Why I Love....

Just a nice thread idea on wakinglimb which inspired me to gush over Wish you were here.


Wish You Were Here





Squeezed between Pink Floyd's two tens of million selling and universally praised behemoths, 1973's Dark side of the moon and 1979's The Wall. Wish you were here is often overlooked by all but the most committed Floyd fans. Only more recognisable than Pink Floyd’s other overlooked classic from their 70’s heyday, Animals, thanks to the instantly recognisable title track Wish You Were Here.

As Bob said with Purple Rain it is probably not my favourite Pink Floyd album, that honour changes from week to week between the ‘big four’ (Dark Side Of The Moon, Wish You Were Here, Animals and The Wall). But as with Purple Rain sums up everything that is great about Prince, Wish You Were Here sums up everything that is great about Pink Floyd who are often, much like Prince, dizzyingly diverse in their sound.

From their earlier psychedelic drug induced ‘Barret era’ sound stretching from 1965 to 1971 with the release of Meddle. To their classic Prog Rock sound fusing Water’s stunning lyricism and Gilmour’s and Wright’s keen ear for a tune. And then the closing era of the ‘true’ Pink Floyd sound (Gilmour’s subsequent slaughter of the Pink Floyd name with Momentary Lapse of Reason and The Division Bell just doesn’t count. ) With Water’s ego leading the band to eventually become a vehicle for Water’s political critiques, first evident in Animals and finally overbearingly present in The Final Cut. It can be hard to know where to start.

Wish You Were Here, lying around about the middle of their discography draws everything from its surrounding albums. Everything that had made them great and everything that would continue to make them so. From the powerful instrumental and lyrical minimalism of Shine on you crazy Diamond Pt 1 - 5, which sets the theme for the rest of the album which as the title suggests is a theme of absence and lost relationships on a general wide reaching level and a very touchingly personal one with this I particular acting as an ode to the bands former leader Syd Barret


Remember when you were young, you shone like the sun.
Shine on you crazy diamond.
Now there's a look in your eyes, like black holes in the sky.
Shine on you crazy diamond.
You were caught on the crossfire of childhood and stardom,
blown on the steel breeze.
Come on you target for faraway laughter,
come on you stranger, you legend, you martyr, and shine!

Arguably some of Water’s best lyrics interlaced with some of Gilmours most emotional almost ‘vocal’ guitar playing which seems at times to mournfully reply to the questioning lyrics.

Parts 6- 9 carries the same message and neatly closes the album, Wish you were here carries the same theme and needs little description but its common Verse - Chorus layout squeezed into a relatively short (For Floyd anyway) running time of 5:40 minutes, which is a song structure that would become used more as the band became less experimental in its later years. it’s a heartfelt anthem that despite its massively airplay does not grow old. This and Comfortably Numb are both fine contributions to the karaoke industry but still maintain a strong message.

Have a Cigar and Welcome to the Machine also share a relatively normal ‘later’ Floyd song structure but are similarly brilliant, more scathing and satirical of the music industry which had now welcomed the band with open arms but still maintaining the theme of loss in a different sense.

Come in here, dear boy, have a cigar. you’re gonna go far, fly high,
You’re never gonna die, you’re gonna make it if you try they’re gonna love you.
Well Ive always had a deep respect, and I mean that most sincerely.
The band is just fantastic, that is really what I think. oh by the way,
Which ones pink?


I like to think of Wish You Were Here as the litmus paper for Pink Floyd, it draws from such a wide range of the bands sound that it is impossible to dislike completely, I mean the title track is worth the admission alone.

Harry Potter and the Midnight Launch

Despite not being particularly enamoured with the books, I stopped reading them with Goblet of Fire a good 4-5 years ago, and not actually having seen any of the movies. I still counted down the hours until the books global launch at 12:01 BST. I’ve always been a sucker for good hype, even for products that I didn’t previously want and definitely didn’t need, the hype always sucked me in.

The hype from my other great love, games, also achieves the same effect. There is rarely a console launch that goes by that doesn’t draw the same feelings of jealously and greed from me. I didn’t want the PS3, it was overpriced and had virtually no titles that interested me and it still doesn’t months after its release, however I still watched the queues on the news and I mentally counted down to midnight and visualised those shiny, happy people holding the console in their arms and then begun speculating a few hours later what fun people were having with it, without me.

Even more ridiculously I felt the same feelings with the launch of the PSP, despite giving up on handheld gaming with the Nintendo SP after Pokemon released me from its addictive grip making the idea of handheld gaming more pointless than ever. But still, those lucky people playing Spiderman 2 well into the night taunted me relentlessly.

I wasn’t even just indifferent to Harry Potter. I was against it, it annoyed me. It was over hyped for as far as I could see no good reason. Even a few Potter fanatics would agree the writing is pretty average. So the success of the book and the subsequent movies made me even more certain that I would never read a Harry Potter book again.

So why at 11.57pm British Summer Time did I go out of my way to watch the release of book and observe the first lucky few in queue outside Waterstones receive their copies of JK Rowlings long anticipated book with a ridiculous smile on my face (And awoke this morning to find the 7th book staring me in the face on my bedside cabinet)? Partly the unrelentless hype all over the internet, Partly a simple piece of journalism from BBC arts correspondent David Sillito reminded be that maybe Harry Potter wasn’t all that bad.

There's between 1,000 and 1,500 people here. The queue stretches all the way around Waterstone's, which is Europe's largest bookshop, then spills out onto the street and continues as far as the eye can see.

And I think I've worked out why...

JK Rowling published the first Harry Potter book 10 years ago, when the core audience was about eight or nine years old.

Half of these kids are now 18, and they've just finished their A-level exams.
It's like the ultimate rite of passage. This is the end of childhood for thousands of people.

They're graduating with Harry.


“I’m not graduating with Harry!” I exclaimed disappointed, feeling more left out of a launch than ever.

My resistance to the craze softened and my traditional pessimism faded. I had enjoyed the first four books, I had finished them, that’s an achievement In itself as I traditionally leave most books I purchase half read.

Whether you like them or not its hard to deny the series is a brilliant page turner, crafted inside a rich fascinating world populated with similarly rich characters. Yea her writing may not be up to much at times and the attention the series has received may not be entirely deserved but then it rarely is.

So the hype has gotten me again, well the hype and a bit of good journalism. I shall be rereading the series over this summer, having spoilt the ending of the 7th book myself before the release It may seem a little pointless, but I deserve giving the series a second chance, enjoying the journey along the way.

And of course. I don’t want to feel left out.

I just need the second, third, fourth, fifth and sixth books to make a go of it now.

Planet Earth - Prince

Prince Rodger Nelson the artist formerly know as Prince but now formally know as Prince is back

The music is unpredictable as the man himself ranging from the funk rock of the lead single Guitar, the r’n’b ballad of Future Baby Mama and the fusion of rap and soul in Mr Goodnight.

Also unpredictable is the quality of the tracks themselves, which range from the great to the cringe worthy. The unashamedly funky Chelsea Rodgers with its brilliant baseline providing the foundations for Prince to wax lyrical about arguably his favourite subject, women, with triumphant sounding trumpets thrown into the mix heralding the arrival of another quality Prince track.

Guitar also stands out, comparisons have been made with early U2 but I haven’t heard any early U2 so I couldn’t possibly comment. All I hear is a quality track and a obvious choice for the albums lead single, the melody is simple and immediate unlike most singles it doesn’t get old, no doubt down to the two excellent solos that grace the track and make it clear that Prince does indeed love his guitar and remains us what a underrated guitarist he is.

However the rest of the album does not fair as well, the remainder of the album drifts apathetically between mediocre and cringe worthy, as Prince indulges in some stripped down ballads which only serve to remind you how weak he is lyrically without any funky bass lines or guitar riffs to hide behind.

From Prince hopping on the same eco warrior bandwagon that fellow 58’ babies Madonna and Michael Jackson have long been members of with his Earth Songesque song to save the world Earth, title track Planet Earth. 50 years from now what will they say about us here?
Did we care for the water and the fragile atmosphere? Like Earth Song its come across as quite corny and like Madonna asking Wembley Stadium to “Jump if you want to save the planet” slightly condescending and insincere, nice bit of guitar at the end though..which is nice.

All in All it is another ‘ok’ Prince album, he has definitely recovered from his near suicidal dip in the 90’s and continues to maintain a respectable form since his comeback with Musicology. Had it not been for the masterstroke or ‘sell-out’ depending on how you look at it of taking a lump sum from the Daily Mail to give away this album for free this album would have slipped into the bottom half of the charts with little buzz or interest. The mismatch between Princes music and the profile of the Daily Mail raised a few eyebrows but this album for the most part is quite average easy listening, something that you could imagine the 50 something readership of the Mail enjoying.

Perhaps Prince is feeling his age.

The future of the music industry

All the fuss being made lately over Prince giving away his latest album, Planet Earth, free as a covermount with the Daily Mail of all papers, has made me wonder on the future of the music industry imparticular recorded music. A spokesman for Prince gave reasons for his move on his site...

"Prince feels that charts are just music industry constructions and have little or no relevance to fans or even artists today."

Quite a big statement so will this be the opening salvo in a new battle beteewn 'true' artists and the established record labels? A free music revolution if you will.

It's well known that acts get very little income for themselves from album and single sales, the real money is earned, for the artist at least, through touring and record deals themselves. It is of course not the first time Prince has given away albums for free, he gave away his 2004 release Musicology free at live shows for his lucky fans. Radiohead also famously considered giving away Kid A, when the album was leaked on to Napster weeks before its official release, Thom Yorke commented in an interview with Time magazine. "it encourages enthusiasm for music in a way that the music industry has long forgotten to do."

So...can we expect to see artists giving away their latest album on their offical websites in order to gain as much exposure as possible? Well no not really. The 'big four' and all record labels alike won't have to lose any sleep over some sort of free music revolution lead by artists such as Prince. Big labels are still required for distribution and putting the spotlight on artists, only a few veterans with an already established fanbase could reasonably expect to tell their record label what they intend to do with their latest album. Starbucks aren't going to tell Paul Macartney where to stick it if he decides to give away his next album for free, he is too much of a asset to their brand. The same is true at the other end of the specturm, tiny unknown bands are already giving away their music for free at gigs and on the internet and have been doing for probably decades now that will never change.

It is the staple 'average' reputation bands that would realistically have to demand change for the status quo to change in favour of the artist, but groups like Kasabian, Bloc Party, Arcade Fire and Editors can't propose to give away their latest album with the Daily Mail or they would be out of a job well at least find themselves a few rungs down the ladder with a smaller label. Artists such as these need their music to provide a living unlike unknown bands they dont have a normal 9 to 5 job to fall back on, (And they probably wouldnt want one anymore) unlike Prince/Madonna/The Rolling Stones they haven't accumilated enough money to make money on real estate or have enough reknown to release their own brand of cooking sauces.

So basically in conclusion, nothing will change. Not for the time being at least, the internet has and will continue to shift the power in the recording industry away from the established labels and towards up and coming artists. That is already evident from the number of unmanufactured acts that have rose to prominence over the past few years.

With it being cheaper and cheaper to record music to a decent standard in your bedroom, upload it to your bands myspace and use your mates CD burner to produce a few hundred albums, on some cheap discs you got down Tescos, It has never been a better time to be a new artist.

Music should always be an artform and form of entertainment first but it is unreasonable to expect established acts to sacrifice themselves for this cause, they also need to make a living from their trade. Its unreasonable to expect these artists to 'stick it to the man!', martyr themselves for creative freedom and give away their music for free. Anyone suggesting this makes them sell outs obviously has a very unrealistic view of how music works nowdays. Maybe we will look back on Prince's actions as the start of the free music revolution but more likely we'll look back and see it as another action in giving us cheaper more accessible music.

Which isnt bad is it?

People who don't actually listen to music

Just a minor rant..


People who just listen to the singles of their 'favourite' artists. People who'll list songs they own of their 'favourite' artists rather than albums. People who like Pink Floyd because that 'Comfortably Numb song is good'

I hate them.

Ok, maybe the last example was a bit harsh and maybe I don‘t actually hate them, I love Comfortably Numb but the principle of loving a band for a selection of well known songs gets me wound up. If you like Comfortably Numb why not buy/steal/borrow The Wall? If you like Stockholm Syndrome buy Absolution.

Perhaps being weaned on concept albums such as Dark Side of the Moon and Ok Computer has made my view on what makes someone a true music fan in the iTunes generation a little dated. But to me being a fan of something implies some sense of commitment. I would not call someone a fan of football if they only occasionally watched World Cup matches. I would not call someone a fan of Italian food if they only occasionally eat spaghetti...or something like that.

Yes I love music, yes I love Radiohead, yes I love Pink Floyd. But don't try to fire up a half hearted conversation on either of them when you've only heard Creep or Wish you were here. I'd respect you much more if you talked about bands you do know, rather than feigning interested in my taste in music.

Go out and buy an album instead of a scattershot bunch of individual tracks, owning an album and liking its theme or style will give you a far greater sense of what kind of music you do like, and what other albums/artists you may also like.

Same goes to please to zealously listen to one genre of music and trash others. There’s no better example of this than the rift being Rock (or ‘Indie Rock’ whatever the hell that means nowadays) and Hip Hop/Rap fans. Both seem to have equal amount of disdain for each others taste in music, both have little idea of what the others taste preferred genre is actually like, preferring to fall back on long established stereotypes for each. Rock being entirely made up of skinny white men playing guitar really fast and screaming dark hateful lyrics down the microphone probably all clad in leather covered in makeup. Hip Hop of course is dominated by criminals, large intimidating black men wearing basketball jerseys and constantly singing about participating in drive bys and how many ‘ho’s’ they’ve fucked.

Like most stereotypes these do have some truth in them. The stereotype of rock music could well apply to any Metal band. The stereotype of Hip Hop could be any of the torrent of ‘gangsta’ rappers spawned from the late 80’s. But like all stereotypes these stereotypes only offer a very narrow view into what is usually something very complicated.

To wrap this up. What im trying to say is, be a true fan of music. Listen to as much of the stuff as possible. Don’t limit yourself to one genre of music, it’s a waste. And BUY ALBUMS!

That is all.

The Aftermath

This time last week I had just returned from Muse's first night residency (I started writing this last Saturday before you say anything smart ok?) at a Wembley stadium still shiny enough to justify being called the 'New' Wembley Stadium, still shell-shocked from the enormity of the venue and the music itself. Muse as you probably already know delivered a typically brilliant performance, never being the chattiest of groups they stormed through their two hour set with great gusto and little time for niceties.

Anyway lets start at the beginning where most stories begin, our prize for queing through several showers for several hours was a place in the 'Golden Circle' which was disappointingly not Golden. A Golden circle is a special area at the front for a limited number of people, to prevent too much crushing, the same kind that totally killed the atmosphere at Live 8. With our front row seats secured we endured one last torrent before the skies cleared in time for Mexican duo Rodrigo Y Gabriela who had obviously brought some sun with them. Their set whilst initially impressive dragged on a bit as their album tracks do sound a bit sameish but a cover of Stairway to Heaven was warmly received. Half the fun with these two is simply watching them play, the speed in which their fingers dance across the frets is amazing, Metal'esque shredding on acoustic strings is something that must take a lot of blood, sweat and tears to achieve. Acknowledging this the audience warmly applauded them off. A rapidly drying Wembley had a smile on its face. A good start.

Dirty Pretty Things, probably the second most anticipated group on the line-up, completely misfired. Whether their awful sound is down to the quality of their musicianship or sound problems (there was a lot of smoke coming out of one of the amps, not a good sign) we'll never know, or indeed care. Neither did they appear to at the time looking rather apathetic and uninterested in the whole affair, apart from the drummer who seemed a decent bloke. They played Bang Bang You're Dead, got a few bottles thrown at them, threw a few back, gave someone in the crowd a trumpet and thankfully left the stage. The less said the better.

I should also mention Zane Lowe was doing an ok job keeping the audience mildly interested in-between sets, although he really should have done some more research on the demographics of his audience as he belted through dance numbers.

The Streets had been booed every time their name was mentioned in the build up to their performance, they had a tough job ahead of them in securing the support of the increasingly filled Wembley Stadium. And they did with 'Frank Skinner' as one person behind me called him, hopefully jokingly, proving that the audience doesn’t have to love your music to love you. The majority of their songs washed over me and most of the audience but Mike's masterful working of the crowd throwing in Queen references and constantly reminding the audience of Muse's impending arrival throwing in the lyrics to 'Time is Running Out' amongst other ploys to earn our trust and support. The best support of the evening, although I wouldn't pay to see them or any of the supports for that matter.

This time Zane Lowe did not appear to fill the silence, and the crowd was left to stew waiting in quite anticipation of Muse's arrival..

Emerging unexpectedly from the centre of the stadium amidst a explosion of confetti and smoke, which left us in the crowded 'Golden Circle' utterly confused but excited certain that something was going on even though we could not see it. They strode down through the crowd nervously with Prokofiev's Dance of the Knights (you know the music from the apprentice…yea that one) playing providing a suitably dramatic, overblown entrance for a band know for its supermassiveness.

After a tense wait, in which the band armed themselves with their instruments, they stormed into Knights of Cydonia, which if I’m honest was a bit disappointing, the performance itself was greet the crowd went wild but Take a Bow is such a better opener, however what’s done is done and Muse were away. As had happened 7 months earlier a few metres away in Wembley Arena they began with a devastatingly uptempo start to their set list. KOC, Hysteria and Supermassive Black Hole soon separated the men from the boys and many of the smaller, weaker Muse fans had been filtered to the back, I had again been separated from my friends and my jeans were slowly falling down, my earlier decision to not wear a belt for comfort reasons turned out to be the wrong one. (Apologies to anyone standing around the afro’d guy in the jeans near the front of the right hand side golden circle, I really didn’t want to be jumping in my boxers)

City of Delusion gave me a small respite for me to secure them more firmly around myself , however this was immediately followed by Butterflies and Hurricanes and Muse's magnum opus Citizen Erased both of which were performed brilliantly, brilliantly enough to make my jeans fall once again. Matt performed a brilliant solo at the end of CE must akin to his one off the Hullabaloo CD which despite its length is a brilliantly intense solo, one of my favourites. As the song climaxed with its beautifully calm finish with Matt sat looking quite overwhelmed on his piano it was clear this would be a memorable night.

However there had yet to be any great surprises in Muse's setlist, it was pretty much their greatest hits and material off BHAR. This changed after Hoodoo, which once again stands out live for some reason as the studio version is quite forgettable. Dom , wearing retina burning lime green trousers dropped a frankly disgusting puntastic introduction to their next song; "How you all doing out there? We hope your Feeling Good" Lost on most in the crowd at the time, much like his introduction of Supermassive Black hole being for “all you R’n’B fans out there” being greeted with boos by the same audience that had proven themselves quite elitist in their tastes outside of Muse. The admittedly poor gag became apparent as the opening notes of Muse's cover of the classic Feeling Good rang out, which was accompanied by a rather sexy video in the background (I like to notice this things rather than things about the actual performers you’ll soon notice) This was followed by another welcome surprise in the shape of Sunburn, unfortunately the only song off Showbiz they would be playing. The performance continued on with the usual Muse staples and some less popular stuff off of BHAR. It would not be until the first of two encores that Muse truly stole the show.

Blackout an album track of off Absolution would serve to be the unlikely hero of the night, not because its a great song, which I’ve since realised it is, not because of the thousands of lights shimmering out of the darkness that created a mini galaxy inside Wembley at Matt's request. None of these things compared to the spectacle of two acrobats flying at what seemed like a few feet above us on huge balloons which we presumed would be for us to play with during Bliss. As they floated gracefully above the crowd against a backdrop of lights and camera flashes beaming out of the darkness it was clear that Muse really had provided something special, something that went beyond playing Citizen Erased or simply having big satellite dishes on stage, they had provided a awe inspiring spectacle that was good enough to draw 100,000 pairs of eyes away from the band itself. As the song drew to a close with one of Matt's many Manson’s shimmering to a crescendo I noticed a woman behind me wipe a tear from her eye, I might have done the same if I wasn’t so devastatingly masculine and immune to these things.

However this wasn’t a MCR gig, (That rain would fall on tomorrows parade) Muse immediately set about getting the crowd geared up for the final finale as Matt fiddled around with his fuzz factory, us true Muse fans, all knew what was coming, the night had been so goon thus far we had almost forgotten it, but now it was coming a song I had myself grappled with for so many months in my bedroom was now gonna be showcased in its full glory. As the opening riff rose and fell, 100'000 Muse fans wiped the tears from their eyes (well something like that, I have a tendency to exaggerate) and started jumping in unison to Muse's breakthrough hit Plug in Baby. As if the night could not get any better, Matt went walkabout during the closing riff of the song, he may not be the most traditionally charismatic frontman, he rarely speaks to the audience and when he does his speech is nervously rushed and muttered, leading to the unusual arrangement of the drummer providing the banter imbeteewn songs. But he sure knows how to move with that guitar, its something you appreciate more as a musician (that’s what I am <.<) how hard it is not only to play the songs, but to throw your body and guitar about whilst you do it, this was something I fully appreciated as he stood what must of been metres away from me and the rest of the idiots that had stood for hours to earn a place near the front, it made the slight dehydration, jean malfunctions and general pain worthile as he bounced around in the midst of the crowd before returning to the stage and disappearing with the rest of the band once again. Usually you only get one Encore at gigs, but this was Muse, this was Wembley, this was special. They hadn't played Stockholm Syndrome or Bliss yet!

Unlike the first encore, there was a sense of unease and dare I say it thoughts of "Is that it?" Even people in the seats started to filter out, we begun to grow uneasy and begun shouting out "We want Muse! We want Muse!" And so they returned obviously because we had cried out for it so much, not because Encore’s are not prearranged pointless gestures these days, for a few more songs, one of them, we knew would be Take a Bow, one of them must be Stockholm Syndrome and the other would probably be Bliss. Muse had other ideas, and mixed things up a bit with one of their lesser known hits, Micro Cuts. Thankfully for the first and last time that night the crowd did not attempt to sing, partly down to exhaustion, but mostly down to self respect and our deep manly broken voices that had struggled to reach the peaks of Knights of Cydonia and Citizen Erased, leaving the extreme, indecipherable falsetto of Micro Cuts out of reach. It was a welcome surprise, and we dutifully jumped to the chorus, I was never a huge fan of Bliss anyway.

More predictably Stockholm Syndrome follows up and the crowd once again dutifully returns to singing duties, its worth pointing out now that I couldn’t actually hear Muse for most of the gig just dozens of teenage boys around me singing "THIS ISSSSSSS THE LAASST TIMEEE ILLLLL ABANDOONNN YOOUU!!!!!1" But it was a laugh nonetheless, I engaged in a bit of gentle moshing, a pleasure I hadn’t engaged in at Wembley Arena, but I was bigger stronger now, ready to play with the big boys, to assert my masculinity I knocked one guy to the grown, apologised and lifted him up. As most of the crowd let loose, it was clear this was the true finale, crowd surfers emerged out of all directions perhaps less in a anarchic rock and roll fashion but more to beat the imminent rush for the exits and catch the 11.05 back to Norwich the securities no nonsense policy to such deviants ensured they would get that cosy window seat. Stockholm climaxed with the achingly familiar 'improvisation' made famous 3 years ago at Glastonbury, if its not broke don’t fix it I guess but it is a problem I have with Muse, surely they have the musical ability to improvise properly a bit more. Take a Bow closed the set, perhaps for little more reason than allowing Matt to literally take a bow (lolz), its not as good a closer as Knights, or Stockholm or even Plug in Baby. But it would do, Muse finished the set and disappeared behind a wall of flames (well not quite literally as dramatic as that, but there was fire..and Muse) And it was done, back to reality, perhaps not quite the religious, generation defining show I expected It was...great but Stockholm Syndrome ,Blackout and maybe Citizen Erased served as the only truly jaw dropping pieces of the set.

The stadium lights bolted on blinding permanently many who had already been injured during the pyrotechnics and Sinatras come fly with me echoed through the stadiums dodgy acoustics and I now had the relatively mundane task of finding the £18 t shirt I had lost half way through the show and finding my friends. To add some factual accuracy to this massively overexaggerated piece here’s the setlist that ACTUALLY DID HAPPEN! Its on the NME check it out for yourselves, when did they ever exaggerate or lie about something?

'Knights Of Cydonia'
'Hysteria'
'Supermassive Blackhole'
'Map Of The Problematique'
'City Of Delusion'
'Butterflies & Hurricanes'
'Citizen Erased'
'Hoodoo'
'Feeling Good'
'Sunburn'
'Invincible'
'Starlight'
'Man Of Mystery'
'Time Is Running Out'
'Newborn'
'Soldiers Poem'
'Unintended'
'Blackout'
'Plug In Baby'
'Micro Cuts'
'Stockholm Syndrome'
'Take A Bow'(Shit)

The N word

Bit late to the party, but I’ve been busy with other things mainly revision and AS exams. You've probably heard something about the whole 'race row' in the Big Brother house over the past few week, unless of course you've been living as a hermit.

So I just feel like getting a few things off my chest.

As ever the majority of the press has made it a clear black and white issue (no pun intended). When of course as with most things in life it should be taken on a case by case basis. When someone uses the word or indeed any offensive language you can usually immediately gauge if they are being serious and intend harm or not. I wouldn’t have a problem with any of my friends calling me the 'n' word as we are friends and it is used tongue firmly in cheek, usually to ridicule its serious use by others. Emily whilst not friendly with Charley meant no malice when she used it, stupid yes, racist? Of course not.

There's no point getting so uptight over the word itself, but obviously its detestable to use it as a racial slur/insult. We can tell our friends to 'fuck off' etc etc in a joking manner I don’t see why this can't be the same, obviously its a far more explosive word so greater care should be taken in the company you use it in but if you make rules like 'oh only black people can use it to other black people' it just becomes a minefield of double standards where no one feels comfortable on how it should be used/

In Emily’s case she appeared as she has done many times before(skinny jeans) trying really hard to appear cool and with it. It was ill judged especially when you consider that the two are not particularly close to one another. But definitely not racist, offensive in its shock factor perhaps, but more akin to an elderly persons outdated views on 'coloured' people rather than a genuinely offensive assault by a BNP party member.

Like all naughty words people are going to have completely different sensibilities and standards over its use. I wouldn't swear as much as I do around my mates sometimes in front of new company until I get to know them better and can map out how comfortable they are with bad language, the 'n' word should be no different.

Did Big Brother overreact? Yes, but it had little choice after the Shilpagate episode. Emily really should of had that in mind before she opened her stupid mo