Tuesday, May 6, 2025
Blog Page 490

Translating nature into the theatre

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Audition season for Trinity plays is beginning. Prepare your monologues and get ready to neglect your studies. More importantly though, get shopping for a raincoat. Garden plays don’t mix well with the British summer. So, for those who don’t fancy shaking with cold while doing Shakespeare under umbrellas and perhaps want to take a more interpretive approach, how can we depict the natural world in theatre?

Let’s deal with the obvious first – outside performances can be immersive and fantastic. The success of Regent’s Park Open Air Theatre indicates this. The Globe is similarly popular and features the threat of rain for groundlings – with the warning that they won’t cancel productions based on weather conditions. Sure, £5 tickets are great but standing in the pouring rain to watch Hamlet for three hours is less so (although I can now relate to Hamlet’s misery on a far deeper level). A midnight matinee (one of the Globe’s most popular performance types) results in moments of amusement – as you struggle to keep your eyes open, Romeo and Juliet pulls you through morning, noon, twilight, night and dawn again. Reliance on natural light and seasonal changes can also create issues. So, if you want to skip the authentic – what are your options?

Inua Ellams’ Three Sisters (yes, it’s based on Chekhov) has just closed at the National Theatre. We are taken to 1960s Nigeria – more specifically, Owerri in Biafra. As civil war breaks out, nature seems to take over. We begin on the porch of a house built by the father of Lolo, Nne Chukwu and Odo, framed by hanging fronds which recall a proscenium arch. War leads us to a curtain of greenery; this is used to show distance and intimacy between characters as well as providing a victim to be evocatively attacked by Nigerian soldiers before the interval. 
We end with the house off-stage. Abosede, its new mistress, plans to cut down the greenery, showing her ascendancy and new-found power. The Igbo sisters, previously part of the educated elite, are instead relegated to the forest, a key zone within the atrocities of the civil war. Here, it’s set that leads us into the natural world, showing the collapse of Biafran idealism in the face of harsh economic and imperial reality. 


Rob Drummond’s one man show The Majority utilises layered hexagons which then show films of beehives. In contrast to the minimalist, metallic and modern set, this large-scale set piece shoves the natural world in the audience’s face. This clash exemplifies the discord explored in The Majority, which was written as a one-man show in the wake of the Scottish Independence vote and the Brexit Referendum, looking at issues of fragmentation – the cultural clashes are highlighted through the material clash of bees and metal. However, just as quickly as the bees come, they flash away. The stage returns to blankness, a canvas for Drummond (and his audience) to paint their opinions upon. Nature, here, is a trifle to be used, rather than a consistent embodiment of status or a reminder of setting, as it is in Three Sisters.


The 2017 Globe production of King Lear begins with homeless itinerants piling onto a sheet-covered, dully graffiti-ed stage – much like in The Majority, this is an urban and delocalised scene.It’s almost post-apocalyptic with the barren staging. There is no place for the natural world here. This jars uncomfortably with the natural focus of Shakespeare’s writing as Lear, the Fool and Gloucester wander the heath after entering exile. Lear, after his mental collapse, scatters the stage with (notably fake – pragmatism or symbolism?) flowers, tossing them over the audience. He is attempting to bring the natural world into this empty environment, creating comfort. Flowers remain scattered on stage, trampled by the cast, as Lear cradles Cordelia’s corpse. This, similarly to Three Sisters, shows the relation between character and nature.


The Prince of Egypt has been playing at the Dominion Theatre for the last month. The ensemble become the Nile, rolling over each other in an astounding act of physical theatre to carry baby Moses to safety. This is aided by nude-toned costumes and bold lighting choices – washing the entire stage blue, for example. The ensemble also become the desert and a burning bush; when the Nile turns to blood, the ensemble roll to rip the costumes of guards to reveal the red, blood-stained ones underneath. The Dominion seems to lend itself to large-scale choreography; it previously hosted An American in Paris, with beautiful balletic sequences. 


At the climax of The Prince of Egypt, ensemble members are hoisted up, spinning in mid-air while fringed costumes signify the Red Sea. They create a parting through which the Hebrews can escape to (a struggle for) liberty. The raised section of the stage – the only significant static piece of staging – tips to throw the Egyptian soldiers into the orchestra pit. The natural world is figured through human physicality – it’s familiar to any of us who played a tree (or a bush, or a sheep) in the school play. 

There’s also the question of immersion itself – placing the audience in a world which they can explore and discover, seeming more real and authentic than the standard, potentially archaic, model of theatre. For We Can’t Reach You, Hartford (The Assembly), the audience stand in the centre of a burnt down circus tent while the cast move around them. Iris Theatre’s Hamlet last summer was in the grounds of St Paul’s Church in the heart of Covent Garden – playing a play about corruption and capital in the capital of a perhaps corrupt institution. Sleep No More, an immersive theatre experience in New York since 2011, features more than ninety different spaces – from candy shops to cemeteries – while Then She Fell (riffing off Alice in Wonderland) takes place in an old church, transforming it into an interactive psych-ward for the audience to move around.

So, why can’t we create an immersive world featuring nature? It would be far easier than a garden play, less reliant on the weather and more suitable for tech work. But the majority of us haven’t been to psych-wards or candy shops or circuses enough to truly judge their authenticity. We simply don’t have that knowledge so rely on tropes and creative choices to inform us. It’s far easier to create an immersive, authentic world within the urban sphere. When attempting to portray the natural world, though, the audience can typically tell, especially when given the freedom to move and investigate the space – in Three Sisters, the fake vines and fronds are only possible because of the separating proscenium arch. Sarah Kane famously demanded that flowers on stage in her play be real, planted in soil and tended to between performances. Authenticity at all costs.


So, the natural world can be constructed through staging, as in Three Sisters and The Majority, ensemble and cast (through The Prince of Egypt), props (as in King Lear) or indicated through the play text itself, with a requirement for audience belief. All of these are inauthentic – but then so is theatre. Fundamentally, it is a medium of falsehood and omission, with inauthentic performativity being central. Sibyl Vane, a failed actress, in The Picture of Dorian Gray claims that “the painted scenes were my world” in the “empty pageant” of the theatre. While in the theatre, these painted scenes can become our world, from the urban to the rural or natural. While it is an “empty pageant”, it is our choice to believe that makes the environment real. 
No matter how the natural world is constructed in theatre, it is its impact – whether it is compelling enough to make us believe – that is truly important.

Review: Facial Recognition

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In “Facial Recognition”, the main organiser, Lucy Tirahan’s ambition is clear: to break the unspoken taboos surrounding mixed-ethnic heritage.

The exhibition is extremely successful. It avoids romanticizing while asserting the wealth of multiculturalism. Ten frames are mounted over two tables running the entire length of the room. Each contains a picture and a text of equal size, highlighting how the story is just as important as the piece. The pictures are simple, they do not attempt the “artistic” but rather seek to imitate the quick gaze those with distinctive or “different” facial features experience every day.

The name of the exhibition, “Facial recognition” does not fear controversy. The words are now deeply associated with racial profiling and racist discrimination. The pictures and stories stimulate the observer, whether they be of mixed ethnic heritage or tenth generation Midlander, to confront their own, internalized discriminatory instincts. The project is nuanced in that it acknowledges one may be intrigued by difference. The juxtaposing of such a diversity of portraits and stories downplays morbid curiosity, as we are quick to realize the multiplicity of the shapes and forms of difference. 

Indeed, “Facial Recognition” explores the boundless spectrum of what mixed heritage can be. Mixed heritage simply means having multiple heritages. While it is often connotatively connected to differences in physical appearances, religion, traditions and customs, especially in highly normative places like Oxford, it doesn’t fit a unique definition. The life-stories narrated in the exhibition are particularly compelling in that matter. 

Some have experienced discrimination, for others “mixed heritage” is not a strong component of their identity. One written portrait says: “I don’t really consider myself to be someone with mixed heritage”. People from all parts of the university are represented, from undergrad to DPhils, College staff and teaching body. Mixed-heritage is a common and often understated reality. As such the exhibition pushes the borders of what “mixed heritage” can sometimes come to imply.

At the opening of the exhibition, Lucy held a beautiful speech. When she was eleven and her parents divorced, someone told her she would have to be English in the week and Indian on the weekends. These hurtful words had a deep impact on her but ended up motivating many of her later enterprises, amongst which this exhibition.

After her speech, her mother Cheryl said: “I am tremendously proud of her achievement. I am so proud of her passion; a lot of people should take a leaf out of her book. As humans, we are all equal, but the day we won’t these kinds of exhibitions is the day that will have become a reality.”

The exhibition is highly recommended if you wonder what mixed-heritage exactly means or if you are curious to delve into ten unique life stories.

Oxfordshire could become the UK’s first smoke free county

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Last Thursday Oxfordshire’s Health Improvement Board discussed a plan to reduce the number of smokers in the county. The scheme has been proposed following concerns about the pressure smoking has been putting on the Oxfordshire economy. 

Action on Smoking and Health reports that smoking costs Oxfordshire residents £121.7m every year. This includes spending on healthcare, workplace productivity, social care and house fires. The report also states that 2,132 people died from smoking-related causes in Oxfordshire between 2012 and 2017.

Oxfordshire Tobacco Control Strategy outlines plans to become smoke free by 2025, becoming the first county in the UK to do so.

According to a report to the Health Improvement Board, approximately 10 percent of the county’s population smokes regularly at the moment, equating to roughly 54,804 people.

Ansaf Azhar, Oxfordshire County Council’s director of public health, outlined the deep inequalities associated with who was smoking in Oxfordshire, stating that the poorest communities were hit the hardest by the health issues caused by the habit.

He said the new strategy had a ‘four pillared’ approach to reducing the number of smokers. These pillars will be: carrying on with existing prevention work, regulating and enforcing tobacco products, creating more smoke-free environments, and supporting smokers to quit.

The Health Improvement Board is made up of members from Oxfordshire’s five district councils, the county council, Thames Valley Police, and local health organisations.

Oxfordshire County Council is preparing to launch the Oxfordshire Tobacco Control Alliance Tobacco Control Strategy Consultation on ‘No Smoking Day’ on Wednesday 11th March.

The Council’s press office told Cherwell: “Representatives from the alliance will be attending and we are currently confirming interview availability for the day with key people from organisations such as: Oxford Health, Oxfordshire County Council, OUH [Oxford University Hospitals], and CCG [Clinical Commissioning Group]”.

You’ve Got Mail: The Joys of Letter-Writing

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My friends often say that I write paragraphs. This may seem self-evident: newspaper articles are generally composed of several linked paragraphs, and this is no exception. But what they really mean by this statement, often imbued with a palpable undercurrent of frustration, is that I never truly sacrificed my verboseness or literary tendencies for the brevity which modern communication methods favour.

Until recently, Twitter was typified by an irritatingly constrictive 140-character limit. Multiple texts may be more likely to engender annoyance than appreciation in the receiver. Any Facebook message longer than about four lines leads recipients to expect an unwanted emotional diatribe. This desire for conciseness has even invaded political discussions: lengthy and well-reasoned comments regarding push-button topics on social media appear to be met more commonly with ridicule than the sarcastic and often meaningless replies which inevitably follow.

Often, it seems that anyone hoping to express complex or subtle ideas to friends must either condense them inelegantly or await the rare luxury of coffeehouse get-togethers. Therefore, a few years ago, I resorted to the ancient and arguably declining art of composing letters. This may appear somewhat archaic, but I truly believe that social media and instant messaging have increased the importance of handwritten communication.

Admittedly, busyness prevents me from writing regularly, and the convenience of online messaging is often useful for maintaining contact with close friends. Yet long-form communication remains very personal and satisfying. Letters are blank canvases on which grand ideas and important subtleties, not easily expressible in a simple text message, may be communicated to a specific recipient directly. They are also physical mementos: much as record collectors prize the tangible manifestation of nostalgia, letters enable recipients to hold valuable memories of the author. And letters invite thoughtful replies – not just a few words in answer to a specific and trivial point, but a wholehearted response which is likely to be deeper and more meaningful than a brief Tweet.

But receiving a letter represents more than just a chance for the addressee to understand more fully the mind of the writer: it shows that the author genuinely values the recipient. We live in an age where an unthinking communicator may type and dispatch a minimal reply instantly, and many people regard their overflowing inbox with irritation. However, well-composed letters reflect the planning and effort of the sender, who may hope to be rewarded with a similarly pleasing response. Finding a handwritten envelope among the charity bags and pizza flyers which regularly blight my letterbox is always exciting. I hope to convert others to my allegedly noble cause!

Unfortunately, recruits are few and far between. Social media is anything but a passing fad, and it is difficult to imagine a young person receiving a handwritten letter from one of their peers with anything other than surprise. Nevertheless, I still believe in the importance of communicating with close friends on a deeper level than the sharing of memes or truncated anecdotes: if a face-to-face conversation is not possible, letters are one of the few catalysts of this process.

I just hope that social media doesn’t take over entirely. I’d rather it didn’t infect newspapers like this one, leading contributors to disregard good grammar and omit definitive article in their pieces. One rueful day, we might even begin missing vowels out completely, until there’s nothing left xcpt cmplt nd ttr nnsnse. 😉

Is Britain Ready for the Coronavirus?

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Since this article was written, it has emerged that the first British person has tragically died from the disease in Japan.

Fears of the coronavirus threat have intensified after health officials’ warnings of a potential global pandemic.

Italian authorities have begun to fine individuals found entering or leaving its northern outbreak areas, after the country’s death toll rose to 152 – the worst outbreak in Europe. Schools and universities have been closed, and the last days of the Venice Carnival cancelled.

Similar closures have been enforced in Iran. Public buses are being disinfected, and posters put up telling people to wash their hands. Its neighbouring countries Turkey, Iraq and Pakistan have shut down borders or imposed stricter health checks. Meanwhile, a sudden spike in cases was reported in South Korea this weekend, with the southern cities of Daegu and Cheongdo declared as quarantined exclusion zones. People are encouraged to wear face masks, and hand sanitizers have been placed in public spaces.

According to the official website of the European Centre for Disease Prevention and Control, the UK’s risk of ‘clusters, similar to the ones in Italy’ is considered as ‘moderate to high’. But the UK’s comparative placidness appears in striking contrast to the urgency voiced by affected countries. And while Trump has expressed fury over coronavirus patients being flown back to the US, Boris Johnson has stated that the UK should remain ‘confident and calm’.

Evacuated Britons are quietly flown back, quarantined, and treated. Headteachers have been told that there is ‘no need’ to close schools. Face masks are suggested to be ineffective, though washing hands is still important. Sadiq Khan has emphasised that public transport is safe. However, while the government seems calm, others may disagree.

Earlier this month, a family from Southeast Asia complained about their treatment at a local surgery in London after possible coronavirus symptoms were found in the mother. Although measures were promptly taken by the GP to quarantine the family, the ambulance took nearly four hours to arrive (between about 11am and 3pm). Only water was provided during this time. The family, who were visiting the UK to celebrate their daughter’s graduation, eventually phoned their embassy. A director at the embassy then intervened, negotiating with the GP to allow them to order a takeaway.

Overreaction is certainly better than underreaction, and the swiftness of the GP’s response is commendable. But this example echoes the pressure on GPs described in Channel 4’s recent documentary ‘Coronavirus: Is Britain Ready?’, as well as a lack of clarity over procedures for the patients’ information. At one point in the documentary, a member of Brighton’s health board berates the council, noting that ‘Public Health England have really got to step up and be more open in their communications’.

‘We’re being drowned in demand’, another GP adds. The problem of delayed ambulances reflects more long-term concerns over the strain on the underfunded NHS. Coronavirus, if it spikes in the UK, could test this strain to breaking point.

The case may moreover anticipate the ease with which coronavirus patients can be seen primarily as threats rather than humans. In the struggle to contain the disease, the patient’s welfare could be forgotten – the incident at the surgery, unfortunately, recalls the difficulties getting food in quarantined Wuhan . A failure to recognise coronavirus as an international issue can reinforce the simplistic and unhelpful notion of the disease as a ‘Chinese virus’.

There is every reason to have faith in UK’s response to coronavirus: the 2010 independent review by Dame Deirdre Hine in relation to the 2009 influenza pandemic, observed that ‘the NHS and public health services… responded splendidly and the public response was calm and collaborative.’ Meanwhile ‘the vast majority of the reporting of the outbreak’ was ‘highly responsible’.

Nevertheless, coronavirus presents a slightly different threat in its implications for identity politics, when UK post-Brexit is arguably more volatile, more isolated. We cannot be too complacent in expecting to remain ‘confident and calm’.

University commits to the Oxford Living Wage

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The University today announced that they have committed to paying the Oxford Living Wage, which will see a pay rise for nearly 2,000 employees, at a cost of around £5.5million over five years.

Wages will increase to £10.21 minimum hourly pay from 1st August 2020 onwards, when the commitment to paying the Living Wage will be implemented. The Oxford Living Wage is 95% of the Living Wage Foundation’s London Living Wage. The University is the largest employer in the city, and this represents a significant success for the council’s efforts to get employers to pledge to pay the Living Wage. 

This does not include colleges, who employ workers separately. St Cross College and Campion Hall already pay the Oxford Living Wage. A number of colleges currently pay the Living Wage Foundation’s Real Living Wage, which is currently £9.30 an hour across the UK, and £10.75 in London.

These are all voluntary rates: the two government rates that employers must legally pay are the National Living Wage, which is £8.21 an hour for over 25s, and the Minimum Wage, which is £7.70 for those over 21 and under 25. 

A statement from the University read “As part of its strategic plan, the University is committed to creating an environment that is supportive of wellbeing while ensuring Oxford remains an attractive place to work.

“Employees in a wide range of jobs are set to benefit from the new rate of pay, with office/clerical support staff, library assistants, museums’ staff, security staff, invigilators, technicians, secretarial and personal assistants and retail workers just some of the roles most affected.

“Apprentices, who were included when the University moved onto the Living Wage Foundation’s Real Living Wage, will be included once again. The University will initiate discussions with suppliers regarding a move to Oxford Living Wage where practicable.

“Professor Anne Trefethen, Pro-Vice Chancellor for People and Gardens, Libraries and Museums, said “There are many wonderful things about Oxford that make it an attractive place. However, it is known as being a city that is expensive to live and work in.

“Recognising this, I am very happy that the University Council has approved the introduction of the Oxford Living Wage for University staff, demonstrating our commitment to fair pay for our employees.” 

Councillor Susan Brown, Leader of the City Council, said: “I am delighted that the University of Oxford has signed up to pay the Oxford Living Wage. This is a huge commitment from one of the city’s biggest and best known employers, and will have a positive impact on hundreds of people they employ.

“The cost of living in Oxford is one of the highest outside London, but wages in the lowest paid jobs often do not reflect this. We think that the Oxford Living Wage is a good way for employers to show they recognise the financial pressures for their staff, demonstrate the value they place on their employees, and support a more inclusive economy for Oxford.”

“We recognise some businesses and organisations will have concerns about increasing the monthly payroll, but the University has demonstrated that even employers with significant numbers of people on the lowest rate can make that commitment. We hope that other employers will follow the example of the University.” 

Analysis from the University indicates those who will be most affected by the changes.The estimated five-year cost of implementing the Oxford Living Wage for University staff is £5.5 million.

The implementation of Oxford Living Wage will affect 2000 employees. This represents 8.2% of University employees and 6% of casuals.

The jobs that will benefit most are: Office/clerical Support (19.6%), Library Assistants, (17.6%), Security Staff (9.0%), Invigilator (7.9%), Technician (7.5%), Secretary/ Personal Assistant (7.3%), and Retail (5.2%).

Analysis indicates that a greater proportion of women (55%) than men (45%) will benefit from this move by the University.

This House Believes…The Government’s VISA Changes Will Be Bad For Britain’s Economy

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Proposition – George Beglan

The Government recently announced plans to change how the UK’s VISA system works. The chief impact of this will be to block low-skilled migrants from coming to the UK. 20,700 ‘Tier 2’ General VISAs will be made available annually, divided into monthly installments. It seems that ‘Tier 1’ Exceptional Talent VISAs will be issued solely on a case-by-case basis. This is despite basic flaws in centrally-calculated economic sums.

Knowledge about immigration is, perhaps paradoxically, local in nature. It therefore exists mainly outside the knowledge of any central government or authority. Net immigration exists, as a statistic and to a lesser degree as a general debate, as an abstraction from individual context by sum addition. Whilst this can be a useful intellectual work-around when discussing general principles or debating it on television, it is illiterate to deploy it within practical economic policy. Every immigrant is surrounded by their own set of circumstances, as well as their own unique talents and knowledge. As a consequence of this, the Johnson government could never attain enough worthwhile knowledge of each and every individual. As such, they could never hope to forge a completely fool-proof economic plan. Setting a hard limitation, on a first-come-first-served basis, is a rapid and dangerous way to end up with a multitude of individual economic misallocations. Johnson’s plan could never either predict or effectively combat these issues.

In order to successfully calculate what the economy requires, there needs to be deeply detailed co-ordination between those planning it. The basic info needed for such co-ordination is usually local, temporarily valuable and difficult to compare between different cases. It’s not made easier to compare of people who can’t agree on what is valuable. What a prospective immigrant is valuable about their potential contribution to Britain, and what Johnson’s government thinks is valuable, maybe radically different.

This is the essence of the problem with the government’s proposals. People coming to this country may well have a very different understanding of what they can bring to Britain than the government’s tick-boxes. The VISA system prevents effective communication between these two parties and thus any sort of coordination between Home Office policy and prospective migrants. The government’s policy, pax Pink Floyd, makes each immigrant just another brick in the wall either facing in or out of Britain. It neglects the unique personality and potential contribution of every individual.

Subjectivity comes to the heart of the government’s problem. Who decides what the country needs? Central government? UK businesses? Voters at the ballot box every five year? Immigrants themselves? A quango? The day-to-day whims of Priti Patel? All these perspectives pulling in radically different directions mean that any simple conclusion of what’s best for Britain’s economy is impossible to arrive at. It’s amazing that a government that claims it represents a “People’s Government” has no idea just what sort of people it’s referring to in one of its central policies.

Opposition – Jasper Evans

Before I begin, I would like to make clear that I disagree with this policy. For one, I find it emblematic of Boris ‘watermelon smiles’ Johnson’s attitude towards migration, and the larger ‘hostile environment’ attitude of the recent Conservative party. Perhaps more importantly, as the son of an immigrant, I would like to be allowed to come back home in the next vacation.

So I disagree with this policy with my heart, but that doesn’t mean my wallet can not see its potential benefits. I am not going to make the tired argument that migrants take up more tax money then they produce, which despite its aggressive disconnection with the truth still manages to trundle out once in a while on Question Time. Instead, I am going to posit that in the long run, a decrease in low-paid migration may be the solution to the British economy’s greatest weakness, productivity.

The British economy is stunningly unproductive. It lingers at the bottom of the G7 table, more than 30% lower than the United States and 10-15% lower than Germany, France or Sweden. Productivity, a measure of the amount of GDP produced per hour, is vitally important to economic growth. As Nobel prize winner Paul Krugman states : ‘productivity isn’t everything, but in the long run it’s almost everything’.

The government policy will (if implemented fully) vastly limit the number of migrants coming to the U.K. Especially low-paid low-skilled workers, who will be banned altogether. This will lower the number of working people in the U.K. and as any first year PPEist should be able to tell you, less supply with the same demand leads to a higher price. Wages will rise.

This may well, in the short run, be detrimental to the U.K. economy. Higher wages mean higher costs and some firms may not be able to compete. However, in the long run, firms will see higher wages as an incentive to invest in their workers. The ratio of the cost of labour to the cost of capital (machines, computers etc) will increase, and so other methods of increasing the amount produced in a firm will become more attractive. This will lead firms to invest more in machines, in training and in emerging technologies such as AI. This investment will allow each worker to produce more goods or services in the same amount of time. Productivity will rise.

At the same time, higher wages for workers and higher costs for firms will mean the economy will level out. Workers will become more valuable and receive a higher cut of revenues, while lower profits (at least in the short run) will limit the growth in wealth of the super-rich. The policy could lead to a more egalitarian society. In other words, the new Conservative policy may solve the productivity crisis and create a more egalitarian society. If it wasn’t such a morally distasteful thing to do, it would be a brilliant idea.

(Physical) Money Makes the World Go Round

The words “cash” and “money” are interchangeable, but in an age of invisible systems that do anything (and just about everything) for you, surely using tangible money has become rather passé. Why be weighed down by coins, or struggle to sift through banknotes, when you can simply swipe that innocuous, all-powerful plastic rectangle and escape all the fuss?

On one hand, going cash-free is certainly good for the environment. We save on the paper and energy that goes into churning out notes and coins – the Bank of England estimates there are £71 billion of their banknotes currently in circulation. That’s a lot of paper. The good news is that it’s become more sustainable in recent years, with the UK leaving behind cotton-paper, replacing it with the more durable, more hygienic, more secure polymer notes, with a carbon footprint 16% lower than paper. They are also waterproof, trivia fans. Nevertheless, no carbon footprint is better than some carbon footprint, so cards are still preferable.

Most obviously, bank cards are just so easy to use. Where shops offering contactless payment via credit card or mobile phone used to be a minority, now just you can shop about anywhere without worrying that they’ll say “cash only, please”. Asides from The Lamb and Flag, that is. They even only take card payments for snacks on British Airways flights! If that isn’t a sign that we’re headed for a cashless world, I don’t know what is.

Going cashless is decidedly in at the moment. Tatler magazine has affirmed that it’s something of a power-move. And to some, keeping up with trends is reason enough. But be warned: the credit card as a status symbol has the potential to divide. A bank card is disturbingly defining: right there, unalterably printed, is your name, alongside that of a particular bank (who banks there? What do they offer?), on a certain type of card (who designed it? What colour is it? How heavy is it?), all of which communicate your financial status, and by extension say something (however lamentable) about you. That’s a lot more information than most people are comfortable waving around when popping out for milk. The worst part is that people feel entitled to judge you for it. Raised eyebrow at restaurants, or snide “funny, these cards don’t usually get declined” from hoity-toity checkout staff . So in a world where we strive to eradicate elitism, do we really need another silent class marker?

The most terrifying aspect of it is psychological. Research shows that the subconscious reaction triggered by cash and card payments differs significantly: with bank cards, you don’t feel that you are losing money. Whereas the physical act of handing over cash gives us a feeling of loss, swiping a card elicits no such response. It may even be empowering. And as a bona fide card user, that sends chills down my spine.

Today, in our rampantly consumerist society, bank cards undeniably make sense. The environmental and convenience aspects are certainly steps forward. But with every innovation come new challenges, especially for people who struggle to keep up. Many elderly people still rely on cash, and not all of them can master a self-checkout as effortlessly as a Fresher in a hurry. What’s more, the threat of online scammers and credit card fraud looms large – your card details, like your personal information, are probably much more accessible to everyone else than you think.

Food for thought, I say – and how would you like to pay for that? Cash or card?

In conversation: Greta Morgan of Vampire Weekend and Springtime Carnivore

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Greta Morgan – otherwise known as Springtime Carnivore – has made a name for herself as a touring member of indie rock band Vampire Weekend. Driven by dreamy-pop, psychedelia and punk rock alike, Morgan is a multi-instrumentalist whose talent speaks for itself. Hope Hopkinson chatted to Greta following the conclusion of Vampire Weekend’s Father of the Bride world tour and deserving Grammy win, to talk about all things music, touring, and elusive neighbours.

Across all the projects you’ve been involved with, it’s evident that your driving force is your passion. Could you tell me a little bit more about where this passion came from, and how you continue to inspire and motivate yourself to make music?
“Playing music and writing songs has always felt like part of the basic tapestry of daily living, as natural as making coffee in the morning or going for a walk in the afternoon. I began writing songs as a toddler and learned how to write sheet music before I learned the alphabet. Thankfully, my parents nurtured those early instincts. By the time I was 11, I had studied classical music but was ready to quit piano because I thought it wasn’t “cool” anymore, but then my parents divorced and I began writing songs as an emotional catharsis while I navigated that emotional transition. If my parents didn’t get divorced, I imagine I would’ve become a different type of writer: my teenage dream was to write books or become a journalist prior to that happening. Music is just the best way for me personally to alchemize an emotion and once I learned how to do that, I’ve never stopped.”

“I’m writing all the time, but the intention changes: sometimes I write for catharsis, sometimes for a cerebral challenge, sometimes it’s a means of collaborating or communicating with other people. Occasionally I write on commission for a commercial, film, or for another artist – at those times it feels more like a part time job because the assignment is super clear. But writing has always been there as an essential part of the day. I don’t have a specific writing mantra, but if I did it might be, “just keep swinging,” because I revisit song ideas over and over ‘til they take shape and often I just sit down to ‘open the channel’ and see what’s playing without any expectation.”

Throughout your career, you’ve been involved with a diverse array of projects. My favourite so far is the punk-meets-dreamy-pop cover album, Take it, it’s yours, that you released with Katy Goodman. Your arrangements of punk classics reinvented them as feeling both beautiful and current – what was the creative process behind this project like?

“Katy and I have always loved to play music together. She’s an unbelievable harmonizer because her voice has this pure, silky quality that blends perfectly with anyone. She and I were goofing around in my backyard singing the Misfits with a two-part harmony, and my elusive rock ‘n’ roll neighbor whom I call “The Shredder” (he shreds epic guitar solos but only for 15 minutes a day at sunset), called over the fence and said, “THAT IS BEAUTIFUL, LADIES!” We joked afterward, “What if we made a whole record of beautiful versions of punk songs? Wouldn’t that be funny?” but then realized it was a legitimate idea.”

You’ve been releasing music as Springtime Carnivore for the best part of a decade – with a gorgeous discography of sunshine-meets-psychedelia. Your music feels heavily detailed and authentic; a real labour of love. How has releasing this music been different to your other projects?

“Springtime Carnivore has more of my own fingerprints than any other project I’ve been part of, for better or for worse! There’s much beauty and joy in collaborating, but I feel like I can go deeper when I work in solitude and that’s how the Springtime Carnivore records were written.”

In 2018, you joined the touring line-up of Vampire Weekend. How did this opportunity come about? What’s been your experience so far of joining such a well-loved band on the road – how has the fan reception been, and what have been the highlights?

“Funny backstory here: Ezra Koenig (the singer of Vampire Weekend) and I found out in 2008 that we are third cousins through marriage. We learned of this through a Koenig family email chain which my grandmother Lynn (a distant Koenig), was a member of. Someone sent news of Ezra’s Spin magazine cover in 2008 to the email chain, and my grandmother responded saying, “My granddaughter is on tour with her band too!”.”

“Eventually Ezra and I met. I liked him immediately because he’s funny, brilliant, and has a unique perspective on pretty much everything. A decade went by and I continued releasing records and touring in my own projects. Around 2017, I began to occasionally accompany other singers on tour (Jenny Lewis, Jessica Pratt, etc.), and enjoyed the process of learning another artist’s back catalogue. My rule was that I’d only accompany someone from whom I had much to learn musically. When Rostam left the band and they were re-building the live lineup, Ezra invited me to join the group.  I was super excited, as I have loved all their records for years. And I was grateful I’d had those recent experiences of backing Jenny Lewis and Jessica Pratt because it prepared me for this. Amazingly, I joined the band the week before my grandmother died. I was able to tell her that, because of her insight, she had connected Ezra and I and we were about to travel the world together. It felt like a generational passing of the torch in a beautiful way.”

“When I joined the band, they basically said, “If you can learn 60 songs to start, that would be great. We’re going to play our first show in less than a month.” From there, I went into Vampire Weekend tunnel vision – I spent 8-9 hours a day learning the songs and memorizing lyrics with flash cards. At a certain point, I started dreaming medleys of their songs; it was total immersion.”

“Now it’s almost 2 years since I joined and the musical bond in the band is super strong.  Performing feels like second nature. We play 2.5 hours a night and keep a catalogue of 80+ songs of original material and covers fresh enough to take requests every evening. Before we started touring, we rehearsed for 6-8 hours 3-4 days a week for essentially 8 months. That feeling of musical and personal companionship is a joy for any musician to have. I’m always happy to have a break at home between tours to catch up on my own work and recover physically, but I always miss the guys!”

It’s been incredibly welcoming seeing your addition to the lineup, as well as Danielle Haim’s contributions to the latest VW record, Father of the Bride – shaking up the previously all-male outfit. How has being a woman in rock music shaped your experience, in Vampire Weekend and beyond?

“It’s hard to answer a question about being “a woman in rock music,” because I have no idea what the alternative is! It’s just my life, it’s always been my life. I love playing music with all genders of people and non-gendered people – music is for everyone!”

“The one thing I could directly respond to here is the fact that dozens of female Vampire Weekend fans have sent me messages saying that seeing a woman in their favorite band gave them hope and encouragement to pursue an instrument or a path in music. If me being “a woman in rock music” helped encourage these young women to follow their interests and their talent, then I don’t mind identifying that way.”

What’s next on the horizon? Can we expect to see new Springtime Carnivore music? Do you see your involvement with Vampire Weekend going beyond the stage and extending to the creative and recording processes?

“I’m working on a solo record which I’m deeply excited about. It’s been a joy to use my time off to incubate these new songs and I look forward to releasing some music in 2020 and a new record in 2021. I’m also working on a scripted project with a comedian friend, which has been incredibly fun because it’s an outlet for a different part of my personality than songs. The future with Vampire Weekend is yet-to-be-discovered, but I certainly have loved my time with them and would be game for more.”

Should Manchester City have been banned?

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The recent decision by UEFA to ban Manchester City from European competition for the next two seasons has sent shockwaves through the footballing community. However, City are unlikely to be the only offenders of UEFA Financial Fair Play (FFP) regulations to be punished in such grave fashion, as it is the spending epidemic that has permeated the highest levels of club football that UEFA is combating by the introduction of FFP.

Manchester City had been little more than noisy neighbours to United, the team which largely dominated the Premier League throughout the Sir Alex Ferguson era. Their rise to prominence began little over ten years ago, when Sheikh Mansour took over the club from former prime minister of Thailand, Thaksin Shinawatra. At that time, City’s finances were in a precarious position. Mansour’s acquisition of the club financed a number of high-value bids: City broke the British transfer record in 2008 by signing Robinho from Real Madrid. The club went on to spend more than £100 million in the summer transfer window of 2009, purchasing players such as Kolo Touré, Carlos Tevez and Joleon Lescott. As the club’s spending increased, so did its performances. They won the FA Cup in 2011, their first success in more than thirty years, followed by the Premier League in 2012. In recent seasons, under Pep Guardiola, they have become one of the best English, if not European, teams, winning the domestic Treble in the 2018-19 season. However, on 14 February, the UEFA Club Financial Control Body banned Manchester City from all UEFA club competitions for the next two seasons and imposed a fine of €30 million, due to breaches of FFP. In response, Manchester City has decided to appeal to the Court of Arbitration for Sport.

When it comes to big spending, City is not alone. Other big-name clubs such as Paris Saint-Germain and Chelsea are also under UEFA’s radar, and may face similar consequences, if slightly less harsh. Indeed, the trend of increasing spending to improve performance has existed for a long time, and not only in the top tier of football clubs. In 2009, when FFP regulations were agreed to in principle, then UEFA President Michael Platini said, “Fifty percent of clubs are losing money and this is an increasing trend. We needed to stop this downward spiral.” It was commonplace for clubs to spend considerably above their income in order to stay competitive, often incurring huge amounts of debt as a result. The regulations were implemented at the beginning of the 2011-12 season. Roughly put, clubs are put under rolling three-year monitoring periods, and FFP puts a limit on how much money clubs can lose over each period. For example, for the 2014-15 season, losses in the previous three seasons are limited to €35 million, and for the next season this is reduced to €30 million, and so forth.

The motivations for implementing FFP regulations were no doubt benevolent. Amongst its aims are promoting standards of football, ensuring clubs are well-organised, and improving financial discipline and encouraging responsible spending. UEFA has taken care to exempt some expenditures, such as those related to youth development and training facilities. This leaves some grey areas as to how incomes and expenditures should be classified. The alleged problem with Manchester City is that it directed money from Mansour to the club via sponsors linked to him, thus inflating the value of its commercial income in the form of sponsors, in order to help meet FFP rules. This is only one of many methods by which clubs attempt to circumvent or comply with the regulations. In recent player transfers, transfer fees have sometimes been paid in several instalments across multiple seasons, or after the player is loaned to the destination club.

It seems that UEFA’s punishment of excluding City from future competitions is rather harsh; after all, it is the most severe of the eight punishments available to UEFA,which range from warnings and fines to disqualification from ongoing competitions and exclusion from future competitions. But this punishment has precedent. AC Milan was banned from European competition for the 2019-20 season after UEFA found that it breached FFP rules. Manchester City themselves have previously been penalised, as UEFA limited their squad size in the Champions League to 21 in the 2014-15 season, compared to the default 25. Furthermore, City is appealing to the Court of Arbitration for Sport (CAS), which AC Milan did and subsequently managed to reduce their punishment after reaching agreement with UEFA. The magnitude and impact of City’s punishment thus remains to be seen.

For all the well intentions UEFA have, FFP has always been somewhat controversial. It makes life difficult for clubs that do not have established revenue bases yet are trying to move up the ladder by increasing spending. To be fair, this is the exact scenario FFP is targeting: clubs relaxing financial discipline in the hopes of propelling themselves upwards and sustaining their successful status. This may result in a rigid status quo, under which established big clubs which have high commercial revenues can afford to buy expensive players and maintain their status. However, at least in England, this hasn’t been the case: Tottenham Hotspur has managed to build a solid team since selling Gareth Bale, capable of challenging the top-tier teams; Liverpool owed £200 million to the Royal Bank of Scotland in the 2009-10 season, but since then FFP was introduced, their finances have improved, and at the same time they have become the team to beat. Another criticism is that UEFA effectively makes and enforces its own rules via the Club Financial Control Body, with sole discretion as to, say, what the ‘fair value’ of a sponsorship deal was, and the only way to overturn punishments is to appeal to CAS.

However, most fundamentally, supporters and critics of FFP disagree on their philosophies of how football clubs should be run. In the commercial world, the equivalent of FFP would be anti-competition. For why cannot rich oligarchs spend as much money as they like on whatever they fancy? It is not fair, one might say. But evidently, there are different notions of fairness depending on which stakeholder you ask. If clubs were like companies, nobody would complain about being outspent by rivals and consequently being less successful on the grounds of fairness. Perhaps the problem is that rich clubs can simply buy their way to success, as Manchester City, Chelsea and PSG have done. But for one, that is not always the case. Just look at Leeds, which spent hefty sums and reached the Champions League semi-final in 2000-01, only to fall as low as League One within a few seasons. Arguably, rich clubs have always had a competitive edge and will have an edge; FFP isn’t concerned with this as much as the overall trend of competitive and unsustainable spending, which will only lead to inflation in the market without teams gaining any advantage relative to other spenders. Ultimately, the question is more than whether Financial Fair Play is fair at all. It is how we envision the game of football to be.