The Student 11/10/2011 by The Student

Tuesday October 11 2011 | Week 4

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S cott ish S t udent Ne wspaper of the Year 2010 S i n c e 1887 T h e U K ' s O ld e st S T u d en t N ews pa p er

“�� The Court �� of �� the �� University of Edinburgh in partnership with Edinburgh University Students’ Association . . . asks the UK government to reconsider and then s�� ubstantially revise �� the �� unsustainable policies which have introduced instability across the UK university sector”

University Court and EUSA join to attack UK government education policies Alexandra Taylor EDINBURGH UNIVERSITY Court has united with Edinburgh University Students' Association (EUSA) to condemn the UK government’s education policies, including the introduction of tuition fees of up to £9000 a year. Last Thursday the University Court, headed by principal Sir Timothy O'Shea, and EUSA released a joint statement which expressed “deep

concern” about the cost of tuition for future students living across the UK. The university is worried that able students could to be priced out of the market if fees are allowed to stay at record levels. From 2012, students will have to pay £9000 a year for a four year degree, more expensive than those offered by Oxford and Cambridge. Despite deciding to set fees at such a level, the university has claimed it has been left with little option if Scottish students are not to be squeezed out of places. The statement calls upon the Westminster government to reverse its higher education policies. It also stated that the Scottish government should implement policies to protect access for the poorest UK students who want to study in Scotland. However the move has sparked controversy because, only last month,

the same Court backed the move to raise student fees. But the university is concerned that the policies of the Westminster government, which led to the introduction of higher fees, will discourage students from applying. EUSA and the Court are urging ministers to “reconsider” and “revise” their policies and have said that the Scottish government needs to put a “greater emphasis” on widening access. They are also encouraging the Scottish government to introduce a minimum standard for bursaries to assist the poorest students. Matt McPherson, President of Edinburgh University Students’ Association, said, “The University of Edinburgh and our students are united in our criticism of the UK government’s new policies on education and are deeply concerned at what effect they will have on students throughout the

UK.” “The Edinburgh University Students’ Association (EUSA) fundamentally disagrees with the decision to set fees of £36 000, but where we do agree with the university is that it was forced to do something to stop Scottish students being squeezed out.” “Oxford and other universities across the UK have passed no confidence motions in Westminster’s policies and we have joined together to call upon the UK government to reverse their plans and devise solutions that ensure universities can protect access to education, both here at Edinburgh and across the UK.” He added, “There is also action the Scottish government could take to maintain quality and widening access as well. One obvious step is to introduce a minimum bursary standard in Scotland like universities in every oth-

jisc and matt mcpherson

United in condemnation

er part of the UK are forced to do. This crucial step could ensure that students from the rest of the UK are able choose Edinburgh based on their ability, not their ability to pay.” Robin Parker, President of NUS Scotland, said: “We welcome this call asking Westminster to recognise the damage its policies are having on university education. In trebling fees, introducing a market into education and making huge cuts to universities, the Westminster government’s decision is risking ruin for England’s universities and damage throughout the UK.” “This joint statement by the University of Edinburgh and EUSA is the clearest signal yet that Westminster needs to dramatically change direction and that the Scottish government must do more to protect students in Scotland.”

Tuesday October 11 2011 studentnewspaper.org

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2 News

NEWS >>p2-7

SIT IN OR SQUATTING? p4 Law change could spell end of legal occupations WILLETS CRITICISED p5 Uni minister plans condemned by Labour MP FAKE DEGREES STORM p7 University of Wales caught up in scandal

comment >>p9-11

PUTIN ON A BRAVE FACE p9 Nick Dowson questions Putin's continuing influence NO MORE SUNSHINE OVER LEITH p10 Joel Sharples scrutinises Biomass proposals DEUTSCHLAND ÜBER ALLES? p11 Daniel Swain on the Eurozone fiscal crisis

FEATURES >>p13-15 GIRLS AND GUNS p13 Rebecca Parker on female service in the armed forces STAY HUNGRY. STAY FOOLISH p15 Melody McIndoe mourns the loss of Steve Jobs

Reviews >>p19-29

STEPPING UP TO THE PLATE p20 Daniel Davies reviews Chad Harbach GANG WARFARE p24 Sally Pugh looks back at West Side Story

sport>>p31-31 OVERLOOKED TALENT p31 Chris Waugh on the underappreciated Mark Cavendish

Melissa Geere

STUDENTS THINK the quality of teaching at their secondary school was better than at university, according to a survey published last week, while over 80 per cent of students think their current course would not be worth value for money if it cost £9000 a year. When asked to rate their satisfaction with their course, 52 per cent of final year undergraduates from 39 top UK universities answered that they preferred the teaching in their school, said the survey, which was commissioned by the Headmasters’ and Headmistresses’ Conference, a body of representatives from leading independent schools in Britain. The survey also revealed that only 14 per cent overall believe that their course would be good value for money if priced at £9,000 per year, the maximum fee English universities will be allowed to charge as of 2012. Scottish universities will be able to charge students not from Scotland similar fee levels, although the Scottish average is expected to be around £6500. Students from Scotland studying in Scotland have their fees paid by the Scottish Government, but have to pay if they study elsewhere in the UK. A further 22 per cent of those surveyed believe their university’s fees are already too high. Of the 1000 students asked, half had come to university from a state school, while half had been privately educated: 61 per cent of those privately educated preferred the teaching at their school to university, compared with 42 per cent of state school alumni. The gap between state and private

UNHAPPY BUNNIES: Students say teaching was better at school schools was further widened with almost 90 per cent of private school pupils saying their secondary education had prepared them well for the demands of their degree course, compared with just 70 per cent with this opinion in the state sector. However 90 per cent of state school pupils had still considered the teaching at their school to be "good" or "very good", close behind the private school pupils, 98 per cent of whom were of the same opinion. A month ago, the University of Edinburgh decided to set its fees for students from the rest of UK at the maximum allowed £9,000 per year, meaning a degree at Edinburgh could

JULIA SANCHEZ

The Student Newspaper | 60 Pleasance, Edinburgh, EH8 9TJ Email: editors@studentnewspaper.org

Survey: teaching is better at school than university

be one of the most expensive in the UK. EUSA’s Vice President for Academic Affairs, Mike Williamson, said the survey “draws attention to some important questions about the value of education.” He told The Student, “It is dangerous to view the student experience as a consumer right. Universities should be providing a better experience not because students are now paying for it, but because they should always be striving for the very best. The value of education, both for students and for society, goes far beyond mere monetary terms.”

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News 3

Alexandra Taylor PROTESTORS CONTINUED their four-year long fight to remove the Royal Bank of Scotland from campus by storming the company’s annual graduate event. Around 160 job-seeking undergraduates were left bemused after several student protestors hijacked the bank’s evening information session at the University of Edinburgh last week. Student campaigners from People and Planet gatecrashed the flagship careers event, with the protestors wanting to raise awareness of the climate change problems they claim are caused by the institution. They accused RBS of providing $7.5 billion worth of funding for the Tar sands mining project in Canada, which is reported to be causing devastating environmental impacts in the region. Moreover, in collaboration with the

anti-cuts coalition, they criticised RBS for millions of pounds in tax evasion. Amabel Crowe, a second year history student who joined the protest, told The Student, “RBS are the number one investors in Tar Sands, which is the most environmentally destructive project on earth. It’s an abuse of human rights, its lead to increase in cancer among indigenous communities, it’s destroying the rainforest and it’s illegal.” She added, “It may seem intangible, at first, to protest against a bank but the effect RBS is having is on the environment is more direct than it seems. Banks have so much potential to be a source of good and these projects wouldn’t be able to carry on without this source of investment.” To spread their message, the campaigners posed as recruitment staff outside the networking event at Playfair Library, Old College. They were dressed in suits, to look like RBS employees, and distributed fake company leaflets to the unsuspecting final-year students. Francesco Benvenuti, a third year ecology student, and also a protestor, said, “We want to say they are not welcome in any university building.” Then several of the protestors also managed to sneak into the event by posing as students with an interest in banking.

DRESSED TO IMPRESS: Protestors posed as RBS workers during the protest, handing out fake leaflets. During the corporate presentation, they began to chant, “RBS funds climate change, RBS doesn’t pay their tax.” The unexpected disruption led to the presenters pulling the plug on their video presentation and asking students with a genuine interest in the company to speak to representatives directly in-

UNDER FIRE: The company has repeatedly been a target of environmental protestors at the uni.

Luke mead

Bank abandons event after information session interrupted by People and Planet

stead. The student protestors then decided to leave the building. Ruth Cape, fourth year linguistics student, said, “The university is supposed to be a good innovative institution and yet it continues to support RBS which is just so unethical. “The university switched to RBS for its personal banking and they are more tied up with RBS than it likes to let on. Every student got an email about this company event and the university does not do this for all companies. When we emailed the careers service to say we didn’t think that they should send this sort of email to everyone all we got was a generic response. “Our aim was simply to let undergraduates know about RBS because a lot of graduates just don’t know about the damage they’re causing. It’s about informing them to make their own decision and at the same time it’s about keeping up the pressure – and we’ve had disruption at RBS events for the last four years. For example, RBS used to have a caravan in Bristo Square during Freshers’ week, but that’s not there anymore which is great because it’s all about getting RBS off campus.” Shelagh Green, Director of the Careers Service defended the way in which the service selects exhibitors at the university. She told The Student,

ruth cape

Student protestors interrupt RBS careers presentation for environmental cause

“We have sent career event emails to students for a number of years and students may opt out of these if they wish. We offer support to all recruiters on campus. We do place limit the number of times we allow companies to contact students and we work hard to put on a diverse range of opportunities on for our students” She added, “The university has a strong policy of working impartially towards a range of employers and we also have a policy of allowing students to make their point at events. We were grateful that after the students had made their point they moved on quickly. The only concern is what employers might think of our students in future.” A spokesperson for RBS defended their investment decisions telling The Student, “RBS fully respects the right of individuals to protest and make their views known. As a major international bank we provide support for businesses working across many industries and reflect the make up of society and the economy. "Just as society as a whole has to make a transition to renewable energy sources so will banks like RBS. In fact in recent years RBS has been one of the most active banks in the world in providing funding for renewable energy products so we are at the forefront of helping finance the transition."

Alasdair Drennan

POPULAR EDINBURGH restaurant, the Mosque Kitchen, was closed over the weekend due to the sudden death of the owner Haji Maqbool Ahmed at the end of last week. Signs were first displayed in the windows of the restaurant on the corner of Nicholson Square on Friday saying that due to the death of the “beloved owner” the restaurant would be closed until further notice. Maqbool’s Supermarket on Potterow was also closed due to Ahmed's death. The restaurant was opened in 2004

behind the Edinburgh Central Mosque and provided outdoor seating for customers. It moved to its new location earlier this year, providing options for both dining in and taking away. The Mosque Kitchen is very popular with Edinburgh University students with its provision of "curry in a hurry." They recently provided food for free to the protesters occupying George Square Lecture Theatre at the start of the semester. Food is also sometimes offered for free as part of the Islamic commitment to charity. The Mosque Kitchen re-opened on Sunday evening.

MOSQUE KITCHEN: The restaurant is a regular haunt of many students from the university.

Alasdair Drennan

Sudden death temporarily closes popular restaurant

Tuesday October 11 2011 studentnewspaper.org

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4 News

Student occupiers in danger of being branded squatters under new law

STUDENT SIT-IN protests could soon be under threat in England and Wales, the National Union of Students (NUS) has claimed. The UK government’s ministry of justice – which holds jurisdiction in both states – has issued a consultation paper proposing that property owners can bring in police to evict squatters who can be subjected to fines, reduction of benefits or even imprisonment. The NUS are concerned the new laws could prevent sit-in protests in public buildings, including university premises, as were witnessed last year following the UK government’s decision to raise tuition fees to £9000 a year. The ministry of justice has told The Student that the government has no desire to prevent “legitimate forms of protest”. Dannie Grufferty, NUS vice president for society and citizenship, told The Student, “It cannot be right to criminalise the right to civil protest, such as the peaceful occupation of an office, lecture hall or other such premises. “Whatever stance you might take on the particular political issue that different occupations might variously relate to, criminalising them would be to deny citizens the right to peaceful protest, which is a basic tenet of our democratic freedom. “NUS has submitted evidence to the ministry of justice to this effect, and will naturally oppose any moves to restrict peaceful political protest.” The consultation paper is ambiguous about the new law covering sit-in protests, merely stating “It could also cover student protests in academic buildings . . . some may argue that the disruption this causes to the property owner may justify

WELCOME HOME: Student occupations like the one staged in September could soon be treated as violating trespass law. criminal sanctions while others may argue that certain types of squatters should be exempt.” Robin Edwards from the ministry of justice told The Student, “The precise nature of any new provisions to deal with squatting is yet to be decided pending consideration of consultation responses, but the government is not seeking to prevent legitimate forms of protest.” Currently property owners can apply for a possession order from the civil courts and prove that the

“

Whatever political stance you take on the issue of occupations... criminalising them would be to deny citizens the right to peaceful protest.” Dannie Grufferty, NUS Vice Presdident

occupiers are squatters to exercise their right to evict. This is a lengthy process as, if the court grants a possession order, an eviction date is set usually a fortnight after the court hearing. The paper is clear that the squatting offences do not want to get caught up in landlord-tenant disputes, easing concerns over the potential power landlords could hold over students in some situations. The consultation paper defines squatting as “anyone who enters a

emily karrett

Nina Seale

residential or non-residential building as a trespasser and occupies it without the authority of the rightful owner/occupier of the property.” Scottish law already states that lodging in any private premises without the consent of the owner or lawful occupier is an offence due to the Trespass Act 1865, yet sit-in protests occurred at the University of Edinburgh only last month without the involvement of law enforcement services.

Ethan de Witt

EDiNBURGH ACADEMICS have joined hundreds from across the UK to sign their name to an alternative white paper decrying the proposals by the UK government, which have included raising the cap on tuition fees and shifting financial obligation onto students via an expansion of private student loan programs. The alternative white paper, entitled "In Defence of Higher Education" is a rejection of this year’s Independent Review of Higher Education Funding, known as the Browne Report, and the subsequent government white paper affirming its ideals. In his report, Lord Browne proposed capping government tuition support at £6,000 while removing caps on university fees overall. The increased fees in his model to be financed through graduated student loan programs responsive to salary levels, and payments would be due once annual earnings reach £21,000. The alternative white paper released last Tuesday claims the government’s proposed measures amount to a commoditisation of higher education, due

to their focus on the financial benefits alone of attending university. In doing so, the document argues, the government is tackling the issue by disregarding the less obvious benefits of higher education, which include the maintenance of “confidence in public debate,” “the amelioration of social inequality” and the “generational contract” in which the educated youth extend financial support to the elderly. Instead of furthering these ends, the document continues, the government’s “changes will encourage students to think of themselves as consumers, investing only in their own personal human capital with a view to reaping high financial rewards. Yet regardless of their appetite for affluence, graduates will be financially crippled right out of the starting gate.” The alternative white paper has garnered 376 signatories, ranging from PhD students to university administrators in institutions across the UK. Ten such signatories are from the University of Edinburgh. Dr Steve Kemp, professor of sociology at Edinburgh, told The Student, “Wide access to universities is a social positive, but the introduction of high

fees is likely to encourage a consumerist attitude.” “That isn’t the best attitude to have in education. When students are thinking as such, they aren’t receptive to the richness the university provides.” Michael Northcott, professor of ethics, told The Student, “The debt will be private and will have terrible effects on the life quality of students once they start working.” “Why are we following the US? They have a mountain of student debt of hundreds of billions of dollars, 14 per cent of student loans are already delinquent and commentators are saying its another subprime mortgage crash waiting to happen. He said, “UK higher education is the best in the world. The US only looks better because it has a number of eye-waveringly expensive private institutions in the world top ten but take those out and compare public to public universities in the two countries and we far outperform the US.” Kemp added, “One thing I don’t like is to see is universities competing rather than cooperating. We need strong debate in this area to stop that from happening.”

WHITE PAPERS: Isn't all that printing bad for the environment?

featheredtar

Edinburgh rebels sign alternative white paper

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Tuesday October 11 2011 studentnewspaper.org

News 5

Katie Cunningham

UK universities minister David Willetts has been accused of proposals that are “fraught with danger” for the higher education sector after publishing plans to attract for-profit and private education companies to enter higher education. Willets allegedly met with representatives of at least twelve companies before he published the proposals, a fact that has been described as “extraordinary and appalling” by Labour MP Barry Gardener. Gardiner, MP for Brent North, said: “The fact that there have been at least 12 meetings just shows what the focus of the higher education minister is with private sector providers and undermining the existing public sector provision. This is not what he should be focusing on. “These are not chance meetings; they are ideologically driven meetings about what this government sees as the future of higher education on this country. It is not a pretty sight and it is not what the British people recognise. They want to Americanise the system.” Willetts has been openly in favour of opening the sector to private agencies. He has said he believes it will result in variety and more university courses and places, and competition

for them. Two of the companies included in the list, Education Management Corporation (EDMC) and Apollo, have been involved in controversy in the US. EDMC is being sued by the US Department of Justice after being accused of paying bonuses to its student recruiters using federal education fund, while Apollo was charged in 2009 with improper student recruitment. While both have denied the charges, Apollo has paid millions of dollars to its accusers, stating it wanted “closure to a long-running dispute.” and to avoid “uncertainty and further expense associated with protracted litigation.” In 2009 BPP University College of Professional Studies became the first private institution to become a university or college in over 30 years. Pearson, one of the world’s largest publishing companies, is also planning on entering education. They have plans to offer ”very competitively” priced vocational degrees, starting in September of 2012 to coincide with the new fees system start-date. A Pearson spokesperson explained their interest to the BBC. They said, “Pearson provides and develops qualifications including BTecs, A-Levels and GCSEs as well as publishing support materials and offering tech-

www.thouronaward.org

SHOW ME THE MONEY: Willetts supports the introduction of for-profit institutions nology products for schools, colleges and universities.” “As part of this work, we meet with teachers, education stakeholders and government representatives to discuss our plans and share ideas.” In response to their detractors, a Department for Business, Innovation and Skills spokesperson information disclosure rules had been followed in the meetings.

Universities and Colleges Union general secretary Sally Hunt said, “Events in America have shown the for-profit model is fraught with danger for students and taxpayers alike.” Plans were also revealed in May 2010 to give 20,000 places to degree providers charging under £7,500 annually, these will be chiefly private companies. He hopes this scheme will limit the price rises of up to £9,000 a year currently planned by some univer-

bisgovuk

Minister criticised for profit making university plans

sities. A spokesman for the Department for Business, Innovation and Skills said its ministers complied with the rules regarding disclosure of their meetings. He told the BBC, “In the run-up to the publication of the higher education White Paper, David Willetts spoke to higher education providers of all types.”

NUS support for new wave of fees protests

Fully Funded Study in the USA Up to TEN awards, each with a total value of approx US$80,000 per year, covering tuition fees and living expenses, including travel in the USA, will be available (for 1 or 2 years) from 1st September 2012 for candidates who wish to pursue a postgraduate programme at the University of Pennsylvania, Philadelphia, USA. Applications are invited by 5pm on 1st November 2011 Thouron Awards were created by Sir John and Lady Thouron for the promotion of academic exchange and experience in international friendship between the UK & USA. For further details visit www.thouronaward.org in association with or contact Jennie Eldridge, Award Administrator on +44 (0)20 7848 3376 quoting ref TA11.

13170 Thouron_Student_80x128mm.indd 1

DEMONSTRATIONS TAKING place in November against increased tuition fees have been endorsed by student representatives. The National Union of Students (NUS) have said they will officially support demonstrations on November 9th against higher tuition fees. The body which represents seven million students across the UK, voted almost unanimously in favour of protests at its national executive meeting held on Thursday 22nd September. This action is in opposition to increasing tuition fees and cuts to public services including education. The demonstration will be organised by a host of local students’ unions including the London School of Economics as well as National Campaign Against Fees and Cuts. (NCAFC) Students and members of the public have also been encouraged to take part in the demonstrations. Michael Chessum from the NCAFC, who called for the demonstration, stated that “tens of thousands” are expected to attend adding that: “It’s clear that the movement that we build last year has grown into

26/09/2011 09:20

ANGER: Demonstrating against tuition fees in London last year something much bigger, and it’s vital that we keep fighting on education as well as linking to the broader movement.” “This government has scrapped support for the poorest school and FE students and made millions unemployed, while making the worst cuts in the history of education. We are determined to save education as an accessible public service.” NUS President, Liam Burns, has also said that he expects demonstrations to continue stating that: “The coalition is about to create the exact opposite of the ‘pupil premium,’

Mike shaw

Sian Williams

where students from the most debt adverse backgrounds are forced to ask for less money to be spent on their education.” He added, “We’ll carry on trying to work with politicians of all parties to stop these damaging reforms, but when fees are trebled, EMA scrapped and even less money is spent on supporting students financially, don’t be surprised that demonstrations are here to stay” At the meeting, the NUS also agreed to support additional public sector strike action on November 30th, which is expected to be Britain’s biggest strike since the 1926.

The eUSA RefeRendUm To chAnge The conSTiTUTion Which STyle SUiTS yoU? VoTe 12 - 14 ocTobeR on myed

The referendum will be debated on Wed 5 October, George Square Lecture Theatre, from 7pm

For more information visit

eusa.ed.ac.uk/referendum

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Tuesday October 11 2011 studentnewspaper.org

News 7

Calls for scrapping of University of Wales title after institution is caught in fake degree storm Glyndwr University among those to withdraw students from UoW awards

Alistair Grant The University of Wales has come under fire following allegations that overseas students are being given University of Wales validated fraudulent diplomas and post study work visas. The findings have come to light following an investigation by the BBC Wales programme Week In Week Out in which undercover filming showed students being advised on how to

cheat in exams in order to gain postgraduate diplomas. One lecturer at the Rayat London College, where the University of Wales validates degrees, was filmed saying, “In some corners of your heart you are so happy because you are not studying anything but you are getting your [postgraduate diploma].” The lecturer added, “Just please be careful, just getting the [post study work visa] does not mean that we have fooled the UKBA [UK Border Agency] - no, they are quite intelligent - they are more intelligent than what we are.” These claims follow earlier controversies highlighted by BBC Wales in which overseas institutions offering degrees validated by the University of Wales were found to be operating illegally. One partner college in Kuala Lumpur and another illegal academic

institution in Thailand were being run by Fazley Yaakob, a Malaysian pop star who had fraudulent qualifications.

“

The University of Wales has a lot to answer for, but let's not forget the students involved, who will be asking what on earth is going on.” NUS Wales president Luke Young

Following these allegations the University of Wales has announced that it is to stop validating degrees at institutions out with its own, both in

the UK and abroad. This announcement does not include those courses which the university has total control over. Many in academia have called for the University of Wales title to be scrapped in light of the findings, including the heads of five Welsh universities - Aberystwyth, Bangor, Cardiff, Glamorgan and Swansea. Furthermore, Glyndwr University is to remove its links with the University of Wales, pulling students out of undergraduate and postgraduate degrees. Instead they are to be transferred to Glyndwr’s own degree programmes and awards. Helen James and Adam Fuller, the pro-vice chancellor and student guild president of Glyndwr, released a statement to students saying: “With immediate effect all Glyndwr University students on taught undergradu-

ate and postgraduate degrees will be transferred to Glyndwr University awards. “There is an option to remain enrolled on a University of Wales degree if you wish to do so, and further information on how to do this will be provided to you in due course.” Luke Young, president of the National Union of Students Wales told the BBC, “The University of Wales has a lot to answer for, but let’s not forget the students involved, who will be asking what on earth is going on.” On the University of Wales website, the institution claims to “[work] energetically to maintain the University of Wales degree and the University of Wales brand as global exemplars of excellence and quality.” The University of Wales has so far refused to comment on the findings.

Student threatens to sue Queen's University Belfast over tuition fee rise AN ENGLISH student has threatened to sue Queen’s University Belfast (QUB) over the tuition fees he will pay when he matriculates next year. Abel Middleborough, 18, who has deferred entry to QUB until the academic year 2012/13, claims that the new disparity between his fees and those of his Northern Irish colleagues amounts to a human rights violation. Middleborough has said that the increase is “wrong” and amounts to discrimination

against students studying in Northern Ireland who come from other parts of the UK. The impact of paying for the three-year undergraduate degree, he says, will cause huge financial problems as he will be paying effectively triple the amount he had originally thought when he applied and accepted his place. The announcement of the change, he added, “came completely out of the blue". QUB’s fee increases come after the recommendations of the Northern Ireland executive, which has followed Westminster’s example in allowing Northern Irish universities to charge

a maximum fee of £9,000 per year for undergraduate tuition. Northern Irish students studying at the same universities will only be charged £3,465 per year. The Northern Ireland executive had previously announced that they would consider a similar course of action to the Welsh government in freezing tuition fees and subsidising any shortfall. However, after it emerged that the projected shortfall might be between £40 and £65 million, the executive decided to allow universities to increase tuition fees. Middleborough’s concerns mirror those of

students from the rest of UK in Scotland, who will be obliged to pay fees of up to £9,000 per year to their institutions. The increases have been met with protest from students at institutions across the country, with the University of Edinburgh’s own George Square Lecture Theatre having been occupied by student activists in September. The Student contacted QUB for comment, but no response was given at the time of going to press. spatial pan

Lewis MacDonald

Tuesday October 11 2011 studentnewspaper.org

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8 Editorial

Editorial

Join us! The Student is always looking for budding reporters, reviewers, illustrators, photographers, and designers to join our team. No experience necessary! If you're interested, here’s how to track us down: » In person: Meetings every Tuesday in the Cabaret Bar, Pleasance at 1.15pm. Socials: Tuesdays in The Counting House at 8.30pm. » By email: editors@studentnewspaper.org » On Facebook: tinyurl.com/StudentFacebook » On Twitter: twitter.com/TheStudentPaper A quick history lesson...

The Student was launched by Scottish novelist and poet Robert Louis Stevenson in 1887 as an independent voice for Edinburgh's literati. It is Britain's oldest student newspaper and is an independent publication, reaching more than 10,000 University of Edinburgh students every week. Sir Arthur Conan Doyle, Lord Kitchener, David Lloyd George and Winston Churchill are a few of the famous people who have been associated with the paper. In the early 1970s, Gordon Brown worked as a news editor and diary columnist, working alongside Robin Cook who at the time was in charge of film and concert reviews.

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The Student miss and love their families After last week’s headline we were inundated with encouragement from our families. Anna’s aunt emailed her saying “Viva la revolution!” whilst Eloise’s father called it his proudest moment and announced he was planning to frame a copy for his office. What radicals. Yet all this support got us thinking about how much our families have had to put up with throughout our time as editors so far, so we decided to dedicate this editorial to them. In the five weeks since The Student started its new year, our families have had to cope with us at our worst. They’ve been sympathetic when we’ve missed important birthdays and sisters leaving for university. They’ve listened to us spout lunacy in mad Monday morning phone-calls (the paper is customarily completed at 6AM of the same day). They’ve also offered us perspective, which can be hard to acquire in the dungeon-like dwelling quarters where the newspaper is created. They are effectively the people keeping the people behind The Student sane (as well as our marvellous editorial team, of course). Although you might not expect to, the majority of you will miss your families at some point during university. When discussing what we missed the most, one of us admitted she missed the constant noise, while the other missed the peace and quiet. We both agreed we missed the insanity that only seems to arise at home. Whether that be Anna’s mother stealing her way into the neighbour’s back-yard to hunt for her runaway chicken or Eloise’s fourteen-year-old sister stowing away to Edinburgh on a Megabus, we’re certainly descended from loons – in the nicest possible way. Geography doesn’t need to be an issue, though. Eloise’s mother constantly sends her cards (she’s a bit of a card fanatic) with cut-outs from newspapers or lines from family members. A recent example includes the memorable line “Your mother’s a whore!”. Not your usual friendly greeting, admittedly, but it’s always nice to know you’re being thought of... right? On a more reflective note, this week marks the four-year anniversary of Anna’s grandad’s death. Although she thinks about him a lot anyway, he has been more on her mind recently. This is because she is working with historical maps for her dissertation. Cartography was his passion and when she is looking at her sources she pictures him talking her through old maps and photographs, and can still hear his voice. What greater reason could there be to work hard? So, in gratitude - for listening, inspiring, and so much more - we dedicate this to you, our families, you bunch of nutters. We love you very much. Your editors, Anna and Eloise.

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Comment 9 �

Putin a shoe-in? Is Russia a lost cause for the democratic world, or will the soon-to-bepresident-yet-again Vladimir Putin continue to guarantee democracy and stability over his glorious land with his testosterone –fuelled antics? Putin’s recent announcement that he will be standing for the Russian presidency again does not come as a great surprise, but it puts paid to real hopes of ending the country’s deeply entrenched problems of nepotism and corruption. Many will be pleased at the prospect of seeing the Russian president yet again hunting bears bare-chested but Russia’s stability is looking more and more like stagnation.

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Putin remained the key source of power, and Medvedev has now stepped aside." Prospects have looked poor for democracy in the Russian Federation ever since its first president, Boris Yeltsin, solved a dispute with the parliament in 1993 by bringing in the tanks. Corruption then grew massively under his rule thereafter, and with hyperinflation, a failure of state services, and newlycreated oligarchs running rampant, many were relieved when Putin came to power and seemed to bring a certain amount of order back to the country. Putin cracked down on oligarchs se-

lectively however, and he made it clear they could continue making obscene profits so long as they supported him. There have been claims that Putin is Europe’s richest man; his personal wealth remains unknown, and the subject is taboo in Russian media. Inequality in Russia has skyrocketed under Putin – and while oligarchs continue to cream off their country’s wealth and flit between London, their yachts and the Alps, their homeland becomes ever more impoverished. Russia takes third place in the world for its number of billionaires, after the US and Germany – but while in the States small enterprise contributes over 50% of GDP, in Russia it stands at about 15% - strangled by the mafia state’s web of corruption. Ethnic tensions continue to rise, fuelled by Putin’s 1999 decision to send the Russian army into Chechnya – where a pro-Putin strongman has been given carte blanche to keep the population under control by any means. Violence in the Caucasus is endemic, to the point where even Russian nationalists would rather see the region cut loose. �� The Russian military oversees a harsh system where during the first half of their service new conscripts are beaten, bullied and humilitated, and during the second half, they bully the next round of recruits. Russia has continued on the same depressing trajectory with Medvedev as president. When Putin stepped down in

GIVING HIM THE WINK: Time for Putin and Medvedev to swap places? 2008 to become prime minister, having reached the constitutional limit of two consecutive terms in office as president, he backed Dmitri Medvedev for the position he had left. Many feared Medvedev would be no more than a puppet; their fears seem to have been realised as Putin has remained the key source of power, and Medvedev has now stepped aside to allow Putin back into office. “Modernisation” – the buzzword of Medvedev’s term in office – has made

no real impact on corruption. Policies have been pushed through which make success in life dependent on wealth – most recently the government proposed to charge for all school subjects except four – Russia in the World, General Safety, Physical Education, and an Individual Project – which would leave those who couldn’t afford other subjects illiterate and innumerate, but indoctrinated in Russia’s greatness. It is almost inevitable that Putin

will win next year’s presidential election – his popularity, though falling, remains high, and there is no real opposition to his United Russia party. Technicalities will be used to explain away a lack of credible alternative candidates for the presidency, and if all else fails, ballot boxes can be stuffed. Russians with the means to do so will continue to emigrate, and while Russia’s leaders remains unchanged, so too will the country’s despair.

Who are the 99 per cent?

Lewis Macdonald explains how the Occupy Wall Street movement encapsulates the real grievances of middle-class America

The Occupy Wall Street campaign is sweeping the USA. What started as a small protest in Lower Manhattan (not-at-all-coincidentally on Constitution Day) has morphed into one of thousands in New York City alone, and similar protests have been mushrooming up in a host of other states. It bears comparison with the protest movements of the last few years – it is similar in character to those of the Arab Spring, and might be thought a natural progression of the Uncut movements in both the UK and the USA. There is even an element that those of the Tea Party, that gratifying resurgence of fiscal conservatism lauded by America’s cable networks, might identify with. Despite their similarities, Occupy Wall Street has not been received as a crie de coeur of middle America in the same way that the Tea Parties were. CNN, who hosted their Republican presidential debate in concert with the Tea Party Express, were quick to discredit the multitude of people camped

out in Zuccotti Park. Fox News, the Tea Party’s most vocal supporters, have likewise criticised the movement, characterising it as disorganised and aimless, and its participants as lazy, destructive and unpatriotic. References to bongo drums and banjos have been made aplenty, no doubt also to dreadlocks, didgeridoos and doobies. The networks and their anchors, with some notable exceptions, revel in depicting the protesters as a bunch of hippies full of misdirected anger and with nothing better to do. This is nothing more nor less than a case of wilful ignorance. For the answer to the question of who the protesters blame for their problems, you need look no further than their name, Occupy Wall Street. Much as in the UK, America’s banks were recapitalised with taxpayer bailouts. In return, banks have paid their executives record bonuses and have been reticent to lend to businesses and potential and current home-owners. The same banks back up

the Republicans’ demands for spending cuts, and help reinforce a narrative of austerity from which they stand apart; a narrative that results in schools going under-resourced and America’s bridges, roads and railways withering away.

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The slogan of the movement - “We are the 99 per cent” - coalesces the abuses that the few have put on the backs of the many." Another charge that is levelled at the Occupy Wall Street movement is the multiplicity of the people that make up its numbers. Perhaps it is hard to conceptualise given the comparative simplicity of the Tea Party,

whose membership was mostly white, conservative and angry. However, the slogan of the movement – "We are the 99 per cent" - merely coalesces the abuses that the few have put upon the backs of the many in one phrase. The houses that have been foreclosed upon. The jobs that have been lost. The costs of living that have increased. The wages that have stayed stagnant. These are complaints that 99 per cent of the signatories to the social contract that underpins our societies can put to the remaining one per cent, who, by contrast, are doing better than ever. Almost as aggravating as the callousness is the hypocrisy of corporate America and the politicians they pay. Keep government subsidies to energy companies making record profits, but cut Pell Grants to poor students. Relax regulations on pollution and safety standards, but legislate against reproductive rights. Allow corporations and PACs to donate unimaginable sums to their favoured candidates, but restrict

BUSINESSNEWSRUSSIA.com

Nick Dowson asks how Russia can change for the better when it remains in the grip of just one man

the ability of the poor, the elderly, and the young to vote. In this way, America moves further towards becoming a society in which a few privileged individuals in politics, in business and in the media preside over the dispossessed masses – students, professionals, senior citizens, middle-class families. America and Europe looked at the Arab Spring as oppressed populations casting off their despotic leaders and entering the fold of democratic societies at long last. Believe it or not, there is as much that needs changing about America, or Britain, or Greece, as there is in Egypt, Syria, or Tunisia. The desire of a minority for wealth and influence means that people of every political stripe, every cultural background, every religious persuasion – the 99 per cent – have been set up to take the fall. This is what Occupy Wall Street is, and those are their stated aims. Any dismissal of the movement by the American media is nothing short of categorical collusion.

�� Tuesday �� October �� 11 �� 2011 comment@studentnewspaper.org

Comment 10

�

A fracking disgrace

When you hear the phrase ‘renewable energy’, what images spring to mind? Wind farms, solar panels and tidal energy turbines? What about a power station covering the area of 17 football pitches, with a 100 metre tall chimney that belches out the smoke from millions of tonnes of wood shipped over from Florida? This is what Forth Energy is attempting to build in four locations around Scotland, including in Leith where people live just 200 metres from the proposed site. If the application is successful it could potentially receive billions of pounds in renewable energy subsidies from the Scottish Government.

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In some areas in America where fracking is commonplace, water supplies are so contaminated that people can set their tap water on fire." Scotland has a growing reputation for being a world leader in green technology and renewable energy, and rightly so. With 25% of Europe’s tidal power, 10% of its wave power and a target of 100% renewable electricity by 2020, Alex Salmond’s vision of Scotland as the “Saudi Arabia of renewables” is fast becoming reality. However, behind these impressive figures a number of environmentally irresponsible projects are being pursued that undermine the Scottish Government’s commitment to a sustainable future. As well as the wood-burning power plants, there are also plans to conduct ‘fracking’ for

natural gas, a controversial new extraction technique which has already been banned in France, Switzerland, South Africa and several US states. Included in the SNP’s 100% renewable energy target are the four biomass plants, but whether these can genuinely be considered renewable, or even cleaner than coal power, is debatable. The Managing Director of Forth Energy, Calum Wilson, is adamant that his biomass plants are “a low carbon source of renewable energy” and offer “significant carbon benefits over traditional fossil fuels.” These claims are potentially true for small-scale biomass plants which provide heat as well as off-grid electricity to local communities, but these criteria do not apply to the proposed plants which would make no use of the heat produced and are too large to generate electricity efficiently. Wilson’s statements are based on the notion that for every American tree cut down to be shipped to Leith another will be planted. The carbon dioxide that is emitted from the plant will be reabsorbed by the new trees, offsetting the plant's carbon foortprint. The problem with this is that even if the millions of tonnes of wood burnt by the plants every year could be replaced, a report published in April asserts that it could still take as long as 270 years before there is any carbon saving in relation to coal power. Put simply, this is because the carbon is released into the atmosphere as soon as the wood is burnt but it takes a lot longer for a tree to reach maturity and reabsorb the carbon dioxide in the atmosphere. It is clear that biomass is not the low-carbon energy source that Forth Energy would have us believe. Another environmentally destructive project which has gone relatively unnoticed amid the Scottish Gov-

ernment’s grand plans for renewable electricity is the decision to allow the exploitation of methane trapped in coal seams through fracking. The process involves drilling into coal beds and then pumping millions of gallons of water, sand and potentially toxic chemicals into the ground in order to force open cracks in the coal and allow methane to flow up the well. When this technique has been used to extract gas from shale in the US as much as 8% of the gas has escaped into water supplies and the atmosphere. Coal beds are much shallower underground than shale seams, meaning that the potential for leakage is even greater. In some areas in America where fracking is commonplace, water supplies are so contaminated with methane that people can set their tap water on fire. In addition, for its first 20 years in the atmosphere methane is around 56 times more powerful as a greenhouse gas than carbon dioxide. Fracking has also been linked to earthquakes - the first attempts to frack in the UK were halted earlier this year after two minor earthquakes near Blackpool. Despite these concerns, the Scottish Environment Protection Agency has granted licenses for Greenpark Energy to begin fracking in Dumfries and Galloway and for Dart Energy to exploit coal bed methane in Fife. The Scottish Government has until now proven itself to be willing to take the lead in shifting to a low-carbon economy, but it must not now be fooled by those wishing to exploit the generous subsidies available for renewable energy. Companies such as Forth Energy and Greenpark Energy are giving obsolescent fuel sources the veneer of sustainability and glossing over their potentially disastrous impacts on health and the environment.

SKIES OVER LEITH: Biomass may be no cleaner than coal.

Going nowhere fast

An unwillingness to spend on infrastructure will leave the US miles behind their competitors, argues Joe Pilkington

In high school history we’re taught that under the New Deal, people were put back to work by paying them to dig holes in the ground and then fill them up again. This Keynesian philosophy is touted by many critics of the New Deal as a farce. The same critics will argue that much of the 1930s represented a time of great economic woe, and only the actions of Hitler and Hirohito dragged the United States out of depression. Eighty years on, the United States is confronted with the greatest jobs crisis since the 1930s, and short of a world war (which itself is a public works project), it is looking increasingly unlikely that anything other than the natural cyclical mechanisms of the world economy will bring the United States back to the times of plenty. Given this predicament, it would be prudent to avoid toppling what stability there is in the US economy. It would be particularly injudicious to provoke the most significant creditor of an economy whose population are increasingly reliant on funds appro-

priated by the government. Despite this, the Senate this week proposed legislation to impose penalties on trading partners guilty of operating a fixed exchange rate as opposed to a floating system, namely the Chinese. Nobel-laureate Paul Krugman, whose unapologetically liberal op-eds frequently find an appreciative audience in this writer, argued this week that “the fact that so many have behaved badly shouldn’t stop us from holding individual bad actors to account.” In this case, Professor Krugman’s endorsement of the Senate’s proposed legislation seems deeply flawed. This is not the time to nit-pick at foreign economic models. For advocates of this legislation to suggest that Chinese currency mechanisms alone explain the reasons for a decline in US manufacturing, and that such legislation as is being proposed in Congress is a key solution, signals that they overlook more significant decay in American macroeconomics. There is, however, a solution to

the jobs crisis that doesn’t serve to increase existing antagonism with Beijing in a time of dire economic anguish. It was widely reported that while President-elect, Obama read Jonathan Alter’s excellent The Defining Moment: FDR’s Hundred Days and the Triumph of Hope. He perhaps needs to dig out his copy again, and note the early emphasis Roosevelt put on government putting people back to work. This time, however, America doesn’t need holes digging and filling up. There is plenty of useful work to be done that the cherished private sector has little interest in doing. American public schools are in the doldrums, highways have needed renovation for the past twenty years, and work needed starting on a new American power grid ten years ago. It perhaps seems futile to suggest increasing short-term borrowing in order to put people back to work given the harried obsession on the right with ‘dealing with the deficit’. Yet for the Obama administration, it is getting close to the time when

it needs to make a decision between creating jobs before November 2012, or hoping that unemployed independent voters will be content with collecting benefits in the safe knowledge that the long-term deficit is top of the agenda.

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The United States Constitution dictates that Congress holds the power of the purse. There are strong grounds to argue that this has been relinquished to Beijing and the People's Bank." Article 1, Section 8 of the United States Constitution dictates that Congress holds the power of the purse. There are strong grounds to

LISA lange

Joel Sharples questions the green credentials of the Scottish government's proposed energy plans

argue that Congress has relinquished this to Beijing and the People’s Bank. Even if this is a harsh summary of financial power in Washington, it would surely be ill-advised to provoke one’s primary creditor when in the centre of a crisis caused by debt. Today, however, while the United States cancels the space shuttle, the Chinese prepare to open the Pingtang Telescope. While Amtrak chugs between dilapidated stations, the new Wuhan Railway Station serves the world’s fastest trains at 217 mph. While we queue at JFK and automatically add two hours onto our flight times to cater for runway congestion and dilapidated guidance systems, Chengdu Shuangliu Airport prepares to welcome the 35 million passengers it will likely handle with ease. Most saddening, however, is the Senate deliberating over starting a trade war with its main creditor, while the Hoover Dam quietly stands as a majestic, Art-Deco tribute to a longgone, public works-minded Rooseveltian America.

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Tuesday October 11 2011 studentnewspaper.org

Comment 11

The duty of the Deutschland

Daniel Swain discusses the Eurozone crisis and why Germany needs to pay for its easy ride

long as Germany’s export markets run trade deficits to buy German goods, they are in essence running up debt, and if Germany intends for them to consume at that rate, it will have to pay for it. The system that has been erected is almost like a bizarre multi-state form of socialism. As long as Germany is willing to pay for the comparative weakness of Mediterranean economies that it is partially responsible for, the system will work.

NO FREE LUNCH: Germany will have to pay out of its own pocket to save the fixed-rate currency it has benefited from. The present Eurozone crisis is an interesting demonstration of the problems faced by fixed-rate currency systems. Germany’s relationship with the crisis is particularly interesting; it represents a lack of willingness to accept the responsibility that comes with greater European power. Even setting aside the present narrative around Germany having some mythical strong desire for a united Europe, Germany derives great economic benefits from the Euro. Chancellor Angela Merkel is well aware of how this works, which is why she almost risked her government on September 29th to increase German exposure to the debt crisis to €211 billion, via the European stability fund. German citizens, unlike Greek and Icelandic citizens, do not have

sufficient reason to be discontent. Germany benefits greatly from the Euro. One of the reasons Germany is able to maintain its impressive trade Surplus is not because of fabled German efficiency, but because it benefits from being part of a common currency. Germany’s existing, established industry and economies of scale, when combined with the common currency, reduce the incentives for new industry in other European countries. This benefits German exports, but does not benefit the balance sheets of European countries that are used to using to debt to finance consumption. It also provided Germany with the tax revenue which allowed the German Government to perform minor Keynesian stimulation in the face of the global recession.

flcikr: mesq

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Germany’s export power is largely built on the back of and maintained by the single currency; were Greece or Spain able to set their own interest and exchange rates, they might be able to use monetary policy to support their own industry. This is the fundamental problem with any fixed exchange rate system. In addition, German manufacturing has helped make the Euro very expensive, damaging the Mediterranean nation’s most traditional source of foreign income – tourism. The so-called ‘PIGS’ states have been weakened in their efforts to affect monetary policy – Germany represents by far the biggest voting bloc in the Eurozone, other big countries are unconcerned, like France, or not involved, like Britain. Germany’s string of benefits from the Euro however, cannot come for free. As

Germany is able to maintain its impressive trade surplus not because of its fabled efficiency, but because it benefits from being part of a common currency " But how politically feasible it is to constantly ask German taxpayers to do so, is a different story. Rationally speaking, they should have no problem with it; they are effectively paying for consumption which in return gives them their high levels of employment via exports. This not only boosts their economy, it also helps fuel their national mythos. German taxpayers may whine and complain, but if they wish to continue their privileged position within Europe, as key beneficiaries of the single currency, and wish to foster greater European unity they will need to pay for it. In a more integrated Europe this would happen anyway, Germany would subsidise the public services of say, Poland and Bulgaria, just as West Germany does for East Germany and England does for Wales and Scotland now.

Oh, flower of Scotland

Choosing the right national anthem for Scotland will be difficult, but worth it, argues Melissa Geere

Scotland is still part of the Union. There are many living within her borders who may want to separate but so far she remains a part of Britain. This does not mean the majority of Scottish people do not feel a distinct national identity and the desire to express it. Recently there have been protests against the restrictions imposed in the ‘Offensive Behaviour at Football and Threatening Communications Bill’, currently under debate in the Scottish Parliament.

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It seems a glaring omission that Scotland, with its famous musical tradition, should not have an official anthem of its own" The bill aims to crack down on sectarian hooliganism, which is fair enough, but critics worry it will surpress people’s right to free speech. The first assurance the Lord Advocate gave to the outraged masses was that they would still be al-

lowed to sing their national anthem. Why is this such an important proviso? Certainly there is no reason why singing a national anthem should inherently be interpreted as inflammatory: Scots should have the right to harmlessly express their identity this way. But the problem with the Lord Advocate’s assurance is that Scotland doesn’t actually have an official national anthem to defend. It seems a glaring omission that Scotland, with its famous musical tradition and distinct culture, should not have an official anthem of its own. Instead, along with the rest of Great Britain, Scots sing ‘God Save the Queen’, though many understandably feel rather uncomfortable about the imperialistic English connotations of the song. The petition to get Scotland its own official anthem has never made it through parliament- apparently it is not considered a political priority. This seems strange considering the resources spent on promoting other aspects of cultural identity, such as raising the profile of the Scots and Gaelic languages, or installing a poet laureate. Yet the

opportunity to assert a national identity in the most powerful patriotic arena of peacetime, the sports field, has been passed over. An official national anthem would be invaluable for this purpose, and would of course serve many other purposes besides. Perhaps the neglect of the anthem question has more to do with the fact that no currently available candidate seems quite appropriate. According to a 2006 opinion poll, the most popular suggestion is ‘Flower of Scotland’, the one currently sung at football and rugby matches. Unsurprisingly, those at Holyrood, and probably a great number of the Scottish public, are hesitant to permanantly adopt a song whose sentiment is to rise up against the English and send them all home ‘tae think again’. During diplomatic occasions, such as the Commonwealth Games, ‘Scotland the Brave’ was preferred until 2010. But ‘Scotland the Brave’, along with another popular contender, ‘Highland Cathedral’, has more than one set of lyrics, and is better known as an instrumental piece. An instrumental anthem, like that adopted by multilingual Spain, would certainly avoid the issue of whether an

English, Scots or Gaelic song should be chosen. But can a national anthem that can’t be sung along to be as effective? After these main contenders come a host of less popular suggestions, including Alex Salmond's proposal of ‘Scotland will Flourish’ by the Corries, an 80s song preaching forgiveness of the English, and praising the nation’s farmers and shopkeepers. It was described by Aberdeen University’s head of music as ‘just a little twee’. No wonder the Scottish parliament are reluctant to make a final decision, one they may be stuck with for centuries. It will be a matter of balancing tradition with modernity, and diplomatic versatility with popular acceptance. Such are the challenges of a newly autonomous country: challenges a separatist government should take seriously. We have seen from the protests against the Offensive Behaviour Bill that being allowed to sing even an unofficial anthem is important to the people. Trivial as it may seem, giving Scotland a means to unite with a common voice could go some way towards giving Alex Salmond a result he could sing about in the coming separation referendum.

Oh, shit So, the story that’s got everybody’s knickers in a twist this week is the dodgy working relationship between Liam Fox and his best friend Adam Werritty. Yes, it’s true, it’s quite naughty to take your friend along to important defense meetings without security vetting, but let’s take a step back and view the situation from his perspective. Could it be that Fox is just honouring the BFF code? Everyone knows that, whatever the perks of your profession are, you are obligated to share them with your besty. While at uni this might mean serving your friends doubles when they pay for singles or letting them into the cinema free, as defense secretrary this means letting your homebud into multi-million dollar business deals in Dubai. Just because the perks are a bit meatier doesn’t mean the rules change. The best part of the whole controversy is, of course, how the papers have decided to handle the issue. If there’s ever any doubt as to whether or not adults are just children in big bodies, one has only to cast a glance at what journalists are up to in order to reassure themselves. There’s the obvious ‘Fox-hunting’ pun, which is being milked to within an inch of its life, but this is forgivableit’s not every day that such good headline fodder falls into your lap, which is why this column is entitled ‘Oh, shit’. Then there’s the gleeful gossip which surrounded the plottwist, as Fox’s cover story about Werritty’s “chance” encounter with a businessman at a restaurant fell short and it became clear that he had, in fact, been telling fibs. The BBC, with its live updates, has acted as the playground’s chief gossip-monger, the one who’s really proud of himself, acting under a guise of sophistication but really just as pleased about the whole affair as the scummy, Daily Mail bitches who shamelessly dish the dirt and don’t care if you know they enjoy it. The best articles, however, are the ones that refer to Werrity as a ‘friend’, in inverted commas, as if to imply that there’s just a hint of bumsex involved. In the age of tabloid scandal, it's not enough to have stories about politicians telling porkies about their carelessness with national security. Instead, to sell their papers, they have to subtly, in a libel-free way, plant the idea in your mind that Werritty might not be ‘just a friend’, but a friend with (MoD clearance) benefits. Rebecca Chan

NEEDS YOU!

reporters. reviewers. illustrators. photographers. copy editors

NOW wanted! Documentary makers edinburgh university movie production society are looking for student journalists to help them create documentary films. please direct your ideas to multimedia.studentnewspaper@gmail.com or come along to our multimedia meeting: 2pm on wednesday 12 october in the pleasance main bar. writers, illustrators, photographers and copy editors should come to our weekly meetings: tuesdays, 1.15pm in the pleasance cabaret bar.

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Let's hear it!: features@studennewspaper.org

Tuesday October 11 2011 studentnewspaper.org

13 Features

Corsets to combat helmets From frills to the armed forces, Rebecca Parker examines �� the change in opportunities for women �� today In bygone days of petticoats and hat-pins, the issue of women's boundaries was at the very least simple: they were defined and acknowledged by everyone from the poorest to the richest in society. They were restrictive and based on gender-normative presumptions that were not so much accurate representations of men and women as they were moulds into which they were forced to fit. When the 1960s rolled around with the feminist movement at the helm, things seemed to be starting to change. If you raise the question of women’s boundaries in 2011, a large number of both women and men would tell you that there are none. Apparently, we sorted all that out years ago. Just this week Australia joined the small cluster of countries that allow women to fight on the front line, making the percentage of positions available to them in the military 100%. Reading this felt like good news but, with my admittedly limited knowledge of military matters, it was more surprising to realise that this was not already the case. I had assumed - perhaps naively - that the armed forces had long since fully opened their doors to people from all walks of life, but it would appear that this is still very much a work in progress.

There are surprisingly few countries who have given full access to women in the military: Canada, Israel and New Zealand are among them – the UK is not. In fact in the UK, women only make up about 9.5 per cent of the entire armed forces, which is comparatively on the low side when looking at other countries, particularly non-European. In Australia about 14 per cent are female, and in the US the figure is closer to 20 per cent. Still, the issue here is not the percentage of women in the military, but rather how much that percentage is allowed to contribute. With only 71 per cent of positions open to women in the British Army, there seem to be an awful lot of glass ceilings still in place in this sector. There are obviously arguments both for removing and keeping these

alex e. proimos

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If you raise the question of women's boundaries in 2011 a large number of both women and men would tell you there are none. Apparently, we sorted all that out years ago. "

restrictions in place; one of the main assertions made in defence of the limitations is that “emotional bonds” created as a result of gender-mixing could undermine the effectiveness of operations on the front line. Even putting aside the fact that this argument overlooks the potential for same-sex “emotional bonds”, there remains the issue of why it could not be equally affecting to fight alongside friends – are bonds of camaraderie not emotional? This is an argument which also seems to insinuate that female soldiers would lack the kind of emotional restraint needed for such a high-pressure situation – not to mention that it insults the existing male soldiers by suggesting that their approach to the tasks at hand would be affected by a female presence. All of this is not to suggest that the way to equal opportunities in the armed forces is to push as many women as possible into combative roles to even up the statistics. There must be limits and requirements to

meet for such highly skilled tasks. If someone is capable of meeting them then gender should be irrelevant. The same obviously applies to other sectors as well, where there are some interesting trends in the male to female ratio. Jobs that remain female-dominated include nursing, social services and cleaning, while male engineers and police officers still outweigh their female counterparts. To an extent this conforms to what our expectations have previously been. However, there are sectors in which the numbers are almost completely level, such as teaching and journalism and - perhaps surprisingly - almost 50 per cent of doctors are now female. This could be because these are more gender neutral roles, whereas there still exists a subconscious blockade that prevents a man from pursuing a 'girl’s job' and vice versa. What does all of this tell us about women’s boundaries in 2011? Clearly there has been a shift from the days of riding side-saddle. Indisputably women have more options and free-

dom now than ever before, but this is far from synonymous with having the problem of discriminatory boundaries totally removed from our lives.

“

There must be limits and requirements to meet for such highly skilled tasks. If someone is capable of meeting them, however, gender should be irrelevant." Despite this, it is not uncommon to hear both men and women insisting that equality has been achieved in the twenty-first century. This seems to be an indication that many mistake a reduction of the problem for a removal: much like becoming accustomed to a faint, unpleasant smell.

These new amendments to Australia’s armed forces suggest two very different things: firstly, that this issue is still very much current. The word feminism has the tendency to attract negative connotations these days - perhaps because it is so often mistaken for a female-supremacist movement - but its true cause is by no means gone. The fact that we are still surprised at all by equality of opportunity in the army indicates that there is more work to be done. Secondly, and on a more positive note, it also indicates that the world is still changing. These alterations may be coming neither thick nor fast but reformation continues to tick on. The prejudices many of us are guilty of harbouring in some small way have been so deeply ingrained for so long that much of the time they are barely perceptible, hidden within the collective subconscious of entire countries. It will take time to rid ourselves of them entirely, but this seems to indicate that we are on our way.

Tuesday October 11 2011 studentnewspaper.org

14 14 Features

Suas leis a’ Ghàidhlig!

(*Up with the Gaelic!)

Christopher Lewin finds Scotland's mother tongue alive and well in Edinburgh On the streets of Edinburgh and in the University a diversity of languages from all across the world can be heard. But one has been here longer than the others: Gaelic or Gàidhlig, the oldest living language of Scotland. Gaelic is a Celtic language closely related to Irish and Manx, more distantly to Welsh, and very distantly to English as well as most of the tongues of Europe. There are about 60,000 Gaelic speakers in Scotland today, with the densest concentrations in the Highlands and Islands, where certain areas are still primarily Gaelic-speaking with English being a second language to many people. There are, however, also vibrant networks of speakers in all the major cities, including Edinburgh. Although Gaelic today is mostly associated with the Highlands and Islands, the language was formerly spoken throughout almost all of the Lowlands as well, and Edinburgh itself was once the headquarters of the Gaelic-speaking, Scottish monarchy. Up until the early medieval period Gaelic was the official language of administration and culture, before the aristocracy switched to Norman French and English or Scottish.

“

Gaelic lost official status for a long time, but now that is being readressed. Since the 2005 Gaelic Language Act, the language now has official recognition in Scotland and it is sometimes heard in debates in the Scottish parliament at Holyrood, where it is interesting to note that all the signs are bilingual. You may have noticed Gaelic signs at railway stations too; for example, signs to Haymarket also feature "Margadh an Fheòir". In the heart of Edinburgh there are monthly pub nights in the Canon’s Gait held by the Bothan organisation for the Gaelic community, where speakers of all degrees of fluency and all ages can meet to chat and listen to traditional music or story-telling. Gaelic-speakers can also often be found at the folk evenings in popular pubs such as Reverie and Sandy Bells. For a more spiritual experience there is a Gaelic service in Greyfriar’s Kirk every Sunday at 12.30pm where the unique Gaelic custom of psalmsinging is maintained, with a precentor chanting out the line, which is then sung back by the congregation without accompaniment. NonGaelic-speaking visitors who wish to experience this are warmly welcomed. The psalm-precenting is a living tradition that is still being passed on. University of Edinburgh students are among the regular precentors, and

ken craig, christopher lewin and anita 363, debbie hicks

Since the 2005 Gaelic Language Act, the language now has official recognition in Scotland and is now heard in debates in the Scottish parliament"

there is a workshop for anyone eager to learn. There is also a wide variety of Gaelic classes and conversation groups in the city for all levels of proficiency. In addition, there is a Gaelic-medium unit at Tollcross Primary School, where more than 170 children learn the curriculum in Gaelic. The rapid growth of Gaelic education in the city has led to a demand for a dedicated Gaelic school in Edinburgh, similar to those in Glasgow and Inverness. Edinburgh City Council has agreed in principle to establish a Gaelic school at Bonningham, near Leith, and a vote on funding is set for 27 October. In the University itself, Gaelic can be studied in the department of Celtic and Scottish Studies at 27 George Square. There is an undergraduate course for complete beginners and another for those who are already fluent. The class communities are small, relaxed and close-knit, and a good teacher-student ratio means the lec-

tures are effectively tutorials. Because of this, Gaelic can be a good outside subject for first and second-years. There are also Celtic Civilisation and Celtic Literature courses which do not require a knowledge of the language. At honours level there is a modern option, which focuses on Scottish Gaelic and Irish of the last few centuries, and a medieval option where students can learn Old Irish, the ancestor of Gaelic, and Medieval Welsh. Ailean Dòmhnallach (Allan MacDonald), 18, a first-year Celtic student and native Gaelic-speaker born and raised in Edinburgh, says: “I’m doing Gaelic at the University because I wish to deepen my understanding of the Gaelic language through its oral history and traditions. So far, I’m finding the course very enjoyable.” Katy MacLeod, 18, a Gaelicspeaking fresher from Glasgow, explains her choice: “My parents are from Lewis and Inverness so I grew up with Gaelic, and I don’t want to

lose it. I want to keep Gaelic going, and hopefully go into teaching or Gaelic television after university.”

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The biggest event in the Gaelic calendar at Edinburgh is the Highland Annual Ball, a huge cèilidh in February, when the Highland society takes over most of Teviot" People often ask whether there is any point in studying Gaelic; what sort of career can you go into. Education and broadcasting are two of the areas in which demand for Gaelic-speaking employees is increasing, and Celtic is of course a respected and distinctive academic degree which can lead to all sorts

of careers not necessarily connected with the subject itself. For students at the University who want to learn some Gaelic but not do it as a full subject, EUSA runs noncredit-bearing taster courses in a wide variety of languages, including Gaelic. Last year’s course was so popular that it filled up within hours, and the class this semester is already full. However, the course will run again next semester, and is a great opportunity to pick up the basics. The University is also in the process of developing a formal Gaelic Language Plan in partnership with Bòrd na Gàidhlig (the official language development agency) while the City Council has finalised its own plan. The social side of Gaelic in the University is represented by the Highland Society, or Comann Ceilteach (literally ‘Celtic Society’), with which most Celtic students are heavily involved. The society was founded in the 1920s, and thus claims to be the oldest at the University. Recently at the AGM the constitution was revised for the first time since 1955, bringing it in line with EUSA requirements and creating new committee positions such as Oifigeir Gàidhlig (Gaelic Officer). There is also an official bard and piper. The society meets fortnightly on Wednesday evenings throughout the academic year in Teviot and other venues, where they aim to speak Gaelic as much as possible, though non-Gaelic-speakers are also warmly welcomed. Trips to the Highlands are also on the cards this year. Additionally, the society tries to attract speakers of other Celtic languages, and Gaelic-speakers who do not actually study Gaelic-related courses. You would be surprised how many Gaelic-speaking students there are dotted round the University: if you are one of them, don’t be afraid to go along for some còmhradh is craic. The biggest event in the Gaelic calendar at Edinburgh is the Highland Annual Ball, a huge cèilidh in February, when the Highland Society takes over most of Teviot, with wild dancing in the Debating Hall until 3am, as well as a traditional cèilidh and open mike in other parts of the building. It is very popular both with students and with the wider Edinburgh community. Last year’s ball was a great success, and this year’s promises to be even bigger and better, as it will be its 50th anniversary, and the organisers intend to pull out all the stops and make it a night to remember. There is another important anniversary this year: in November the School of Scottish Studies, a section of the department of Celtic and Scottish Studies concerned with Scottish folklore, history and ethnology, celebrates its 60th birthday, and there will be special events to mark this. As the Gaelic community looks to the future it is clear that there is much to be hopeful about, even if many difficult issues face the language in general. Tha a’ Ghàidhlig beò fhathast—Gaelic is still alive!

Tuesday October 11 2011 studentnewspaper.org

A true visionary

mark mathosian

text commands. This was the revelation of what was to become one of Apple’s grandest assets. Jobs used his interest in typography to create an attractive interface, free from the impersonal, robotic font that the computer world had been filled with until now., he effectively invented modern fonting That first modern interface was copied by Windows and is still used on their computers to this day. In 1983 Jobs recruited John Sculley of Pepsi-Cola as the CEO of Apple. The words he used to convince him give a perfect summary of Jobs’ audacious and bold business attitude: “Do you want to sell sugar water for the rest of your life, or do you want to come with me and change the world?” But after internal disputes between them, two years later, Sculley removed Jobs from his managerial duties at Apple. Jobs claimed that this was one of the best things to ever happen to him, and in his Stanford University commencement address in 1995 (a speech which has been viewed over nine million times on YouTube) he stated, “The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.” It was during this Apple-free period of his life that Jobs founded NeXT Computer and bought The Graphics Group, a graphics hardware development company. This company, however, was found to be fairly unprofitable in its original role and so under a new name

– Pixar – it began to make computeranimated films, co-financed and distributed by Disney (the latter of which Jobs was the majority share-holder in). The first of these co-produced films was called Toy Story. You know the rest. In 1996, Apple bought NeXT, bringing Jobs back to the company he co-founded as an advisor and, in 1997, after the removal of then CEO Gil Amelio, Jobs was appointed Apple interim CEO. A year later came the first iMac. Almost a decade later the same team, under Jobs’ rule, would create the iPod and iPhone.

“

Perhaps it was Jobs' personality, rather than his undoubted business acumen, that made him stand out from the monied crowd" In Jobs’ absence from Apple, the company had lost both its innovation and its profitability. On his return, Jobs’ reinvention of the company – organising the structural mess that it had become and rejuvenating the Apple brand – revived the entire company and brought it back to rule alongside Microsoft in a way which no other company had succeeded in doing in over a decade. And, when Jobs resigned as CEO in August of this year, Apple shares dropped 5 per

Features 15

Edinburgh Apprentice

Melody McIndoe on the remarkable life of a man who shaped our world.

It is one o’clock in the morning and, as students do, I am lying in bed, laptop on stomach, on the internet. I leave Facebook for a moment to see how Twitter’s doing. “Steve Jobs – how do you like them apples?” is the first tweet in my feed. I return to Facebook and, as anticipated, it has exploded. As I scroll down pages upon pages of status updates, all expressing the same thing, I realise it must be true – Steve Jobs, co-founder and former chief executive of Apple, is dead. The last time the internet plunged into such a state of frenzy was at the passing of Amy Winehouse – the time before, Michael Jackson. So how did a 21-year-old geek, a university drop-out, who one day put together a computer in his garage with a mate he’d known since he was sixteen, turn into a worldwide household name, as well-known as the most critically acclaimed pop stars? The answer seems simple, one which we all know but is easier said than done: ambition, and determination. But surely there must be more? Jobs left university after just six months and, with the freedom which came with no compulsory classes, he began to audit the ones which really interested him. One of these was calligraphy, and it was here that he began to appreciate typography. He presented the original Macintosh computer at an Apple shareholders' meeting in 1984, the first ever small computer with a graphical user interface – a platform which allowed the user to operate the computer without

cent in after-hour trading. By 2010 Jobs’ fortune was estimated at $8.3 million and his name could be found on 338 US patents under the title of Inventor. It seems fair, then, to say that Jobs was a bit successful. The Apple brand we know and love now is a result of his visionary genius. However, many successful businessmen have come and gone, many without being recognised by the general public in any manner. So perhaps it was Jobs’ personality, rather than his undoubtable business acumen, that made him stand out from the monied crowd. Maybe there was more to his success than an ‘iWant’ attitude. But from a business point of view, at least, it doesn’t seem as if he will readily be remembered as a compassionate boss. He was often described as narcissistic, a control freak, and an elitist by his employees. Fortune magazine described him as “one of Silicon Valley’s leading egomaniacs.” After resuming his position at the top of Apple in 1997, Jobs infamously cut all philanthropic programmes attached to the company – casting him in a rather negative light, especially when compared to his hugely charitable rival, Bill Gates. While scrolling through the abundance of Steve Jobs related statuses on Facebook I came across a question posted by a girl from my hometown. “Who’s this Steve Jobs guy and why does it matter that he’s dead?” And though the answer given (“I think he’s the guy that built the iPod and that.”) is an adequate one, I would like to offer an alternative. Steve Jobs is important because his work and influence is everywhere – we grew up with it. Before people knew his name and watched his keynote speeches we were sitting in primary school classrooms, surrounded by Macintosh computers. We saw Toy Story in 1995, we bought the toys, we still use the quotes, and we cried when the credits for Toy Story 3 began to roll down the cinema screen last year. We sit in lecture theatres where laptop-accompanied students type frantically on MacBooks. And now, as we walk down Princes Street, we watch the new Apple store there grow closer and closer to completion point, anticipating the crowds which will gather there on its opening day to stare at shiny iMacs and play with sleek iPads. Why is the presence of Steve Jobs everywhere? Why are Apple fans so loyal to him and the brand he invented? Ambition and determination are qualities that can be claimed by the majority of successful names, and yet this level of loyalty does not exist for most of them. On asking people of my age to answer this question, many gave the same response. Jobs had something in addition to these qualities. He had passion. He was passionate about every project he ever embarked upon. His passion for typography was what led him to his computing success, and it was this passion that nearly brought him to tears during the launch of the first Macintosh. Jobs concluded his Stanford commencement address with two pieces of advice. “Stay hungry. Stay foolish.” And that is exactly what he did, exactly what made him Steve Jobs.

Last week I was possibly the only person in the UK who had never heard of The Apprentice. The show has become so popular that it has spawned several spin-offs, such as You’re Fired!, and a whole range of related products including books and a magazine. At its peak, the show had an audience of almost 10 million people. Picking on the growing popularity of the show, the company Innovative Consulting University of Edinburgh (or simply, iCue) launched the Edinburgh Apprentice in 2005, which, following in the footsteps of the show which inspired it, has gradually widened its span and popularity over the years. This year’s competition will be hiring its management team in a couple of weeks and opening the applications for participants in a month. iCue directors promise that the project this year will be “better, broader, bigger and bolder”. Last year’s competition was especially successful, with over a hundred participants. It’s no wonder the project grew rapidly – the £1000 prize makes it a great opportunity for ambitious entrepreneurs-to-be to earn cash, challenge themselves, and simply have fun. “Despite our slogan - ‘All business, no bullshit’, - we try to have a good balance between the serious and fun aspects of the competition”, the president of iCue, Roberta Kovacs, told The Student. The serious benefits are transferrable skills, networking and, obviously, the chance of winning – but the fun part of it is equally as important, which is why the iCue team stays creative and never repeats itself when designing the tasks. Last year the final challenge was to organise a night at The Hive, attracting as many people - and spending as little money - as possible. This gave the finalists a chance to promote and deal with a wellknown venue, as well as to enjoy a great night out. When asked what exactly will make this year’s Edinburgh Apprentice different, Kovacs replied, “The event will be much bigger; our aim is to involve students from all the four universities of Edinburgh, and we are planning to attract as many as a thousand of participants. There will be significant changes in the structure of competition and nature of tasks – but the details will remain a secret until the opening!” There are many benefits to be reaped by those more interested in running the event than being participants, too. “Think of all the skills you get organising such a competition, as well as the benefits of networking and CV enhancement!” Kovac exclaims. Additionally this year, for the first time, iCue has decided to highlight its business nature by turning a profit, dividing it between the team afterwards. “We are thinking of trip to London, Europe or beyond – depending on the results. I believe such a specific reward alongside the valuable experience to be a great motivation.” The event will take place on 18 October, and more information is available online. Varvara Bashkirova

12-14 OCTOBER

eusa.ed.ac.uk/elections

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Lifestyle 17

lifestyle

Coming soon to a tube near you

Viennese Whirls PART TWO: ART

We all get told to get involved with new things when we start university. Alex Clark and Jack Booker took that advice close to heart, and after freshers’ week back in 2010 they got together and spent a year writing and filming a miniseries on their orientation experience. “About 90 per cent of what happens in the show has happened to either me or Jack at some point in our lives,” commented Alex when interviewed about the final product, entitled Mature Cheddar. The young men spent a year working on the film, and Alex admitted without trepidation that “no part of the show was written without the influence of alcohol.” The end result is an impressively witty and amusing seven episode miniseries which is incredibly easy to relate to.

“

If you put stuff out there you will get people who want to help you...who want to get involved" Alex explained the reaction they were hoping for with the series: “such and such a thing happened to me or I know a guy like that.” The show takes a look at the stereotypes we are all faced with when first coming to university the guy who immediately shuts himself in his room, the girl who just wants to get noticed, and the over-organized and constantly panicky one. Part of the purpose of the show is “to offend absolutely everyone at least a tiny bit”, but Alex explained that “just because something is comedy doesn’t make it any less

STARRING ROLES: Some filming sessions lasted well into the wee hours, a sign of a dedicated cast meaningful.” Mature Cheddar doesn’t focus on stereotyping people into different categories but on understanding, as time goes on, that the characters are actually much more complex than they initially seem, an aspect which demonstrates true brilliance. In a move that Alex jokingly called “incestuous” but others would call opportunistic, he and Jack asked the cast members if they could use their flats for production, thus finding a low cost way to film a number of the scenes. They filmed the entire production in three days. They chose where to shoot by just “setting up the tripod and working out what would make a good shot... whilst filming”, but in the end it all came together, showing the dedication of the

cast and crew in all aspects of production. Alex sounded completely baffled as he reflected upon his success, which includes having 60 people show up to the screening and numerous YouTube views. Displaying his humble nature, he said that what he wanted people to know about Mature Cheddar is how “immensely proud [he is of ] everything the cast did” and that “everyone needs to see how good they are.” The message he wanted to convey with his and Jack’s story is that “if you put stuff out there you will get people who want to help you, who want to contribute, who want to get involved... which is unique to working in the university environment”.

MATURECHEDDAR

Anastasiya Boika talks to Alex Clark about his film-making debut, web series Mature Cheddar

That a couple of university students can look back at an experience that is shared by numerous people around the world and portray it so successfully shows great talent and wisdom. Mature Cheddar is both a goofy parody of the freshers’ experience and a look into the self discovery, friendships and lessons that occur at university, especially in that first week.There is no doubt that whatever they come up with next will be as complex and successful as Mature Cheddar. Mature Cheddar can be found on YouTube using this link: http://www. youtube.com/user/maturecheddarshow.

Close to expiration date?

It isn't just food that has a shelf life: Katie Macpherson found out the hard way friends with benefits? We all want what we can’t have, and when you add a beautiful international accent many of us are powerless to resist. There are definite perks to expiration dating, as many of us want sex with no strings attached. Having someone there to call when we're feeling lonely and especially someone who is only around for a few months can push aside any romantic feelings that may arise. Of course, relationships

TIME WAITS FOR NO MAN: But how many girls do?

KURITITA

I have recently been in a very good relationship. Everything was perfect; he was good-looking, funny, talented and very charismatic - I should have known there was a catch. He was an international student in his final year, and told me after we started dating that he was leaving for Asia after the summer. This seemed to be a classic case of expiration dating, or dating with a deadline - was it going to be heart ache on a plate or the ultimate

are not always so straightforward and people do get attached. This can be a good thing; breaking up amicably and still being attracted to someone who is gone pushes you to keep in contact. Friendship suddenly spans across continents and who are we to ignore the importance of international relations? Expiration dating is common at university. Lots of couples have four great years together, then someone has to leave. Some try long distance, but for those who decide against it, I understand that pain. When there is an understanding between partners that an end is in sight, it can affect everything in the relationship. The dynamic becomes compromised; if both people are in love then there must be times when that strain shows. Long distance fights, frustration and moments of bitter affection are common in relationships but none more so then one that’s expiring. Speaking to an Erasmus student in France, who is currently dating an Australian, I found an interesting take on her expiration dating experiences. When asked about her boyfriend before leaving she said that “[he] was

lovely and the longer we went out the more I knew we were breaking up. The more he liked me the guiltier I was. It ended so I could stop feeling guilty.” Speaking about her newest boyfriend, her feelings have changed “I really like him, and it’s hard because I’m aware that we are going to break up, but I’m like a different person here. There’s no guilt like before”. Maybe we should think of this before we judge those visiting students who we think are just looking for a fling. However, should we stop ourselves from going out with people we like just because we know there is no future? Many would say yes; why waste the time? I have to disagree. I don’t want to work towards a future at the cost of the present. Even though it is tough to say goodbye, many of us would never give up the experience. Right now a big chunk of my heart is in Asia and I know he is hurting just as much as me. I don’t regret it and, truth be told, it was one of the best things that happened to me. I think Dr. Seuss best summed this up with: “Don’t cry because it’s over, smile because it happened.”

Sprawled across the walls of Vienna’s artistic hub, the Museum Quartier, are the prophetic words of the Dalai Lama. “It is a time,” he mused, “where there is much in the window, but nothing in the room”. Fortunately, Vienna’s room is full; unfortunately, the room has a hefty entrance fee. Money oozes from the city’s pores, attaching itself to every Opera house, side-street and citizen like some kind of stubborn glue. It is not unusual to see well-kept wives clip-clopping their way out of Burberry and Prada, hot on the heels of the new ‘it’ gallery opening or exhibition. The opera houses and theatres, far from being open to all, are reserved solely for the pleasure of the gliterrati, with a ticket costing most mere mortals their entire monthly salary. There is an abundance of incredible exhibitions here at any one time: Klimt, Dali, Monet, a German man whose name I can’t pronounce... When I first told my flatmates that I planned to go to said museums, they raised their eyebrows in a look of “so you’re of them”. I was rather confused by this - maybe they just don’t like museums, I thought - until I saw the price tag. Now I like art, I really like art, but I like eating more. To visit all four would have cost me a hefty €40 – three quarters of my weekly allowance. Needless to say, I swiftly exited, making eyes at the clipcloppy Prada clan and cursing the injustice of it all. Maybe it is the eternal socialist in me but surely, isn’t the point expression and not industry? There are a few free museums of course, ones about solar systems and dinosaurs, but for an English student who significantly struggles with the concept of north and south, my interest rather ignorantly stops past the interactive water wheels and pretty free post-cards. So, for a city famed for its artistic integrity, it would seem that the pleasure rests for the eager city-breakers and wealthy locals alone. Unlike many other capitals, however, art is not just restricted to four walls. The Viennese government ploughs millions into creating, renewing and sustaining their aesthetics. Every building in the city centre is quite literally gilded, parks look like they’re something out of a Jane Austen set and schools use a proportion of their annual budget to create snazzy seating for pupils to enjoy. Even necessary infrastructures such as the main power plant are commissioned by artists, turning them into attractions and not eye-sores. It seems that for the Viennese, an arty city equates to a happy city and the best stuff comes without a price tag. In that case, I decide the clippy-cloppies can pay their €40. All I have to do is look around.

Francesca Larcombe

Tuesday October 11 2011 studentnewspaper.org

18 Technology

A moment to reflect

Techin' the Micky

This week I have foregone my normal console and Steam based games, and shoved my head into the cloud. This, of course, refers to the online cloud accessed through the new gaming service OnLive, which was released in the UK at the end of September. I must say, after only a week, I am extremely excited about the platform’s future. OnLive, from the outset, seems like a brilliant idea. A library of over 150 games from 50 of gaming’s biggest publishers accessed, for a charge, entirely from an online interface. All can be played with the simple requirement of a computer that can run video rather than a high-end machine or an expensive console. This is because all of the processing happens on remote servers rather than the computer itself. To some this will come as a godsend; the cost of keeping an up to date machine can easily be many times larger than buying the game that you want to play. OnLive could eliminate the constant ‘can you run it?’ question that has to be asked every time you buy new for PC and as we know these games don’t come cheap and can’t be returned. My first worry about cloud gaming was quality; it turns out there was no need for concern. The visual experience is surprisingly sharp. Although not as technically impressive as top end computers or HD consoles, for a service that streams entirely from the internet it is extremely impressive. The games also survive intact. I felt no different playing Space Marine through OnLive than if I were playing it through Steam, for example. This is not to say that cloud gaming through OnLive is perfect yet. The quality of the games that are delivered depends entirely on the reliability of your internet connection. If you’re using a WiFi connection it can seriously damage your experience. The games sometimes stutter a bit due to interruptions in the service. This is, of course, not totally OnLive’s fault but it does affect the service slightly. In the end, I am excited to see where OnLive goes. If the company can find a way of compensating for people’s internet connections it will be vastly improved. I am not yet convinced, however, that cloud gaming is set to replace installed games or consoles. The fact that OnLive can only be used with an internet connection is a massive disadvantage. On the other hand, the service is a brilliant way for Mac users and low-end PC gamers to play modern titles with decent quality, online systems that would not usually support them. It even has the potential to turn your iPad into a portable gaming powerhouse. At the moment, however, cloud gaming is wispy and shapeless; it needs a little bit of time before it can really cause a storm in the industry.

Thom Louis

If it wasn’t for Steve Jobs I probably wouldn’t be studying Informatics at Edinburgh University. This observation is rather ironic as I spent a fair few of my formative years despising Jobs, seeing many of his products as fashion statements rather than serious computing tools. Of course, my view has changed a lot since then; I now own both an iPhone and a Macbook Pro. But even those who swear by Windows or Linux and condemn Apple would probably have no opinion, or even PCs for that matter, if Jobs hadn’t pioneered the computer as something to be used and enjoyed by all. Of course, Jobs shares this legacy with other key players of the technology boom of the 1980s and 90s, but his contribution to society is still difficult to fully appreciate. My fascination with computers is both driven and enabled by their integral role in modern society. Even today the utility we gain from computers increases exponentially every year; 10 years ago a handheld device that acted as a mobile jukebox, GPS tracking system, internet browser and HD camcorder may as well have been science fiction. Another 10 years back and the idea of most students organising their studies on portable computers would

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Jobs constantly reassessed how computers could serve users as the technology evolved."

have been viewed the same way. Jobs constantly reassessed how computers could serve users as the technology evolved. When portable hard drives became small enough, Jobs was the one who packaged them in the world's first iPod. While scientists and engineers will probably continue to churn out new technologies year after year, there won’t be nearly as many revolutionary new products spawned from them, and many that do probably won’t have the same resonance with consumers. That is unless Jobs had a backlog of patents for Apple to implement over the next decade. Tom Hasler Steve Jobs has always been a great inspiration to me. His drive for success, creativity and sense for his market were some of the many things that got me interested in technology in the first place. Jobs has invented two things that have changed my outlook: Pixar and the iPod. I got my first iPod mini for my 14th birthday and have never looked back, and I have been a Pixar obsessive since Toy Story – I now own every one of their films. These are only a couple of examples of the ideas which have revolutionised everything from the consumer tech market to animation. I have personally never taken the Macbook plunge, and am currently tapping away on my PC, but the many I know who have would never sway from the computer brand that they love and trust. The only other technology company I can think of that has come close to inspiring such

fanatical devotion is Nintendo during the first console war. Anything that Apple creates now, after Job’s reinvention of the brand, is the tech equivalent of crack. I can assure you that hundreds of techy-fan boys - money permitting, I will be among them - will be queuing around the block for the iPhone 4S, no matter the price or even functionality of the product. This is the effect that Jobs’ ideas have had on people.

“

Jobs' creativity and charisma will be missed by all, but most of all by us – the tech geeks."

On the other side, the magnate has basically changed technology development sessions into one phrase: "Let’s do what Apple have done." The main way that Jobs has affected me, though, is through his philosophy. He understood that people loved technology but also design. The attitude that art and computing did not have to sit in different, sealed-off rooms but instead could work together for the better has changed both technology and gaming - two of the things that I love the most - in unimaginable and brilliant ways. Jobs’ creativity and charisma will be missed by many, but most of all by us – the tech geeks. Thom Louis

BACK IN THE DAY: Jobs in the world before Jobs

Is it 4S or is it just 4.5? Mark Khosla wonders if people will take the new iPhone Siri-ously

he new iPhone announced last T Tuesday, dubbed the ‘4S’ , looks virtually identical to the iPhone 4.

Consequently, certain iPhone users will worry that no one will notice that their phone is the 4S and not its antiquated predeccesor. These people will insist on referring to their iPhone by its full title so that anyone unfortunate enough to be nearby knows just how cool they are. Rest assured, these people are going to hell. Possibly most important of the latest set of announcements from Apple is Siri, a “personal assistant” that is integrated into the

apple

onlive

Tom Hasler and Thom Louis consider the influence of Steve Jobs

phone. It will be possible to simply speak commands to Siri, such as "What classes did I have this morning?", "What drunken texts did I send last night?", and "How bloody terrible will the weather be today?". What is unclear is how well Siri interprets individual words, and it will be impossible to tell until the 4S is released on October 14th. iPhone owners and Siri will have to get used to each other, oddly like the process of hiring a real assistant. People will gradually learn what its capabilities are, and Siri will improve its voice

recognition on an user-specific basis. Updates to the iPhone include higher resolution pictures and video, so trendy hipsters can now apply their sepia effects in 8 megapixel glory. The 4S is also significantly faster than its predecessor. The graphics and processing hardware have received an upgrade and the phone is compatible with 4G networks, though 4G doesn’t really exist anywhere yet.

“

Alerts will be queued until read and won't interrupt a vitally important Angry Birds level." Even more refreshed and renewed is iOS 5, which now has a messaging service exclusively for iOS devices akin to Blackberry’s BBM system, completely wireless updating, and an integrated iCloud to keep everything synced between all your shiny Apple devices regardless of

where they are. The notification system has also been updated; alerts will be queued until read and won’t interrupt a vitally important Angry Birds level. Of some concern are the new GPS services. The iPhone now has the ability to let others know where you are in real time. Correct use of this will help coordinate meet-ups, but it won’t be long before hilarious stories are posted on the internet of cheaters caught, criminals arrested, and skivers busted. Also of concern is the Twitter integration throughout iOS. This makes it simpler for users to annoy you every time they watch a video of cats, “discover” an indie band, or publicly ponder where to go for lunch alone. What’s the verdict? It depends largely on the success of Siri. If Siri works then the 4S may well be a must have. However, many users will be content with the free iOS 5 update, which includes most of the other features of the announcement. Either way, getting an iPhone 4S on release day will still involve standing in a queue of hundreds of maniacal fanboys. No wonder Apple has more cash on hand than the U.S. Federal Reserve.

rEVIEW

COMMISSION #5: hannah mott

Hannah Mott is a fourth year BA honours student in Painting and Drawing. These studies represent a stage in a journey of expression and enjoyment of paint, particularly oil and its qualities and textures. Mott plays with colour and particularly enjoys exploring the vast array of tonal complexities when two colours merge. It is unpredictable and in some places uncontrollable. Mott states that she loves discovering techniques which subtly manipulate and control elements of her painting: â&#x20AC;&#x153;There is risk, and expectations that are lost or exceeded.This journey is frustrating, exciting and very addictive.â&#x20AC;?

Tuesday October 11 2011 studentnewspaper.org

20 Culture

We all stanza together

Melissa Geere plays games, reads poems and drinks tea at the National Poetry Day in the Scottish Poetry Library n Thursday 8 October alliteration abounded and rhymes were forming couplets across the country as the 17th annual National Poetry Day was celebrated. Big names (Simon Armitage, Carol Ann Duffy, Imtiaz Dharker, Michael Rosen and more) gathered at the South Bank Centre in London for an afternoon of readings and activities surrounding the frivolous theme of games. But the real fun was happening in normal communities up and down Britain. Poetry slams, open mic nights, games evenings, reading groups and a rhyme-off between rival car dealerships in Lancashire were just a few of the events billed. Edinburgh, of course, was not to be outdone. Events went on all over town, including a hoisting of the Poetry Flag with Tom Leonard in the Botanical Gardens and poetry readings on the train between Airdrie and Edinburgh’s Waverley Station. Meanwhile, tucked away on Crichton’s Close off the Canongate, the Scottish Poetry Library lay at the centre of operations. When I arrived at their drop-in session of poetry themed board games and tea, I found myself to be one of the only takers. Sadly the rain outside had not driven in miserable hordes seeking literary refuge. This was truly their loss: it was a beautiful thing to sit in the award-winning building, in that strange afternoon-rain light, with tea

THE BOOK CLUB

••••••••••• •••

all the fun of the fair Playhouse Theatre Run Ended

THE BOOK CLUB

ou would be mistaken if you took the title of the musical, All the Fun of the Fair, to assume that you were signing up for a cheerfully up-beat story. It actually shows that it is not always fun at the fair. Or at the theatre. After blinding the audience with lights, stalls and bumper cars were whisked on and offstage to evoke the dynamic and exciting atmosphere of the fair. At one point silver streamers burst out, decorating audience members who then walked around in the intermission with streamers in their hair. The fairground set was minutely accurate down to details such as the sweets, with lurid green and sparkly outfits to capture the 1970’s setting. Yet this did nothing to disguise the fact that it felt like a school production. The plot exists only to support a whistlestop tour through David Essex’s

danielle malinen

THE BOOK CLUB

THE WRITING ON THE... UM... FLOOR? : The Stones of Scotland by George Wyllie and biscuits and the freedom to experiment and play games with words. This is the whole point of National Poetry Day: it serves as a yearly chance for everyone to dedicate a bit of precious time to poetry. It is a day when the media can focus on poetry as an art form and people can get together and hits, including •• •••such songs as Hold Me Close, Gonna Make You a Star and the famous Winter’s Tale, with which the show opened and closed. As soon as things got tough for the characters, they burst into a feel-good song, in stereotypical musical style. Cheesy as it was, this was part of its charm for the enthusiastic audience. Even the moments of very poor acting, including the overdramatic revelation of an affair and a mortifyingly bad slap, just had the audience “ooh”-ing and then laughing good-naturdly. It only took David Essex to step foot onstage for an explosion of clapping and cheering to commence. The corny jokes had the audience in stitches and when David Essex described his younger self as “skinny as a rake with long dark curly hair”, the audience went crazy. At the end, a large part of the audience jumped to their feet for a standing ovation. For the right generation this production was a hit, but don’t go and see it unless you are a hardcore David Essex fan, as in all likelihood it won’t make any sense.

Victoria Tripp

the art of fielding: chad harbach Little, Brown & Company £16.99

enry Skrimshander just wants a simple life. He is the protagonist of Chad Harbach’s debut novel The Art of Fielding and potentially one of baseball’s most talented shortstops ever.

talk poetry just for the simple joy of doing so. The Scottish Poetry Library spearhead the Scottish branch of the National Poetry Day campaign. Each year they print a set of eight poetry postcards and this year the cards followed the theme of games. You can go in

THE BOOK CLUB

••••

richard milnes

and pick up a set of the cards yourself, print them off the website, or send the library a first class stamped addressed envelope and they’ll send them to you. This year’s collection includes the first non-Scottish poet to be featured, the Polish Czesław Miłosz, in celebration of his centenary.

Mach’s work presents traditional bible stories through contemporary allusions to pop culture and consumerism. Far from taking away from the messages of these bible stories,

Mach’s collages are a visual re-imagination, making them more accessible to the contemporary viewer, and monumentalising them in homage to the 400th year of the King James Bible. Multitudes of visual metaphors create links between the traditional messages of the bible stories and Mach’s contemporary representations of them. On the ground floor, huge metal sculptural figures of Calvary tower over us in visceral agony. Further on, collages with biblical names like City of God and The Agony and the Ecstasy present a number of figures all occupying the space in an intricately beautiful array of connected activities. Their sources are familiar (magazines that the artist pilfers), but they now play out different roles for the artist in each of his works. The dream-like quality in Mach’s Jacob’s Ladder impression - in which figures drift through a deep, green sea, cleverly placed close to the beginning of the exhibition - floated with me throughout. They wandered upwards through the gallery’s many exhibition spaces

The novel begins with Henry doing what Henry does best: playing baseball, making zero errors. He is just a simple, straight-forward adolescent with no high hopes of grandeur, until he meets Mike Schwartz, who decides to make Henry’s ascent to greatness his life’s work. He gets him a full scholarship to Westish College and drives him relentlessly, remorselessly. One goal: in the game, don’t make mistakes. The rest of the novel follows this odyssey. But The Art of Fielding is not a baseball-novel. It is a novel about baseball, but in the same way that Moby Dick is a novel

about fishing. Baseball allows Harbach access to the intensities of human experience; he finds “The Human Condition” encapsulated within sport, expressed by Mike Schwartz as “�� being, basically, that we’re alive and have access to beauty, can even erratically create it, but will someday be dead and will not.�” It is this quest that constitutes Harbach’s central concern. In such terms, The Art of Fielding is an assured and beguiling debut written by a young author and critic - Harbach is one of the founding editors of Brooklyn-based literary journal n+1 - who can comfortably be compared with

david mach: precious light City Art Centre Until 16 October



THE BOOK CLUBthe Scottish 1988 avid Mach,

Turner Prize nominee, now brings us Precious Light, an exhibition at the City Art Centre as part of the Edinburgh Art Festival, subtitled King James Bible, A Celebration, 16112011.

“

On the ground floor, huge metal sculptural figures of Calvary tower over us in visceral agony."

THE BOOK CLUB

The collection mainly features Scottish poetry, in Scottish, English and Gaelic, with translations provided. Topics include bingo, skipping, football and golf (the latter being by Arthur Conan Doyle, no less). What does poetry bring to our lives that is so important that we need to set aside a special day for its appreciation? I put this question to the campaign coordinator Lilias Fraser. “I think it gives you the chance to see very vividly through other eyes, in a concentrated, knock-the-socks-off-you way. Sometimes you can have that effect with a brilliant novel, but sometimes you can actually get that effect from eight lines of a poem, which is quite extraordinary when you think about it. It gives you short, condensed experience and vision that isn’t your own. You’re not tied down to being yourself.” Of course, National Poetry Day isn’t the only day of the year we can participate in poetry appreciation or creation. The staff at the Scottish Poetry Library pointed out that they host many events year round including recitations, workshops and reading groups. They can be found on Facebook, as well as on their website. They also make the impressive claim of being the fourth most influential library Twitter presence in the world. Look them up or drop in and have your socks knocked off by poetry. Even if it is only once in the year. and were echoed in every collage I saw, becoming more and more frantic as figures multiplied and back-drops became more cinematic. The works exist on the scale of a kind of modern Last Judgement.

••••••••••••••••••••••••••••• •••••••••••••• ••• ••••• ••• His work is more than just re-imagined ••••••• biblical allegories. It

“

also adds an intriguing religious resonance to contemporary politics"

••••••••••••••••••••••••••••••• His work is more than just re-imagined biblical allegories. It adds an ••••• ••••••••••••••intriguing •••••••religious •• resonance to contemporary politics, and is particularly profound in the wake of the scenes of ••••••• ••••••••••••••••••• carnage that recently ravaged cities across England, highlighting evidence of the bible still being present ••••••••••••••• •••••••••••••• in our modern day lives. • ••••••••••• ••••• •••••••••••••• Katherine Bradley ••••••••••••••••• writers such as David Foster Wallace and Jonathan Franzen, continuing their tale of contemporary America, stepping up to the plate for the next innings.

Daniel Davies

Our next Book Club read will be Peace, Love & Petrol Bombs by D.D. Johnston. If you have any thoughts on it, or on The Art of Fielding, email culture.thestudent@gmail.com and let us know!

Theatre buff? Review it! Follow us on twitter @TheStudentPaper or on Facebook at facebook.com/TheStudentNewspaper culture.thestudent@gmail.com

Tuesday October 11 2011 studentnewspaper.org

Culture 21 21 Star Rating Learning to fly Living with the Lost Boys Never growing up Attempted poisoning by Tinkerbell Losing your hand to a crocodile

Dancing with body and soul

ROYGBIV

This week's cultural spectrum.

or two days, the Edinburgh Festival Theatre was the scene of Wayne McGregor’s latest work FAR, performed by his company Random. The abbreviated title stands for Flesh in the Age of Reason, a book written by Roy Porter. It is the history of explorations into body and soul starting in the 18th century. Wayne McGregor draws on this theme and starts his performance in the Age of Enlightenment. The opening scene is accompanied by classical music and flaming torches and the first image we get from the duet is Purity. But then the light source changes into an animated white screen with flickering light and the music is no longer harmonic, but electronic. McGregor’s style is characterised by hyperextensions, twisted arms and bending knees. Waves seem to ebb through the dancers’ bodies, shrouded in transparent tops and tights. The mystery of the self, embodied in flesh and blood, is the underlying structure of the dance. Wayne McGregor and Random set out to evoke the idea, pursued in Porter’s book,

rock 'n' roll heaven The Festival Theatre Run Ended



ock’ n’ Roll Heaven, a glitzy tribute to six monumental stars of the rock’n’roll era had a good rockin’ soundtrack. Unfortunately, these hits were the only things to recommend this show and, as a whole, this performance provided only summertime blues. The framing device used to present these songs was frankly weak. The various rock’n’roll legends were por-

WELL BALANCED : Wayne McGregor's FAR at the Festival Theatre that the mind cannot exist without the body. Porter wrote that, “The body

was the inseparable dancing partner of the mind or soul.” McGregor stated

trayed by four actors. The six taken up here were Elvis, Roy Orbison, Ricky Nelson, Buddy Holly, Del Shannon and Eddie Cochran. These stars each came forward, played a four-song set and introduced the next act. This meant the show had little narrative and any potential for pace was ruined. This was also harmed by the arrangement of the songs. Pieces of the era have identical rhythms that, when listened to backto-back, simply leave you bored. This music was performed by a disitinctly boring and inept band. There was a particularly painful moment where the three supporting singers tried and failed to bob along in time to the music. Worse than this, the keyboardist seemed unable to decide whether

he was a musical director or a band member. Finally, the whole band lacked charisma and were frustratingly static; I was totally unsurprised when Elvis told us the bassist had won a competition to be on that stage.

“

I was totally unsurprised when Elvis told us the bassist had won a competition to be on that stage." This is not to say everything about the show was poor. There was a great deal of talent here. This was made particularly clear by Damien Edwards,

coutesy of the festival theatre

Lisa Mayer gets under the skin of FAR, Wayne McGregor's latest piece of physical theatre he is fascinated by cognitive science and how thinking has changed since the Age of Enlightenment. “Yet”, he says, “there is a lot we don’t know.” As a result, many aspects of the complex relationship between soma and psyche leave us in the dark, and the storyline of FAR at many points is also not clear. Accessible motions from the beginning somehow get lost in remoteness. The installation shows a countdown and produces the feeling of time pressure and the advent of a superior artificial intelligence. Roy Porter in Flesh in the Age of Reason writes, “The outer and the inner - all merged, and all needed to be minutely observed if the human enigma were ever to be appreciated.” The outer appearance of McGregor’s dancers is clearly impressive and professional at every level. McGregor is known to be one of the few contemporary artists who also reach the mainstream audience. The dance moves and physical attractiveness here certainly uphold this reputation. However, the revelation of the inner remains secret. who played both Roy Orbison and Del Shannon. Edwards’ singing talent, charisma and interactions with the audience were brilliant. The chosen tunes were very well performed throughout. On top of this, the tech and the set used were both inventive. Overall, despite the talent of the singers, Rock’n’Roll Heaven was a dull affair. The songs performed have always been brilliant, but this was certainly not the best way to present them. A narrative would have been helpful, if only to give the show some pace. In the end, it stands up on the quality of the music alone and I have all these albums, played by the real artists, on CD. Thom Louis

THE ART DOCTOR with Anna Feintuck

The Culture competition

wo weeks ago, we held a competition and we’re pleased to announce that Will Naameh is our winner! He correctly solved the riddle: "WHO AM I? I used to study in the same place as you; Crocodiles tick me off; As does my small stature; My imagination flies away with my inner child; If you still can’t find me, look to the second star on the right." With the answer of J.M. Barrie. He also sent in a limerick, inspired by “War Horse” by Michael Morpurgo. It’s about a simple love between one man and his horse: "There once was an old Berlusconi, Who fell in love with a pit pony, He appointed it Pope, Then gave it a grope, And now he’s in the minestrone." This year is the centenary of Peter Pan’s publication. Considered a children’s classic, Peter and his Lost Boys have inspired thousands of children with the tales of the boy who never grew up. Aside from Peter Pan, Barrie was also a prolific writer in the Scottish literary canon, considered by fellow Scottish writer George Douglas Brown as a writer of "sentimental slop". Barrie is also one of those authors with a questionable life history, with a probable unconsummated marriage and an unusually close relationship with the children who helped him to write Peter Pan. But we at Culture don't like to speculate on unprovable histories, and we don't care if Barrie could sometimes get a little carried away with his nostalgic portrayals of Scotland. Barrie has captured our imaginations with his novels and plays - well worth commemoration in a riddle on our Culture pages. Michael Mackenzie

This week: Help! I've disgraced myself!

Last week, I rather loudly said something that could have been construed as quite offensive, and now a lot of my friends are pissed off with me. It wasn't exactly what I said that was the problem, more my precise wording – an expletive, to be specif ic. I'm being oblique here because I'm scared of expressing myself after this debacle. How can I articulate my thoughts clearly enough to make an impact, but without upsetting anybody?

ell, dear, have you thought about improving your vocabulary? You shouldn't need to swear to get people to listen. Having said that, however, this is all about context and sometimes a good ‘fucking’ (or any other obscenity for that matter; I am making no presumptions about your specific word choice here) is the only thing that will do.

As an artistic example, consider the work of Gilbert & George. Their works Hunger and Thirst are both graphic and obscene but make their point clearly and with a visual punch – explicitly, if you will. This is, I trust, what you were trying to do. There is nothing wrong with a confident and clear verbalisation of thoughts, as long as your mode of expression is accurate and true. This is less a cure than an articulation of support. Make amends, certainly, but be careful about apologising if you still stand by what you said. Remember that it would be worse to lie, worse to self-censor, worse to misrepresent. Simplicity very often corresponds with truth and these are both things to strive for, whether in art, words or life. Got a problem? We can cure you! All problems will be treated confidentially. And ever so seriously. Email us at artdoctor.thestudent@gmail.com.

Look oot for... Traverse Theatre are hosting the Salon Project, where you can dress up in Victorian formalwear and the audience becomes a part of the play. It's running until 22 October and our culture editor will be checking it out... watch this space. Bedlam Theatre are performing the iconic play The Elephant Man from 11 to 15 October.

tamsin scott

Dear Art Doctor,

Dovecot gallery is currently showing their annual Macmillan Cancer Support exhibition, raising money for the charity by selling the paintings on display.

gra

Tuesday October 11 2011 studentnewspaper.org

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22 Film

The good old days?

Tess Malone examines the current trend of using nostalgia in cinema and wonders why directors can't be more imaginative

Nostalgia is the lure into cinemas these days. Woody Allen’s latest and greatest, Midnight in Paris, just opened, bringing us back to a time when Allen’s jokes were still funny. Just as Paris is best in twilight, so is

Midnight in Paris Directed by woody allen  oody Allen’s latest offering is W an invitation to live and love in the romantic city of Paris. From the

opening montage showing various beautiful parts of the city from morning to evening, through sunshine and rain, Allen’s unashamed adoration is the driving force of a film which serves as a love letter to both a city and an era.

“

He embarks upon an adventure of nostalgia, illusion and literary exploration, meeting several well-knowns as well as making a few significant realisations along the way." Gil Pender (Owen Wilson), a Californian screenwriter with dreams of becoming a novelist, is visiting Paris with his fiancee Inez (Rachel McAdams) and her Republican parents. Whilst Inez seems less than thrilled with wandering Parisian boulevards in the rain and visiting Monet’s garden, Gil instantly falls in love with his surroundings. He embarks upon an

Allen. After 75 years and 40 films, Allen is comfortable with self-referencing. Midnight in Paris, with its city moniker, immediately calls Manhattan to mind, but the similarities extend to hedonistic opening sequences of both metropolis’ at their best. To make it even more meta, the protagonist of Midnight is Gil, a man

adventure of nostalgia, illusion and literary exploration, meeting several well-knowns as well as making a few significant realisations along the way. This is a fantastical film, full of joy in a time of fashionable cynicism. Whilst some elements are lacking in development (it’s unclear how Gil and Inez ever got together, since they are so incredibly wrong for each other), Wilson’s wide-eyed amazement and enthusiasm for everything around him is so infectious that it more than makes up for that. Joining him as he experiences everything Paris has to offer is an absolute pleasure. His encounters with Adriana, an almost too beautiful fashion student from Bordeaux (portrayed enchantingly by Marion Cotillard), are so heartwarming and genuine that you will leave the cinema smiling to yourself. Attention must also be paid to the score; Cole Porter’s “Let’s Fall in Love” plays throughout and is the perfect accompaniment to such an optimistic and "joie de vivre" tale. Sidney Bechet’s “Si tu vois ma mère”, introduced in the opening credits and with us until the very end, is equally integral to the mood of the film; it is Paris. An ode to the roaring Twenties, Midnight in Paris is both a refutation of the tempting notion that a past age might have been the time to live in, yet, is also in itself a truly golden moment. Kirsty Wareing

expecting to find the same moveable feast in contemporary Paris that Hemingway did in the 1920s. Instead he gets stuck in stuffy museums, until he literally walks into the Jazz Age complete with a drunken Zelda Fitzgerald. It’s a whimsical romp for anyone who ever wanted to imagine themselves in The Sun Also Rises.

Goonies and adding some aliens à la E.T., Abrams goes as far to shoot the whole adventure on super 8 cameras. It’s as non-threatening as Reeses Pieces, but a statement against Hollywood’s seemingly impenetrable industry of over-inflated action films with budgets somehow bigger than Tom Cruise’s ego. At its heart, Super 8 is a film about film-making and how it can truly capture and change someone’s world. Nostalgia can also be used as a way to let us down gently that the film industry is changing. Nazis and Soviet spies are no longer the central villains of the film industry, CGI is. Instead of plots, now we have blue rip offs of Pocahontas making up our entertainment. Therefore nostalgia can be the spoonful of sugar to make the bitter pill of technology superseding story go down better. Last summer’s Captain America exploited this perfectly as it gave us 1940s kitsch to make up for the central conflict of the film being a CGI-overdosed weapon that vaporised everyone. The forthcoming Tin Tin is capitalising in the same way Cap did. Both use the comforting comic book format to create ripping yarns we no longer find in cinemas these days. Yet the good-old-fashioned story is being refashioned to include some of the best CGI work of recent times. What we end up seeing is a caricature of what we once loved. Perhaps Midnight’s Gil sums up Hollywood and humanity’s fixation with nostalgia best, “The present is a little disappointing because life is a little disappointing.”

The Lion King 3D Directed by R. Allers & R. Minkoff 

veryone has their favourite Disney film, but we all know that The Lion King tops them all. Since the original was released in 1994 it has become wrapped up in a thick, warm, fuzzy blanket of heartfelt nostalgia. The story of The Lion King is one which we can all take something away from, old and young alike. It has a depth to it that can teach us the basics of love and friendship, loss and hope, and the importance of remembering who we are. The film looks at our contribution to society and the need to take positive action. It also gives us a certain problem-free philosophy, albeit perhaps the first philosophy ever espoused via the medium of song and performed by a meerkat-warthog duet. This is perhaps a telling fact, for life lessons aren’t the only aspects that make The Lion King memorable. The songs composed and delivered by, among others, Hans Zimmer and Elton John, have entered into our cultural psyche over the past two decades. Whether it’s "Be Prepared", "Hanukah Matata" or "Can You Feel the Love Tonight", they are known and loved by all. The voice acting is likewise universally strong. The snarling vocals of Jeremy Irons as the villainous Scar, Rowan Atkinson’s squawking hornbill Zazu, and James Earl Jones’ (aka Darth Vader’s) bass timbre cast in the role of Mufasa. The audio as a whole has been

pictureshunt

ostalgia to the ancient Greeks N meant a painful homecoming, but to Hollywood it means money.

7films

BIG AIR: Elliott didn't realise just how much height he would get off that last kicker

With more sequels than the running time of most films these days, Hollywood is evidently out of ideas. The clever way to twist this as original is by assembling so many references to past films in one film that the viewer gets lost in the milieu and believes they are actually watching something unique. It’s the postmodern baitand-switch of pastiche or an artistic work that imitates that of another artistic work, period, or artist. The latest incarnation of Ryan Gosling to hit cinemas is Drive, which executes this concept even better than the protagonist executes his enemies. With its hot pink opening title sequence, 1980s-style synth ballads, gangsters even seedier than Tony Soprano’s henchmen, and strong silent type hero- it’s as seemingly familiar as your favourite childhood candy. Yet just like when you revisit that candy only to find it tastes like cardboard, when asked to specifically place a finger on the references in Drive, you draw a blank. Every reviewer has their own take on just what films director Nicolas Winding Refn had in mind when he clothed Gosling in a Scorpio jacket, yet none of them come to a consensus. What we’re left with is a cold-blooded thriller as memorable as the grade B, action movies it reminds us of. Not all nostalgia is as sinister as Refn’s take on it, some of it is just a throwback of pure love to the days when popcorn flicks were still fun and you could actually afford the popcorn. Take J.J. Abrams fanboy tribute to some of Steven Spielberg’s best, Super 8. Besides putting a group of Boy Scout rejects together as a group of friends similar to the gang in The

CHANCER: Rafiki wondered if a teddy bear could pass for Simba cleaned up since the 1994 release, and the directors have shown admirable restraint by not giving into the urge to rework or add unnecessary scenes. Of course, the whole reason for the fresh cinematic release is the 3D element, and one has to ask if it is worth going to see for that aspect alone. Plenty of 3D remakes have fallen flat, with the third dimensional facet going almost unnoticed throughout. The Lion

King is not one of those films. Every scene noticeably benefits from the 3D enhancement. It is undoubtable that The Lion King deserves fives stars and its official status as Disney’s highest-grossing film. One thing its continued popularity has proven beyond doubt is it "sure ain’t no passing craze". Robbie MacNiven

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Tuesday October 11 2011 studentnewspaper.org

Film 23 21

Directed by troy nixey 

uillermo del Toro will be immortalised in cinema history. He invokes magic, mystery and wonderment with the same effort it takes to tie shoelaces. But not this time. Don’t Be Afraid of the Dark (director Troy Nixey, with del Toro writing and producing) is a high-budget wreckage in the modern horror line-up. It is Pan’s Labyrinth in modern America, where seeing monsters means getting medicated. Overall, it is a montage of little screams and bright lights to offend the eyes. It gives you a headache. Sally (Bailee Madison) has just moved in with her father (Guy Pearce) and his girlfriend (Katie Holmes), who are living in a creepy old mansion while they restore it. She discovers a previously unknown basement, under which lies a sinkhole infested with photophobic faery-type creatures that seem perfectly innocent to a lonely tenyear-old. They torment little Sally and make her look crazy in front of dad and girlfriend, all while dad is pressured to earn back the prestige he once had in the architectural world. It can be difficult to judge child-actor performances, so instead it can be said that the design was stunning. Nixey got into the business of film-making by putting together a wholly charming

short film, Latchkey Lament. Dark has as much flavour, but it just jolts the senses with needless frequency. Between sensory overloads, the film tries to build tension with shifty gazes, slow steps and unrealistic reactions.

“

It's Pan's Labyrinth in modern America, where seeing monsters means getting medicated. Overall it's a montage of little screams and bright lights to the eyes." The film didn’t even have the decency to end without a sequel set-up. It breaks the cardinal rule of horror films: don’t show the monster. Furthermore, don’t have it whisper throughout the movie and then give it an onscreen conversation. The coolest part of the film was a trip to the library for some art history. How that didn’t raise any red flags during production is unbelievable.

Zack O'Leary

All films were reviewed at Cineworld

timately adds little consolation. There is no disputing his chilling claim: “I’m not a nice human being.” Yet, what this film manages to do is create an empathy that shouldn’t be there. Glimpses of a softer side allow the viewer to believe that there is a nice man behind the mask; his clear affection for Hannah being evidence of this. However, it is Colman’s performance that steals the show. Her combination of denial set against an inherent self-loathing in the face of her

tyrannosaur Directed by paddy considine

 ilm is used as a medium to affect F and entertain people in a multitude of ways. Away from the idealism of

Hollywood, Paddy Considine’s directorial debut Tyrannosaur illustrates a gritty realism that captures the shocking reality of a fractured society. Set in a rough, working-class area of Leeds, Joseph (Peter Mullan) is a monster of a man. Fuelled by violence as though it is an addiction, he is unable to restrain himself in situations when his temper gets the better of him. A convoluted mix of past regrets and lost dreams, he spends his life between the pub and the bookies, tormenting people along the way. His life becomes intertwined with charity worker Hannah (Olivia Colman), whom he belittles for her cushy middle-class life and religious self-affirmation without knowing the truth of her situation. As it becomes clear that she is trapped in a relationship with an abusive husband (Eddie Marsan), an unconventional friendship forms between the two. Tyrannosaur is a far cry from feelgood cinema. It takes a brutal look at a reality unseen by most of society. Mullan’s performance is terrific in the way he captures a man devoid of hope or purpose, who resorts to violence as a means of escapism, even though it ul-

filmsiff

don't be afrAId of the dark

affliction, is incredibly powerful. As she turns to Joseph with no one else to help her: bruised, beaten and emotionally defeated, the result is undeniably moving. Whilst Tyrannosaur is definitely not for the faint of heart, it is undoubtedly one of the most efficacious films released so far this year; you would be hard pressed to find a film more disturbing yet equally absorbing. Ali Quaile

HUNGOVER: Never drinking dinosaur blood again

Sensationalism in cinema Rob Dickie examines the revival of cinematic ultra-violence and asks why it is still so popular

he 1970s and 1980s still represent T the pinnacle of sensationalist cinema. It was the era of grindhouse, the

“

Nostalgia for this era is a significant driving force behind the latest wave of sensationalist films." Drive is another film saturated in nostalgia, and is more significant due to its originality and quality – Nicholas Winding Refn was, after all, named best director at Cannes. Refn dedicated the film to the controver-

SHOCKING: Alex forgot to finish his makeup. The sacrifices we make for fashion these days... sial visionary Alejandro Jodorowsky, whose best work came in the 1970s and 1980s. While their filmmaking styles are worlds apart, Refn claims that Drive contains some of Jodorowsky’s existentialism. Drive is slick, superbly directed and stars one of the best leading men in the business, Ryan Gosling. He, along with his costar Carey Mulligan, have contributed greatly to its popularity. It is not otherwise clear how the film would have done quite so well. It plays out

like a 1980s B-movie, heavily stylised with a low-key plot. Its violence is less frequent but no more restrained than that of the Grindhouse flicks, and is all the more unsettling for it. Sensationalist film-making can also be used for more serious purposes, and a string of important directors have recently ventured into the territory. Pedro Almodóvar, with The Skin I Live In, and Lars von Trier, with Antichrist, place extreme sexual violence and mutilation at the heart

“ cf1

video nasties and Stanley Kubrick’s enduringly controversial A Clockwork Orange. It was also the era that saw most of the great horror films being made, with directors like Dario Argento, George A. Romero and David Cronenberg at their peak. Nostalgia for this era is a significant driving force behind the latest wave of sensationalist films. Quentin Tarantino, who must have digested more of this type of film than anybody else in the industry, is something of a figurehead. His classic films are not short of violence, but it was his 2007 project, Grindhouse, co-produced by Robert Rodriguez, that spawned a popular revival of the exploitation genre. Rodriguez’s own Machete and Jason Eisener’s Hobo with a Shotgun are among the films Grindhouse spawned, starting as fake trailers made to be shown alongside it. Like Grindhouse, both pay homage to exploitation films and revel in its violent excess.

enough to make even the most desensitised viewer squirm. However, artistry is not always prominent in sensationalist filmmaking, and the revival of torture films in the past decade illustrates that. With some exceptions, notably the extraordinary French-Canadian film Martyrs, the genre tends towards crude exhibitionism. To paraphrase Romero, it lacks metaphor. Tom Six is currently the main protagonist with his Human Centipede films, the second of which takes the term "torture porn" to its logical extreme. It was initially refused classification by the BBFC, although a cut version has now been granted an 18 certificate. Six, customarily undeterred, promises the sequel will make the first look “like a Disney film.” His style is sensationalism for its own sake, elemental transgression, a marketing tool in itself.

of their respective films. In The Skin I Live In, the themes are used to explore the fundamental meaning of identity. The central revelation will leave you sick to your stomach, but the moral ambiguity that Almodóvar maintains until the end is perhaps equally disturbing. Antichrist is an exceptionally dark film, which can be viewed as an allegory of absolute negation. It notoriously caused several people to faint during its premiere at Cannes and contains scenes shocking

However, artistry is not always prominent in sensationalist filmmaking, and the revival of torture films in the past decade illustrates that."

That should not put you off sensationalist cinema. It is essential for exploring, and attempting to reproduce, the extremes of experience. It gives power to themes which would otherwise remain underdeveloped. And, as with the grindhouse revival, it can be a great deal of fun.

Tuesday October 11 2011 studentnewspaper.org

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24 Film

Classic Cult

doctormacro

cience fiction is a genre associS ated, somewhat unfortunately, with a particular brand of reclu-

PLIÉ: Clearly gang culture was very different in the 60s. Gone are the days when dancing and clicking were prefereable to firearms

West side story Directed by J. Robbins & R. Wise  hakespeare’s classic tragedy Romeo S and Juliet has been adapted and reworked on film countless times over the years, from Baz Luhrmann’s MTV inspired 1996 version to the frankly bizarre Gnomeo and Juliet earlier this year. Perhaps the most creative and successful adaption of all, however, is West Side Story. When it was released 50 years ago, it was hailed as an innovative, modern mas-

Johnny english reborn

Directed by jacques deray  spite of Rowan Atkinson’s great Itimentalent, he makes few films. By the the legendary, infinitely quotable

Blackadder ended in 1989, Atkinson had perhaps earned the right to rest on his laurels. In the two decades since, he has appeared sporadically (and often briefly, in a supporting role) in moderately successful films such as Love Actually and Rat Race.

“

The plot is predictable, the men crass, the women mere bits of skirt, but you'll definitely laugh. It is, after all, a send-up of Ian Fleming's James Bond franchise" The first Johnny English film (released in 2003) was about as appetising to critics as cold oatmeal, but to the 20 other people in the world who loved it, it was a welcome return to form for Atkinson. The current instalment opens in a

terpiece. Now it has been re-released in a re-mastered form to celebrate its Golden Anniversary. It is both gratifying and slightly surprising to see that age has not tarnished what is still an exciting and fresh piece of cinema. The action takes place in Manhattan where our star crossed lovers Tony (Richard Beymer) and Maria (Natalie Wood) fall for each other despite their ties to two rival gangs. Tony is a reluctant member of the white Jets, whereas Maria’s big brother Bernardo is the leader of the Puerto Rican Sharks. Fate, hate and racial prejudice intervene to ensure that a happy end-

ing is highly unlikely for the couple. The main strength of West Side Story is its use of music and movement. The opening scene of the gangs dancing through the streets of Manhattan is a triumph in choreography as the gangs somehow manage to be balletic and threatening at the same time. The modern choreography blends perfectly with an almost flawless score that transforms in an instant from being catchy and fun, in songs such as “America”, to moving and poignant in numbers such as the heartbreaking “Somewhere”. Perhaps the only flaw in the film is the casting. Wood and Beymer may

look attractive together, but Beymer is rather wooden and their romance sometimes slips from sincere to melodramatic. Furthermore, both Wood and Beymer are not singing their roles, but being dubbed over, which is rather irksome and sometimes distracting. The casting may not be perfect, but this is the only main criticism for, what is otherwise, a near perfect film. 50 years on it is still a powerful piece of cinema and the film’s themes of lost innocence and disillusioned youth seem very relevant today.

Tibetan monastery in the Himalayas (of course), where a disgraced English is lying low. It's been five years since a disastrous “cock-up” in Mozambique, but everyone knows he is still MI7’s greatest asset. He is brought back into the fold by Pamela Thornton (The XFiles’ Gillian Anderson) to determine who is behind the plot to kill the Chinese premier, Zhang Ping. In a parallel with the recent and infinitely more sophisticated Tinker Tailor Soldier Spy, one of the assassins just might be part of MI7. A reliance on physical comedy puts the former Mr Bean to good use, with the jokes mostly slapstick, involving testicles and bums. The tone is lowered further by Simon Ambrose (Dominic West) telling a waitress he’ll have her for dessert. The plot is predictable, the men crass and the women mere bits of skirt, but you’ll definitely laugh. It is, after all, a send-up of Ian Fleming’s James Bond franchise and the onedimensional stock characters which populate it. Reborn has fewer scenes of true comedy than the first film, but sequels are inevitably pale images of the original. The lack of a prominent villain does the film no favours. Why spread the evil around when you can concentrate it all on one eccentric figure? This certainly won’t appeal to your intellectual sensibilities, but you will leave the theatre in a much better mood than when you went in. Caroline Bottger

The Battle of warsaw 1920

for an intriguing contrast. What the film appears to sacrifice in detail and historical rigour, it gains in theatrical impact. Offering a breath of originality, The Battle of Warsaw 1920 proves to be unique in its ultra slick finish, courtesy of HBO. This makes the war heroes and villains of the film vividly realised, and thus somewhat palpable to the audience.

Directed by jerzy hoffman 

he Battle of Warsaw 1920 charts the T bloody descent of the Bolshevik Red Army on Poland and their inevi-

table failure to seize control of Warsaw. Told entirely in Polish and Russian, it makes for a visually stunning, gripping affair that, fortunately, relies little on explicit gore, trading gratuitous blood and guts for more atmospheric, largescale set pieces. The Battle of Warsaw 1920 is the product of HBO (leaders in the current vogue of stylish, glitzy-but-gritty American drama) and Jerzy Hoffman, the Polish film director and screenwriter responsible for over ten feature pictures dating back to the early 60s, and a number of shorts. The combination of the two makes for a winning formula. An affecting human drama underpins the action, centring on the relationship between a Polish dancer Ola (played elegantly by Natasza Urbanska) and a front-line soldier, Jan (played unimpressively, with a certain degree of indifference, by Borys Szyc). With a smidgen of sentimentality, Hoffman projects a convincing affair. The hardship of war coupled with the profound euphoria of marital engagement makes

Sally Pugh

“

The hardship of war coupled with the profound euphoria of marital engagement makes for an intriguing contrast" Yet it is true that this war epic has traded truly engaging, insightful acting for majestic visuals. In other words, the performances here are occasionally cheap. The audience is left to digest the caricatures of deluded, Communist fanatics and the unconvincing gallantry of their patriotic Polish enemies. Hoffman’s work, intriguingly, plays like a theatre piece, with every scene dazzling the audience with its polished, if not chic style. Joe Smith

sive teenage boy who possesses a penchant for space ships and light sabers. While it is true that, of all genres, science fiction (or ‘sci-fi’ to the aforementioned enthusiast) inevitably attracts the - no offense - geekiest fan base, its cult exports have the potential to be far more sophisticated than the average scifi flick. These films manage to deal with enthralling ethical, moral and philosophical concepts, while still finding time for the occasional flying car to zoom in for good measure. Blade Runner is often regarded as one of the greats of cult sci-fi. Set in a sinister dystopia, it stars Harrison Ford as the former policeman Rick Deckard, brought out of retirement to track down several rogue replicants – robots engineered to imitate humans. As the film delves deeper into its noir-influenced world, the very essence of humanity is closely investigated. The replicants provide plenty of material for the examination of what it means to be human and the ramifications of man playing god through genetic engineering. Arguably, the use of a dystopian future filled with overwhelming technologies serves as a warning for the present. After all, the film is set in the genuinely not-too-distant future of 2019. Futuristic dystopias are rife in the world of cult sci-fi, providing the ideal backdrop for explorations of morality. A Clockwork Orange, for example - though it lacks the outlandish technology schoolboy dreams are made of - is nevertheless a cult sci-fi classic. Cult films are typically greeted with lukewarm reactions, so if this is any indication of cultishness, then this one is as cult as they come. After a series of murders that mimicked the horrors performed by its protagonist Alex, the film was banned in 1972. A disturbing and challenging watch, this could be the ultimate cult film. Through Alex’s unreliable firstperson narrative, we are made to empathise when he is arrested for the theft, murders and rapes he has committed. The nature of morality is questioned when he is forced to become good through aversion therapy. The complexity of these philosophical issues is a definite asset to both these films. They also share an individual style, which is perhaps one of the roots of their cult character. Each emerged from a time when sci-fi was increasingly popular and so inevitably there would be a healthy demand for films cut out for future cult status. More recently, films like Equilibrium (an exploration of subversion and totalitarianism) and 12 Monkeys (a complex study of consciousness and perceptions of reality) have gained a cult following, though not of comparable proportions to Blade Runner. Perhaps, due to the high-budget CGI blockbusters of recent years, the complex cult sci-fi is rarely given the green light. But the genre is not dying. It is clear that more films of a similar calibre and depth need to surface lest they become, to quote Ridley Scott's 1982 masterpiece, “lost like tears in rain.” Daniel Scott Lintott

Straight talking from KPMG.

Graduate Programmes All degree disciplines

We close for applications once we are full. To secure a place at KPMG, be sure to apply early. To find out more head straight to: www.kpmg.co.uk/careers

© 2011 KPMG LLP, a UK limited liability partnership, is a subsidiary of KPMG Europe LLP and a member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative, a Swiss entity. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International.

No bull.

Tuesday October 11 2011 studentnewspaper.org

Don't go anywhere without your iPod? music.studentnewspaper@gmail.com

26 Music

Meeting Metronomy

Tom Kinney talks to Metronomy's founding member Joseph Mount before a dazzling show at Òran Mór at outside the ever-so-trendy S Hillhead Bookclub in Glasgow, Jospeh Mount sips his pint and rolls

ing the receptive spectators with stories of previous ventures to Scotland, to the stand out track of a marvellous set “A Thing For Me”. Bass player Gbenga smiles and dances throughout the song, and as the band members point to themselves and the crowd in the obvious places to lyrics “I’ve got a thing for you/ You’ve got a thing for me”, this sense of involvement lifts an already fervent Oran Mor.

a cigarette. Metronomy have just had to help remove a rather odorous fridge from their tour bus. The description of the smell emanating from the bus is altogether unpleasant, but with a sold-out tour and a year of remarkable success behind them, Metronomy are not in the mood for complaining. Mount is clearly a man enjoying himself, and he recounts the tremendous year the band have had so far, where “a really lucky run of things saw everything fall into place.” He feels the April release of The English Riviera was perfectly timed: “when it became hot in May, people started to associate it with nice weather and the idea that summer’s coming.” Then saw Metronomy’s Mercury Prize nomination in July, “which coincided with all these summer festivals.”

“

It feels like the people who are new are just a bit late to the party or something”

“

The album came out before summer, and when it became hot in May, people started to associate it with nice weather and the idea that summer's coming” Joseph Mount, Metronomy It is clear that Joseph sees this Mercury nomination as important for Metronomy, as it “opened up their appeal” and caused “people who were intrigued about us, but hadn’t really bothered” to listen. Whilst not eventually winning the award, Mount feels that Metronomy “benefited much more from the nomination than some other bands on the list.” With the huge success of The English Riviera, Metronomy have gained an awful lot of new followers, and any old fans might be apprehensive that the band will change their live set to

Albums ben howard Every Kingdom ISLAND



ince the global success of surferturned-singer-songwriter Jack Johnson, the past few years have seen a boom of beach bums picking up guitars to deliver acoustic music, with the UK delivering its fair share of surfing songsmiths. Cornwall lad (and surfer since age 11) Ben Howard fits this demographic perfectly. However, the delicate acoustic musings on display in his debut LP Every Kingdom are more impressive than most others to be found on the scene. Backed by India Bourne on cello and Chris Bond on percussion, Howard weaves wistful songs that hark of long summer days spent on the beach and campfires by sunset, full of references to the natural world, images of the sea, the wind, horses, and wolves. Themes that seem clichéd on the page

ENJOYING THEMSELVES: Metronomy have had a remarkable year cater for them. Mount quells any fears of this, explaining that “it would be a bit odd to change what you do because suddenly you’ve got this broader appeal.” He has got the impression so far from the tour that people coming to see them for the first time “seem to get it and really enjoy it,” and sees the new fans as “just a bit late to the party”. One hour and two support acts later, the band arrives on stage at Oran Mor to the sounds of “The English Riviera”, the eponymous title track of their latest album, before moving seamlessly into “We Broke Free”, the subsequent track on The English Riviera. This eases any new fans into their live show, which helps provide a brilliant initial atmosphere which is come alive in his music, helped along by Howard’s husky, mysterious voice and clever guitar work. On his website Howard cites influences as seemingly disparate as Paul Simon, Aretha Franklin, and John Martyn. However, on a closer listen all of these diverse interests can be heard subtly intertwined alongside Howard’s own brand of soulful songwriting. Although it has to be said that the highlight tracks from this LP are probably those already released as singles or on previous EPs (“The Wolves”, “Old Pine”, and “Keep Your Head Up”), the album as an entirety is nonetheless impressive. It is obvious that Howard has taken a long time over creating this fine collection of thoughtful folk songs with catchy hooks; the intricate layering on tracks such as “The Fear” suggesting a far more creative and intelligent approach to songwriting than many of his peers. Howard shows real potential on this record for growing into a major player in the genre. No, he’s probably not the UK’s answer to Jack Johnson but he might just be something different and all together more interesting. Donald Waters

sustained throughout. However, this is not a show geared towards new fans by any means, with as many tracks from Nights Out as The English Riviera. It is evident throughout the show that new fans are embracing tracks from the older albums, and none more so than “You Could Easily Have Me”, the only song played from debut album Pip Paine (Pay Back The £5000 You Owe). As it moves to its crescendo of distorted keyboards the whole crowd bounces along, despite this being its first airing for many of them. With the crowd responding with equal eagerness to songs from all albums, it’s a shame that Metronomy only manage to play one track from Pip Paine, but Mount reveals this is

largely due to the fact that many of these songs they “physically can’t play without it seeming like there’s loads missing.” The only other notable absense from the setlist is current single “Everything Goes My Way”. Metronomy have yet to play this track live at all, as the recorded version features vocals from Veronica Falls’ Roxanne Clifford. However, Joe reveals that they’ve been rehearsing it, with drummer Anna singing her part. They’ve had to buy an acoustic guitar, a cowbell and a shaker in order to play it live, and Mount feels that “it’s going to be this really nice moment in the set.” The enthusiasm and the energy displayed by Metronomy is magnificent throughout the evening, from engag-

Joseph Mount, Metronomy

After the encore Anna Prior returns to the stage to play the bossa nova drumbeat to “Some Written” before the rest of the band re-emerge one-by-one to play what is a surprisingly brilliant rendition. Mount mentions that for The English Riviera they didn’t rehearse together before they recorded, and now when they play live “it sounds as good as it did on the record.” This is noticeable throughout the set, but on “Some Written” the sound of Metronomy is even more perfect than on the album. As the song reaches its organ refrain, the crowd begins singing along to what Mount is playing. The smiles on the faces of Metronomy are evident, and they pause midway through to explain that no crowd has ever sung along to that part before. With the crowd now feeling rather pleased with themselves, final track of the night “Radio Ladio” sees a boisterous performance from both Metronomy and their adoring fans. As everyone in Oran Mor screams “Her name is RA-D-I-Oooooh/ L-A-D-I-Oooooh”, the only thing that could have possibly improved this wonderful performance would have been a debut outing for “Everything Goes My Way”.

Marcus foster Nameless Path GEFFEN

 wenty-four year-old Londoner T Marcus Foster is the latest musician to emerge from the British folk

scene. Nameless Path is his ambitious and stylistically eclectic debut, featuring songs in a great variety of styles. There are elements of folk, blues, rock, and even a hint of the Mumford & Sons brand of hearty sing-along chorus. The effect of this is it just isn’t clear which ideas are Foster’s, and which are borrowed. In general, the album feels unstable, swaying erratically between sensitive, heartfelt compositions, and self-indulgent, cut-and-paste pastiche. In some tracks, namely “Faint Stir of Madness” - a Tom Waitsesque stomp with a frenzied darkness - he manages to capture some of the spirit of his musical icons, such as Bob Dylan and Jeff Buckley. Other tracks, however, like the somewhat derivative “Rushes and Reeds”, feel more like amateur tribute acts than the work of a musical stand-alone.

CHEERY MARCUS: His album won't leave you feeling blue A niggling detail of the album comes from the fact that Foster’s gravelly voice is absent in some songs, making it seem contrived when it does rear its raspy head in tracks like “I Was Broken” and “Shadows Of The City”. He seems to crank up the croak as a substitute for actual authenticity. These tracks, incidentally, are two of the more self-indulgent and unconvincing, seemingly written from an imagined perspective of a real blues singer.

There are some promising moments though, such as “The Room”, a rollicking romp that wouldn’t feel out of place on an Ally McBeal soundtrack - despite the incongruous jazz noodling at the end. The next few tracks are pleasant enough, but ultimately forgettable, meaning that the far better final tracks will most likely be ignored, by all but the most dedicated Marcus fans. Helen Stride

Tuesday October 11 2011 studentnewspaper.org

Music 27

Albums blink 182 Neighborhoods DGC



link 182 are back! With their first B record since 2003, Blink return with their triumphant and long-awaited

album Neighborhoods. It attracts an aura of maturity from the band that originally encapsulated teenage rejection and heartbreak, (we’ve all had a good sob to “I Miss You” at some point) From the outset I had goosebumps those very first drum beats, the signature guitar riffs, and the first ideal lyrics “I’ll never let you down” that lead into “Ghost on the Dance Floor” – Blink are onto a winner. It may have taken several years, a near-death experience and a delayed tour, but they’ve delivered, track after track. It’s full of not-so-subtle innuendoes as they continue making puns about sex, but why not? It’s what they’re known for, and “Snake Charmer” appears to be the token track. The days of being dumped in high school are long gone, replaced with dark-

ened and even at times haunting lyrics:“I saw your ghost tonight / The moment felt so real ... And God it felt like hell / To know you’re almost mine.” Sung by DeLounge with genuine, strained vocals, these lyrics immerse you into the intensity of the initial song and beyond. The first official release, “Up All Night”, is a shade more serious than what we’ve heard before, and I can’t help but miss the quirky humour that came with “What’s My Age Again?” You could say it’s all the small things - it had to be done - that have brought a new sense and slant to their music, bringing into the lyrics that which only experience can. Although I’ve always had a soft spot for Blink 182, it’s fair to say that the sounds on the album will never date. Blink effortlessly merge the angular guitar arrangements of the 1990s with the sophisticated and electric vibes of the now to create a modern classic. The album’s deluxe version is unquestionably the way to go, with additional tracks “Fighting the Gravity”, “Even If She Falls”, and a startlingly powerful interlude; it’s more than worth that extra chunk of your student loan. Katie Walker

SHHH: Blink silence the critics

Dj shadow

The Less You Know, The Better VERVE

 ans of The Strokes and Nas will be F familiar with the problem concerning DJ Shadow’s post-millennial out-

put. Having made such a genre-defining and Zeitgeist-capturing masterpiece as 1996’s Endtroducing, all subsequent releases will be unfavourably compared to that stunning debut. While the two aforementioned artists have at least developed their sound to compensate for this, Californian turntablist Josh Davis seems to have half-heartedly tried to re-hash the dark, funky sound of the trip-hop classic, while sounding progressively less interesting, and more expensive with every further effort.

“

That said, The Less You Know, The Better isn't entirely devoid of enjoyable tracks." That said, The Less You Know, The Better isn’t entirely devoid of enjoyable tracks. This is largely due to the presence of some astonishing guest spots, rather than Shadow’s own composition. Talib Kweli and Posdnous (De La Soul) lay down some expectedly great bars on “Stay The Course”, while Little

Dragon’s Yukimi Nagano delivers nice soulful vocals on “Scale It Back”. Aside from these, good tracks are sparse, although “I’ve Been Trying” is at least notable for its use of acoustic guitar. Further highlights are inexplicably relegated to bonus track-purgatory. “Bass, Bass, Bass” is ridiculously fun, while “Def Surrounds Us”, released in 2010, sounds like Shadow truly moving forward, with hints of Burial and Skream, while holding onto the darkness that made early tracks such as “Building Steam With A Grain Of Salt” such classics. What really ruins this album is just how uninspired it sounds. “Border Crossing”, with its heavily distorted guitar sample repeating throughout the entire song, sounds like a desperate attempt to recapture the heaviness, and attitude of “The Number Song”. “Warning Call”, featuring the usually great Tom Vek, sounds like something Fatboy Slim would churn out for another Lucozade ad circa 1999. It’s not enjoyable to tear into an album that clearly took a lot of effort in sample-finding and arranging, nor is it necessarily right to constantly judge his current material against an album released when I was three years-old, but it’s sad to see a once-great artist making such a bland re-tread. Ultimately, it’s an inescapable truth, especially in the light of songs actually named “Going Nowhere” and “Tedium”. Emmett Cruddas

Singles marina and the diamonds Radioactive 679 ARTISTS

 pparently Marina’s up for a A party, and she’s dragging you out too. If “Radioactive” is any-

SLIPPERY SLOPE: Who is James staring at?

james morrison The Awakening ISLAND

 hen listening to James MorriW son’s new album The Awakening, it's easy to presume that he is doing

what he has always done so well, writing about love and his experiences with it. And in a way he is, but in each song there is a new level of experimentation, with Morrison revealing much more than ever before. In some songs, like “Slave to the Music” and “Beautiful Life”, he changes up his usual lyrical ballads for something more upbeat and funky. It’s a new style which works surprisingly well with his very unique voice, and is a refreshing break from some of the other, more dark and deep songs on the album. A large portion of The Awakening is dedicated to Morrison’s father, whose passing away put Morrison into a very dark place, something that can be clearly heard through “6 Weeks”. In a number of interviews put up on his website he discusses this rough period in his life and how he was able to put some positivity and hope into his song writing. This is witnessed in such

tracks “In My Dreams”, where he sings about his father being in a good place, and finding him whilst dreaming. In a few of the tracks Morrison goes back to his classic style with simple chords, so as to put the focus on his voice and the message he is trying to convey. A good example is “Say Something Now”, which portrays the feeling of listening for something that is not there, something the artist was literally experiencing when he wrote the song. The duet on the album is very different from the one on his previous CD. It is the song “Up”, which Morrison chose to sing with Jessie James. In his interview on the subject he said that because it was such a dark pop song he thought she would be the best person for the job. Their two voices in harmony resonate the deep and soulful meaning of the song, which Morrison was still able to make hopeful and positive through the lyrics. The Awakening demonstrates the artist’s strength and the personal changes he has experienced in the recent past. His ability to share the tragedy of his father’s death, while still being able to promote the concept of hope and positivity, lets the listener relate to the singer on a completely new level. Anastasiya Boika

thing to go by, you’ll be dolled up and downtown - and there’s no escaping that dance floor. Paying homage to her latest album’s title Electra Heart, the song unashamedly embraces its club anthem aspirations and blares out formulaic disco beats. This certainly isn’t trademark Marina, although her rich vocals are still recognisable, soaring above the tackier tune beneath. Her voice maintains its powerful form, but has lost the subversive edge it gave her previous record The Family Jewels, which has been sorely relegated in favour of generic pop. Marina’s appeal comes from her refreshing desire to break the conventional mould of a typical young female solo artist, but “Radioactive” seems like a disappointing retreat into the mainstream. Inane lyrics which proclaim that her “heart is nuclear/ Love is all that I fear” are a far cry from the endearing quirkiness of being chased by wayward cutlery on “Mowgli’s Road”. All in all, Marina, it’s time for an early night. Meg Pruce

BEYOncé Countdown COLUMBIA



Machine head Unto the Locust ROADRUNNER

 he UK metal contingent has T always taken to San Francisco’s Machine Head in a much bigger way

than their home country ever has. So in the months leading up to Unto the Locust the expectation levels have slowly been building, in no small part due to the popularity of their last outing The Blackening, leading many to worry whether it was possible for them to succeed. Well, they can stop worrying – they certainly have done. With a choir singing intro, the album opener “I Am Hell” doesn’t wait long before crashing into the heaviness that we’ve grown to expect. However, that’s not to say that it’s same old, same old. “Darkness Within” shows a new side, with Rob Flynn sounding like the broken man he proclaims to be as the song starts with him channelling his inner Bob Dylan, before once again descending into the complex guitar work that has become their bread and butter. Machine Head can play, and they prove that throughout this album. If there’s one potential criticism of this album it is that it isn't one which will propel metal into the mainstream in the way albums like

Metallica’s Black Album have in the past. With the shortest song coming in at just under six minutes don’t expect to be hearing it getting regular mainstream radio play. Then again, I can’t imagine that this is what the album was designed to do. An idea reinforced by the message thrown out by the lyrics of “This is Who We Are”. Machine Head will continue to sell-out shows to their metal followers without that, and it can’t be long until they’re being seriously considered as potential headliners for Download or Sonisphere.

ome say, “multi-genre,” othS ers would call Beyoncé’s new single “Countdown,” a bit of a

This is an album that repeatedly slams your head off the wall - in a good way, of course - and it may well be the one that cements Machine Head's place among the metal elite.

clusterjam. The track contains elements of many genres including funk, latin pop, reggae, hiphop, and even a military rhythm similar to that of “Run the World” with heavy punctuating brass riffs and, of course, the standard Beyoncé subject matter; declaring her loyalty and love for her man, but making sure he knows that he’s lucky to have her. In this track Beyoncé samples the countdown from “Uhh Ahh” by Boyz II Men as she adds additional lyrics between each count. While the hip-hop beat for the verses makes the track ridiculously catchy, the sampled chorus feels a little out of place, as it doesn’t seem to hold the energy and slows the song down instead of keeping up the momentum to match the sassy and feisty character of the song. Despite this, the song is a grower. After a few listens this latest offering from Beyoncé will have you feeling like Sasha Fierce when you hear this on a night-out.

Stuart Iversen

Rebecca O'Doherty

“

In the months leading up to Unto the Locust the expectation levels have slowly been building, due largely to the popularity of their last outing"

Tuesday October 11 2011 studentnewspaper.org

28 Music

Ghost tour akron/family

Joshua Angrave investigates a mysterious sighting of Mercury nominated Ghostpoet at Sneaky Pete's

hot to fame of late through his S nomination for this year’s Mercury Music Prize, Ghostpoet had no

trouble in packing out the one hundred capacity venue at Sneaky Pete’s. Truth be told, he may have benefitted from a bigger space altogether, with his rising status preceding him at the forefront of a new breed of UK rappers, diversifying with the ever changing currents of electronic music. Warm up for the night came from Edinburgh based band The Machine Room, bringing to the floor their very own dose of dance felt pop, with dreamy guitars, and synth melodies that’ll send you swerving. Ever growing as a band, they showed a good level of variation between songs, from the ambient “You Head On the Floor”, to the faster builds on last song “Monopoly Bills” and “Camino de Soda”. One to watch out for, and, to show some local loving, new EP Love From A Distance is set for release this autumn.

“

Ghostpoet showed his acceptance of his new found fame, warming to the Scottish audience with tales of battered mars bars " The main event saw Ghostpoet step up to the stage in a ritual team huddle with his supporting entou-

rage of backing guitarist and drummer. Breaking from their three man circle, the finely polished dub sounds of Peanut Butter Blues & Melancholy Jam ripped forth from Ghostpoet’s sampler and laptop, providing a heavily layered section with the supporting members. This made for a captivating display, but in the finish of the songs the vocals were often drowned out in over-production, making it hard at times to pick up on the wit and craft of his lyrics. On the bigger bass tracks of “Gaaasp”, and “Us Against Whatever”, Ghostpoet had to make gestures to the sound engineer, raising a finger, for the levels on the microphone to be pushed up. Keeping the crowd all ears through interspersing the songs with a bit of chat, Ghostpoet showed his level acceptance of his new found fame in warming to the Scottish audience by exchanging tales of battered Mars Bars. His frank open mic musings poured out in his lyrics, grounded in a reality check on the pains of modern life. On “Survive It” his voice got an opening, with the simpler beat taking place, giving way for some of his sharpest rhymes. Crowd-pleaser “Liiines” similarly worked well live, with the less layered electronic sounds and its piano melody, clean guitar, and drum backing. The Mercury Music Prize prides itself on awarding only the most innovative new music, and Ghostpoet certainly justified his nomination for the 2011 award. Above rapping about being “KFC bucket born from

the south”, his juddering beats set the tone for his dark self-deprecating look at wasted life, crossing over his lyrics with a trending sound. On “Cash And Carry Me Home” he recounts, with painstaking detail, the woes of drunken night mistakes with girls: “I need to check my health / Cause I ain’t mashin’ no one but myself ”.

“

Articulating echoes of stories about youthful frivolity in the true spirit of a people's laureate, he connected well with his crowd" Articulating echoes of stories about youthful frivolity in the true spirit of a people’s laureate, he connected well with his crowd, keeping all hanging intently on his every word. Showing how his writing has taken no stops since the acclaim of the album, two new songs were given a test. One, called “Hampton South”, he insisted was taking a new direction, but on first listen this was difficult to discern. If the guitarist and drummer are to feature more prominently in these recordings we might be hearing more crossovers into indie, as heard on “Liiines”, as opposed to the more drippy sounds of “Garden Path”. However, being anyone’s guess, Ghostpoet’s rambunctious taste will surely continue to keep him in the music media’s eye.

Albums

Eh1 Festival Death in vegas Trans-Love Energies PORTOBELLO

Feist



Metals POLYDOR

eath in Vegas return after seven D years of silence with the beautifully dark Trans-Love Energies. When



s the drums drive on in the background in record opener “The Bad in Each Other,” it’s almost as if the credits are rolling to an epic John Wayne Western classic, and you can’t help but feel you are about to be stunned by Canadian singersongwriter Feist’s latest record, Metals. What follows is nothing of the sort, being instead a record full of gorgeous melodies and peeled back guitars, but is nevertheless incredibly pleasing on the ear.

“

As a record, it doesn't quite match the mystique and splendour of her all conquering The Reminder, which won her four Grammys" The choice of “How Come You Never Go There” as the record’s opening single is an ill-advised one; a track that spends three minutes

FEISTY: Leslie is starting to get a bit shirty trying to establish which direction it’s going in, and then in the end not really going anywhere at all. If this is all you have heard, however, do not be deceived. Feist has so much more to offer, and it is on full show as the album progresses. If the record slides a little as it moves from the explosive (by Feist’s standard) opener, it reaches an absolutely magnificent peak. True to Feist’s unique style, however, it is an understated peak, and if you blink you’ll miss it. Tracks “The Circle Married the line” and “Bittersweet Melodies” are two quite simply beautiful rolled back tracks that give the record the impetus and strength so lacking in its initial single. Feist is an artist who has found her winning formula and is sticking

to it. Subtle tracks with subtle melodies, aided and abetted by trumpet flourishes in “Undiscovered First” and a dash of violin in “The Circle Married the line.” As a record, it doesn’t quite match the mystique and splendour of her all-conquering The Reminder, which won her four Grammys and a nomination for the coveted ‘Best New Artist’ award, but that is no real criticism. What it shares with its esteemed predecessor is the ability to reel you in from track one and never let you go as she weaves her unquestioned magic. This is a record that without a shadow of a doubt reaffirms and heightens her reputation as one of music’s best songwriters. Phil Smith

asked about the upcoming release, Death in Vegas cofounder Tim Holmes responded by saying “We just need to mix it. It’s just not something we want to push or stress over.” Holmes and Fearless’s patience with Trans-Love Energies comes across as purposefulness. The record feels as if every beat, synth and vocal has been meticulously placed. This gives the album a confidence that comes with maturity. This is an album whose conception to fruition has been slowly nurtured to create a visceral and sensual quality, where the songs swim into one another with effortless grace to produce a flowing continuity. Unlike previous Death in Vegas albums, comprising largely of collaborations, the vocals for Trans-Love Energies come mainly from Death in Vegas co-founder, Richard Fearless. After the 2004 release Satan's Circus, Fearless moved to New York to form and front the heavy psychedelic sound of rock group Black Acid. Fearless takes his experience of Black Acid into Trans-Love Energies, taking on the lion’s share of the vocals, and joined on two tracks by Katie Stelmanis of Toronto’s Austra.

The album opens with “Silver Time Machine”, a crawling confession of isolation and loneliness. Fearless reads off the names of the dead that have left him, admitting “I thought we’d never part, but Death destroyed my heart”. There is a feeling of pain and utter grief throughout the album, songs such as “Your Loft My Acid” and “Medication” offer with synths and a quick tempo a temporary escape that their names suggest. But it’s always there; the thought lurks just beneath each song that at some moment the synths will die away, and you’ll be left staring directly into the void.

“

This is an album whose conception to fruition has been slowly nurtured to create a visceral and sensual quality" “Savage love” , taken from Fearless's days in Black Acid, is a masterpiece, forming the album's climatic moment and Trans-Love Energies's final word. As it slowly unfolds you realise with a lick of fear and excitement that in “Savage Love” you’re about to confront whatever lurks beneath the album. At 3.35 the mask slips, the guitars roar, and Trans-Love Energies’ ugly reality engulfs you. The void you feared to look into was not the pain of Death In Vegas, but their rage. Gareth Clements

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Tuesday October 11 2011 studentnewspaper.org

TV 29

Hidden secrets

LOST

FOUND

Dan Heap is cautiously optimistic about the BBC's complex but sexy conspiracy thriller, Hidden

ith what seems like about five different plotlines strung across a whole continent and and thirty-odd years, a good handful of murders, a government headed by a corrupt prime minister on the verge of collapse, and a cast of brooding and implausibly good-looking characters, new BBC drama Hidden has all the hallmarks of a promising and appropriately bewildering conspiracy thriller. Phillip Glenister – just as grumpy

“

The attempts to make it hypercontemporary feel a little forced, to the extent that you half expect Amanda Knox to dance across the screen."

and unorthodox as his most famous incarnation, Gene Hunt in Life on Mars and Ashes to Ashes – is former criminal turned small-time solictor Harry Venn, approached by mysterious high-flying fellow lawyer (so she says) Gina Hawkes

Educating Essex Channel 4 Thursdays, 9pm



t’s tempting to see Educating Essex as a kind of real-life Waterloo Road, if only because they both cover similar subject matter, but while the latter is an airbrushed look at life in an English comprehensive, Educating Essex presents it as it is, warts and all. The programme is a genuinely eye-opening glimpse into the daily struggles faced by teachers and students alike at Passmores School and Technology College in Essex, with 65 cameras installed around the school building to give insight into every nook and cranny, every conversation and furtive look. Largely concentrating on the more difficult students at the school over each episode, the documentarymakers are clearly keen to give the limelight to the school’s problematic pupils. While this is hardly reflective of the school as a whole, it does make for guiltily entertaining viewing. So far in the series we have met such delights as Charlotte (who wouldn’t look out of place on Little Britain) and self-styled Rebel Without A Cause-type figure Sam, who appears to have formed his bullying techniques from reading back issues of The Beano. It was in the most recent episode that it really came into its own, with the story of promising student-turned troublemaker Vinnie epitomising the teachers’ struggle to balance the need for discipline with providing a level of care and support for vulnerable young people. “Permanent exclusion is morally wrong,” the deputy head of the school Mr Drew tells us. And indeed, it is the

PROSPECTIVE POLE DANCING CLUB: It had a pole and came with dancer as standard. Shame it had no roof. school’s staff who lend the programme much of its positivity and energy. Their focus and determination to do well by the pupils is genuinely admirable, especially in the face of unrelenting angst and insolence. Whether or not the cameras placed around the school truly offer a realistic, less intrusive glimpse of life in a normal comprehensive is open to debate. There are, however, certainly moments where the pupils and staff seem to have genuinely forgotten they are being filmed – and these moments of apparent unguarded realism give Educating Essex its most rewarding scenes. Alistair Grant

RINGER

Sky Living Thursdays, 8pm



or anyone who has been missing Buffy The Vampire Slayer in the eight long years (how has it been that long?) since she slayed her last, the news of Sarah Michelle Gellar’s TV comeback was like Christmas. Ringer is one of Sky Living’s most anticipated shows of this season and not only has Buffy returned, but she is playing two roles at once – twin sisters Bridget Kelly and Siobhan Martin. Ringer is the story of a Bridget, a recovering addict and former stripper, who, after witnessing a murder, flees to her long estranged sister Siobhan. After a terse reunion with her identical twin and some horrendous special effects on a yacht, Siobhan commits suicide – or so the writers would like us to think. Naturally with no other choice, Bridget adopts the presumeddead’s identity in a ploy to deceive her

assailants. Yet the privileged life of her glittering sister has a few secrets of its own; it turns out Siobhan isn’t as squeaky clean as her uptight bun would have you believe. The draw of Gellar was always going to be one of the main attractions of Ringer, and she doesn’t seem to have changed one bit. Ever the manipulator of the innocent eyes and feisty comebacks, it quickly becomes clear that Gellar is far better as Bridget than as her twin – the character is essentially Buffy, ten years on. The few scenes where the sisters interact with each other are uncomfortable to watch, with Gellar having absolutely no chemistry with herself and thus suggesting the director purely utilised the scenes to show off the less-than-impressive special effects. It appears two Sarah Michelle Gellars may not be better than one. The cast is littered with other famous names. Ioan Gruffard stars as Siobhan’s temperamental husband in a role far below his acting ability as he spouts lines such as “I don’t like it...

BBc



number of characters, some of whom are played by more than one actor across both the 1970s and contemporary storylines. The attempts to make it hyper-contemporary give it a powerful immediacy but feel a little forced – to the extent that you half expect Amanda Knox to dance across the screen singing a line from that Soup Dragons song "I'm free to do what I want, any old time." That said, Hidden does look like it might well be one of the BBC's most accomplished political thrillers, boasting as it does a sharp, brilliantly observed script, a well-assembled cast of both famous and lesser-known names, and admirable willingness to get audiences to use their brains rather than play to the lowest common denominator.

THreads BBC 2 (1984) Google Video



BBC

BBC1 Thursdays 9pm

played by Anna Chancellor, who not-so-subtly hands Wentworth an envelope stuffed full of information that will apparantly put Worsley in his political grave. It is not clear how either this or the murder of a woman (death number three) in an unspecified European city are connected to Venn, but no doubt the latter has something to do with Hawkes, whose law firm doesn't seem to exist, and whose generic continental accent would suggest she's been up to no good in everywhere and anywhere, from Paris to Moscow. The first episode is appropriately pacy and intriguing from start to finish, upon which Venn's office explodes in a spectacular cliffhanger, though the breathtaking speed comes in part from the introduction of a bewildering

I love it. I just don’t believe it.” Lost’s Nestor Carbonell fairs slightly better as the FBI agent initially tasked with keeping Bridget safe until her testimony, and now on a mission to track her down. He is impressively debonair in a fairly boring role. Although the dialogue can be stilted and melodramatic, the tightly packed plot is compelling. Full of swapped identities, clandestine affairs and camp exchanges, Ringer certainly has potential. There remains something undeniably captivating about watching a person trying to fake their way through someone else’s life, and it remains to be seen whether the concept hinted at - that each of us has a “dark side” to our soul - will be further developed. Noirish and intriguing, Ringer has the plot to make it an addictive thriller. However, the acting and directing needs to be improved before it starts to ring true. Eloise Kohler

his week Lost and Found moves from last week’s comedy horror to something genuinely horrifying. Threads, written by Barry Hynes, is set in Sheffield in the 1980s, depicting with terrifying realism the events surrounding a direct nuclear attack on British soil. The feature-length drama, is intersected with an omniscient documentary-style narrative and a series of facts regarding the stages of decay following a nuclear attack. It focuses on a young couple, Ruth (Karen Meagher) and Jimmy (Reece Dinsdale) and their immediate family, occasionally switching to authority figures and related characters, from two months before the nuclear attack, through it, and then to years afterwards. Ruth is the closest the show came to having a main character (a role which is generally filled by humanity as a whole) but Meagher’s performance was unnervingly believable. The plot is wonderfully paced; it grows from the slow, uncomfortable start, where the normal lives of the Sheffielders are brushed lightly by a crisis in the Middle East – where the Soviet Union and the USA are at a stand-off. The characters get on with their everyday challenges in their own social bubbles. This is loaded with potent dramatic irony, the audience well aware of the coming dread. The attack itself is horrifying, focusing on the reaction of individuals in the streets of Sheffield, including some truly disturbing images of passers-by wetting themselves, weeping and collapsing in horror. Flashes of light and clouds of fallout dust provide the apocalyptic imagery, albeit in incredibly dated special effects. Though the initial attack inspires fear, the post-blast world represents the most unnerving aspect of the show. The dark and disturbing place that Britain becomes following the attack is rendered in graphic detail, from the break-down of social order to the more unsettling nuances – people choking on vomit from radiation sickness, and starving survivors feasting on raw sheep. Threads is a period piece, filled with scenes and ideas typical of the 1980s, but it is also timelessly relevant, its title and overriding message reminding us of the fragility of the bonds that keep society together. It is truly impeccable television, if highly disturbing.

NARCISSISM: Who's the fairest ex-vampire slayer of them all?

SKY LIVING

Hidden

(Thekla Reuten, In Bruges). With a flutter of her eyelashes and a promise of twenty grand and information about the demise of his brother in a botched robbery (death number one), Hawkes gets Venn to root out a shady character from his past who she thinks has evidence that will get one of her own clients off a murder charge (death number two). All this is set against a backdrop patchwork of familiar political turmoil: a Britain racked by daily riots and temporarily without a functioning government, as PM Brian Worsley tries to piece together a new coalition following the collapse of the previous one amidst allegations of Worsley's financial misconduct. Ambitious young minister Alexander Wentworth conspires with a Rebekah Wade-style media mogul,

Daniel Swain

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The Accenture Experience – a careers event like you’ve never seen before Something special is coming to campus. A careers event, like you have never seen before. Touchscreens. Videos. Games. Networking. Drinks. And more. Explore what it means to be at the very epicentre of technology and business transformation. Discover the size, scale and scope of what we do. See, touch and hear a whole heap of things that will surprise you. All while having fun. It’s called The Accenture Experience – and if there’s one event you go to this term, this is it.

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Got your eye on the ball? Email sport@studentnewspaper.org

Tuesday October January 11 18 2011 Tuesday studentnewspaper.org

Sport 27 31

The Manx Missile is bang on target One of the great tragedies of British sport is that no matter how much some athletes achieve they will never gain the recognition that they deserve. Football dominates the back pages, and – unless you are a successful rugby union international, a golfing major winner, an Ashes cricketer, or Andy Murray – you have little to no hope of gaining the public acknowledgement deserved for so-called “minor” sporting victories. No athlete falls into the category of under-representation by the media and lack of recognition from the sporting public better than Mark Cavendish. The twenty-six year-old cyclist from the Isle of Man is a staunch patriot, and is to many the greatest sprint racer in the world. Yet how many of his achievements are really given the coverage they merit? Cavendish has won 20 stage victories on the Tour de France to date, making him the sixth most successful stage rider in history, and he could well go on to win many more. The Tour is considered to be the ultimate test of endurance and mental toughness. Cavendish has dominated the sprint sections of the race throughout each of the last four years. Along with stage victories at the Giro d’Italia and Vuelta a España Grand Tours, Cavendish has won the Milan-San Remo day race and the Grote Scheldeprijs day race on three occasions. These victories, combined with his conquests on the track, including two World Championship gold medals (won in 2005 and 2008), and a 2006 Commonwealth gold, begin to display his versatility and skill as a professional road racer and track cyclist. It was not until the summer of this year, however, that his full potential was finally realised. The cycling

community knew that the man they dubbed so affectionately the “Manx Missile” was good, but the 2011 season has propelled Cavendish to a level that can now be described as great. After adding another five Tour de France stage victories to his already glittering CV, the Manxman won the coveted Green Jersey for the first time. The Green Jersey is awarded to the sprinter who collates the most points across the sprinter-friendly stages of the Tour (points are awarded for positioning and timing), and Cavendish ensured that he was the most consistent sprinter by winning the final stage in the centre of Paris. Nevertheless, despite having secured the Green Jersey, completing a lifetime goal in the process, Cavendish continued his mammoth 2011 campaign and fulfilled his childhood dream of winning the Road Race at the Road World Championships in Copenhagen at the end of September. Cavendish became only the second British World Champion road racer, and the first for 46 years. Victory at these championships may finally display just how unique a talent this sprinter actually is.

Roxanne king

Chris Waugh highlights why Mark Cavendish should be a British superstar

“

2012 offers Cavendish the opportunity to cement his place as a true great in British sporting history." The likelihood is that he will never win another World Championship again, as the course this year was set out so perfectly for sprinters, but that should not detract from an astonishing achievement. If anything it is ex-

GREEN JERSEY: Cavendish is looking to even greater things in 2012 tremely impressive that he was able to capture the world title at the only real opportunity he will ever get to do so, and this highlights his determination to succeed. Failure for Cavendish is not an option. Interestingly, many sports fans dislike Cavendish due to his demeanour immediately after races. In 2008 he stated that “when journalists at the Tour de France ask me if I am the best sprinter I answer ‘yes’, and that’s seen as arrogance, but if they don’t ask me, I don’t say I’m the best sprinter in the world.” Statements such as this have been interpreted negatively by journalists and cycling fans as showing that Cavendish has an inbuilt arrogance, but this is to a large extent unfair. True, he displays - at the very least - extreme

self-confidence, but so do most elite athletes, and it is not necessarily a negative thing. Usain Bolt and Cristiano Ronaldo boast a similar attitude, and arguably this allows these sportspeople to be at the very top level of their discipline. Cavendish’s confidence, self-belief and determination to succeed ensure that he will continue to strive to achieve even greater things even if he may not be recognised to the extent that he should be. 2012 offers him the opportunity to cement his place as a true great in British sporting history by winning the road race at the London Olympics. If Cavendish becomes an Olympic Champion next July, then the Manx Missile may yet explode onto the back pages and into the hearts and minds of millions of British fans.

Don't write Wilkinson off yet

Phil Smith examines why opponents still fear England's talisman despite his poor form that there is no British sportsman of the post war era who can emulate him. In terms of the hard statistics, only New Zealand’s Dan Carter has scored more points in international rugby. This is misleading on a number of levels, however. Firstly, Carter has never had to return from a consistent string of injuries in the way Wilkinson has. Secondly, Carter has played his rugby in a team that has consistently dominated opponent after opponent; in the process he has continued to pile up the conversion points. Thirdly, when it comes to the most crucial statistic, points scored in World Cups, Wilko

FORM IS TEMPORARY: Wilkinson's class still worries the French

David howlett

England are 12-3 down to the old enemy. Hungover, lacking sleep and sharing a flat with 11 Scotsmen, this is not a good time to be English. Then, in a flash, everything changes: a beautifully crafted drop goal sails over, the momentum irreversibly changes, and England somehow scramble over the line. Jonny Wilkinson has done it again. Of course, question marks hang over his form - questions he did not answer emphatically in Saturday's World Cup quarter-final exit against France. What will be indisputable, however, is his remarkable impact on every game of rugby he has ever played. It could quite easily be argued, in fact,

soars above Carter and the rest. It is this ability to shine on the biggest stage that separates him from all other British sportsmen, past and present.

“

It could easily be argued that there is no British sportsman of the post-war era who can emulate him." British sports teams have a habit of disappointing when it comes to major tournaments and events. The England rugby team are the only notable exception. Or, perhaps more to the point, Jonny Wilkinson is the only notable exception. In 2003, an experienced but ageing side took the Webb Ellis Cup as their inspirational fly half kicked exquisitely throughout the tournament. Four years later, a side woefully short of talent, hammered 36 – 0 by South Africa in the group stages, scraped into the final as the power of Wilkinson’s boot forced a previously rampant French side into their shells. Other than Kenny Dalglish in a Liverpool shirt, it is virtually unheard of for a British sports player to have this effect. Managers, perhaps: Clough,

Paisley, Ferguson, Walter Smith, to name just a few. When it comes to crunch moments on the field of play, however, Wilkinson is unrivalled. Wilkinson is also the ultimate role model for all young British kids. In a tournament marred by off-field scandal, Wilkinson has been commitment and dedication personified. Far from luridly flirting with blonde barmaids, he has typically spent his time desperately trying to correct the flaws in his kicking that have drawn such derision from sections of the media. He is by no means the most talented player to pull on an England shirt, but he is unquestionably the most dedicated. A player who can truly be admired both on and off the pitch. His kicking is not at its best. His creative flair, running and passing likewise. His world renowned defensive skills are not quite as robust as they once were. But make no mistake, had Saturday’s quarter final boiled down to one key moment, one key kick, there is only one man Martin Johnson and all of England would want to be lined up behind it. More to the point, there is only one man all of France would not want to see behind it. Regardless of the outcome, the aura Jonny Wilkinson carries will make him forever peerless.

Injury Time

takes A WRY look at the world of sport Once again a footballer has highlighted his position as untouchable in society. Last week it was Carlos Tevez rightfully taking a rest on the substitute’s bench after his stressful two-hour plane journey to Munich. This week it is Roger Johnson, a household name who needs no introduction, criticising Wolves fans for booing Karl Henry against Newcastle United. Henry may have been run ragged in the middle of the park, but Johnson labelled his treatment by the Molineux faithful as “disgusting”. On first hearing many thought Johnson was referring to Henry’s general play, which would have been fair enough, but this was a dig at the fans. After all the supporters should have shown greater respect to Henry and Johnson; they only pay their wages. In fact, next time Wolves play at home the fans should create a guard of honour and clap them off – that may just begin to pay back the debt they owe to their footballing superstars. Johnson is not the only footballer to have shown his anger at not being treated like the royalty they most surely are. Former Manchester United captain, model professional and all-round nice guy Roy Keane tore into the supporters who “have a few drinks and probably the prawn sandwiches, and they don’t realise what’s going on out on the pitch”. The “Prawn Sandwich Brigade”, or “plebs” as Keane was probably thinking was a more appropriate term for them, clearly do not have the intelligence and brain capacity to understand what goes on out there on the pitch. Keane was rightfully telling them what we all were thinking – don’t expect to be allowed to eat a prawn sandwich whilst watching a football match you’ve paid to see. I mean that’s just taking the piss. Manchester United players understand better than most their importance and self-worth. Wayne Rooney, while taking a break from his well-deserved holiday in South Africa to do all England fans a favour and disappear up his own backside against the mighty Algeria, blasted the disrespectful fans who booed his team off at the end. “Nice to see your home fans boo you, that’s loyal supporters”, Rooney shouted angrily and disappointedly at the ITV cameras. Did those fans who had travelled several thousand miles at such a huge expense to try and support their team really think they had gained a right to boo them off after England battled to an impressive 0-0 draw? They didn’t concede any goals – Rooney was merely highlighting the defensive capabilities of the Three Lions and how they should be applauded and not vilified for that. So next time you pay £100 to see England play at Wembley and you think about booing when they’re 3-0 down at half-time to San Marino remember this: they do it all for you, not for the money. They deserve your adulation – after all, it’s only their job.

Chris Waugh

Sport

studentnewspaper.org

Tuesday October 11 2011

All hail the Manx Missile

Chris Waugh tells us why Mark Cavendish should be a British superstar P31

Edinburgh suffer cup disappointment

DEJA-VU: Uni keeper Mark Tait is again beaten from the spot Men's Football Image Printers East of Scotland Qualifying Cup 3rd Round Edinburgh University 1 Vale of Leithen 2 Edinburgh suffered their second successive cup exit on Saturday as Vale of Leithen deservedly secured their passage into the East of Scotland Cup. Dougie Samuel was left with an unpleasant sense of déjà vu as his team once again fell foul of the referee. As in their Scottish Cup defeat to Whitehall Welfare, the hosts conceded an early penalty and a goal which appeared to come from an offside position – Jordan Hall and Jamie Patterson the beneficiaries this time. Cyrus Moosavi’s second half strike set up a tense finish, but the visitors

held on despite a late red card for winger Andy Martin. Robbie Horn’s men took the lead inside five minutes. Hall was allowed to bring down a high ball, and his incisive dribble into the box was only halted by Mark Cathcart’s untidy challenge in front of referee Wes Boulstridge. Hall picked himself up to confidently dispatch the penalty high to keeper Mark Tait’s right. Edinburgh were clearly shaken by such a disastrous start and spent much of the remainder of the half pinned back by a Vale side who had won their last eight games. Scott Moffatt raced clear down the right before pulling back to Hall, whose first time effort was deflected just over by the head of skipper Danny Main in the thirteenth minute. But home resistance was broken five minutes later – with Boulstridge and his assistants again thrust into the

Charles cutteridge

Davie Heaton reports on another early exit for the University at Peffermill spotlight. Andy Martin was allowed to race clear down the right, despite appearing to receive Hall’s throughball from an offside position, before cutting back to Paterson – who didn’t have to break stride to stroke past Tait from 12 yards. Edinburgh slowly began to come back into the game, which was becoming increasingly bad-tempered. Martin was the first of six players to be booked on the day for a needless trip on Paul Doohan, and shortly after Main worked keeper Mark Wilson from a 25 yard free-kick. Edinburgh’s best chance of the half fell to Roy Chatergee, whose shot was smothered from close range by Tait after a knockdown put the winger one-on-one with the keeper. Callum Murray headed wide at the far post from the resulting corner. Hall was a constant threat at the other end however – another direct dash to the byline allowed him to cut back for Steve Radzynski, whose goal bound shot was blocked by Main. Scott Moffat soon spurned another chance to put the game beyond doubt when, after skipping inside Cathcart and Mark Gair, he shot straight at Tait. Manager Dougie Samuel replaced Cathcart with Callum Frain at halftime and, after an early long-range tester from Hall, the substitute made a telling contribution. His knock over the defence sent Cyrus Moosavi charging down on goal – the striker just managing to toe past the out rushing Wilson to give the hosts hope in the fifty-eighth minute.

Vale responded well, twice almost exploiting the home side’s desperation to draw level with quick counter attacks. First Martin raided unchallenged into Edinburgh’s half only to be smothered superbly by Tait after a heavy touch, then Paterson jinked between Main and Stefan Ross before smashing at the keeper from ten yards.

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Dougie Samuel was left with an unpleasant sense of déjà vu as his team once again fell foul of the referee." Several minor injuries needed treatment in the second half, largely down to some reckless tackling from both sides, leading to a full ten minutes of stoppage time. Particularly rash was Martin’s needless lunge from behind on Tim Rawlinson in the eighty-sixth minute, earning the winger a second yellow card and ensuring an absorbing finish to the game. The home side peppered their opponent's box with long balls but, despite a decent 25 yard free-kick from Doohan and a lively run and shot from substitute Kohei Habata, the visitors dealt well with the pressure to hold out for a deserved win. Samuel’s men will look to bounce back in Wednesday’s BUCS derby against Herriot-Watt on Wednesday.

Vettel seals the deal

Edinburgh University 1 Moosavi, 58

Vale of Leithen Hall 5, Patterson 17

Star Man: Jordan Hall The Vale midfielder faded in a scrappy second half, but the damage was done before the interval as he dominated the first 45. Tidy and inventive on the ball, he was integral to both of the visitors' goals. Referee: Wes Boulstridge 5/10 Edinburgh: Tait 8, Gair 6, Vakalla 7, Cathcart 6 (Frain 45, 6), Main (c) 7, Doohan 6, Chattergee 6 (Habata 84), Rawlinson 6, Moosavi 7, Stefan Ross 6, Murray 6 (Gray 72, 6). Booked: Doohan 33, Murray 34. Sent Off: Whithill: Wilson 7, Beaton 5, McKenzie 6, Miller 7, Lee (c) 7, Greenhill 6, Martin 6, Paterson 7, Moffat 6 (Ferguson 60, 6), Radzynski 7, Hall 8. Booked: Martin 14, 86, Radzynski 71, McKenzie 74, Greenhill 90. Sent Off: Martin 86.

Charles Cutteridge sees the German become the youngest ever back-to-back world-champion Jenson Button completed a brilliant drive to win in Japan, yet the driver everyone is talking about is Sebastian Vettel. The 24-year-old German joined a hallowed list of F1 legends early on Sunday morning by becoming the youngest ever backto-back world-champion, bringing an early conclusion to a season completely dominated by the Red Bull talisman. In 15 races he has been on the podium 14 times, nine times as race winner. It has been a season marked by a dominance not seen since the Michael Schumacher years at Ferrari. It really does seem like we are

witnessing the making of a very special F1 legacy. Vettel has utterly dominated the most competitive paddock F1 has ever seen, including four former world champions from Ferrari, McLaren and Mercedes. The big question is whether this year been an insight into what lies ahead for seasons to come. The answer? Quite possibly. It depends on whether McLaren, Ferrari or even Mercedes can produce more competitive cars next season. If the top teams can make significant improvements, then we will certainly see a closer championship race, but whether we will see a different champion is dubious.

There is certainly no shortage of talent to beat Vettel, with the likes of Hamilton, Button and Alonso having all looked competitive at various points this season. But uncharacteristic errors and a lack of consistency over the length of the season have prevented anyone from getting anywhere close to the championship lead. There is no doubt that Red Bull have had the fastest car this year but they have not had the runaway machine they had in 2010. It is telling that while Vettel has achieved 14 podiums and nine victories this year, his teammate in the same car has only achieved eight podiums with no

wins. This is a testament to just how talented Vettel is, how much speed he has got out of his vehicle and above all his punishing consistency that has seen him finish in no worse than fourth position all year. The McLarens have been the only cars to really threaten Red Bull this season. Unfortunately, one of them has been driven by Lewis Hamilton, who has had a terrible year. He is just not the man he was in 2008 and his season has been marred by stupid and dangerous mistakes. Button, on the other hand, although more consistent, has struggled to match the Red Bulls for pace at the majority of the circuits despite taking three wins

when he has been competitive. Can anyone stop Vettel? If the Red Bulls produce another competitive car, then another huge challenge awaits their rivals next year. The simple facts are that before Japan, he has collected 85 per cent of the points on offer. Unless the other top drivers can match that kind of consistency then it looks like Vettel will be in for a long stretch as world champion. He is the youngest podium winner, the youngest grand prix winner, the youngest world-champion and now the youngest back-to-back worldchampion. Behind the wheel of a Red Bull this man is unstoppable.