Friday 15th August 2025
Blog Page 1555

St Hugh’s settle court case over "selecting by wealth"

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A joint statement by Shannon and St Hugh’s said, “St Hugh’s College and Damien Shannon are pleased to announce that they have resolved the dispute between them, and that the Court proceedings in Manchester County Court are at an end with immediate effect.”

In the agreement announced tonight, Shannon will take up his place in Michaelmas. The university has also agreed to review the Financial Guarantee Policy, which ruled that Shannon did not have sufficient funds to live in Oxford, such that he could not study at the university.

The St Hugh’s statement promised a university wide review into the fairness and practicality of graduate funding. “On completion of the review” it said, “recommendations will be put to the University’s Council and the Conference of Colleges for consideration. It is anticipated that the process will be completed by September 2013.”

A source at St Hugh’s told Cherwell that Dame Elish Angiolini, Principal of St Hugh’s, had questioned the merits of the financial guarantee system and whether there should be other options when funding isn’t available.

Shannon was unable to take up his offer last year after the university found he did not have £12,900 living costs. He was suing the college for “selecting students on the basis of wealth, and excluding those not in possession of it.”

In an email to students, St Hugh’s College stated that, “St Hugh’s College and the History Faculty of the University of Oxford have jointly made available to Mr Shannon a place on the one year MSc in Economic and Social History, the course for which he originally applied. Both parties have agreed to pay their own costs and no moneys have changed hands.”

David Messling, OUSU Vice-President for Access and Academic Affairs, told Cherwell, “This is a positive development, and it’s heartening that all involved have recognised the unjustifiable nature of the Financial Guarantee policy as it stands. OUSU, working with MCRs, are closely involved in the review of the Financial Guarantee to ensure that any future policy will not act as a disproportionate and unfair barrier to graduate study.”

He continued, “This case has shone even more light on the issues of postgraduate access – some of the answers are to be found here in Oxford, but many are on a national level where there is mounting need for means-based postgraduate financial support.”

 

 

Debate: What will Hugo Chavez’s legacy be?

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Joseph Miles – Chavez’s legacy will be one of corruption

I do have sympathy for Chavez. The US has a long history of intervening in countries in order to install leaders in Latin America that are favourable to their policy aims. Chavez’s desire to keep his country staunchly independent from a US plutocracy would have been admirable had he not set Venezuela on the path to being governed by a cult of personality.

Under Chavez’s presidency, he abolished term limits for the president and he also ensured a law was passed that would enable the president to seize dictatorial powers for up to 18 months. Most seriously, Chavez’s Health and Social Minister Roger Capella abused a list of voters who had petitioned for a recall of the President in order to deny dissenters jobs. It is true that Chavez made a public statement calling for the list to be buried, but only after he had first called for its widespread use- ostensibly for catching “illegal immigrants”.

What is clear is that, like all autocrats, Chavez could not conceive of the country functioning without him. He may have justified his executive abuses, as his supporters in the West did and still do, by arguing that these were mere bourgeoisie rights when people were starving. 

Chavez understood his country as revolving around him to such an extent that  he forgot that there would be a Venezuelan people long after there would be a Chavez. His blindness to his own mortality and conviction that he alone knew what the Venezuelans needed means that his successor will come into a position with almost unrivalled power in the democratic world, which guarantees a bitter struggle for the presidency before we know whether Chavez’s replacement has his ostensibly good intentions. If they do not, I fear that it may be too late for resistance.

 

Charlotte Cooper Beglin – Chavez improved the lives of the poor and delivered.

Chávez wasn’t perfect. He took steps to cement his power, supported dictators such as Gaddafi and Assad, and silenced some opposition. However, all too often these less than edifying facts have been used by Western critics to condemn him as a dangerous dictator, and to write off what’s happened in Venezuela since he came to power in 1998.

What rulers and governments are flawless? The United States, perhaps his fiercest opponent, has far from a spotless record on human rights and democratic values – indeed through the CIA the US attempted to overthrow the democratically elected Chavez. Add to that record drone attacks, immigration detention and the death penalty and you realise that Western condemnation of Chavez’s Venezuela is somewhat hypocritical.

Chavez was a democrat. Look at participation, for example; Chávez led a huge drive to register the poor to vote, and was recently elected with a 54-63% majority, in elections that got a massive turnouts (over 80%) and was praised as unscrupulously fair ex-US president Jimmy Carter.

He was no mere autocrat, and recognising his abuses shouldn’t prevent us from celebrating his achievements. His legacy is one thing that is remarkable and refreshing about Chavez; he cared about the poor- passionately cared, prioritised them, and took real measures to improve their lives. A list of his reforms reads like a compassionate socialist agenda: free healthcare, the doubling of education spending, rights for women and indigenous peoples, literacy campaigns, college enrolment drives, workers’ cooperatives…

More than that, he achieved results. In his first decade of rule GDP doubled, while infant mortality and unemployment halved. Extreme poverty has more than halved since 1998 and millions were given access to healthcare for the first time. We shouldn’t have to divide history into “heroes” and “villains”, but while Chavez wasn’t a simple hero, there’s a lot there lot there that we can look to for inspiration of how a government might work more in favour of its people. Oh, and once he called George Bush “a donkey” on air. That must count for something.

 

Redundancies expected at Oxford University Press

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Oxford University Press is expected to announce redundancies as part of an overhaul of the English Language Teaching (ELT) division. OUP could not confirm how many jobs are expected to be lost in the process.

OUP spokesperson Dan Selinger told Cherwell the review “was designed to assess the external competitive environment, and to explore ways in which the ELT Division can continue to meet the changing needs of teachers and learners across the world.”

OUP are currently engaged in a consultation period regarding the redundancies, and the reorganisation process began in late February.

Selinger continued, “New roles will be created, others may change, and some current roles will no longer exist.”

OUP communications director Rachel Goode said that the redundancies are part of a modernisation procedure. She told the Oxford Mail, “our current structure within ELT dates back to the 1990s. We need to change in order to respond to the changing demands of our customers.”

According to the OUP website, the ELT section is “responding well” to recent demand for digital resources. It states that all its courses “now include integrated digital components, and a growing number of its titles are available as apps for iPhone, iPad, and Android devices.”

OUP is a department of the University of Oxford and has branches on every continent. It is reportedly the largest university press in the world; it produced more than 3500 academic titles last year, and employs around 6000 people globally.

OUP posted £106 million in net, post-tax profits for the 2012 financial year, down from £112.2 million in 2011 but a significant improvement on the 2010 figure of £90.4 million. In 2012, it contributed £54 million for the university finances.

The confirmation of job losses comes as Oxford and Cambridge university presses and publishers Taylor & Francis face controversy over efforts to sue Delhi University for producing ‘course packs’ using extracts from their publications. 309 academics have signed an open letter to the publishers expressing concern at the move.

According to Indian newspaper The Hindu, the letter stated that “we would like to place on record our distress at this act of the publishers, as we recognize the fact that in a country like India marked by sharp economic inequalities, it is often not possible for every student to obtain a personal copy of a book.”

Thomas Metcalf, Emeritus Professor at the University of California, and an academic whose work has been reproduced in Delhi, wrote he is “happy to accept smaller royalties on sales of my books to widen the audience, especially in a developing country such as India”.

The Publisher’s Association has acknowledged that course packs like those reproduced in Delhi play an important role in providing affordable study materials to students in less developed countries. It expressed its desire for legal copies to be obtained from the Indian Reprographic Rights Organization, where a copyright tariff is levied.

In a statement, the Association said “it is vital that those creating coursepacks act within the legal framework which supports the production of high quality educational content. Through this court case we have sought to challenge the illegal duplication of copyrighted materials for sale by a commercial photocopying shop.”

One first-year historian said, “It seems ridiculous that a profitable company is going to have to lay off staff, when its top brass are almost certainly on fairly large salaries. These will simply be more bodies to add to the mass of skilled workers who will now find themselves jobless.”

Review: Wiley – The Ascent

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★★★☆☆
Three Stars

Wiley may be known as “the Godfather of Grime”, but it’s a certain Dizzee Rascal who has had the biggest impact on the genre, an impact evident on Wiley’s latest album, ‘The Ascent’. Grime is a genre with notably humble origins. Pirate radio, homemade mixtapes and beats made on PlayStations  its roots couldn’t be any more underground. Going from ‘I Luv U’ to ‘Dance Wiv Me’, Dizzee was the first to cross over to the mainstream, creating a career template for ambitious grime MCs everywhere. Wiley, Tinie Tempah and Tinchy Stryder all followed suit. Of course, accusations of “selling out” will follow them for the rest of their careers, but it’s hard to condemn them for wanting a slice of the big time. Putting grime’s internal politics to one side, the important thing is whether the music is good, right?

While he is clearly aiming for chart success with ‘The Ascent’, it’s also clear that Wiley wants to maintain his position at the top of the grime game. The first three tracks are an energetic and promising start, culminating in ‘Skillzone’, a straight up banger with Wiley and seven other MCs showing off their impressive rap tekkers.

Unfortunately when Wiley heads into chart-friendly territory, things often get a bit, well, rubbish. That’s not to say Wiley can’t pull it off; he can. ‘Heatwave’ is a perfect example of precisely how to do chart friendly music well. Uplifting strings and hand claps accompany a catchy vocal hook, which then drops into an outrageously bouncy bassline. It’s fun, unique and enjoyable, the kind of song that makes Park End more than just bearable.

However this is in stark contrast with ‘Lights On’. Generic, boring and extremely forgettable, it’s everything that’s wrong with current chart dance music. I’m talking sub-Guetta levels of quality here. Listening to it, I can almost feel the carpet, sticky from spilt VKs. I can almost smell the mix of sweat, farts and Lynx Africa. It’s not just this song. ‘Reload’ is a similarly uninteresting drum and bass tune. ‘Hands In The Air’ has some slightly more interesting production elements, but the main chorus is still pretty dull.

Wiley is known as one of grime’s greatest MCs, and while his skill and technique is as impressive as ever on the album, the lyrical content falls flat. There isn’t enough of his trademark wit and wordplay, and a bit too much of “let’s go out, drink, find some girls, and have a good time”.

It’s not all so bad though. ‘My Heart’ is a reasonably enjoyable pop tune with a shuffling beat and melodic piano, featuring the omnipresent Emeli Sande and US rapper French Montana. On ‘Humble Pie’, Wiley is at his most personal and reflective, a downbeat and absorbing end to the album.

Overall, ‘The Ascent’ is a fairly average album, but Wiley is capable of so much better. His recent Step Freestyles 1-20, released as two free mixtapes, show Wiley at his brilliant best  funny, engaging, exhilarating and hooking up with the most innovative producers around. In the main, the attempts at mainstream appeal on ‘The Ascent’ smack of desperation. Call me a purist but I can’t help feeling that he could find more lasting success by bringing classic grime back to the forefront.

Review: Stornoway – Tales from Terra Firma

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★★★★★


Five Stars

In an interview with Cherwell last term Brian Briggs, Stornoway’s lead singer, promised a more mature second album “about growing up” and with an extra sense of escapism, where the band name “seems to fit even better, [compared to first album ‘Beachcomber’s Windowsill’] in a more remote and slightly wilder place.” Bold claims from the frontman of the Oxford based band, but ones that are most definitely met.

From the opening whirling organ chords and the loose and slightly psychedelic drum groove of ‘You Take Me As I Am,’ — outlining Briggs’ wedding day and reminiscent, for myself at least, of Bruce Springsteen’s second offering The Wild, the Innocent and the E Street Shuffle — the album instantly implements the sense of escapism Briggs alluded to at the band’s homecoming show at the Oxford Town Hall on February 15th.   

Jonathan Quin, the keyboard player/multi-instrumentalist for the band and ex-Oxford postgraduate music student, creates complex yet seemingly infectious arrangements to accompany Briggs’s heartfelt delivery of his sincere lyrical content which effortlessly floats above the musical texture, never dominating yet somehow also never intruded upon. The chorus of the first single, ‘Knock Me On the Head’ showcases these infectious arrangements in all their glory with the syncopated musical undercurrents being supplemented by four-part vocal harmony that is in direct contrast to the driving, and almost motoric, verse keyboard synth and drum accompaniment.

Stornoway are a band firmly rooted in Oxford, with Briggs and Quin having met at Wolfson College during their time as postgraduates there. Briggs was researching bird activity on the Thames whilst Quin was interested in Russian folk song. They spoke of “zorbing through Cowley” during their first album and subsequent hit single. Whilst there are no obvious direct references to Oxford in Tales from Terra Firma, song titles such as the stripped back and acoustic ‘The Great Procrastinator’ (performed on the balcony of the town hall on February 15th) with lyrics such as “I’m a scientist with far too many metaphors and far too little data to conclude in time” seem to coincide with the predicaments and day-to-day life of the Oxford student particularly well!  

Although, as previously mentioned, the complex and stylistically interwoven arrangements of earlier tracks such as ‘You Take Me As I Am’ and another infectious pop-hit ‘The Bigger Picture’ are particularly enjoyable, and induce a certain amount of uncontrollable foot-stomping and embarrassing head-bobbing, the stand-out track award for me would definitely go to the final offering of ‘November Song.’ A simple folk tune comparable to some early Bob Dylan or Simon & Garfunkel perhaps, it offers the perfect closure to a great album with pure simplicity. Sang microphone and amp-less live, the silence throughout the crowd on each performance speaks volumes (link below) and for me, perhaps, it is the memory of the Town Hall on that February night and the sense of electricity that was present during ‘November Song’ which leads to my claiming that a simple folk-song, the dregs of the album if you like, is a “stand-out track.” Nonetheless, it offers the perfect reflective end to an escapist and reflective album, ambitious as a second offering but completely justified without falling into the “second album trap.” Definitely worth a listen. 

Human Liver Lives

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A machine developed by scientists at Oxford University has been used to keep a liver alive outside the human body for the first time. 

The technology, under development since 1994, has already been used successfully in two transplant surgeries as part of a clinical trial at King’s College Hospital. 

Around 700 liver transplants are carried out in the UK every year, but more than 100 patients die whilst waiting for surgery. The machine’s inventors, Professor Constantin Coussios and Professor Peter Friend, believe that the device will eventually double the number of successful liver transplants in the UK to well over 1,000 per year. 

Using current medical techniques human livers can only survive for a maximum of 14 hours by being kept ‘on-ice’. The new machine mimics the processes of the human body by providing the liver with blood, oxygen and nutrients. This increases its lifespan to 24 hours and significantly reduces damage to the organ sustained through oxygen deprivation.   

Professor Friend, director of the Oxford Transplant Centre and one of the founders of OrganOx, a University spin-out created to aid the development of the technology, said, “Transplant surgery is a victim of its own success with far more people needing transplants than there are donor organs available. This device has the potential to change that situation radically. By enabling us to transplant many organs that are unusable with current techniques, this technology could bring benefit to a large number of patients awaiting transplants, many of whom currently die whilst still waiting.” 

Iain Christie, 62, from Torbay, Devon was the first person to receive a transplanted liver kept alive on the device as part of a clinical trial at King’s College Hospital in London. Mr Christie was diagnosed with cirrhosis of the liver in May of last year. He was told that without a transplant he could expect to live between 12-18 months. One month after the surgery he said: “I feel very proud and lucky to have been part of this medical advance. My health is better than it’s been for years and I feel I can go on now instead of thinking that life is finished for me.” A second patient who received a liver using the same technique is also said to be doing well. 

A third-year St Hilda’s medic praised the work of all involved, commenting that: “This is a great example of the many ‘quiet revolutions’ that go on every day in the research institutions throughout the University. This development has the potential to save hundreds of lives around the world and proves that Oxford is still at the cutting-edge of the global medical technology market.” 

OrganOx are now working on commercialising the machine for use in Europe and the United States. The Oxford University team now believe that the technology could be developed for use with other organs, including the lungs, pancreas and kidneys. 

Hilda’s Harlem Shake reaches House of Commons

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George Galloway MP has tabled a motion in the House of Commons urging St Hilda’s College to reinstate librarian Calypso Nash.

Nash was controversially fired for not preventing a ‘Harlem Shake’ in the college’s library at the end of last term. 

The motion claims that “the College authorities seem to have suffered a severe sense of humour loss” and describes the Harlem Shake as an “incident for which the Librarian bears no responsibility.”

It goes on to inform Parliament that “St Hilda’s College was named after Hilda of Whitby who was noted for her wisdom and good advice” and suggests “that the College authorities should draw on St Hilda’s wisdom in relation to this incident.”

Furthermore the motion “urges the College authorities to think again [and] see the funny side of this.”

Ron McKay, a spokesperson for Galloway, told Cherwell that the motion was submitted “because of a gross injustice and the over-reaction of the authorities.”

JCR President Esther Gosling said, “The response to the story has been overwhelming and was never expected. The support for our quest for the reinstatement of the librarian is very much appreciated. We hope the matter will be resolved soon.”

Another Hilda’s student, Ellen Gibson, told Cherwell, “For once, I wholly agree with Galloway. Nash was not involved in the Harlem Shake and was not in a position to stop it and so her dismissal is completely uncalled for.

“Also, the disciplinary attitude which seems to have been taken towards this incident in general seems excessive- the dance lasted only 30 seconds and did not cause major disruption; the JCR unanimously decided to support those being penalised demonstrating how little offense was caused to those who actually use the library.”

The Bradford West MP’s motion also refers to the JCR motion recently passed at St Hilda’s. It mandated the JCR President to ask for a written reason from the college explaining in detail their decision to fire Nash from her job.

The ‘Harlem Shake’ at Hilda’s has become an “online sensation”, according to the Commons motion. The Mirror, The Telegraph, and The Times  have all reported the issue, following Cherwell’s coverage of the episode earlier this week.

St Hilda’s College declined to comment.

Review: Peace – In Love

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★★★★☆
Four Stars

2013 is full of exciting new guitar bands, and Birmingham seems to be producing more than its fair share, with JAWS, Swim Deep and most exciting  of all, Peace. Their impossibly infectious hooks and unforgettable guitar riffs first burst into the public’s consciousness in September 2012 on Peace’s wonderful EP Delicious, as well as their debut single, future stadium-filler ‘Follow Baby’. An opening slot on the NME Awards Tour with Palma Violets, Miles Kane and Django Django propelled them further towards the stardom their music warranted as they quickly became one of the growing number of bands being touted for success without so much as an album to their name.

Under the potentially crushing weight of expectation, Peace have done the impossible, and produced a truly excellent album. We’re eased into In Love by ‘Higher Than The Sun’, which roams wildly through different sounds in the psychedelic style that you’d have to expect from the band’s name and album title. If Peace have set out to be the least Googleable band ever, it’s only because they want you, when searching for them, to come across various discourses on Peace & Love and immerse yourself in the Summer of Love ideology that’s clearly had so much of an influence over them.

We would never have thought it possible, but songs like ‘Wraith’ and ‘Follow Baby’, already so familiar to fans of Peace, find new life in the context of In Love. We really couldn’t care less that ‘you could be my Ice Age sugar’, as Harry Koisser croons, means absolutely nothing at all, because we’re already completely lost in a swirling realm of colours, shapes and pure happiness. Douglas Castle on lead guitar deserves considerable credit; his soaring riffs and skittering solos lend momentum to the whole work, perfectly complementing Koisser’s brilliantly varied vocals.

A perfect balance is struck throughout between the irrepressible energy of the beginning as Peace gather speed through the recklessly powerful ‘Follow Baby’ and ‘Lovesick’ and the smoky haze of the album’s close, as ‘California Daze’ makes us feel for all the world like we’re lounging by the pool in 40 degrees sun without a care in the world. Nowhere is this balance better displayed than on ‘Float Forever’, which builds from a stripped-down start, a slow, solitary electric guitar as Koisser soulfully commands us to “sit atop the Eiffel in your mind”, to ranging, anthemic riffs and crashing cymbals.

The band’s Britpop influences can’t be denied, and a criticism of In Love would be that it’s essentially just a product of what’s come before: Post-Post-Britpop with rehashed psychedelia thrown in for good measure. But through this they manage to evoke nostalgia for a time when they weren’t even old enough to appreciate music (and I wasn’t even alive!), which has got to count for something. Peace sound a bit like Blur, act a bit like Marilyn Manson (Douglas Castle once stumbled into me in a nightclub shouting “Where are the fucking toilets?”) and feel a bit like it’s 1969, man.

Pick of the week: Floral Dresses

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Flower power is back for spring. At Prada, simple black and white outfits were adorned with splotchy red and white flowers. Singaporean designer Ashley Isham’s models breezed down the catwalk in delicate floral maxi dresses. At Erdem we gorged on a feast of floral print organza day dresses with below-the-knee hems, whilst at Holly Fulton’s surreal and youthful English-garden-themed show, oversized rose prints were stuck onto skirts and tees. Here’s a selection of the best floral dresses to invest in this summer:

 

BARGAIN BUY: Alice Floral Lace Yoke Pearl Trim Dress
£22, boohoo.com

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This girly dress is a feminine, flattering fit and it’s perfect for a sunny day. I like the attention to detail, such as the lace neckline and faux pearl trim. Wear it with sandals and a cardigan. For a more sophisticated look, with a pair of heels and simple jewellery.

 

 

Sweetheart Dress by Wal G
£30, topshop.com

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You can’t go wrong with a black lace dress. This one has a delicate floral sweetheart neckline and a decorative belt. Great for club nights, crewdates and formal hall. 

 

 

Smoky Floral Printed Dress
£30.40 reduced from £38, dorothyperkins.com

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This sleeveless dress is short and fitted, making it perfect for a night out. The simple lace panels contrast beautifully with the pleated skirt, printed all over with pinky-red, white and teal flowers.

 

 

Floral Print Dippy Hem Dress
£32, next.co.uk 

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Those days that feature unexpected gusts of wind blowing your hem up and exposing your underwear to the world? They’re over with this elegant dippy-hem dress. The blurry flower print set against a black background gives it a decidedly on-trend oriental flavour. Wear it with wedge heels for a flattering silhouette.

 

 

BLUE FLORAL PRINT DRESS
£49.50, wallis.co.uk 

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This striking summer dress features a high neckline and A-line skirt. The explosion of deep red, burnt orange and cool blue hues against a crisp white background with a simple black belt is both artistic and extremely wearable. Great for smart casual events and family meals out.

 

 

LUNATA POPPY PRINTED FIT AND FLARE DRESS
£169, reiss.com 

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Simple, luxurious, and super feminine, this is a really flattering summer piece. The poppy print is striking but doesn’t obscure the overall subtlety and delicacy of the dress. I love the ruching to the shoulders and waist and the dreamy skirt. Wearable with flats and heels, but I’d recommend wedges.

 

ISELIN ORCHID PRINT DRESS
£175, whistles.co.uk 

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If you love peplum dresses, this is for you. The razor-sharp orchid print is a nod to this season’s love for the orient, and the simple light-on-dark colour combination makes this dress really flexible: wear it with accessories in lemon yellow, the colour of the season, and patent leather heels. 

 

 

SPLURGE: Christopher Kane Floral Printed Silk Dress
£755, farfetch.com

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A girl can dream, right? This gorgeous yellow silk dress offset with paint-like smudges and black and white flowers features a flattering pleated front panel and a concealed zip. It’s artistic without being bizarre, eye-catching without screaming “LOOK AT ME!”, and summery whilst not being predictable. Top marks to Christopher Kane – and that’s reflected in the price tag.