women need financial support the most.
The Equal Pay Act that first came into force in 1970 was a government attempt to eliminate gender pay discrimination, but the fact that the pay gap is still an issue shows that law is not going to make the crucial difference to women's lives. A recent survey showed that 29% of women believe that the gender pay gap will never be eliminated, highlighting that something more needs to be done in the U.K.; the European country with the widest gender pay gap.
There have been remarks that pay secrecy allows pay discrimination to thrive within the workplace. Yet an invasion of privacy and the exposure of corruption will not make sexism within the workplace disappear. We need to take a more radical approach to sex discrimination and attempt to change the cultural attitudes towards women in education and the workplace. We need to ensure that women’s work is not disparaged. That women are not continued to be seen as secondary citizens. That women are not stereotyped as being the main child carer. Women are essential to the workforce and need to be treated with the same respect that is shown to their male counterparts. In times of economic crisis such as these we need to encourage the development of the workforce to ensure that the economy continues to progress. The only way we can progress the work force is by changing cultural attitudes and by eliminating exploitation so that both men and women are paid equally for the hours that they work.
Tuesday 7 October 2008
Victory for student campaigners after drinking age protest-published in the Student 7/10/2008
UNIVERSITY OF Edinburgh students and opposition MSPs successfully put a halt to the Scottish Nationalist Party’s (SNP) plans to increase the legal drinking age by joining forces outside the Scottish Parliament last Thursday.
The protest saw a collection of young people and MSPs gathering to display their opposition to the stigmatisation of young people through speeches against the proposals and by chanting “citizen, not criminal”.
The SNP launched their radical approach to tackling alcohol misuse and alcohol-related crime by getting tough on the 18-21 year olds who they believe to be at the cause of the problem. The SNP’s Justice Secretary, Kenny MacAskill supported the policy stating that "we can no longer sit back and let alcohol misuse continue to take its shocking toll on our criminal justice system, health service and economy.” According to the SNP website alcohol misuse costs Scotland’s tax payers £2.25 billion a year.
This extremist policy united students, young people and MSP’s in opposition to the SNP. Mike Pringle, Liberal Democrat MSP for Edinburgh South, said "These proposals are a reactionary and misguided move by the SNP Government, designed to appear tough rather than solve the problem.”
He continues "surely Scotland should not become a place where at age 18 you can bravely fight for your country, or vote in an election, but are not trusted to buy a bottle of wine to enjoy with friends over an evening meal or a couple of beers to watch the match with?” It seems that most politicians agreed with Pringle’s stance as 72 MSPs voted against the motion on Thursday evening, defeating the SNP’s proposals with a majority of 72 to 47 votes.
Tom French, former University of Edinburgh student and co-ordinator of the Coalition Against Raising the Drinking Age in Scotland (CARDAS), submitted a 10,000 signature petition against the policy and led the protest at the Scottish Parliament. He labelled the SNP’s proposals as ‘daft and discriminatory’ and said the proposal is “a gimmick to make the SNP appear tough on crime and order.”
French thanked everyone who participated in the CARDAS campaign after the results from the debate were announced, stating on a Facebook message that “We’ve won an overwhelming victory and it is down to each and everyone of you. Thank you.”
The protest saw a collection of young people and MSPs gathering to display their opposition to the stigmatisation of young people through speeches against the proposals and by chanting “citizen, not criminal”.
The SNP launched their radical approach to tackling alcohol misuse and alcohol-related crime by getting tough on the 18-21 year olds who they believe to be at the cause of the problem. The SNP’s Justice Secretary, Kenny MacAskill supported the policy stating that "we can no longer sit back and let alcohol misuse continue to take its shocking toll on our criminal justice system, health service and economy.” According to the SNP website alcohol misuse costs Scotland’s tax payers £2.25 billion a year.
This extremist policy united students, young people and MSP’s in opposition to the SNP. Mike Pringle, Liberal Democrat MSP for Edinburgh South, said "These proposals are a reactionary and misguided move by the SNP Government, designed to appear tough rather than solve the problem.”
He continues "surely Scotland should not become a place where at age 18 you can bravely fight for your country, or vote in an election, but are not trusted to buy a bottle of wine to enjoy with friends over an evening meal or a couple of beers to watch the match with?” It seems that most politicians agreed with Pringle’s stance as 72 MSPs voted against the motion on Thursday evening, defeating the SNP’s proposals with a majority of 72 to 47 votes.
Tom French, former University of Edinburgh student and co-ordinator of the Coalition Against Raising the Drinking Age in Scotland (CARDAS), submitted a 10,000 signature petition against the policy and led the protest at the Scottish Parliament. He labelled the SNP’s proposals as ‘daft and discriminatory’ and said the proposal is “a gimmick to make the SNP appear tough on crime and order.”
French thanked everyone who participated in the CARDAS campaign after the results from the debate were announced, stating on a Facebook message that “We’ve won an overwhelming victory and it is down to each and everyone of you. Thank you.”
Drinking Age Protest-unpublished.
UNIVERSITY OF Edinburgh students and opposition MSPs joined forces outside the Scottish Parliament last Thursday in a bid to put a halt to the Scottish Nationalist Party’s (SNP) plans to increase the legal drinking age from 18 to 21 for off-sales purchases.
The SNP launched their radical approach to tackling alcohol misuse and alcohol-related crime by getting tough on the 18-21 year olds who they believe to be at the cause of the problem.
The SNP’s Justice Secretary, Kenny MacAskill supported the policy stating that "we can no longer sit back and let alcohol misuse continue to take its shocking toll on our criminal justice system, health service and economy.” According to the SNP website alcohol misuse costs Scotland’s tax payers £2.25 billion a year.
This extremist policy united students, young people and MSP’s in opposition to the SNP. Mike Pringle, Liberal Democrat MSP for Edinburgh South, said "These proposals are a reactionary and misguided move by the SNP Government, designed to appear tough rather than solve the problem.”
He continues "surely Scotland should not become a place where at age 18 you can bravely fight for your country, or vote in an election, but are not trusted to buy a bottle of wine to enjoy with friends over an evening meal or a couple of beers to watch the match with?”
Tom French, former University of Edinburgh student and co-ordinator of the Coalition Against Raising the Drinking Age in Scotland (CARDAS), submitted a 10,000 signature petition against the policy and led the protest at the Scottish Parliament. He labelled the SNP’s proposals as ‘daft and discriminatory’ and said the proposal is “a gimmick to make the SNP appear tough on crime and order.”
The protest was a collection of young people and MSPs that displayed their opposition through the chant “citizen, not criminal” in a bid to change the SNP’s mind. If the SNP’s proposal goes through the new Licensing Act will come into force in September 2009.
The SNP launched their radical approach to tackling alcohol misuse and alcohol-related crime by getting tough on the 18-21 year olds who they believe to be at the cause of the problem.
The SNP’s Justice Secretary, Kenny MacAskill supported the policy stating that "we can no longer sit back and let alcohol misuse continue to take its shocking toll on our criminal justice system, health service and economy.” According to the SNP website alcohol misuse costs Scotland’s tax payers £2.25 billion a year.
This extremist policy united students, young people and MSP’s in opposition to the SNP. Mike Pringle, Liberal Democrat MSP for Edinburgh South, said "These proposals are a reactionary and misguided move by the SNP Government, designed to appear tough rather than solve the problem.”
He continues "surely Scotland should not become a place where at age 18 you can bravely fight for your country, or vote in an election, but are not trusted to buy a bottle of wine to enjoy with friends over an evening meal or a couple of beers to watch the match with?”
Tom French, former University of Edinburgh student and co-ordinator of the Coalition Against Raising the Drinking Age in Scotland (CARDAS), submitted a 10,000 signature petition against the policy and led the protest at the Scottish Parliament. He labelled the SNP’s proposals as ‘daft and discriminatory’ and said the proposal is “a gimmick to make the SNP appear tough on crime and order.”
The protest was a collection of young people and MSPs that displayed their opposition through the chant “citizen, not criminal” in a bid to change the SNP’s mind. If the SNP’s proposal goes through the new Licensing Act will come into force in September 2009.
Tough times for landlords-published in the Student 30/9/08
EDINBURGH'S RENTAL boom is coming to an end and tenants are set to take back control from letting agents and landlords.
The nationwide rental boom, caused by the ever-looming credit crunch and the crashing of the property market, saw many tenants coming under stress and financial exertion due to a higher demand for rental properties than houses available.
The house market crashed earlier this year with house sales descending to a 30 year low and mortgage approvals down by 71%. First time buyers were put under particular strain with their weekly mortgage costs rising by 21% and mortgage companies insisting on large deposits for them to get on the property ladder. Many people were forced to turn to renting as a product of the turbulent property market conditions.
This increasing demand for rental properties meant that landlords and letting agency were able to discriminate against tenants. According to the Association of Residential Letting Agents (ARLA) rent on flats increased by 7% between May and August, making the average flat rent in the U.K. £253 per week. As well as a nationwide rent increase, landlords also began to demand extortionate deposits and produced biased contracts for tenants to sign.
The rental boom is finally set to come to an end, with the wheel coming full circle. Peter Grant, co-founder of Edinburgh letting agents Grant Management, states that “there are more properties available to rent. Owners are not able to sell so they are turning to letting out”. This increase of prospective rental properties on the market means that there is more competition for landlords and consequently more choice for prospective tenants.
Peter Grant continued “the supply has gone up and the demand has gone up”, concluding that the rental market has reached an equilibrium of properties and prospective tenants. He did warn that students should not take a back seat in searching for rental properties, stating that students will get the best deal for their money if they “think ahead and get organised”.
The nationwide rental boom, caused by the ever-looming credit crunch and the crashing of the property market, saw many tenants coming under stress and financial exertion due to a higher demand for rental properties than houses available.
The house market crashed earlier this year with house sales descending to a 30 year low and mortgage approvals down by 71%. First time buyers were put under particular strain with their weekly mortgage costs rising by 21% and mortgage companies insisting on large deposits for them to get on the property ladder. Many people were forced to turn to renting as a product of the turbulent property market conditions.
This increasing demand for rental properties meant that landlords and letting agency were able to discriminate against tenants. According to the Association of Residential Letting Agents (ARLA) rent on flats increased by 7% between May and August, making the average flat rent in the U.K. £253 per week. As well as a nationwide rent increase, landlords also began to demand extortionate deposits and produced biased contracts for tenants to sign.
The rental boom is finally set to come to an end, with the wheel coming full circle. Peter Grant, co-founder of Edinburgh letting agents Grant Management, states that “there are more properties available to rent. Owners are not able to sell so they are turning to letting out”. This increase of prospective rental properties on the market means that there is more competition for landlords and consequently more choice for prospective tenants.
Peter Grant continued “the supply has gone up and the demand has gone up”, concluding that the rental market has reached an equilibrium of properties and prospective tenants. He did warn that students should not take a back seat in searching for rental properties, stating that students will get the best deal for their money if they “think ahead and get organised”.
Thursday 25 September 2008
Students Campaign Against Coal-published in Student 23/9/2008.
STUDENTS FROM the University of Edinburgh have taken a more direct approach against global warming by joining the 1,500 protesters at the prospective new coal plant in Kingsnorth, Kent.
The German company E.ON intends to replace the existing power station with a £1.5 billion coal fuelled plant and build a further six coal plants across the UK if granted by Prime Minister, Gordon Brown. It has been estimated that the Kingsnorth plant alone would emit between six to eight million tons of carbon dioxide a year, making Britain’s target of reducing carbon emissions impossible and increasing the likelihood that global warming will spiral out of control.
The Government’s antipathy with green issues has led to many people taking a more direct approach to encourage climate action and increase the pressure on energy companies to put people and the planet before profit.
Climate Camp is one recent form of direct action that has been taken, in which volunteers spend ten days at an organised location. Climate Camp is not just about the marches and protests that are publicised in the media. It also includes workshops on tackling global warming, education on sustainable living and creates an awareness that social change is needed in order to save our planet.
However, Climate Camp has been heavily criticised not only by the Government and subsequent police presence, but also in some forms of media for disguising criminal activity with a moral and selfless motive.
Amanda Grimm, University of Edinburgh student and a member of People and Planet, said that Climate Camp “was an amazing experience. Direct action is the best way to achieve social change by capturing media attention and creating public awareness”. It seems that green activists believe that direct action is the only way forward in the Climate Change Movement.
Public opinion certainly does seem to be changing because of the direct action in the Climate Change Movement. Jury members recently acquitted six Greenpeace activists for criminal damage against the Kingsnorth plant in October 2007.
It appears that Climate Camp and direct action is getting the message across to the public that something needs to be done about global warming, while politicians and fuel companies, ignoring the Green message, continue to drive the planet to combustion.
The German company E.ON intends to replace the existing power station with a £1.5 billion coal fuelled plant and build a further six coal plants across the UK if granted by Prime Minister, Gordon Brown. It has been estimated that the Kingsnorth plant alone would emit between six to eight million tons of carbon dioxide a year, making Britain’s target of reducing carbon emissions impossible and increasing the likelihood that global warming will spiral out of control.
The Government’s antipathy with green issues has led to many people taking a more direct approach to encourage climate action and increase the pressure on energy companies to put people and the planet before profit.
Climate Camp is one recent form of direct action that has been taken, in which volunteers spend ten days at an organised location. Climate Camp is not just about the marches and protests that are publicised in the media. It also includes workshops on tackling global warming, education on sustainable living and creates an awareness that social change is needed in order to save our planet.
However, Climate Camp has been heavily criticised not only by the Government and subsequent police presence, but also in some forms of media for disguising criminal activity with a moral and selfless motive.
Amanda Grimm, University of Edinburgh student and a member of People and Planet, said that Climate Camp “was an amazing experience. Direct action is the best way to achieve social change by capturing media attention and creating public awareness”. It seems that green activists believe that direct action is the only way forward in the Climate Change Movement.
Public opinion certainly does seem to be changing because of the direct action in the Climate Change Movement. Jury members recently acquitted six Greenpeace activists for criminal damage against the Kingsnorth plant in October 2007.
It appears that Climate Camp and direct action is getting the message across to the public that something needs to be done about global warming, while politicians and fuel companies, ignoring the Green message, continue to drive the planet to combustion.
Sunday 17 August 2008
Review of Top Girls published on Fresh Air online 17/08/08.
Oxford University’s theatre group, Girls On Top, fittingly choose Caryl Churchill’s play Top Girls to take to the Edinburgh Fringe. The theatre company successfully delivered Churchill’s unconventional play that criticises the ever-present patriarchy in society and the Thatcherite feminism of the eighties that continues to prevail in 2008.
Churchill’s play is based around a career driven woman, Marlene, and her development from an individualist and hard-hearted woman into a woman that realises that feminism and strength is not about the individual, but about a collective in which women are empowered by working together.
Churchill addresses the conflicts that women have to face, not only in modern society, but also historically. Churchill uses non-linear methods to introduce a climatic scene in which five historical heroines celebrate Marlene’s promotion. Through their broken dialogues, during the dinner party in act one, the difficulties that woman are constantly faced with and the sacrifices that women have to make daily are portrayed. The audience were able to draw comparisons through the heroines’ gender issues with issues that women continue to face in modern life in this passionate performance.
Girls On Top revived Churchill’s seemly forgotten play with their sharp performance and director Sarah Branthwaite cleverly adapted Churchill’s sparse directions to produce a thought-provoking performance. The thrust stage set up made the audience aware of the differing viewpoints in the small theatre, which nodded to the various viewpoints upon the subject of working women and feminism that Churchill questions.
The acting was superb and Churchill’s infamous overlapping was successfully executed. Each character was given an existence and became fully animated on stage, making the performance poignant and delivering Churchill’s strong message which can sometimes be understated when read.
Girls On Top gave a thrilling performance and awoke a socialistic feminism that seemed to be dying out. It produced hope, as well as thoughts, for the future of women.
Churchill’s play is based around a career driven woman, Marlene, and her development from an individualist and hard-hearted woman into a woman that realises that feminism and strength is not about the individual, but about a collective in which women are empowered by working together.
Churchill addresses the conflicts that women have to face, not only in modern society, but also historically. Churchill uses non-linear methods to introduce a climatic scene in which five historical heroines celebrate Marlene’s promotion. Through their broken dialogues, during the dinner party in act one, the difficulties that woman are constantly faced with and the sacrifices that women have to make daily are portrayed. The audience were able to draw comparisons through the heroines’ gender issues with issues that women continue to face in modern life in this passionate performance.
Girls On Top revived Churchill’s seemly forgotten play with their sharp performance and director Sarah Branthwaite cleverly adapted Churchill’s sparse directions to produce a thought-provoking performance. The thrust stage set up made the audience aware of the differing viewpoints in the small theatre, which nodded to the various viewpoints upon the subject of working women and feminism that Churchill questions.
The acting was superb and Churchill’s infamous overlapping was successfully executed. Each character was given an existence and became fully animated on stage, making the performance poignant and delivering Churchill’s strong message which can sometimes be understated when read.
Girls On Top gave a thrilling performance and awoke a socialistic feminism that seemed to be dying out. It produced hope, as well as thoughts, for the future of women.
Friday 15 August 2008
Review of Clarkson and Crouch, Away With the Fairies, published on Fresh Air online on 15/08/08.
Clarkson and Crouch’s comic debut show, Away With the Fairies, was a pleasant success from the unlikely pair with a background in acting. I was intrigued by their innovative idea of merging the supernatural with comedy and was looking forward to their final result.
The set of sketches turned out to be fast and furious; being jammed packed with ideas and characters that sent all of the audience members into hysterics.
The highlights of the numerous sketches include the Pearl and ‘Chelle sketch. In which Clarkson and Crouch superbly take the role of two Cockney women who chatter over tea and plot to gain revenge upon Pearl’s neighbour, Darren Brown, for his magical, if rather noisy, bedroom antics through the use of mind power classes.
The intelligent sketch based upon the poetry of Byron and Shelley is set in an advertising agency, where Clarkson and Crouch wittily impersonate the dead poets and enact ideas for a sanitary towel range. Crouch takes on the role of Byron and laconically suggests a tagline for the campaign that will put a “plug” in the “crimson piper that plays at a woman’s gate during Blow Job Week”.
A few sketches, admittedly, go over my head mainly due to my lack of knowledge about Superheroes, especially Spacecats. But Clarkson and Crouch swiftly move on to a new scenario, and set the scene alive again with their satire about Tramps.
Clarkson and Crouch displayed magnificent acting skills as they transferred from scene to scene with a professional ease. As well as successfully executing their various and differing character roles, Clarkson and Crouch also showed that they are actors who can deliver a cracking punch-line just as well as the professional comedians on at the Edinburgh Fringe.
This is definitely a must-see show of the Fringe, for the innovation of adapting modern urban life to an outer-world experience. So prepare yourself to be intensely entertained for the hour.
The set of sketches turned out to be fast and furious; being jammed packed with ideas and characters that sent all of the audience members into hysterics.
The highlights of the numerous sketches include the Pearl and ‘Chelle sketch. In which Clarkson and Crouch superbly take the role of two Cockney women who chatter over tea and plot to gain revenge upon Pearl’s neighbour, Darren Brown, for his magical, if rather noisy, bedroom antics through the use of mind power classes.
The intelligent sketch based upon the poetry of Byron and Shelley is set in an advertising agency, where Clarkson and Crouch wittily impersonate the dead poets and enact ideas for a sanitary towel range. Crouch takes on the role of Byron and laconically suggests a tagline for the campaign that will put a “plug” in the “crimson piper that plays at a woman’s gate during Blow Job Week”.
A few sketches, admittedly, go over my head mainly due to my lack of knowledge about Superheroes, especially Spacecats. But Clarkson and Crouch swiftly move on to a new scenario, and set the scene alive again with their satire about Tramps.
Clarkson and Crouch displayed magnificent acting skills as they transferred from scene to scene with a professional ease. As well as successfully executing their various and differing character roles, Clarkson and Crouch also showed that they are actors who can deliver a cracking punch-line just as well as the professional comedians on at the Edinburgh Fringe.
This is definitely a must-see show of the Fringe, for the innovation of adapting modern urban life to an outer-world experience. So prepare yourself to be intensely entertained for the hour.
Thursday 14 August 2008
Review of Laura Marling, published on Fresh Air online, 14/08/08.
It was always going to be a come-down from Glastonbury to the diminutive venue that is, Bannermans. But I was excited to see such a high-profile artist as Laura Marling, at such an intimate venue.
Laura Marling was shielded by her entourage through the cramped, perspiring crowd and taken onto the tiny stage at the front of the vault on the Cowgate. She opened her fifty-minute long set with an acoustic-version of Shine which mellowed the atmosphere after a dynamic set from support band, Mumford and Sons.
Mumford and Sons set up the evening of folk music with lead singer, Marcus Johnstone’s gritty vocals and fervent lyrics. Mumford and Sons displayed their skill as musicians in their ardent love song White Blank Page; which admittedly was the highlight of my evening.
Marling took to stage shortly after and played as laconically as ever, staring into the distance as if mesmerised by her poignant lyrics.
My Manic and I was performed acutely with support from Marling’s full band, in which Marling finally released her hidden passion and sung with an intense tone of vexation in parts.
Marling continued to demonstrate her exceptional vocals in new tracks Blackberry Stone and Rebecca, which was applauded by the audience as vigorously as her well-known tunes.
Night Terror was performed passionately and led straight into the encore which included Cross My Fingers, Crawled Out of the Sea and Marling’s infamous extended live version of Alas I Cannot Swim. Marling coyly thanked her audience and promised that she would be back in a week to enjoy the rest of the festival with them.
The response was rapturous even though the flow of the set was inhibited by the constant re-tuning of guitars due to the extreme heat. But it must be acknowledged that Laura Marling has comfortable seated herself as an unforgettable live act, in both large venues such as the Glastonbury Park Stage, and Edinburgh’s Bannermans.
Laura Marling was shielded by her entourage through the cramped, perspiring crowd and taken onto the tiny stage at the front of the vault on the Cowgate. She opened her fifty-minute long set with an acoustic-version of Shine which mellowed the atmosphere after a dynamic set from support band, Mumford and Sons.
Mumford and Sons set up the evening of folk music with lead singer, Marcus Johnstone’s gritty vocals and fervent lyrics. Mumford and Sons displayed their skill as musicians in their ardent love song White Blank Page; which admittedly was the highlight of my evening.
Marling took to stage shortly after and played as laconically as ever, staring into the distance as if mesmerised by her poignant lyrics.
My Manic and I was performed acutely with support from Marling’s full band, in which Marling finally released her hidden passion and sung with an intense tone of vexation in parts.
Marling continued to demonstrate her exceptional vocals in new tracks Blackberry Stone and Rebecca, which was applauded by the audience as vigorously as her well-known tunes.
Night Terror was performed passionately and led straight into the encore which included Cross My Fingers, Crawled Out of the Sea and Marling’s infamous extended live version of Alas I Cannot Swim. Marling coyly thanked her audience and promised that she would be back in a week to enjoy the rest of the festival with them.
The response was rapturous even though the flow of the set was inhibited by the constant re-tuning of guitars due to the extreme heat. But it must be acknowledged that Laura Marling has comfortable seated herself as an unforgettable live act, in both large venues such as the Glastonbury Park Stage, and Edinburgh’s Bannermans.
Review of comedian Jarlath Regan, published on Fresh Air online, 14/08/08.
Jarlath Regan’s new show, Relax the Cax, is his most self-deprecating yet, as Regan jokes about him facing up to his fear of fighting.
Regan sweetly thanks the packed out room for coming. He instantly mocks the people on the front row, likening them to the friend who gets stuck in the front of the taxi, while the others are “in the back, having the craic!”
The anecdote of when a traffic warden squared up to Regan sets the basis for the show, in which Regan comically acts out the “de-masculating” experience of timidly accepting the car clamp and wandering back hurt, emotionally, to his fiancé who merely laughs in response.
Regan also introduces some audience participation in this light-hearted show. At one point asking an audience member to perform a heckle that Regan had seen directed towards a compére at an Irish comedy festival, which led to rapturous applauds and giggles for the excellent performances of Regan and Dave the audience member.
Regan rounded off his set with his infamous greeting cards “for situations that modern greeting card companies don’t currently cater for”, which sent the audience into fits of laughter.
Relax the Cax was an hour of Irish charm, cheeky one-liners and heart-warming giggles. It is Regan’s dulcet Irish accent that really sets the tone of his set and relaxes the audience into a late-afternoon stand-up show, but don’t expect to be laughing out loud.
Regan sweetly thanks the packed out room for coming. He instantly mocks the people on the front row, likening them to the friend who gets stuck in the front of the taxi, while the others are “in the back, having the craic!”
The anecdote of when a traffic warden squared up to Regan sets the basis for the show, in which Regan comically acts out the “de-masculating” experience of timidly accepting the car clamp and wandering back hurt, emotionally, to his fiancé who merely laughs in response.
Regan also introduces some audience participation in this light-hearted show. At one point asking an audience member to perform a heckle that Regan had seen directed towards a compére at an Irish comedy festival, which led to rapturous applauds and giggles for the excellent performances of Regan and Dave the audience member.
Regan rounded off his set with his infamous greeting cards “for situations that modern greeting card companies don’t currently cater for”, which sent the audience into fits of laughter.
Relax the Cax was an hour of Irish charm, cheeky one-liners and heart-warming giggles. It is Regan’s dulcet Irish accent that really sets the tone of his set and relaxes the audience into a late-afternoon stand-up show, but don’t expect to be laughing out loud.
Friday 8 August 2008
The Kooks live review published on Fresh Air 29/4/08
Brit-pop, Sweat and … The Kooks?!
Ok. So The Kooks aren’t the coolest band to profess to have seen at one of their own gigs. But I wasn’t the only person there at their sold-out gig at the Corn Exchange, Edinburgh.
The crowd was buzzing with excitement and were eagerly awaiting the performance of the recent album chart number ones. The audience varied from chavs to Rahs, screaming girls, Pritchard wannabes with trilbies alike, and people as old as my parents. The Kooks have certainly worked magic with the music on a grand-scale, reaching out to all different sorts of fans from the nation.
As we edged our way into the diverse masses the crowd (or I should say the fifteen year old girls in the crowd) screamed during the silences between the poorly mixed indie tape; while young men shouted for their idols while simultaneously chatting up any being with a skirt on within grasp.
The interlude finished and the clinical Corn Exchange went dark as the iconic neon sign “Kooks” shone brightly in the top right hand corner of the stage; which produced images of a dark back alley lit by a sign for the nearest lap-dance bar in my mind. I am not entirely sure that this was the image The Kooks were trying to project, but it is an image that is darker and edger than their early days.
Pritchard and his gang of likely lads trooped onto stage in full indie clad and immediately sprung into the opening of the first single of the new album Konk, “Always Where I Need To Be”. The opening electric chords sent girls screaming, parents applauding and young men pongoing to the front; while expertly singing out of tune to every word which, in parts, drowned out Pritchard’s vocals.
The band played all of the “classics” off their debut album, Inside In/ Inside Out, which was met with fervour from the audience, as well as an Oasis-esque sing-along performance with both band and crowd performing for each other.
Their summer classic, “Naïve”, received the greatest response and even I found myself getting into the pop spirit, singing and jumping along with an increasingly hot and sweaty crowd. Pritchard then attempted to give the crowd a break with the notorious acoustic track “One Last Time” from their latest album. Pritchard seemingly enjoyed bleating out his “abcd” lyrics while the full spotlight was on him, while the crowd swayed and sang along; boosting his ego to a new height.
After an extensive set of both the first and the second album the band left the stage pronouncing (in Pritchard’s lispy voice) “Thanks a lot, we’re The Kooks” (just as a reminder) and exited the stage. The crowd still wanting more of the carbon copy music screamed “we want The Kooks”. Pritchard granted his fans’ request by appearing solitary on stage, but for an acoustic guitar, for the encore in an unflattering white vest.
Pritchard, tentatively, began the infamous chords to their debut opener, “Seaside”, which for its acoustic brilliance was ruined by Pritchard’s shaky voice, stiff chord changing and the X-Factor style vocals of the whole crowd. Still it allowed me to reminisce about a fantastic holiday with friends in Newquay, summer 06’.
Pritchard was joined by the rest of The Kooks for the closing two songs; “Jackie Big Tits” and “Sofa Song”. They then left the audience in the dark again, only to be mesmerised by the neon “Kooks” sign.
Ok. So The Kooks aren’t the coolest band to profess to have seen at one of their own gigs. But I wasn’t the only person there at their sold-out gig at the Corn Exchange, Edinburgh.
The crowd was buzzing with excitement and were eagerly awaiting the performance of the recent album chart number ones. The audience varied from chavs to Rahs, screaming girls, Pritchard wannabes with trilbies alike, and people as old as my parents. The Kooks have certainly worked magic with the music on a grand-scale, reaching out to all different sorts of fans from the nation.
As we edged our way into the diverse masses the crowd (or I should say the fifteen year old girls in the crowd) screamed during the silences between the poorly mixed indie tape; while young men shouted for their idols while simultaneously chatting up any being with a skirt on within grasp.
The interlude finished and the clinical Corn Exchange went dark as the iconic neon sign “Kooks” shone brightly in the top right hand corner of the stage; which produced images of a dark back alley lit by a sign for the nearest lap-dance bar in my mind. I am not entirely sure that this was the image The Kooks were trying to project, but it is an image that is darker and edger than their early days.
Pritchard and his gang of likely lads trooped onto stage in full indie clad and immediately sprung into the opening of the first single of the new album Konk, “Always Where I Need To Be”. The opening electric chords sent girls screaming, parents applauding and young men pongoing to the front; while expertly singing out of tune to every word which, in parts, drowned out Pritchard’s vocals.
The band played all of the “classics” off their debut album, Inside In/ Inside Out, which was met with fervour from the audience, as well as an Oasis-esque sing-along performance with both band and crowd performing for each other.
Their summer classic, “Naïve”, received the greatest response and even I found myself getting into the pop spirit, singing and jumping along with an increasingly hot and sweaty crowd. Pritchard then attempted to give the crowd a break with the notorious acoustic track “One Last Time” from their latest album. Pritchard seemingly enjoyed bleating out his “abcd” lyrics while the full spotlight was on him, while the crowd swayed and sang along; boosting his ego to a new height.
After an extensive set of both the first and the second album the band left the stage pronouncing (in Pritchard’s lispy voice) “Thanks a lot, we’re The Kooks” (just as a reminder) and exited the stage. The crowd still wanting more of the carbon copy music screamed “we want The Kooks”. Pritchard granted his fans’ request by appearing solitary on stage, but for an acoustic guitar, for the encore in an unflattering white vest.
Pritchard, tentatively, began the infamous chords to their debut opener, “Seaside”, which for its acoustic brilliance was ruined by Pritchard’s shaky voice, stiff chord changing and the X-Factor style vocals of the whole crowd. Still it allowed me to reminisce about a fantastic holiday with friends in Newquay, summer 06’.
Pritchard was joined by the rest of The Kooks for the closing two songs; “Jackie Big Tits” and “Sofa Song”. They then left the audience in the dark again, only to be mesmerised by the neon “Kooks” sign.
The Kooks album review published on Fresh Air 29/4/08
The Kooks have been away for two years, touring and ensuring that the follow up to their debut album, Inside Out/ Outside In, is bloody pop-tastic.
The pressure was on the four lads from Brighton as the all-important second album determines their future in the music business. The Killers failed to create a fuss about their debut Hot Fuss and are desperately clutching to their future; as the Red Light Company have just been signed to their record label and are tipped as the new Killers (when they were good). While The Libertines cemented their faces as Rock Legends with their self-titled second album; or maybe it was their notoriety.
After the first few listens to the second album, Konk, it is easy to recognise that not much has changed. There is still a summertime feel to the classic Kooks’ riffs, lyrics about love and loss, and of course Luke Pritchard’s ever-present arrogance that could rival Johnny Borrel.
Yet there is also a more self-conscious element to the album. Luke Pritchard explains his infamous arrogance in the first single from the album Always Where I Need To Be as “I’m a man, and I can be so obscene”. As well as the band’s definite escalation in musical confidence, as extensive touring has obviously shaped their skill to the point where you could say that they are experienced musicians.
Pritchard’s vocals match the intensity of the lead guitar, yet lazy lyrics such as Pritchard’s recital of the alphabet in One Last Time really let down his overall performance.
The Kooks have obviously been listening to their contemporaries during the making of this album. Influences derive from other pop acts such as The Wombats. As well as heavier influences from the likes of Muse and The Libertines on killer tracks Stormy Weather and Sway. The Kooks have attempted a Glam-Rock innovation to their acoustic summertime twang. Yet the album ends with a classic Kooks’ reggae-style track, Tick of Time, which is slightly too reminiscent of Time Awaits from their debut album.
Overall The Kooks have released a mediocre album which is highly similar to their debut album, but just lacks that bang! But they certainly haven’t lost their credibility with Konk as the album has reached number one highlighting their pop-ularity. But I very much doubt that this follow up will provide them with the rock status that their ambition strives for.
The pressure was on the four lads from Brighton as the all-important second album determines their future in the music business. The Killers failed to create a fuss about their debut Hot Fuss and are desperately clutching to their future; as the Red Light Company have just been signed to their record label and are tipped as the new Killers (when they were good). While The Libertines cemented their faces as Rock Legends with their self-titled second album; or maybe it was their notoriety.
After the first few listens to the second album, Konk, it is easy to recognise that not much has changed. There is still a summertime feel to the classic Kooks’ riffs, lyrics about love and loss, and of course Luke Pritchard’s ever-present arrogance that could rival Johnny Borrel.
Yet there is also a more self-conscious element to the album. Luke Pritchard explains his infamous arrogance in the first single from the album Always Where I Need To Be as “I’m a man, and I can be so obscene”. As well as the band’s definite escalation in musical confidence, as extensive touring has obviously shaped their skill to the point where you could say that they are experienced musicians.
Pritchard’s vocals match the intensity of the lead guitar, yet lazy lyrics such as Pritchard’s recital of the alphabet in One Last Time really let down his overall performance.
The Kooks have obviously been listening to their contemporaries during the making of this album. Influences derive from other pop acts such as The Wombats. As well as heavier influences from the likes of Muse and The Libertines on killer tracks Stormy Weather and Sway. The Kooks have attempted a Glam-Rock innovation to their acoustic summertime twang. Yet the album ends with a classic Kooks’ reggae-style track, Tick of Time, which is slightly too reminiscent of Time Awaits from their debut album.
Overall The Kooks have released a mediocre album which is highly similar to their debut album, but just lacks that bang! But they certainly haven’t lost their credibility with Konk as the album has reached number one highlighting their pop-ularity. But I very much doubt that this follow up will provide them with the rock status that their ambition strives for.
The Improverts Review published on Fresh Air 31/7/08
Show Title: The Improverts.
Date and Time: 12.30am-1.30am, Thursday 31st July 2008.
Venue: Bedlam Theatre.
Review:
Fringe Festival veterans, that is, Edinburgh University’s improvised comedy act, The Improverts, are hitting festival goers with their famous spontaneous sketches for the 19th year in a row.
Five budding ‘Players’ raised the Bedlam Theatre roof last night by the amount of laughter they generated through their lightening delivery of comedy, all at the request of the audience. The audience threw the actors in at the deep end with their bizarre suggestions, which the Bedlam ‘Players’ expertly changed into a seamless comedy sketch which had the crowd laughing out loud and applauding mid-scene.
During the one hour set the ‘Players’ performed various games in which the audience suggested the topic and direction of the scene, making sure that no two shows are the same. The highlight of this particular show was ‘Marriage Counsellor’, in which director Robin Stewart and fellow ‘Player’, Michael Whitman made the audience howl with laughter as they acted out a sketch about a married couple who had a problem with the others’ obsession; the former with teacakes and the latter with peacocks. The show closed with the game ‘Freeze’ which allowed further audience participation with the audience joining the ‘Players’ on stage.
The energy from the show was heightened by the masterful lighting and synchronised music, which was rapidly adapted to the audience’s suggestion for each scene.
The finale concluded with a bow from the ‘Players’ and rapturous applauds from the crowd. The audience exited the old church venue fully entertained, exclaiming ‘I loved it’. The Improverts is definitely a must-see show of the Fringe.
***** Expect lots of audience participation and lots of laughs.
Date and Time: 12.30am-1.30am, Thursday 31st July 2008.
Venue: Bedlam Theatre.
Review:
Fringe Festival veterans, that is, Edinburgh University’s improvised comedy act, The Improverts, are hitting festival goers with their famous spontaneous sketches for the 19th year in a row.
Five budding ‘Players’ raised the Bedlam Theatre roof last night by the amount of laughter they generated through their lightening delivery of comedy, all at the request of the audience. The audience threw the actors in at the deep end with their bizarre suggestions, which the Bedlam ‘Players’ expertly changed into a seamless comedy sketch which had the crowd laughing out loud and applauding mid-scene.
During the one hour set the ‘Players’ performed various games in which the audience suggested the topic and direction of the scene, making sure that no two shows are the same. The highlight of this particular show was ‘Marriage Counsellor’, in which director Robin Stewart and fellow ‘Player’, Michael Whitman made the audience howl with laughter as they acted out a sketch about a married couple who had a problem with the others’ obsession; the former with teacakes and the latter with peacocks. The show closed with the game ‘Freeze’ which allowed further audience participation with the audience joining the ‘Players’ on stage.
The energy from the show was heightened by the masterful lighting and synchronised music, which was rapidly adapted to the audience’s suggestion for each scene.
The finale concluded with a bow from the ‘Players’ and rapturous applauds from the crowd. The audience exited the old church venue fully entertained, exclaiming ‘I loved it’. The Improverts is definitely a must-see show of the Fringe.
***** Expect lots of audience participation and lots of laughs.
Morgan Murphy review published on Fresh Air 8/8/08
Morgan Murphy-I Don’t Know Who I Am Either- The GRV-Thursday 7th August, 6.30pm-7.30pm. Until 24th August.
Morgan Murphy has hit the Edinburgh Fringe for the first time with her most self-conscious and personal show to date, I Don’t Know Who I Am Either. Murphy sardonically addresses the fears of a new comic debuting at the Edinburgh Festival, yet her cynical humour and the audience reaction allow Murphy to display her true talent as a stand-up comedian.
Murphy epitomises modern Western culture through her cheeky one-liners and hilarious anecdotes about “eco-friendly” electric cars, Skyping her Therapist and her addiction to day-time TV.
The highlight of the hour long set was when Murphy displayed the extent of her dark humour during the anecdote about her electric car being so useless that she envied the car battery’s death. Murphy’s deadpan approach to profound subjects like suicide, societal problems and psychosis make this show an intellectual escape from reality.
Unfortunately, I Don’t Know Who I Am Either has not been as successful as Murphy had hoped, with poor show attendance and difficulty is translating her American humour to a British audience. Her self-criticism has visibly affected her performance as Murphy deviated from her show into a bundle of self-pity, which brought down her superb opening.
However, Murphy left the stage with a huge smile and an applauding audience in the knowledge that she has proven that she is a gifted comedian and that, with confidence, her shows can only get better. She is one to watch out for as Murphy becomes more and more accustomed to the dog-eat-dog nature of the Edinburgh Fringe and is growing out of her shaky start.
Morgan Murphy has hit the Edinburgh Fringe for the first time with her most self-conscious and personal show to date, I Don’t Know Who I Am Either. Murphy sardonically addresses the fears of a new comic debuting at the Edinburgh Festival, yet her cynical humour and the audience reaction allow Murphy to display her true talent as a stand-up comedian.
Murphy epitomises modern Western culture through her cheeky one-liners and hilarious anecdotes about “eco-friendly” electric cars, Skyping her Therapist and her addiction to day-time TV.
The highlight of the hour long set was when Murphy displayed the extent of her dark humour during the anecdote about her electric car being so useless that she envied the car battery’s death. Murphy’s deadpan approach to profound subjects like suicide, societal problems and psychosis make this show an intellectual escape from reality.
Unfortunately, I Don’t Know Who I Am Either has not been as successful as Murphy had hoped, with poor show attendance and difficulty is translating her American humour to a British audience. Her self-criticism has visibly affected her performance as Murphy deviated from her show into a bundle of self-pity, which brought down her superb opening.
However, Murphy left the stage with a huge smile and an applauding audience in the knowledge that she has proven that she is a gifted comedian and that, with confidence, her shows can only get better. She is one to watch out for as Murphy becomes more and more accustomed to the dog-eat-dog nature of the Edinburgh Fringe and is growing out of her shaky start.
Saturday 29 March 2008
Supergrass Review published on the University of Edinburgh student radio, Fresh Air, website in March 2008.
Supergrass, Blur, Suede and Pulp are all bands of an era gone by. An era in the 1990’s which was marked by the coolness of Britain and an enthralling new music genre called Britpop. To me Britpop signifies a time of childhood innocence, a time where I was liberated from adult responsibilities and a time of enjoying the summer months in denim mini-skirts leisurely watching the cricket. The artists that emerged over a decade ago embodied this ideal of innocence and freedom; singing about distinct issues that concerned the British youth. Britpop celebrated Britishness finely. Yet every good thing must come to an end and Britpop naturally declined.
After a long hiatus, one which seemed like an eternity, I was offered the chance to revive my childhood summers and watch the best Oxfordian band ever (argue with me all you like, but the lady will not be turned), Supergrass on their latest tour. The band, who have been quiet for the past few years, opened their tour of their sixth studio album “Diamond Hoo Ha” at the sold-out Edinburgh Liquid Rooms.
Feeling as giddy as a school girl yet with a pint of cider in hand I was packed into the tiny venue (too tiny for such a huge act) by music fans twice my age. For once in Edinburgh I felt too young to be at a gig rather than having an apparent mid-life crisis at the ripe age of 19 by being surrounded by 15 year old Emos at Klaxons’ gigs. The crowd seemed ennui and world weary in comparison, but when Gaz Coombes entered to take his position on centre stage the youth of the 1990’s was revived and everyone applauded in respect for the musical legacy of Supergrass.
The band plummeted into various tracks from their new album, which is out on the 24th March. The new album set bodies swinging and hands in rapturous applause, as Supergrass have continued to create ear pleasing music. Yet something has changed from the days of Britpop. Supergrass have finally said goodbye to the carefree entertainment of Britpop, and adopted a mature outlook obviously influenced by psychedelia and funk. The band have taken a glamorous rock musical direction highlighted through “Diamond Hoo Ha Man”, their first release from the new album, and their second single “Bad Blood” with embody a dark attitude, mixed with provocative sexiness. Supergrass appeared to have discarded their days of simple guitar chords, clanging keys and pop. Prioritising their sound with heavy power chords, intricate guitar solos and Goffey’s pro-active drumming.
Supergrass made my night when the lyrics “Moving. Just keep Moving” echoed around the room to a greeting of excitement. Supergrass created an intense nostalgia with their most famous track “Moving” in which every lyric was sung back to Gaz Coombes with as much passion and fervour as the song created when it was released back in 1999. The evening reached its climax when the introduction to “Pumping on Your Stereo” began in which all of the under-25’s (including myself) hypnotically swarmed to the front of the venue for a good old bit of light-hearted jumping around and sing-along.
Supergrass made a marvellous come-back, showing that they are a band that has survived Brit-pop unlike their contemporaries such as Blur and Pulp. Supergrass have entered 2008 with a band; reviving the current alternative British music scene, yet still maintaining their Brit-pop legacy by continuing to perform their songs that made the 1990’s a great time to grow up in.
After a long hiatus, one which seemed like an eternity, I was offered the chance to revive my childhood summers and watch the best Oxfordian band ever (argue with me all you like, but the lady will not be turned), Supergrass on their latest tour. The band, who have been quiet for the past few years, opened their tour of their sixth studio album “Diamond Hoo Ha” at the sold-out Edinburgh Liquid Rooms.
Feeling as giddy as a school girl yet with a pint of cider in hand I was packed into the tiny venue (too tiny for such a huge act) by music fans twice my age. For once in Edinburgh I felt too young to be at a gig rather than having an apparent mid-life crisis at the ripe age of 19 by being surrounded by 15 year old Emos at Klaxons’ gigs. The crowd seemed ennui and world weary in comparison, but when Gaz Coombes entered to take his position on centre stage the youth of the 1990’s was revived and everyone applauded in respect for the musical legacy of Supergrass.
The band plummeted into various tracks from their new album, which is out on the 24th March. The new album set bodies swinging and hands in rapturous applause, as Supergrass have continued to create ear pleasing music. Yet something has changed from the days of Britpop. Supergrass have finally said goodbye to the carefree entertainment of Britpop, and adopted a mature outlook obviously influenced by psychedelia and funk. The band have taken a glamorous rock musical direction highlighted through “Diamond Hoo Ha Man”, their first release from the new album, and their second single “Bad Blood” with embody a dark attitude, mixed with provocative sexiness. Supergrass appeared to have discarded their days of simple guitar chords, clanging keys and pop. Prioritising their sound with heavy power chords, intricate guitar solos and Goffey’s pro-active drumming.
Supergrass made my night when the lyrics “Moving. Just keep Moving” echoed around the room to a greeting of excitement. Supergrass created an intense nostalgia with their most famous track “Moving” in which every lyric was sung back to Gaz Coombes with as much passion and fervour as the song created when it was released back in 1999. The evening reached its climax when the introduction to “Pumping on Your Stereo” began in which all of the under-25’s (including myself) hypnotically swarmed to the front of the venue for a good old bit of light-hearted jumping around and sing-along.
Supergrass made a marvellous come-back, showing that they are a band that has survived Brit-pop unlike their contemporaries such as Blur and Pulp. Supergrass have entered 2008 with a band; reviving the current alternative British music scene, yet still maintaining their Brit-pop legacy by continuing to perform their songs that made the 1990’s a great time to grow up in.
Red Blood Shoes Review published on the University of Edinburgh student radio, Fresh Air, website February 2008.
A buzz of excitement filled the bare stone walls of the Edinburgh vault as the mixed crowd of music lovers gathered in anticipation for the most tipped new band of the year. The energetic, punk band Blood Red Shoes have been the talk of the 2007/08 music scene as their pop lyrics, mixed with the eccentric guitar riffs and ritualistic drumming ensures that even the most unwilling of listeners cannot be help but tap their feet to their tunes.
The Brighton duo which consists of Laura-Mary Carter and Steven Ansell , which has led to conspiracies like those that surrounded the White Stripes with questions like are they going out or are they brother and sister?, have been together since 2005 and have numerous gigs under their belt. There were lots of expectations surrounding their sold out gig at The Hive, Edinburgh, as the band reached the point in their musical career when it was time to prove that they were not just a band that spilled out repetitive punk tracks, but a band with musical variety and live talent.
The evening did not begin smoothly however with support band Make Model’s lead singer bursting open his head, thus leading to the support band having to cancel at the last minute.
When Blood Red Shoes arrived on stage earlier than expected this heightened the atmosphere within the small rectangular room. The band began their set with a comedy cabaret, as Steven Ansell dipped into some stand-up comedy. The distinction between band and fans was merged by inviting a member of the crowd onto the stage to join in with the theatrical farce. However, this introduction led to boos from the audience as Ansell should more than definitely stick to his day job as the drummer because his jokes should be likened to a terrorist attack; lots of explosions, but ultimately disastrous.
After fifteen minutes of ‘comedy’ the band finally jumped into their set opening with their trademark repetitive guitar riffs. The band certainly got the crowd going especially when they played singles, “You Bring Me Down” and “I Wish I Was Someone Better”. The snare drum on “I Wish I Was Someone Better” thudded around the room and made it impossible for the crowd to keep still. So if you like punk/pop of The Subways then you must check out Blood Red Shoes, because they are basically reproducing the same genre yet Laura-Mary can actually sing.
It was only a short set of fifty minutes which shows that the band have yet to find that happy medium of quick, punk tracks that last two minutes thirty-seven seconds, by incorporating more ballads, as there was a distinct lack of slower tracks in this set. The band state on their website that they do not want to produce “cheap-shit predictable music”, yet the lack of variety in their set suggests that this is what they are pumping out, quick and easy punk/pop which everyone loves. But it certainly moves us.
There album is out April 14th.
There European tour begins in the spring and they are due to play Glasgow ABC on 18th April. Buy tickets now to see what all the hype is about.
Unpublished article on Rape in Edinburgh-December 2007.
The law and criminal justice system has been held under intense scrutiny following David Cameron’s speech to the Conservative Women Organisation in November. The Tory leader outlined the shocking statistics for rape convictions in the U.K. compared with other European countries. Cameron addressed the issue of rape, which was becoming a forgotten issue amongst the majority of society.
The U.K. currently holds the worst convictions rates in Europe, with the frighteningly low conviction rate of 5.1%, while Scotland alone convicted only 4.3% of recorded rape cases. At a local level the Lothian and Borders area holds a startlingly low conviction rate of only 1.4%. If these statistics are compared with countries, such as Italy which has a conviction rate of 48.8% in 2003 and Ireland which boasts a conviction rate of 59.3%, the U.K., especially Scotland, has to face the fact that the criminal justice system is failing. The U.K. must realise that something has to be done to give rape victims justice and to increase the protection of women from rape without their loss of freedom.
Women’s right movements will be relieved at Cameron’s openness about rape and his worry for the seemingly increasing number of rape offences, yet the ever rock-bottom conviction rate. Cameron outlined three initiatives during his speech: to improve the conviction rates of rape and increase the sentence of imprisonment; to increase the number of rape crisis centres; and to change the cultural values of the U.K. However, this is something that cannot be changed over night.
The current maximum sentence for rape is life imprisonment. Obviously it is in very extreme cases that the defendant is punished this severely. The reality of rape sentences are far from severe with the average jail sentence being only 4 years and many perpetrators are gaining freedom after a matter of months. But it must be questioned as to whether more severe punishments would lead to determent and justice or whether it would be self-defeating, leading to more rapists escaping prison as juries may be reluctant to give defendants a harsh punishment in a case where it is one person’s word against another?
Rape Crisis Centres have undergone recent turmoil under the Labour government, as more centres are forced to close down. In 1985 there were 84 Rape Crisis Centres in the U.K. compared to only 32 today; which is set to decline even further. These cuts to Rape Crisis Centres will most definitely have an adverse effect on victims of rape, with only around 20% of rape victims who seek advice and help from these centres actually reporting the crime to the police. If more confidential support is not offered to victims of rape then rape will become ever more life-destroying for its victims.
Cameron’s attack on the U.K.’s cultural values also holds importance as women continue to be stigmatised for rape. Even though the Sexual Offence Act of 2003 aimed to strengthen the law and the protection of the victim, women continue to feel uncomfortable reporting rape to the police and going through the lengthy and debilitating court procedure. The court room is often described as the “second assault” on rape victims due to the continuation of hostile questioning and public sexism, while women’s sexual history, alcohol intake and clothing continues to be a major aspect of the trial. Those in authority who are supposed to administer justice, regardless of their personal opinions of a crime, must be interrogated into their conduct.
It is not only the sexism in the criminal justice system that has lead to a lack of justice for rape victims; it is the sexism that runs throughout our own society. In 1999 the Zero Tolerance Charitable Trust conducted a survey in Glasgow discovering that one in seven young men thought that forcing their long-term partner to have sex with them was acceptable. Amnesty International found that one in four respondents to a poll in 2005 thought that a woman was partly responsible for being raped if she wore sexy or revealing clothing. This cultural apathy towards victims of rape shows how, as a nation, we are taking the wrong attitude towards sexual abuse.
Locally, the University of Edinburgh Amnesty International Society began a ‘Stop Violence Against Women’ campaign following a series of meetings that were held in December. The Society acknowledged that rape was under-reported to the police and that the media creates problems for rape victims, due to the myths of rape that it portrays. It needs to be recognised that the media sensationalises rape and focuses on “stranger danger”, preaching to young women that they are most in danger, especially when they are out at night, in revealing clothing and intoxicated with alcohol. The media demonises women who do not restrict their behaviour and effectually uses rape as a means to control women. What the media ignores however is; the truth. The truth that women are most likely to be raped by someone they know and that the most common perpetrators are husbands and partners. The Rape Crisis website exposed that 97% of rape victims that contact them knew their assailant before the attack. The media continually tells women the opposite; which means that women who are abused by their partners, friends or family feel as though it is not rape and therefore do not report it because it does not conform to the stereotype of rape. In order for this to change the media must reveal the true picture of rape to ensure that women understand what rape is. Women need to be taught that it is not their fault that their “loved” ones are abusing them and the Police need to be more willing to listen to women who are suffering from sexual abuse.
Amnesty International Society have begun to take direct action against rape firstly by advertising the various facilities that are available at the Advise Place on Campus for reporting and counselling, as well as a potential poster campaign that aims to challenge the attitudes of sexism and the myths of rape. At a national level, Cameron’s speech was right to raise the issue of rape and to argue that something must be done about the injustice of rape. However, I think that he does not recognise the extent of the problem, nor does he realise just how dramatic our culture will have to change in order for women to feel safe from rape. Firstly, this means a change of attitude towards women that are raped. The victims of rape need to be decriminalised. It is the perpetrator that is on trial not the victim. Secondly, the myth of “stranger danger” needs to be eliminated to ensure that women feel able to take someone that they are close to, to the police. Rape is rape regardless of who the perpetrator is. If Cameron is able to see his proposals through I think he could win back disillusioned female voters and make the U.K. a safer place for women in general. However, rape is not a crime that will suddenly cease to exist and for now we will have to ensure that the victims of rape receive support and justice.
Klaxons Review published on the University of Edinburgh student radio, Fresh Air, website in December 2007.
Arriving at the Corn Exchange fashionably late, as always, pumped up giggers were greeted with a pavement full of cheap fluorescent glow sticks and a totalitarian sign that bared the ominous message: ‘No Glow sticks allowed. All Glow sticks will be confiscated’. Appalled by this restriction of Nu-rave rights, we reluctantly made our way inside to witness the death of Nu-rave.
Inside, however, was a different story; there was obviously no need to worry. A few Scenesters and wanna-be kids were draped in the heighteth of Nu-rave fashion. The hair was big. The jeans were tight. The colours clashed and were from every shade of the rainbow. It was a Nu-rave spectacular.
The bar was empty as Indie kids packed to the front of the venue in the hope that Simon’s sweat may be flicked onto their face as he kicks in ‘Atlantis to Interzone’ with his electrifying guitar riff.
Only a few moments after I secured my JD and lemonade in hand Klaxons took to the stage; received by a roar of applause and girly screams from the vivacious audience.
The familiar bass line of the Kicks Like A Mule cover ‘The Bouncer’ begun to echo around the room, while the audience anticipated the electronic kick in that would send them into a frenzy. When it finally did the crowd began to jump up and down in hysterics, while a few managed to crowd surf to the front in a bid to get closer to their idols.
Following ‘The Bouncer’, lead vocalist Jamie Reynolds apologised to the crowd for it taking them so long to gig in Edinburgh. The band made up for this blip as they clash through their hits ‘Gravity’s Rainbow’, ‘Golden Skans’ and ‘Atlantis to Interzone’. The sound was amazing. With the drums and bass beating against your chest, as clear as if you were the audience in a seedy underground basement. The electronics lived up to Nu-rave expectation; shooting the crowd into uncontrollable dancing, legal highs and profuse sweating.
With most of the album played, it was unclear what the band would pull out to finish the only 40 minute long set. Klaxons delivered though, by bringing out the clear favourite of the night, the cover ‘Not Over Yet’. The cover finished the evening stunningly, as the crowd sung back to the band during a climax-producing break during the song.
No new songs were played to the disappointment of the fans. Is this the end of Nu-rave? Have Klaxons run out of creative energy as they scrape to fill a short set by throwing in and ever-increasing amount of covers? Klaxons may not be winning a Mercury Music prize next year, however, the Nu-rave kids didn’t seem to mind as the youthful crowd left the venue exhausted yet satisfied.
Unpublished Heath Ledger Obituary.
The premature death of Heath Ledger on the 22nd January 2008 has left an impression upon many people’s minds. It has been a topic that has flared into discussions as to why we feel such empathy towards Ledger and most importantly what this shock has done to put our own mortality into perspective.
On the day that the 2007 Oscar nominations were announced Heath Ledger was found dead in his Manhattan apartment at the tragic age of 28. Ledger was found by his masseuse laid face down on his bed cold and naked. It is still unsure as to what the cause of death is, as reports from the toxicologists are due back in a matter of days. However, the New York Police Department announced that prescription sleeping pills were found in the vicinity as Ledger was apparently suffering from extreme insomnia prior to his death. Ledger’s family announced his death as “the very tragic, untimely and accidental passing of our dearly loved son, brother and doting father of Matilda, who was found in a peaceful sleep in his New York apartment”. Yet there was no indication in Ledger’s apartment as to whether he took his own life, accidentally overdosed or whether he died of natural causes.
Heath Ledger has starred in many distinguished Hollywood films such as teen flick 10 Things I Hate About You and the Oscar-winning Brokeback Mountain. In Brokeback Mountain Ledger starred as a homosexual cowboy who has a secret love affair with Jack Twist, who was played by Jake Gyllenhaal. Ledger performance was unforgettable and innovative. He was one half of the first onscreen gay romance in which his character in the film, Ennis, helped to break down the cultural barriers within Hollywood as a minority continue to feel ambivalent towards homosexuality.
Ledger put not only his acting skills into his roles but also emotion and meaning. His onscreen performances have wrenched the hearts of viewers all across the world and no one can deny that Brokeback Mountain didn’t bring a tear to their eye. Ledger’s death is not just the death of an actor, but the death of a young artist who we identified with not only because of his age but also because of his poignant performances.
People continue to question why Ledger is increasingly gaining heroic status which can be likened to that of James Dean and River Phoenix. Ledger may have kept his personal life private and did not appear to have any obvious narcotic problems or an affinity for fast cars; but is this not a reason to recognise the ordinary, reputable and humble people more when they pass away? One must acknowledge that Ledger was a household name and the big screen allows us to become involved with not only the narrative, but also with the actor. Regardless of how distant a love affair between two American cowboys may seem to us as students in Edinburgh, the inner turmoil and the deep love that Ledger and Gyllenhaal displayed on the big screen penetrated us.
The most central issue, however, that has caused our fixation with Ledger’s untimely death is because it simply has reminded us of our own mortality. Like the students of Edinburgh University, Ledger was in the prime of his life, extremely talented and had a successful career ahead of him. This was unfortunately taken away by a premature death that has led to the consensus that a life has been wasted. It is not only tragic that someone so young and successful has dies, but the daunting reminder that one day we will die too. As the director of Brokeback Mountain Ang Lee stated: Ledgers’ death is “heartbreaking”.
CSS Review published on the University of Edinburgh student radio, Fresh Air, website in January 2008.
Carling Academy Liverpool- Tuesday 18th December 2007.
Ok, so they’re a quirky six-piece band from Brazil who sing about sex, but are they any good live?
Having seen CSS warm up the Radio 1 stage at Leeds Festival 2007 for Klaxons and my memory from the event being rather hazy due to copious amounts of…. Anyway, I decided that I needed to see CSS live again to be able to give my true opinion on whether this Nu-rave band is actually talented. We all know and love, whether admittedly or not, Let’s Make Love and Listen to Death from Above, but is that all that CSS have to show for themselves? So I jumped behind the wheel of my car and adventured across the Lancashire hilltops to Scouse land, unassisted by maps, compass or Satnav, to discover the answer to these mystical questions.
We arrived fashionably late, as always, to a hyped up crowd and were greeted by the electronic sounds of support act Metronomy. The London trio took to the stage cladded all in black apart from a decorative bedside touch lamp that was velcroed to their chests; which they pressed on and off intermittently to a dance routine that could be likened to a boy band (insert laughter here-I certainly did). If we put aside the theatrical farce that took place on stage, they actually weren’t that bad. They played mainly mainstream electronic indie, but one track called “Heart Breaker” really stood out for its jazz-like bass line, spontaneous sax solo and melodic love lyrics. This song could really get these guys somewhere, but unfortunately the rest of the set did not live up to this standard and individuality, imitating the likes of Hot Chip and Calvin Harris. So after our chuckle we where fully revved up for Lovefoxxx and her gang of merry men.
CSS arrived on stage even more fantastically dressed then their support. The band entered the stage to the sound of sleigh bells and were dressed as presents while faux snow was pumped onto the audience. It was a magical opening to a Christmas gig, and CSS were determined to begin the set as they meant to go on. The band jumped out of their wrapping and speedily got into the instrumental opening of Off The Hook, when Lovefoxxx made her entrance (or exit from her wrapping paper) to display her vivid green sequined leotard. They played Off The Hook followed by a slower version of Alala which ended with Lovefoxx inviting a Christmas tree on stage (an extra dressed as a Christmas tree that is!) for a Christmas dance to Fuck Off Is Not The Only Thing You Have To Show.
The band showed that they were really tight, with quick changes between songs and intricate chord variations on well-known tunes, which was not expected from a band that only first picked up an instrument in 2003. CSS’s obvious musical talent and Lovefoxxx’s energetic stage antics certainly got the crowd going and this gig definitely one to be remembered. It certainly got me into the Christmas spirit, after two weeks of intense exams, as opposed to all of the loathsome Christmas songs that plague the radio and bars in the running months up to December.
The band also played some new songs which showed a progression in their music, as it portrayed an obvious new direction away from notorious Nu-rave electronics to more heavily guitar based music which were devoid of the sexual denotations that were disseminated throughout their debut album.
After the indefatigable crowd had chanted “CSS Suxxx” and pleads of more, CSS returned to the stage for the encore with their hit Let’s Make Love and Listen To Death From Above, which truly set the evening alive.
If you you’ve heard their music and realised that you just want more and more check out the bands at a local-ish venue near you:
Metronomy- 24th Feb King Tuts Glasgow.
CSS- 24th Feb Barrowlands, Glasgow for the NME Awards Show.
"Andy Warhol: A Celebration of Life… And Death"-Published in the University of Edinburgh student magazine, Hype, in October 2007.
Andy Warhol: A Celebration of Life… And Death.
Warhol is notorious for his rock ‘n’ roll lifestyle. This compromised of his superstars, speed and general debauchery. But this exhibit at The National Gallery of Scotland shows a deeper side to Warhol, one that is concerned with death, religion and politics.
As a commercial illustrator in the 1950’s and 60’s, Warhol’s work embraced the American consumer culture. This was epitomised by his infamous piece of artwork; the repeated Campbell Soup image. Yet Warhol was not purely concerned with brands. His Death and Disaster series displays Warhol dabbling with death for the first time in his career. Critics may argue that Warhol portrayed sensational deaths, such as suicide and car crashes, with a heartless cool. While fans believe that Warhol is merely reflecting the modern world without judgement, observing how the media’s exposure of horrific events is making society immune to death and violence.
Warhol’s “Pop” portraits are also drenched in death. Iconic images of Marilyn Monroe and Elvis Presley were produced following the idols’ untimely deaths. Warhol’s obsession with celebrities who were touched with death is embodied in his expression: “In the future everyone will be famous for fifteen minutes”, reiterating that fame is short lived. Press images of widow, Jackie Kennedy following the murder of JFK, also produced a documentary of emotions; grief, happiness and dignity that surround the concurrent theme; death.
Warhol’s Screen Tests, which were mostly filmed during the 60’s, present an alternative art form to Warhol’s ritual silkscreen prints. Warhol filmed his “superstars” at The Factory and slowed the footage down by a third to create a 4 minute film in which every eye movement, every flutter of the eyelashes appears to be a revelation. His Screen Tests are mesmerising and are the key to the actor’s soul. Edie Sedgwick, socialite and “it” girl of the 1960’s, played a major role in Warhol’s films and was the quintessence of The Factory charisma.
In the 1980’s Warhol became obsessed with the Cold War tension, producing his famous Camouflage prints which undermined Russia’s military threats with the contradictory use of bright colours which simulates the American brand culture.
The most interactive and frivolous aspect of the exhibit is the un-missable Silver Clouds. A room full of helium and air inflated silver balloons which float in the direction which you push them. This is an opportunity to experience Andy Warhol’s avant-garde art, where everyone ranging from children to pensioners is playing like they have never played before!
However, Warhol’s self portraits are unequalled in this exhibit. Warhol hits the very core of his insecurities and fears, particularly in Self Portrait (Strangulation) which portrays him being strangled from behind in a shocked Christ-like position-eyes directed heaven ward.
This exhibition gives a deep insight into the chaotic and nihilistic life of Andy Warhol: where superficiality and enlightenment are one.
Andy Warhol: A Celebration of Life… And Death
The National Gallery of Scotland
4th August-7th October
"Writing the Body Politic"-Published in the University of Edinburgh student newspaper, Student, in January 2008.
Writing the Body Politic:
Sara D’Arcy
Everybody knows that University is a time when your body changes. Your alcohol-filled stomach bulges over your tight fitting jeans. You can no longer wear those skimpy hot pants-because the late night essay writing sessions with your reliable friend, coffee, have left your once smooth and toned legs looking unbearable. So we may have reasons for not feeling too great about our body. But to the point that we think ourselves unattractive generates problems. Everyone has a concept of beauty and their own body image, yet it is extremely rare that these two things ever go hand in hand. Our perception of our appearance often being much more negative in regards to how others see us.
This tendency to be critical towards our body can have serious effects not only upon our health, but also on our mental health and daily life. It is well publicised that having negative perceptions about our body can lead, in extreme circumstances, to anorexia, bulimia and over-eating. However, what is a less known, but a more common phenomenon is traits like skipping lunch, counting calories, debilitating gym sessions and depression. Sound familiar? You are not alone.
It is no wonder that the majority of people have negative feelings towards their body, when images of stick-thin women and athletic men are constantly projected in the media in style publications like Vogue, scrutinising gossip pages like Heat and fitness magazines like Men’s Health. Most people do not conform to this elusive stereotypical body, whether it is the waif-like figures of female models or the muscular build of famous sportsmen. But the media has most definitely contributed to us becoming obsessed with our body image by making us feel inadequate to this seemingly unattainable physique.
The U.K. fashion industry, who has been the main target of protest campaigns against “Size Zero”, declared last year that it would not ban “ultra-thin” models from the cat walks of London Fashion Week. This statement was made even after the untimely deaths of Luisel Ramos who died of heart failure during the annual fashion show in Montevideo, Uruguay in August 2006 and Brazilian model, Ana Carolina Reston, who died in November 2006; both deaths were diagnosed as being caused by anorexia. The Fashion Industry obviously does not empathise with the issues of body image as they still cast these particular models even when their weight dramatically dropped to below 7 stone. If the industry shows no regard for its models then it definitely does not care about the young women and men who feel imperfect compared to the airbrushed ideal body that it uses to make money. It is no wonder that people find it difficult to love their bodies when they are constantly bombarded with images that are telling them the opposite.
Not only do the media and the fashion industry have to change their priorities, society’s attitude in general needs to be challenged. Whether we admit it to ourselves or not it is a fact that ‘beautiful’ people, who conform to the stereotypes portrayed on every glossy magazine cover, are given preference over those who do not. Recent research conducted by the Social Issues Research Centre, a science based non-profit, NGO with funding from the European Union, discovered that students who are thought to be more attractive were more popular not only with classmates, but also with their teachers. The teachers were found to have higher expectations of attractive students, which led to them gaining higher grades as a result of their physical appearance. Another very damaging consequence of this quest for ‘beauty’ is that it produces the stereotype within our society that beauty goes hand in hand with characteristics such as intelligence, social skills and morals. Whilst the enlightened reading this article may deny that they hold such a conception this is not the issue because many people, even unconsciously, do. What is at stake for those who are not ‘beautiful’ or ‘skinny’ is that they begin to associate their lack of ‘perfection’ with the self-image of worthlessness and thus begin to associate losing weight as a step in becoming a ‘better person.’
A study by the University of Glasgow in 2001, of an unidentified university, showed that the majority of students that were surveyed were self-conscious about their bodies. In particular, female students were 10 times more likely to exhibit anxiety over their weight in comparison to male students even though the men surveyed were on average more likely to be over-weight. However, a significant number of male students also admitted to being insecure over their body image. This anxiety has its root in only one source: the exposition and objectification of the body in the media. The results of this obsession with body image are made clear by a recent report by the charity Mental Health Foundation UK. Their recent study found that on average 1% of women between the ages of 15 and 30 suffer from some form of ‘anorexia nervosa’ and 4% of this age from ‘bulimia nervosa.’ For men the average is much lower but still significant making up 10% of all anorexia or bulimia cases that are reported in the U.K. To put it in perspective: even at a mean estimate this means that around 800 students at Edinburgh University will have some form of eating disorder.
Apart from the very real threat to bodily health this anxiety about body image also impacts on the every day of life of students who do not feel that they fall into such categories. Even a slightly negative body image can cause insecurity, which can affect not only academic performance, but if ignored can develop into depression, while attempts to diet to achieve ‘the perfect body,’ is the precursor to more drastic cases like bulimia and anorexia.
Change in society’s superficial attitude is unlikely to alter anytime soon. Big corporations will continue to make extortionate amounts of money through fashion, beauty products, and our natural inclination to be insecure about our physical appearance. The only way to combat society’s stereotypes and the reception of them is to rise above it and accept ourselves for who we are. As one Edinburgh University student put it, ‘there is so much pressure to conform to what the media shows is beautiful. It doesn’t matter. Ultimately I’d rather go on living my life and eating that chocolate cake instead of worrying about my weight.’ This said if you feel that your body image is affecting your life then there are a number of people that you can contact to talk to confidentially and anonymously about any concerns you may have.
Nightline: The University of Edinburgh trained volunteer phone service can be called between 8pm and 8am on 0131-557-4444.
Breathing Space Scotland: This nation wide advice and counselling service can be contacted between 6pm and 2pm on 0800-838-587. Information and Guidance can also be found at http://www.breathingspacescotland.co.uk/.
Mental Health Foundation UK: This service provides information and contacts for those who know someone with eating disorders and want to find help for them; they can be called on 020 7803 1101. Information can also be found at http://www.mentalhealth.org.uk/.
Sara D’Arcy
Everybody knows that University is a time when your body changes. Your alcohol-filled stomach bulges over your tight fitting jeans. You can no longer wear those skimpy hot pants-because the late night essay writing sessions with your reliable friend, coffee, have left your once smooth and toned legs looking unbearable. So we may have reasons for not feeling too great about our body. But to the point that we think ourselves unattractive generates problems. Everyone has a concept of beauty and their own body image, yet it is extremely rare that these two things ever go hand in hand. Our perception of our appearance often being much more negative in regards to how others see us.
This tendency to be critical towards our body can have serious effects not only upon our health, but also on our mental health and daily life. It is well publicised that having negative perceptions about our body can lead, in extreme circumstances, to anorexia, bulimia and over-eating. However, what is a less known, but a more common phenomenon is traits like skipping lunch, counting calories, debilitating gym sessions and depression. Sound familiar? You are not alone.
It is no wonder that the majority of people have negative feelings towards their body, when images of stick-thin women and athletic men are constantly projected in the media in style publications like Vogue, scrutinising gossip pages like Heat and fitness magazines like Men’s Health. Most people do not conform to this elusive stereotypical body, whether it is the waif-like figures of female models or the muscular build of famous sportsmen. But the media has most definitely contributed to us becoming obsessed with our body image by making us feel inadequate to this seemingly unattainable physique.
The U.K. fashion industry, who has been the main target of protest campaigns against “Size Zero”, declared last year that it would not ban “ultra-thin” models from the cat walks of London Fashion Week. This statement was made even after the untimely deaths of Luisel Ramos who died of heart failure during the annual fashion show in Montevideo, Uruguay in August 2006 and Brazilian model, Ana Carolina Reston, who died in November 2006; both deaths were diagnosed as being caused by anorexia. The Fashion Industry obviously does not empathise with the issues of body image as they still cast these particular models even when their weight dramatically dropped to below 7 stone. If the industry shows no regard for its models then it definitely does not care about the young women and men who feel imperfect compared to the airbrushed ideal body that it uses to make money. It is no wonder that people find it difficult to love their bodies when they are constantly bombarded with images that are telling them the opposite.
Not only do the media and the fashion industry have to change their priorities, society’s attitude in general needs to be challenged. Whether we admit it to ourselves or not it is a fact that ‘beautiful’ people, who conform to the stereotypes portrayed on every glossy magazine cover, are given preference over those who do not. Recent research conducted by the Social Issues Research Centre, a science based non-profit, NGO with funding from the European Union, discovered that students who are thought to be more attractive were more popular not only with classmates, but also with their teachers. The teachers were found to have higher expectations of attractive students, which led to them gaining higher grades as a result of their physical appearance. Another very damaging consequence of this quest for ‘beauty’ is that it produces the stereotype within our society that beauty goes hand in hand with characteristics such as intelligence, social skills and morals. Whilst the enlightened reading this article may deny that they hold such a conception this is not the issue because many people, even unconsciously, do. What is at stake for those who are not ‘beautiful’ or ‘skinny’ is that they begin to associate their lack of ‘perfection’ with the self-image of worthlessness and thus begin to associate losing weight as a step in becoming a ‘better person.’
A study by the University of Glasgow in 2001, of an unidentified university, showed that the majority of students that were surveyed were self-conscious about their bodies. In particular, female students were 10 times more likely to exhibit anxiety over their weight in comparison to male students even though the men surveyed were on average more likely to be over-weight. However, a significant number of male students also admitted to being insecure over their body image. This anxiety has its root in only one source: the exposition and objectification of the body in the media. The results of this obsession with body image are made clear by a recent report by the charity Mental Health Foundation UK. Their recent study found that on average 1% of women between the ages of 15 and 30 suffer from some form of ‘anorexia nervosa’ and 4% of this age from ‘bulimia nervosa.’ For men the average is much lower but still significant making up 10% of all anorexia or bulimia cases that are reported in the U.K. To put it in perspective: even at a mean estimate this means that around 800 students at Edinburgh University will have some form of eating disorder.
Apart from the very real threat to bodily health this anxiety about body image also impacts on the every day of life of students who do not feel that they fall into such categories. Even a slightly negative body image can cause insecurity, which can affect not only academic performance, but if ignored can develop into depression, while attempts to diet to achieve ‘the perfect body,’ is the precursor to more drastic cases like bulimia and anorexia.
Change in society’s superficial attitude is unlikely to alter anytime soon. Big corporations will continue to make extortionate amounts of money through fashion, beauty products, and our natural inclination to be insecure about our physical appearance. The only way to combat society’s stereotypes and the reception of them is to rise above it and accept ourselves for who we are. As one Edinburgh University student put it, ‘there is so much pressure to conform to what the media shows is beautiful. It doesn’t matter. Ultimately I’d rather go on living my life and eating that chocolate cake instead of worrying about my weight.’ This said if you feel that your body image is affecting your life then there are a number of people that you can contact to talk to confidentially and anonymously about any concerns you may have.
Nightline: The University of Edinburgh trained volunteer phone service can be called between 8pm and 8am on 0131-557-4444.
Breathing Space Scotland: This nation wide advice and counselling service can be contacted between 6pm and 2pm on 0800-838-587. Information and Guidance can also be found at http://www.breathingspacescotland.co.uk/.
Mental Health Foundation UK: This service provides information and contacts for those who know someone with eating disorders and want to find help for them; they can be called on 020 7803 1101. Information can also be found at http://www.mentalhealth.org.uk/.
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