Wednesday, May 7, 2025
Blog Page 1530

NUS: lad culture is "sexist, misogynistic and homophobic"

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A report branding ‘lad culture’ “a renewed form of sexism” amid “a crisis of masculinity” has been published by the National Union of Students. 

Relying on interviews with forty women students from universities across the UK, the report, entitled That’s what she said: Women students’ experiences of lad culture in higher education, found that ‘lad culture’ operates particularly in extra-curricular activities, sports and nights out. 

The participants of the investigation defined ‘lad culture’ as “a group or ‘pack’ mentality residing in activities such as sport and heavy alcohol  consumption, and ‘banter’ which was often sexist, misogynist and homophobic.”

It was also claimed that “lad-culture” encourages “rape-supportive attitudes [that] occasionally spilled over into sexual harassment and violence.” 

One participant said, “I’ve been silenced in a classroom environment by someone who is one of the lads, if you like, because I didn’t agree with something he said. He essentially did a repeat of what David Cameron did, the whole ‘calm down dear’ thing. Even the teacher who was female didn’t challenge it. She just looked at her papers, shuffled them, [and] looked really awkward. I knew she had heard, everyone had heard.” 

Another participant said, “I think that’s the misconception, that they’re these rough lads from rough backgrounds who have no respect for women, well they’re not, they’re everywhere, they’re in all parts of the country.” 

A female undergraduate commented to Cherwell, “I feel more than capable of dealing with [lad culture] academically and most of the time in a club. But I think it is probably most often found on nights out when people have had a few drinks and think that it is more acceptable there because they (wrongly) think that everyone has gone out to find someone to go home with. Alcohol is their greatest scapegoat.”

Speaking of her experiences in Oxford another woman student said,“ ‘Lad culture’ can be seen in various social situations; however, it never crosses the line of being genuinely hurtful, racist or sexist.”

She continued, “There are many other issues which could be addressed by the NUS which are of more pressing concern to university students. I feel that this half-hearted attempt to research ‘lad culture’ is not necessarily useful to anyone.”

A male undergraduate at Corpus told Cherwell, “I do not think ‘lad culture’ is widespread. At Corpus the experience has been one in which equal opportunities are reinforced and this means that lad culture – that is, the vilification of women, the fetishisation of ‘the slut’, the encouragement of primal masculinity, encouraging rape-supportive attitudes, sexual harassment et al. – are simply not tolerated.”

Meanwhile in Warwick, the SU president Nick Swain was recently criticised for appearing in a video of a party in which he unhooked a woman’s bra, while half-naked male students wearing Hitler moustaches shout “Get your tits out” to their topless female companions. 

The video surfaced days before Swain sought re-election to the SU presidency, which he had previously won with the highest majority in the SU’s history. Provisional election results suggest he lost. 

Swain commented to Warwick student newspaper The Boar, “I unreservedly apologise for my actions and for any offence this video has caused. 

“The woman involved is a good friend of mine and has reassured me that I caused her no harm or offence as a result, but I nevertheless offer my apologies.”

 

Do you agree with the NUS report’s evaluation of ‘lad culture’? Write to us at [email protected] with the subject title *NUS Lad Culture Report* and we’ll consider your thoughts for publication.

Review: The Mimic

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The Mimic, which began last week on Channel 4, is a comedy with a rather interesting twist. The lead, Martin (Terry Mynott), has an uncanny ability for mimicry and can copy the voices of those he hears. This gives considerable scope for celebrity impressions, and the opening scene where he takes on Terry Wogan’s voice to liven up a traffic jam establishes the mild but persistent sort of humour in the show. 

Whilst rarely moved to audible laughter, when watching The Mimic I was consistently impressed by the peaceful and placid sense of humour the show has. Although many comedies feel the need to shock and maintain a fast pace, The Mimic takes a more gentle approach. The other characters support Martin very well, especially his friend and housemate Jean (Jo Hartley)who is whimsical yet natural enough to be believable, and Martin’s newly discovered son Steven (Jacob Anderson), who is again realistic yet interesting. 

The inclusion of more serious and less light-hearted storylines makes The Mimic an intriguing mixture of drama and comedy. We feel empathy and support for Martin, yet are not brought down to despair due to the interspersed impressions he does, which show that he is not necessarily taking things too seriously. With The Mimic there is a real danger that the impressions are not integrated with the action and become a rather obsolete or inappropriate addition to what is otherwise quite a serious programme. So far, this has been skilfully avoided, but I wonder how the show will cope with the later episodes once the initial premise has been fully introduced. 

So, despite the rather slow-building and gradual pace of The Mimic, I certainly enjoyed it and look forward to seeing how the essential comedy element; his ability to impersonate voices; is developed and given variety. 

Hilda’s Harlem Shake Headache Continues

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St Hilda’s Junior Common Room has passed a motion calling for the reinstatement of librarian Calypso Nash. Nash, who is also a graduate student, was recently fired by the college after thirty students took part in a ‘Harlem Shake’ video filmed in the college library. 

The motion, proposed by Alexander Fisken and Anna Kaznowska, and discussed during the JCR’s eighth week meeting, requested that JCR President Esther Gosling “ask for a written reason for the decision from the Head Librarian, and also to bring the matter to the attention of the governing body, calling in the strongest terms for Calypso to be rehired.”

Another motion, also proposed by Fisken and Kaznowska, called for Gosling to write to the Dean asking for the fines imposed upon the participants in the video to be overturned. Cherwell understands that the majority of the fines levied amounted to £50, though a minority were higher. The motion argued that “the Harlem shake did not cause a disturbance coming as it did at 11:30 pm on a Sunday evening” and that the event “only lasted roughly 7 minutes.”

Both motions were passed at the meeting, with an amendment to the first motion stating that, should the appeal to the governing body and Head Librarian fail, the issue should be presented to the Library Committee in Trinity term. 

Several other students have voiced their support for Nash’s reinstatement, although neither Fisken nor Kaznowska were available for comment.

Ellen Gibson, a student at St Hilda’s, commented, “The situation seems ridiculous. The Librarian had nothing to do with the protest; she just happened to be there at the time.”

Another Hilda’s student, who wished to remain anonymous, criticised the college’s treatment of Calypso, claiming, “She was not in a position to stop them at the time.” 

JCR Secretary Katie Meadon said, “We are not trying to deliberately undermine any decisions made by college authorities, but we (and the rest of the JCR) believe that the dismissal of the librarian in question was unfair.  We hope that the college will take the JCR’s opinions into account regarding this matter.” 

As a result of the motions, JCR President Esther Gosling has sent emails to both the Head Librarian and the Dean, although no response has been received as of yet. 

The Head Librarian at St Hilda’s was unavailable for comment when contacted by Cherwell.

Scott Mills: Five minutes on mainstream…

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Radio 1’s Scott Mills was in Oxford to talk about his work in Uganda regarding gay rights, reported by Cherwell. However, at Cherwell Music we couldn’t let an opportunity to talk shop with a Radio 1 veteran go to waste, Scott has been on Radio 1 for fifteen years!

Having worked on drive time, early breakfast and appeared in, more recently, ‘Scott Mill’s: The Musical’ Scott is perhaps better known for his chat than his interest in music. In response to a fellow interviewer’s ‘chat or music?’ question however, Mills admits he has “always loved music” but his job is about “creating your show and personality around that.” Although the musical freedom of a DJ at Radio 1 seems relatively limited it is apparently “more than most stations and if you really like something you can shout about it, get it heard, get it played!”

Although chat and “maintaining the personality aspect” seem to be the two key elements of Mills job, his interests definitely lie with the music, offering some interesting insights during our conversation into the state of pop. 

What he finds interesting is that, although the dominating genre in the charts seems to have been ‘pop urban’ for a long time, people are turning their heads back to guitars. “A couple of years ago on Radio 1, there wasn’t a hint of a guitar” professes Mills, but now the mainstream seems to be leaning back the other way, far earlier than Mills ever expected. 

When asked what he thought causes this sort of genre-shift, Mills seemed slightly perplexed, but opined that “if there’s enough good music about, people go for it.” The return of ‘guitar music’ seems a welcome one, using the example of UK garage being around ‘FOREVER’ as a negative, and David Guetta stuff that “everyone jumped on” a couple of years ago. While Mills by no means shows a hatred for artists such as David Guetta, Pit Bull and JLS, for “making the same songs” as they were “great for DJing as they’re all the same beat,” the monotony in playing the same material seems to have nearly taken its toll.

The return of the guitar that Mills described is not merely a personal opinion but highly evident throughout the popular press. Flick through any page of NME, and the evidence of guitar rock is definitely there, with bands such as Palma Violets and Tribes being championed. The return of Bowie and Brit-poppers Blur and Suede further reinforce guitar rock’s return to the mainstream. 

For Mills, the move from ‘drive time’ to the afternoon show on Radio 1 may have represented a slight shift from the mainstream, but one he relishes: “It’s a great time to be on, there’s no pressure and you can sort of do what you want.”

With his dry wit and likeable character, Mills was by no means a disappointment to meet. On being introduced as the “music expert” I confessed to a certain element of blagging which Mills replied with “don’t worry, so do I!” Continually modest, when asked whether it was a bit bizarre being asked questions when he was so used to being on the other side of the mike, Mills replies “I like it, I’m terrified at things like [the St Anne’s talk], there’s not as many people as on radio but I can see them all!”

 

Blues swimmers storm to Bracknell success

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For the second consecutive year, the Oxford University Swimming Club took a large contingent of swimmers to the Bracknell Masters Open Meet. Having completed their training cycle for the year, this meet represented an opportunity for members of the squad to take advantage of their peak physical condition to record fast times and sweep the medals.

The competition began in dominant style, with Tristan Goodfellow, Andrew Wills and Joe Northover securing a 1-2-3 finish in the 200m freestyle. It was a race which saw fresher Wills set his first Blues time. However, Hannah Johnston would not be outdone by the men, crushing her opponents in the women’s event over the same distance. As experienced swimmers, best times can often prove difficult to come by, but they continued to come thick and fast over the course of the meet, outnumbered only by the gold medals secured by the OUSC swimmers.

Among the outstanding performances of the day were Jack Marriott’s imperious displays in the 50m freestyle and 50m butterfly: the latter receiving a standing ovation from swimmers and spectators alike as the venue was left stunned by the power and speed of the reigning British Champion in the event. Less explosive, but equally impressive were the performances from Hannah Johnston and Jennifer Redmond who set club records in the 200m butterfly and 200m backstroke respectively.

The total medal haul amounted to 16 golds, 8 silvers and 5 bronzes as OUSC yet again demonstrated the strength and depth of their squad. The success of the team in the meet bodes well for next year’s Varsity match.  The numerous freshers involved registered highly impressive times, which will surely serve as food for thought for the newly elected captains as they set up their squad plans for next season.

Being Human: Time to Say Goodbye

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One of Being Human’s great and revealing moments comes in series two, when touchy-feely ghost Annie attempts to hold a house meeting to talk about feelings. Werewolf George has infected and subsequently lost the love of his life, while vampire Mitchell is struggling to hold back a bloodbath of vampiric carnage in the wake of an abstinence attempt. Their solution to these heavy burdens? “We should get really drunk.” The domestic minutiae of their lives is so much more important to them than any supernatural trauma that it isn’t until BBC3 moves The Real Hustle to an unknown time slot that their angst really erupts.

When first conceived, Being Human was rather different in style – the story of a drug addict, agoraphobe and anger-management patient who attempt to overcome their issues by leading normal lives in a house together. Quickly the script was tweaked a little to involve a supernatural element, but Being Human was at its best where you could almost forget it was related to the fantasy genre. Its strength always lay in the little moments: the normal interaction that showed the relationships between the characters whilst demonstrating the inherent absurdity of a vampire, werewolf and ghost sharing a house in the South West. 

Yet as time went on the premise was diluted, and the show became something of a Poundland knock-off of True Blood or Buffy the Vampire Slayer, with shadowy corporations, prophecies, vampiric elders and messiahs that belied the early days of three people sitting in a house together drinking a hell of a lot of tea. Once initiated, the stakes (no pun intended) had to be raised every year. This didn’t make the show bad, mind you – merely less unique. As each character had their solo adventures, it also became less focused on the group dynamics, and the mythology of the series became less consistent (can vampires drink stored blood? Was werewolf blood always poisonous?) It seemed there was no going back, and once key cast members began leaving it appeared that Being Human was a spent force.

And yet, appropriately enough, the series rose again. Surviving its re-casting remarkably well compared to other shows, the series continued with new vampire-wolf duo Hal and Tom, and eventually replaced Annie with the less insipid Alex. In a house-share, it makes sense for people to move on, and it didn’t feel too tenuous for more supernaturals to join the crew (unlike in Misfits). The new dynamic worked, and the show culminated in a commendable finale with Phil Davis in his element as a devilish Daily Mail reader. It might have lacked the bombast of previous finales, but it emphasised the choice the three characters made to become human, even in their refusal of an easy humanity. The throwback to the previous series was a nice touch too, though perhaps a little too fleeting, and the final shot of the three housemates watching Antiques Roadshow together seemed to end the series on a soft note.

But then that reveal reminded viewers that Being Human always had a dark and unsettling side. The simple reuse of a significant camera angle and the little origami wolf in the final shot left the show on a brave and almost upsetting note of ambiguity: one that could explain some of the less plausible (relatively speaking) departures in the episode’s plot. It wasn’t a perfect end, but Being Human was never a perfect show. Really, this was probably the best way it could have gone out – not dead and buried, but alive and kicking.

Review: Daughter – If You Leave

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★★★★☆
Four Stars

We’ve been eagerly looking forward to Daughter’s debut album ever since the trio’s stunning first EP, His Young Heart was released in April 2011. Elena Tonra’s hauntingly beautiful voice slicing through softly understated guitar quickly caused a media storm; and follow-up EP The Wild Youth only built on that success as stunningly tragic lyrics, married with an almost unbearable sadness evident in Tonra’s voice, found their way into our hearts.

One could have been forgiven for expecting Daughter to come out with an album full of plodding acoustic guitar and uninteresting if pitch-perfect vocals. But throughout If You Leave, the dynamic rises and falls, as Tonra’s voice dances between a powerful cry and a lingering, tentative sound filled with fragility. Despite this, the melancholy in If You Leave can seem somehow repetitive, though still profound. They filled four-track EPs beautifully; but on a full-length album, for all their efforts to find musical variation, Daughter occasionally seem like they’re covering old ground. This is only a rare occurrence though, and for the most part we engage and empathize with Daughter’s message. One moment, crashing cymbals and guitars rapidly gathering speed are threatening to drown out the vocals, such as on ‘Lifeforms’, inspiring feelings of suffocation and helplessness. The next, a single note cuts into our hearts and Tonra cries out through the silence in a voice filled with pain, pleading for an end to her suffering.

‘Youth’ is the only song to re-appear from the EPs, and slots in perfectly, a tragic lament for “lovers that went wrong”. Daughter don’t cheer up either, later pleading “Don’t bring tomorrow/cos I already know I’ll lose you” on ‘Tomorrow’, a highlight. The title If You Leave instantly conjures images of loss and hearbreak, and these are themed carried on throughout, with the music perfectly accompanying the heart-rending lyrics, such as on ‘Human’; every thumping drumbeat is like a shot to the heart and the persistent guitars add desperation to Tonra’s insistence that “despite everything I’m still human”. This is an album that will tug on your heartstrings so hard that they’ll threaten to break.

Travel Blog: Welsh weather meets merciless Mercia

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A few months ago, in the naive cosiness of the end of the Christmas vac, I decided it would be a good idea to hike a long route in Britain. I’ve done numerous long-distance paths in the warmer clime of Spain, my country of origin, but have never attempted similar walks elsewhere, and decided it would be a nice way to end my second term at Oxford. 

Armed with rucksack, one-man tent and sleeping bag, I arranged to walk 285 kilometers along Offa’s Dyke Path in Wales, a route which follows the 8th Century Dyke erected by King Offa of Mercia, roughly mirroring the current Anglo-Welsh border. 

I set off from the northern Welsh seaside town of Prestatyn accompanied by three American visiting students, oblivious to what the weather held in store for us over the next few days. We ascended the steep, grassy incline into the Welsh wilderness, and spent our first day walking along the Clwydian Hills, following green and white acorns marking the way, surrounded by stunning rolling green hills. 

By the time we found somewhere to pitch our tents, we were soaked, and as nightfall approached, the temperature steadily declined, leaving us frozen in our tents, wide awake and numbed with cold. We awoke, shivering, to find the hills and our tents covered in a generous veil of snow. The psychological effect of having slept through a snow blizzard on our first day was considerable; we had expected gentle spring temperatures with plenty of rain, but seemed to be greeted by a second winter. 

As we walked among enveloping, sheep-cropped green hills, we discussed how short human memory of cold can be. Walking at a steady pace among beautiful surroundings, we had warmed up by now, and the cold shivers of the previous night seemed a long way away. 

However, by the end of the day, with the cold night closing in once again, we couldn’t face the prospect of another night in the cold. We were lucky to be invited by a local ex-hippie vicar to stay in his warm house nearby. Incidentally, he had walked the dyke various times himself and was an outdoor enthusiast. Over home brewed beer and pasta that night, we decided that the poor weather meant that we would have to cut our journey short, and decided to travel further south. 

Revitalised by a warm dinner and bed, we set out with good hopes along the Dyke again from Kington, and were met by a bitterly cold snow blizzard which clung to our clothes and froze fingers and noses as we crossed the Hergest ridge. There was something eerie about that day, walking on a knife-edge of cold and sunny spells, juxtaposed with an intense feeling of beauty. 

However, when we reached the bookish haven of Hay on Wye a couple of days later, with no shelter to stay, and a 28 kilometre hike along an exposed ridge with very poor weather conditions the next day, we resolved to return to Oxford. 

Having travelled only a fraction of what we had hoped, without even catching a glimpse of the dyke itself, we vowed eventually to return to complete what is said to be one of the most enthralling walks in Britain. 

 

 

 

 

Is it just a load of Jash?

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Somewhere in the dim recesses of the 200,000 hit videos of YouTube is an advert for a new comedy channel. Launched this week, Jash is the team effort of comedians Michael Cera, Sarah Silverman, Tim Heidecker, Eric Wareheim and Reggie Watts. It promises, according to Wareheim’s comments in Rolling Stone, to be a ‘bullshit-free experience’. The group got together after Google, the parent company of YouTube, proposed they produce proper comedy for a proper comedy channel on YouTube. Google was finally sick of the spate of viral videos that have dominated the site in recent years.

This is a fair point: if you look at some of the most popular videos of 2012 and 2013 so far, there has been a decline in constructed or performed comedy. The humour is derived from novelty, more often than not. Gangam Style, for example, is inescapable simply because it is a relatively catchy Korean pop song with a silly dance. The same goes for Harlem Shake. And another thing: the South Carolina competitor for the 2007 Miss Teen USA became an overnight YouTube sensation, infamous for her idiocy. When asked why she thought a fifth of American cannot locate themselves on a map, she replied with the immortal words: ‘I personally believe that US Americans are unable to do so because some people out there don’t have maps and some of our education such as South Africa and Iraq, everywhere like such as, and I believe that they should, our education over here in the US, should help South Africa’. Should we laugh at her stupidity and tragic lack of clarity? Yes, fifty seven million other people are. But they aren’t laughing at Sarah Silverman.

In a culture that favours videos of cats attacking printers and dogs on skateboards, is there room for channels like Jash? It is not unheard of for people to maximise YouTube’ viral capacity to increase their coverage. The song ‘Here it goes again’, written by the relatively awful Californian band OK Go, reached over a million YouTube views in the six days following its release in July 2006. Why? Because the video was choreographed on treadmills. They are a relatively dull quartet, and have since sunk back into obscurity, but this video’s viral success won them a Grammy award. It now has over fifty two million hits, making it the 42nd most viewed YouTube video of all time. This is all very well, but can we apply the viral sensation to a constructed comedy channel? This is not what we have come to expect from YouTube, and the risk of failure is high.

Off the back of the promotion videos, I have very little faith in it working. The advert starts with the president of Google walking down an expensive office corridor proclaiming, with his sickening CEO smile, that he is going to delete the entire content of YouTube and replace it with Jash. We then proceed through a series of categorically unfunny scenes: watching the new videos being made, before ending with a song about Jash by a band called Piss Cup, who vaguely resemble the Cure, and not in a good way. An unconvincing start to an unconvincing idea. Ignoring the idiots who have commented below the video that they cannot bear for YouTube to be deleted, the general response is not overwhelming. Most seem at best unimpressed, and at worst actively campaigning for the safety of YouTube.

We can’t by any stretch of the imagination rule out the need for genuine comedy today, performed and produced by comic actors. People like Judd Apatow have championed this to great effect. However, what Jash’s campaign demonstrates is that YouTube’s popular culture thrives off framing people and novelty factor. It isn’t television, it’s an exposition of some of the most awful and brilliant moments of recent years by popular demand. If Jash is going to work, it’s going to have to be really, consistently, pant-wettingly funny.

http://www.youtube.com/user/JashNetwork

Review: David Bowie – The Next Day

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★★★★★
Five Stars

This time last year David Bowie would have been coming to terms with his newly acquired bus pass having spent the last decade in retirement with his family. On the 8th January this year however, we received the incredible news that The Thin White Duke had been busy recording his 27th studio album, The Next Day – his first since 2003. Considering he had turned down the opportunity to play the TwentyTwelve Olympicstm – arguably the biggest one off performance platform Britain has ever seen (so big they gave half of it to Emili Sandé) – it is fair to say that even his most devout fans had come to accept that the career of their idol had come to an end. Therefore the announcement from Bowie’s twitter page on his 66th birthday that he had a surprise installed for us on his website (new single ‘Where Are We Now’ and a new album out soon) was always going to generate an intense volume of excitement. The best part being that, with The Next Day, it was worth it.

The opening track’s refrain of “Here I am, not quite dying” – to the backing of a pulsating, jerking rhythm that only Bowie could ever make work – defiantly announces his return from the start and sets the tone for an album that simultaneously manages to turn back the clock on Bowie’s career whilst still seeming light years ahead of anyone else.

A recurring theme of the album is Bowie revisiting his time in Berlin in the late 1970s, the album’s cover work being the most obvious example and the dirty sax riff on second track ‘Dirty Boys’ sounding at one with his work of the time. ‘The Stars (Are Out Tonight)’, the album’s latest single, swiftly follows with a driving bass rhythm and unnerving vocal style. Singing about the world’s celebrity obsession, it’s hard not to hear Bowie revealing his own frustrations at life in the spotlight; though trying to read too much into Bowie lyrics can quite easily lead you down blind alleys. ‘Love is Lost’ comes next, again featuring driving rhythms but also with an excellent climactic bridge before we come to the album’s first slower song, and also the song that announced this album to the world.

‘Where Are We Now’ is the first time we realise that Bowie has aged since 1978. His voice, for once so brittle, asking us “where are we now” whilst referencing times long gone is oddly revealing for an artist of Bowie’s mystique. This is a beautifully emotive song that gets better with each listen (which is lucky considering how much Radio 2 and 6 Music play it).

‘Valentine’s Day’ is lovely pop with a sweet melody and chord changes that manage to surprise and please in equal measure. If not quite reaching the same heights, with its dominating lead guitar line it sounds more reminiscent of 1972’s Ziggy Stardust. We then get sent a further 8 years forward to Scary Monsters with ‘If You Can See Me’; a song that sounds as though it belongs in a sci-fi chase sequence. Bowie’s TARDIS keeps working its magic as the next song, ‘I’d Rather Be High’, has flowing Indian style riffs that could have snuck their way onto the Magical Mystery Tour. The chorus of “I’d rather be high, I’d rather be deaf, than training these guns on those men in the sand” even makes me want to go out and protest against the Vietnam War. ‘I’d Rather Be High’ is brilliantly catchy and goes to show that Bowie’s knack for a great innovative pop song has never left him.

The Next Day’s producer Tony Visconti was the man used for Low and Heroes, and ‘How Does The Grass Grow?’ brings out the similarities most strongly with its opening synths and constant switching of vocal textures. Full of attitude and innovation, it grabs your attention throughout whilst never seeming forced. The penultimate track is a waltz timed ballad, ‘You Feel So Lonely You Could Die’, a name straight out of the Morrissey guidebook. Despite being no ‘Five Years’, in the context of the album it is an important song, breaking away from the rock n’ roll before the final track.

Album closer, ‘Heat’, is awesome. Again, we hear Bowie’s age and experience come out beautifully in his voice but this time to the backing of deep, space-age synths. An ominous song, it would surely get Freud’s pulse racing: “my father and the prison, I could only love you by hating him more”. Gradually it builds with acoustic strumming, bass and haunting strings to a great intensity before fading out to a drone; no one else sounds like this.

The worry leading up to The Next Day’s release was that it would eventually fall into the group of decent if a bit disappointing albums he released before his hiatus; Bowie has done more than enough to ensure that that won’t happen with this album. During Bowie’s peak he went out of his way to write a brilliant album in each of the different popular styles (Space Oddity – Folk; Man Who Sold The World – Rock; Young Americans – Soul etc.), he would always be one step ahead of the pack. The problems started to arise when he continued this approach whilst no longer being so relevant in the 1990s. By trying to make new sounding albums his priority rather than a collection of great songs, however admirable his innovation was, you never continued to listen to the record after the hype had died down. With The Next Day, Bowie hasn’t tried to make an electronic album, a rock album or a funk album but simply a great David Bowie album; that is The Next Day’s greatest success.