Friday 15th August 2025
Blog Page 1576

Debate: does Oxford breed arrogance?

“Yes!” -Ben Deaner

 

It is often bandied about that Oxford students are unusually likely to suffer from depression. Some blame the increased academic pressure or the more isolated environment. Well here is a better explanation: it is because we are constantly surrounded by arseholes.

Oxford students are overwhelmingly an unbearably condescending and conceited bunch. This is no surprise; we have a system that intentionally breeds these qualities. Oxford life consists of bizarre traditions and an unusual teaching method that exist almost exclusively to promote the notion that Oxford is somehow radically different and more important than other universities. Oxbridge exceptionalism is everywhere.

We delight in calling things strange, cryptic names like ‘prelims’, ‘pidges’ or ‘sconces’ to remind our foolish non-Oxford friends that they only got 2As and a B at A level and hence don’t get to have their own words for things. Students sitting exams are forced into oddly proportioned pieces of black cloth with dangly bits, because it is not enough that they be tortured but also humiliated at the same time.

These self-conscious attempts to separate ourselves from the many other places in the UK where youths get bed-shittingly drunk and write essays are a clear attempt to grip on with aching fingertips to a past in which Oxford was truly exceptional. They serve no academic purpose and no function to do with student welfare beyond being an odd combination of ‘mild-annoyance’ and ‘way to feel special’. However, they are not nearly as nauseating as the distinctions that are academic in nature.

You see, Oxford is confident in the abilities of its students. But it is confident in their abilities in the way that a mother who kicks her son’s teacher in the balls after he gives him a C is embarrassingly, unjustifiably confident. Oxford students don’t just study history they are ‘historians’, they aren’t mere geography students they are ‘geographers’, they aren’t English students they are the greatest playwright/actor/director born this side of 1990 and you should totally go see the awesome, life-affirming new meta- drama they’re promoting at the BT.

In PPE, a subject said to be preponderated by the kind of people who would use an unnecessarily long word like ‘preponderated’ when a shorter one would do, an academic arrogance and ludicrous disregard for the depths of the fields we encounter is embedded in the very syllabus. A student, having never before studied the vast, sprawling research on International Relations is expected, with half a week’s notice, to produce 2000 words weighing up the merits of several leading theories in the subject. It seems to be a given that after a night out vomiting all over Park End a teenager should be able to settle a centuries-long debate that – before last Tuesday – they didn’t even know existed.

Putting out the Oxford arrogance would involve dramatic changes to some of the university’s long-established practices. The best that can be done in the mean-time is to take every- one down a peg. So, to clarify: you’re all a bunch of stupid, oily, hairy-tongued, fart-canisters. There, that ought to help.

 

“NO!” -Monish Kulkarni

 

The word “Oxford” conjures up an absolute cornucopia of ideas, but a breeding ground for arrogance is unequivocally not one of them. Okay, so it’s easy to buy into the stereotypes; you know the ones – the egotistic Buller trashing yet another restaurant, the smarmy undergraduate smugly clutching his scholar’s gown, or the quintessential toff talking his way into a cushy job in an Ox- bridge-dominated City firm. But like most stereotypes, the “arrogant Oxonian” is purely the figment of some desperate journalist’s wild imagination.

Far from breeding arrogance, Oxford is actually pretty good at giving you a healthy dose of humility. For starters, I can safely say the vast majority of Oxford students are not out trashing restaurants every other day. In reality, when you’re bombarded every week with an endless tower of reading lists, a world-class academic as your tutor and a group of friends who are annoyingly just as smart as you, arrogance isn’t really a feeling too high on the emotional register. And let’s not forget the pressure to “be something” once you’ve left here. Everyone from your mum to your cat expect you to cure cancer or become a billionaire – or both. If that wasn’t enough, you begin to think of the people who have gone here before. Names like William Gladstone and T.E. Lawrence have all studied amongst the dreaming spires, and are all likely to have been more brilliant, intelligent and successful than you will ever be. It’s not the most optimistic of thoughts. With all the pressure and commitments, you have to be pretty darn good to get arrogant at a place like this.

“So what does Oxford actually give me?”, I hear you cry. The answer isn’t just a mountain of student debt and a slightly questionable pair of red chinos, but rather, a real sense of confidence. Not arrogance, but confidence. Yes, we’ve all probably been stressed over an essay crisis, or been on the receiving end of the disdain of a particularly disgruntled tutor. All this is exactly why we can’t really be arrogant. Yet, when we survive those tutes, or ace those problem sheets in the ridiculously short time frame that Oxford demands, we do feel an en- titled sense of confidence and satisfaction. A frequent comment from the mouths of Oxford alumni is how coping and surviving their undergraduate essay crises now makes their cur- rent work feel normal and manageable – quite simply, they are used to the sheer volume of work and stress thanks to their time at Oxford.

So let’s discard those outdated images of Oxford as the bastion of arrogance and smarminess. Yes I’m sure there are Bullers running around somewhere and the odd self-centred Blue, but for most of us, surviving Oxford breeds confidence, not arrogance.

Interview: David Davis MP

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David Davis is a commanding presence. Tall and authoritative, yet simultaneously ordinary and affable, he has that prize-winning skill of making whoever he is speaking to feel as if they are only person in the room. Speaking in Oxford on what he saw as the negative effects of the government’s rise in tuition fees, Davis managed to connect with his audience and speak to each member as if he understood their problems, performing the role of populist to perfection.

His media reputation might easily prompt those who haven’t met him to think otherwise. His self-description as “a massive Thatcherite” at first seems convincing: he voted against the repeal of Section 28 and supports the restoration of the death penalty, a tough law and order policy, and his former leader’s free-market economics of lower taxes and privatisation. And yet, Davis’s own political views are in fact at once more subtle and complex. A champion of civil liberties and an opponent of the rise in tuition fees he is not so much the classic right- wing Thatcherite many would have him be, but a more a tangled web of contradictions.

Brought up in a single- parent family in Tooting, he is able to speak with authority when he talks of those young people in Britain who are brought up in poor areas and go to what he calls “poor comprehensives and second- rate universities”. I started our conversation by talking to him about the problems involved with a university education in Britain today. For him, there is no doubt that there is, in Britain “an obsession with universities” and that the Labour aim of sending 50 per cent of school- leavers to university was “guaranteed to cause social and financial problems.” Davis believes that the idea that going to university automatically improves your life chances is all too often a “confidence trick” that can create significant opportunity costs for young people.

I asked him whether it concerned him that his party’s front bench represents a far cry from his own upbringing, being dominated by people who were privately educated, went to Oxbridge, and have of- ten never worked outside of politics. Image: Office of David Davis “Not necessarily”, he responded. For him, the One Nation concept of noblesse oblige is understandable – so long as the electors as well as the elected comprehend it – particularly since for many MPs it was grounded on their experiences in the Second World War. For Davis then, whilst Margaret Thatcher was “very good for the working classes”, by taking the ‘class’ out of the Tory party she “broke the mould” and made rebuilding it difficult.

When I put it to Davis that his 2005 Conservative Party leadership contest was principally one of Cameron’s modernisation against his more Thatcherite, right-wing conservatism, he immediately retorted by telling me that the domain name for his leadership campaign was ‘modernconservative.com’. He described himself as one of the “originators of the detoxification idea” though crucially for him, the real toxification problem was different from David Cameron’s interpretation. For Davis, it was principally based around money, and the Tory party coming across as “a bunch of rich people with friends in the city who they looked after” a conception which, he believes, stemmed from the sleaze scandals of the 1990s and the Major government’s catastrophe in the 1992 ERM crisis, when the Tory party threw “two centuries of economic credibility out of the window.”

We talked of Cameron’s idea of detoxification and whether it has worked. For Davis it was characterised by his ‘vote blue go green’ image, “huskies and a metropolitan agenda of gay rights”. He quipped that he agreed with his leader’s ‘hug a hoodie’ idea, the only difference being that he would hug “harder and longer”. According to Davis however, Cameron’s detoxification has principally failed because it addressed the wrong issue. By failing to ad- dress the Conservative Party’s public perception when it came to money, detoxification has proved pointless.

What then of Cameron in coalition? For Davis, there are “two models of a coalition and the government is metamorphosing from one to another”. The first, one of “lowest common denominator compromises on everything” is what he believes the government started with. The second, of each party adopting “distinctive positions”, which he feels the coalition has more recently moved to, is one that requires a “mechanism for differences of opinion”, something which Davis advised Cameron to allow for in a phone call the day after the 2010 election. This is something that the Coalition has, according to Davis, not yet provided for.

The Coalition’s biggest problem is, so far as Davis is concerned, its economic policy. For him, “growth is incredibly important to the deficit reduction” and “lower taxes and fierce deregulation” are the way forward. Cuts in national insurance and in capital gains levels are proposals that he believes would help with this. Davis feels that the Conservative Party needs to move back towards an emphasis on small business and an entrepreneurial spirit. Osborne and Cameron are, he says, “susceptible to arguments from big business despite it only providing about one quarter of the jobs in the country.”

For Davis, the “Tory party needs a civilising influence from time to time”, but that has not been provided by the Liberal Democrats, though he feels it should have been. He can see the possibility of a Liberal Democrat internal split and believes that those he calls the “orange book Lib Dems” (such as David Laws) could play the civilising role that the Conservatives need.

Looking towards the 2015 election, a significant possibility for Davis is that the Liberal Democrats will want to sell themselves as the party that “moderates the extremes of the other two parties” – a role that will naturally involve trying to get closer to Labour.

When I ask him about his own future he says, “Look, if I’m needed I’m here, but if I’m not I don’t care.” On the suggestion of his returning to office as a way for David Cameron to reconnect with the right wing of his party, he says he wouldn’t go back “just to be a mouthpiece” or for “symbolic reasons”. Indeed, after talking to Davis it is hard to imagine what at all he could symbolise.

His right-wing media stereotype is shattered at soon as you talk to him. His pragmatic, cool and charming manner makes him impossible to categorise. He himself put it better than any- one else ever could: “I’m a very quirky stereo- type,” he told me. That, I am sure, is how David Davis shall remain.

Periodically incorrect

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Science has a problem. It just doesn’t seem to ‘fit’ in society. The bad, or simply absent, coverage of science through the media; the lack of scientific knowledge in our policy making; and our inability to stand up to big business all mean that the impact that science has on society isn’t anywhere near what it could be. In an age when we rely more and more on scientific discovery, our perceptions of science undermine its importance and its contribution to our everyday lives.

One of the biggest issues is the lack of science in policy making. If we look at our political leaders, the people with knowledge seem to be less connected than ever to the people with power. The proportion of policy makers who understand science are few and far between: of the 462 MPs with degrees, just 27 (roughly 6%) have science or technology degrees, and just one is a scientist with a research background (Julian Huppert, in case you were wondering). Since Dr Liam Fox left Cabinet, science representation is even bleaker: there isn’t a single cabinet minister with a science degree.

Nonetheless it’s a two-way problem. Just as there is a lack of scientific knowledge amongst our politicians, equally the majority of scientists seem unwilling or unable to engage in the political process. Partly owing to a lack of trust in the political system, or often simply a lack of understanding of how policy is made, most scientists don’t want to get involved. 

Turning our attention to the meida, it’s pretty obvious that science is also misrepresented at this level too. Ben Goldacre, one of the few outspoken critics of science coverage in the media, claimed almost seven years ago that science stories usually fall into three categories: wacky stories, scare stories and ‘breakthrough’ stories. Not much has changed since. We still see the headline-grabbing articles with a tendency to overstate a claim based on questionable data stemming from just one source. This is what the public wants to read – it’s exciting, it’s interesting, but it’s also just plain wrong. If the media can’t stop falling over themselves to publish these sensationalist stories, then not only will the public continue to be scarily misinformed, but the real stories, the ones with real evidence and years of meticulous research that may actually make a difference, will largely be ignored.

Finally there’s the question of the relationship between science and money. Pharmaceutical companies make billions – fact. However the power that this wealth brings is accompanied by huge problems, chiefly an unwillingness to bring these companies to account. Again it’s Goldacre’s voice that stands out in the crowd in his criticism of large pharmaceutical corporations. Recently he claimed that “half of all the clinical trials ever conducted and completed on the treatments in use today have never been published in academic journals.” I don’t doubt him for a second; the lack of transparency of these companies is astonishing, and yet time and time again they get away with it.

A stark reminder of how powerful drug companies are comes in the form of a small, naturally occurring ion – lithium. Lithium has been used to treat bipolar disorder for over half a century, and despite millions put into research, no other substance has been shown to be as effective as lithium. There are of course downsides, and the unwanted side effects are well documented, but the fact remains that lithium is a wonder-drug for millions of bipolar sufferers the world over. And yet, the press coverage and availability of this drug is extremely limited. Doctors sometimes prescribe a whole host of different drugs before they get to lithium. Why? Well, as with everything the issue is a complicated one, but one of the strongest arguments lies in the fact that lithium cannot be patented. The consequence of this is simply that no money can be made from selling it.

There is simply no defence for withholding effective treatments on account of money. This is a simple right versus wrong issue, and yet every day, sufferers are denied such a simple life-changing solution. The same applies to antiretroviral drugs in Africa, and many more besides. Drug companies are simply too powerful, and there aren’t enough Goldacres of this world who are pointing this fact out.

We need more figures in the media, politics and business with the knowledge and the courage to make sure that science gets its voice heard for its own sake. Only then can we appreciate the benefits that good science can bring.

Peter Huhne doesn’t deserve notoriety

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On Tuesday morning Peter Huhne, a second-year at Oxford, woke up to find his name splashed across national newspapers, his adolescent picture featuring prominently on its inside pages.

Peter Huhne’s big mistake, his unforgiveable crime, was to be born to someone famous. Whilst he was at school, preparing for his A-levels and applying to Oxford, his father, the former Lib Dem Cabinet Minister Chris Huhne, was misbehaving in both his private and public life. He conducted an affair and forced his family through an unpleasant divorce.

Forgetting that it’s generally a bad idea to cheat on someone who’s provided you with an alibi, he then perverted the course of justice, denying that he had been at the wheel of his car a decade ago when it was caught speeding. To covnceal a fairly innocuous crime – speeding and then ‘points sharing’ – Huhne committed a serious one, namely lying about it in front of a judge.

In the poisoned relationship that developed between Chris and Peter, the then-teenage Huhne sent his father a series of aggressive and spiteful text messages. Two of these strongly implicated the former Energy Minister in a crime to which he was publicly pleading innocent. The first: “We all know that you were driving and you put pressure on Mum. Accept it or face the consequences. You’ve told me that was the case. Or will this be another lie?” And the second: “Are you going to accept responsibility or do I have to contact the police and tell them what you told me?” It is eminently sensible that these were disclosed to the court. However the rest indicated nothing more than a dysfunctional relationship between a father and a son. Chris called Peter “Tiger”; he replied labelling him “an autistic piece of shit”.

Simon Kelner, a former editor of The Independent, describes the pain Huhne must have felt much better than any fatherless student can. “[Imagine] he sends a text to his son, proffering a hand in reconciliation, or sending a message of support, or simply expressing paternal love. A few minutes later, his mobile pings, and for a brief moment his heart lifts, hopeful for what has been delivered. But then he opens the text to reveal an implacably hostile response. Again and again, over the course of a year, Huhne put himself through the same gut-wrenching process.” Why did these anguished exchanges need to be disclosed to the court?

The Indy reported that the texts were read out “as part of an ill-fated attempt to have the prosecution case against Huhne thrown out.” That’s potentially misleading, because it suggests that Huhne used the hostile texts he received from his son to undermine the veracity of his son’s accusations.

Lianna Brinded, a legal affairs journalist, doesn’t think that was the motivation. “Technically, the text messages were not actually hugely important to the judgment, but they were relevant to the applications Huhne made in open court. The disclosure of the texts occurred after Huhne made an application for a case dismissal and so therefore circumstantial evidence, such as the text messages, became relevant and admissible for the Crown Prosecution.”

In any case, that is how the texts entered the public domain. Chris Huhne’s defence team, not the newspapers, put them there. However that the public should now be privy to all the messages – private messages – remains unpleasant. The newspapers’ collective decision to publish a deeply personal and wretched correspondence between a father and son, both under immense pressure, is morally dubious.

Jane Merrick, a political editor, spoke for the journalistic class when she insisted to me on twitter that “the media will always cover details of court cases once [reporting restrictions] are lifted.” But just because the papers were entitled to publish the texts doesn’t mean they should have done. Nor is it correct to infer that the public ought to be told the grisly details from the fact that they could, in theory, go and find them out themselves. It is a classic case of journalists purposefully conflating what interests the public with the public interest. And it stinks.

Clearly to expect censorious behaviour from one paper, not to mention several, is unrealistic. For one paper to break ranks would be impossible; in a struggling industry newspapers need to squeeze as much juice out of every story as they can. Collective action is the only way the industry can restrict its most odious practices. This does not constitute an appeal for the full implementation of the Leveson recommendations: state regulation of the press remains an ugly and unpromising prospect.

If the press could exercise the sort of collective self-restraint on reporting that it does when Harry goes to Afghanistan, for instance, then the likes of Peter Huhne might sleep a little easier at night.

 

Review: Biffy Clyro – Opposites

The first held notes of this double album held my attention straight away. The shock transition that follows sets up the right expectations: Biffy Clyro milks the contrast between punchy and sustained on both albums. The use of staccato phrases intoned in vocal harmony is a feature of the album, noticeably on the opening ‘Different People’ and on the second song, ‘Black Chandelier’, with the lyrics “Drip, Drip”. This can give a delightfully weird, mechanical feeling, also apparent on the second disc’s ‘Woo Woo’, where the deadpan “I will love you” and “can you love me” mirror each other, providing no answers. Rhythmically tight and irrepressibly melodic, this is primarily a studio recording rather than a live-sounding one. Opposites is rich in textures, with sparse, crystal-clear verses giving way to warm enveloping choruses. Stand-out tracks include the electronica-channelling ‘Fog’ which ventures off the beaten track with weird dissonances, disintegrating into noise and a low, pulsing, biological buzz. ‘Accident without Emergency’ brings a tangy surrealism, with retro harmonic progressions, the crisp bass offset by the eerie slithering “ooh” figures in which voice and instrument blend, building to a deeply cathartic conclusion.

“This is noise…for your entertainment,” claim the lyrics: the band had big ambitions for this record, which was made with an awareness of older bands that used the same studios to produce classics. Opposites already feels as though it could have been released a decade ago. Reminiscences of other songs lurk in places, consciously or unconsciously. At the beginning, the lyrics are about being lost, and the musical landscape is uncertain, but the progression from pessimism to optimism intended in the design of the double album is not felt as clearly as expected. I’m not sure this is distinctive enough to be a classic in 20 years’ time, but it’s certainly a strong album.

THREE STARS

Review: Local Natives – Hummingbird

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Local Natives are a band with a contrarian bent. Their music hasn’t received the widespread attention it deserves, but has critics weak in the knees. You’d think that their next priority on Hummingbird, their second album, would be to transform that critical appeal into a wider fan base. However, this seems to be the last thing on the LA four-piece’s collective mind. They have eschewed a wider, brighter, poppier sound for dark, legato grooves. Vocalists Kelcey Ayer and Taylor Rice soar above a thumping rhythmic backdrop, whilst guitar parts pirouette around their harmonies.

The unconventional nature of their rhythmic tendencies makes comparisons with Dirty Projectors impossible to ignore. However, where DP’s music can be obtuse and obscure, jerky and uncomfortable, Local Natives seem far more relaxed and honest, despite having drums like a cardiac arrest. Openers ‘You & I’ and ‘Heavy Feet’ demonstrate this admirably, with laid back vocals accompanying upbeat and anthemic orchestration. However, this hyperactivity can get in the way of the music. You only realise how crowded the music is when the band strip it back, as they do at the start of ‘Black Spot’. This is the band at their most powerful and emotive, accompanied most by a single, stabbing piano part. It’s a shame that they use the song as one long crescendo into their usual tricks. This is an opportunity wasted.

A second problem with the record is that it tends to lapse into stylistic repetition; that is, it all sounds the same. After 45 minutes with Local Natives, I couldn’t really tell whether I’d heard 11 songs or one song with a shifting tempo. This is an inherent risk with groove-based music, but it is also fatal. It weakens the impact of the album, making even the moments where it really works seem cheap and boring. If Local Natives want to appeal to anyone other than the editors at Pitchfork, they’d better learn to change their tune, literally.

 

TWO STARS

How Not to Write About Music

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Writing about music is a notoriously difficult pastime or career. Whilst both writing and music seem to be modes of expression that can make sense separately, the two rarely fit together. The insanity of trying to express music in writing was captured perfectly by Elvis Costello, when he compared it to “dancing about architecture”. However, there seems to be a type of technique, perfected through the decades, that allows the music journalist to make some sort of sense. It’s a shame then, that most music writing eschews this for a sort of messy scrum of adjectives. Just what has gone wrong?

Well, the honest truth is that, faced with a massive interpretative problem, music writers simply become lazy, and rely on the same old tricks to sustain their commentary. The first, and by far the worst, is the clichéd adjective. Certain phrases seem to come pre-programmed in the mind of a music journalist, such as “crashing cymbals”, “angular guitars” and “groovy bassline”. These are a problem. They range from the platitudinous (of course cymbals crash, that’s what they do) to the nonsensical (why anyone would anyone describe any music that isn’t a soundtrack as “cinematic” is beyond me). None of them add anything to the piece and they don’t make for interesting reading.

A related problem is that of “put-it-in-a-blender” syndrome (or PIIABS for short). The obvious way to describe a band is by comparing them to other, similar bands. This allows the reader to check whether a new band may tickle their fancy based on their current taste in music. This is all very well, but it doesn’t justify sentences that call a (hypothetical) new band “what would happen if Prince, Wild Beasts and Belle and Sebastian were put in a blender”. This is an unacceptable level of whimsy and pretension for what should be a simple statement of comparison. This also applies to putting said bands into a lift, a boat or any other receptacle.

Other writers don’t bother with the whole “writing about new bands” thing, instead choosing to revive old favourites ad nauseam. These bands are routinely described as “back to their brilliant best”, or “making a triumphant return” but rarely are (like a musical Woody Allen). This is just dishonest. To pretend that anything Oasis released during the long, slow suffocation of their career was anywhere close to a new Definitely Maybe is either deluded or an attempt to delude the readership. 

The same goes for proclaiming bands as the saviours of guitar music. Guitar music does not need saving, and if it did, it would be unlikely that Glasvegas or Tribes, or Viva fucking Brother would do the trick. This routine sanctification of new bands before they even release their debut album (partly the result of a hyperactive promotion machine) needs to stop. One final technique that is used by bad writers is the superlative. Scarcely a week goes by in which the NME doesn’t claim that the BEST BAND EVER or the BEST ALBUM OF ALL TIME has been uncovered (usually some washed out, monochrome teabag of a band). This is a shameless attempt to keep the attention of the reader, and appeal to those who are already fans of the band. The same goes for those reviews that proclaim THE WORST MUSIC I’VE EVER HEARD. Such writers are irritatingly insincere and obviously haven’t heard the music of Milli Vanilli.

I admit that I have, when writing about music, committed each and every cardinal sin in the book, but in fact I feel that this may be the thing which qualifies me to write this article. Take it from someone who reads and writes a lot of rubbish music journalism (Nick Kent I ain’t!): this is what’s wrong with it!

Interview: Imogen Cooper

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Imogen Cooper’s appointment as a Humanitas Visiting Professor in Classical Music and Music Education tops a list of glittering achievements. She regularly gives recitals in prestigious concert halls worldwide, and also performs regularly as a soloist (alongside a number of major orchestras) and chamber musician. With such a stunning resumé, her thoughtful and softly-spoken manner comes as a pleasant surprise.

I meet Imogen the day after the inaugural Humanitas recital (a programme of Schubert). When I raise the topic of her new position, I find her to be remarkably self-deprecatory. “When I got the email, I was on holiday in France. I read it, and I thought it had been sent to the wrong person!” Imogen had to consider what she could bring to the position. “I thought that it was not to be academic, because that’s the one thing I don’t have in my makeup. It must be something to do with what I can bring to my playing. I found myself asking myself what happens in a great performance. What happens for the performer; what happens for the audience; what happens with the audience, between the performer and audience.”

These are questions that Cooper intends to explore over the subsequent parts of her Professorship, but she acknowledges that not everyone wishes to confront these issues. “I was fascinated by that aspect of having to dig deep into myself to put words to something that I myself have not had to put words to, and that not many people choose to do. I probably have colleagues that would rather keep off the subject, who don’t want to name something that they consider better off unnamed.”

I ask what other issues she hopes to examine. “I’m also fascinated by the difference of performance art which is wordless, and the performance art which has words. It seems to me that the words pin you down much more than the non-word performance art does. I want to get an actor of either sex involved. There are some wonderful possibilities: I’m keeping all fingers crossed. Actors have filming schedules and they don’t know when they will be available!” Cooper’s delight in her new position is tangible. “I’m astounded and honoured to be asked, and I just hope I can do it justice. If you see the list of people who have taken up Humanitas Visiting Professorships before, it’s just mind-boggling!”

Schubert has long been a central part of Cooper’s repertoire, and so it seems only right that I should bring the composer into our conversation. Cooper was first drawn to the composer’s music by Dietrich Fischer-Dieskau’s Lieder performances. She reveals that it was the composer’s humanity which intrigued her the most. “There was something so direct about his utterance, be it tenderness or love or fear, terror, a feeling of death…He always had this black beast on his shoulder, even from before he was ill. I think it was in his temperament: he was very melancholic, but also a great lover of life, and he would swing between the two.”

Something which has particularly struck me about Cooper’s Schubert interpretations is the connection between the violent and calm: it seems almost inevitable that one emerges from the other. “I think it was part of his psyche that everything is completely intermingled. Schubert had this particular capacity to switch you around from one bar to the next. You can be in the most violent thunderstorm, and suddenly he shows you what’s happening in the field next door where the sun has come out. I’m fascinated by those immediate swings.”

Schubert composed a jaw-dropping amount of music in his last few months and completed his last three sonatas in September 1828 (he would die in November). However, Cooper sees no point in wondering what might have been. “Whether it’s planned from on high or elsewhere or deep inside, it seems if there is to be a short lifespan that everything is packed into it. Those that say, ‘Think of what he could have done if he’d gone on!’ I’m quite happy with what he did already. Yes, it would have been fascinating to see, but there isn’t greater.” At one point, Cooper pauses. “I really love him. I really love him as a person. I feel I’ve got to know him really. It’s a very bizarre feeling.”

Cooper tells me of a good luck ritual she shares with the baritone Wolfgang Holzmair. “Before going on the platform, we spit on each other’s shoulders and say “erzähl die Geschichte” (“tell the story”).” Whichever direction her career should take, long may the story continue. 

Review: The Oxford University Orchestra

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The Sheldonian was packed out on Friday night, with locals and students alike, in anticipation of the Oxford University Orchestra’s take on three classic pieces. Although Shostakovich’s Festive Overture, Rachmaninoff’s The Isle of the Dead and Mahler’s First Symphony (or Titan) are all pretty important and standard pieces of any serious orchestra’s repertoire, they make slightly strange bedfellows. The first is lively and upbeat, the second is an exercise in unease and mournful disquiet and Mahler’s work is characteristically ironic and anthemic in equal measure. It is a tribute to OUO’s technical prowess and enthusiasm for the material that they manage to draw out the strands in each piece that tie the three together.

The Festive Overture should begin with a majestic fanfare. However, the OUO take a little while to warm up, and the result is that the opening seems to drag. As soon as the lighter, faster section takes hold, the woodwind take the lead and show us exactly how delicate and observant the orchestra can be at its best. A real sense of urgency and joy throughout from everyone involved (especially the conductor, Thomas Blunt) lifts the music from its rather clunky beginning, and the result is a bombastic and energetic take on Shostakovich’s overture – a piece supposedly inspired by the death of Joseph Stalin.

The next offering was a rather different affair. The Isle of the Dead begins by invoking the rhythm of Charon’s oars as the audience are guided towards the eponymous isle. To begin with, the OUO perhaps fail to mine the darker elements of the symphonic poem, but really builds towards a pretty uncomfortable climax before blossoming into something bittersweet and quite beautiful. The funeral march section of The Isle… is both stately and fleet-footed, the perfect expression of the theme of the piece.

The funereal themes continued as OUO took to Mahler’s Titan. Although the first movement celebrates the spring, and invokes the sound of the cuckoo, the symphony as a whole is a deceptively dark affair, with twists and turns leading the listener through many themes, moods and images. It’s the third movement that the OUO really take to. The funeral march to the tune of Frere Jacques and the faux-Klezmer section are two of the most darkly ironic moments in Mahler’s oeuvre, and the OUO really puts their all into it. It’s strange to hear such a sinister touch performed with such gusto, but it really works, taking the funereal themes from the past two (both light and dark interpretations) and mixing them into a synthesis of the two – a perfectly Mahlerian touch to the evening.

These three classics may not have been perfectly performed, but it’s a real nitpicker who will have come away from this concert without a smile on their face and real admiration for the work of the three masters and their interpreters, the OUO.

Why business degrees matter

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On 4th February, Prince Charles opened a new wing of the Said Business School, currently ranked the 24th best institution in the world to study for an MBA, and 12th in the Financial Times’ ranking of European Business Schools. Dean Peter Tufano described the addition, complete with three lecture theatres, three classrooms and eighteen other work spaces, as a “fabulous asset to the School” – but was it worth its £28m cost when only a small number of MBA and Management students will be able to make use of it?

And generally, is it still worth investing in supporting business-related degrees, considering how much the business world has changed in the past five years? Can a business qualification really help in such a hostile business environment, where even established companies seem unable to weather the storm?

It’s a undisputed fact that business degrees are popular – in 2012, whilst the average ratio of applications to places for an arts subject at Oxford was roughly 5.5 to 1, the ratio for Economics & Management was 12 to 1. Acquiring business knowledge is not just a priority for university students either: nearly 30,000 students took Business Studies at A-Level, which is more than Economics, Politics or Religious Studies. It would seem that, thanks to the country’s intense interest in small businesses and the media’s emphasis on their plight, the labour force of tomorrow is interested in the business world.

Whilst the situation is still worse than in pre-crisis times (according to the accountancy firm BDO, business failure rates are likely to remain above pre-2008 levels until well into 2015), there are just as many stories about successful entrepreneurs as there are about businesses collapsing. For example, Richard Moross, who founded business cards company MOO.com in 2004, suffered a major cashflow failure in 2005, but was able to relaunch in 2006 with photo-sharing website Flickr as a commercial partner. They are proof that it is still possible to be a self-made success – MOO.com now has revenues of £12m a year – and perhaps as a result, people are still interested in learning about entrepreneurship and the way that businesses operate, because the climate is right for them to succeed in the future.

But what relation does that have to the utility of a degree? It is true that not everyone who takes a business-focussed degree will go on to found their own business, but such degrees don’t just teach you how to found a business: the Business Management course at KCL involves elements of foreign language, accountancy and economics. More theoretical courses, like the E&M course at Bristol, involve significant amounts of non-business elements, such as maths and economics, alongside managerial theory. The degrees are designed to provide an increasingly able cohort of students with the ability to succeed regardless of their eventual career path, and however much the business world has changed in the last five years, skills of organisation, leadership and numerical aptitude are still crucial.

The LSE’s Growth Commission has recently advocated education as a means of improving the status of the British labour force, and companies have recently complained that the key skill lacking from British graduates are transferable skills – and it is business schools which often have some of the highest levels of graduate employment six months after graduation. The 11 UK business schools in the FT’s Top 100 Business Schools in the world had an average employment rate of 91%, proof that the business schools are able to produce successive cohorts of employable and successful graduates.

So, was the Said Business School’s extension worth its £28m cost? Only the future will prove if it is used effectively, but by spending millions on the expansion of its facilities, even if they will only be regularly used by a small cohort of students, the School makes a statement – that regardless of the changes in the business world, it is prepared to support a new wave of students from across the world in their pursuit of success. Prince Charles joked that, had it been around, he would have visited the school when he founded his ‘Duchy Originals’ biscuit business in 1990 (which is now part of Waitrose), but he makes an important point – sustained investment in providing business skills to the next generation will ensure that the country will have entrepreneurs who have the ability to prosper, and keep the UK economy innovative and competitive. However, the government must maintain and expand its support for small businesses – without this support, even the best business school graduate has a much lower chance of founding a successful business. The Said Business School has put its faith in the graduates of the future, and so should the rest of the country.