Exeter student - Exeposé - University of Exeter

Exeter student - Exeposé - University of Exeter

Exeter student - Exeposé - University of Exeter


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ExeposéPhoto: Henry<br />

Monday March 7 2011 Issue 577 www.exepose.com<br />

Free<br />

White<br />

£9,000<br />

•<strong>Exeter</strong> first outside Russell Group to announce £9,000 fees<br />

•Graduates to repay fees when earning over £21,000<br />

•Guild pledges to ensure rise will benefit <strong>student</strong>s<br />

Charlie Marchant<br />

News Editor<br />

EXETER UNIVERSITY has announced<br />

plans to charge <strong>student</strong>s the<br />

maximum tuition fee <strong>of</strong> £9,000 a year.<br />

<strong>Exeter</strong> is the first university which<br />

is not part <strong>of</strong> the Russell Group to declare<br />

its fees plan, consequently causing<br />

concerns over how many universities<br />

will opt for the highest tuition fee.<br />

The Government had claimed that<br />

fees <strong>of</strong> £9,000 would be charged only<br />

in exceptional circumstances. Ministers<br />

warned that if average tuition fees rose<br />

above £7,500 it would mean unaffordably<br />

high costs in loans to <strong>student</strong>s, and<br />

subsequent pressure on funding could<br />

mean a cut in university places.<br />

<strong>Exeter</strong> <strong>University</strong> is, however, the<br />

first <strong>of</strong> the research-intensive 1994 Group<br />

to set its fee, which it plans to introduce<br />

in time for the 2012 year <strong>of</strong> entry for all<br />

undergraduate courses. This is despite<br />

assertions from David Willetts, Universities<br />

Minister, that costs <strong>of</strong> Arts and<br />

Humanities courses could be covered<br />

by £6,000 per year and £7,000 for laboratory-based<br />

and medical courses.<br />

David Allen, Registrar and Deputy<br />

Chief Executive, wrote in an e-mail to<br />

<strong>Exeter</strong> <strong>student</strong>s: “We felt that it was important<br />

to signal <strong>Exeter</strong>’s intent to charge<br />

£9,000 as early as possible so that we<br />

could begin planning for 2012 with certainty.<br />

I am sure you will share our confidence<br />

that <strong>Exeter</strong> should seek to be<br />

in the same fee bracket as universities<br />

such as Oxford, Cambridge and Imperial,<br />

which have already signalled their<br />

intent to charge the full amount.”<br />

He added, “Future <strong>student</strong>s will repay<br />

the fee only when they have graduated<br />

and are earning more than £21,000<br />

a year. Above this amount, repayment<br />

will be at 9 per cent <strong>of</strong> income and<br />

debt will be forgiven after 30 years. It<br />

is estimated that only 30 per cent nationally<br />

will repay the whole fee.”<br />

Continued on page 3

2<br />

Exeposé<br />

The <strong>Exeter</strong> <strong>student</strong> newspaper<br />

Exeposé, Cornwall House, St German’s Rd,<br />

<strong>Exeter</strong>, Devon, EX4 6TG<br />

(01392) 263513<br />

Comment P 8-10<br />

Money, money, money -<br />

your views on tution<br />

fees, Powderham<br />

and <strong>Exeter</strong>’s<br />

rampant growth.<br />

Music<br />

P 19<br />

Miles Kane speaks to the Music<br />

Editors, Ellie Bothwell and Ben<br />

Murphie about Lennon, Bond<br />

and Rock’n’Roll.<br />

Screen P 22<br />

The Screen<br />

Editors interview<br />

Danny Trejo,<br />

star <strong>of</strong> Machete<br />

and the Spy<br />

Kids trilogy.<br />

Video Games P 31<br />

From Bulletstorm to Kirby’s<br />

Epic Yarn,<br />

Video Games<br />

has all tastes<br />

covered in the<br />

latest reviews.<br />

Editors<br />

Tristan Barclay & Andrew Waller<br />

editors@exepose.com - <strong>of</strong>fice hour, Wed. 11-12<br />

Deputy Editors<br />

Rachel Bayne & Jennifer Seymour<br />

depeds@exepose.com<br />

News Editors<br />

Ellie Busby & Charlie Marchant<br />

news@exepose.com<br />

Features Editors<br />

Columba Achilleos-Sarll & Anna-Marie Linnell<br />

features@exepose.com<br />

Lifestyle Editors<br />

Laura Le Brocq & Clare Mullins<br />

lifestyle@exepose.com<br />

Music Editors<br />

Ellie Bothwell & Ben Murphie<br />

music@exepose.com<br />

Books Editors<br />

James Henderson & Jacob M<strong>of</strong>fatt<br />

books@exepose.com<br />

Screen Editors<br />

Calum Baker & David Brake<br />

screen@exepose.com<br />

Arts Editors<br />

Rosie Scudder & Ellie Steafel<br />

arts@exepose.com<br />

Video Games Editors<br />

Stephen O’Nion & Alice Scoble-Rees<br />

games@exepose.com<br />

Sports Editors<br />

Alexander Cook & Andy Williams<br />

sport@exepose.com<br />

Photography Editor<br />

Henry White<br />

photography@exepose.com<br />

Advertising<br />

Stuart Smith<br />

S.C.G.Smith@exeter.ac.uk<br />

(01392) 722432<br />

The opinions expressed in Exeposé are not necessarily those<br />

<strong>of</strong> the Exeposé Editors nor the <strong>University</strong> <strong>of</strong> <strong>Exeter</strong> Students’<br />

Guild. While every care is taken to ensure that the information<br />

in this publication is correct and accurate, the Publisher can<br />

accept no liability for any consequential loss or damage,<br />

however caused, arising as a result <strong>of</strong> using the information<br />

printed. The Publisher cannot accept liability for any loss or<br />

damage to artwork or material submitted. The contents <strong>of</strong><br />

this, unless stated otherwise, are copyright <strong>of</strong> the Publisher.<br />

Reproduction in any form requires the prior consent <strong>of</strong> the<br />

News<br />

Ellie Busby & Charlie Marchant - news@exepose.com<br />

Aaron Porter fights for <strong>student</strong>s<br />

Students<br />

campaign to<br />

keep street<br />

lights<br />

Ben Tyson<br />

DEVON County Council’s plans<br />

to switch <strong>of</strong>f much <strong>of</strong> <strong>Exeter</strong>’s city<br />

street lighting late at night in a new cost<br />

and energy-cutting drive which has met<br />

significant opposition from <strong>student</strong>s and<br />

local communities.<br />

The Council has proposed that up to<br />

10,000 <strong>of</strong> the city’s 14,000 street lights<br />

are turned <strong>of</strong>f between the hours <strong>of</strong><br />

12.30am and 5.30am every night, in an<br />

effort to save 4,000 tonnes <strong>of</strong> CO 2<br />

and<br />

an estimated £400,000, if the full system<br />

is implemented across Devon.<br />

However, the Students’ Guild,<br />

through its Campaign Army, has opposed<br />

these plans and set up an online<br />

petition and campaign in an attempt to<br />

make the <strong>student</strong> voices heard on this<br />

matter.<br />

Chris Hardy, VP Welfare and Community,<br />

commented, “Whilst any efforts<br />

to reduce carbon emissions should<br />

be regarded as admirable, the absence<br />

Demo Hub goes online<br />

Tristan Barclay<br />

Editor<br />

DEMOCRACY in the Students’ Guild has<br />

moved online as the Democracy Hub’s<br />

Beta version was <strong>of</strong>ficially launched on<br />

the Guild’s website last week.<br />

The Hub replaces the General Meeting<br />

as the main forum for Guild policy<br />

making, allowing <strong>student</strong>s to submit and<br />

vote on motions remotely. It is hoped that<br />

the Hub will encourage <strong>student</strong>s to engage<br />

with Guild issues as General Meetings<br />

have traditionally suffered from poor attendance.<br />

The last meeting, held in January,<br />

lasted just half an hour and attracted<br />

only 30 attendees.<br />

Any <strong>student</strong> can submit petitions,<br />

motions and referenda on the Hub. One<br />

referendum has already been held, giving<br />

<strong>student</strong>s the chance to decide on whether<br />

or not the Guild should support the <strong>University</strong><br />

College Union’s proposals for<br />

<strong>of</strong> street lighting could serve to put<br />

<strong>student</strong>s’ welfare in serious jeopardy,<br />

which would be an unacceptable cost.”<br />

The online petition opposing this<br />

motion already has over 200 signatures,<br />

whilst a Facebook group has almost 500<br />

members, indicating a relatively strong<br />

level <strong>of</strong> <strong>student</strong> interest in the matter,<br />

given that the campaign is still at an<br />

early stage.<br />

James Eales, Guild Campaigns Officer,<br />

has stated the aim <strong>of</strong> the petition,<br />

saying, “If we can ensure that all street<br />

lighting is kept on, full stop, that would<br />

be great, but we would be happier<br />

knowing that the Council have listened<br />

to <strong>student</strong> concerns and ensured that key<br />

access routes in and out <strong>of</strong> <strong>student</strong> areas<br />

keep a high percentage <strong>of</strong> their street<br />

lighting.”<br />

Rory Cunningham, Community<br />

Liason Officer, stated, “We are awaiting<br />

further information on the streetlighting<br />

issue and understand that it will be discussed<br />

at the next public PACT meeting<br />

in St James.”<br />

strike action on March 21.<br />

The result <strong>of</strong> the referendum was not<br />

acted upon, however, as only 23 voted on<br />

the issue. Guild referenda need a 5 per<br />

cent turnout to be binding.<br />

The Guild emphasises that it is the<br />

proposer’s responsibility to publicise a<br />

referendum. Both the proposer and opposer<br />

for a referendum receive a £10 budget<br />

for publicity.<br />

James Eales, Guild Campaigns Officer<br />

and VP-elect Academic Affairs, said,<br />

“The democracy hub moves the Guild<br />

policy decision making process into the<br />

21st century, making it more accessible<br />

for the <strong>student</strong> body and hopefully increasing<br />

<strong>student</strong> engagement.”<br />

The news comes after <strong>Exeter</strong>’s 38 per<br />

cent turnout in the 2011 Sabbatical Elections<br />

set a national record for <strong>student</strong> elections.<br />

Find the hub on www.exeterguild.org/<br />

haveyoursay/democracyhub/<br />

march 7 2011 Exeposé<br />

Students are campaigning against Council proposals to turn <strong>of</strong>f street lights.<br />

Wanted: <strong>Exeter</strong> Graduates<br />

Jess Leung<br />

EXETER <strong>student</strong>s have been ranked in<br />

the Top 20 most desired for graduate recruitment<br />

for the first time.<br />

The study was conducted by High<br />

Fliers Research, specialists in <strong>student</strong> research.<br />

Over 16,000 final year <strong>student</strong>s<br />

from 30 leading universities, which accounted<br />

for 15,563 jobs in 2010, were<br />

surveyed. A list <strong>of</strong> the Top 100 graduate<br />

employers was drawn from the results.<br />

The list included jobs from a wide<br />

variety <strong>of</strong> sectors ranging from banking<br />

to the media. Amongst them were also<br />

familiar brands such as Vodafone, the<br />

NHS and the BBC.<br />

This achievement follows closely<br />

behind the <strong>University</strong>’s most successful<br />

Autumn Careers and Placement Fair to<br />

date.<br />

Paul Blackmore, Head <strong>of</strong> Employability<br />

& Graduate Development, said,<br />

Photo: Henry White<br />

“Myself and the rest <strong>of</strong> the team have<br />

been completely focused on improving<br />

the employability <strong>of</strong> our <strong>student</strong>s in<br />

preparation for when they leave university.”<br />

“I’m delighted to say we’ve made<br />

fantastic progress in both these areas<br />

and our appearance in this ranking is a<br />

testament to our success so far.”<br />

Considering only 25 per cent <strong>of</strong> Arts<br />

and Humanities <strong>student</strong>s are expected<br />

to land a graduate position, the news <strong>of</strong><br />

<strong>Exeter</strong> ranking so highly has been well<br />

received.<br />

Dominic McInerney, a second-year<br />

History and Ancient History <strong>student</strong>,<br />

commented, “It is great to see the value<br />

<strong>of</strong> the <strong>Exeter</strong> brand increasing. I had no<br />

doubts about the academic quality <strong>of</strong><br />

<strong>Exeter</strong>, but I had my doubts about employability.<br />

To hear that <strong>Exeter</strong> is now<br />

so highly thought <strong>of</strong> in the working<br />

world is excellent news.”

Exeposé Week Twenty 3<br />

News<br />

<strong>Exeter</strong><br />

<strong>student</strong>s<br />

sleeping<br />

rough<br />

Simon Dewhurst<br />

A SLEEPOUT organised by <strong>Exeter</strong><br />

<strong>University</strong> Amnesty International<br />

Society (EUAI), which was attended<br />

by <strong>Exeter</strong> MP Ben Bradshaw, has been<br />

branded a success.<br />

On Thursday February 24, the<br />

event was held to raise awareness <strong>of</strong><br />

poor and destitute asylum seekers who<br />

are refused entry to the UK. The <strong>Exeter</strong><br />

event was part <strong>of</strong> a wider movement<br />

“The event was a great<br />

success. We presented<br />

300 signatures to Ben<br />

Bradshaw and played<br />

our part in a national<br />

week <strong>of</strong> sleepouts”<br />

Charlotte Mathysse, EUAI President<br />

by the organisation which encouraged<br />

<strong>student</strong>s across the country to stand up<br />

for refugees’ rights.<br />

On campus, around 30 <strong>student</strong>s<br />

My<strong>Exeter</strong><br />

on way up<br />

Ellie Busby<br />

News Editor<br />

LUKE APPLETON, <strong>Exeter</strong> <strong>student</strong> and<br />

creator <strong>of</strong> the My<strong>Exeter</strong>isdown website,<br />

met with <strong>University</strong> Management on February<br />

25 to discuss plans to improve <strong>Exeter</strong>’s<br />

IT services.<br />

After his open letter to the departmernt<br />

appeared in the Week 18 Exeposé,<br />

Appleton spoke with members <strong>of</strong> the IT<br />

department, including Deborah Welland,<br />

Head <strong>of</strong> IT Operations to discus plans for<br />

switching to a new interface, ensuring Wifi<br />

availability all over campus and giving<br />

more support to lecturers using IT facilities.<br />

Luke Appleton told Exeposé that<br />

“they were very positive and keen to increase<br />

<strong>student</strong> interaction with the IT Department.”<br />

He encouraged <strong>student</strong>s to “be<br />

more vocal and keep pushing to improve<br />

the facilities.”<br />

Appleton plans to add complaint boxes<br />

to My<strong>Exeter</strong>isdown.co.uk to allow <strong>student</strong>s<br />

to contact the IT department directly.<br />

slept outside Streatham Court, with<br />

music and games keeping them<br />

entertained for the evening.<br />

EUAI also collected 300<br />

signatures, calling on the government<br />

to allow asylum seekers the right to<br />

work if they have been waiting for<br />

their cases to be concluded for over<br />

six months. It was argued that this<br />

would enhance refugees’ human rights<br />

Uni ups fees to £9,000<br />

Continued from page 1<br />

The <strong>University</strong>, along with Imperial<br />

College, is awaiting approval from the<br />

Office <strong>of</strong> Fair Access. <strong>Exeter</strong> has also<br />

promised it will introduce a new package<br />

<strong>of</strong> fee waivers and bursaries to encourage<br />

more applications from less well <strong>of</strong>f<br />

<strong>student</strong>s.<br />

Allen said, “This will better enable<br />

us to direct resources at widening participation,<br />

fair access and improving the<br />

<strong>student</strong> experience. It is important that<br />

<strong>student</strong>s can come and study at <strong>Exeter</strong><br />

“Universities believe<br />

that the price they set<br />

will be a sign <strong>of</strong> quality<br />

- and they will charge<br />

whatever they can”<br />

Aaron Porter, NUS President<br />

whatever their family background. We<br />

are already working with our Students’<br />

Guild to identify priorities for investing<br />

in the <strong>student</strong> experience.”<br />

Bertie Archer, VP Academic Affairs,<br />

commented, “There’s not much surprise<br />

whilst allowing them to contribute to<br />

the economy.<br />

Ben Bradshaw attended the event<br />

and said that he “was very impressed<br />

that such a big group <strong>of</strong> <strong>student</strong>s<br />

was prepared to sleep out on a cold<br />

winter’s night to draw attention to an<br />

issue that affects some <strong>of</strong> the most<br />

vulnerable people in society.” He also<br />

promised to take up their concerns<br />

at the actual figure. It’s been expected<br />

that the top institutions would go to<br />

£9,000.”<br />

Whilst the Guild still opposes the<br />

principle <strong>of</strong> tuition fees, Archer added,<br />

“The fees have got to be worth it, so the<br />

guild has been working hard to ensure<br />

that the university makes sure <strong>student</strong>s<br />

get the education they deserve for such<br />

a large fee.”<br />

The guild has set up a budget scrutiny<br />

group that will meet with the <strong>University</strong><br />

to prioritise day-to-day spending<br />

for <strong>student</strong>s, and is currently pressing<br />

for smaller class sizes and more contact<br />

hours with lecturers.<br />

However, <strong>student</strong>s have expressed<br />

their concerns over the affects the new<br />

tuition fees will have on the university.<br />

Harry Smith, a third year Business<br />

<strong>student</strong>, said, “The fee increase will no<br />

doubt essentially privatise education at<br />

<strong>Exeter</strong>; there is already an almost 50:50<br />

split between private school and comphrensive<br />

school <strong>student</strong>s, but this will<br />

start to outprice those from middle class<br />

backgrounds that don’t qualify for the<br />

grants but also can’t afford the new fee<br />

price.”<br />

Photo: Thomas Page<br />

30 <strong>Exeter</strong> <strong>student</strong>s sleep outside on Streatham campus to raise awareness <strong>of</strong> asylum seekers who are refused entry to the UK.<br />

with the government and his front<br />

bench Labour colleagues.<br />

Charlotte Mathysse, EUAI<br />

President, said, “The event was a great<br />

success. We presented 300 signatures<br />

to Ben Bradshaw and played our part<br />

in a national week <strong>of</strong> sleepouts in<br />

which hundreds <strong>of</strong> <strong>student</strong>s have been<br />

raising awareness for destitute asylum<br />

seekers.”<br />

“The cuts in funding<br />

mean we have to<br />

replace these lost<br />

revenues or face<br />

a decline in the<br />

standards <strong>of</strong> Higher<br />

Education”<br />

David Allen, Registrar, to Exeposé<br />

Aaron Porter, NUS President, commented<br />

on the fees situation saying, “The<br />

government made promises to get the<br />

tuition fees through the vote - but I don’t<br />

believe they can deliver. They said that<br />

£9,000 would only be charged in exceptional<br />

circumstances, but I suspect that<br />

50, 60 or 70 per cent are going to charge<br />

£9,000.”<br />

He continued, “From the conversations<br />

I’ve had behind the scenes, universities<br />

believe that the price they set will<br />

be a sign <strong>of</strong> quality - and they will charge<br />

whatever they can get away with.”<br />

Read David Allen, Jonnie Beddall<br />

and <strong>student</strong> comment on pages 8-9<br />

M&S closure<br />

after arson<br />

A Marks & Spencer employee has<br />

been accused <strong>of</strong> setting fire to the <strong>Exeter</strong><br />

store, which was substantially damaged in<br />

the blaze on Saturday February 26.<br />

Robin Woodard, <strong>of</strong> Beacon Lane, <strong>Exeter</strong>,<br />

who appeared at <strong>Exeter</strong> Magistrates’<br />

Court last week, has been accused <strong>of</strong> arson<br />

and criminal damage to the shop.<br />

In the early hours <strong>of</strong> Saturday February<br />

26, Woodard is alleged to have used a key<br />

to gain access to the Marks & Spencer store<br />

and then set fire to garments in the lingerie<br />

department on the first floor.<br />

Damage is also alleged to have been<br />

caused to goods in the store when the<br />

sprinkler system came on, causing flooding,<br />

which also affected the adjacent store,<br />

H Samuel.<br />

The store remains closed while staff<br />

assess the damage to the contents <strong>of</strong> the<br />

building. Around 260 workers have been<br />

transferred to other M&S outlets during the<br />

closure.<br />

John Harvey, City Centre manager,<br />

said, “Most people will still visit <strong>Exeter</strong><br />

over the coming weeks. Although clearly it<br />

is a loss, it is not a loss that is going to completely<br />

decimate our trading performance.”<br />

Bill Douglas<br />

Open Day<br />

The Bill Douglas Centre <strong>of</strong> the History <strong>of</strong><br />

Cinema and Popular Culture held an open<br />

day for families.<br />

The centre, located on the Streatham<br />

Campus, has one <strong>of</strong> the largest collections<br />

<strong>of</strong> film-related material, tracking the development<br />

<strong>of</strong> the moving image.<br />

Families had the opportunity to create<br />

shadow shows, make flick-books and<br />

zoetropes.<br />

Phil Wickham, Museum Curator, said,<br />

“Visitors had the chance to take part in fun<br />

activities based on the ideas in our collection<br />

as well as to discover what an amazing<br />

resource they have on their doorstep.”<br />

He added, “There is nowhere else with<br />

this depth and breadth <strong>of</strong> material on the<br />

moving image in this country and events<br />

like this give people the opportunity to experience<br />

the museum.”<br />

7 Research<br />

Experts<br />

SEVEN <strong>Exeter</strong> <strong>University</strong> pr<strong>of</strong>essors<br />

have been chosen as expert panel members<br />

for the 2014 Research Excellence<br />

Framework (REF).<br />

The announcement was made by the<br />

Higher Education Funding Council for<br />

England (HEFCE) on Monday February<br />

21.<br />

The REF assesses the quality <strong>of</strong> research<br />

in UK higher education institutions,<br />

and has replaced the Research Assessment<br />

Exercise (RAE).<br />

The last RAE, in 2008, placed <strong>Exeter</strong><br />

amongst the country’s leading researchintensive<br />

universities, with nearly 90 per<br />

cent <strong>of</strong> its research recognised internationally.

4<br />

News<br />

National Student<br />

News<br />

Porter won’t<br />

stand again<br />

AARON PORTER, NUS President, will<br />

not seek re-election next month.<br />

Porter plans to stand down in April,<br />

after facing hostility from within the<br />

<strong>student</strong> protest movement.<br />

The NUS leader has been at the centre<br />

<strong>of</strong> the tuition fees protest throughout<br />

his term in <strong>of</strong>fice. He saw an unprecedented<br />

upsurge in <strong>student</strong> activism, with<br />

campus occupations and protests.<br />

Porter believes that the campaign<br />

over fees is “moving into a different<br />

landscape” and therefore a “fresh start”<br />

is needed for leading the union.<br />

He says he can step down with a<br />

sense <strong>of</strong> pride after the impact <strong>of</strong> the<br />

NUS tuition fees pledge campaign.<br />

He said, “We’ve kick started a wave<br />

<strong>of</strong> <strong>student</strong> action, brought the coalition<br />

to its knees, and we’ve shaped the public<br />

debate on education in an unprecedented<br />

fashion.”<br />

Sharp rise in<br />

uni applicants<br />

Record numbers <strong>of</strong> university applications<br />

have been made by young people<br />

attempting to gain university places<br />

before fees increase.<br />

The rise in fees has caused many<br />

sixth-form <strong>student</strong>s to opt to cancel<br />

their gap years, making applications<br />

even more competitive. To date more<br />

than 600,000 people have applied<br />

through the <strong>University</strong> and College Admissions<br />

Service, however, places on<br />

<strong>of</strong>fer have been restricted to 487,000.<br />

In 2010, 17 per cent <strong>of</strong> applicants<br />

who achieved the right qualifications<br />

for their place, failed to secure their<br />

university spot (a 60 per cent rise from<br />

2009). It is expected this number will<br />

increase again in 2011.<br />

TV in the oven<br />

TWO Sheffield <strong>University</strong> <strong>student</strong>s put<br />

a TV in the oven and set fire to a chair<br />

in their halls.<br />

The pair received custodial sentences<br />

after covering heat detectors and<br />

smoke alarms with plastic bags and<br />

running out when toxic fumes billowed<br />

from the oven, leaving their other seven<br />

flatmates asleep inside.<br />

The <strong>student</strong>s pleaded guilty to causing<br />

criminal damage and recklessly endangering<br />

life. As a result, Daniel Gyi,<br />

21, was jailed and Joshua Hart, 20, sent<br />

to a young <strong>of</strong>fenders institution - both<br />

for two years.<br />

Elisabeth Martin, the prosecutor,<br />

said Gyi had told police: “We just fancied<br />

burning it for no reason.”<br />

AQUATIC species have been returned<br />

to Reed Pond following its renovation.<br />

The pond, located near the junction<br />

between Queen’s Drive and Streatham<br />

Drive, was drained to clear algae and<br />

weeds, which were both restricting oxygen<br />

to fish and blocking the fountain<br />

pipe work.<br />

Prior to the renovation, a <strong>student</strong><br />

volunteer project was undertaken to<br />

assess wildlife in the pond. A number<br />

<strong>of</strong> different aquatic organisms were<br />

found, including a colony <strong>of</strong> freshwater<br />

mussels. All <strong>of</strong> the aquatic plants and<br />

animals present were removed to a temporary<br />

location over winter whilst the<br />

work was carried out.<br />

The project also led to suggestions<br />

<strong>of</strong> new habitats that could be introduced<br />

to increase biodiversity, including shallows<br />

and inverted pipes, which were<br />

added ahead <strong>of</strong> the refill.<br />

During work on the pond, the island<br />

in the centre was cleared <strong>of</strong> overgrown<br />

brambles and weeds, and planting was<br />

renovated both on the island and around<br />

the pond. Species for replanting were<br />

chosen to be inkeeping with the range<br />

<strong>of</strong> plants that would have been available<br />

for the original creation <strong>of</strong> the pond.<br />

To avoid future problems with the<br />

pumps, a new ‘sump’ and landscape<br />

feature was created outside the pond to<br />

house the submersible pumps and their<br />

workings.<br />

Iain Park, Director <strong>of</strong> Grounds at<br />

THE fourth annual Adventure Ball took<br />

place on Saturday February 19 and was<br />

attended by 376 <strong>student</strong>s.<br />

The event was organised by the <strong>Exeter</strong><br />

<strong>University</strong> Canoe Club and made<br />

a pr<strong>of</strong>it <strong>of</strong> £2,500, which will fund the<br />

purchase <strong>of</strong> new support and safety<br />

equipment.<br />

The Adventure Ball was located at<br />

Crealy Theme Park. Upon arrival, the<br />

secret ride was revealed as the Maximus<br />

Rollercoaster. The indoor Adventure<br />

Zone was complete with drop slides,<br />

rope swings, climbing nets and ball pits.<br />

A hog roast and bar provided refreshment.<br />

Lynne Medlock, Ball committee<br />

member, spoke to Exeposé: “It’s a small<br />

ball compared to some, but it’s all about<br />

quality, not quantity. I’m really chuffed<br />

with how the night went, Crealy is the<br />

perfect venue for this ball and it all ran<br />

smoothly. Everyone seemed to have a<br />

great time so bring on next year - it can<br />

only keep getting better.”<br />

Josh Cleall, a third year Geography<br />

<strong>student</strong>, remarked, “It makes me laugh<br />

how so many people can have so much<br />

fun in a kid’s Adventure Zone.”<br />

Marie, a first year Human Bio-science<br />

<strong>student</strong>, said, “Brilliant value for<br />

money and I immensely enjoyed spending<br />

the evening with friends acting like<br />

a big kid! I would definitely recommend<br />

it as a must-do before you leave <strong>University</strong>.”<br />

XTV filmed throughout the evening<br />

and a short video will soon be released.<br />

march 7 2011 Exeposé<br />

Reed Pond is renovatedPhoto: Hannah Walker<br />

Hannah Sweet<br />

Senior Reporter<br />

Reed Pond has been renovated after a <strong>student</strong> volunteer project assessed wildlife in the pond.<br />

Canoe club make £2.5k<br />

Emily May<br />

Photo: Sammie Buzzard<br />

<strong>Exeter</strong> Canoe Club made a pr<strong>of</strong>it <strong>of</strong> £2,500 at their annual Adventure Ball in February.<br />

the <strong>University</strong>, said, “The pond has<br />

already had an influx <strong>of</strong> breeding amphibians<br />

such as frogs and we hope the<br />

refurbishment will be a significant improvement<br />

for both wildlife and landscape<br />

on campus.”<br />

Oxfam Soc<br />

live on a<br />

£1 a day<br />

Flora Busby<br />

Senior Reporter<br />

ON the week beginning February 14,<br />

<strong>Exeter</strong> Oxfam Society undertook personal<br />

challenges in order to raise awareness<br />

for those living in poverty.<br />

During ‘Poverty Week,’ members<br />

<strong>of</strong> the society chose to alter the way they<br />

lived for five days. Challenges included<br />

living in a tent, giving up technology or<br />

living on one pound a day.<br />

Recording each day on the Oxfam<br />

Society’s blog, those who took part<br />

wrote how they felt and how it related to<br />

the third world. As the UK government<br />

has just announced proposed cuts to international<br />

aid, the point was to show<br />

that this is unacceptable.<br />

The Oxfam society encouraged Ben<br />

Bradshaw, local MP, to read and find out<br />

about Poverty Week in the hopes that he<br />

will take this issue to government.

The <strong>Exeter</strong> Award is an achievement award<br />

for undergraduate and taught postgraduate<br />

<strong>student</strong>s. The Award is designed to enhance the<br />

employability <strong>of</strong> <strong>student</strong>s by providing <strong>of</strong>fi cial<br />

recognition and evidence <strong>of</strong> extra-curricular activities<br />

and achievements. If you are a volunteer, or have<br />

undertaken paid work experience, The <strong>Exeter</strong><br />

Award will help you get ahead <strong>of</strong> the 300,000<br />

other graduates entering the job market each year.<br />

The <strong>Exeter</strong> Award is sponsored by<br />

exeter<br />

universit y <strong>of</strong><br />


6<br />

News<br />

march 7 2011 Exeposé<br />

<strong>University</strong> construction works on sch<br />

Photo: Henry White<br />

The Forum construction site, pictured above and below, is well underway, with the main ‘street’ clearly visible by the Library, which is well over halfway through its renovation and extension works.<br />

Forum<br />

Photo: Henry White<br />

• 163,710 - The total<br />

number <strong>of</strong> man hours<br />

spent on the Forum.<br />

• 30,906 - The total<br />

number <strong>of</strong> man hours<br />

in February alone.<br />

• 17 - Average number <strong>of</strong><br />

deliveries per day.<br />

• 60 - Hours a week <strong>of</strong><br />

crane activity.<br />

• 35080 - Tonnage <strong>of</strong><br />

waste recovered <strong>of</strong>fsite.<br />

• 89 - Percentage <strong>of</strong><br />

waste diverted from<br />


Exeposé Week twenty 7<br />

News<br />

edule as buildings open to <strong>student</strong>s<br />

Photo: Henry White<br />

Photo: Henry White<br />

Business<br />

School<br />

& INTO<br />

Centre<br />

• The New Business<br />

School opened on<br />

Saturday February 5<br />

with Chinese New Year<br />

festivities.<br />

• The Building is one <strong>of</strong><br />

the most environmentally<br />

friendly on Campus.<br />

It has full climate<br />

control, ranging from<br />

light sensitive lights,<br />

that dim acording to<br />

natural light levels, to<br />

The INTO Centre, above, The New Business School, top right, and the new Duryard Music School called Kay House, below, have all been handed over to the university.<br />

Duryard<br />

• £2.3m - The amount<br />

invested in the new<br />

facilities.<br />

• 2,000 - The number <strong>of</strong><br />

active musicians at the<br />

<strong>University</strong>.<br />

• A recital hall, a soundpro<strong>of</strong>ed<br />

practice room,<br />

a cabaret space etc.<br />

• A chamber music room,<br />

jazz bar and a sound<br />

studio that can record<br />

events taking place<br />

around the building.<br />

Photo: Henry White<br />

windows that open and<br />

close according to the<br />

room temperature.<br />

• The new INTO Centre<br />

is a central campus hub<br />

for all international<br />

<strong>student</strong>s.<br />

• It has teaching facilities<br />

for over 600 <strong>student</strong>s including<br />

a lecture theatre<br />

and state-<strong>of</strong>-the-art IT<br />

facilities throughout.<br />

• It features numeorus<br />

learning spaces and<br />

academic facilities, including<br />

PC clusters and<br />

teaching spaces.

8<br />

Comment<br />

Tristan Barclay & Andrew Waller - editors@exepose.com<br />

Join the Exeposé<br />

Facebook group<br />

Follow us on Twitter<br />

@exepose<br />

March 7 2011 Exeposé<br />

Exeposé<br />

The <strong>Exeter</strong> Student Newspaper<br />

Are we worth it<br />

The <strong>University</strong>’s announcement that it that announce the £9,000 charge (which<br />

will charge <strong>student</strong>s £9,000 for a year’s they certainly will) are now playing catch<br />

tuition from 2012 onwards should not up with <strong>Exeter</strong>; they won’t dare charge<br />

come as a surprise to anyone. It is clear any less for fear <strong>of</strong> seeming inferior<br />

that, to make up for the shortfall in<br />

<strong>Exeter</strong> has shown considerable<br />

Government funding, universities are business acumen in recent years, but one<br />

going to have to charge at least £6,000 a can’t help but feel that universities’ advocacy<br />

<strong>of</strong> a rise in tuition fees in the first<br />

year. However, when the cap on fees was<br />

raised in 2004, the few universities that place somehow legitimises the Government’s<br />

cuts to HE funding. Universities<br />

didn’t raise their prices to the full amount<br />

soon regretted the decision. <strong>Exeter</strong>’s UK doesn’t want a cap on fees and so<br />

charge to the top bracket this time around it seems no one in the higher echelons<br />

was inevitable.<br />

<strong>of</strong> university leadership wants you to<br />

What may come as a surprise is the have a free education. The Government<br />

timing <strong>of</strong> this announcement. The fact is only going to see this as a mandate to<br />

that <strong>Exeter</strong> is the first university outside cut funding, safe in the knowledge that<br />

the Golden Triangle <strong>of</strong> Oxbridge and <strong>student</strong>s will pick up the bill.<br />

London to make plans for the top fee As Jonnie Beddall points out in this<br />

should be seen as a PR coup for the week’s issue, for the <strong>University</strong> to make<br />

<strong>University</strong> management, rather than any up for the cuts, it has to charge future <strong>student</strong>s<br />

around £7,000 a year. If fees were<br />

confirmation <strong>of</strong> <strong>Exeter</strong>’s reputation as a<br />

posh institution. <strong>Exeter</strong> isn’t even part <strong>of</strong> to go to this level, <strong>student</strong>s would only<br />

the Russell Group <strong>of</strong> supposedly leading be entitled to expect the same standard <strong>of</strong><br />

institutions. The Government promised education that current <strong>student</strong>s receive.<br />

the £9,000 fee would only be charged in By going to the full amount, the <strong>University</strong><br />

must understand that it owes <strong>student</strong>s<br />

‘exceptional circumstances’ and, whilst<br />

<strong>Exeter</strong> certainly is a credible academic real improvements. Exeposé continues to<br />

institution, one must realise that a comparable<br />

level <strong>of</strong> education can be found tion, but if we have lost the battle on fees,<br />

be opposed to paying for higher educa-<br />

elsewhere. This decision is <strong>Exeter</strong> staking we cannot afford to lose the battle on<br />

its claim at the top. Any other institutions value for money.<br />

So long Mr Porter<br />

It has been a tough year to be NUS<br />

President. Funding cuts and tuition fees<br />

have divided opinion throughout the<br />

Higher Education world, and the NUS<br />

has been floundering in the past few<br />

months as even those supposedly on the<br />

same side <strong>of</strong> the debate have fallen out<br />

with one another. Porter’s decision not to<br />

stand for re-election at the NUS’s AGM<br />

comes as his voice has been drowned out<br />

by more militant <strong>student</strong>s.<br />

What one can say is that Porter has<br />

been very public on the issue <strong>of</strong> HE funding.<br />

He convinced <strong>student</strong>s early on that<br />

this was a cause worth fighting for and<br />

mobilised thousands to march in London<br />

last year. He has brought the debate into<br />

the mainstream for <strong>student</strong>s who will<br />

graduate before the hike in fees comes<br />

in. Initially, he presented a sensible and<br />

visible face for the <strong>student</strong> argument.<br />

However, recently things have been<br />

falling apart for the NUS. Many <strong>of</strong> its<br />

flagship initiatives have been entirely<br />

ignored by the Government. Don’t forget<br />

that the NUS made a great show <strong>of</strong> getting<br />

Lib Dems to sign a pledge against<br />

tuition fees, and that the Union’s idea for<br />

a graduate tax has fallen on deaf ears. It<br />

seems Porter has been the victim <strong>of</strong> the<br />

dishonesty <strong>of</strong> politicians and the anger<br />

that <strong>student</strong>s directed at the Government<br />

during the march on Millbank has<br />

now turned, somewhat unfairly, on the<br />

NUS President. Students certainly aren’t<br />

apathetic on this issue anymore, but they<br />

seem to have forgotten who the real<br />

enemy is.<br />

Thanks to all those who helped pro<strong>of</strong> this issue:<br />

Tom Payne, Joe Johnston, Sapphire Mason-Brown, James Crouch, Isabel Stoddart, Adam Koziol, James de Souza, Luke<br />

Graham, Cyan Turan, Zoe Dickens, Fiona lally, Tom Nicoll, Jessica leung, Alice Gibson, Nick Gilbert, Sarah Holmes, Alex<br />

Hawksworth-Brookes, Rebecca Lodder, Esther Privett, Rebecca Sutton, Emily Lunn, Hannnah Walker, Marie Notermans,<br />

Sophie Alexander, Thomas Hobbes, Joshua Irwandi, Sammy Brook, Laura Stevens, Zoe Bulaitis, Tom Bond, Kate Gray,<br />

Camilla Goodwin, Tori Brazier, Sam Lambert & members <strong>of</strong> the Exeposé editorial team<br />

<strong>University</strong> justifies £9,000<br />

David Allen<br />

Deputy Chief<br />

Executive<br />

and Registrar<br />

It is important to remember that the<br />

new arrangements do not affect current<br />

<strong>student</strong>s, only new Home/EU undergraduate<br />

<strong>student</strong>s starting courses in<br />

2012. Under the new arrangements<br />

there will be no upfront cost for<br />

<strong>student</strong>s who repay the fee only when<br />

they have graduated and are earning<br />

more than £21,000 a year. Above this<br />

amount repayment will be at 9 per cent<br />

<strong>of</strong> income and debt will be forgiven<br />

after 30 years. The Government will<br />

lend any eligible <strong>student</strong> (including<br />

part-time <strong>student</strong>s for the first time) the<br />

money to pay tuition costs irrespective<br />

Jonnie<br />

Beddall<br />

Guild<br />

President<br />

<strong>Exeter</strong> will join Cambridge, Oxford<br />

and Imperial by charging new <strong>student</strong>s<br />

£9,000 a year from 2012. Let me be<br />

clear: as a Guild we have always, do and<br />

will always continue to oppose university<br />

cuts and higher tuition fees. This is<br />

the position you voted for and we will<br />

continue to fight for this position locally<br />

and nationally.<br />

We’ve been edging nearer this<br />

point for months now and ever since the<br />

Government first announced plans to gut<br />

universities <strong>of</strong> state funding, this day has<br />

loomed ever closer on the horizon. This<br />

is a seismic change in the way <strong>student</strong>s<br />

access a university education, and the<br />

implications for the university experience<br />

will be wide-ranging and pr<strong>of</strong>ound.<br />

The situation we’re in couldn’t be<br />

much worse. Starting with the latter, we<br />

have two tasks: to ensure that access<br />

to <strong>Exeter</strong> for poorer <strong>student</strong>s improves<br />

through a comprehensive package <strong>of</strong><br />

bursaries, outreach work and the use<br />

<strong>of</strong> contextual data in admissions and,<br />

secondly, for every penny <strong>of</strong> additional<br />

revenue to be spent on improving the<br />

quality <strong>of</strong> education and experience we<br />

will be paying so much more for.<br />

For this <strong>University</strong> to cover money<br />

loss in government cuts, it had to charge<br />

<strong>of</strong> family income. Maintenance grants<br />

<strong>of</strong> up to £3,250 will be available to <strong>student</strong>s<br />

with family incomes <strong>of</strong> less than<br />

£25,000. It is estimated that only 30<br />

per cent nationally will repay the whole<br />

fee, partly because <strong>of</strong> the increased<br />

threshold for repayment.<br />

Clearly, the whole issue <strong>of</strong> higher<br />

fees attracts strong views on both sides<br />

<strong>of</strong> the argument. In an ideal world<br />

most staff and <strong>student</strong>s would probably<br />

prefer the status quo whereby the taxpayer<br />

continues to provide a high level<br />

<strong>of</strong> subsidy towards tuition fees. The<br />

current fee for home <strong>student</strong>s <strong>of</strong> £3,300<br />

only covers half the cost <strong>of</strong> a classroom<br />

based course and less than a third <strong>of</strong> a<br />

laboratory based one. However, the dire<br />

financial position <strong>of</strong> this country has<br />

forced the government into some quite<br />

drastic decisions, one <strong>of</strong> which is to remove<br />

nearly all <strong>of</strong> the state subsidy for<br />

at least about £7,200. So by charging<br />

£9,000, we need to be bold and outspoken<br />

in how we guide where that money<br />

is spent. Whilst fighting these changes,<br />

as a Guild we have to make sure future<br />

<strong>student</strong>s don’t lose any further.<br />

That is why we’ve just set up a<br />

budget scrutiny group with the Vice-<br />

Chancellor, to fight for investment in the<br />

areas that we need. But now, we need to<br />

ask every single <strong>Exeter</strong> <strong>student</strong> in our<br />

<strong>University</strong>-wide <strong>student</strong> consultation. In<br />

many ways, the debate starts here.<br />

Since the autumn we’ve consistently<br />

fought against Government university<br />

cuts and higher fees, a position <strong>Exeter</strong><br />

<strong>student</strong>s voted for us to take. 350<br />

<strong>student</strong>s from <strong>Exeter</strong> and Cornwall<br />

protested in London in November and<br />

the same number demonstrated locally<br />

in <strong>Exeter</strong>. Our lobbying campaign saw<br />

thousands <strong>of</strong> letters written to our Members<br />

<strong>of</strong> Parliament and <strong>student</strong>s with Lib<br />

Dem MPs personally lobbying them in<br />

Parliament.<br />

As Guild President I’m just sorry<br />

that we’ve got to this point. The new fees<br />

will be paid back at 9 per cent <strong>of</strong> annual<br />

earnings above £21,000 (basically the<br />

average wage) and after 30 years, any<br />

outstanding debt will be wiped out.<br />

It’s not a straightforward system so it’s<br />

necessary to learn the details.<br />

But there comes a point where I<br />

just can’t move past the basic injustice<br />

<strong>of</strong> these changes. My personal politics<br />

aren’t governed by ideologies but by a<br />

sense <strong>of</strong> pragmatism, what’s right and<br />

teaching. The cuts in government funding<br />

therefore mean we have to replace<br />

these lost revenues or face a decline in<br />

the standards <strong>of</strong> Higher Education.<br />

We believe a fee <strong>of</strong> £9,000 is necessary<br />

to enable us to replace lost income<br />

and to be able to invest in the future. A<br />

higher fee enables us to do much more<br />

to support <strong>student</strong>s from poorer backgrounds.<br />

It also enables us to recruit<br />

more lecturers and increase contact<br />

hours. We are already working with the<br />

Students’ Guild to identify priorities<br />

for investing in the <strong>student</strong> experience<br />

and have set up a new budget scrutiny<br />

committee by which they will be able<br />

to work with us to establish priorities<br />

for investment. The proposal to charge<br />

£9,000 is subject to the approval <strong>of</strong><br />

fair access and widening participation<br />

arrangements by the Office for Fair<br />

Access (OFFA).<br />

Students must scrutinise<br />

what’s not. Surely, after all we’ve been<br />

through in recent times we’ve arrived<br />

at a point where we can <strong>of</strong>fer all young<br />

people an education based on their ability<br />

to learn, not to pay.<br />

Whatever your views, left or right,<br />

education really can be the passport to a<br />

better life. This country is too <strong>of</strong>ten divided<br />

by class, religion, race and politics.<br />

60 years ago we lay the foundations <strong>of</strong> a<br />

state supposedly blind to these divisions,<br />

to afford each citizen the same access<br />

to services regardless <strong>of</strong> their status in<br />

society. To further entrench these divisions<br />

at a time when family budgets are<br />

starting to buckle under a combination<br />

<strong>of</strong> inflated living costs and widespread<br />

cuts to public services, is nothing short<br />

<strong>of</strong> criminal.<br />

On a final political point, to say<br />

that cuts to universities are necessary to<br />

reduce a grossly inflated national budget<br />

is simply wrong. At under 2 per cent <strong>of</strong><br />

national expenditure and a key driver to<br />

the kind <strong>of</strong> knowledge economy crucial<br />

to British success in coming decades,<br />

to suggest that university spending ever<br />

contributed to our national debt carries<br />

no weight at all.<br />

Above all, I’m proud to be a part <strong>of</strong><br />

our community. Whether an acute awareness<br />

<strong>of</strong> the issues, mature response to <strong>of</strong>ten<br />

volatile events or a level <strong>of</strong> intelligent<br />

debate that I’ve never seen at <strong>University</strong>,<br />

I think we can all hold our heads high.<br />

In short, thank you for being <strong>Exeter</strong>,<br />

but our fight becomes harder and our<br />

mission more important.

Exeposé Week twenty 9<br />

Comment<br />

Fees are up, are <strong>student</strong>s down Your views<br />

Rob Edwards<br />

<strong>Exeter</strong> Anti-Cuts Alliance<br />

& <strong>Exeter</strong> Occupation<br />

Uncut<br />

David Allen, in his article published<br />

in the 08.12.10 issue <strong>of</strong> The Express &<br />

Echo on behalf <strong>of</strong> <strong>Exeter</strong> <strong>University</strong><br />

executive in support <strong>of</strong> raising the cap<br />

on tuition fees, claims the “battle to<br />

maintain public funding [for education<br />

in its present form] is lost.” The seismic<br />

movement <strong>of</strong> <strong>student</strong>s nationwide and<br />

their supporters in the broader trade<br />

union and anti-cuts movement tells<br />

otherwise; that the battle against attacks<br />

to education spending, and cuts <strong>of</strong> all<br />

kinds, is only just beginning.<br />

The head <strong>of</strong> Universities UK,<br />

<strong>Exeter</strong> <strong>University</strong> Vice Chancellor<br />

Steve Smith, and the mandateless<br />

Coalition government wish to carry out<br />

an ideological move to privatise large<br />

swathes <strong>of</strong> the education sector. One<br />

only need look at the degenerating effect<br />

<strong>of</strong> Private Finance Initiatives in the<br />

National Health Service, the cost and<br />

poor quality <strong>of</strong> private rail firms, among<br />

many examples <strong>of</strong> the negative effects<br />

<strong>of</strong> introducing market forces into vital<br />

public services. Allen believes if these<br />

market forces are “properly informed,<br />

[they] will determine over time where<br />

quality and value [<strong>of</strong> services] lies.”<br />

The belief that private companies can<br />

pick up the slack left by spending<br />

cuts is short sighted, and driven by a<br />

fetish for markets; the very instability<br />

<strong>of</strong> which brought about the economic<br />

recession.<br />

Through their support <strong>of</strong> demonstrations,<br />

the nine day occupation <strong>of</strong><br />

Newman A and the holding <strong>of</strong> public<br />

meetings in the city, <strong>Exeter</strong> Anti-Cuts<br />

Alliance and <strong>Exeter</strong> Occupation Uncut<br />

argue that not only will the cutting <strong>of</strong><br />

state spending and the introduction <strong>of</strong> a<br />

private business model deliver a poorer<br />

standard <strong>of</strong> education, particularly for<br />

the outrageous price charged, but will<br />

create a two tier system.<br />

Such a two tier system will result<br />

in poorer <strong>student</strong>s (despite Allan’s assurances<br />

<strong>of</strong> favourable loan conditions<br />

and bursaries) attending second rate<br />

institutions, in a competitive bracket <strong>of</strong><br />

their own, while the well <strong>of</strong>f enjoy the<br />

first rate and therefore more expensive<br />

institutions.<br />

The Coalition says that cuts are<br />

needed, that we need to “tighten our<br />

belts”. They claim Sovereign Debt has<br />

meant they have no alternative. However,<br />

young people did not cause this<br />

crisis, so why must they be forced to<br />

pay for it Getting the education sector<br />

to pay for it is exactly what Cameron,<br />

Clegg, and VC Steve Smith are doing<br />

– in massive cuts to budgets, privatisation,<br />

fees, academy schools and cutting<br />

EMA. There is no doubt that Britain is<br />

a country in deficit. But what about the<br />

£120 billion gap from tax evasion by<br />

the super rich What about the ongoing<br />

claiming <strong>of</strong> bonuses by bankers The<br />

<strong>Exeter</strong> Anti-Cuts Alliance and its sister<br />

organizations around Devon and the UK<br />

are building a broad united fight back to<br />

defend education as well as jobs, pensions,<br />

services and the public sector as<br />

a whole. Even Allan claims, “Without<br />

such severe cuts in teaching grant in<br />

England it would have been politically<br />

impossible to envisage the higher [fees]<br />

cap.” Every axe fall must be challenged.<br />

Alternatives to cuts exist, among<br />

them a Robin Hood Tax <strong>of</strong> the bankers,<br />

those who caused the crisis. Cuts to<br />

education, jobs, pay, and benefits including<br />

EMA will undermine spending<br />

power essential to economic recovery.<br />

Rather than cutting we should invest in<br />

education and public services that have<br />

long suffered chronic under funding.<br />

The money saved by cutting will be<br />

piecemeal and ultimately unnecessary<br />

– serving only to attack the most vulnerable<br />

in society. Through investment in<br />

much needed housing, public transport,<br />

renewable energy and the welfare state<br />

we could create jobs – this would build<br />

the economy. The neglect <strong>of</strong> these<br />

alternatives by this cabinet <strong>of</strong> millionaires<br />

and the Vice Chancellor’s caucus<br />

is a sure sign <strong>of</strong> their commitment to the<br />

free hand <strong>of</strong> the market in determining<br />

the opportunities and standard <strong>of</strong> living<br />

<strong>of</strong> a generation – a hand that will asset<br />

strip, sell, and scrap the youth.<br />

The widening social gap<br />

Matt Palutik<strong>of</strong><br />

Pink Floyd once sang “We don’t<br />

need no education!” Today’s announcement<br />

that <strong>Exeter</strong> <strong>University</strong> will raise<br />

their undergraduate fees to £9,000 may<br />

mean young aspiring <strong>student</strong>s across the<br />

country have to sing a slightly different<br />

version; “We can’t get no education!”<br />

It is no overstatement that the issue <strong>of</strong><br />

university fees has been the chink in the<br />

Government’s armour. Having seen a<br />

new upper limit, a small group <strong>of</strong> English<br />

universities have made it clear they<br />

intend to go all the way. And our own<br />

leafy green campus university is now a<br />

member <strong>of</strong> this gang. It will not affect us<br />

but I cannot help but feel for those <strong>student</strong>s<br />

in a few years time that will rack<br />

up £27,000 worth <strong>of</strong> debt on academic<br />

fees on <strong>Exeter</strong>. Now I knew <strong>Exeter</strong> was<br />

good, but is this fair<br />

The answer is not a straightforward<br />

one; yes and no. It is fair because <strong>Exeter</strong><br />

is currently the 11th most academically<br />

demanding university in the UK, it has<br />

a clear commitment to a high standard<br />

<strong>of</strong> teaching and research. Members <strong>of</strong><br />

the <strong>University</strong> have told the BBC that<br />

charging £9,000 a year is a statement <strong>of</strong><br />

confidence; it signals that the government<br />

cut backs on university spending<br />

will not inhibit us from the pursuit <strong>of</strong><br />

excellence. Some universities will slip<br />

down the league table as costs increase,<br />

but not us, <strong>Exeter</strong> claims. Our other<br />

£9,000 ‘buddies’ are Cambridge, Oxford<br />

and Imperial; looks impressive, we are<br />

swimming with the big fish now. A fairly<br />

shrewd move from <strong>Exeter</strong>; through the<br />

use <strong>of</strong> the issue <strong>of</strong> finance, the management<br />

have placed us at the top table. So<br />

when people think <strong>of</strong> ‘the best’ they will<br />

now think <strong>of</strong> us, they have created an<br />

even more prestigious academic image<br />

for us.<br />

But creating an image <strong>of</strong> success is<br />

not what university education should<br />

be purely about. This <strong>University</strong> does<br />

not have a huge amount <strong>of</strong> social and<br />

ethnic diversity as it is. In this day <strong>of</strong><br />

a widening social gap, the <strong>University</strong><br />

should be focused on helping bright<br />

<strong>student</strong>s from poor backgrounds to gain<br />

a quality higher education. Now there<br />

is <strong>of</strong> course the Office for Fair Access<br />

who will impose a rule on <strong>Exeter</strong> that<br />

means bursaries and fee waivers must<br />

be given to those who are less well <strong>of</strong>f.<br />

However, a mountain <strong>of</strong> debt at £9k a<br />

year is enough to put those from a low<br />

income background <strong>of</strong>f higher education;<br />

it may act as a financial deterrent. If<br />

this is the case we may witness the social<br />

gap in the UK widening further. Added<br />

to this, if <strong>Exeter</strong>, as a non member <strong>of</strong> the<br />

Oxbridge or Russell Group raises fees,<br />

will others follow Others may feel that<br />

they have to show their commitment to<br />

excellence, this could lead to a situation<br />

where the majority <strong>of</strong> highly ranked<br />

universities charge extortionate prices.<br />

<strong>Exeter</strong> may have started a domino effect<br />

that could squeeze those who are less<br />

well <strong>of</strong>f out <strong>of</strong> higher education.<br />

There is no clear answer as to what<br />

will happen, I do not have a crystal<br />

ball and even though the government<br />

sometimes acts like it does, it certainly<br />

has no idea as to how this issue will pan<br />

out. Just think yourself lucky that you<br />

do not have to take out a small mortgage<br />

to fund your <strong>University</strong> life and we are<br />

certainly fortunate that we can sing: “We<br />

can get our education!”<br />

Ellie Bothwell<br />

Music Editor<br />

<strong>Exeter</strong> <strong>University</strong>’s decision<br />

to charge the maximum tuition fees <strong>of</strong><br />

£9,000 is hardly a surprise - following in<br />

the footsteps <strong>of</strong> Oxbridge and Imperial<br />

it is likely that rather than being an<br />

“exceptional circumstance” most if not<br />

all <strong>of</strong> the top universities will decide to<br />

charge the maximum amount. Ever since<br />

Tony Blair decided that more people<br />

should go to <strong>University</strong> there has been a<br />

downward spiral - the more people who<br />

go the more worthless getting a degree<br />

becomes and the less the Government<br />

can afford to fund it. However, although<br />

I certainly don’t condone the rise in tuition<br />

fees, this isn’t the issue that should<br />

be discussed - we need to look to the<br />

David Wood<br />

In a very strangely worded email sent to<br />

all <strong>student</strong>s, the <strong>University</strong> execs seemed<br />

almost proud <strong>of</strong> their announcement to<br />

raise the fees <strong>of</strong> some courses at <strong>Exeter</strong> to<br />

£9,000, stating that they are “sure” we will<br />

share in the idea that we should be in the<br />

same fee bracket as the other universities.<br />

I am “sure” that we won’t.<br />

It seems a moronic excuse to say that<br />

Playing the<br />

Stephen O’Nion<br />

Video Games<br />

Editor<br />

Neither the rise in <strong>Exeter</strong>’s tuition fees<br />

nor the reaction to it has been entirely surprising,<br />

and yet the fee increase is likely<br />

to positively affect current <strong>Exeter</strong> <strong>student</strong>s<br />

and recent alumni whilst better preparing<br />

the university for the evermore rigorous<br />

demands <strong>of</strong> future <strong>student</strong>s.<br />

Most obviously, the instant benefit<br />

is the increased potential to weather the<br />

greater financial demands felt by universities<br />

across the country. These institutions<br />

are businesses, and though the ethics <strong>of</strong><br />

that can be debated, a successful university<br />

must fulfil its primary purpose in<br />

order to survive: education. The only way<br />

to ensure competitiveness in this area is<br />

future.<br />

<strong>Exeter</strong> <strong>University</strong> now desperately<br />

needs to justify what it will do to make<br />

studying here worth it. I think the Forum<br />

Project is a step in the right direction to<br />

improving the quality <strong>of</strong> <strong>student</strong> experience,<br />

but it’s not enough. As a second<br />

year English <strong>student</strong> the number <strong>of</strong><br />

contact hours I have are few and far between<br />

(now the equivalent <strong>of</strong> an <strong>Exeter</strong><br />

<strong>student</strong> in 2012 paying £300 a week)<br />

but I don’t want a rise in contact hours<br />

to make £9,000 a year worth it. I want a<br />

better library, and that doesn’t just mean<br />

a bit more study space and a few more<br />

computers - I want more books and better<br />

quality resources. I also want better<br />

teaching - I want a lower <strong>student</strong>-staff<br />

ratio and I want to know that I am being<br />

taught by some <strong>of</strong> the most knowledgeable<br />

people in their field doing the most<br />

up to date research. If <strong>Exeter</strong> <strong>University</strong><br />

are going to start charging £9,000 a year<br />

is that really too much to ask<br />

the reason for increasing fees is so <strong>Exeter</strong><br />

can be seen as equal to Oxbridge and Imperial.<br />

Why should we follow their lead<br />

Is it out <strong>of</strong> insecurities over our league<br />

table performance Or do the Chancellors<br />

really trust in their “extensive market<br />

research”, which must obviously be suggesting<br />

to them that <strong>student</strong>s enjoy paying<br />

more and are really very desperate to say<br />

to their friends from other universities<br />

that they’re going to a university which<br />

charges the same as Oxbridge ‘darling’.<br />

The problem now is that I’m not convinced<br />

that as great as my course really is,<br />

whether it really is worth £27,000 worth<br />

<strong>of</strong> debt.<br />

Devil’s Advocate<br />

to advance. With ventures like the Forum<br />

Project, <strong>Exeter</strong> has already shown the<br />

ambition to do so; higher fees will grant<br />

the capacity to continue.<br />

Such ploughed-back finances can<br />

only increase the prestige <strong>of</strong> the university,<br />

and the funding will come from those<br />

fully able to pay their way in the first<br />

place. The demands in place for full fee<br />

charging mean that significant help will<br />

be, as it currently is, in place for those<br />

with financial difficulties, giving everyone<br />

qualified the chance to come here.<br />

Charging the most does not equal<br />

quality. Instead <strong>Exeter</strong> must now ensure<br />

it justifies the fee raise and appeals to<br />

prospective <strong>student</strong>s in an ever more<br />

competitive market; it’s an inevitable<br />

transition for universities, and for <strong>Exeter</strong><br />

to have stated its intentions already shows<br />

its intent to capitalise on both the greater<br />

educational freedom, and the increased<br />

demand for higher quality education.

10<br />

Comment<br />

Bye bye to the Powderham Ball<br />

Antonia<br />

Hawken<br />

The fiercely large, imposing, red<br />

“CANCELLED” which covered the<br />

wonderfully symbolic, sun-setting<br />

front page <strong>of</strong> Exeposé last week hardly<br />

brought shock or mass disappointment,<br />

probably due to the fact that most <strong>of</strong><br />

us hadn’t put forward £60 <strong>of</strong> our hard<br />

earned monies to purchase a ticket. I<br />

absolutely loved the idea <strong>of</strong> the ball<br />

itself, and I’m sure most <strong>of</strong> the female<br />

population <strong>of</strong> <strong>Exeter</strong> would agree that<br />

the concept sounded promising. Who<br />

doesn’t like an excuse to dress up and<br />

frolic about the grounds <strong>of</strong> a castle in a<br />

fancy dress<br />

However, I resisted the temptation,<br />

and although I’m all for supporting<br />

charity in one way or another, the Powderham<br />

Ball presented problems.<br />

Firstly, timing. As glorious as<br />

<strong>Exeter</strong> is, the weather is highly temperamental,<br />

a fact proven by the ever<br />

changing hot – cold – warm – windy<br />

– wet – icy forecast we’ve experienced<br />

over the last few weeks. Having an<br />

outdoor ball in March pronounced<br />

potential difficulties. No one wants<br />

to be in a field or marquee suffering<br />

from the elements. The Grad Ball at<br />

Powderham in 2007 was cancelled due<br />

to bad weather; warnings circulated<br />

campus that there would be no refunds<br />

should the same happen again. Clearly<br />

not all publicity is good, though I must<br />

congratulate the committee for their<br />

imaginative attempts.<br />

Secondly, being a <strong>student</strong>, money<br />

is saved, scraped and delegated. With<br />

most <strong>of</strong> us attending this year’s SSB<br />

feeling slightly shortchanged by the<br />

event, it’s no surprise that Powderham<br />

failed to entice. If £38 for half naked<br />

girls brought grumbles, £60 for the<br />

fully clothed versions certainly wasn’t<br />

going to bring in the numbers. Having<br />

been in Birks last year and been<br />

rewarded for resilience towards ongoing<br />

building works, I’ve already been<br />

to Powderham for a far cheaper price<br />

through subsidisation, as have the other<br />

460 who attended.<br />

I’d have loved for the ball to<br />

commence this year, to hear tales <strong>of</strong> a<br />

fantastic night and how I’d missed out,<br />

to maybe make me bite the bullet for<br />

2012. Residing amongst rubble and<br />

cranes creates need for frivolity, and<br />

it’s a shame Powderham was denied an<br />

opportunity to deliver.<br />

Rosie Mann<br />

Powderham<br />

Committee<br />

The biggest social event <strong>of</strong> the year<br />

It’s back Perhaps not. As a member <strong>of</strong><br />

the Powderham committee I struggle to<br />

put into words how disheartening it was<br />

to learn that our efforts over the past<br />

months had all gone to waste. Granted,<br />

the controversial price <strong>of</strong> the tickets had<br />

simply proved to be too much. A champagne<br />

reception in the rose garden <strong>of</strong> a<br />

medieval castle does not come cheap.<br />

“Apparently we only get six free<br />

drinks” was the first question I was<br />

faced with on our launch night. Unsurprisingly<br />

it became obvious that alcohol<br />

was the clincher. After heated meetings<br />

march 7 2011 Exeposé<br />

with the Guild we learned that alcohol<br />

sponsors were out <strong>of</strong> the question,<br />

dispelling any hopes we’d had <strong>of</strong> an<br />

open bar.<br />

We bartered the prices <strong>of</strong> drinks,<br />

haggled with the portaloo man and made<br />

a great deal with the snazzy marquee<br />

company. This is what goes on behind<br />

the scenes. The ticket prices were as<br />

such because this is simply what it costs<br />

to make an event function.<br />

Despite the cancellation, it was a<br />

fantastic experience to organise the Ball.<br />

I wonder if the concept will ever be successfully<br />

re-launched, or if there is just<br />

not the market for it here anymore. £60<br />

seems high, but it would have bought<br />

you so much more than at any other<br />

<strong>Exeter</strong> event.<br />

These events must start small and<br />

grow popular. We ran before we could<br />

walk, and we know this now. I want<br />

to thank everyone who bought tickets.<br />

Please do remember that essentially<br />

the aim was to raise money for Cancer<br />

Research UK, amongst others.<br />

<strong>Exeter</strong>’s<br />

unsustainable<br />

growth<br />

Cyan<br />

Turan<br />

I can’t be the only one who was left<br />

distinctly underwhelmed by the news<br />

that the <strong>University</strong> <strong>of</strong> <strong>Exeter</strong> is the 62 nd<br />

fastest-growing business in Europe.<br />

Our current investment programme is<br />

one that only a small number <strong>of</strong> companies<br />

could ever hope to devise, made<br />

all the more unattainable by random<br />

injections <strong>of</strong> cash donated by generous<br />

alumni. But does this mean that<br />

we occupy a fair place among these<br />

rankings<br />

I would say no. The rankings<br />

are based on, among other things,<br />

employment growth and investment,<br />

both things which will cease to remain<br />

at their current level once the Forum<br />

Project is over here in <strong>Exeter</strong>. The current<br />

level <strong>of</strong> growth is one that cannot<br />

be sustained and for that reason, we<br />

should not be sitting alongside companies<br />

such as EuroAtlantic Airways,<br />

Dreams plc and Data Connection Ltd.<br />

These firms occupy a fair position because<br />

they will continue to invest and<br />

won’t be looking to make everyone<br />

involved in their growth redundant<br />

by the end <strong>of</strong> their current investment<br />

programme; their growth has something<br />

ours does not: longevity. We are<br />

set to fall drastically from this plinth<br />

<strong>of</strong> economic prestige and we must<br />

be aware <strong>of</strong> the fact that were are an<br />

anomalous statistic, set for decline<br />

when the cuts make their move and<br />

the money runs out. In addition, given<br />

our unfortunate stance as the ‘lost<br />

generation’ <strong>of</strong> <strong>Exeter</strong> <strong>student</strong>s, we can<br />

safely say that, during our time here,<br />

the <strong>University</strong> has ingratiated itself as<br />

a business far more than it has as an<br />

institution for learning. Maybe we’re<br />

the unlucky ones, but seeing corporate<br />

suits grinning their way to the top <strong>of</strong><br />

the wrong kind <strong>of</strong> league table makes<br />

me feel like we’ve been sorely misled<br />

in our view <strong>of</strong> what a university should<br />

be, and what, in reality, we’ve been<br />

provided with.<br />

Something is definitely amiss<br />

when a university is proud <strong>of</strong> climbing<br />

the ‘fastest-growing business’<br />

rankings, whilst quietly hushing up<br />

the fact that our employability and<br />

staff/<strong>student</strong> ratio levels are ensuring<br />

our decline in the higher education<br />

league tables. I don’t wish to purport<br />

a luddite-esque stance <strong>of</strong> ‘change is<br />

bad’, but I do bemoan the fact that<br />

our time spent here at <strong>Exeter</strong> has been<br />

marred by a severe lack <strong>of</strong> balance.<br />

What these statistics show is that the<br />

fine line between investing in the<br />

future and protecting the sanctity <strong>of</strong><br />

learning has not been struck.<br />

Hopefully this trend will experience<br />

a dramatic reversal when the<br />

Forum Project has finished, for the<br />

sake <strong>of</strong> the <strong>University</strong>’s future <strong>student</strong>s<br />

and the worth <strong>of</strong> our degrees.<br />

Letters to the Editors - Send your letters to letters@exepose.com<br />

RE: An open letter to <strong>Exeter</strong>’s IT<br />

Department<br />

Exeposé<br />

We are always very pleased to get <strong>student</strong><br />

feedback about our service and we<br />

recently met with Luke Appleton, author<br />

<strong>of</strong> the article that appeared in Exeposé<br />

Week 18. He had many constructive and<br />

helpful comments to make.<br />

Resilient, reliable systems are quite<br />

rightly exactly what we all demand and<br />

expect, and it is for this reason that all<br />

<strong>of</strong> <strong>Exeter</strong>’s IT systems are constantly<br />

monitored, tuned and developed.<br />

Despite that, there will be occasional<br />

downtimes but all such major<br />

incidents are critically reviewed and<br />

action taken to minimize a reoccurrence.<br />

My<strong>Exeter</strong> portal is an example <strong>of</strong> where<br />

we’ve had downtime recently. Following<br />

this incident we undertook a review,<br />

prioritised the technical work to improve<br />

performance and reliability, and we<br />

are now working through each <strong>of</strong> these<br />

developments, this is as well as liaising<br />

with Colleges to more smoothly manage<br />

high usage times. In addition, we have<br />

started the process to explore the next<br />

generation <strong>of</strong> portal s<strong>of</strong>tware to meet the<br />

needs <strong>of</strong> our <strong>student</strong>s.<br />

We recognise the importance <strong>of</strong><br />

ResNet to <strong>student</strong>s and this is another<br />

area which we are exploring to see how<br />

we can improve reliability and resilience.<br />

We will shortly be releasing more<br />

detailed information, but to let you<br />

know about some recent good news on<br />

IT provision, as part <strong>of</strong> the <strong>University</strong>’s<br />

investment in IT, pervasive WiFi will be<br />

installed in Queens and Amory over the<br />

period July – September 2011. This will<br />

be in addition to the installation <strong>of</strong> WiFi<br />

hotspots in six other buildings, including<br />

Hatherly, Physics and Ge<strong>of</strong>frey Pope.<br />

We have listened to <strong>student</strong> concerns<br />

about pc availability and have installed<br />

over the Christmas break an additional<br />

140 PCs into clusters across the <strong>Exeter</strong><br />

campuses. This takes our centrally managed<br />

<strong>student</strong> cluster PCs up to 943.<br />

We welcome feedback from <strong>student</strong>s<br />

and the new merged service <strong>of</strong><br />

<strong>Exeter</strong> IT will be meeting regularly with<br />

the Guild and <strong>student</strong> focus groups to<br />

better understand <strong>student</strong> requirements<br />

and hot issues. In the meantime, any<br />

<strong>student</strong> who wants to raise issues or<br />

provide feedback can do so by emailing<br />

helpdesk@exeter.ac.uk<br />

Deborah Welland<br />

Head <strong>of</strong> IT Operations<br />

Student power<br />

Exeposé<br />

With all the protesting over the <strong>student</strong><br />

fee rises, it is clear to all but the most<br />

unobservant that <strong>student</strong>s are taking the<br />

initiative in attempting to control their<br />

own education. However, on a much<br />

more day to day scale, this ‘right to<br />

decide’ is becoming detrimental to the<br />

education we are receiving.<br />

Consider this situation that occurred<br />

a few weeks ago on my own course.<br />

In a maths lecture, our lecturer told us<br />

that we were to have a midterm test this<br />

semester instead <strong>of</strong> the usual coursework<br />

assignments. Essentially, this was<br />

due to <strong>student</strong>s just copying each other’s<br />

coursework and everyone getting 90%<br />

plus – rendering the coursework useless<br />

in determining what grade each <strong>student</strong><br />

deserves. There was a small debate at<br />

this point but it was generally accepted<br />

that this was a reasonable thing to do,<br />

and a date was then set.<br />

Next lecture: here is where the farce<br />

begins.<br />

The lecturer came out and announced<br />

that a few <strong>student</strong>s had approached<br />

him and asked him to move<br />

the test to a different date. The reason<br />

They were going on holiday. If this were<br />

right at the end <strong>of</strong> term it would appear<br />

a fair request, however this was in week<br />

six <strong>of</strong> the course. In the middle <strong>of</strong> term.<br />

This proceeded to become a 20 minute<br />

debate on whether or not the test suited<br />

everyone, only to conclude the test<br />

should be set on the original date, effectively<br />

wasting half <strong>of</strong> the lecture. As<br />

it turned out it was a measly 4 <strong>student</strong>s<br />

who had tried to get the date changed in<br />

a lecture group <strong>of</strong> approaching 100!<br />

What gives these ignorant few the<br />

right to disrupt the education <strong>of</strong> the vast<br />

majority, change how the course is run<br />

and inconvenience a senior pr<strong>of</strong>essor<br />

just to run <strong>of</strong>f and frolic in the sun A<br />

select few <strong>student</strong>s need to realise that<br />

they have signed up to learn on this<br />

course and have to adhere to the rules.<br />

Just because they are slightly put out<br />

does not mean they should have the<br />

audacity to attempt to rework the entire<br />

assessment for the course.<br />

Jon Parkins

nominate: 7 – 17 march 2011<br />

get your favourite lecturer recognised<br />

e x e t e r g u i l d . c o m / t e a c h i n g a w a r d s

12<br />

Features<br />

Columba Achilleos-Sarll & Anna-Marie Linnell - features@exepose.com<br />

march 7 2011 Exeposé<br />

Love thy neighbour<br />

Samuel Lambert poses the question: is English society really out <strong>of</strong> the homophobic closet<br />

FLYERS recently appeared near<br />

Shoreditch, East London, outside a<br />

school and on a High Street. They<br />

carried the message “Arise and warn.<br />

Gay free zone. Verily Allah is severe<br />

in punishment.”<br />

To take this statement at its face<br />

value would be a mistake, there is no<br />

evidence that any particular religious<br />

group is behind this, and the deliberate<br />

inclusion <strong>of</strong> “Allah” does little to<br />

qualify this. Furthermore, tensions in<br />

the East London community are not<br />

restricted to religion and other motivations<br />

should not be overlooked.<br />

We must attempt as a society to<br />

understand and prevent the cause <strong>of</strong><br />

such ill-feeling en masse. To focus too<br />

closely on the tension between homosexuality<br />

and religion would be neither<br />

productive nor successful and ignorant<br />

<strong>of</strong> the real worry here. What is the motivation<br />

<strong>of</strong> such strong hatred and how<br />

can society work with the necessary<br />

authorities to prevent it taking hold<br />

The decision to flyer outside a<br />

school bears strong significance. During<br />

school years an individual will be<br />

at their most susceptible to influence;<br />

the information they are given can potentially<br />

ingrain beliefs that will follow<br />

them through life. It is <strong>of</strong>ten assumed<br />

that younger generations are becoming<br />

more accepting, but society should not<br />

become complacent and rest on its laurels.<br />

To do so could lead to generations<br />

where a significant number <strong>of</strong> people<br />

are led into a way <strong>of</strong> thinking that is<br />

derived more from propaganda than<br />

individual judgment.<br />

The recent BBC3 documentary<br />

‘The World’s Worst Place to be Gay’,<br />

presented by Radio 1 DJ Scott Mills,<br />

was an exposé <strong>of</strong> rising homophobic<br />

attitudes in Uganda. Much <strong>of</strong> the content<br />

was shocking, as could be expected.<br />

The most sobering part <strong>of</strong> the programme,<br />

though, was Mills’ interview<br />

with a group <strong>of</strong> youths. The young<br />

Ugandans were entirely against homosexuality<br />

in their country and saw it as<br />

a by-product <strong>of</strong> Western influence, and<br />

therefore outside their own culture. In<br />

pushing members <strong>of</strong> their own society<br />

into a different ‘culture’ they distance<br />

themselves from them and avoid any<br />

sense <strong>of</strong> guilt in the hatred in which<br />

they participate.<br />

Making the discriminated part <strong>of</strong><br />

an ‘other’ grouping unifies the suppressors<br />

and is a method that was<br />

evident in other sociological divides,<br />

recent and past. When asked to justify<br />

their views, the young Ugandans did<br />

not hide their influence, from the people<br />

they look up to, such as parents,<br />

teachers and the church. They were<br />

vague when identifying exactly what<br />

tells them homosexuality is wrong, a<br />

somewhat ironic uncertainty from a<br />

crowd which is so fixated on one line<br />

<strong>of</strong> argument.<br />

These young Ugandan people have<br />

been taught to believe views so strong<br />

they do not even question their source.<br />

If this interview could have been reasoned<br />

as an insight into the future,<br />

it is little wonder that Mills was left<br />

frustrated and disappointed as a result<br />

<strong>of</strong> the interview. It shows exactly the<br />

complacency and expectation we must<br />

not have in the upcoming generations.<br />

In the London community affected<br />

by the flyers, eight friends set out to<br />

either destroy or deface them. They instead<br />

left the messages “love” or “help<br />

yourself to love” and have little interest<br />

in pointing the blame to any particular<br />

religious group. Their choice to<br />

ignore the obvious direction from the<br />

message is exactly the attitude which<br />

prevents the hatred intended; they realise<br />

they are unlikely to locate the<br />

people responsible and do not make<br />

broad assumptions <strong>of</strong> the groups responsible.<br />

While their blameless attitude prevents<br />

the sort <strong>of</strong> hatred these messages<br />

try to ensure, their decision to retaliate<br />

is not ideal. There are the necessary<br />

bodies within the police, such as Gay<br />

Liaison Officers, who communicate<br />

with the community. The police should<br />

be trusted to find those responsible and<br />

deal with situations such as this flyer<br />

posting. However, such a relationship<br />

works only with mutual respect and<br />

the community should, in turn, expect<br />

the police to make clear how they are<br />

dealing with incidents.<br />

Sufficient channels <strong>of</strong> communication<br />

exist today, with multi-media<br />

platforms, which are essential to inform<br />

societies and build trust between<br />

departments <strong>of</strong> authority and the populace.<br />

Once suspects are identified,<br />

work can begin to understand their<br />

motivation and, in turn, move towards<br />

the prevention <strong>of</strong> future incidents.<br />

Only then will we be able to continue<br />

progress towards a stronger, more unified<br />

society.<br />

Short and all too sweet<br />

James Crouch discusses the life, and death, <strong>of</strong> Aaron Porter’s leadership <strong>of</strong> the National Union <strong>of</strong> Students.<br />

SUFFERING abuse and criticism from<br />

all sides, leader <strong>of</strong> the National Union <strong>of</strong><br />

Students, Aaron Porter is standing down<br />

from his position. He will leave behind a<br />

legacy <strong>of</strong> controversy, along with one simple<br />

question: was his leadership really the<br />

failure that many now will assume it has<br />

been<br />

The reaction <strong>of</strong> many NUS members,<br />

if not the vocal ones, to his departure<br />

seems to be “good riddance.” Once the<br />

fee increases were signed, it appears, so<br />

was Aaron Porter’s death warrant. Many<br />

now heckle him on sight. In their eyes, he<br />

failed. Full stop.<br />

Although I admit that Porter appears<br />

to be greasier than one well-known metaphoric<br />

pole, let’s not consign him to the<br />

dustbin <strong>of</strong> political history yet. There’s actually<br />

much to be said for him.<br />

For a start, Porter was key to getting<br />

the Liberal Democrats to sign a promise<br />

to not raise tuition fees (back when Clegg<br />

was still every <strong>student</strong>’s political pin up).<br />

Yes, I know, what good did that do anyone<br />

But every single shout <strong>of</strong> “traitors”<br />

and “back-stabbers” now thrown at the<br />

Lib Dems relies on this piece <strong>of</strong> paper for<br />

justification. The written promise has been<br />

an effective and deadly sledgehammer to<br />

knock the Coalition sideways ever since<br />

the fees issue was raised.<br />

You could argue that Porter found<br />

the rush <strong>of</strong> activism overwhelming and<br />

that he became a backseat driver once the<br />

large-scale campaign got under way. But<br />

much <strong>of</strong> this criticism has more <strong>of</strong> a basis<br />

in understandably frustration than in truth.<br />

Some parts <strong>of</strong> the <strong>student</strong> protests were, to<br />

say the least, unedifying, to say the worst:<br />

horrifying. The violence and vandalism<br />

were rightly condemned by the NUS leader.<br />

Yet for the minority <strong>of</strong> <strong>student</strong>s who<br />

seemed to think that the ends <strong>of</strong> the protest<br />

justified any means, Porter’s reluctance to<br />

support violence was seen as a betrayal or<br />

a lack <strong>of</strong> support for the cause. In short,<br />

some <strong>of</strong> his critics appear to be trained in<br />

the “you’re-either-with-us-or-against-us”<br />

school <strong>of</strong> thought.<br />

If Porter had suggested “Fine, let’s<br />

smash up the Treasury building... the NUS<br />

can deal with that later” the whole <strong>student</strong><br />

campaign could have been written<br />

<strong>of</strong>f by the Government as organised by<br />

law breakers and vandals. The campaign<br />

would not just have lost ‘the fight’, as it<br />

has done, it would have lost the moral high<br />

ground too! Instead, Porter did not let the<br />

NUS become inextricably linked with violence<br />

and so it remained a legitimate organization<br />

in many peoples’ eyes.<br />

Nevertheless, once the initial ‘fight’<br />

was lost, and the fees increase was passed<br />

through Parliament, the knives were truly<br />

out. Porter is vilified now for the simple<br />

fact he couldn’t stop the Government from<br />

getting its legislation through. According<br />

to some people, the Government’s success<br />

was due to a lacklustre campaign by Porter.<br />

But, short <strong>of</strong> invading the chamber and<br />

marching the MPs down the right lobby,<br />

what more could he have done His job<br />

was to mobilise public opinion and that’s<br />

what he did.<br />

I think the NUS is now taking the right<br />

steps by admitting that there is a new phase<br />

in this fight – the fees might be here, but<br />

universities have yet to deliver their side <strong>of</strong><br />

the bargain. I’m somewhat ambivalent to<br />

the fees rise itself, as it won’t really affect<br />

me. But, now this has been put in place,<br />

I care that universities don’t just carry on<br />

as normal while their <strong>student</strong>s’ debt triples.<br />

Being proactive and doing what they<br />

actually can to deliver better services for<br />

<strong>student</strong>s is a far more sensible option than<br />

just banging on about the fees rise that will<br />

now come, whether we like it or not.<br />

This appears to be Aaron Porter’s<br />

view too, though he’ll take stick for it. One<br />

thing is for certain: a new stage has come<br />

for Higher Education and, to Porter’s credit,<br />

he has recognised it. Despite my defence<br />

<strong>of</strong> his actions, I’m not about to beg him to<br />

stay. The past few months have been internally<br />

traumatic for the NUS, and Porter<br />

will always be linked with that. Hopefully<br />

the anger and resentment within the <strong>student</strong><br />

body towards its own leadership will<br />

go with him. Because this new fight for<br />

higher standards will be lost as well if the<br />

boil is not lanced and the National Union<br />

<strong>of</strong> Students cannot get past this exciting, if<br />

challenging, episode in its history.

Exeposé week twenty 13<br />

Features<br />

Media and the Middle East<br />

Social networking tools have played a vital part in the political uprisings in the Middle East, Rob Sturgeon<br />

analyses its success and its limits.<br />

Iran’s 2009 election protests will be<br />

remembered for one reason. Political<br />

cartoons <strong>of</strong> the time portrayed the weapons<br />

<strong>of</strong> war, the guns <strong>of</strong> violent revolution<br />

and bloodshed, replaced with the<br />

relatively recent inventions <strong>of</strong> mobile<br />

phones, social networking and blogs.<br />

When Iran’s leadership denied<br />

journalists access to the country, Twitter<br />

brought a flood <strong>of</strong> images from actual<br />

Iranian citizens. The voices <strong>of</strong> the<br />

people were not silenced. In fact they<br />

could speak more than ever. We saw<br />

protesters draped in that certain shade<br />

<strong>of</strong> green, the symbol <strong>of</strong> freedom and<br />

democracy that spread through the<br />

crowds and rallied the people against<br />

the established theocracy. This was a<br />

‘Twitter Revolution’, perhaps one <strong>of</strong><br />

the world’s first, where the power <strong>of</strong><br />

technology could no longer be ignored.<br />

The full term for Facebook, Twitter<br />

and other such sites is really that <strong>of</strong> ‘social<br />

networking tools’. This is perhaps<br />

the most important way to recognise<br />

their influence. When violence erupted<br />

in Bahrain, I was able to witness the<br />

atrocities on YouTube. I watched in<br />

horror as a humble march against the<br />

military was halted in a few seconds<br />

<strong>of</strong> gunfire. When Mubarak’s ‘security’<br />

forces ran through a crowd at 50mph<br />

without slowing down, I was able<br />

to see the human cost <strong>of</strong> democracy.<br />

Through the tools <strong>of</strong> the social network,<br />

we can gather information from<br />

ground level, before the propaganda<br />

<strong>of</strong> corrupt governments misleads us.<br />

That is the power <strong>of</strong> technology today;<br />

it can change our whole worldview.<br />

Of course, it is easy to get carried<br />

away. Social networking tools can distort<br />

events, such as when a protest was<br />

estimated at 700,000 strong on Twitter,<br />

a number which later turned out to<br />

be 7,000. But unlike mainstream news<br />

organisations, the facts cannot always<br />

be checked. When foreign journalists<br />

are forbidden, Twitter can be our only<br />

source. Where tyranny has all but extinguished<br />

the free speech <strong>of</strong> its citizens,<br />

blogs can be a solitary candle in the dark.<br />

As the Middle East now bursts into a<br />

far more widespread protest movement,<br />

one which threatens to redefine the political<br />

landscape <strong>of</strong> the future, people<br />

power is at the heart <strong>of</strong> the internet news<br />

cycle. Though countless newsreaders<br />

and correspondents now tweet in varying<br />

levels <strong>of</strong> formality, the real insight<br />

still comes from that raw imagery.<br />

Perhaps the most potent example<br />

to my mind is the images from Egypt,<br />

where Christian protesters protected<br />

Muslims during their prayers. How<br />

much more can we reflect the good nature<br />

<strong>of</strong> these people than their mobilisation<br />

for unity These powerful images<br />

symbolise democracy from the ground<br />

up, a mob that looks after its own without<br />

overall authority. They come not<br />

from journalists but from normal people.<br />

The Egyptian people were the true<br />

heroes <strong>of</strong> those protests, and the people<br />

<strong>of</strong> Iran, Tunisia, Bahrain, Yemen,<br />

Egypt and Libya are the true heroes <strong>of</strong><br />

today. These protests would never have<br />

got <strong>of</strong>f the ground without the power <strong>of</strong><br />

real-life activism. Without people taking<br />

to the streets, rebelling against the<br />

problems they saw, there never would<br />

have been protests at all. This is why<br />

it is important to study not just what<br />

technology is being used but how it is<br />

being used, what it is being used to convey,<br />

and the human stories that drive it.<br />

Though a Western blogger, I make<br />

it the purpose <strong>of</strong> my blog to further<br />

the voices <strong>of</strong> these people. Western<br />

bloggers are obliged to raise awareness,<br />

donate to relief funds and pledge<br />

their support. They are not, however,<br />

obliged to centre the discussion<br />

on themselves or their technology.<br />

I cannot know what it was like<br />

in Benghazi, the day when 35 people<br />

were killed in a hail <strong>of</strong> government<br />

bullets. I can draw upon the troubled<br />

emotions that it stirs in me and the<br />

trusted sources <strong>of</strong> journalists and Middle<br />

East experts, but I cannot speak<br />

for the people themselves. Now that<br />

they can speak, it is vital that we listen.<br />

It is not social networking that<br />

will win the battle for greater democratic<br />

representation in Arab nations.<br />

Only action, protest and global pressure<br />

can bring down a government.<br />

However, these tools can provide insights<br />

into the experiences <strong>of</strong> victims,<br />

the way these differ from their dictators’<br />

frankly laughable cover stories.<br />

Before the days <strong>of</strong> ‘Twitter Revolutions’,<br />

we might have believed Colonel<br />

Gaddafi’s insistence that his people were<br />

united. The challenge is getting the right<br />

balance. We in the West can tweet our<br />

support, but until we’re raising money<br />

to help radicals on the frontline, we are<br />

but spectators. If we truly care we can<br />

do more than tweet, we can mobilise.<br />

Joshua Hughes looks at the importance <strong>of</strong> Al Jazeera and the changing face <strong>of</strong> reporting in the Middle East.<br />

THE protests in the Middle East are turning<br />

out to be significant for the Al Jazeera<br />

news network. Although it played a crucial<br />

role in reporting the crises to Arabic<br />

populations when the state-run networks<br />

failed to recognise any discontent, more<br />

significantly Al Jazeera gained global<br />

recognition for reporting their interpretation<br />

<strong>of</strong> events.<br />

The Al Jazeera news channel, meaning<br />

‘the island’, was founded in 1996 by<br />

the Emir <strong>of</strong> Qatar, Sheikh Hamad bin<br />

Khalifa, in order to provide a reputable<br />

source <strong>of</strong> news for Arabic speakers that<br />

originated from the Middle East. The<br />

channel proved highly influential in the<br />

region because it was willing to discuss<br />

issues that other state-run outlets or global<br />

networks would not consider running.<br />

As an organisation, it prides itself on<br />

covering both sides <strong>of</strong> an event, which<br />

is encompassed in its motto, “Opinion...<br />

and the other opinion”. And yet some<br />

states considered Al Jazeera to be a threat<br />

to their own national security.<br />

Following the terrorist attacks <strong>of</strong><br />

September 11 2001 people in the West<br />

became aware <strong>of</strong> Al Jazeera. For some,<br />

Al Jazeera was a manifestation <strong>of</strong> the<br />

anti-Western sentiment felt in the Middle<br />

East. They could not understand why<br />

this channel was giving airtime to an<br />

organisation orchestrating mass murder.<br />

However, Al Jazeera argued that having<br />

been given these recordings, they would<br />

help the public understand the aims <strong>of</strong> Al<br />

Qaeda and thus provide clarity.<br />

Western sentiment felt against Al<br />

Jazeera reached its peak during Operation<br />

Iraqi Freedom in 2003. The reporting <strong>of</strong><br />

events and, in particular, the broadcasting<br />

<strong>of</strong> images <strong>of</strong> dead British and American<br />

soldiers shocked western governments<br />

wary <strong>of</strong> negative public opinion. Their<br />

reporting went beyond the established<br />

norms which attracted comment from<br />

other media outlets. Fox News, on organisation<br />

not noted for its editorial impartiality,<br />

was highly critical, and accused Al<br />

Jazeera <strong>of</strong> paying for attacks on servicemen<br />

in order to provide coverage. Such<br />

scorn was not forgotten.<br />

The expansion <strong>of</strong> the network culminated<br />

in the establishment <strong>of</strong> an English<br />

service, which began broadcasting in November<br />

2006. Having an English channel<br />

allowed them to re-define their image in<br />

the West by providing high quality coverage<br />

<strong>of</strong> international affairs, and by scrutinising<br />

the very Western media outlets that<br />

scrutinised them.<br />

One show in particular, The Listening<br />

Post analyses the Western media agenda<br />

and is highly critical <strong>of</strong> Fox’s coverage<br />

<strong>of</strong> foreign affairs, a battle which is constantly<br />

evolving. Within the last week,<br />

Fox commentator Bill O’Reilly accused<br />

Al Jazeera <strong>of</strong> both creating anger within<br />

the Middle East and making a living by<br />

blaming most problems in the Middle<br />

East on the United States <strong>of</strong> America and<br />

Israel.<br />

Anger among the Middle Eastern<br />

public has probably been fuelled by Al<br />

Jazeera, but what O’Reilly’s criticisms<br />

ignore is that Al Jazeera has fuelled anger<br />

because it was the only news organisation<br />

to comprehensively cover the protests<br />

from the <strong>of</strong>fset in Tunisia. Other news<br />

organisations failed to understand the<br />

significance <strong>of</strong> the protests in light <strong>of</strong> the<br />

media repression, unemployment and a<br />

lack <strong>of</strong> political freedoms that aggravated<br />

the young populations.<br />

The omnipresence <strong>of</strong> a reputable<br />

Arabic news broadcaster throughout the<br />

protests is highly significant and something<br />

that hasn’t been acknowledged by<br />

Western media outlets. The increased use<br />

<strong>of</strong> social media is <strong>of</strong> course important, but<br />

does not help explain why Western governments<br />

are standing at the periphery <strong>of</strong><br />

events. The presence <strong>of</strong> Al Jazeera meant<br />

that Arab dictators could not blame outside<br />

Western influences when their own<br />

publics were watching a Qatari-funded<br />

news channel.<br />

President Mubarak realised the importance<br />

<strong>of</strong> the network and accused<br />

Qatar <strong>of</strong> trying to influence his country.<br />

Colonel Gaddafi, however, has been unable<br />

to find an explanation for protestors.<br />

Initially he blamed ‘foreign dogs’, but<br />

has since blamed Al Qaeda for feeding<br />

narcotics to protestors. Al Jazeera has<br />

matured as an organisation because it has<br />

not only discussed changes in the Middle<br />

East, but has become part <strong>of</strong> them.<br />

Equally, Western audiences have<br />

come to rely upon Al Jazeera for coverage<br />

<strong>of</strong> the crises and in the process have<br />

lost their views <strong>of</strong> the network conceived<br />

after September 11 2001. But with an increasing<br />

influence in global affairs, the<br />

network is bound to come under greater<br />

scrutiny.<br />

Recent reports into torture in West Papua<br />

and over-zealous legal punishments<br />

in Saudi Arabia have been removed after<br />

pressure from the Indonesian and Saudi<br />

Arabian governments. Al Jazeera insists<br />

they have editorial control but according<br />

to a leaked US diplomatic cable from July<br />

2009, the network still relies on funding<br />

from the Qatari government.<br />

Al Jazeera is allowed to be free and<br />

open, however, it can prove to be a useful<br />

diplomatic tool for Qatar, which poses a<br />

dilemma for the Qatari leadership. If protests<br />

do spread to Qatar, will the Government<br />

prevent Al Jazeera covering events,<br />

and therefore lose the integrity and diplomatic<br />

leverage that Al Jazeera provides<br />

the Qatari Government

14<br />

Features<br />

march 7 2011 Exeposé<br />

Devastation strikes Christchurch, what next<br />

Emily Lunn discusses the New Zealand Government’s shortcomings in dealing with the earthquake.<br />

IT was only two months ago that I was<br />

sitting in the sunshine outside a cafe<br />

in Christchurch, talking to the waitress<br />

about the regular aftershocks from the<br />

September earthquake. She joked that<br />

they had become a tourist attraction.<br />

While some tourists cancelled their<br />

trips to Christchurch, others were eager<br />

to experience a (small) aftershock.<br />

I must admit that despite the<br />

“New Zealand is not<br />

nicknamed ‘the shaky isles’<br />

for nothing. The country<br />

lies at the Southern end <strong>of</strong><br />

the ‘Pacific Ring <strong>of</strong> Fire’,<br />

and volcanic cones feature<br />

in the scenery <strong>of</strong> the North<br />

Island”<br />

waitress’ jokes, I felt slightly uneasy.<br />

The aftershocks, the scaffolding<br />

around several unstable buildings,<br />

and the damaged Cathedral window,<br />

made me wonder if I would have an<br />

unwanted holiday experience.<br />

New Zealand is not nicknamed ‘the<br />

Shakey Isles’ for nothing. The country<br />

lies at the Southern end <strong>of</strong> the Pacific<br />

‘Ring <strong>of</strong> Fire,’ and volcanic cones<br />

feature in the scenery <strong>of</strong> the North<br />

Island. The islands also lie above the<br />

collision <strong>of</strong> two tectonic plates, the<br />

Pacific and the Indo-Australian. As<br />

the relaxed attitude <strong>of</strong> the waitress<br />

suggested, small aftershocks are<br />

common. There are more than 14,000<br />

quakes a year, yet only about 20 have<br />

a magnitude greater than 5.0 and most<br />

are not even felt.<br />

Before the September earthquake,<br />

the council were considering a proposal<br />

that would make all older buildings<br />

fully earthquake pro<strong>of</strong> in 30 years<br />

time, and if they weren’t, the building<br />

would face closure. This was priced at<br />

NZ$500 million, and consequently was<br />

unpopular. However, it seems small<br />

compared to the huge costs the country<br />

now faces in order to pay for both<br />

quakes. The Government has to now<br />

decide how to rebuild the city as safely<br />

and affordably as possible. Even with<br />

safety precautions, however, it seems<br />

inevitable that the seismic activity that<br />

provides a lot <strong>of</strong> New Zealand’s beauty<br />

must also cause destruction.<br />

It is clear that a sense <strong>of</strong><br />

vulnerability has returned to the<br />

residents <strong>of</strong> Christchurch. How best<br />

to protect New Zealanders from future<br />

earthquakes is a complicated decision<br />

that the authorities will now have to<br />

face.<br />

Christchurch has featured regularly<br />

in the news since the earthquake on<br />

September 4, which had a magnitude<br />

<strong>of</strong> 7.0, and an epicentre 55km northwest<br />

<strong>of</strong> Christchurch. Although<br />

it caused widespread damage to<br />

buildings and roads, there were no<br />

fatalities and the city was in the<br />

process <strong>of</strong> stabilising and demolishing<br />

damaged buildings. Further damage<br />

was caused by an aftershock <strong>of</strong> 4.9<br />

Do something funny for money<br />

Sophie Duncan discusses the celebrity-charity relationship that exists within the saga <strong>of</strong> Comic Relief.<br />

which rattled the city on Boxing Day,<br />

smashing window displays and calling<br />

a halt to the post- Christmas sales. This<br />

was much closer to the city than the<br />

September earthquake, within 5km <strong>of</strong><br />

Christchurch and causing $3 billion<br />

worth <strong>of</strong> damage.<br />

The earthquake, however,<br />

that struck on February 22 was<br />

comparatively shallow. It was only 5km<br />

deep, and 10km from Christchurch.<br />

It had a magnitude <strong>of</strong> 6.3, with the<br />

current death toll reaching 148, with<br />

around 50 people still missing. The<br />

City Mayor, Bob Parker, claims<br />

that the spirits <strong>of</strong> the rescue workers<br />

are “remarkably good,” despite the<br />

aftershocks and deteriorating weather<br />

that threatens their efforts.<br />

Rescue workers from eight<br />

different nations continue to work,<br />

although the likelihood <strong>of</strong> anyone<br />

being found alive seems increasingly<br />

remote. The city is now beginning to<br />

bury its dead. The first service was<br />

held on Monday 28 for five-month-old<br />

Baxtor Gowland, the youngest victim<br />

so far.<br />

However, amongst the devastation,<br />

there are stories <strong>of</strong> resilience. I was<br />

particularly touched by the story <strong>of</strong><br />

a young woman who was rescued<br />

from her collapsed <strong>of</strong>fice block in<br />

time to hobble up the aisle three<br />

days later. New Zealanders appear<br />

to be resilient people with a history<br />

<strong>of</strong> rebuilding. When a powerful<br />

earthquake obliterated the city <strong>of</strong><br />

Napier in 1931, the entire city was<br />

rebuilt. It now attracts many tourists<br />

as an embodiment <strong>of</strong> the Art Deco<br />

movement. It has been estimated that<br />

a third <strong>of</strong> the buildings at the centre<br />

<strong>of</strong> Christchurch need demolishing.<br />

As New Zealanders begin to mourn<br />

their dead, there is no doubt that the<br />

recovery <strong>of</strong> this city will be a long<br />

and difficult process. Although the<br />

Cathedral Spire lies crumbled in the<br />

square, I have faith that Christchurch,<br />

like Napier, will rise again.<br />

THE celebrity-charity relationship is<br />

admired by some, detested by others.<br />

The Haitian earthquake is a key example<br />

<strong>of</strong> this; the immediate aftermath saw<br />

A-listers ‘doing their bit’ for those hit<br />

hardest. This, many would argue, was<br />

nothing but a publicity stunt, where<br />

attention-seeking celebrities adopted an<br />

appearance <strong>of</strong> concern, while thinking<br />

nothing <strong>of</strong> the long term effects. These<br />

<strong>of</strong>ten are: indefinite homelessness; a<br />

shortage <strong>of</strong> resources and families torn<br />

apart and left in disrepair. While the<br />

surge <strong>of</strong> air-brushed compassion died<br />

down in a matter <strong>of</strong> months, what about<br />

the consequences that, over a year<br />

after the earthquake struck, continue to<br />

define life for Haitian citizens<br />

March 18 is Red Nose Day.<br />

Every other year, if we choose, we<br />

tune in to an array <strong>of</strong> comic sketches<br />

and performances. Those who have<br />

ever done so will be familiar with<br />

the temptation, when the comedy is<br />

interrupted by sincerity in the form <strong>of</strong><br />

a short film about the people in need <strong>of</strong><br />

Comic Relief’s help, to nip to the loo<br />

or put the kettle on. With this comes<br />

the oh-so-simple text to the ‘number on<br />

the screen’ in order to be able to say,<br />

without guilt, “I’ve donated.” This is<br />

due less to our lack <strong>of</strong> benevolence as<br />

individuals than the fact that we have<br />

become desensitised to images <strong>of</strong><br />

poverty and struggle. Televised appeals<br />

<strong>of</strong> the ‘This is [insert name here]’ nature<br />

blend into one, and instinct tells us that<br />

it is enough to donate. It’s alright,<br />

the money goes towards a good cause<br />

even if we do pay minimal attention to<br />

the story placed in front <strong>of</strong> us - is our<br />

general mind set.<br />

Comic Relief was launched from<br />

a refugee camp in Sudan on Christmas<br />

Day, 1985, live on BBC One. At<br />

the time, there was a devastating<br />

famine in Ethiopia. The idea was to<br />

bring together much-loved British<br />

comedians to raise money through<br />

making the public laugh. Since then,<br />

12 Red Nose Days have raised more<br />

than £400 million, which has been<br />

used to tackle the broader needs <strong>of</strong> the<br />

poor and disadvantaged at home and<br />

abroad through immediate aid, as well<br />

as sustained education about HIV and<br />

AIDS. Sport Relief was launched in<br />

December 2001. Yet has the emphasis<br />

<strong>of</strong> Red Nose Day shifted from charity<br />

to celebrity<br />

“The Comic Relief website<br />

states, ‘Our mission is to drive<br />

positive change through the<br />

power <strong>of</strong> entertainment’ ”<br />

The Comic Relief website states,<br />

“Our mission is to drive positive change<br />

through the power <strong>of</strong> entertainment.”<br />

Past Red Nose Days have indeed<br />

produced some comic gems, not least<br />

Peter Kay’s reproduction <strong>of</strong> ‘Is this<br />

the way to Amarillo’ In 2009, the bar<br />

was raised by the successful climbing<br />

<strong>of</strong> Mount Kilimanjaro by celebrities<br />

including Gary Barlow, Fearne Cotton<br />

and Chris Moyles. This year, Lorraine<br />

Kelly and Dermot O’Leary were part<br />

<strong>of</strong> a group to complete a desert trek <strong>of</strong><br />

100km in Kenya. The public were able<br />

to follow the physical and emotional<br />

strain the celebrities were put underentertainment<br />

not unlike that <strong>of</strong> an ‘I’m<br />

a Celebrity’-esque reality show.<br />

However, credit where credit is<br />

due as, when spoken to live on Radio<br />

One as they came to the end <strong>of</strong> their<br />

journey, talk focused on the half a<br />

million pounds the celebrity trekkers<br />

had raised. Comic Relief, therefore,<br />

positions charitable motives at the<br />

forefront <strong>of</strong> what is an entertainmentorientated<br />

event, and admirably so.<br />

While some celebrities’ dedication<br />

is short-lived and limited to voiceovers<br />

or one-<strong>of</strong>f singles, there are those<br />

whose commitment is unrelenting,<br />

discrete and worthy. Elton John’s<br />

tireless work through the Elton John<br />

AIDS Foundation is a prime example<br />

<strong>of</strong> devotion to a cause away from the<br />

public eye.<br />

Meanwhile, although Comic Relief<br />

may have employed methods akin to<br />

those <strong>of</strong> the most popular reality TV<br />

shows, certain elements render these<br />

two forms <strong>of</strong> the entertainment world<br />

apart. Insect for breakfast becomes<br />

far more appealing when assigned an<br />

attractive wage. No such payment<br />

exists for the celebrities who commit to<br />

Comic Relief’s challenges.<br />

Moreover, to climb Kilimanjaro<br />

or to walk 100km across the desert<br />

requires perseverance, self-motivation<br />

and strength <strong>of</strong> mind. While modern<br />

culture has led to charity, like so<br />

many other things, revolving around<br />

celebrities, you cannot argue with its<br />

effectiveness, nor can you question- as<br />

far as Comic Relief is concerned - the<br />

fact that stars are stimulated by a desire<br />

to make a difference to other people’s<br />

lives as opposed to their own.

Exeposé week twenty 15<br />

Features<br />

Much ado about nothing or a right royal treat<br />

Etty Eastwood on why Kate and Will are set for crowning glory and Natasha Gilborson on why it might all<br />

be a right Royal let down.<br />

WHEN thousands <strong>of</strong> people gathered<br />

to watch Prince William and Kate Middleton<br />

return to the <strong>University</strong> <strong>of</strong> St.<br />

Andrews last Friday, it was obvious that<br />

Royal Wedding fever had wholeheartedly<br />

gripped the nation.<br />

With the wedding only two months<br />

away, the media hype surrounding the<br />

couple is increasing, as more details are<br />

released. Rumours are circulating about<br />

the design <strong>of</strong> Kate’s dress, which celebrities<br />

have been invited and where the<br />

couple will honeymoon. Whatever the<br />

outcome, I will definitely be amongst<br />

one <strong>of</strong> those who will go all out to celebrate.<br />

Royal Wedding street party anyone<br />

Yes please!<br />

Of course, it’s not just the glitz and<br />

glamour that makes this such a momentous<br />

event. The Royal Wedding is<br />

something <strong>of</strong> which we, as a country,<br />

should be proud. The British monarchy<br />

originated in the ninth century and is<br />

part <strong>of</strong> our national identity. As Prince<br />

William is second in line to the throne,<br />

Kate is potentially going to become a<br />

future Queen, making this marriage an<br />

important development in the history <strong>of</strong><br />

the Royal Family. And, without doubt,<br />

the Royal couple are better role models<br />

than some current celebrities.<br />

For many, when the ceremony is<br />

held at Westminster Abbey, it will bring<br />

back memories <strong>of</strong> Princess Diana and<br />

all she achieved for the country. All<br />

around the world, people will be watching<br />

Britain on April 29. The wedding<br />

is a way <strong>of</strong> proving that Britain isn’t<br />

just about underage drinking, sunburnt<br />

tourists and processed junk food. We<br />

need to preserve our nation’s reputation<br />

and confirm that the monarchy is<br />

still a significant part <strong>of</strong> our culture.<br />

Prince William’s Private Secretary,<br />

Mr. Lowther-Pinkerton, has<br />

described the upcoming<br />

occasion as, “a classic<br />

example <strong>of</strong> what Britain<br />

does best.”<br />

So even though<br />

the wedding will cost<br />

the taxpayer money,<br />

isn’t it worth it Surveys<br />

from VisitBritain<br />

have shown that the<br />

event will vastly increase<br />

the number <strong>of</strong><br />

tourists visiting Britain<br />

this year, which<br />

will somewhat boost<br />

the economy. Either<br />

way, if the excitement<br />

is simply a bit much for<br />

you, just ignore the papers and<br />

don’t complain. After all, who<br />

doesn’t want an extra bank<br />

holiday<br />


FOR the past few weeks, Prince William<br />

and Kate Middleton’s wedding has been<br />

on everyone’s minds. The Roald Dahl<br />

style ‘Golden Tickets,’ which will invite<br />

100 randomly chosen individuals<br />

to the couple’s special day,<br />

have even got the nation checking<br />

their post every morning.<br />

Yet the reams <strong>of</strong> magazine<br />

articles, radio references and<br />

TV news updates are starting<br />

to drive me slightly crazy. The<br />

date has become so<br />

deeply engrained in my<br />

mind that all <strong>of</strong> my upcoming<br />

deadlines have<br />

begun to all blur into<br />

one big date: April 29.<br />

My tutors may well get<br />

a shock if I hand my essays<br />

in six weeks late,<br />

or turn up to sit my exams<br />

quite so early!<br />

The wedding,<br />

which David Cameron<br />

has claimed will be a<br />

“happy and momentous<br />

occasion for all,”<br />

will ironically be like<br />

all other celebrity weddings<br />

and certainly isn’t<br />

the ‘event <strong>of</strong> the year’<br />

for me. I think that the<br />

couple’s day should be<br />

private and meaningful, but instead it<br />

seems to have been consumed by colloquial<br />

and meaningless chatter about<br />

who will be attending and who will wear<br />

what. There is doubt in my mind whether<br />

this ‘spectacular wedding’ really will<br />

be as great as its build up. The idea <strong>of</strong><br />

British-ness is no longer a sturdy concept<br />

for most people. Our society seems<br />

to be far more driven by pluralism and<br />

celebrity culture now than by the monarchy.<br />

It makes me wonder: should I even<br />

be interested at all<br />

Both parents will be sharing the<br />

main costs but it is the taxpayer who will<br />

pay the estimated £20 million security<br />

price tag. It seems unfair that it is the ordinary<br />

citizen who will pick up this bill.<br />

Others argue that such an extravagant<br />

ceremony should not take place in such<br />

hard economic times at all; surely having<br />

1,900 guests is a little extreme<br />

Who knows, perhaps I am just jealous<br />

- I would quite like 1,900 people<br />

to turn up to a wedding <strong>of</strong> mine. Either<br />

way, whether we’re for or against the<br />

Royal Wedding, we all know that we’ll<br />

keep the date free and flick on our television<br />

sets. If a golden ticket actually<br />

arrived through my door, I’m not saying<br />

I wouldn’t go along.<br />


Can’t cut this<br />

Maxim Edwards reflects on the massive library cuts soon to sweep across Britain.<br />

IT would be a pity, a great irony, even<br />

a source <strong>of</strong> future regret were <strong>student</strong>s<br />

not to be at the forefront <strong>of</strong> an emerging<br />

onslaught to protect that muchmaligned<br />

and <strong>of</strong>ten ignored <strong>of</strong> public<br />

institutions - the library.<br />

Over the past two weeks library<br />

cuts in Somerset and Gloucestershire<br />

have been announced, whilst further<br />

afield the Isle <strong>of</strong> Wight stands to lose<br />

nine <strong>of</strong> its 11 public libraries. So far, little<br />

has been heard from <strong>Exeter</strong>’s press<br />

about possible library closures, but at<br />

this point to expect the worst is probably<br />

more realistic than cynical.<br />

“Higher education is a right, not a<br />

privilege.” This was one <strong>of</strong> the most<br />

common slogans in the anti-cuts protests,<br />

but I remain to be convinced that<br />

<strong>student</strong>s will be equally vocal when<br />

it comes to defending education at a<br />

grassroots level.<br />

The Coalition has recently been<br />

forced to make a humiliating policy U-<br />

turn, after the public rallied to defend<br />

the Forestry Commission from changes.<br />

Equal pressure was probably exerted,<br />

though, by Dave’s chums from the<br />

Countryside Alliance around the dinner<br />

party table. I fear that those who influence<br />

the Coalition will not have quite<br />

the same emotional attachment to those<br />

libraries in deprived areas <strong>of</strong> cities,<br />

such as London or Birmingham.<br />

The motivation for library closures<br />

cannot be wholly financial. Those who<br />

stand to pr<strong>of</strong>it financially from what is<br />

essentially a large scale commercialisation<br />

<strong>of</strong> access to literature should, in<br />

theory, be rubbing their hands together<br />

in a pantomime <strong>of</strong> greed. So when even<br />

former director <strong>of</strong> Waterstones, Tim<br />

Coates, has opposed library closures,<br />

you know the outrage is genuine.<br />

In the mind <strong>of</strong> that vindictive<br />

gnome <strong>of</strong> a man, Eric Pickles, it appears<br />

that public libraries are more <strong>of</strong><br />

a financial drain than the millions <strong>of</strong><br />

pounds enjoyed in tax breaks for the<br />

super-wealthy, like Arcadia Group<br />

magnate Philip Green. But a smaller<br />

state with smaller services will not necessarily<br />

lead to a ‘bigger society’.<br />

In order to replace one <strong>of</strong> the largest<br />

public services in the country,<br />

thousands <strong>of</strong> volunteers with no other<br />

commitment, no work and no financial<br />

burdens are going to be needed to invest<br />

hours <strong>of</strong> their lives. But where exactly<br />

are these legions <strong>of</strong> volunteers going to<br />

come from As the author Philip Pullman<br />

wrote in his passionate polemic on<br />

the subject: “the Big Society [...] must<br />

be big to contain so many volunteers.”<br />

Not only is the assumption that new<br />

volunteers will be able to do this deeply<br />

insulting for the supposedly easy-to-replace<br />

librarians, but it also fundamentally<br />

misses the point <strong>of</strong> the societal<br />

value <strong>of</strong> libraries. Libraries are <strong>of</strong>ten<br />

found in deprived areas <strong>of</strong> cities with<br />

pronounced financial and social problems,<br />

where poorer families will never<br />

be able to buy all the books they need to<br />

satisfy an avid young reader. They also<br />

serve to help recent immigrants attain<br />

pr<strong>of</strong>iciency in English. Yet a third <strong>of</strong><br />

London’s libraries are threatened with<br />

closure.<br />

Libraries are where funding is<br />

needed more than ever, so<br />

that experienced pr<strong>of</strong>essionals<br />

can work to help those<br />

unfortunates who are left<br />

out <strong>of</strong> Britain’s ‘immense’<br />

society. Cameron’s description<br />

<strong>of</strong> a “broken<br />

Britain” will become a<br />

self-fulfilling prophecy if<br />

the dismal message <strong>of</strong> library<br />

closures tells those<br />

in deprived areas that the<br />

state has ceased to care<br />

about their communities.<br />

Interestingly, the scale <strong>of</strong><br />

planned major library cuts<br />

in Cameron’s constituency<br />

<strong>of</strong> Witney is fairly<br />

modest, as once again -<br />

you guessed it - we’re all<br />

in this together!<br />

The best way to defend<br />

libraries is to use<br />

them, to show that they<br />

do have a revered place<br />

and prove that the job <strong>of</strong><br />

a librarian is more than<br />

simply a volunteer’s hobby.<br />

When <strong>student</strong>s took to the streets<br />

last year against tuition fee rises it was<br />

a perfect example <strong>of</strong> a genuine big society,<br />

with people caring about the fate <strong>of</strong><br />

higher education in England. This issue<br />

is above cheap political point scoring.<br />

If university <strong>student</strong>s such as us<br />

remain indifferent in our luminous orange<br />

library and have nothing<br />

to say on an issue like this,<br />

then these are sad times<br />

indeed. Register for<br />

a Devon library card and show that,<br />

contrary to public opinion, <strong>student</strong>s<br />

don’t drop their placards and banners<br />

when the issues stop affecting universities.<br />

Gown does care about town.<br />

At the very least, to defend access<br />

to libraries could help the next generation<br />

<strong>of</strong> young readers spell the word<br />

‘apathy’ in the future. They might well<br />

need it when they look back at 2011 in<br />

ten or twenty years’ time.

16<br />

Lifestyle<br />

Laura Le Brocq & Clare Mullins - lifestyle@exepose.com<br />

After a fashion - or decades <strong>of</strong> it<br />

Alice Gibson casts an eye over the trends that are once more making a comeback this Spring/Summer.<br />

AS I write, London Fashion Week<br />

is already looking forward to next<br />

winter, but let’s not get ahead <strong>of</strong><br />

ourselves, it is only March and<br />

right now fashion is having<br />

a decidedly nostalgic<br />

moment. Spring/<br />

Summer 2011 brings<br />

with it a celebration <strong>of</strong><br />

trends that are synonymous<br />

with the 50s, 60s, 70s and<br />

beyond. It’s time for us to<br />

choose a decade…<br />

Flirty 50s<br />

A mixture <strong>of</strong><br />

Audrey Hepburn elegance<br />

with an <strong>of</strong>fbeat preppy<br />

twist makes the 50s trend a<br />

hard one to beat. Go for nipped<br />

in dresses, chintzy print blouses<br />

teamed with wide legged trousers<br />

and preppy blazers. Update your<br />

bag collection with a portfolio<br />

bag trimmed in a popping colour.<br />

LOOK! High fashion on the High Street<br />

Stephanie Marston reviews The Look Fashion Show as it forecasts the summer trends.<br />

WHERE would you find Marina Diamandis,<br />

Olivia Palermo, and Shayne<br />

Ward in the same room At the LOOK<br />

fashion show, <strong>of</strong> course! Whilst many<br />

fashionistas were preparing for the designer<br />

shows <strong>of</strong> the ever hectic London<br />

Fashion Week, LOOK magazine un<strong>of</strong>ficially<br />

kicked <strong>of</strong>f the week with a celebrity<br />

filled fashion show dedicated entirely<br />

to high-street spring/summer fashion.<br />

The morning <strong>of</strong> Friday February 18<br />

saw me boarding an early train to London<br />

in order to make my way over to<br />

Bloomsbury Square for the show. This<br />

is only the third LOOK show after it began<br />

last year, but it has become incredibly<br />

popular and tickets are notoriously<br />

hard to get hold <strong>of</strong> because they are only<br />

For guys, a distinct nod to heritage<br />

designs will act as a gentleman’s<br />

response to a ladylike trend. Try Jack<br />

Wills for preppy blazers and shirts to<br />

wear with navy cotton chinos.<br />

Swinging 60s<br />

Embrace the 60s vibe with<br />

bright, bold colours. Try Topshop’s<br />

‘Bright Spark’ range for a<br />

wonderful collection <strong>of</strong> stand out<br />

from the crowd designs. The ‘It’<br />

colour right now is what the<br />

fashionistas are calling ‘tangerine’…<br />

basically, orange. At<br />

risk <strong>of</strong> resembling a citrus<br />

fruit I would suggest using<br />

this as an accent colour<br />

perhaps with a bag or<br />

pair <strong>of</strong> shoes.<br />

Try using other eye<br />

popping colours like hot<br />

pink or turquoise to create<br />

a colour explosion as we head towards<br />

brighter days. If you dare,<br />

distributed via competitions and giveaways.<br />

It is easy to see why the show attracts<br />

so many; guests are greeted with<br />

an unlimited supply <strong>of</strong> complimentary<br />

champagne and canapés (from Marks<br />

and Spencer) and can mingle amongst<br />

both celebrities and industry pr<strong>of</strong>essionals.<br />

There is also a photo booth where<br />

you can dress up (always a bonus) and<br />

have a snap taken for free.<br />

The show opened its doors at 4pm<br />

for guests to take their seats and inspect<br />

their goody bags. The contents<br />

included a bag from H&M, sunglasses<br />

from Marks and Spencer, hair products<br />

from Label M, a scarf from New Look,<br />

and countless beauty products. I could<br />

update your make-up bag with bright<br />

lipstick and brash eye shadows…<br />

guaranteed to get you noticed.<br />

Boys can embrace the<br />

brights too. Head to H&M<br />

and Topman for a colour fix<br />

that will rival the girls.<br />

have gone home a very happy lady at<br />

this point, but the day was only just getting<br />

started. The catwalk was about to<br />

host collections from Dorothy Perkins,<br />

French Connection, H&M, Mango,<br />

Marks and Spencer, Monsoon, New<br />

Look, River Island, Uniqlo, and Warehouse.<br />

New Look started the show with<br />

a collection concentrating on vibrant<br />

colour blocking, a key trend for spring/<br />

summer 2011. There was an special focus<br />

on hot pinks, oranges, and cerise<br />

which also cropped up in the River Island<br />

and H&M collections<br />

Dorothy Perkins was next up with a<br />

collection heavily influenced by bright<br />

floral prints and dainty summer dresses<br />

Spirited 70s<br />

It’s time to embrace<br />

your inner hippy with this<br />

trend. Mix crisp whites and<br />

blues with broderie anglaise<br />

swing tops, cute pinafores and<br />

floppy straw hats. Remember<br />

with this era that floral<br />

is your friend and you<br />

won’t go wrong. To take<br />

the 70s look to the next<br />

level think gypsy rocker<br />

(not gypsy bride) and wear<br />

crocheted hot pants, fringing<br />

and ponchos…perhaps not<br />

all at once though!<br />

Guys should imagine crawling<br />

out <strong>of</strong> a tent at an old<br />

style festival. Throw on<br />

mismatched checks,<br />

distressed denim and<br />

this season’s essential<br />

desert boots.<br />

Looking on trend<br />

has never been so<br />

easy.<br />

And Beyond<br />

If looking<br />

back isn’t your thing then opt for<br />

futuristic simplicity; what Vogue is calling<br />

‘clinical elegance’. Sports inspired<br />

finishes and luxe high tech fabrics make<br />

for a look that is stark, stylish and precise.<br />

For the boys there is a new<br />

denim innovation;<br />

the strangely<br />

named carrot<br />

f i t<br />

which are always popular in spring. River<br />

Island also took this as inspiration but<br />

created more vintage looking pieces.<br />

After a couple <strong>of</strong> uninspiring collections<br />

from Uniqlo and Monsoon, Marks<br />

and Spencer had a surprisingly wearable<br />

collection dominated by a minimalist<br />

nude, c<strong>of</strong>fee, and cream colour palette<br />

which was also to be seen in the FCUK<br />

collection; this minimalism is an ideal<br />

alternative to the bright colour blocking<br />

trend if it’s not your thing. Next up was<br />

H&M whose collection was dominated<br />

by pastel colours which are always synonymous<br />

with spring.<br />

Blouses were the next key feature in<br />

the following collections by Mango and<br />

Next which are ideal transitional pieces<br />

march 7 2011 Exeposé<br />

jeans. Available in Topman they are loose<br />

on the hips and thighs but narrow on the<br />

ankle.<br />

Not only<br />

are these the<br />

perfect way<br />

to stay ahead<br />

style wise<br />

but they’re<br />

also much<br />

more flattering<br />

and easier to<br />

pull <strong>of</strong>f than<br />

the standard<br />

skinny<br />

jeans.<br />

From left: ASOS flower print dress, £52.<br />

Topshop blue suede sandals, £75. Topshop<br />

terracotta sports style holdall, £40.<br />

River Island beige desert boots, £29.99.<br />

Topshop fringed top, £20.<br />

and another big trend this season.<br />

The final brands to showcase their<br />

collections were Warehouse, River Island,<br />

and FCUK who all included the<br />

jumpsuit as the final key trend for this<br />

spring/summer 2011. It is the blue jumpsuit<br />

in particular. There was time for a<br />

post-catwalk bash after the show with<br />

complimentary mojitos and wine being<br />

<strong>of</strong>fered at the bar, giving guests the opportunity<br />

to discuss the collections.<br />

The LOOK show was great for<br />

showing the biggest trends this season -<br />

bright colour blocking, florals, blouses,<br />

and jumpsuits - and what is best is<br />

that not only are these collections more<br />

affordable for <strong>student</strong> budgets, but they<br />

are ready to buy in stores now.<br />

Hot Pink at the New Look show. Colour Blocking at River Island. Vintage inspired River Island. Summer blouses at Mango. French Connection’s jumpsuit.

Exeposé week twenty<br />

“This week I’ve been stressing about...”<br />

Lifestyle’s columnist, Zoe Dickens, writes<br />

about work experience placements and the<br />

difficult art <strong>of</strong> the interview.<br />

Campus Style<br />

OUR roving photographer and<br />

Lifestyle team bring you the best<br />

style on campus!<br />

[Left]<br />

Name: Anande Hytmiah<br />

Studying: Law, 2nd year.<br />

What do you think <strong>of</strong> the <strong>University</strong><br />

charging £9,000 a year<br />

“I don’t mind that much as it won’t<br />

affect me, but my brother will be<br />

going to university soon so I’m<br />

[Centre] still worried for him.”<br />

Name:<br />

Studying: [Centre, left]<br />

What Name: she’s Luisa wearing: West<br />

Studying: Spanish and Film Studies,<br />

4th year.<br />

Do you think your degree is<br />

worth £9,000<br />

“I don’t think anything’s worth<br />

£9,000.”<br />

IT seems that, after racking up nine<br />

weeks’ worth <strong>of</strong> work experience at<br />

local and national businesses, newspapers,<br />

magazines and PR companies<br />

I finally qualify for that level <strong>of</strong> work<br />

experience placement that requires an<br />

interview. After sending out a batch <strong>of</strong><br />

CVs in January (if you’re after anything<br />

creative/media related the <strong>University</strong><br />

<strong>of</strong> the Arts website is a godsend),<br />

I, much to my surprise, received<br />

an unprecedented amount <strong>of</strong> interview<br />

<strong>of</strong>fers.<br />

Of course, many <strong>of</strong> these I couldn’t<br />

attend because, although I am expected<br />

to have ‘communication and writing<br />

skills to a very high standard’, it<br />

seems that my potential employers<br />

were unable to read the part <strong>of</strong> my<br />

email which clearly stated I was only<br />

available during the Easter and Summer<br />

periods. Such is life.<br />

Finally, two weeks ago, I was <strong>of</strong>fered<br />

an interview with a fashion publishing<br />

company that I could actually<br />

attend. However, as the initial excitement<br />

wore <strong>of</strong>f, it dawned on me what<br />

this actually meant. An interview. I<br />

don’t do interviews. In fact, I don’t<br />

do any form <strong>of</strong> communication that<br />

doesn’t involve a keyboard. Calling<br />

my own grandmother scares me. I have<br />

a severe phobia <strong>of</strong> awkward silences<br />

and usually get myself so flustered<br />

that my sentences become one tangled<br />

mess <strong>of</strong> word vomit.<br />

Whilst working at a PR company I<br />

was forced to call (a lot <strong>of</strong>) journalists<br />

to try and sell them stories – I emerged<br />

from the <strong>of</strong>fice that day a nervous, gibbering<br />

wreck and that was only making<br />

phone calls. I can only take solace<br />

in the fact that, as the frequent debate<br />

that rages in my house over whose turn<br />

it is to call Domino’s this time tells me,<br />

I am not the only one.<br />

I have had relatively little experience<br />

with interviews and perhaps this<br />

is where my fear comes from – not so<br />

much fear <strong>of</strong> interviews as fear <strong>of</strong> the<br />

unknown. This is also possibly the reason<br />

why I have no trouble answering<br />

the phone but hate making phone calls,<br />

especially to strangers.<br />

“I don’t do interviews.<br />

In fact, I don’t<br />

do any form <strong>of</strong><br />

communication that<br />

doesn’t involve a<br />

keyboard. Calling my<br />

own grandmother<br />

scares me ”<br />

In my entire life I have only been<br />

to four interviews. The first three - one<br />

for a job I didn’t want, one for a job<br />

that, on arriving, it seemed the manager<br />

had already decided to give me and<br />

one with my secondary school head<br />

teacher where we were quite helpfully<br />

given the questions beforehand – I<br />

don’t think really count.<br />

The fourth one was a ‘mock university<br />

interview’ (not that I ever went<br />

on to have a real one) with two teachers<br />

from my secondary school. I gave<br />

them my CV and told them I wanted<br />

to be a journalist at which point they<br />

promptly started laughing. They then<br />

swung between telling me I wasn’t<br />

aiming high enough (‘You should be<br />

an editor not a journalist!’) and telling<br />

me I would never make it in life.<br />

So in a proactive attempt to, if not<br />

master interviews then at least try and<br />

prevent myself from breaking out in<br />

cold sweats at the thought <strong>of</strong> them, I<br />

went to one <strong>of</strong> the Interview Experience<br />

sessions run by the <strong>University</strong>’s<br />

Employability team.<br />

The first hour was lovely. I sat<br />

back and watched a video <strong>of</strong> four graduate<br />

interviews. I learnt all the dos and<br />

don’ts, the importance <strong>of</strong> corporate<br />

and industry knowledge and began to<br />

think maybe it wasn’t so hard after all.<br />

Then it got hard.<br />

We were split into groups and<br />

taken into rooms with an interviewer<br />

and an Employability <strong>of</strong>ficer where<br />

we were interviewed – in front <strong>of</strong> each<br />

other. To release the pressure a bit we<br />

were all given bits <strong>of</strong> paper on which<br />

to write down what was good and what<br />

was bad about our peers’ interview<br />

techniques. There really is nothing<br />

I like better than being judged by a<br />

group <strong>of</strong> strangers on something that<br />

I didn’t want to be doing in the first<br />

place.<br />

In all honesty, it wasn’t that bad<br />

and I did learn a lot. I’m still scared<br />

<strong>of</strong> interviews but at least I know I can<br />

do them when forced and I would definitely<br />

recommend it to, well, anyone.<br />

As for the interview with the fashion<br />

publishing company I got the internship<br />

– they want me to interview people<br />

for their blog. Brilliant.<br />

17<br />

Lifestyle<br />

Top class cuisine<br />

Jess Leung eats lunch at Michael Caines’.<br />

FINE dining can be a daunting experience<br />

at times. After making sure your<br />

skirt’s not tucked into your greying<br />

pants and that your shoes are dry after<br />

the last time you had to drink from<br />

them, you begin to ask whether all <strong>of</strong><br />

the preparation is worth a pretentious,<br />

albeit brilliant, meal. The triple figure<br />

bill at the end is never well received either.<br />

Having said that, everyone likes to<br />

be pampered once in a while and, trust<br />

me, Michael Caines’s restaurant is definitely<br />

worth ironing your shirt for.<br />

Michael Caines at Abode <strong>Exeter</strong>, is a<br />

two Michelin star chef from <strong>Exeter</strong> who<br />

has been voted UK’s Top Restauranteur<br />

by The Sunday Times. Set in the lobby<br />

<strong>of</strong> the Royal Clarence Hotel, the beautiful<br />

exterior confirmed that perfection is<br />

exactly what I would be experiencing.<br />

We chose to have lunch there as it<br />

was my birthday and I planned to spend<br />

the evening in a less classy fashion.<br />

Upon entering the restaurant, the server<br />

quickly <strong>of</strong>fered to take our coats before<br />

showing us to our table – how sophisticated!<br />

Set in the stunning Cathedral green,<br />

the restaurant itself is not overly ‘posh.’<br />

The clean decor and simple wooden<br />

flooring made the place elegant without<br />

being pretentious, which relieved my<br />

worries about whether I was dressed appropriately<br />

for such a place.<br />

Michael Caines <strong>of</strong>fers an à la carte<br />

menu with mains starting at £23.50 but<br />

luckily for us, we discovered the “Amazing<br />

Graze Lunch” menu. It <strong>of</strong>fers three<br />

whole courses for £13.50, with additional<br />

courses priced at £4.50 each.<br />

There is also the option to have a specially<br />

matched 100ml glass <strong>of</strong> wine with<br />

each course, an <strong>of</strong>fer I simply could not<br />

refuse.<br />

The Graze Lunch menu, which<br />

changes approximately every fortnight,<br />

has a wide selection <strong>of</strong> starters, mains<br />

and desserts. As the menu is designed<br />

for those wanting a light lunch, each dish<br />

is actually a miniature version <strong>of</strong> something<br />

from the à la carte menu. As the<br />

saying goes, good things come in small<br />

packages – Michael Caines is no exception.<br />

I chose wild mushroom risotto to<br />

start and it came in a cute espresso cup,<br />

adorned with a parmesan crisp. This was<br />

matched with a dry white wine – definitely<br />

worth the money considering the<br />

whole bottle would have been around<br />

£80.<br />

Next I chose to have a pork tenderloin<br />

which was served with a sweet jus<br />

and a potato cake. The presentation <strong>of</strong><br />

the dish was exceptional and it looked<br />

almost too good to eat.<br />

The pork was perfectly cooked and<br />

the sauce complimented it well. To be<br />

honest though, it was the potato cake that<br />

made my dish – it was truly delicious.<br />

This course was matched with a smooth<br />

red wine which worked with the dish.<br />

We settled for only three courses,<br />

though it was very tempting to order everything<br />

after perusing the dessert section.<br />

I went for a lemon cheesecake with lemon<br />

sorbet. This was a nice refreshing end<br />

to the meal and the exceptional presentation<br />

transformed this simple dish into a<br />

work <strong>of</strong> art. Overall, it was a wonderful<br />

meal which was just the right size for a<br />

light lunch.<br />

The ‘Amazing Graze Lunch’ is definitely<br />

worth a try. It gets quite busy at<br />

times so I advise you to book beforehand.<br />

Although it may feel like an intimidating,<br />

wallet-emptying place, the<br />

set menu is a good way to sample beautiful<br />

dishes at a more <strong>student</strong> friendly<br />

price.<br />

[Centre]<br />

Name: Jess Fowler<br />

Studying: Politics and Philosophy,<br />

3rd year.<br />

What do you think <strong>of</strong> the <strong>University</strong><br />

charging £9,000 a year<br />

“I think it’s pretty funny that they<br />

sent us an email this morning to<br />

keep us in the know, when we’d<br />

all seen it on the BBC website last<br />

night.”<br />

[Right]<br />

Name: Gabrielle Allfrey<br />

[Centre] Studying: International Relations<br />

Name: and Spanish, 2nd year.<br />

Studying:<br />

What Do you she’s think wearing: your degree is<br />

worth £9,000<br />

“After the building works are finished<br />

it might be. I suppose it depends<br />

how good they are. I mean,<br />

they might be phenomenal. I guess<br />

we’ll see. According to The Guardian,<br />

we’re only in the Top 20. That<br />

isn’t worth £9,000.”

18<br />

Lifestyle<br />

The greatest show on Earth<br />

Ginny Kingsley-Jones attends The Jeremy Kyle Show filming.<br />

AS a regular and accomplished procrastinator,<br />

I am also a frequent viewer <strong>of</strong> The<br />

Jeremy Kyle Show, and was overjoyed to<br />

be given the opportunity to watch two episodes<br />

being filmed. I almost exploded with<br />

excitement when I discovered that I was to<br />

travel to the enigmatic and exotic North, to<br />

Manchester, where the show is filmed in<br />

ITV’s Granada Studios.<br />

I am sure there will be many readers<br />

who dislike the show, or who have never<br />

seen it, and it is precisely for this reason<br />

- we are not the target audience. The Jeremy<br />

Kyle Show is broadcast during the<br />

day, when most <strong>of</strong> us will be working or<br />

on campus. It’s intended to reach out to<br />

those people who are at home during the<br />

daytime, whether out <strong>of</strong> choice or not, and<br />

<strong>of</strong>fer them a solution. They may be able to<br />

relate to the guests in a way that I know<br />

I certainly can’t, I who have been lucky<br />

enough to have been born into a family<br />

who did everything they could to make<br />

sure that I was provided for and nurtured<br />

and safe. Or they may see the show as a<br />

way <strong>of</strong> getting help they were unable to<br />

find elsewhere.<br />

But do not think me naive, whilst sitting<br />

in the audience you are, <strong>of</strong> course,<br />

acutely aware that this particular aspect <strong>of</strong><br />

the show is designed as a spectacle to be<br />

viewed and to entertain. Initially, this made<br />

me decidedly uneasy due to the proximity<br />

<strong>of</strong> the stage, not because <strong>of</strong> fear, but because<br />

I felt uncomfortably judgemental<br />

towards these very real people, with their<br />

very real problems. However, as the show<br />

progressed, I started to notice my unease<br />

changing to genuine emotion and empathy<br />

for the hardships that many <strong>of</strong> the guests<br />

were experiencing, in a way that<br />

doesn’t quite permeate the cameras<br />

to your sitting room at home. However<br />

bright and showbiz the atmosphere may<br />

have been, the guests were fundamentally<br />

humans asking for help, sometimes as a<br />

last resort.<br />

There is a reason that the show receives<br />

in excess <strong>of</strong> 300 calls per day from<br />

potential guests, and that is because <strong>of</strong><br />

the aftercare that the show provides once<br />

the filming has been completed. You<br />

get the impression that the show itself is<br />

only the tip <strong>of</strong> the iceberg, and regardless<br />

<strong>of</strong> whether Jeremy himself sees the individual<br />

guests again afterwards, it must be<br />

remembered that this is the only talk-show<br />

that provides counselling and an attempt at<br />

a genuine solution to the problems that are<br />

encountered.<br />

I’m sure that there will have been<br />

many occasions when<br />

the assistance<br />

has not worked,<br />

and that may<br />

have been for<br />

any number <strong>of</strong><br />

reasons. But<br />

from talking<br />

to Jeremy<br />

himself, you get<br />

the impression that<br />

he feels that if he’s<br />

helped even one<br />

person<br />

get their lives back on track, then that is an<br />

achievement.<br />

The host, Jeremy Kyle, is quite a character.<br />

He is certainly a great entertainer,<br />

amusing the audience before the cameras<br />

roll with jovial banter and making them<br />

feel at ease. His controversial and straight<br />

talking style <strong>of</strong> hosting has earned him<br />

plenty <strong>of</strong> criticism, and he seems deeply<br />

aware <strong>of</strong> this; constantly reinforcing the<br />

fact that he is no psychiatrist, and he has<br />

made many <strong>of</strong> his own mistakes.<br />

This article is not intended to be a starstruck<br />

eulogy <strong>of</strong> The Jeremy Kyle Show,<br />

nor <strong>of</strong> the man himself, but an explanation<br />

for my own personal change <strong>of</strong> heart in regards<br />

to a show that has received rather a<br />

bad press at times. Purely because there is<br />

precious little else to watch on television<br />

during the day, I used to watch the show<br />

for entertainment and I am embarrassed to<br />

say, <strong>of</strong>ten in a derisive manner.<br />

Having seen the show live though,<br />

this initial derision has made me feel utterly<br />

ashamed <strong>of</strong> myself, as I began to<br />

realise that some people need the opportunities<br />

the show <strong>of</strong>fers in a way that<br />

perhaps I’m too snobbish to understand.<br />

So for those <strong>of</strong> you who watch the show<br />

and regard it as exploitative and shameless,<br />

I would say that<br />

perhaps it is not<br />

the show itself<br />

but us,<br />

the viewers,<br />

who deserve<br />

to be reprimanded<br />

for ulterior<br />

motives.<br />

The gigantic gender gift divide<br />

Lizzie Annett is in the midst <strong>of</strong> a panic about buying her boyfriend the perfect birthday present.<br />

MY boyfriend and I have been seeing each<br />

other for around six months now. We made<br />

it through Christmas, Valentine’s Day and<br />

my birthday all unscathed. Yet this month<br />

brings one <strong>of</strong> the most terrifying days in<br />

any girlfriend calendar: the boyfriend’s<br />

birthday.<br />

Now, I like to consider myself a reasonable<br />

present buyer. However, this<br />

may be because the only people I really<br />

end up buying presents for are my family.<br />

My mum is always happy with some<br />

bubble bath, give my dad a toblerone and<br />

he’ll forget all about the previous bad sock<br />

birthdays. As for my brothers, well, it’s an<br />

Xbox game or a CD and you’re laughing.<br />

So maybe I’m not a reasonable present<br />

buyer, I just know my family and they<br />

know me. They’re the best brothers in the<br />

world as long as there is a Topshop voucher<br />

or a chick flick underneath that pink<br />

wrapping paper.<br />

20 years and I have finally learnt how<br />

to please my family at Christmas and birthdays.<br />

The problem is that I’ve only known<br />

my boyfriend for six months. Christmas<br />

was easy; he asked for a new bag, he got<br />

a new bag. Then it got more difficult when<br />

he got me an unbelievably thoughtful<br />

birthday present. It was a leather bound<br />

writing journal and a parker pen to encourage<br />

me in my writing career. I loved it. It<br />

is the pressure to live up to this amazingly<br />

thoughtful and romantic present that has<br />

landed me slap bang in the middle <strong>of</strong> girlfriend<br />

freak out zone.<br />

I am jealous <strong>of</strong> boys. When they don’t<br />

know what to buy they can resort to the<br />

classics: chocolates, flowers or jewellery.<br />

I don’t want to conform entirely to stereotype,<br />

but my friends and I went gooey<br />

eyed when my housemate’s boyfriend sent<br />

her a bunch <strong>of</strong> roses on Valentine’s Day.<br />

It’s cheesy, it’s obvious and it’s conventional,<br />

but we loved it. Yet if I resort to<br />

sending my boyfriend a bunch <strong>of</strong> roses on<br />

his birthday, I am sure he would be humiliated,<br />

emasculated and blame me for having<br />

to endure a whole year’s worth <strong>of</strong> male<br />

banter.<br />

So what are girlfriends to do In the<br />

depths <strong>of</strong> despair I begged him for some<br />

ideas. The only thing I got back was a request<br />

for some comfortable headphones.<br />

Practical, technological and being inserted<br />

into his ear aren’t really the things I want<br />

my boyfriend to associate me with. I don’t<br />

think I can think <strong>of</strong> a less thoughtful or<br />

romantic present, unless I resort to buying<br />

him socks.<br />

So I am back to racking my brain<br />

to find even the slightest hint <strong>of</strong> what he<br />

might like for a present. I remember on our<br />

second date him saying that he really liked<br />

the pictures <strong>of</strong> Jimi Hendrix that were up<br />

in Amber Rooms. So I trawl the Internet<br />

for hours trying to find this infamous poster<br />

without success.<br />

But then a thought hits me; does a<br />

twenty-four year old male really want a big<br />

picture <strong>of</strong> an ageing rock star hanging on<br />

his wall I just don’t know! So I’m back to<br />

square one and begin to seriously start considering<br />

my housemate’s suggestion for a<br />

voucher for an hours worth <strong>of</strong> Lizzie love.<br />

Aftershave, a new shirt, some new<br />

shoes, a DVD are all ideas swimming<br />

around in my head. Yet his aftershave<br />

is fifty quid and, well, I’m a <strong>student</strong>. He<br />

knows I hate his shoes, if I buy him new<br />

ones I’m insulting his fashion sense and<br />

his manhood by attempting to change him.<br />

A DVD, although a nice, cheap and easy<br />

to wrap present, really doesn’t say “I love<br />

you.”<br />

The best present I can think <strong>of</strong> would<br />

be an hours flying, he wants to be a pilot<br />

and rarely gets opportunities to get up in<br />

the sky, so I know this would make him<br />

happy. Unfortunately I don’t have four<br />

hundred quid lying around. That fifty quid<br />

aftershave really doesn’t sound so bad anymore.<br />

Talking to my boyfriend, and a few<br />

other male friends, it seems that men just<br />

don’t place as much emphasise on gifts as<br />

march 7 2011 Exeposé<br />


An <strong>Exeter</strong> <strong>student</strong> finds herself red faced.<br />

THERE are lots <strong>of</strong> urban myths and sex<br />

horror stories around <strong>of</strong> bloody bad experiences.<br />

Some <strong>of</strong> <strong>Exeter</strong>’s most banterous<br />

boys brag about putting ketchup on<br />

their chips, bloodying their swords and<br />

what is probably the most foul “delving<br />

into the red sea. Win.”<br />

Now before you start to panic, and<br />

wonder where on earth I’m going with<br />

this, and if that bowl <strong>of</strong> Tesco value tomato<br />

soup in the microwave is still going<br />

to be appealing after reading this article,<br />

worry ye not. My gory story has nothing<br />

to do with any <strong>of</strong> that. Well, not really<br />

anyway.<br />

After a few too many drinks last<br />

week, I found myself stumbling back<br />

with someone along one <strong>of</strong> <strong>Exeter</strong>’s <strong>student</strong><br />

streets at some ridiculous hour. Now,<br />

in terms <strong>of</strong> my expectations, what happened<br />

next was certainly not something I<br />

would have ever imagined. Certainly not<br />

something I had come prepared for.<br />

“Whether it was an<br />

accidental knocking <strong>of</strong><br />

noses or pure bad luck,<br />

I’ll never know”<br />

As a child, I have vivid memories<br />

<strong>of</strong> bags <strong>of</strong> frozen peas being shoved in<br />

my face, having tampons stuck up my<br />

nostrils, or spending hours with my<br />

head over the sink. Attractive, I know.<br />

One holiday in Italy saw me empty an<br />

entire swimming pool as a German boy<br />

hummed the theme tune <strong>of</strong> Jaws as I tried<br />

desperately to block the flow <strong>of</strong> blood<br />

gushing out <strong>of</strong> my nose.<br />

I thought that nosebleeds were a<br />

distant memory, an excuse for me not to<br />

play mixed lacrosse or get involved in<br />

too many pillow fights. Little did I know<br />

at the age <strong>of</strong> 20 they would still be giving<br />

me grief.<br />

We’ve all had that moment where<br />

someone gets a little over excited in the<br />

bedroom, whether it be short lived passion<br />

(seven seconds was one poor boy’s<br />

personal best) or the over excited jungle<br />

roar that sent the concierge running<br />

up to my flat, broom in hand ready to<br />

take on whatever creature she believed<br />

was attacking me - I thought I’d pretty<br />

much had my fair share <strong>of</strong> over excited<br />

partners and “don’t worry, it can happen<br />

to anyone.” This was about to be a new<br />

first.<br />

Whether it was an accidental knocking<br />

<strong>of</strong> noses, uncontrollable excitement<br />

in the heat <strong>of</strong> the moment or pure bad<br />

luck, I’ll never know. One thing was for<br />

certain; I’m not the only one who suffers<br />

from a sensitive septum. And that swimming<br />

pool in Italy was by no means embarrassing<br />

compared to this.<br />

I’m not sure who it must have been<br />

more <strong>of</strong> a shock for; me, lying there,<br />

looking up at his gushing nose or him,<br />

looking down at my blood splattered face<br />

as I tried to wriggle out <strong>of</strong> the way.<br />

Suffice to say it served as a bit <strong>of</strong> a<br />

mood killer, even less <strong>of</strong> a turn on when<br />

he then proceeded to dab at my face with<br />

one hand whilst holding a wad <strong>of</strong> tissue<br />

against his over excited nose. Not exactly<br />

my idea <strong>of</strong> “top banter” all the same.<br />

But I guess it was endearing, and the<br />

laughter that ensued turned the whole<br />

thing from awfully awkward to hysterically<br />

hilarious. Top marks all round for<br />

how he dealt with it. But my god, what a<br />

bloody mess.<br />

women do. Women want presents to show<br />

we’ve made the right choice in the boyfriend<br />

department, to give us some boasting<br />

power and, most <strong>of</strong> all, (although we<br />

probably don’t like to admit it), to make<br />

our friends green with envy. But men don’t<br />

want the fuss. My birthday was at the end<br />

<strong>of</strong> January and I had been planning what<br />

we were going to do since Boxing Day. My<br />

boyfriend’s birthday is tomorrow and I’ve<br />

only just found out his plans: go down the<br />

pub for a few beers and eat pizza. I think<br />

that as long as you’re there on his birthday,<br />

with some form <strong>of</strong> present in hand then (if<br />

he loves you) he’s always going to lie and<br />

say he loves the present anyway.<br />

It’s at this point, when I’ve basically<br />

given up anyway, that the idea comes to<br />

me. A remote control plane. It’s funny,<br />

affordable and thoughtful. Coupled with<br />

a nice little card stating that he can now<br />

go flying whenever he wants, I think I will<br />

be earning myself some definite girlfriend<br />

brownie points.

Exeposé week twenty<br />

Music<br />

Ellie Bothwell & Ben Murphie - music@exepose.com<br />

Upcoming<br />

7/3 – Beat Roots<br />

Acoustic, Mama Stone’s<br />

9/3 – Sound <strong>of</strong> the Sirens<br />

+ Morning Rush, Mama<br />

Stone’s<br />

9/3 – The Deep End<br />

Submotion Orchestra,<br />

Cavern Club<br />

9/3 – Caitlin Rose,<br />

<strong>Exeter</strong> Phoenix<br />

10/3 – Devil’s Brigade +<br />

Smoke ‘em Out, Cavern<br />

Club<br />

11/3 – Carnaval, <strong>Exeter</strong><br />

Phoenix<br />

12/3 – The Believers,<br />

<strong>Exeter</strong> Phoenix<br />

12/3 – Ellie Williams,<br />

<strong>Exeter</strong> Phoenix<br />

17/3 – Glamour <strong>of</strong> the<br />

Kill, Cavern Club<br />

18/3 – Aeon Party with<br />

Halsall & Singh, Cavern<br />

Club<br />

19/3 – Analogue to<br />

Digital Music Expo,<br />

<strong>Exeter</strong> Phoenix<br />

19/3 – The Unthanks,<br />

<strong>Exeter</strong> Phoenix<br />

20/3 – Courtney Pine,<br />

<strong>Exeter</strong> Phoenix<br />

20/3 – Break Da Funk,<br />

<strong>Exeter</strong> Phoenix<br />

Book Now<br />

25/3 – Example, Lemon<br />

Grove<br />

28/3 - Jesca Hoop, <strong>Exeter</strong><br />

Phoenix<br />

29/3 - John Grant, <strong>Exeter</strong><br />

Phoenix<br />

1/4 - Sub Focus DJ Set,<br />

Lemon Grove<br />


The Mark <strong>of</strong> Kane<br />

Ellie Bothwell and Ben Murphie, Music Editors, chat to Miles Kane about<br />

Lennon, Bond and Rock ‘n’ Roll.<br />

The wide-eyed indie hopeful who fronted<br />

The Little Flames back in 2004 is a far cry<br />

away from the swaggering rock star that<br />

meets us today at The Fleece in Bristol.<br />

Sauntering into the venue after a quick<br />

stroll around the city, Miles Kane casually<br />

<strong>of</strong>fers us his hand. From the hem <strong>of</strong> his<br />

grey overcoat to the Gallagher-esque crop<br />

<strong>of</strong> his hair, Kane oozes Mod cool like it’s<br />

going out <strong>of</strong> fashion.<br />

After The Little Flames flickered and<br />

died, Kane enjoyed brief, if limited, success<br />

with the Rascals, going on to leave<br />

the band in 2009. However, it’s The Last<br />

Shadow Puppets, a project with Alex Turner<br />

<strong>of</strong> Arctic Monkeys, that brought him to<br />

the fore <strong>of</strong> everyone’s minds, with their album<br />

The Age <strong>of</strong> the Understatement going<br />

straight to #1 in the UK. “We’ll do another<br />

record”, Kane confirms, “It will happen<br />

when it happens but it will be great when it<br />

does.” Yet it’s in his capacity as a solo artist<br />

that we meet him today in the middle <strong>of</strong> his<br />

first UK tour.<br />

“I’m buzzing really and just glad to be<br />

working”, Kane admits modestly. Having<br />

been constructing his forthcoming album<br />

Colour <strong>of</strong> the Trap for the past year it will<br />

finally see the light <strong>of</strong> day in April. “I’m a<br />

massive fan <strong>of</strong> Lennon, Lee Hazlewood,<br />

Gainsbourg, you know, T-Rex, things like<br />

that,” Kane tells us in his lilting Liverpudlian<br />

brogue. “What I wanted to create was<br />

all my favourite artists or bands. I wanted<br />

to create a record that had all those different<br />

sides and I think I’ve achieved that.”<br />

“I love all that style”, he continues.<br />

“There’s this guy I’ve got into recently<br />

called Jacques Dutronc who is blowing my<br />

mind. He’s late ’60s and is like Gainsbourg<br />

but Mod! I don’t think there’s enough <strong>of</strong> it<br />

around at the minute.”<br />

Notably influenced by ’60s culture –<br />

music, film, fashion – Kane says <strong>of</strong> the<br />

album title, “It reminds me <strong>of</strong> a Bond film.<br />

You could see it on a poster with a girl and<br />

a gun.” This aesthetic approach is also<br />

reflected in the song’s lyrics, ‘the colour<br />

<strong>of</strong> the trap turned from black to blue’ - “I<br />

don’t really know what it means but I just<br />

loved those words together.” In a similar<br />

vein, much <strong>of</strong> his album is cinematic in<br />

tone: “There’s a couple that are almost like<br />

a Tarantino film, like heavy surf guitar”,<br />

Kane tells us, “one called ‘Telepathy’ and<br />

one called ‘The King Crawler’.”<br />

Citing The Beatles as one <strong>of</strong> his major<br />

influences, both in style and sound, Kane<br />

admits he had to safeguard the originality<br />

<strong>of</strong> his work. “It was going very Lennon at<br />

one point – I did have to de-Lennon a bit,<br />

I’m not gonna lie.” Yet, Dan Carey’s modern<br />

production helped maintain a balance<br />

between old and new, typified most by<br />

forthcoming single ‘Rearrange’. “It has got<br />

this great guitar riff and a great chorus…<br />

You know, Rock ‘n’ Roll.”<br />

Kane sought to approach the record<br />

open-mindedly, experimenting with different<br />

sounds and textures. New single ‘Come<br />

Closer’ was originally demo-ed as a glam<br />

rock song “because I’d been to see Kasabian<br />

in Liverpool... but it just sounded like<br />

a bit <strong>of</strong> Gary Glitter”, and instead the song<br />

turned into something a lot more simple.<br />

“On this first Lennon record Plastic Ono<br />

Band was a tune called ‘I Found Out’ and I<br />

basically robbed a beat <strong>of</strong>f that which was<br />

dead simple,” Kane reveals. “It just made<br />

it a lot cooler rather than trying too hard.”<br />

When it comes to performing live,<br />

Kane prefers to keep things in the family.<br />

“I’ve known Jay for a few years, I’ve<br />

known Eugene for a couple, and my old<br />

flatmate went to school with Phil, the bass<br />

player, so he’d been round to the house<br />

playing Fifa, and he knew Ben the keyboard<br />

player.” It’s this close connection<br />

that stop the pressures <strong>of</strong> the road from<br />

getting too much and makes for such tight<br />

performances. “I love being a solo artist,<br />

I love doing the press and chatting and I<br />

love doing the photos and the videos, but<br />

19<br />

when that’s taken away I need my mates<br />

and need people around, otherwise you can<br />

get lonely.” Having been in several bands,<br />

Kane has experienced touring at its least<br />

glamorous: “You’re in a f***ing splitter<br />

van! You know, I’d rather look at their ugly<br />

faces than strangers’ ugly faces!”, he quips.<br />

From the shoulders he’s been rubbing<br />

in anticipation <strong>of</strong> his forthcoming album,<br />

things may be more glamorous than they<br />

appear. Parisian beauty Clémence Poésy’s<br />

dulcet tones are featured on ‘Happenstance’<br />

and ‘elder statesman’ <strong>of</strong> British<br />

Rock ‘n’ Roll Noel Gallagher provides<br />

backing vocals on ‘My Fantasy’. Kane describes<br />

the experience as “Quite surreal for<br />

me. I’m very honoured.”<br />

With his tour now finished, Kane<br />

looks forward to supporting Arctic Monkeys,<br />

alongside hyped indie hipsters The<br />

Vaccines, in June. “They’re doing well<br />

aren’t they”, Kane remarks. Of their selfproclaimed<br />

brand <strong>of</strong> Rock ‘n’ Roll Kane<br />

agrees confidently, “Rock ‘n’ Roll man, I’d<br />

go along with that. I’m Rock ‘n’ Roll!”<br />

The Colour <strong>of</strong> the Trap is out on April<br />

25. ‘Come Closer’ is now available for<br />

purchase and download on Columbia.<br />


20<br />

Music<br />


The Witching Hour<br />

Andrew Henley gets spooky with Esben and the Witch.<br />

The Louisiana, the Bristol venue<br />

for tonight’s performance, is a very<br />

strange place. As you walk in, booked<br />

to interview a cutting-edge and rapidly<br />

rising band like Esben and the Witch,<br />

you ask yourself whether Google Maps<br />

has played some kind <strong>of</strong> electronic<br />

trick on you – the place looks like a<br />

carvery.<br />

The band themselves are to be<br />

found tucking into some pub grub, very<br />

relaxed and looking for all the world<br />

like a couple <strong>of</strong> <strong>student</strong>s branching<br />

out from their local Wetherspoons for<br />

once. Comprising <strong>of</strong> Rachel on vocals,<br />

with Dan and Thomas providing various<br />

space-sounds through guitars or<br />

bass, Esben and the Witch – recently<br />

featured on the BBC’s Sound <strong>of</strong> 2011<br />

poll – are clearly a very bright bunch,<br />

inspired as much by literature as music.<br />

Their name is drawn from a German<br />

fairy tale, and compliments the unsettling,<br />

spooky nature <strong>of</strong> their music fantastically.<br />

<br />

A bit <strong>of</strong> a quiet bunch at first, the<br />

band soon begin to converse freely,<br />

particularly Dan, who sports an impressive<br />

castaway-style beard. I ask<br />

them what their favourite musical experience<br />

to date has been, and they cite<br />

their tour <strong>of</strong> the US with minimalist<br />

indie heroes Foals as being key in their<br />

development; the band are obviously<br />

huge Foals fans and clearly enjoyed<br />

sharing the stage with such an acclaimed<br />

outfit.<br />

Esben and the Witch are most readily<br />

identifiable by the looming, multilayered<br />

textures which Dan and Thomas<br />

conjure, while a reverb-drenched<br />

Rachel coldly prophesies over the top.<br />

Such studio-created atmospheres, with<br />

a plethora <strong>of</strong> disconcerting sound effects,<br />

can be difficult to recreate in a<br />

live environment, but the band don’t<br />

necessarily see this as a problem. “I<br />

wouldn’t personally enjoy it if a band<br />

playing live sounded exactly as they<br />

do on record,” says Thomas. “We enjoy<br />

the challenge <strong>of</strong> not replicating,<br />

but re-imagining tracks on stage.” Dan<br />

agrees: “in the studio you can afford to<br />

focus on the artistry <strong>of</strong> a song, but live<br />

you need that aggression to get people<br />

excited about it. It’s also nice for us<br />

to play these songs live because it refreshes<br />

them for us. It’s easy to get accustomed<br />

or desensitized to a recorded<br />

version, and playing it live can help to<br />

reconnect with the heart <strong>of</strong> the track.”<br />

I ask them what would be their<br />

dream venue to play, expecting a fairly<br />

regulation “Wembley” or “the O2” answer.<br />

Instead the band fall into a coy<br />

silence, grinning to one another. “We<br />

have an idea,” smiles Dan. “but it’s a<br />

secret. If it becomes obvious we won’t<br />

make it, we’ll start telling everybody.<br />

But until then, it’s a secret.” Intrigued,<br />

I thank the band and let them go <strong>of</strong>f<br />

to start their pre-gig rituals. By now<br />

the Louisiana is positively heaving<br />

with Bristol’s indie elite, who begin to<br />

flock upstairs to the gigging room itself.<br />

Looking around, I began to notice<br />

some <strong>of</strong> the names who have played<br />

here before, immortalized with wallmounted<br />

plaques. The list is, quite<br />

frankly, ridiculous: The Strokes, Stereophonics,<br />

Coldplay, Kings <strong>of</strong> Leon,<br />

The White Stripes and Muse have all<br />

played here before at an early stage in<br />

their careers. Clearly there is more to<br />

this place than meets the eye.<br />

“I am left shaken,<br />

disconcerted<br />

and thoroughly<br />

impressed”<br />

I find myself in a compact but fantastically<br />

cool room, surrounded by<br />

about 70 people who look like they<br />

March 7 2011 Exeposé<br />

have been cut out <strong>of</strong> NME. Esben and<br />

the Witch take the stage, devoid <strong>of</strong> any<br />

<strong>of</strong> the polite smiliness earlier. They take<br />

their places among a bewildering mess<br />

<strong>of</strong> wires and pedals and launch into a<br />

thoroughly chilling version <strong>of</strong> previous<br />

single ‘Marching Song’. The combination<br />

<strong>of</strong> the venue’s gloom, illuminated<br />

only by a series <strong>of</strong> coldly smouldering<br />

blue lamps on the stage, and the unsettling,<br />

ethereal music, complete with<br />

fantastically macabre lyrics (“Your<br />

veins are my trenches / My gun is my<br />

own”) create an amazing, otherworldly<br />

atmosphere inside the room. A simplistic<br />

way to describe the sound would be<br />

to say the band sounds akin to an evil,<br />

nightmarish version <strong>of</strong> Florence and<br />

the Machine, but there are few catchy<br />

choruses in this gig.<br />

As the set draws to a close with<br />

Dan, Thomas and Rachel smashing<br />

away at a drum in the middle <strong>of</strong> the<br />

stage while multi-layered musical<br />

mayhem rolls like a lightning storm<br />

around them I am left shaken, disconcerted<br />

and thoroughly impressed. An<br />

amazing show by an incredibly talented<br />

trio, it is not difficult to see them<br />

breaking through to wider audiences<br />

on the strength <strong>of</strong> live shows like this.<br />

Just be sure you don’t go alone.<br />


Children <strong>of</strong> the Revolution (Per Minute)<br />

Thomas Surr explores the vinyl revival.<br />

There is a new music phenomenon<br />

emerging in the UK. Or rather, an old<br />

one is coming full circle. Vinyl records<br />

have stormed back into fashion with a<br />

new generation <strong>of</strong> music fans. Following<br />

the digital music revolution, it was predicted<br />

that vinyl records would become<br />

obsolete and record stores would close<br />

down in their masses. CDs and MP3s<br />

are generally cheaper and more compact<br />

than records. Yet, as Jaimie <strong>of</strong> <strong>Exeter</strong>’s<br />

Rooster Records says, there has been “a<br />

huge increase in the demand for vinyl<br />

over the past five years.” Vinyl has been<br />

welcomed as an alternative to the modernisation<br />

that supposedly threatened it.<br />

What is it about vinyl that means it can<br />

hold its own in the digital age<br />

For a start, vinyl simply sounds better.<br />

Most analogue vinyl LPs and EPs are<br />

recorded continuously which produces a<br />

truer sound, augmented by the lovely authenticity<br />

<strong>of</strong> the needle pops and crackles<br />

as a record plays. Digital files are compressed<br />

so they take up less memory, but<br />

this weakens their audio quality considerably.<br />

Records feel and look better too.<br />

There is something inexplicably gratifying<br />

about the physical act <strong>of</strong> holding and<br />

playing a record. The artwork on the covers<br />

and records gives joy before a note<br />

has been played and the thought that time<br />

and effort have gone into making each<br />

individual record and that each is unique<br />

through its little imperfections is charming.<br />

Compare this to the rows <strong>of</strong> homogenous<br />

CD cases in HMV and you will<br />

hopefully begin to see what I’m talking<br />

about. With downloaded music too, “all<br />

you have are digits in your iPod; convenient<br />

but not very exciting compared with<br />

vinyl,” Jaimie believes.<br />

“Records <strong>of</strong>fer<br />

a completely<br />

different way <strong>of</strong><br />

listening to music”<br />

Records are far more durable than<br />

any digital alternative and can last for<br />

years or even decades, depending on<br />

how well they’re looked after. Digital<br />

music players rarely survive a fraction<br />

<strong>of</strong> this time. Music files can also be corrupted<br />

or lost all too easily on a computer.<br />

Furthermore, records can be viewed<br />

as an investment since they tend to keep<br />

or even increase in value over time, especially<br />

rare and limited edition ones.<br />

Moving beyond aesthetics and retro<br />

charm, records <strong>of</strong>fer a completely different<br />

way <strong>of</strong> listening to music. When<br />

was the last time you listened to an album<br />

from start to finish I rarely have the<br />

time or patience for this now that I can<br />

cherry pick all my favourite tracks from<br />

my iPod. But allowing a record to play<br />

from start to finish and, more importantly,<br />

allowing oneself the time to listen to<br />

it from start to finish, is hugely enjoyable<br />

and relaxing. You are also doing the artist<br />

and their music justice in this respect<br />

by listening to the tracks as the artist intended<br />

them to be heard (musicians put<br />

more consideration than you might think<br />

into deciding the tracklisting order <strong>of</strong> an<br />

album). This may even add a little something<br />

to your enjoyment <strong>of</strong> the music and<br />

appreciation for the artist that you didn’t<br />

have before.<br />

I’d be lying if I said I’m boycotting<br />

digital music altogether, but I am giving<br />

vinyl a fair shot. I have started my own<br />

fledgling record collection and have set<br />

up a record player in our front room. And<br />

yes, I am starting to see what all the hype<br />

is about.<br />

Interested <strong>Exeter</strong> has some choice<br />

record stores. For a wide selection <strong>of</strong><br />

genres, try Rooster Records and Martian<br />

Records. For dubstep, dnb and breaks,<br />

head to Reform Records. For cheaper<br />

odds and ends, look in any charity shop.<br />


Imogen Blake injects some interest<br />

into First Aid Kit.<br />

ARMED with only an acoustic guitar,<br />

their own exquisite voices and a handheld<br />

camera, sister duo First Aid Kit recorded<br />

their cover <strong>of</strong> Fleet Foxes’ ‘Tiger<br />

Mountain Peasant Song’ surrounded by<br />

pine trees in the summer <strong>of</strong> 2008.<br />

Swedish sisters Klara and Johanna<br />

have mature and soulful voices, as well<br />

as an ability to harmonise perfectly with<br />

one another. These would be qualities<br />

celebrated regardless <strong>of</strong> age but First Aid<br />

Kit become something remarkable when<br />

you consider they recorded their cover<br />

version <strong>of</strong> the Fleet Foxes’ song when<br />

Johanna was 18 and Klara only 15.<br />

It was not until early 2009, with the<br />

UK release <strong>of</strong> the folk duo’s first EP,<br />

Drunken Trees, that they gained any recognition<br />

in Britain. The EP is a strange<br />

mix <strong>of</strong> unoriginal, insipid lyrics and<br />

mature themes <strong>of</strong> adultery, mundane domestic<br />

life, and tired marriages. Despite<br />

its inconsistency, Klara and Johanna’s<br />

hauntingly beautiful harmonies more<br />

than make up for the uneven tone <strong>of</strong><br />

Drunken Trees.<br />

A more sophisticated and focused <strong>of</strong>fering<br />

arrived in the form <strong>of</strong> their 2010<br />

debut album, The Big Black and the Blue.<br />

The 11-track disc opens with acappella<br />

harmonies that are so carefully synchronised<br />

that the cliché <strong>of</strong> sending shivers<br />

down your spine becomes a reality. The<br />

duo’s vocals are never overshadowed by<br />

instrumentation and remain centre stage<br />

for the entirety <strong>of</strong> the album, best exemplified<br />

by standout track, ‘Ghost Town’,<br />

which was released as a single in September<br />

2010.<br />

Despite releasing an internationally<br />

acclaimed album, First Aid Kit are still<br />

relatively unknown to mainstream UK<br />

audiences, although they have gained<br />

a large following in folk circles. After<br />

admiring First Aid Kit’s music for over<br />

a year, I was lucky enough to see them<br />

play at Latitude festival in the summer<br />

<strong>of</strong> 2010. Live, the duo <strong>of</strong>ten improvised<br />

which added a light-hearted touch that<br />

was missing from the album. The harmonies<br />

were flawless and as the band made<br />

its way through song after song, the sisters<br />

didn’t compromise on quality and<br />

gave a stunning live performance.<br />

If the band can fine-tune their songwriting<br />

skills, First Aid Kit will no doubt<br />

match the successes <strong>of</strong> Fleet Foxes,<br />

Mumford and Sons and Band <strong>of</strong> Horses<br />

a few years down the line. After all, folk<br />

is trendy at the moment.<br />

First Aid Kit’s cover versions <strong>of</strong> ‘Universal<br />

Soldier’ and ‘It Hurts Me Too’,<br />

recorded as part <strong>of</strong> Third Man Records’<br />

Blues Series, are now available on 7”<br />


Exeposé week twenty<br />


21<br />

Music<br />

King <strong>of</strong> Limbs<br />

Radiohead<br />

Radiohead fans awoke on February<br />

18 to avid internet chat concerning<br />

the early release <strong>of</strong> the long awaited<br />

newest addition to Radiohead’s already<br />

quite extensive back catalogue, King <strong>of</strong><br />

Limbs. Announced earlier in the week,<br />

the eight-track album is the follow up<br />

to the critically acclaimed In Rainbows,<br />

and the second since the band’s less than<br />

civil break with their previous label EMI.<br />

Early impressions are that the band could<br />

never have got away with this sort <strong>of</strong><br />

sound with record executives and representatives<br />

breathing down their necks.<br />

I started <strong>of</strong>f worried that eight tracks<br />

might not be enough, that it would feel<br />

rushed or incomplete as a result, but the<br />

opposite is true, the only odd thing about<br />

its length is that it doesn’t actually feel<br />

too short at all. The sound throughout is<br />

progressive and stuttered, and gives the<br />

“The beauty <strong>of</strong> it is<br />

found in the way<br />

that it intrigues you<br />

and pushes you to<br />

explore its various<br />

landscapes <strong>of</strong><br />

sound”<br />

illusion <strong>of</strong> electronic compositions even<br />

though it’s not. The band lean heavily on<br />

layered percussion throughout the early<br />

tracks, specifically ‘Bloom’ and ‘Little<br />

by Little’, which marks a break <strong>of</strong> direction<br />

and can at first be interpreted as<br />

somewhat disjointed and disorientating.<br />

However, it is an album which invites<br />

you to listen on, and to attempt to interpret<br />

the sounds and layers as you wish.<br />

A parallel can be drawn here with Radiohead’s<br />

previous experimental albums,<br />

Kid A and Amnesiac, albums which remain<br />

available to admire and wonder at,<br />

but exist a million miles away from the<br />

older guitar sound in Pablo Honey and<br />

The Bends. Put roughly, if that is the sort<br />

<strong>of</strong> Radiohead you like, then avoid this<br />

album.<br />

The album moves on from the early<br />

layered percussion into a more familiar<br />

sound with the incredibly epic and heavily<br />

bass driven anthem ‘Lotus Flower’, a<br />

song which is perhaps the album’s only<br />

clear radio-friendly single. It is a lesson<br />

for the modern generations <strong>of</strong> hyped<br />

alternative singer/songwriters, such as<br />

James Blake, in how to properly compose<br />

a song. From here on, the album<br />

changes and a new sound develops which<br />

would be familiar to those lucky enough<br />

to see Thom Yorke’s live show, which is<br />

as slow, melancholic and piano driven as<br />

much <strong>of</strong> his solo material. The two slow<br />

ballads (for use <strong>of</strong> a better description)<br />

‘Codex’ and ‘Give up the Ghost’, are instances<br />

where the band seems to take a<br />

back seat, with Thom’s vocals taking full<br />

prominence. I would put my money on<br />

these two songs becoming the standout<br />

tracks over time.<br />

Overall King <strong>of</strong> Limbs is strange,<br />

disorientating and perhaps at first an<br />

<strong>of</strong>f-putting album. But the beauty <strong>of</strong> it<br />

is found in the way that it intrigues you<br />

and pushes you to explore its various<br />

landscapes <strong>of</strong> sound. This is where Radiohead<br />

have resoundingly succeeded,<br />

in maturely and successfully illustrating<br />

how you can make an experimental album<br />

without completely removing any<br />

intrigue from it or alienating your followers.<br />

It is a fantastic achievement, and<br />

will only get better with time as more <strong>of</strong><br />

its corners and layers are revealed and<br />

explored by listeners.<br />


Smart Flesh<br />

The Low Anthem<br />

The Low Anthem are a novel ensemble.<br />

Their live performances feature,<br />

among other things, the use <strong>of</strong> interference<br />

from mobile phones during<br />

an instrumental as well as the musical<br />

saw. This facet is evident in the production<br />

process behind Smart Flesh. Artists<br />

choosing to record their albums in locations<br />

other than studios is increasingly<br />

common; Erland & the Carnival recorded<br />

Nightingale at the bottom <strong>of</strong> a ship and<br />

both Beach House’s Teen Dream and<br />

Arcade Fire’s Neon Bible were recorded<br />

in churches. The Low Anthem opted for<br />

a cold abandoned pasta sauce factory in<br />

Rhode Island.<br />

Their previous album, Oh My God,<br />

Charlie Darwin was the album that put<br />

them on the map, so to speak. Filled<br />

with tales <strong>of</strong> woe, mortality and Charles<br />

Darwin, it was an impressive feat. The<br />

question is, have the band managed to<br />

continue creating music in the wonderful<br />

manner for which they reached acclaim<br />

With time, yes. Smart Flesh is an album<br />

which requires repeat listening and<br />

patience as initially many <strong>of</strong> the songs<br />

sound very similar. From the outset, the<br />

advantages <strong>of</strong> recording in their chosen<br />

location can be heard. The slow opening<br />

track ‘Ghost Woman Blues’ is wonderfully<br />

atmospheric, however, there are<br />

strong resemblances between this and<br />

some <strong>of</strong> the later tracks. Ben Knox Miller<br />

and Jocie Adam’s beautiful harmonies<br />

resonate around the room, complimented<br />

by a simple piano and bass accompaniment.<br />

Jocie Adam’s clarinet solo toward<br />

the end <strong>of</strong> the song binds it together and<br />

recaptures the listener, preventing the<br />

track from continuing as simply more <strong>of</strong><br />

the same. Adam’s impressive prowess is<br />

fully illustrated by the instrumental track,<br />

‘Wire’.<br />

“The lyrical quality<br />

<strong>of</strong> Smart Flesh is<br />

sublime”<br />

The album takes an energetic turn<br />

with ‘Boeing 737’. The upbeat electric<br />

guitar, flugelhorn, drums and electric bass<br />

make this one <strong>of</strong> the closest things The<br />

Low Anthem have to an anthem.<br />

The lyrical quality <strong>of</strong> Smart Flesh is<br />

sublime; time should be taken to savour<br />

such lyrics as the somber, ‘Knowing in<br />

the end you’ll be alone for death does<br />

lonely death does creep / So hire yourself<br />

a chimney maid and smoke yourself to<br />

sleep’ in the album’s title track.<br />

The term ‘folk’ describes Smart<br />

Flesh with respect to more than it’s genre.<br />

Many <strong>of</strong> the tracks on the album invoke<br />

stories told around a campfire. This is<br />

something that is enhanced by the somewhat<br />

timeless lyrics which, when paired<br />

with Miller’s voice and the band’s music<br />

- which <strong>of</strong>ten sounds like the perfect<br />

accompaniment to American Folklore -<br />

bring to mind an era which has past.<br />

Smart Flesh is an impressive feat and<br />

is arguably the finest release to date from<br />

this talented band.<br />



Rope<br />

Foo Fighters<br />

WHY does it start out sounding a little<br />

like Kings <strong>of</strong> Leon Why does it turn<br />

into a jittery, nervy hard rock version<br />

<strong>of</strong> a game show theme Why is there<br />

nothing remotely memorable about the<br />

verse melody<br />

Because it’s always like that with<br />

a new Foos track, or at least for me.<br />

I don’t think I’ve ever enjoyed a Foo<br />

Fighters comeback single during the<br />

first few listens, and this instantly<br />

mediocre <strong>of</strong>fering is no different – it<br />

even includes a breakdown where everything<br />

becomes even more stop-start<br />

than before. Chris Shiflett is back on<br />

shredding form guitar-wise, while<br />

Taylor Hawkins’ drums are as skillfully<br />

chaotic as usual. The only worry<br />

is Dave Grohl’s voice, which doesn’t<br />

sound particularly impassioned these<br />

days.<br />

Vocals aside, this spectacularly<br />

mundane track means only one thing<br />

to me: the next album will be incredible.<br />

I hated ‘The Pretender’ and ‘Best<br />

<strong>of</strong> You’ the first ten times I heard them,<br />

but I grew to love them and considered<br />

the albums that followed them absolute<br />

classics. Not all <strong>of</strong> you will have the<br />

same opinion - I know so many that<br />

consider this a fantastic return - but I<br />

like to think that, for anyone as disappointed<br />

as myself, ‘Rope’ can only precede<br />

some great work from what is still<br />

just about the biggest rock group in the<br />

world.<br />

It’s hard to call, but on this evidence<br />

the next Foos record could be<br />

better than ever.<br />


Under Cover <strong>of</strong> Darkness<br />

The Strokes<br />

Harking back to the glory days <strong>of</strong><br />

Is This It on their latest single, ‘Under<br />

Cover <strong>of</strong> Darkness’, The Strokes<br />

have effortlessly returned to what<br />

made them originally so good. After<br />

countless solo projects and alleged<br />

disharmony, one <strong>of</strong> indie rock’s most<br />

celebrated bands <strong>of</strong> the last decade<br />

has re-emerged from its hiatus with a<br />

majestic effort.<br />

This energetic track delivers<br />

with standard raspy vocals from Julian<br />

Casablancas, furious pop hooks<br />

and high-tempo, funky drum beats.<br />

Bouncy guitar interplay between Albert<br />

Hammond Jr. and Nick Valensi<br />

is delightfully familiar, as is the<br />

former’s crunching solo. It appears<br />

The Strokes are having fun again<br />

with the same old song, but polished<br />

for a new decade.<br />

“The-energetic<br />

track delivers<br />

with standard<br />

raspy vocals<br />

from Julian<br />

Casablancas,<br />

furious pop<br />

hooks and high<br />

tempo, funky<br />

drum beats”<br />

The sense <strong>of</strong> disinterested cool<br />

that marked Is This It is evident as<br />

Casablancas jokingly observes, “I’ve<br />

been all around this town and everybody’s<br />

singing the same sound for ten<br />

years.” Perhaps a nod to their scores<br />

<strong>of</strong> imitators, it’s also a confident address<br />

to critics who’ve questioned<br />

the band’s relevance after 2006’s<br />

disappointment, First Impressions <strong>of</strong><br />

Earth. The number, utilising the l<strong>of</strong>i<br />

production <strong>of</strong> Is This It, points to<br />

a return to form, epitomised by two<br />

ridiculously catchy choruses. The anthem<br />

shows how Casablancas and co.<br />

have risen again and are in no rush to<br />

slow down: ‘Get dressed, jump out <strong>of</strong><br />

bed, and do it best.’<br />

Although there’s nothing experimental<br />

in the sound, ‘Under Cover <strong>of</strong><br />

Darkness’ is a nostalgic reminder <strong>of</strong><br />

how good The Strokes used to be, and<br />

it appears they’re poised to reclaim<br />

their position as indie rock’s darlings.<br />


22<br />

Screen<br />

Calum Baker & David Brake - screen@exepose.com<br />

march 7 2011 Exeposé<br />


WHERE to start this week The past<br />

seven days have seen the greatest Hollywood<br />

meltdown since Mel Gibson - and<br />

Charlie Sheen’s inadvertent, mildly antisemitic<br />

slips seem even funnier because<br />

we know he doesn’t mean them. After a<br />

spectacularly drugged-up TV interview,<br />

Sheen became something <strong>of</strong> an internet<br />

meme, joined Twitter and amassed<br />

940,000+ followers within about 24<br />

hours. Now THERE’S a story to watch!<br />

We’ve got the biggest story <strong>of</strong> the<br />

Oscars covered opposite, but equally<br />

important were the Golden Raspberry<br />

Awards for 2010’s worst films. The Last<br />

Airbender and M. Night Shyamalan led<br />

with 5 wins including Worst Film, Director,<br />

Screenplay, Supporting Actor and<br />

Eye-Gouging Mis-Use <strong>of</strong> 3D. Sarah Jessica<br />

Parker, meanwhile, became the first<br />

actress to scoop two awards for the same<br />

role in the same film: Worst Actress and<br />

Worst Ensemble for Sex and the City 2.<br />

Finally, we are lamenting the passing<br />

<strong>of</strong> silver screen icon/sexpot Jane Russell,<br />

who died February 28 aged 89. RIP.<br />


THIS week, we are again <strong>of</strong>fering<br />

THREE PAIRS <strong>of</strong> tickets for any film<br />

at any time that you fancy at ODEON.<br />

All you need to do is email us with the<br />

subject line “I LOVE MACHETE”, and<br />

you’ll get entered into the draw. It’s<br />

easy, know what I mean<br />

All entries should be sent to:<br />

screen@exepose.com<br />

Deadline is March 18.<br />

Danny Trey-ho kay!<br />

Calum Baker and<br />

David Brake, Screen<br />

Editors, chat to<br />

Hollywood A-lister<br />

Danny Trejo.<br />

BEFORE conducting this interview, we<br />

were setting out the very pages you read<br />

now. To fill space, we stuck in a fake<br />

account <strong>of</strong> our fictional meeting with<br />

Danny Trejo (we actually spoke to him<br />

over the phone), indulging ourselves<br />

with our, and the public’s, image <strong>of</strong> the<br />

man. Phrases such as ‘he leaps across<br />

the table, foaming at the mouth’, were<br />

bandied about to general amusement,<br />

playing up to Trejo’s typecast role as a<br />

hardcore killer. How wrong we were.<br />

Trejo, one <strong>of</strong> the consummate ‘faces-without-names’<br />

<strong>of</strong> Hollywood, cropping<br />

up occasionally to eviscerate people<br />

and whatnot, has steadily carved a<br />

pr<strong>of</strong>itable career in some 85 films over<br />

20 years, but 2011 is his biggest year<br />

yet. Following his first starring role,<br />

in the entertaining Grindhouse spin<strong>of</strong>f<br />

Machete, Trejo has become the name<br />

behind the face - and that’s quite a face<br />

to live up to - and found himself in more<br />

flicks than ever.<br />

“I’ve just finished The Muppets. The<br />

Muppets!” he says, a little bewilderedly,<br />

before launching into a loud rendition <strong>of</strong><br />

the iconic ‘Phenomenon’ song amidst<br />

genuinely crazed giggles. “I can’t get<br />

that damn song out <strong>of</strong> my head! I have<br />

a beautiful Range Rover, got 26 inch<br />

tyres, and lowered, and all scaried up.<br />

It’s got a huge sound system, and I’ve<br />

been running around town bumping<br />

the Muppets song!”<br />

Is this the Danny Trejo we’ve<br />

grown accustomed to Singing along<br />

to childhood cacophonies Well, for-<br />

Classic Films #16: Throne <strong>of</strong> Blood (1957)<br />

Dir: Akira Kurosawa<br />

Cast: Toshirô Mifune,<br />

Minoru Chiaki<br />

(PG) 110mins<br />

get what’s on his stereo and look again at<br />

how he describes his vehicle. “It doesn’t<br />

even look like a Range Rover!” possibly<br />

sums it up. No matter how many puppets<br />

he stars with, this man is a true action<br />

nut.<br />

“If you’re going to watch a drama<br />

don’t invite me, ‘cos I’ll bother everybody.’<br />

Action, I love action movies, action<br />

characters who kill eight people in<br />

the first five minutes and blow up two<br />

buildings.” He could be describing his<br />

own films. ‘You know like a lot <strong>of</strong> actors<br />

will say no, you know, I don’t watch<br />

myself [onscreen] - Hell YEAH! ... My<br />

only problem is I ruin it for everybody:<br />

“OH watch, look at it!’’’<br />

In essence, this is Danny Trejo’s<br />

entire ethos: he knows what he likes<br />

and will rarely make anything different.<br />

Quite the artist-spectator.<br />

“I’m an action movie fan, and<br />

people like Robert Rodriguez<br />

- so is he. We’re big action<br />

movie fans, so you know,<br />

it’s just like ‘let’s do what<br />

we like’, and what the<br />

public like too, because<br />

they’re fans,” says<br />

Trejo. Being a man’s<br />

man with little pretension<br />

has clearly worked, now<br />

bringing him up to $2 million<br />

per film.<br />

Trejo’s attitude<br />

towards<br />

o t h e r<br />

AKIRA KUROSAWA is undoubtedly<br />

one <strong>of</strong> history’s greatest film directors.<br />

Not only are his works masterpieces in<br />

their own right, but without them, western<br />

cinema would be missing so many<br />

<strong>of</strong> its own classics. George Lucas found<br />

inspiration for Star Wars in The Hidden<br />

Fortress, The Usual Suspects drew from<br />

Rashomon, and without Kurosawa’s The<br />

Seven Samurai and Yojimbo we wouldn’t<br />

have The Magnificent Seven or A Fistful<br />

<strong>of</strong> Dollars.<br />

However, one <strong>of</strong> my favourite films<br />

by this legendary Japanese auteur is his<br />

1957 work Throne <strong>of</strong> Blood. This film,<br />

rather than inspiring another, took its story<br />

from one <strong>of</strong> western cultures most famous<br />

plays – Macbeth. Kurosawa twice<br />

adapted Shakespeare into historical Japanese<br />

settings: Ran and a re-imagining <strong>of</strong><br />

King Lear being the other. Although the<br />

magnificence <strong>of</strong> Shakespeare’s language<br />

is lost in translation and adaptation, his<br />

stories are nonetheless timeless classics.<br />

However, the joy <strong>of</strong> Kurosawa’s interpretations<br />

lies in his direction – artistic,<br />

theatrical and atmospheric – and the<br />

wonder <strong>of</strong> seeing the well-loved dramas<br />

come alive in the Japanese settings, complete<br />

with castles and palaces, and populated<br />

by samurai, slaves, and geishas.<br />

Toshiro Mifune, a frequent Kurosawa-collaborator,<br />

is incredible as<br />

the katana-wielding samurai Macbeth,<br />

Washizu. As ever, he is a commanding<br />

on-screen presence, bringing his usual<br />

mix <strong>of</strong> ferocity and humour to the role,<br />

while perfectly portraying the moral<br />

actors is telling in this respect; his heroes<br />

include Charles Bronson, and he’s<br />

“been watching Clint Eastwood since he<br />

was in Rawhide [late ‘50s TV series]...<br />

those guys just bring a... a certain...<br />

realism, you know what I mean Because<br />

I’m sorry, but it’s really hard for<br />

me to watch, like... Leonardo di Caprio<br />

and George Clooney and Johnny<br />

Depp play bad guys - you know, like,<br />

they’re beautiful! It’s hard for me to say<br />

‘I’d be scared <strong>of</strong> that guy!’ It seems all<br />

Trejo wants to do is create films to be<br />

watched, rather than think pieces. Remember:<br />

“Dialogue sucks!”<br />

It is perhaps, with attitudes such as<br />

these, quite easy to label Trejo as some<br />

sort <strong>of</strong> meathead, an action nut with no<br />

real substance. But there’s something<br />

about his friendliness and love for people<br />

that’s infectious and proves to us<br />

that, rather than anything else,<br />

he just wants to keep us<br />

entertained. He describes<br />

Clooney et al. as “great<br />

actors,” but points out: “I<br />

love people who go to a<br />

movie called Ma-CHETe,<br />

and they say ‘there’s a<br />

lot <strong>of</strong> blood!’, you know,<br />

that’s like going to the<br />

desert and saying ‘it’s hot!’’<br />

A man who only wants to<br />

keep us excited in the cinema<br />

is simply... well, if we applied<br />

the following<br />

word to<br />

an actor like<br />

Clooney it<br />

seems indulgent,<br />

but here<br />

it seems<br />

apt: Trejo<br />

is generous.<br />

and mental disintegration the character<br />

undergoes. His performance is complimented,<br />

too, by Isuzu Yamada as the<br />

scheming, kimono-clad, Lady Washizu.<br />

The true star <strong>of</strong> the film, though, remains<br />

Kurosawa’s visuals.<br />

“Ambition is false<br />

fame and will<br />

fall, death will<br />

reign, man falls in<br />

vain”<br />

Macbeth has never been more nightmarish;<br />

much <strong>of</strong> the action takes place in<br />

‘Spider Web Castle’ (the Japanese title <strong>of</strong><br />

the film), a sombre and haunting building<br />

on the slopes <strong>of</strong> Mount Fuji, that is<br />

revealed to us through swirling mist and<br />

This generosity, the need to give<br />

something back to people, extends further<br />

than Trejo’s average audience however.<br />

Having been a teenage crack addict,<br />

and spending 11 years in and out <strong>of</strong><br />

penitentiaries for various petty crimes,<br />

the 66-year-old has devoted a great deal<br />

<strong>of</strong> his life to drug counselling and youth<br />

programmes.<br />

“When I got into this I was a drug<br />

counsellor.” This comes as a surprise to<br />

us, having asked if he would have done<br />

counselling at all if he hadn’t moved into<br />

movies. Perhaps the question should be<br />

whether fame has diminished Trejo’s<br />

sense <strong>of</strong> community Listen:<br />

“I’m still a drug counsellor, and I<br />

still go to juvenile halls, and penitentiaries...<br />

this thing that the movies have<br />

done for me is when I walk into a juvenile<br />

hall, a prison, anything, I have<br />

everybody’s attention - already!’ If<br />

anything, then, fame has made the man<br />

<strong>of</strong> the people even more humble, even<br />

more willing to preach his admirable<br />

message: ‘My lesson is ‘stay away from<br />

drugs’, and ‘education is the key to anything<br />

you wanna do.’ ’’<br />

This is incredibly refreshing<br />

amongst all the Clooney-types, whose<br />

humanitarian work seems suspiciously<br />

well-publicised and perhaps self-serving.<br />

For Trejo, it appears, the most important<br />

thing about working in Hollywood<br />

is to keep the entertainment side<br />

<strong>of</strong> your life as entertainment - good, fun,<br />

spectacle - and to make any charity and<br />

community work really count. Trejo actually<br />

goes out, making a difference, and<br />

it is arguably this, above all, that defeats<br />

his knuckleheaded tough guy persona.<br />

Ultimately, make what you will <strong>of</strong><br />

a person, but look up George Clooney’s<br />

wonderfully self-congratulatory Oscar<br />

acceptance speech and ask: who’s the<br />

better man The Star or the Bad Ass<br />

fog. However, when Washizu visits the<br />

three ‘witches’, he enters a classically<br />

creepy forest, similarly filled with thick<br />

fog that funnels the character into a small<br />

clearing where, amidst piles <strong>of</strong> skulls<br />

and swords, three ghost-samurai appear<br />

to taunt him with prophetic riddles.<br />

Washizu’s demise, too, is wonderfully<br />

erratic and visually arresting, involving<br />

hundreds <strong>of</strong> (mainly real) arrows impaling<br />

themselves in and around the frenzied<br />

protagonist.<br />

An <strong>of</strong>t-forgotten gem, Throne <strong>of</strong><br />

Blood is fascinating and superb for fans<br />

<strong>of</strong> history, Shakespeare, Japanese culture,<br />

and film-fans in general. It is a timeless<br />

story retold in a refreshingly different<br />

setting, with wonderfully creepy<br />

visuals, exciting action, and complete<br />

with mesmerising performances.<br />


Exeposé week twenty<br />

23<br />

Screen<br />

Should The King’s Speech have won Best Picture<br />

Maddie Soper asks:<br />

just why not<br />

PROBABLY the last thing anyone was<br />

expecting was a crowned prince who<br />

can’t get his words out, an Australian<br />

with more nerve than Birmingham City<br />

football club, and a de-cloaked, defrizzed<br />

Helena Bonham Carter to create<br />

such a recipe for success as The King’s<br />

Speech has turned out to be. But after<br />

establishing itself as the greatest thing<br />

to emerge from British cinema since…<br />

well, name something, clean up at the<br />

Oscars you would expect The King’s<br />

Speech to do, and indeed, clean up it did.<br />

But the extent to which the floor was<br />

wiped is surely quite the surprise – not<br />

least since its contenders were <strong>of</strong> such<br />

high calibre in themselves.<br />

“They did manage<br />

to at least get the Best<br />

Picture one right this<br />

year”<br />

Don’t get me wrong, I am utterly<br />

delighted The King’s Speech won Best<br />

Picture and feel it was most deserved.<br />

The acting was sublime; Colin Firth<br />

and Ge<strong>of</strong>frey Rush gave the performances<br />

<strong>of</strong> their careers, which ensure they<br />

will not forever be remembered as “that<br />

bloke in the wet shirt and that one what<br />

wasn’t Johnny Depp,” and Helena Bonham<br />

Carter was a pillar <strong>of</strong> strength in the<br />

impossibly-supportive-loving-wife role.<br />

The cinematography captured the tone<br />

and style <strong>of</strong> inter-war London perfectly,<br />

feeling pleasantly artistic, and yet never<br />

fake. In short, the film was utterly believable<br />

throughout, with a moving finale,<br />

but also remaining acutely aware <strong>of</strong> its<br />

slightly romanticised angle - which is a<br />

very hard balance to achieve in any fictional<br />

reimagining <strong>of</strong> real events.<br />

But I remain more than slightly irritated<br />

that The King’s Speech also claimed<br />

the other most coveted award at the expense<br />

<strong>of</strong> another cinematic triumph that<br />

now feels overlooked. David Fincher’s<br />

social commentary The Social Network<br />

surely deserved to win Best Director.<br />

Fincher’s unique and provocative style<br />

translated beautifully to the content,<br />

and he now appears, quite frankly,<br />

robbed. Any other year, The Social<br />

Network would have triumphed in<br />

practically every area it graced, but in<br />

the same year as The King’s Speech it<br />

wasn’t to get a look in besides Adapted<br />

Screenplay and Score, and consequentially<br />

lost the enormous amount<br />

<strong>of</strong> recognition it deserved.<br />

Yet the long and short <strong>of</strong> it is (despite<br />

what the Academy may like to<br />

think) the Oscars are not the be-all and<br />

end-all <strong>of</strong> the cinema experience. If you<br />

think another film deserved that award,<br />

then just because Oscar failed to give<br />

them that golden statue that’s probably<br />

made out <strong>of</strong> chocolate these days anyways,<br />

it doesn’t detract from the triumph<br />

that you think it was. Too much <strong>of</strong>ficial<br />

recognition all over the place can get tedious<br />

after a while anyway (See Titanic:<br />

all right, you think it’s a classic, we get<br />

it). Even if they did manage to at least get<br />

the Best Picture one right this year.<br />

Christopher Preston<br />

asks us to look closer<br />

at Speech’s reputation.<br />

BEFORE you read this, you should<br />

know that I am a huge fan <strong>of</strong> The King’s<br />

Speech. I pre-booked an advance screening<br />

to see it, and then waxed lyrical about<br />

its content to every man and his dog. I<br />

made claims, bold claims; about how<br />

Firth’s performance had actually surpassed<br />

sliced bread, and how this film<br />

had managed to rejuvenate a feeling <strong>of</strong><br />

national pride within me, despite<br />

The Jeremy Kyle Show almost robbing<br />

me <strong>of</strong> it just months before.<br />

But, even after all these, none<br />

<strong>of</strong> my claims were as bold as giving<br />

The King’s Speech the muchcoveted<br />

Best Picture award at the<br />

Oscars. Did this movie really deserve<br />

the highest honour film can<br />

bestow The answer is, <strong>of</strong> course, no.<br />

Don’t get me wrong, the film is<br />

charming, the script is wonderful, and<br />

the acting cast is stellar (kudos to the<br />

criminally underrated Ge<strong>of</strong>frey Rush.)<br />

I’ll even say that Tom Hooper handles<br />

his direction well, and certainly translates<br />

the material warmly onto the silver<br />

screen (although certainly didn’t do<br />

enough to earn his Best Director award.<br />

We all feel your pain, Mr Fincher).<br />

However, just for a moment, let’s<br />

step away from the media hype. Let’s<br />

divorce ourselves from the overwhelming<br />

urge to fanboy Firth’s star turn. For<br />

heaven’s sake, let’s forget, just for one<br />

moment, that we are all British and this<br />

is a British film and stop applying the<br />

archaic, football-hooligan’s logic <strong>of</strong> ‘it’s<br />

from our country, so we’ll support it despite<br />

everything’ and just watch the film.<br />

Yes, it’s wonderful but was I really<br />

the only one who saw it for what it was<br />

The King’s Speech was merely a Hollywood<br />

take on a BBC drama. As much<br />

as I enjoyed the story, and I really can’t<br />

state enough that I did, I found myself<br />

thinking <strong>of</strong> how well it would fit into<br />

the Beeb’s Sunday night schedule – just<br />

after Songs <strong>of</strong> Praise. Because <strong>of</strong> this, it<br />

doesn’t quite boast the cinematic cojones<br />

to have won Best Picture. The piece was<br />

a warm, woolly jumper <strong>of</strong> a film – something<br />

that was comfortable and nice,<br />

rather than breathtaking, original or innovative.<br />

“Let’s step away from<br />

the media hype”<br />

Something that was all three <strong>of</strong> these<br />

things, and more, was the sublime The<br />

Social Network – a film that, through a<br />

wonderful story, and equally brilliant<br />

script and acting performances, is a cinematic<br />

checklist <strong>of</strong> what Best Picture<br />

should be. It should have romped home<br />

with the gold – and taken Best Director<br />

for good measure.<br />

If the award had been given to the<br />

right film, this year’s ceremony might<br />

have been a bit more memorable. The<br />

‘jumping-on-the-bandwagon’ aftertaste,<br />

however, merely consigns it to the ‘meh’<br />

pile in history, and makes us hope for a<br />

more impressive, and dare I say controversial,<br />

year next year.<br />

Roll on February 2012 (but well<br />

done Firth, you DID deserve it…!)<br />

Esther Privett defends<br />

the British triumph<br />

over America.<br />

BEING British, The King’s Speech Best<br />

Picture win could not be anything but<br />

brilliant. It’s very hard to tell whether it<br />

deserved to win; taste in film is such a<br />

personal thing it seems almost silly to<br />

say which is best, but I’m glad the voters<br />

came to that conclusion.<br />

There wasn’t a single moment in the<br />

film where they lost me, excluding when<br />

Firth first appeared and that’s only because<br />

I’m passionately in love with him.<br />

The whole production was one seamless<br />

spectacle <strong>of</strong> exquisiteness. Each actor<br />

performed extraordinarily well. It shows<br />

a good film when the likes <strong>of</strong> Jennifer<br />

Ehle (Pride and Prejudice) and Adrian<br />

Scarborough (Gavin and Stacy) are on<br />

screen for no more than four minutes.<br />

Even Lionel Logue’s sons, who barely<br />

had three lines between them, were complete<br />

characters.<br />

“There wasn’t a single<br />

moment in the film<br />

where they lost me”<br />

But the real stars were Firth, Bonham<br />

Carter, and Rush. The chemistry<br />

between the three central performers<br />

was astonishing. One could believe that<br />

‘Bertie’ had befriended his speech therapist<br />

without any trouble at all. The love<br />

between husband and wife was there, but<br />

not overtly. The nerves <strong>of</strong> the Queen as<br />

she listened to her husband’s final speech<br />

mirrored the nerves felt by the audience.<br />

By the end <strong>of</strong> the film I had completely<br />

invested all my emotional capacity into<br />

the outcome <strong>of</strong> that final speech. To be<br />

able to evoke that much emotion clearly<br />

signals a good film.<br />

Seeing as all three central actors<br />

were nominated for an Oscar it does not<br />

seem unreasonable that the film should<br />

win Best Picture. Great performances<br />

rarely come out <strong>of</strong> a shoddy production;<br />

they need a good film to nourish them.<br />

The costumes, the scenery, the set were<br />

all perfect. The film had the complete<br />

package. Tom Hooper’s Best Director<br />

win sealed this. People have said it was<br />

undeserved, but this simply raises the<br />

question <strong>of</strong> what they think a director<br />

actually does. Good actors don’t become<br />

great actors without direction. It wasn’t<br />

a coincidence that all three<br />

leading actors got a nomination;<br />

they were being instructed<br />

by Hooper.<br />

Yes, other films in the<br />

Best Picture category<br />

were also good but they<br />

didn’t have the same appeal.<br />

The King’s Speech<br />

had spectacular actors, a<br />

brilliant director, and the<br />

necessary bit <strong>of</strong> je ne sais<br />

quoi that made it that little<br />

bit better than the rest.<br />

Tori Brazier questions<br />

the legacy <strong>of</strong> this year’s<br />

Best Picture.<br />

THE 2011 Oscar ceremony proved to<br />

be pretty predictable. Natalie Portman<br />

‘swanned’ <strong>of</strong>f as Best Actress and Colin<br />

Firth also completed his sweep <strong>of</strong><br />

the board by winning Best Actor. The<br />

Best Picture winner, however, did prove<br />

a slight surprise as The King’s Speech<br />

prevailed in the face <strong>of</strong> stiff competition,<br />

particularly amongst ten nominees<br />

- surely a sign <strong>of</strong> the abundance <strong>of</strong> quality<br />

pictures this year. The King’s Speech<br />

is a good film, crowd-pleasing in every<br />

aspect - but is it perhaps a little... well,<br />

safe The plot trundles along pleasantly<br />

and the acting is, with a cast <strong>of</strong> this calibre,<br />

naturally admirable. With composer<br />

Alexandre Desplat on board, the music<br />

was Oscar nom’d too. Everything falls<br />

into place for this solid four<br />

star film, but this is also its<br />

downfall.<br />

There is nothing unexpected<br />

in The King’s<br />

Speech, nothing that<br />

seems ground-breaking,<br />

and it is this quality that<br />

should perhaps feature in<br />

a Best Picture; it is this<br />

which arguably makes a<br />

movie five stars and allows<br />

words such as ‘outstanding’<br />

and in years to come<br />

- dare I say it -‘masterpiece’.<br />

It may be too much to realistically<br />

ask <strong>of</strong> filmmakers year on year;<br />

I’m probably being idealistic and naïve<br />

in hoping for a sensational clean-sweep<br />

<strong>of</strong> the awards à la Ben-Hur; it would certainly<br />

be more exciting.<br />

Looking at the other films nominated,<br />

there were the early favourites Inception<br />

and 127 Hours and the even earlier<br />

critics’ darling Winter’s Bone. There was<br />

Toy Story 3 (also nominated for Best<br />

Animated Feature and a deserved winner<br />

there), The Kids Are Alright (but<br />

when has the Academy ever liked such<br />

“light-hearted” fare), and quieter but<br />

no less laudable latecomers The Fighter<br />

and True Grit who could have snatched<br />

it away from likely winner, and the other<br />

Film <strong>of</strong> 2010, The Social Network (but<br />

would the Academy want to deify a film<br />

about Facebook It might look a bit daft<br />

in 10 years time). Then there was the<br />

phenomenon <strong>of</strong> Black Swan, the film<br />

everyone talked about but no one granted<br />

rewards (except to Portman). My choice<br />

for the Oscar - it is original, different,<br />

and a full-on visual experience. It is not,<br />

however, perfect - there are uncomfortable<br />

moments and Vincent Cassel’s character<br />

is hardly well-rounded. Choosing<br />

the recipient <strong>of</strong> 2011’s award is in fact<br />

pretty tricky.<br />

The King’s Speech is a beautifully<br />

British film, and its win is bittersweet<br />

after the abolition <strong>of</strong> the UKFC. As it’s<br />

a struggle to find the ‘perfect’ choice<br />

amongst the other nominees, I guess for<br />

the glory <strong>of</strong> Britain I can let it slide.

24<br />

Screen<br />

Howl<br />

Dir: Rob Epstein, Jeffrey<br />

Friedman<br />

Cast: James Franco, Jon Hamm<br />

(15) 84mins<br />

HOWL is one <strong>of</strong> those films that is,<br />

simply put, made for the fans <strong>of</strong> the<br />

subject itself, and no one else.<br />

Whilst Franco’s portrayal <strong>of</strong> a<br />

young (still hair on the head) Ginsberg<br />

is nothing short <strong>of</strong> brilliant, an average<br />

audience can find the same breadth <strong>of</strong><br />

his acting ability in the far more accessible<br />

127 Hours. However it is<br />

not between a very literal rock<br />

and a hard place that Franco<br />

finds himself here, but around<br />

the obscenity trial <strong>of</strong> 1957 that<br />

almost saw the eponymous<br />

American classic<br />

lost forever to<br />

the starry dynamo in<br />

the machinery <strong>of</strong> the<br />

night.<br />

Sketched across four<br />

vignettes<br />

like the<br />

p o e m<br />

itself,<br />

the film<br />

bounces between a bright-eyed Ginsberg<br />

writing and performing the poem<br />

for the first time in<br />

the company <strong>of</strong><br />

the beat-father<br />

Jack Kerouac<br />

and the secret<br />

hero <strong>of</strong> these<br />

poems Neal<br />

Cassady, the<br />

c o u r t r o o m<br />

itself, and an<br />

interview conducted with Ginsberg after<br />

the whole sordid affair. The scenes<br />

are tied together by haunting animated<br />

sequences that portray an <strong>of</strong>ten very<br />

literal, dream-like perception <strong>of</strong> the<br />

imagery found within Howl which are<br />

at their best reminiscent <strong>of</strong> those found<br />

in Pink Floyd The Wall.<br />

“I saw the best minds<br />

<strong>of</strong> my generation... ”<br />

To those not familiar with the<br />

poet or the literature being produced<br />

in 1950s America, this procession <strong>of</strong><br />

poetry and censorship-based politics<br />

may be confusing and at some points<br />

as incomprehensible as Howl itself. It<br />

is, for those who are familiar, a triumphant<br />

journey along the first steps<br />

towards recognition, experienced by<br />

one <strong>of</strong> America’s most cherished<br />

poets. By no means perfect, the<br />

film tells its story in a breathtakingly<br />

beautiful array <strong>of</strong> verse and<br />

imagery.<br />


Animal Kingdom<br />

Dir: David Michôd<br />

Cast: James Frecheville, Guy<br />

Pearce, Jacki Weaver<br />

(15) 113mins<br />

WINNER <strong>of</strong> 2010’s Sundance Film<br />

Festival Grand Jury Prize, Animal<br />

Kingdom is a brilliant, stark, brutal<br />

beast <strong>of</strong> a film that charts the decline<br />

<strong>of</strong> the Codys, a notorious crime family<br />

from Melbourne, Australia. After the<br />

death <strong>of</strong> his mother, Joshua ‘J’ Cody<br />

(James Frecheville in a stunning debut<br />

performance) gets involved with his<br />

crooked family and their exploits.<br />

“The fact that you’re<br />

talking to me, the fact<br />

that you’ve been left to<br />

deal with us... is all the<br />

pro<strong>of</strong> that you need”<br />

With the Armed Robbery Squad<br />

already closing in, the family’s previously<br />

secure fortune disintegrates,<br />

as does the resolve <strong>of</strong> each character<br />

in differing ways. Like the children<br />

march 7 2011 Exeposé<br />

<strong>of</strong> King Lear, or indeed those <strong>of</strong> Don<br />

Corleone, each son <strong>of</strong> the Cody family<br />

has his own tragic flaw that undoes<br />

him. Ben Mendelsohn deserves special<br />

mention, terrifying as the increasingly<br />

unhinged Andrew ‘Pope’ Cody.<br />

Trying to stop the inevitable selfdestruction<br />

is their mother, Janine<br />

‘Smurf’ Cody (the Academy Awardnominated<br />

Weaver), a woman <strong>of</strong> uncanny<br />

resolve. She attempts to keep her<br />

boys calm in times <strong>of</strong> worry, with hugs,<br />

soothing words, and kisses that last a<br />

second too long.<br />

The crew is hunted by Detective<br />

Nathan Leckie (Pearce), who midway<br />

through the film tells J about their<br />

Animal Kingdom. He tells him that the<br />

weak only survive by being protected<br />

by the strong. J is weak, and those<br />

protecting him aren’t strong anymore.<br />

He must adapt quickly if he wishes to<br />

survive and thrive in his environment.<br />

Replete with stellar performances, a<br />

superb script and heart-wrenching set<br />

pieces, Animal Kingdom rises above<br />

the tag <strong>of</strong> ‘Great Australian Film’ to be<br />

a great film in its own right.<br />


Drive Angry<br />

Dir: Patrick Lussier<br />

Cast: Nicolas Cage, Amber<br />

Heard, William Fichtner<br />

(18) 104mins<br />

NICOLAS CAGE has been in some<br />

pretty awful movies <strong>of</strong> late and Drive<br />

Angry is no exception. The man is nothing<br />

if not consistent I suppose.<br />

This latest <strong>of</strong>fering follows Milton<br />

(Cage) who breaks out <strong>of</strong> Hell (yes,<br />

Hell! And there’s no explanation <strong>of</strong> how<br />

he did this either… adding to the mystery<br />

<strong>of</strong> the character or simply just lazy<br />

writing, you decide) so as to avenge<br />

the murder <strong>of</strong> his daughter and save<br />

his granddaughter from the clutches <strong>of</strong><br />

loony Devil worshipper and murderer<br />

Jonah King. King (played with indifference<br />

by fan <strong>of</strong> alliteration Billy Burke)<br />

wants to sacrifice Milton’s granddaughter<br />

to the Devil and bring about the apocalypse.<br />

Along the way he meets Piper<br />

The Adjustment Bureau<br />

Dir: George Nolfi<br />

Cast: Matt Damon, Emily<br />

Blunt<br />

(15) 124mins<br />

IS it a bird Is it a plane No, it’s another<br />

Matt Damon film! Over the past 12<br />

months he’s been busier than an Italian<br />

Prime Minister at a “bunga-bunga” party,<br />

and he’s gracing our silver screens<br />

once again with the action thriller The<br />

Adjustment Bureau.<br />

Admittedly they probably didn’t go<br />

for the snappiest title ever, as it does<br />

sound like a state department currently<br />

suffering from a budget cut <strong>of</strong> £14,000,<br />

but rest assured, the film includes violence,<br />

swearing and plenty <strong>of</strong> lovely<br />

running. It tells the tale <strong>of</strong> David Norris<br />

(Damon), an edgy politician running<br />

for the post <strong>of</strong> Senator <strong>of</strong> New York, and<br />

how he unwittingly unearths a secret<br />

about every decision we make in life.<br />

By coming into contact with a woman<br />

he was never “supposed” to meet, his<br />

perception <strong>of</strong> reality is shattered and he<br />

reveals a secretive and powerful organisation<br />

who have the power to control<br />

the fate <strong>of</strong> us all.<br />

Praise has to be given for the boldness<br />

<strong>of</strong> the idea this film is discussing,<br />

one which tries to explain everything<br />

from why we make menial decisions to<br />

the evolution <strong>of</strong> society over the centuries.<br />

Ultimately, while the concept is<br />

completely alien to us, there is a serious<br />

lack <strong>of</strong> detail and explanation surrounding<br />

it, making it seem like a halfbaked<br />

idea thought up on a 20-minute<br />

car journey from Woking to Guildford.<br />

Instead <strong>of</strong> allowing the viewer to fill in<br />

bits <strong>of</strong> the film with their own thoughts,<br />

it leaves gaping holes and expects them<br />

to be understood and accepted. In some<br />

ways it almost seems like a conspiracy<br />

theory rather than an alternative reality.<br />

Whilst similar to Inception in some areas,<br />

Christopher Nolan spent 20 years<br />

coming up with his idea, streamlining<br />

it and writing a script, part <strong>of</strong> the reason<br />

why it is such an enjoyable film,<br />

because he has incorporated his concept<br />

into real life so seamlessly that<br />

it feels incredibly real - sadly this<br />

film doesn’t.<br />

The film can be credited with<br />

some slick cinematography, Damon<br />

and Blunt (listen for her<br />

questionable accent at the<br />

beginning) give solid<br />

performances and it<br />

builds and flows nicely<br />

even if it does culminate<br />

with a fairly anti-climatic ending.<br />

Overall a perfectly entertaining film<br />

at first sight, but at a second glance it<br />

doesn’t quite cut it.<br />


(Heard) who decides to join him on his<br />

quest for no apparent reason whatsoever<br />

and is relentlessly pursued by The Accountant<br />

(Fichtner) who is tasked with<br />

bringing Milton back to Hell.<br />

What follows is an orgy <strong>of</strong> car chases,<br />

explosions, people dying and people<br />

being naked (and in fact there is indeed<br />

a scene where Milton simultaneously<br />

shags and shoots). And all this is in 3D;<br />

a pointless gimmick which serves only<br />

to give the viewer a headache - it is<br />

without doubt the worse use <strong>of</strong> 3D I’ve<br />

seen in a movie since Clash <strong>of</strong> the Titans.<br />

Some have tried to defend this film<br />

by saying its beauty lies in how bad it<br />

is; a bit like the recent Machete. Except<br />

the latter was funny and was so because<br />

it knew it was silly; Drive Angry seems<br />

to take itself too seriously. The film is<br />

not without its good bits though; Fichtner<br />

clearly relishes the role <strong>of</strong> Lucifer’s<br />

right hand man, both psychotic and empathetic<br />

when needed, he is responsible<br />

for catching escaped prisoners.<br />

That’s another thing; the idea <strong>of</strong><br />

Hell as a vast prison where the Devil<br />

is simply the warden, a quiet man who<br />

hates the idea that people sacrifice babies<br />

to him is actually fairly original.<br />

Heard also is a highlight simply because<br />

amongst the grizzly Cage, gaunt Fichtner<br />

and podgy cameo David Morse, she<br />

provides some much needed eye-candy.<br />

Overall though she and Fichtner can’t<br />

save the film from the stupid mess it becomes.<br />

They say you can judge a film<br />

by how many people go and see it. In<br />

this case, there were five people in the<br />

theatre. Says it all really.<br />


No Strings<br />

Attached<br />

Dir: Ivan Reitman<br />

Cast: Natalie Portman, Ashton<br />

Kutcher<br />

(15) 108mins<br />

AFTER starring in Zach Braff’s Garden<br />

State, N.S.A. sees Portman slip into<br />

his scrubs as a medical resident with no<br />

time or desire for a proper relationship. A<br />

chance encounter sees her reunited with<br />

old acquaintance Kutcher and before<br />

long, the two attempt to be friends-withbenefits<br />

without falling for each other.<br />

Sounds interesting... sigh.<br />

Maybe Portman felt she needed a<br />

break after her gruelling exploits in<br />

Black Swan; a bizarre contrast reminiscent<br />

<strong>of</strong> how Sandra Bullock came out<br />

with The Blind Side and All About Steve<br />

around this time a year ago.<br />

N.S.A represents no radical change <strong>of</strong><br />

pace for Kutcher, in fact no change at all.<br />

Simply blank his characters’ names and<br />

you could describe all his films as one<br />

painfully long series, with the exception<br />

<strong>of</strong> The Butterfly Effect.<br />

Thankfully Portman’s scenes are<br />

enough to hold the film together. Nevertheless,<br />

as expected, a generic formula<br />

emerges in the eagerly awaited closing<br />

stages - think James Franco in 127 Hours<br />

levels <strong>of</strong> desperation. The storming crescendo<br />

<strong>of</strong> Black Swan now followed<br />

with the predictable splurging <strong>of</strong> clichés<br />

as they inevitably start to feel something<br />

more.<br />

Whereas Aron<strong>of</strong>sky laughs at the<br />

concept <strong>of</strong> a ‘Hollywood Ending,’ this<br />

film conforms to it with sickening obedience;<br />

funny at times and stifling at others,<br />

N.S.A fails to distinguish itself within<br />

its limited genre; at least the no-strings<br />

policy means you can simply get up and<br />

leave without guilt.<br />


e x e t e r g u i l d . c o m / f o r u m r e p s<br />

nominations open until<br />

friday 11 march 4pm<br />

voting opens<br />

saturday 12 march 9am<br />

voting closes<br />

friday 18 march 4pm<br />

C a m p a i g n s O f f i c e r<br />

E n v i r o n m e n t a n d E t h i c s O f f i c e R<br />

E q u a l i t y a n d D i v e r s i t y O f f i c e r<br />

I n t e r n a t i o n a l O f f i c e r<br />

P o s t g r a d u a t e O f f i c e r<br />

S t . L u k e ’ s O f f i c e R<br />

D i s a b l e d S t u d e n t s ’ R e p<br />

G e n d e r E q u a l i t y R e p<br />

M a t u r e S t u d e n t s ’ R e p<br />

M e n t a l H e a l t h R e p<br />

R a c i a l E q u a l i t y R e p<br />

S t u d e n t P a r e n t R e p<br />

S t u d e n t s ’ A b r o a d R e p<br />

G u i l d C o u n c i l l o r<br />

I n t e r n a t i o n a l C o u n c i l l o r<br />

P o s t g r a d u a t e C o u n c i l l o r<br />

S a t e l l i t e C a m p u s e s C o u n c i l l o r<br />

S t . L u k e ’ s C o u n c i l l o r<br />

A r t s R e p<br />

S o c i e t i e s O f f i c e r<br />

S t u d e n t T r u s t e e<br />

S e n i o r E l e c t i o n s O f f i c e r<br />

U n d e r g r a d u a t e F a c u l t y R e p r e s e n t a t i v e<br />

P G R e s e a r c h F a c u l t y R e p r e s e n t a t i v e<br />

P o s t g r a d u a t e C o m m s R e p<br />

P o s t g r a d u a t e I n t e g r a t i o n R e p<br />

r e p r e s e n t

26 March 7 2011 Exeposé<br />

Books<br />

James Henderson & Jacob M<strong>of</strong>fatt - books@exepose.com<br />

The very best series you ever Red-wall<br />

Stephen O’Nion ,<br />

Video Games Editor,<br />

remembers the work<br />

<strong>of</strong> Brian Jacques, the<br />

author who sadly<br />

passed away earlier this<br />

year.<br />

2011’s Destruction <strong>of</strong> childhood<br />

progresses with each month. Not only has<br />

Dick King-Smith recently passed away,<br />

but on February 5 <strong>of</strong> this year so too did<br />

Brian Jacques, author <strong>of</strong> the Redwall series.<br />

All I need now is for R.L. Stine and<br />

K.A. Applegate to shuffle <strong>of</strong>f this mortal<br />

coil and I’ll declare this year cursed.<br />

The death <strong>of</strong> James Brian Jacques at<br />

the age <strong>of</strong> 71 is something that prompted<br />

me to reconsider his fiction with my<br />

rose-tinted glasses firmly in place. As<br />

a sprightly 11 year old I was enraptured<br />

by stories about the animals <strong>of</strong> Redwall<br />

Abbey and the surrounding Mossflower<br />

Woods. Disney films and The Animals<br />

<strong>of</strong> Farthing Wood may be the mainstays<br />

<strong>of</strong> anthropomorphic based adventures,<br />

but the Redwall series managed to take it<br />

further, and lend a sense <strong>of</strong> originality to<br />

stories that carried the essence <strong>of</strong> another<br />

time.<br />

Like many others, I started with the<br />

first <strong>of</strong> Jacques’ <strong>of</strong>ferings, Redwall. Under<br />

attack from Cluny the Scourge, a oneeyed<br />

rat warlord, the residents <strong>of</strong> Redwall<br />

Abbey turn to a young mouse named<br />

Matthias to take up arms and organise<br />

defence <strong>of</strong> their small community. It was<br />

fresh, it was cavalier, and it had battles<br />

with inspiring speeches and heroic last<br />

stands in equal measure. In short, it was<br />

designed for my demographic and I loved<br />

it for that. Whilst Redwall lacked the focus<br />

<strong>of</strong> his following books, containing the<br />

only references to humans and horses in<br />

the entire series and a number <strong>of</strong> songs<br />

that didn’t really interest me, it mattered<br />

little. I was hooked.<br />

Yet whilst he sold 20 million books<br />

worldwide, I’ve found Jacques doesn’t<br />

command the same nostalgia that some <strong>of</strong><br />

his contemporaries do. His stories, for all<br />

the larger-than-life characters and regular<br />

use <strong>of</strong> a female protagonist, carry the feel<br />

<strong>of</strong> a boys’ own tale from Imperial Britain.<br />

Valiant warriors, noble sacrifices, and an<br />

adventurous troupe <strong>of</strong>ten forced to defend<br />

a place <strong>of</strong> worship all combined to<br />

form tales that could easily be serialized<br />

in a scouting book at the beginning <strong>of</strong> the<br />

20th century. Yet it is partly because <strong>of</strong><br />

this that Jacques’ tales did appeal to my<br />

childhood so much. I would regularly finish<br />

the books only to pass them onto my<br />

father and friends knowing that what for<br />

me was a ripping yarn full <strong>of</strong> swash and<br />

buckle was also some great escapist fare<br />

that didn’t patronise the range <strong>of</strong> young<br />

readers devouring the descriptive prose<br />

within.<br />

From Redwall it was possible to turn<br />

to nearly any other <strong>of</strong>fering, as although<br />

the series was bound in its own chronology<br />

over the course <strong>of</strong> 21 books, each<br />

had a unique flavour and shared mythology.<br />

None <strong>of</strong> the books were content<br />

with a simple plot <strong>of</strong> A to B, i n -<br />

stead weaving plots throughout<br />

and <strong>of</strong>ten, as in the case <strong>of</strong><br />

The Legend <strong>of</strong> Luke, justifying<br />

a third <strong>of</strong> the book. Just<br />

as Jacques’ imagination<br />

was given free rein, so too<br />

was mine.<br />

Much like King-Smith,<br />

Jacques only found his true vocation<br />

later in life. However being published<br />

at the age <strong>of</strong> 47 gave impetus to provide<br />

a voice for the ideas he had picked up<br />

in life. For example, his trademark descriptive<br />

style had been formed through<br />

writing for children at a school for the<br />

blind whilst many <strong>of</strong> his most memorable<br />

characters were based on those<br />

he knew in life. Struck by<br />

this, in the course <strong>of</strong><br />

a few months I went<br />

about reading everything<br />

that he<br />

had had published<br />

up until<br />

2002, <strong>of</strong>ten<br />

several times.<br />

From Redwall’s publication,<br />

Jacques produced a book<br />

nearly every year, turning in such brilliant<br />

instalments as Marlfox, The Long Patrol<br />

and Lord Brocktree. I savoured them all.<br />

It was in these books that I was<br />

taught hares spoke like upper-class<br />

Victorians whilst<br />

moles had westcountry<br />

accents;<br />

that foxes<br />

could fight mice and still lose; that<br />

it was perfectly possible for otters<br />

to operate slingshots and<br />

longbows. Yet above all, what<br />

Redwall did was what reading<br />

should do at that age: entertain<br />

and engage. The<br />

quality <strong>of</strong> the series as<br />

a whole stands above<br />

its minor blemishes, and<br />

so whilst Jacques also came<br />

to publish Castaways <strong>of</strong> the<br />

Flying Dutchman and Seven<br />

Strange and Ghostly Tales,<br />

it is Redwall for which I,<br />

and countless others, will remember<br />

him. The final book<br />

in the series, The Rogue<br />

Crew, is scheduled<br />

for release May 3<br />

<strong>of</strong> this year, and<br />

much like the<br />

first title, way<br />

back in 1986,<br />

it will focus<br />

on a battle for<br />

Redwall Abbey.<br />

It’s a fitting way<br />

to round <strong>of</strong>f the series,<br />

and even though I’m almost<br />

twice the age that I<br />

was upon first thumbing<br />

through book number<br />

one, I’ll read book number<br />

22 cover to cover, songs<br />

and all. Eulalia!

Exeposé week twenty<br />

Thomas Payne<br />

discusses the<br />

experimental style<br />

and varied forms<br />

<strong>of</strong> James Baldwin,<br />

preacher turned<br />

writer.<br />

He was a seventeen year old African-<br />

American preacher, a closeted homosexual,<br />

growing up in the oppressive<br />

confines <strong>of</strong> New York’s Harlem district,<br />

emerging into a world <strong>of</strong> fervent prejudice<br />

against every aspect <strong>of</strong> his identity.<br />

He was also one <strong>of</strong> the biggest literary<br />

heavyweights <strong>of</strong> the mid-twentieth century,<br />

a time steeped in violence and outrage,<br />

a period governed by the past, fixed<br />

in the present and uncertain <strong>of</strong> its future.<br />

It’s time to rediscover James Baldwin.<br />

But first, let us put things into perspective.<br />

Right now, a song about as<br />

camp as a row <strong>of</strong> tents is breaking<br />

records across the globe. It’s called ‘Born<br />

This Way’, and in it, a decidedly overwrought<br />

chorus preaches the need for<br />

sexual, social and racial equality. Its success<br />

is testament to the sheer degree <strong>of</strong><br />

tolerance exercised in our contemporary<br />

British society. The recent resurgence <strong>of</strong><br />

literature from more obscure corners <strong>of</strong><br />

the globe, the writings <strong>of</strong> Amy Tan and<br />

V.S. Naipaul for instance, tells a different<br />

story. Their prominence on the contemporary<br />

literary scene only serves to<br />

affirm my belief that some <strong>of</strong> the best fiction<br />

comes from extreme social and psychological<br />

tensions, by giving a ‘voice’<br />

to those who have fallen victim to oppressive<br />

social structures.<br />

But the best literature is also the<br />

hardest to understand. Baldwin’s second<br />

novel, Giovanni’s Room, was published<br />

in 1953 where it was met with stinging<br />

controversy surrounding its homoerotic<br />

content. It is in fact decidedly hard, even<br />

for the most empathetic <strong>of</strong> readers, to<br />

interpret and understand Baldwin’s language<br />

and his message, without being<br />

driven <strong>of</strong>f course by our own inner prejudices,<br />

however slight. There’s even a concern<br />

that Baldwin himself never really<br />

found the words to express his angst. He<br />

dithered between prose, poem and play<br />

writing, perhaps never really finding the<br />

best vehicle for artistic expression. His<br />

later works, the novels Another Country<br />

and Tell Me How Long the Train’s Been<br />

“Baldwin’s last retreat<br />

was, in many respects,<br />

a crushing blow to the<br />

progression <strong>of</strong> the Civil<br />

Rights movements”<br />

Gone, were highly experimental, featuring<br />

an ensemble <strong>of</strong> black and white<br />

characters with a mixture <strong>of</strong> sexualities.<br />

Notably, his earlier novels didn’t feature<br />

a wide spectrum <strong>of</strong> diverse characterisation.<br />

They were written in his early years<br />

<strong>of</strong> exile in Paris, whilst Baldwin was still<br />

trying to come to terms with his sexual<br />

ambivalence, just starting to find a voice<br />

that was not “merely that <strong>of</strong> a Negro; or,<br />

even, merely a Negro writer”.<br />

“Its success is testament<br />

to the sheer degree <strong>of</strong><br />

tolerance exercised in<br />

our contemporary British<br />

society”<br />

Baldwin succeeded in bringing to<br />

the public’s consciousness a strand <strong>of</strong><br />

cultural discourse, not acutely associated<br />

with issues <strong>of</strong> race, but more broadly<br />

concerned with identity, the search for a<br />

voice amid myriads <strong>of</strong> prejudice. Tragically,<br />

his later works failed to reflect the<br />

kind <strong>of</strong> social progression we’d expect.<br />

His works in the ‘70s and ‘80s were<br />

scuppered by the assassinations <strong>of</strong> black<br />

leaders and further homophobic attacks.<br />

He returned to southern France at the end<br />

<strong>of</strong> his life, where he died in the winter <strong>of</strong><br />

1987. Baldwin’s last retreat was, in many<br />

respects, a crushing blow to the progression<br />

<strong>of</strong> the Civil Rights movements. But<br />

it was also a move that stressed the pertinence<br />

<strong>of</strong> his earlier works, a sure sign<br />

that his writing, although at times unsure<br />

<strong>of</strong> itself, remains relevant so long as prejudice<br />

exists somewhere in the world.<br />

Review<br />

The Mermaids<br />

Singing<br />

Val McDermid<br />

ISBN: 0006493580<br />

‘You always remember the first time.<br />

Isn’t that what they say about sex How<br />

much more true it is <strong>of</strong> murder...’ This<br />

chilling line immediately stirs a morbid<br />

excitement that only increases as you<br />

read this macabre page-turner. To most,<br />

the title <strong>of</strong> this book may be unfamiliar,<br />

unless you are up to date on your T.S.<br />

Eliot poetry. But the author Val McDermid<br />

is surely not. The Mermaids Singing<br />

is the first book instalment <strong>of</strong> the series<br />

that inspired the hit TV show Wire<br />

27<br />

Books<br />

in the Blood, named after McDermid’s<br />

second novel revolving around criminal<br />

psychologist Dr Tony Hill (played by<br />

Robson Green) and D.I. Carol Jordan<br />

(Hermione Norris). Tony is presented<br />

as a sexually inefficient, bumbling but<br />

charming man who has the mind <strong>of</strong> a<br />

genius. His thought processes are as<br />

clinical and precise as Sherlock Holmes<br />

but are swayed by a modern twist; the<br />

criminals Tony Hill deals with are not<br />

just disturbed but deeply twisted and<br />

perverse. The horrifically mutilated<br />

bodies <strong>of</strong> four men dumped in areas<br />

popular with Bradfield’s gay community<br />

are just another case for Doctor Hill.<br />

But when he is forced from behind the<br />

scenes where he safely instructs the police<br />

in their search for the killer, Tony’s<br />

life also becomes at risk. Through his<br />

heart-warming relationship with D.I.<br />

Jordan, we follow Tony as he struggles<br />

to come to terms not only with his personal<br />

life but that <strong>of</strong> the murderer whose<br />

mind he must infiltrate. McDermid’s<br />

psychological knowledge is limitless<br />

to the effect that the reader is left reeling<br />

as to whether they are reading fact<br />

or fiction. Winner <strong>of</strong> the Gold Dagger<br />

Award for the best crime novel <strong>of</strong> the<br />

year 1994, The Mermaids Singing is a<br />

fantastically shocking thriller that will<br />

leave the reader in a state <strong>of</strong> such mental<br />

upheaval that they will never go out<br />

at night again.<br />

Rebecca Lodder<br />

Sarah Byrne, takes<br />

a look back at the<br />

lasting legacy <strong>of</strong><br />

Douglas Copeland’s<br />

1991 debut novel<br />

Generation X<br />

Although not a recent release the<br />

themes <strong>of</strong> Douglas Coupland’s debut<br />

novel are beginning to reverberate today.<br />

Generation X: Tales for an Accelerated<br />

Culture is a text that, upon its<br />

initial release in 1991, literally helped to<br />

define a generation. Through the seemingly<br />

aimless ramblings <strong>of</strong> his three protagonists<br />

Coupland captured the spirit <strong>of</strong><br />

a disaffected generation, unhappy with<br />

their economically waning society, and<br />

indifferent to ‘yuppie’ attempts to save<br />

it. 20 years down the line Coupland’s<br />

novel has gained new resonance. With<br />

many <strong>of</strong> the issues discussed in the book<br />

re-occurring in today’s society Generation<br />

X could be experiencing a rebirth.<br />

Framed by the mundane lives <strong>of</strong> the<br />

three main characters, Andy, Dag and<br />

Claire, Coupland’s novel personalises<br />

the hopes and fears <strong>of</strong> a generation that<br />

came <strong>of</strong> age in the late 1980s. The characters’<br />

fierce suspicions about popular<br />

culture and insecurities about their futures<br />

leads each <strong>of</strong> them to find themselves<br />

living somewhat communally in<br />

the bubble <strong>of</strong> a Californian desert town.<br />

Underemployed but overeducated the<br />

characters discover they have too much<br />

time on their hands and so fill the hours<br />

<strong>of</strong> their self-inflicted humdrum lives by<br />

telling each other stories. Episodic in<br />

structure, the seemingly pointless storytelling<br />

becomes the centralising element<br />

<strong>of</strong> the narrative whereby each character<br />

narrates a reputedly random story whilst<br />

the others listen and <strong>of</strong>ten fall asleep<br />

before its denouement. The tales tend to<br />

deal with the personal politics <strong>of</strong> love,<br />

friendship, and family life and therefore<br />

it is through the stories the characters<br />

tell each other, rather than the narrative<br />

<strong>of</strong> the novel itself, that we uncover their<br />

histories and secrets.<br />

Chapter headings such as “Shopping<br />

is not creating”, “Purchased experiences<br />

don’t count” and “Why am I poor” set<br />

up a premise that tells the reader a lot<br />

about the attitude the characters have towards<br />

the world. The episodic nature <strong>of</strong><br />

the narrative doesn’t seem to lead to any<br />

real conclusion and could be described<br />

as unsatisfying, but in its unsatisfying<br />

nature Coupland is emulating the attitude<br />

<strong>of</strong> the characters in the reader,<br />

namely, that life is mediocre and there is<br />

nothing we can do about it.<br />

The most interesting part <strong>of</strong> the text<br />

is the snippets that are not part <strong>of</strong> the<br />

text at all. Coupland litters the novel<br />

with intermittent text-bites that appear<br />

at the bottom <strong>of</strong> almost every page. It<br />

is through concepts such as “Conversational<br />

Slumming” and “Voter’s Block”<br />

and statements such as “You might not<br />

count in the new order” and “Reinvent<br />

the middle class” that Coupland truly<br />

spelled out his definition <strong>of</strong> the concerns<br />

<strong>of</strong> a generation. So popular were the<br />

terms he coined that many <strong>of</strong> them were<br />

used by the press to describe the generation<br />

depicted.<br />

What originally started out as a nonfiction<br />

handbook to the post-baby boomer<br />

generation evolved into a compelling<br />

dissection <strong>of</strong> the lives and attitudes <strong>of</strong><br />

middle-class, American twenty-somethings<br />

in the early 1990s. Coupland’s<br />

exploration <strong>of</strong> the characters’ contemplations<br />

on issues such as economic<br />

and political instability, pollution, and<br />

unemployment will certainly resonate<br />

with today’s readers <strong>of</strong> a similar age and<br />

causes us to ask, has Coupland’s vision<br />

<strong>of</strong> Generation X come full circle<br />

Clare Mullins,<br />

Lifestyle Editor,<br />

discusses<br />

Roald Dahl’s<br />

idiosyncratically<br />

dark and humorous<br />

foray into adult<br />

short story writing.<br />

Have you ever wondered whether<br />

Roald Dahl would be good in bed I<br />

once had a seminar tutor who led a<br />

discussion on love sonnets with the<br />

theory that he could tell which writers<br />

would be good at sex just by reading<br />

their work. A night with Dostoevsky,<br />

he judged, would be miserable<br />

and guilt ridden, one with Dickens<br />

far too heavily plotted. A rendezvous<br />

with Shakespeare, he announced to<br />

the class, ‘now that would be a night<br />

to remember’. I don’t know whether<br />

it was to do with word choice or<br />

metre, imagery or syntax but when<br />

you’re reading, you can tell.<br />

It was with a memory <strong>of</strong> this<br />

slightly disturbing discussion that I<br />

approached Switch Bitch, a collection<br />

<strong>of</strong> Roald Dahl’s short stories, that a<br />

friend had picked up for me on a trip<br />

to Topsham’s second hand bookshop.<br />

Dahl’s stories, even his children’s<br />

classics, have always had a dark edge<br />

and for a young reader, the macabre<br />

undertones and sick twists <strong>of</strong> his stories<br />

form part <strong>of</strong> their appeal. With<br />

just enough sinister to excite, just<br />

enough detail to titillate, Switch Bitch<br />

shows that Dahl didn’t just dabble in<br />

the perverse; he was a master <strong>of</strong> it.<br />

The short stories are in equal<br />

parts hilarious and disturbing with<br />

Dahl’s unique style evident all the<br />

way through. Still cheeky and irreverent,<br />

each story in Switch Bitch is a<br />

maliciously funny take on the erotic.<br />

Every story is dark and twisted and<br />

oozing with fantastic possibilities. As<br />

with Roald Dahl’s children’s stories,<br />

nothing is ever quite as simple as it<br />

appears and you know that, with the<br />

turn <strong>of</strong> the page, the entire tale could<br />

be flipped on its back.<br />

The four stories included in the<br />

collection feature a range <strong>of</strong> activities<br />

from the beastly to the bestial and a<br />

host <strong>of</strong> characters with the ability to<br />

make your toes curl and your balls<br />

shrivel back into your body. Switch<br />

Bitch features a large cast <strong>of</strong> sexual<br />

miscreants: an aging Uncle Oswald,<br />

whose numerous sexual adventures<br />

would put Casanova to shame; a bed<br />

swapping pair <strong>of</strong> husbands who lay a<br />

dastardly plot to sleep with each others<br />

wives; and a mad scientist bent<br />

on reconnecting man with his animal<br />

ancestry - and that’s just the men.<br />

Sexually reawakened wives, a mother<br />

and daughter team <strong>of</strong> temptresses and<br />

as many ‘nympho-birds’ and ‘juicy<br />

females’ as Dahl can conjure up. If<br />

this all sounds a little bit sickening<br />

then don’t panic, it’s served up with a<br />

delicious slice <strong>of</strong> humour and Dahl’s<br />

tongue is firmly in his cheek.<br />

Within a few pages, the reader<br />

is once again caught up in the rich<br />

and marvellous world <strong>of</strong> Roald Dahl<br />

and his ability to switch between the<br />

mundane and the extraordinary is in<br />

full force in Switch Bitch. He transports<br />

the reader into his own bizarre<br />

universe where the shaming <strong>of</strong> the<br />

US president in a scent-induced,<br />

television-broadcast, sexual rampage<br />

makes total sense. In the grip<br />

<strong>of</strong> Dahl’s narrative, the reader barely<br />

has time to question the leaps <strong>of</strong> logic<br />

and imagination and, frankly, why<br />

would one want to I would love to<br />

live in a world where eccentric millionaires<br />

have romantic liaisons on<br />

the top <strong>of</strong> pyramids (practical because,<br />

unless 4 assailants try to catch<br />

you at it, you always have one side<br />

<strong>of</strong> the pyramid to escape down) or, if<br />

not live in one, at least be entertained<br />

by the possibilities.<br />

Wickedly funny and astute, Dahl<br />

litters his stories with observational<br />

tips for the would-be seducer. Did<br />

you know, for example, that spotting<br />

a nymphomaniac is simply a matter<br />

<strong>of</strong> body language A curved posture<br />

is clearly, in Dahl’s mind, a sign <strong>of</strong><br />

frequent embraces. If it’s an insight<br />

into a person’s sexual indulgences<br />

you’re after, then play close attention<br />

to their bottom lip. Eyes can lie<br />

but an inadvertent lick <strong>of</strong> the lips, a<br />

nibble, a pouting trembler; these can<br />

provide the suitor with a much more<br />

reliable source <strong>of</strong> information.<br />

If you’re prepared to disturb any<br />

future re-readings <strong>of</strong> old favourites<br />

then pick up a copy and indulge.<br />

You’ll never be able to read The Twits<br />

again without wondering what they<br />

got up to in the bedroom (with Dahl<br />

involved you can be sure it involved<br />

the beard, the stick and something<br />

grisly) and you’ll wonder exactly<br />

what kind <strong>of</strong> kicks the BFG was getting<br />

peering through windows - don’t<br />

even get me started on Willy Wonker.<br />

Switch Bitch leaves you with<br />

no doubt about whether Roald Dahl<br />

would be good in the sack. A man<br />

with such a wicked imagination could<br />

never be anything but ‘marvellous’.

28<br />

Arts<br />

Rosie Scudder & Ellie Steafel - arts@exepose.com<br />

March 7 2011 Exeposé<br />

EXHIBITION review<br />

Fashion draws on illustration<br />

Cyan Turan considers<br />

the art <strong>of</strong> fashion<br />

illustration.<br />

SKETCHING has been and always will<br />

be a beautiful and essential part <strong>of</strong> the<br />

design process, something that creative<br />

minds take to naturally in order to make<br />

their ideas come to life. But illustration<br />

and its many mysteries don’t just have<br />

a part to play in the evolution <strong>of</strong> the<br />

garment. Once a dress has sashayed<br />

down the runway, the fashion illustrators<br />

come out to play.<br />

Even in our increasingly<br />

technological times, fashion illustration<br />

still has a transcendental allure that eludes<br />

many a photographer. It’s the art that has<br />

undergone numerous reinventions and<br />

portrays fashion faithfully by putting pen<br />

to paper. And it’s an art that is still very<br />

much alive.<br />

Two marvellous exhibitions have<br />

recently paid homage to the history,<br />

present and future <strong>of</strong> fashion illustration.<br />

Dior Illustrated at Somerset House<br />

and Drawing Fashion at The Design<br />

Museum have both captured the timeless<br />

qualities <strong>of</strong> drawing clothes - despite how<br />

oxymoronic a term ‘timeless fashion’<br />

may seem.<br />

Dior Illustrated took a detailed<br />

look at the illustrator René Gruau’s<br />

relationship with the house <strong>of</strong> Dior.<br />

Christian Dior and Gruau met on the<br />

fashion desk <strong>of</strong> the French newspaper<br />

Le Figaro in 1936 and thus began one<br />

<strong>of</strong> the most fruitful partnerships in<br />

artistic history. John Galliano once<br />

said that “to be inspired by Dior is<br />

to be inspired by René Gruau”,<br />

testament to their kindred<br />

spirits and Gruau’s talent<br />

for capturing that which<br />

is elegant and youthful in<br />

both men and women. The<br />

exhibition predominantly<br />

displays Gruau’s<br />

illustrations<br />

for the<br />

D i o r<br />

parfum advertisements. The gesture<br />

and attitude in Gruau’s illustrations<br />

from the 1950s to the 1970s reflects<br />

his understanding <strong>of</strong> the spirit <strong>of</strong> the<br />

age. There is something deliciously,<br />

mischievously modern about the<br />

liberated poses <strong>of</strong> the women in his<br />

visions.<br />

The loyalty between René Gruau<br />

and Christian Dior translated into a<br />

loyalty between the artist and the house<br />

<strong>of</strong> Dior after the designer died in 1957.<br />

The 1960s rise <strong>of</strong> photography solidified<br />

the enduring relationship as Dior stayed<br />

faithful to Gruau’s work. Gruau’s focus<br />

on line and silhouette is highlighted by<br />

the exhibition in many drawings for<br />

both the Dior clothing and perfume<br />

ranges. Each woman (and indeed man)<br />

appears engaged and sophisticated; their<br />

elongated limbs convey a poise which<br />

is simultaneously graceful and assured.<br />

When, in 1966, Gruau’s drawing <strong>of</strong> a<br />

pair <strong>of</strong> hairy, male legs scaled a full page<br />

<strong>of</strong> Le Figaro, it became clear that this<br />

was a man who could not only capture<br />

essence with startling accuracy, but<br />

one who could reinvent and break with<br />

tradition whilst still retaining his creative<br />

integrity.<br />

Whilst Dior Illustrated chose to<br />

concentrate on Gruau’s influence at<br />

Dior, Drawing Fashion spans a century<br />

<strong>of</strong> fashion illustration, and casts a<br />

provocative glance into the future <strong>of</strong><br />

the art. Georges Lepape’s Chapeau de<br />

Poiret, drawn in 1912, and his 1920s<br />

drawings and covers for Vogue began<br />

the exhibition which strikingly fused<br />

fashion and art. The Design Museum’s<br />

space was starkly lit, and led its observer<br />

around a pathway through time<br />

which impressed, if anything,<br />

the astounding amount <strong>of</strong> work<br />

that was produced by fashion<br />

illustrators in the first half <strong>of</strong> the<br />

twentieth century. One could not<br />

help but be taken aback by<br />

the sheer craftsmanship<br />

and the scale <strong>of</strong> the<br />

achievements<br />

<strong>of</strong> artists such<br />

as Romain<br />

de Tirt<strong>of</strong>f<br />

(known as<br />

Erté), Paul<br />

Iribe and<br />

Pierre Brissaud, who<br />

worked with materials<br />

including charcoal,<br />

watercolour and ink.<br />

Moving through the century,<br />

past an extensive space devoted to<br />

Gruau, you reach the 1970s and 80s, and<br />

what can only be described as a shock <strong>of</strong><br />

colour upon encountering the tribute to<br />

Antonio Lopez, or ‘Antonio’, as was his<br />

signature. Fashion exercised its greatest<br />

influence through magazines, as is<br />

still the norm today, but in these cases,<br />

that influence was conveyed through<br />

drawings. Even now, it is not difficult<br />

to see why the drawings <strong>of</strong> Antonio<br />

were a resounding success. His reach,<br />

as an illustrator, was prevalent and he<br />

captured the excitement <strong>of</strong> youth and<br />

the movement <strong>of</strong> the clothes through his<br />

vast array <strong>of</strong> work. Many <strong>of</strong> his pieces<br />

are resonant <strong>of</strong> Andy Warhol, and he was<br />

a master <strong>of</strong> drawing the attitude <strong>of</strong> the<br />

garments.<br />

“Even in our<br />

increasingly<br />

technological times,<br />

fashion illustration still<br />

has a transcendental<br />

allure”<br />

So where is fashion illustration now,<br />

and what does its future hold Well,<br />

illustrators like Mats Gustafson, Francois<br />

Berthoud and Aurore de la Morinire<br />

refuse to be crowded out by technology.<br />

The methods have moved on, and artists<br />

are now using monotype and collage to<br />

bring couture to life. This is a serious<br />

art, which, despite its depleted influence<br />

and lessened notoriety, is still very much<br />

alive. The current fashion illustrations<br />

are clean-cut and subtle, with a return to<br />

simplicity, perhaps a mark <strong>of</strong> our austere<br />

times. They are popular among Chinese<br />

and Japanese fashion magazines,<br />

where they are admired for their edgy<br />

rawness. There is a sense <strong>of</strong> mystery<br />

that compliments the anonymous nature<br />

<strong>of</strong> ‘the drawing’ as opposed to ‘the<br />

photograph’ and to many enhances the<br />

continuing allure <strong>of</strong> this particular art.<br />

What these exhibitions capture is<br />

our desire for the real, the visceral and<br />

the ‘imperfection’ <strong>of</strong> the past. The more<br />

we immerse ourselves in technology and<br />

the more our lives become web-based,<br />

the greater our yearning for human art<br />

becomes. Retrospective glances toward<br />

what has seemingly passed make us<br />

nostalgic, because you don’t know what<br />

you’ve lost until you think it’s gone.<br />

Thankfully for us, fashion illustrators<br />

and their beautiful depictions aren’t<br />

going anywhere.<br />

Photo: Drawing Fashion, Design Museum

Exeposé week twenty 29<br />

Arts<br />

theatre review<br />

Frankenstein<br />

@ National Theatre<br />

February 18<br />

POIGNANT, humane and brilliantly<br />

staged, Danny Boyle’s recent directorial<br />

return to the stage with an adaptation <strong>of</strong><br />

Mary Shelley’s 1818 novel Frankenstein<br />

is stage adaptation at its best.<br />

Benedict Cumberbatch (BBC’s<br />

Sherlock) and Jonny Lee Miller (Trainspotting)<br />

alternate between the roles <strong>of</strong><br />

the Creature and Victor Frankenstein in<br />

a casting decision aimed at highlighting<br />

the connection between creator<br />

and creation. It was Cumberbatch who<br />

took the role <strong>of</strong> the Creature the night<br />

I saw the production, starting <strong>of</strong>f the<br />

performance wearing nothing but intricate<br />

and grotesque body make-up (the<br />

product <strong>of</strong> four hours <strong>of</strong> make-up application)<br />

in what is one <strong>of</strong> the most striking<br />

opening sequences I have seen in<br />

modern theatre. Cumberbatch’s acting<br />

was superb, but it was Mark Tildesley’s<br />

breath-taking set that made this opening<br />

scene so iconic: a ceiling piece <strong>of</strong> 3000<br />

light bulbs, each individually wired to<br />

allow for endless combinations <strong>of</strong> light<br />

sequences, providing a mesmerising<br />

visual display under which the Creature<br />

comes into being.<br />

The actor/character combinations<br />

used in Frankenstein have been discussed<br />

pr<strong>of</strong>usely by reviewers, with the<br />

general conclusion that it is the Cumberbatch/Frankenstein,<br />

Miller/Creature<br />

combination which is better. For me,<br />

Cumberbatch’s presentation <strong>of</strong> a logical<br />

and highly intellectual Creature whose<br />

revenge on his master was more extreme<br />

than in Shelley’s original text was<br />

better than Miller’s extremely egotistical<br />

Frankenstein, swinging between fascination<br />

<strong>of</strong> his achievements and abhorrence<br />

at what his scientific abilities have<br />

led him to create. In the novel, Frankenstein<br />

becomes increasingly psychologically<br />

detached from humanity, plagued<br />

with guilt and terror, but that aspect is<br />

lost in this production and the character<br />

seems slightly under-developed as<br />

a result. However, this may be because<br />

Boyle has decided to cut Frankenstein<br />

out almost entirely from the first hour <strong>of</strong><br />

performance in order to focus closely on<br />

the decline <strong>of</strong> the Creature’s morality.<br />

Despite this, the relationship between<br />

the two actors is brilliant, allowing for<br />

some much-needed comedy to lighten<br />

the intense atmosphere.<br />

For those not able to see the production<br />

in London themselves, there is the<br />

opportunity to see both combinations on<br />

March 17 and 24 via satellite screening<br />

at both the Vue and Picturehouse here<br />

in <strong>Exeter</strong>. For those wanting to make<br />

the trip to see Frankenstein live, tickets<br />

are hard to come by with the show<br />

having sold out in its current booking<br />

period. However, on March 10 booking<br />

re-opens and I would urge you to beg,<br />

steal or borrow a ticket to this imaginative<br />

and absorbing show.<br />


Photo: Anish Kapoor Sculpture Trail, Serpentine Gallery, Kensington Gardens<br />

Photo: Benedict Cumberbatch and Jonny Lee-Miller, Frankenstein, National Theatre<br />

SCULPTURE review<br />

Turning the World<br />

Upside Down<br />

@ The Serpentine<br />

Gallery, Kensington<br />

Gardens. London.<br />

THE possibility <strong>of</strong> seeing the work <strong>of</strong><br />

a Turner Prize winning artist against a<br />

fantastic London backdrop is rare. The<br />

Serpentine Gallery, in London’s Kensington<br />

Gardens is well worth a visit,<br />

especially to see the sculpture trail by<br />

the renowned artist Anish Kapoor. The<br />

sculptures convey a unique vision <strong>of</strong> the<br />

place that has been home to some <strong>of</strong> his<br />

most famous pieces.<br />

The large sculptures are dotted<br />

around the park making the trail a great<br />

thing to do during this fantastic spring<br />

weather we are enjoying. The sculptures<br />

are formed from curved panes <strong>of</strong><br />


The Gondoliers, <strong>Exeter</strong><br />

<strong>University</strong> Gilbert and<br />

Sullivan Society<br />

@ Northcott Theatre<br />

March 8-12<br />

EXETER <strong>University</strong>’s Gilbert and<br />

stainless steel, which create shiny reflective<br />

surfaces mirroring images <strong>of</strong> the<br />

park. The trail itself is named Turning<br />

the World Upside Down, with the mirrored<br />

surfaces flipping the words 180<br />

degrees. The aim is “creating new vistas<br />

in this famous and much-loved setting”.<br />

The pieces certainly succeed in challenging<br />

the perception <strong>of</strong> a renowned<br />

location. They are at once a massive<br />

contrast and a compliment to the natural<br />

environment.<br />

The placement <strong>of</strong> the four sculptures<br />

increases their impact. They reflect the<br />

sky, the water <strong>of</strong> The Round Pond and<br />

the garden’s Longwater, alongside the<br />

trees and wildlife. I saw it on a rainy<br />

day when the water obscured the views<br />

but on a bright day the perfect mirrors<br />

would be even more stunning.<br />


Sullivan Society are putting on their annual<br />

show at the Northcott this week.<br />

Promising to be a funny and energetic<br />

production, the plot follows two Gondoliers<br />

whose world is turned upside down<br />

after a shocking revelation and the arrival<br />

<strong>of</strong> a mysterious heiress. The society is<br />

known for its sparkling take on operetta<br />

full <strong>of</strong> singing and dancing and this show<br />

is set to be no exception.<br />

1.<br />

2.<br />

4.<br />

6.<br />

7.<br />

8.<br />

Editors’<br />

Top 10<br />

The Gondoliers<br />

G&S Play<br />

March 8-12<br />

Northcott Theatre<br />

Waiting for Lefty<br />

Play<br />

March 8-26<br />

BikeShed Theatre<br />

3. Jongleurs<br />

Comedy Roadshow<br />

March 11<br />

Barnfield Theatre<br />

5.<br />

Bassett<br />

Play<br />

March 13-15<br />

BikeShed Theatre<br />

Simply the Jest<br />

Student Comedy<br />

March 14-15<br />

Phoenix Centre<br />

The Haunting<br />

Play<br />

March 14-19<br />

Theatre Royal,<br />

Plymouth<br />

Lilies on the<br />

Land<br />

Play<br />

March 15-19<br />

Northcott Theatre<br />

Memory Lane<br />

2011<br />

Musical Show<br />

March 17<br />

Barnfield Theatre<br />

9. Totally Tom<br />

Comedy<br />

March 20<br />

BikeShed Theatre<br />

10. Journey’s End<br />

Play<br />

March 21-26<br />

Theatre Royal,<br />


30 march 7 2011 Exeposé<br />

Feature<br />

Calum Baker, Screen<br />

Editor, delves into<br />

the world <strong>of</strong> bargain<br />

franchises.<br />

I’M gonna go out on a limb and state:<br />

the Robot Wars PS2 game is far more<br />

inscrutable than Joyce’s Ulysses and the<br />

entire filmography <strong>of</strong> Jean-luc Godard<br />

combined.<br />

The bargain bin to end all bargain<br />

bins, the world <strong>of</strong> the cheap video game<br />

is a beautiful wasteland <strong>of</strong> shoddy entertainment<br />

to rival a night with a poledancing<br />

leper. I ask you: why don’t more<br />

people know about classic racer Star<br />

Wars: Super Bombad Racing A super<br />

deformed Darth Maul losing a race to<br />

Boss Nass is one <strong>of</strong> the more creative<br />

additions to a canon I’ve been finding<br />

increasingly stale. Spongebob: Lights,<br />

Camera, Pants!, meanwhile, proved<br />

prophetic: one mini-game sees you playing<br />

a rudimentary Guitar Hero with our<br />

favourite characters rockin’ out big time.<br />

Seminal games indeed.<br />

Naturally, I’d implore anyone trawling<br />

the wasteland to keep an eye out for<br />

brands they recognise – Star Wars and<br />

Spongebob are obvious franchises, but<br />

look closely and you may discover tieins<br />

approaching the calibre <strong>of</strong> Smarties<br />

Meltdown, where Smarties eat other<br />

Smarties. Or are they collecting them<br />

Perhaps the game, far from being a disgusting<br />

indictment <strong>of</strong> our culture’s dregs,<br />

is actually an exploration <strong>of</strong> consumer<br />

culture and its comparisons with canniba-<br />

OK, it’s a game where you play as<br />

Smarties.<br />

It seems perfectly natural, though,<br />

for certain developers to cash in on<br />

already-successful ideas – think <strong>of</strong> the<br />

money they rake in with every movie<br />

tie-in. It’s just making a living, right I<br />

remember well, in 2002, the world clamouring<br />

for an Antz game, and an Antz racing<br />

game no less (Antz Extreme Racing).<br />

God delivered. Frankly, the exploration<br />

<strong>of</strong> bargain games is a lesson in business<br />

tactics – this, kids, is exactly how to cater<br />

for a mass market.<br />

Above all, it’s wonderful to see the<br />

level <strong>of</strong> detail that’s gone into these<br />

games. For just a couple <strong>of</strong> quid you<br />

can purchase Robot Wars: Arenas <strong>of</strong> Destruction,<br />

a work nearly rivalling Proust<br />

in its meticulous density. It’s nigh on<br />

impossible to build a robot and progress<br />

onto any sort <strong>of</strong> battle, which may have<br />

turned some players <strong>of</strong>f but which I see<br />

as a wonderful exercise in multi-layered<br />

intellectualism. The loving care put into<br />

the game’s complex structure is incredible<br />

considering the price it’s at now.<br />

Let this be a final… warning’s not<br />

the word… encouragement for everyone<br />

reading this to go out, grab a cheap game,<br />

and ask yourself: why isn’t this the biggest<br />

gaming franchise on Earth Why do<br />

so few people appreciate the innovative<br />

inscrutability <strong>of</strong> these wonderful, insane<br />

titles<br />

NEwsbyTES<br />

Gamers! Want to get your hands on<br />

every ZeniMax/Bethesda game past,<br />

present and future For free! Well,<br />

all you need is one child and<br />

one complete lack<br />

<strong>of</strong> parenting ability.<br />

Simply have a<br />

child born on<br />

11/11/11, call<br />

it Dovahkiin,<br />

and the prize<br />

is yours!<br />

Additional<br />

loot is also<br />

promised, but<br />

we’ll have to<br />

wait for other<br />

c o m p a n i e s<br />

to pick up on<br />

this kind <strong>of</strong> <strong>of</strong>fer.<br />

I fear for<br />

children everywhere<br />

when<br />

a new Monkey<br />

Island game requires<br />

an easy<br />

promotion.<br />

On the subject<br />

<strong>of</strong> children, the Wii<br />

has again confirmed<br />

Nintendo’s reliance<br />

on the non-gamer market<br />

with We Dare. This<br />

PG-rated game features<br />

spanking, stripping and<br />

hardcore face-nuzzling action<br />

to complete its challenges,<br />

and is sure to bring a family closer<br />

together. Fortunately, a budding artist<br />

has created the technology to do just<br />

that. Hye Yeon Nam has created a new<br />

bowling game controlled by passionate<br />

French kissing. Ultimately confirming<br />

the future has arrived, gamers need only<br />

strap on a magnet and sensor, and away<br />

they go!<br />

If you thought <strong>of</strong> pirating such a<br />

game, you may soon be in luck. Ubis<strong>of</strong>t<br />

has announced plans to abandon DRM<br />

for Assassin’s Creed: Brotherhood on<br />

the PC, and hints that this may be a continuing<br />

feature in releases. No longer<br />

will players have to be connected to<br />

the internet in order to play single<br />

player, and the<br />

life <strong>of</strong> amateur<br />

pirates worldwide<br />

has just been made<br />

easier.<br />

Finally, returning to<br />

our age-old tradition <strong>of</strong> trumpeting<br />

Valve, we’ve received a<br />

press release that Valve are looking to<br />

introduce a ‘big picture’ mode for a<br />

television version <strong>of</strong> Steam. With over<br />

30 million accounts, Steam looks like it<br />

may be expanding to the console market,<br />

and destroying all who stand before<br />

it. We love you Valve. FYI.<br />

Video Games<br />

Stephen O’Nion & Alice Scoble-Rees - games@exepose.com<br />

Choice is nothing<br />

new in video<br />

games. Text-based<br />

titles such as Oregon<br />

Trail made up <strong>of</strong> many<br />

people’s fond/rage-filled<br />

memories. Yet in 2011,<br />

Dragon Age 2, L.A. Noire,<br />

and Mass Effect 3 are all<br />

set to be unleashed upon<br />

an adoring public, likely<br />

without the option <strong>of</strong> dying<br />

from dysentry. Previously,<br />

Bioware managed to<br />

make Mass Effect<br />

and Dragon Age two<br />

<strong>of</strong> the most involving<br />

games yet released,<br />

whilst Rockstar’s Red<br />

Dead defined a real sense <strong>of</strong><br />

reputation in a virtual<br />

world. The application<br />

<strong>of</strong> specific dialoguerelated<br />

consequences was more<br />

than a simple gimmick, it became<br />

a method to relate to<br />

the world around you, and<br />

feel significant within it.<br />

With these fairly open games I <strong>of</strong>ten<br />

reach the point where I question what<br />

exactly my time is dedicated to. Whether<br />

it’s after spending an afternoon building<br />

the tallest possible lava-fortress in Minecraft<br />

or having spent all my bottlecaps<br />

in New Vegas in Fallout, I’ll eventually<br />

pause and question where the hours have<br />

gone. What leads me to this point in the<br />

first place, is the sheer extent <strong>of</strong> choice<br />

on <strong>of</strong>fer.<br />

Whenever I’d watch friends play<br />

Knights <strong>of</strong> the Old Republic or Fallout,<br />

the destruction they gleefully left in their<br />

wake would leave me feeling slightly<br />

queasy. I’d largely play as I imagine<br />

I would in real life. Of course, most <strong>of</strong><br />

my time in a real post-apocalyptic world<br />

would involve finding a secure building,<br />

plenty <strong>of</strong> tinned food, and likely<br />

an open-world video<br />

game to while<br />

Read this. Or don’t.<br />

The pitfalls <strong>of</strong><br />

choice examined by<br />

Stephen O’Nion,<br />

Video Games Editor<br />

the hours away but let’s say I was forced<br />

to track down whoever tried to kill me;<br />

it’s then I can adapt my normal actions to<br />

this new world.<br />

The avenues <strong>of</strong> choice therefore<br />

present me with a certain dilemma each<br />

time I play. I shape the world around me,<br />

and I feel the consequences. Mass Effect,<br />

Fallout, Dragon Age; these are games<br />

that respond to the decisions made within<br />

them. This is choice at its most detailed.<br />

You thieve; you’ll get bad karma, or people<br />

feeling worse towards you, and that<br />

in turn affects how you have to complete<br />

levels, how you have to navigate the rest<br />

<strong>of</strong> the game. If you do good deeds, on the<br />

other hand, you might get a reward like<br />

a house or some roasted iguana - thanks<br />

token Fallout villager! But just as there<br />

is good choice, there’s also bad choice.<br />

There’s a reason Fable 3 was as derided<br />

as it was praised; when choice is scaled<br />

back to good and bad, it is reduced to<br />

black and white, rather than the scale <strong>of</strong><br />

grey that really engrosses.<br />

When contrasted against an <strong>of</strong>fering<br />

such as Mafia 2, the highly trumpeted,<br />

and subsequently rather disappointing<br />

mob ‘em up that <strong>of</strong>fered<br />

gamers a chance to engage in fierce<br />

box unloading action at the docks before<br />

choosing to toss it all in for a life <strong>of</strong><br />

crime. This veneer <strong>of</strong> choice is nothing<br />

but a lazy add-on. Why are my choices<br />

between crime or box-based activities<br />

My choice is to do or to not do, and<br />

this is pretty much no choice at all. The<br />

same largely applies to Fable 3 or Bioshock<br />

2 where choices are clear-cut yes<br />

or no, or kill or spare.<br />

These games lose so much <strong>of</strong> their<br />

appeal when the player can’t submit to<br />

the world. Choice has not become<br />

a tool to engender an attachment,<br />

but instead heighten<br />

its lack <strong>of</strong> depth. It’s<br />

telling then, that by<br />

contrast, it’s completely<br />

possible<br />

to be absorbed by a linear game, just<br />

look at the most successful franchises <strong>of</strong><br />

all time; Mario, Zelda, Halo etc. I don’t<br />

doubt the extent to which Bioware’s and<br />

Rockstar’s <strong>of</strong>ferings will absorb all manner<br />

<strong>of</strong> player, but it’s when these options<br />

are exhausted that the real problem arises.<br />

How can anyone commit to a standard,<br />

linear game when it looks like there’s a<br />

whole world out there, and people within<br />

it just waiting to be encountered How<br />

can an open-world game keep the player<br />

involved unless choices are meaningful<br />

and relevant. A choice has to be made; is<br />

the game to be played as a story or as an<br />

adventure In my case, games like Mass<br />

Effect 2 haven’t ruined gaming, but it’s<br />

kind <strong>of</strong> reaffirmed the point that ignorance<br />

is bliss.

Exeposé week Twenty 31<br />

Bulletstorm: People<br />

Can Fly / Epic Games:<br />

EA; PS3/360/PC.<br />

February 25 2011<br />

Referred to by Fox News as ‘the<br />

worst video game in the world’, Bulletstorm<br />

was already causing controversy<br />

before hitting the shelves, and with<br />

good reason; this is possibly one <strong>of</strong> the<br />

most crass, violent and pr<strong>of</strong>ane games<br />

I have played in a long time. However,<br />

despite Fox’s immense outrage, such<br />

immeasurably mature content doesn’t<br />

mean that Bulletstorm is a bad game. If<br />

anything, the relentless obscenity and<br />

bravado are one <strong>of</strong> the game’s strong<br />

points – the obnoxious and <strong>of</strong>ten foul<br />

humour is oddly charming and gives<br />

the game plenty <strong>of</strong> character, even if<br />

that character is foul mouthed, misogynistic<br />

and armed to the teeth.<br />

Bulletstorm follows the story <strong>of</strong><br />

Grayson Hunt, the epitome <strong>of</strong> the familiar<br />

‘badass mercenary’ character type.<br />

After being shipwrecked on a hostile<br />

alien world, Grayson must track down<br />

his old adversary, General Sorano.<br />

Pretty standard stuff thus far; the story<br />

is good enough to provide some context<br />

to the action, but serves little purpose<br />

beyond that. The characters are nicely<br />

fleshed out but never really step beyond<br />

the realm <strong>of</strong> action movie clichés. If<br />

you were looking for a deep, meaningful<br />

story that brims with metaphor then<br />

Bulletstorm isn’t for you. However, if<br />

you’re bored with the standard thoughtless<br />

gameplay that permeates many<br />

recent shooters, it’s worth giving this<br />

game a chance, because <strong>of</strong> how it sets<br />

itself apart from other shooters.<br />

“The obnoxious<br />

and <strong>of</strong>ten foul<br />

humour is oddly<br />

charming”<br />

It does this with the idea <strong>of</strong> ‘killing<br />

with skill’: early in the game Grayson<br />

acquires a weapon called a Leash,<br />

which allows him to pull enemies and<br />

objects into the air. The Leash also<br />

evaluates the player’s combat performance,<br />

awarding skill points for specific<br />

actions: killing an enemy in a highly<br />

elaborate way results in a higher reward<br />

than simply shooting them.<br />

Points earned in combat can<br />

then be redeemed for<br />

upgrades and ammo<br />

at supply stations<br />

scattered throughout<br />

levels. Bulletstorm<br />

encourages<br />

the player to<br />

constantly try new<br />

things by revealing<br />

new combos<br />

and combat situations<br />

as the game<br />

p r o g r e s s e s ;<br />

spikes are<br />

Lesson one <strong>of</strong> future<br />

warfare: Choreographed<br />

standing.<br />

conveniently placed<br />

for impalements<br />

and explosive<br />

containers<br />

are liberally<br />

placed along<br />

c o r r i d o r s<br />

and pathways.<br />

The game’s adult<br />

humour extends to<br />

the combos, many<br />

<strong>of</strong> which are (not<br />

so subtly) laced<br />

with innuendo;<br />

some <strong>of</strong> the more<br />

PG names include<br />

‘drilldo’, for impaling<br />

enemies<br />

with a drill-gun,<br />

and ‘ejeculated’, rewarded<br />

for ejecting<br />

opponents from an<br />

airlock. From start to<br />

finish, Bulletstorm encourages<br />

the player to<br />

think creatively and<br />

experiment with the<br />

way they play.<br />

Bulletstorm is<br />

also a very good<br />

looking game; crumbling<br />

cities and carnivorous<br />

jungles are<br />

high in detail, and give the<br />

illusion <strong>of</strong> an expansive world<br />

beyond the linear path that the player<br />

is guided down. Even more magnificent<br />

are the giant set piece moments,<br />

such as tearing through an amusement<br />

arcade with a robotic dinosaur in tow,<br />

or watching half a city tumble down.<br />

The sense <strong>of</strong> scale is impressive, giving<br />

Bulletstorm plenty <strong>of</strong> memorable<br />

moments.<br />

However, there are negatives too:<br />

despite being a paltry eight hours long,<br />

Bulletstorm began to become repetitive<br />

towards the finale, which occurred prematurely<br />

in an obvious attempt to set<br />

up a sequel. To me, this was more <strong>of</strong>fensive<br />

than the entirety <strong>of</strong> the game’s<br />

violence, language and toilet humour.<br />

I was bemused by the lack <strong>of</strong> a co-op<br />

mode (especially as the player always<br />

has at least one AI character with them)<br />

and the multiplayer modes are easily<br />

forgotten. Despite these shortcomings,<br />

I couldn’t help but like Bulletstorm for<br />

its imaginative gameplay and gutsy<br />

content. So if you’re not easily <strong>of</strong>fended,<br />

I would definitely<br />

recommend<br />

that you try ‘the<br />

worst videogame in<br />

the world’ – you might just<br />

love it.<br />

7/10<br />

Alex<br />

HawkswortH-Brooks<br />

Kirby’s Epic Yarn:<br />

Good-Feel/HAL,<br />

Nintendo; Wii<br />

February 18 2011<br />

Kirby’s Epic Yarn, developed by<br />

Good-Feel and HAL Laboratory, a name<br />

which makes me think <strong>of</strong> a groping killer<br />

robot, was released in Japan and America<br />

last October, and I’ve waited months for<br />

this game.<br />

It was worth the wait. Many will recognise<br />

Kirby from the Smash Bros series,<br />

as this is his first console game in eleven<br />

years! Why isn’t Kirby used more <strong>of</strong>ten<br />

He’s cuter then a dozen kittens!<br />

Anyway, Kirby, a small… blob…<br />

thing is transported by an evil sorcerer<br />

called Yin Yarn (who was hiding in some<br />

bushes like a flasher) to Patch<br />

Land, a world made entirely<br />

from string, fabric<br />

and, <strong>of</strong> course, yarn.<br />

Kirby, transformed<br />

into a ball <strong>of</strong> yarn,<br />

teams up with the local<br />

monarch, Prince<br />

Fluff, to stitch Patch<br />

Land back together!<br />

The story is effectively<br />

told. The narration<br />

sounds like someone reading<br />

a bed time story and the style<br />

and humour reminded me <strong>of</strong> kid’s shows<br />

like The Clangers and Button Moon. It<br />

leaves you with a warm, fuzzy feeling.<br />

Kirby’s Epic Yarn is a platformer,<br />

similar in design to Super Mario Bros<br />

and the recent Donkey Kong Country<br />

Returns. You collect beads and furniture<br />

to earn medals and buy more furniture,<br />

in order to decorate your flat. It’s a stupid<br />

gimmick, but the interior design<br />

mechanic is actually relaxing, and collecting<br />

all the items in each level adds<br />

challenge. Furniture also unlocks minigames<br />

that <strong>of</strong>fer more replay value. This<br />

game might be hell for OCD gamers like<br />

RETRO<br />

Devil May Cry 3:<br />

Dante’s Awakening:<br />

Capcom, Ubis<strong>of</strong>t;<br />

PS2/PC. March 24<br />

2005<br />

C h r o n o -<br />

l o g i c a l ly<br />

Devil May Cry<br />

3 serves as a prequel<br />

to the first game, returning<br />

to the main protagonist’s<br />

origins.<br />

The story revolves<br />

around Dante,<br />

and his rivalry<br />

with his<br />

twin brother<br />

Vergil as<br />

he tries to<br />

unleash hell<br />

on Earth. Understandably<br />

opposed<br />

to the idea,<br />

Dante goes<br />

to confront<br />

myself, who need to collect everything,<br />

because there is so much to collect.<br />

The best features <strong>of</strong> the game are the<br />

music and level design. Everything is<br />

made <strong>of</strong> yarn, stitches, zips, thread, etc,<br />

and the imagination is astounding. Each<br />

level <strong>of</strong>fers a new design or gameplay<br />

feature allowing you to interact with the<br />

world, such as a music level with dozens<br />

<strong>of</strong> playable instruments. Visually this<br />

game is fantastic and ridiculously cute!.<br />

At one point, you find a crying teddy<br />

bear who you help by repairing the tear<br />

in his foot. I think it’s the cutest moment<br />

<strong>of</strong> gameplay I’ve experienced all year.<br />

Each level ends with Kirby transforming<br />

into something cool in order to<br />

complete a challenge, such as a tank or,<br />

my favourite, a fire truck. The difficulty<br />

is low, as Kirby can’t die, he just loses<br />

beads whenever he’s hit and, honestly,<br />

collecting beads is unnecessary. But you<br />

won’t care because its so much fun. Two<br />

player co-op is great and simple to set<br />

up using a drop-in system, so it’s a great<br />

way to play with a partner or to introduce<br />

a reluctant house-mate to gaming.<br />

Despite how awesome<br />

the levels<br />

are, how fun<br />

the game is<br />

to play and<br />

how cool<br />

the bosses<br />

are, the<br />

game has<br />

some dist<br />

u r b i n g<br />

t h e m e s .<br />

Kirby is<br />

h e l p i n g<br />

Prince Fluff<br />

take the land<br />

back from<br />

Yin-Yarn,<br />

essentially<br />

replacing<br />

one tyrant<br />

with another,<br />

his brother. The story is told through<br />

over the top cut scenes throughout<br />

the game with entertaining dialogue,<br />

gratuitous violence and a blatant disregard<br />

for the laws <strong>of</strong> physics.<br />

DMC3 is a third person hack and<br />

slash game where skill is rewarded.<br />

Players get the use <strong>of</strong> ten crazy<br />

weapons; each weapon has a number<br />

<strong>of</strong> combos to unlock for an alarming<br />

variation in possible attacks. Alongside<br />

the standard sword and pistols,<br />

you unlock more weapons as you<br />

progress through the game including<br />

a guitar that emits bats and lightning<br />

at the same time!<br />

“The developers<br />

put a lot <strong>of</strong> detail<br />

into this game”<br />

Part <strong>of</strong> what makes DMC3 such<br />

a joy to play is its large variety <strong>of</strong><br />

distinct enemies requiring the player<br />

to think <strong>of</strong> crazy strategies just to<br />

survive the onslaught. At the end <strong>of</strong><br />

most levels are some <strong>of</strong> the most interesting<br />

bosses to appear in video<br />

games, each requiring the player to<br />

find and exploit a weak point. There<br />

may be a lot <strong>of</strong> bosses but each one<br />

Video Games<br />

rather then introducing democracy or<br />

anything. It’s practically a metaphor for<br />

Iraq or something. Prince Fluff’s assistant,<br />

Dom Woole, is a capitalist more interested<br />

in acquiring tenants for his block<br />

<strong>of</strong> flats, which he gets you to pay for. Kirby’s<br />

mode <strong>of</strong> attack is to whip enemies<br />

Indiana Jones style, using fabric from his<br />

body. His own body. That’s like strangling<br />

someone with your own intestine.<br />

Worst is the morality behind fighting.<br />

You can’t be hurt, and enemies can<br />

be avoided and disarmed, so actually<br />

destroying enemies is unnecessary. For<br />

instance, you come across two sleeping<br />

Waddle Dees, with beads in the shape<br />

<strong>of</strong> a love heart floating above them. It’s<br />

very cute, but you have the option <strong>of</strong><br />

hopping over them or whipping them<br />

out <strong>of</strong> existence. Either choice is without<br />

consequence. You soon realise Kirby is a<br />

remorseless killer.<br />

Despite that haunting note, the game<br />

leaves you with a smile on your face and<br />

can be summed up in two words: so cute.<br />

“The difficulty<br />

won’t allow<br />

everyone to<br />

experience<br />

the game in its<br />

entirety”<br />

9/10<br />

Luke Graham<br />

A woollen Kirby<br />

tank: The cutest<br />

form <strong>of</strong><br />

destruction<br />

imaginable<br />

feels different to the last and there is<br />

very little repetition.<br />

When DMC3 was released it was<br />

a beautiful looking game and it still<br />

holds up today. Its eerie gothic aesthetics,<br />

juxtaposed with a modern<br />

electro pop sound track, make for a<br />

unique atmosphere. The developers<br />

put a lot <strong>of</strong> detail into every facet<br />

<strong>of</strong> this game, which makes it hard to<br />

fault, even six years after its initial<br />

release. If there is a negative it is that<br />

the difficulty won’t allow everyone<br />

to experience the game in its entirety.<br />

In my nostalgia-filled mind, Devil<br />

May Cry 3 stands at the pinnacle<br />

<strong>of</strong> gaming on the PS2, right up there<br />

with the God <strong>of</strong> War and Grand Theft<br />

Auto games.<br />

Athanasios Skarlatos


Exeposé week Twenty 33<br />

Sport<br />

EUBC Head-ing in the right direction<br />

Rowing<br />

Duncan Head<br />

EUBC<br />

<strong>Exeter</strong> <strong>University</strong> Boat Club put<br />

in a strong showing at BUCS Head in<br />

Peterborough last weekend. The event<br />

saw 45 universities from all over the<br />

country compete in the pouring rain<br />

and freezing temperatures. This year<br />

saw a significant rise in the number <strong>of</strong><br />

entries, resulting in greater competition<br />

for the <strong>Exeter</strong> boats.<br />

In the beginner’s section, <strong>Exeter</strong><br />

was represented by two women’s<br />

eights, two men’s eights and a men’s<br />

four - beginners classified as those<br />

whom only started rowing at university.<br />

The course for beginners ran over<br />

2500 metres on the River Nene, with<br />

the Novice women coming in 15 th and<br />

Swimming<br />

Claire Griffiths & Lucy Hampson<br />

EUSC<br />

Over the past couple <strong>of</strong> weeks, the<br />

swim team have been racing their<br />

pool-shaped hearts out. When there are<br />

only two <strong>of</strong>ficial university swimming<br />

competitions a term, apparently it makes<br />

perfect sense to put them within seven<br />

days <strong>of</strong> each other.<br />

The fortnight <strong>of</strong> racing started the<br />

weekend <strong>of</strong> February 11-13, with a seven<br />

hour coach journey to the exotic location<br />

<strong>of</strong> Ponds Forge, Sheffield. The girls were<br />

first <strong>of</strong>f the podium for the 4x 100 metre<br />

women’s relay and landed a first reserve<br />

place for the B Team Final. Although<br />

the men’s team was not at full strength,<br />

31 st place. The Novice men’s eights,<br />

who medalled in this event last year,<br />

came 11 th and 28 th out <strong>of</strong> 42 entries.<br />

The Novice men’s coxed four put in a<br />

strong showing, coming 5 th out <strong>of</strong> 38<br />

narrowly beating Imperial, Durham<br />

and Edinburgh and only missing out on<br />

a first BUCS medal by 8.3 seconds.<br />

In the senior events on the Sunday,<br />

<strong>Exeter</strong> put in a very consistent<br />

performance, with ten top-10 finishes.<br />

The <strong>Exeter</strong> men’s first eight came<br />

in a highly respectable 10 th in the<br />

Championship division, showcasing<br />

<strong>Exeter</strong>’s ability to hold their own with<br />

the best rowing Universities in the<br />

country - such as Cambridge, Imperial<br />

and Newcastle. In the smaller boats, the<br />

men’s first coxless four came 8 th and the<br />

men’s lightweight coxless fours came<br />

4 th in their division, unlucky to lose<br />

the boys put in a great effort, with Jon<br />

Congdon swimming a particularly strong<br />

race leg.<br />

Sturdy swims kept coming<br />

throughout the weekend, particularly<br />

from Ilya Skliarov in the 50 metres and<br />

100 metres freestyle and Meg Davis in<br />

the 100 metres backstroke and freestyle<br />

events. A special mention must also go<br />

to sports scholar Becki Warner, who<br />

came back after illness for a stonking<br />

performance and landed a fifth place<br />

swim in the final <strong>of</strong> the 50 metres<br />

butterfly<br />

The final long course ended on a high<br />

with a gutsy 400 metres freestyle from<br />

ladies’ captain Kim Paginton. But the<br />

very next weekend, the swimmers were<br />

at it again for the Team Championships<br />

on February 20-21. Team Champs were<br />

out on a medal to UWE by just half a<br />

second. The Women’s lightweight<br />

coxless fours were another highlight,<br />

with a bronze medal in their division.<br />

Overall it was a good weekend<br />

for EUBC, with results pointing to an<br />

exciting regatta season, culminating<br />

in Henley in July. EUBC are currently<br />

in the process <strong>of</strong> fund-raising in order<br />

to aid performance through improved<br />

training resources and equipment, and<br />

to ultimately achieve better results in<br />

the coming years to establish <strong>Exeter</strong><br />

as a big name in <strong>University</strong> rowing.<br />

A highlight <strong>of</strong> this fundraising effort<br />

will be a 127 hour sponsored row in<br />

the lead up to the 2011 Boat Race,<br />

which will take place in the centre <strong>of</strong><br />

Streatham Campus and is sure to be a<br />

great event for both the Boat Club and<br />

the <strong>University</strong>.<br />

<strong>Exeter</strong>’s BUCS coming along<br />

swimmingly<br />

on February 6.<br />

Forgotten about by the coach<br />

company this time, it was a shaky start<br />

just getting to the BUCS Team Champs<br />

at the <strong>University</strong> <strong>of</strong> Surrey. The team<br />

arrived just minutes before the warm<br />

up, but both the first and second teams<br />

put in an impressive effort to retain their<br />

division rankings against tough (and<br />

warmed up) competition.<br />

Again it was a medley relay to kick<br />

<strong>of</strong>f proceedings and both teams made a<br />

strong start to the gala. Lara Langston<br />

swam the leading backstroke leg for<br />

<strong>Exeter</strong> 2 nd s, whilst Kim Paignton stepped<br />

up to swim the unpopular third leg <strong>of</strong> the<br />

race for the 1 st s put-out a smashing swim.<br />

Despite some delays due to<br />

problems with timing equipment,<br />

EUSC maintained their competitive<br />

BUCS Squash Update<br />

Squash<br />

Holly Gotlieb<br />

<strong>Exeter</strong> <strong>University</strong> Squash Club<br />

Last weekend, seven members <strong>of</strong><br />

the <strong>Exeter</strong> squash team headed up the<br />

country to Birmingham to compete<br />

in the BUCS Individuals Squash<br />

Championships.<br />

First to play was Jonny “the antiflair”<br />

Machin, who won his first<br />

match nice and easy 3-1 in the banter<br />

D Division. His second match <strong>of</strong> the<br />

day was against Plymouth’s number<br />

two, Sam Barham, known for his epic<br />

flair. Unfortunately the draw showed<br />

a complete disregard for seedings,<br />

the match being worthy <strong>of</strong> a final and<br />

Machin losing 3-1 despite showcasing<br />

his best squash this season.<br />

Callum Wrench, the seed below<br />

Jonny in the team, was placed in<br />

the higher C draw and was also out<br />

by Friday night having lost his plate<br />

match during which he made a short<br />

but fiery comeback, smacking down<br />

his opponent 11-1 in one game. The<br />

result was probably not helped by the<br />

fact that Wrench had developed an<br />

addiction for the insanely good value<br />

meals at Roosters, Birmingham’s<br />

answer to battery farming.<br />

Steph Belinger put up a good fight<br />

in her plate match and managed to<br />

hold <strong>of</strong>f her opponent until the fifth<br />

game.<br />

Canoeing<br />

<strong>Exeter</strong> <strong>University</strong> Canoe Club<br />

The Canoe Club have never done slalom,<br />

there is not a decent course in the South<br />

West to train on, and the slalom boat is<br />

older than most <strong>of</strong> the paddlers in the club.<br />

Still, when there’s a BUCS event to go<br />

to, the team makes sure that they go. EUCC<br />

were confident at first; they had a team <strong>of</strong><br />

good paddlers, the boat actually floated<br />

and Wikipedia had told them which colour<br />

gates were downstream or upstream. But<br />

it became clear when the team turned<br />

up and found the GB Team van and lots<br />

performance throughout the 100m<br />

events. Mae Dalgarno and Ilya Skiarov<br />

placed well for the 1 st s in the 100 metre<br />

events. Stuart Bartlett also clocked his<br />

best time yet this season, in the longest<br />

event <strong>of</strong> the Championships, the 200<br />

metres freestyle, whilst Rachel Laurence<br />

swam a solid race for the 2 nd s.<br />

After a quick recess the<br />

Championships were resumed for the 50<br />

metre events. Highlights <strong>of</strong> the second<br />

session included a nifty 50 metres<br />

Butterfly from Parco Lau and a fantastic<br />

freestyle 50 metres from Business School<br />

<strong>student</strong> Ella Mutch.<br />

For the closing events, the Men’s<br />

Firsts (Nye Levett, Ilya Skiarov, Stuart<br />

Bartlett and Parco Lau) and Ladies’<br />

Seconds (Ella Mutch, Daphne Li, Claire<br />

Griffiths and Megan Davis) closely<br />

fought their respective 4x50m Freestyle<br />

Relays.<br />

Other notable swims were the 100<br />

metres IM from Danielle ‘Bridget’<br />

Raymond, the 100 metres breaststroke<br />

from Dave Chesterman and the 100<br />

Sophie Williams, <strong>Exeter</strong>’s number<br />

one, seeded (9/16) in the Women’s B<br />

Draw, whipped her Loughborough<br />

player 3-0 in the first round before<br />

a tough match against Manchester,<br />

which also saw her out <strong>of</strong> the<br />

competition Friday night.<br />

Simon Livett couldn’t handle<br />

the grind in his first match and went<br />

through to the plate. Considering the<br />

5am start we had that morning, Livett<br />

was pretty livid about a 10pm match.<br />

The anger paid <strong>of</strong>f and he ground his<br />

opponent into the floor. Feeling pretty<br />

fresh on Saturday morning Livett<br />

took the lead 2-0 in his next round,<br />

however due to a crippling injury he<br />

succumbed to the result <strong>of</strong> 3-2.<br />

Jo Larsson, <strong>Exeter</strong>’s token Swede,<br />

was placed in the A draw alongside<br />

the guys’ ultimate man-crush UWE’s<br />

Mohammed El Shorbagy, ranked<br />

number nine in the world. Claimed<br />

and proven. After an epic win on<br />

Friday, Larsson battled with the grind<br />

<strong>of</strong> Birmingham’s Nick Hornby and<br />

was brutally punished by the marker,<br />

eventually losing 11-9 in the 5 th game<br />

after a momentous battle <strong>of</strong> the grind.<br />

Although not making the final<br />

stages <strong>of</strong> the tournament, the whole<br />

team played some outstanding squash,<br />

with a much better performance than<br />

last year.<br />

Eddy-fying performance<br />

<strong>of</strong> shiny smart boats that they weren’t<br />

destined for the medals. Still, EUCC don’t<br />

like to give up and gave it their best shot,<br />

finishing 11 th out <strong>of</strong> 24 teams. One <strong>of</strong> the<br />

K1 men made it into 21 st position out <strong>of</strong><br />

131 paddlers, beating several ‘real’ slalom<br />

boaters who train regularly on that course,<br />

and the K1 female paddler made it to 15 th<br />

place out <strong>of</strong> 39. It was a surprisingly good<br />

result considering it was EUCC’s first ever<br />

time slalom racing, in a 4m long ancient<br />

boat “with the turning circle <strong>of</strong> jupiter,”<br />

and has left EUCC wondering what they<br />

could achieve if they built a whitewater<br />

course on the Exe.<br />

metres freestyle from Lucy Hampson.<br />

Charlie Weaver and Matt Jones swam<br />

well for the 2 nd s, despite being asked to<br />

compete in events they don’t normally<br />

train for.<br />

Men’s Captain Dave Chesterman<br />

commented, “The teams were up<br />

against some tough competition in both<br />

divisions but it was good to see the guys<br />

go out there and put in some big swims<br />

to challenge the top teams.”<br />

By the end <strong>of</strong> the weekend, the<br />

<strong>Exeter</strong> 1 st s held their position in the top<br />

division <strong>of</strong> the Southern Championships<br />

whilst the 2 nd s narrowly missed out on<br />

promotion.<br />

Although that’s it for BUCS<br />

swimming competitions this year, EUSC<br />

are now starting preparation for the<br />

annual Swimming Varsity on March<br />

12. The event looks set to be a great<br />

day for swimmers and spectators, with<br />

Bath, Portsmouth and Southampton<br />

Universities coming to compete and the<br />

Water Polo team getting involved. All<br />

money raised will go to Diabetes UK .

34<br />

Sport<br />

EUMHC enjoy the spoils <strong>of</strong> victory<br />

Hockey<br />

Samuel Burret<br />

EUMHC Club Captain<br />

IT is in a philosophical mood and with<br />

an enormous sense <strong>of</strong> pride that I sit<br />

down to write this article. I believe I<br />

was fortunate enough to take part in one<br />

<strong>of</strong> the most unique and special sporting<br />

fixtures to occur in the confines <strong>of</strong><br />

the <strong>University</strong> Sports Park for many<br />

years (I am aware my position in the<br />

EUMHC 2 nd XI colours this view ever<br />

so slightly).<br />

To the best <strong>of</strong> my knowledge it<br />

is unprecedented that two sides from<br />

the same Club should find themselves<br />

competing against each other for a place<br />

in the final <strong>of</strong> a BUCS Championship.<br />

Yet this was the path that fate laid in<br />

front <strong>of</strong> the EUMHC 2 nd and 3 rd XI<br />

following their defeats <strong>of</strong> Gloucester 1 st<br />

XI and Bristol 1 st XI in their respective<br />

quarter finals.<br />

“The psychological<br />

nuances <strong>of</strong> this internal<br />

encounter made for a<br />

fascinating study”<br />

The psychological nuances <strong>of</strong> this<br />

internal encounter made for fascinating<br />

study. The proud 2 nd s, twice defending<br />

BUCS Trophy Champions, were aiming<br />

to make it three Gold medals in a row.<br />

They unsurprisingly were the bookies’<br />

choice! The newly promoted and highly<br />

talented 3 rd s had come close in their two<br />

previous pool games against the 2 nd s<br />

and could be quietly confident that an<br />

upset was a distinct possibility.<br />

The most intriguing aspect was<br />

undoubtedly the on and <strong>of</strong>f-field<br />

relationships that came to a head when<br />

match day arrived; fellow EUMHC<br />

members stood opposite each other,<br />

friends were now foe and as both teams<br />

completed their identical warm-ups on<br />

the day, it was evident that each side<br />

would be entirely aware <strong>of</strong> the others<br />

game. It was the green and white <strong>of</strong> the<br />

2 nd XI versus the white and green <strong>of</strong> the<br />

3 rd XI.<br />

Combat commenced at 2pm on<br />

Wednesday March 2 at their neutral<br />

home venue on the summit <strong>of</strong> St.<br />

David’s Hill. Chances were sparse<br />

and although the 2 nd s had the lion’s<br />

share <strong>of</strong> possession they were unable<br />

Ladies Football<br />

Clare March<br />

EULFC<br />

EULFC are through to the semi-finals<br />

<strong>of</strong> their respective BUCS cup after<br />

beating Southampton Uni 1-0 in their<br />

quarter final. A great goal by Hannah<br />

“Ginger” Barton secured the win, after<br />

Rose “Crackers” Glendinning missed a<br />

penalty.<br />

Due to a waterlogged pitch, the<br />

game was moved to the rubber crumb.<br />

This changed the dynamic <strong>of</strong> the game,<br />

however, the team successfully adapted.<br />

to regularly penetrate the 3 rd s resolute<br />

defense. Shot-corners seemed the order<br />

<strong>of</strong> the day. Charlie Rookes, the 2 nd s<br />

most prolific scorer, screamed his first<br />

drag-flick into the right hand ro<strong>of</strong> <strong>of</strong> the<br />

net early in the second half to nullify<br />

Luke Owen’s superb first half flick<br />

that had given the 3 rd s the advantage.<br />

Rookes scored again from the top with<br />

twenty minutes to go and the status <strong>of</strong><br />

the 2 nd s looked to be affirmed.<br />

Yet the 3 rd XI revealed a belligerence<br />

and unerring self-belief that fuelled<br />

their legs and the two hundred strong<br />

crowd. A collected reverse stick finish<br />

from Tom Walter, the 3 rd XI captain,<br />

deservedly returned the game to parity<br />

with time diminishing rapidly. A<br />

breathless seventy minutes <strong>of</strong> normal<br />

time finished two goals apiece.<br />

The crowd reveled in the prospect<br />

<strong>of</strong> fifteen minutes <strong>of</strong> golden goal<br />

entertainment whilst the players<br />

desperately sucked in the crisp March air<br />

and prepared their lactic-laden muscles<br />

for a final push. Form and reputation<br />

were now removed. The victors would<br />

be defined by resilience and bottle!<br />

Tom Walter spurred on the 3 rd s with<br />

a request for more <strong>of</strong> the same. The<br />

2 nd s captain, Simon Hare, granted his<br />

players a few inspirational expletives<br />

with which to settle their minds and<br />

fire their bellies. And so it continued in<br />

much the same vein until, with seven<br />

minutes remaining on the clock, there<br />

came the chance <strong>of</strong> the game; an open<br />

goal, the 3 rd s all but in the Final, a<br />

floored striker, innocence proclaimed<br />

by the defence, uproar from the crowd,<br />

a penalty stroke controversy...defensive<br />

hit awarded to the 2 nd s by the Umpire.<br />

They had survived and undertook to<br />

reverse their fortunes. The final five<br />

minutes saw Samuel Little, the 3 rd s<br />

goalkeeper, and his defense repel five<br />

short corners in an act <strong>of</strong> remarkable<br />

defiance. The emotionally shattered<br />

crowd roared as the second final whistle<br />

blew signifying that this epic was to be<br />

decided by penalty flicks.<br />

“With seven minutes<br />

remaining on the clock,<br />

there came the chance <strong>of</strong><br />

the game... ”<br />

Five <strong>of</strong> the bravest from each<br />

side put their hands up. This was to<br />

After the game, first team captain Toddy<br />

said, “Our squad is coming together at<br />

the crucial time <strong>of</strong> the season which<br />

is allowing us to gain the results we<br />

deserve. Hopefully, we will be able<br />

to reach the final and be rewarded for<br />

all the hard work we have put in this<br />

season.”<br />

EULFC are also doing well in their<br />

BUCS league, currently five points<br />

behind leaders Bournemouth Uni. The<br />

team remain hopeful for promotion<br />

after winning four <strong>of</strong> their last five<br />

matches.<br />

With three games to go, one being<br />

against Bournemouth, all EULFC can<br />

be a competition marked not by the<br />

errors <strong>of</strong> the stroke-takers, but by the<br />

brilliance <strong>of</strong> the goalkeepers. Samuel<br />

Little lunged low to his right early on<br />

to parry the 3 rd s into a winning position<br />

only to see Andrew Miller make a sharp<br />

save to his left for the 2 nd s the very next<br />

flick. Eighty-five minutes played, four<br />

flicks taken and not even the badges<br />

on their shirts could separate the sides.<br />

Spectators and players looked on with<br />

wide eyes and chewed nails as this<br />

momentous battle drew to a conclusion.<br />

The fifth flick for the 2 nd s seemed<br />

destined for all the glory <strong>of</strong> the net, but<br />

once more Samuel Little refused to be<br />

beaten and a stiff left arm halted the<br />

ball firmly mid-flight. It was fitting that<br />

Tom Walter found himself in front <strong>of</strong><br />

the goal to endeavor to claim the spoils<br />

<strong>of</strong> victory for the 3 rd s. Characteristic <strong>of</strong><br />

his leadership throughout the season<br />

the ball sailed confidently into the<br />

side netting and the 3 rd XI captain,<br />

affectionately named ‘Disney’, raised<br />

his arms al<strong>of</strong>t as he absorbed the impact<br />

<strong>of</strong> fifteen extremely sweaty, but elated<br />

players.<br />

“It is fitting that Tom<br />

Walter found himself<br />

in front <strong>of</strong> the goal to<br />

endeavour to claim the<br />

spoils <strong>of</strong> victory”<br />

It was a pleasure to witness both<br />

the magnanimity <strong>of</strong> the <strong>Exeter</strong> crowd as<br />

they fought with the unusual paradox <strong>of</strong><br />

having to congratulate and commiserate<br />

their <strong>Exeter</strong> comrades alike, as well as<br />

the behavior <strong>of</strong> competitors themselves<br />

who in their joy and desperation, won<br />

and lost with an extremely respectful<br />

grace. Chris McInroy, Director <strong>of</strong><br />

Hockey, was ‘delighted’ by the<br />

performance <strong>of</strong> his players. All in all<br />

this was a day in which <strong>Exeter</strong> Hockey<br />

was resoundingly victorious.<br />

The 3 rd XI will now compete<br />

against Manchester 1 st XI in Sheffield<br />

on Thursday March 17 for the coveted<br />

BUCS Championship Trophy. They<br />

will sadly not be joined by the 1 st XI<br />

who narrowly missed an opportunity to<br />

defend their BUCS Championship Gold<br />

after a 2-1 defeat to Loughborough<br />

<strong>University</strong>.<br />

EULFC hopeful for promotion<br />

do is work hard, play well and grind out<br />

the needed results to gain promotion.<br />

1 st team coach Rich said “We made<br />

hard work <strong>of</strong> the quarter final (against<br />

Southampton), but showed great<br />

character to pull through in a difficult<br />

situation. Although being promoted<br />

isn’t in our control, I feel confident that<br />

we can close the gap as I believe we<br />

have the strongest team in the league,<br />

with several players fighting to play in<br />

the 1 st team. The freshers have settled<br />

in and are playing well, the future can<br />

only look bright for EULFC.” 2 nd in the<br />

league and in the semi finals, things are<br />

definately looking bright for EULFC.<br />

Rugby League<br />

Jennifer Manby<br />

Senior Sports Reporter<br />

THE arrival <strong>of</strong> March basked Devon<br />

in surprisingly warm sunshine,<br />

and with it came a hoard <strong>of</strong> BUCS<br />

Quarter final matches, with <strong>Exeter</strong><br />

<strong>University</strong> Rugby League first team<br />

taking on Edge Hill <strong>University</strong>.<br />

With Edge Hill placing 3 rd in<br />

the Super 8 League, the league<br />

above an obviously tense <strong>Exeter</strong>,<br />

it was set to be an exciting match.<br />

The first 10 minutes saw both<br />

teams playing hard and fast, which in<br />

many cases led to sloppy mistakes and<br />

poor ball handling. Despite this, the<br />

first try <strong>of</strong> the day came from <strong>Exeter</strong>’s<br />

Angus Gardiner settling the teams<br />

into the match and bringing the score<br />

to 4-0. A quickly paced 10 minutes<br />

later, <strong>Exeter</strong>’s Cormac Healy widened<br />

March 7 2011 Exeposé<br />

EURL smash through to<br />

<strong>Exeter</strong> Rugby League cruise though to the BUCS semi finals after a comprehensive 38-8<br />

the lead with a hard fought try, which<br />

was then converted with ease by Nico<br />

Flanaghan to bring the score to 10-0.<br />

Edge Hill were quick to retaliate to<br />

the growing lead, putting pressure on<br />

<strong>Exeter</strong>, who displayed handling errors<br />

similar to those seen at the beginning <strong>of</strong><br />

the match, which led to a penalty given<br />

to Edge Hill. Edge Hill made the most <strong>of</strong><br />

this advantage and scored an effortless<br />

try bumping their score up to 10-4.<br />

“Cormac Healy widened<br />

the lead with a hard<br />

fought try”<br />

<strong>Exeter</strong>’s Hugo Fraser regained<br />

possession from a badly placed Edge<br />

Hill kick which led to a spectacular 70m<br />

sprint past many opposition defenders<br />

along the left sideline to touch<br />

down with a dive that Chris Ashton<br />

himself would have been proud <strong>of</strong>.

Exeposé week Twenty 35<br />

Sport<br />

the Quarter Finals<br />

Crossword Week 20 by Clare Mullins<br />

Across<br />

1. State in which the Declaration <strong>of</strong><br />

Independence was signed (12)<br />

6. Chocolate bar containing hazelnuts,<br />

nougat and caramel (5)<br />

8. Modern day Mesopotamia (4)<br />

9. Element, atomic number 6 (6)<br />

10. Libya’s second city (8)<br />

12. Twenty-fourth letter <strong>of</strong> the Greek<br />

Alphabet (5)<br />

13. Young swan (6)<br />

16. Brother <strong>of</strong> Menelaus (9)<br />

18. Successor to the League <strong>of</strong> Nations<br />

(2)<br />

19. Famous for her visions <strong>of</strong> the<br />

Virgin Mary (2, 10)<br />

Down<br />

1. Followers <strong>of</strong> a famous Greek<br />

mathematician and philosopher (12)<br />

2. Pharrell Williams – Roman God <strong>of</strong><br />

the Sea (7)<br />

3. Female demon – CAUSCUB [anag]<br />

(7)<br />

4. Home to Mr Tumnus (6)<br />

5. A facebook friend (12)<br />

7. Song by Alanis Morissette (6)<br />

8. Volcanic moon <strong>of</strong> Jupiter (2)<br />

11. … Knows Best (5)<br />

14. What mutton likes to dress as (4)<br />

15. A benevolent woodland creature (4)<br />

17. Most powerful lobbying<br />

organisation in the USA (3)<br />

Solutions to No. 18<br />

Across - 1. Gumption; 5. Cat; 8. Racketeer; 9. Ti; 10. Reddish; 12. Bern; 14. Fox; 15. Tub; 17. Elide; 19. Tacit; 20. Sin; 21.<br />

Emma; 22. Sunny; 23. Badger.<br />

Down - 1. Gertrude; 2. Macedonia; 3. Temesis; 4. Obe; 6. After; 7. Grub; 11. Hood; 13. Enticing; 16. Beth; 18. Elegy; 19.<br />

Tata; 20. Sas.<br />

Pub Quiz<br />

1. What country is known as modern<br />

day Persia<br />

in British history at 112 years and 296<br />

days<br />

victory over Edge Hill <strong>University</strong>.<br />

2. What was the capital <strong>of</strong> West<br />

Germany<br />

5. Who claimed to be Samuel<br />

Johnson’s patron<br />

With their growing frustration clear,<br />

Edge Hill piled the pressure on <strong>Exeter</strong>,<br />

leading them to close the first half with a<br />

try, bringing the score at half time to 14-8.<br />

<strong>Exeter</strong> came back on fighting form,<br />

which saw the second half starting just<br />

as excitingly as the first, with a try from<br />

Nico Flanaghan following rapid passes<br />

from Cormac Healy and Josh Webb.<br />

With the score at 18-8 to <strong>Exeter</strong><br />

it was not a great time for Edge Hill’s<br />

Centre to be yellow carded and sent<br />

to the sin bin for 10 minutes after an<br />

illegally high tackle. <strong>Exeter</strong> grabbed this<br />

advantage straight away with Josh Webb<br />

touching down from a penalty to bring<br />

<strong>Exeter</strong> into an impressive lead <strong>of</strong> 22, to<br />

Edge Hill’s 8. Edge Hill’s frustration<br />

grew further as they gave away a<br />

series <strong>of</strong> penalties; Nico Flanaghan<br />

took advantage <strong>of</strong> this and crossed the<br />

line to score his second try <strong>of</strong> the day.<br />

Following an explosive tackle,<br />

play was stopped for an extensive<br />

period <strong>of</strong> time due to one <strong>of</strong> Edge Hill’s<br />

players sustaining a nasty dislocated<br />

shoulder, which saw him leave the<br />

pitch to a resounding roar <strong>of</strong> clapping.<br />

The game restarted fuelled with the<br />

same drive and determination as before,<br />

which saw a lot <strong>of</strong> pressure from <strong>Exeter</strong>.<br />

Josh Jones scored his first try <strong>of</strong> the<br />

match after gaining the ball from a ruck<br />

5m <strong>of</strong>f Edge Hill’s try-line, which was<br />

neatly converted by Nico Flanaghan.<br />

“The game restarted<br />

with the same drive and<br />

determination”<br />

The game was brought to a close by<br />

Josh Jones’ second try <strong>of</strong> the match again<br />

from a ruck just <strong>of</strong>f Edge Hill’s try line.<br />

This was again confidently converted<br />

by Nico Flanaghan, bringing the final<br />

score to 38-8 to an elated <strong>Exeter</strong>. It was<br />

a confident win which sees the boys pull<br />

through the first round <strong>of</strong> knockouts to<br />

play Loughborough in the semi finals.<br />

Well done to both teams; it was<br />

an exciting and hard fought match,<br />

and we wish the boys the best <strong>of</strong><br />

luck in the semi-finals next week.<br />

Rugby League Varsity<br />

<strong>Exeter</strong> v Gloucester<br />

Mens and Womens matches<br />

March 30<br />

Prince <strong>of</strong> Wales Stadium<br />

Cheltenham<br />

3. What are people now using in Japan<br />

in order to combat hay fever<br />

4. What is the name <strong>of</strong> the British man<br />

<strong>of</strong>ficially recognised as the oldest man<br />

Sudoku<br />

Easy<br />

6. Which controversial ice-cream<br />

flavour was recently banned<br />

7. Which Best Picture Oscar nominee<br />

for 2011 grossed the least<br />

Hard<br />

Answers: 1. Iran 2. Bonn 3. Pollen detecting robots 4. Henry Allingham 5. Lord<br />

Chesterfield 6. Human Breast Milk, aka ‘Baby Gaga’ 7. Winter’s Bone

36 March 7 2011<br />

Sport<br />

Alexander Cook & Andy Williams - sport@exepose.com<br />

Lacrosse Green Machine roll on<br />

Lacrosse<br />

Tom Glover & Jamie King<br />

EULC<br />

The Mens 1 st X kicked <strong>of</strong>f their season<br />

with home openers against the Universities<br />

<strong>of</strong> Bristol and Brighton, welcoming a<br />

number <strong>of</strong> new faces to a side <strong>of</strong>f the back<br />

<strong>of</strong> a rigorous pre-season schedule and<br />

tuition from new North American coach<br />

Daniel Aas. The team fought hard against<br />

the old West-Country foes with the match<br />

ending 6-6 and a feeling that the game<br />

could, and should, have been won. A man<br />

<strong>of</strong> the match performance from fresher<br />

goalie Nima Barzin did however provide<br />

confidence in the ability <strong>of</strong> the side’s<br />

debutants.<br />

A 7-3 win against new opponents<br />

Brighton led to arguably the hardest<br />

fixture <strong>of</strong> the season away at Oxford<br />

<strong>University</strong>. <strong>Exeter</strong> hung in contention<br />

until the second half before a combination<br />

<strong>of</strong> a lack <strong>of</strong> defensive discipline and<br />

the talent <strong>of</strong> Oxford’s exciting North<br />

American contingent meant that <strong>Exeter</strong><br />

began to fall behind. The match finished<br />

a disappointing 16-8 to Oxford.<br />

A week later the overnight trip to<br />

Brighton beckoned and, despite poor<br />

conditions, it provided a fantastic bonding<br />

opportunity for the team, which was<br />

highlighted in their stunning performance<br />

on the pitch. <strong>Exeter</strong> dominated the game,<br />

coming out 10-2 winners. Notable<br />

performances came from Nick Kempster,<br />

who dominated the face-<strong>of</strong>f, and men <strong>of</strong><br />

the match Tom Loake, Jamie King and<br />

Captain Tom Podd. The Bristol away<br />

match the following week was a closer<br />

affair but some scorching outside shots<br />

provided by midfielders James Please and<br />

Alex Wilby meant that <strong>Exeter</strong> ran out 7-5<br />

winners.<br />

This meant the 1 st X went into the<br />

Christmas break sitting at the top <strong>of</strong> the<br />

BUCS Southern Premiership. Not content<br />

with resting on their laurels, the team<br />

started 2011 with the Oxford return fixture.<br />

Although Oxford seemed to be lacking<br />

some <strong>of</strong> their North American talent that<br />

proved so lethal in the first game, <strong>Exeter</strong><br />

put out a fantastic performance finishing<br />

the match 8-2 winners. The fixture also<br />

drew interest from the local BBC news<br />

crew who covered the story <strong>of</strong> <strong>Exeter</strong>’s<br />

rise, which can be seen on the BBC<br />

website.<br />

The last two fixtures in the league<br />

required <strong>Exeter</strong> to face Warwick, a<br />

side with a formidable reputation in the<br />

Premiership, who were responsible for<br />

the conclusion <strong>of</strong> <strong>Exeter</strong>’s 09/10 season.<br />

The first match was close, <strong>Exeter</strong> went<br />

into the second half 7-2 down but after<br />

some adjustments to both the attack and<br />

defence <strong>Exeter</strong> conceded no goals in the<br />

entire second half but could only put<br />

away two more <strong>of</strong> their own. It finished<br />

7-4 to Warwick. The deciding fixture<br />

<strong>of</strong> the BUCS Southern Premiership<br />

<strong>Exeter</strong> Men’s Lacrosse Team have had a winning 2010/11 season, with all the team playing exceptionally throughout.<br />

brought an enthusiastic home crowd with<br />

<strong>Exeter</strong> needing to win by four or more<br />

goals to secure the title. From the start<br />

the team looked focused and composed,<br />

going into half time 4-1 up after a solid<br />

defensive effort. As the second half<br />

progressed, confidence rose and the team<br />

scored a number <strong>of</strong> impressive goals.<br />

The game finished 7-2 with notable<br />

performances from Joe Almond, Nick<br />

Kempster and Jens Halling, who scored<br />

a superb hat-trick. <strong>Exeter</strong> were crowned<br />

Champions at their first attempt.<br />

Fresh <strong>of</strong>f the back <strong>of</strong> winning the<br />

BUCS Southern Premiership title,<br />

the first team faced the <strong>University</strong> <strong>of</strong><br />

Plymouth in the first stages <strong>of</strong> BUCS<br />

Knockout. Plymouth travelled to <strong>Exeter</strong><br />

with confidence and the will to win but<br />

<strong>Exeter</strong> started the game, putting away<br />

two early goals. They dominated the rest<br />

<strong>of</strong> the game and won 12-0 after some<br />

very classy goals, with Club Captain<br />

Alex Wilby scoring five. The boys<br />

went on to face Sheffield Hallam in the<br />

quarter-finals filled with confidence<br />

and keen to progress even further.<br />

Unfortunately Hallam put in a solid<br />

effort in the first half before pulling away<br />

in the second half and winning 10-2.<br />

The team were naturally devastated but<br />

proud nonetheless, having put in a good<br />

performance against a better team who<br />

now face Durham in the Final.<br />

Frustrating cancellations due to<br />

inclement weather and opposition<br />

teams being unable to field a side<br />

means that progress in SEMLA has<br />

been slow. The freshers, having started<br />

learning Lacrosse five months ago, have<br />

progressed extremely quickly. Recently<br />

<strong>Exeter</strong> hosted, and won, a tournament<br />

for all beginners’ teams in the South-<br />

West. If they can continue to progress<br />

at this rate then hopes are high for next<br />

year! Nevertheless, the season isn’t quite<br />

over yet as <strong>Exeter</strong> are in a good position<br />

to win SEMLA South West 2 and the<br />

Minor Flags tournament, not to mention<br />

the mixed tour to Dublin where <strong>Exeter</strong><br />

look to retain their crown.<br />

<strong>Exeter</strong><br />

Demons<br />

feel Bath<br />

sting<br />

American Football<br />

Will Budge<br />

EUAFC Publicity Officer<br />

<strong>Exeter</strong>’s trip to Bath on Sunday<br />

February 20 promised to be a<br />

tight encounter with great play<strong>of</strong>f<br />

consequences, and it very much lived<br />

up to both <strong>of</strong> these expectations. Both<br />

teams entered the game with just one<br />

“<strong>Exeter</strong> and Bath<br />

were evenly matched<br />

with neither team<br />

able to assert<br />

themselves over the<br />

other”<br />

defeat and subsequently the potential to<br />

make the post season.<br />

While the game’s score line shows<br />

how close the game was, the excitement<br />

factor was low due to the conditions<br />

<strong>of</strong> the Bath pitch, in some places<br />

looking more like a swimming pool<br />

than an American football pitch. The<br />

treacherous conditions underfoot made<br />

it very hard for both teams to get any<br />

purchase on the ground so progress was<br />

slow throughout the game.<br />

While both being handicapped by<br />

the pitch, <strong>Exeter</strong> and Bath were evenly<br />

matched, with neither team able to assert<br />

themselves over the other. However,<br />

<strong>Exeter</strong> did manage to drive the ball up<br />

the field on a couple <strong>of</strong> occasions, but<br />

one fumble and several penalties let<br />

them down.<br />

The stalemate was finally broken<br />

in the third quarter as Bath completed<br />

a fifteen yard pass for the touchdown.<br />

The extra point not being converted still<br />

left <strong>Exeter</strong> in the game and a long fourth<br />

quarter drive orchestrated by Fin Brown<br />

and Will Budge (<strong>of</strong>fensive MVP for the<br />

second week running) gave <strong>Exeter</strong> hope<br />

but ultimately came up fruitless handing<br />

Bath the narrow victory.<br />

Entering into the last game <strong>of</strong> the<br />

season, <strong>Exeter</strong> needs to beat current<br />

SWAC leaders UWE Bullets on March<br />

6 if they hope to advance to the post<br />

season. Regardless <strong>of</strong> whether they<br />

do or not, <strong>Exeter</strong>’s unprecedented<br />

success this season has been laudable,<br />

with much <strong>of</strong> the credit lying with a<br />

committed and talented coaching staff<br />

and the strength and determination <strong>of</strong><br />

the whole team.

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