Miliband's War.

Labour once again proclaims itself new as the annual party conference gets underway in Liverpool.

In the largest speech of his leadership so far, Ed Miliband announced that there should be action taken against those companies who could be described as “predatory” and “asset stripping”. Mr Miliband outlined his latest vision for a greater Britain, by rewarding smaller companies and “grafters”, whilst also tackling a great number of issues either side-stepped or taken in the wrong direction by the current coalition.

Being elected leader of the party just over a year ago, Miliband is having to make a name for himself and trying to re-establish trust for his party. Although there are no explicitly new policies or announcements, his interview prior to the conference with Andrew Marr suggested that there need be a new stance.

Of course, this is to appear as contrary to the Tory opposition as possible: support for the coalition recently having plummeted according to some polls, particularly for Nick Clegg’s party.

Naturally, as Nick Robinson pointed out, opposition leaders - whether Labour or Tory - declare that they are on the side of hard working people who do the right thing.

In this way, Ed Miliband is pushing ahead with a revival of responsibility.

Almost as if the heralding of a new period of enfranchisement, the Labour leader introduced the initiative fully at today’s conference.

From companies to average citizens, the need to act for one’s community has never been clearer or on such an impressive scale of undertaking. Miliband has argued that companies who offer long term reinvestment and training should have tax rewards: and pointed to Rolls Royce as an example of such an enterprise that should be encouraged.

In addition, the speaker added that “Our first duty should be to help the person who shows responsibility.” He followed up on this by suggesting that those who helped out in their community should reap the rewards through such things as jumping up priority in the housing chain. There need be an introduction of the something for something ideal.

However, many are dissatisfied with this brash approach, insinuating that it was the Labour party themselves that adopted a doctrine of a “something for nothing” ideology and that mantel has continued to spread and debilitate Britons past their spell in Westminster power.

Whilst the speech appears well placed following the backdrop of riots and banking crises, there is belief that the Tory party only served as powderkeg to problems that had been bubbling under Labour administration.

A ComRes poll in the Independent on Tuesday showed 37% of the 1,000 voters questioned said they backed the Conservatives, against 36% for Labour and 12% for the Liberal Democrats. Just 24% agreed that Mr Miliband was a credible prime minister-in-waiting, against 57% who said he was not.

Although Miliband’s speech pledges Labour party to remain the politics of the people and to never again to advantage of the system, Baroness Warsi claims Mr Miliband is not able to promise such.

The Conservative co-chair brought forward the idea that Labour had latterly strangled the small business owners in 2008 through 2010 in particular. Furthermore, the Baroness proved poignant in the statement that "Ed Miliband can't deliver on these promises because his party left the country on the brink of bankruptcy. This is opportunistic rhetoric from a weak leader."

Meanwhile, Ed Balls has unveiled a five point plan for dealing with debt.

The scheme, which he would see introduced following the next elections, would include a VAT cut to encourage growth (similar to schemes trailed by Darling), tax breaks for small firms (not exactly reflected on having economic responsibility) and reinvesting bank bonus taxes in the community.

Whilst Mr Balls acceded to Labour’s previous mistakes, he described the current state of the economy, “the worst in his lifetime” and pointed to current Chancellor, George Osborne, as having the wrong “prescription”. He argued that having a growth plan, rather than a plan of spending cuts, could quickly put a stopper in the vicious circle of deficit and “secure an economic future”.

However, the Labour party has once again affirmed that great swathes of the Tory changes would continue even if they are revoted to power. In this sense, Labour is hiding behind the curtains on a great many of its policies: letting other people carry out the changes and then afterwards showing sympathy without action.

Should the party truly wish to get into power once more, they need stick firm to their principles and act on changes that would not have been introduced. Otherwise, confidence, as well as the economy, will not grow in any forecast. A war of principles vs popularity is underway.

Smells Like Nirvana

Should an artist wish to release music that outlives them, the material will undoubtedly have to ring true and speak of eternal problems facing each subsequent generation.

 

Yesterday marked the 20th anniversary of the release of such an album. Since its original marketing in September 1991, the EP has gone on to sell so many millions of copies worldwide that it has been certified ‘Diamond’; the pinnacle and very inner circle of awards with which any artist could hope to be blessed.

However, this was no ordinary, mainstream pop album. The overwhelming success of the piece caught short sighted retailers by surprise, as within days the infamous album had sold out of all retail stockists worldwide. Production of all other material had to be halted by the studio in order to compensate for the level of demand across the globe.

Unusual though this appears, the lack of preparation is quite understandable, even today, when we acknowledge that this was an alternative rock album, with sounds far heavier than anything on the mainstream radio in the early 90s.

The album? None other than the notorious Nevermind from Nirvana. The scale by which the album altered the rock music scene is almost immeasurable.

Before the 1990s, music was dominated by electro synth and pop that rings as the stereotype of the 80s even today. People appeared attached to cheesy, one hit wonders and throw away, feel good time singles.

Probably since the heyday of Led Zep in the early to mid 70s had no band created such instant waves from the depths of metal rockers. Of course, the likes of Metallica and Guns ‘N’ Roses should not be undermined, but their stories are longer and fame was a gradual addition to these bands repertories.

By comparison, by the start of 1992, the release of single ‘Smells Like Teen Spirit’ (almost interchangeable with the word ‘Nirvana’ nowadays) and the subsequent second album Nevermind quickly established the band to a platform through with they had become an entire generation’s zeitgeist.

Attributing the sudden success of the band to any particular factor is much more difficult, but naturally, the main initial boost was being signed by a major record label through the repeated recommendations of Sonic Youth.

Whilst this allowed their material to be produced on a larger scale than previously, the band still opted to work with a number of the same producers and writers as they had done on first effort Bleach. Remaining uncompromising in their approach to music, Nirvana came crashing and screaming into the mainstream in order that they should exploit and expand the unfulfilled niche of mainstream rock. A recording contract did not mean substituting the soul and essence of the music.

Brash and abrasive, the offering is one that rewards the listener. Firstly, the obvious talent and skill in the mastering of instruments is evident and there is a dynamic established in the majority of tracks by guitars and drums playing off each other: a negative space in which the quieter sections speak louder than the amped guitars. In many ways, the effort glamourised rock in how these quitter sections were almost reminiscent of pop music hooks: thus drawing and appealing to an ever diverse crowd.

In addition, with each replay, the audience gains a deeper and darker insight into the workings of the band and particularly Cobain. Since Cobain lived by the mantel that “music comes first, lyrics come second”, the turn of phrase and brawling notes are reflective of this fact. Yet, in many ways, the album exists as an exoneration of the demons of life. The anguish, pain and torture of a somewhat dysfunctional relationship with Tobi Vail is always an undercurrent, as are flirtations with various illicit substances.

Unique and individual, the album may talk of such universal issues, but each listener interacts and reacts in a different fashion.

Similarly, the album was promoted as something that was in itself distinctive and inimitable. Whilst in production it was nicknamed sheep, alongside a slogan that read: "Because you want to not; because everyone else is." Adapting non-standard forms of English, the band highlighted themselves as something outside the norm.

Accenting this was the eventual cover art: a baby swimming towards a dollar bill: reference to how we are all instantly programmed to adhere to a social system wherein money = power.

The untimely death of Cobain following a self-inflicted gun-shot only serves to add to the legacy. Indeed, there is a school of thought that this allowed Nevermind to transpire the ordinary and assume a position amongst the most legendary of albums. However, whether or not Nirvana would have continued to release a plethora of albums, this moment would still have been notable as a turning point in the contribution of alternative to the mainstream.

In 2005, the Library of Congress added Nevermind to the National Recording Registry, which collects "culturally, historically or aesthetically important" sound recordings from the 20th century.

Consequently, although the album may not be as earth shaking as it was upon its first conception due to the influx of rock, it is an earth affirming album: one that displays and demonstrates both melodic skill and the pressures of life in one overtly simple, yet all the same covertly complex, piece of art.

Nevermind in numbers:

7,305: Number of days since Nevermind was released.
46,521: Number of copies of Nevermind originally shipped to retailers.
144: Nevermind's debut position on the Billboard Top 200.
9: Number of weeks after its release that Nevermind was certified platinum.
253: Total number of weeks Nevermind spent on the Billboard Top 200.
30 million: Number of copies Nevermind has sold, worldwide.
0: Number of Grammys Nevermind won.

I (Do Not) Agree With Nick: The Latest Economy Stance.

Amidst continuing financial woes, Deputy Prime Minister Nick Clegg stated earlier today that the government will not change course on spending cuts.

Of course, the long mocked slogan ‘I agree with Nick’ from the previous electoral campaign rings ever more true, as the Lib Dem defence of the cuts outlines how far they have backed from original party politics in order to hang on to the coattails of power.

Despite declaring that his party would stand up for themselves more openly in May, Clegg has reiterated that the cuts will continue as projected, amongst growing concerns of a double dip recession.

Following moves from the International Monetary Fund (IMF) earlier this week, there are rumours that £5bn could be released to deal with boosting economy infrastructure. Within the past few days, the IMF cut its growth forecast for the British economy not only for 2011 but subsequently for 2012 too, despite the prospect of being the Olympic host. In addition, the organisation said the government should delay its deficit reduction programme if growth slowed further, or risk loss of consumer confidence and a deeper recession.

Ministers pushing for such a move believe it would not be seen as a U-turn as the money would be capital spending, on infrastructure projects like roads, rail and broadband, rather than current spending.

However, Nick Clegg insists that the ruling coalition is not about to alter the course of its plans over any of the concerns. It is thought that such a move would again raise eyebrows and threaten already stalling growth figures.

Of course, this is not likely to help Clegg’s tumbling popularity figures, which in turn could lead to a situation by which the nation would want to ratify a different route of recovery.

In the wake of the widespread riots that overran various UK cities last month, there was a perceived understanding that the government would alter several of its policies in response to such an unpredicted outcry of sentiment. Whilst various reasons have been attributed to the sudden unleashing of fervour, one of the most resounding put forward is that many people believe that they have little money and little leisure time and space, whilst a capitalist economy boasts the many luxuries that are outside swaths of Britons’ pockets.

Remembering a time when election politics foretold a riot if Tory cuts were implemented, it seems as if Clegg has not fully appreciated the wisdom of his own words.

Yet in spite of such scenes, Clegg presents the recovery as it stands as “the right thing, not the easy thing”.

It appears that it is a game of nerve and cheek. Reflecting on the economy as ‘a game’ firstly is not going to install any confidence. But it would seem that here lies the government’s wish that the city hold firm in the face of probing questions and concerns over the state of finances in Italy and Greece.

The aim is to continue with the outlined plans so as to “build a new economy. An economy for the whole nation.”

However, Clegg’s bravado does not muster the same feeling of unity that it did in May 2010. Such idealistic views are no longer heeded with the same anticipation and there remains a great unease that this latest government has made little headway into resolving the deficit crisis over its 16 months in Westminster.

Cries of ‘I agree with Nick’ are now few and far between.

Roalding Legacy.

Some 50 years after the enormous smash of James and the Giant Peach, Roald Dahl’s success continues: his books are some of the most enduring and timeless works of literature that have been published in the English speaking world. This is all the more remarkable for, unlike his contemporaries such as Tolkien, the vast majority of his works were written for children.

Exploring the niche of children’s fiction, we are frequently greeted with works such as Horrid Henry and Captain Underpants: outspoken and outlandish characters for the 21^st century who, although having excellent selling records for a short period, are likely to fade out of memory within a short space of time.

The reason? Well these characters are all interchangeable: those who are good often triumph. Even Horrid Henry has his angelic traits. Besides, he is unable to match his rebel without cause counterparts, Dennis and Gnasher.

Children’s entertainment is constantly evolving to be more ridiculous, extreme and comedic on television. Books and comics aim to compete. However, all these changes leave out a very human element and are achieved only as 2D outlets: they are only believable on the screens at home or on the pages of the book.

Dahl, however, takes home truths as the fundamental basis of his tales.

Worryingly, the truths of Dahl’s youth are of the loss of a father at just three years old and his sister a short while afterward. Add a lengthy period being beat and punished for the most ridiculous and petty of problems when sent off to boarding school and you have quite the tainted individual. If this was not troubling enough, the adolescent Dahl was plunged into a world of war and served in the army.

There are few authors who have killed. Of these, the number which constitutes children’s authors is slim to only-occupied-by-Dahl.

Why should this man of a dark and cruel past be interested in branching into the domain of storytelling? The question is even more intriguing if we consider his successful publication of ‘Boy’. Or is it?

Tales of the misspent days that Roald enjoyed were just as interesting to adults and children alike. Naturally for different reasons: yet this divide in reason really grounded Dahl’s passion. An adult would pick up ‘Boy’ upon its publication and be moved by the fact that there was some violence, but would maintain an air of decorum. The logic of the adult would be ‘these things happen’. Although the book may evoke some memories of their own childhood, it would read as a whiny recounting of some punishment they probably would advocate as deserved and measured.

Meanwhile, the true recollections would both scare and entertain a child in equal measure. They would conjure up images of wicked teachers and hard punishments that were such fixed parts of their day, and yet seemed so far away and mystical with the generational changes in the education system.  Moreover, Dahl would be a gateway by which an adult understood the zany apprehension of children that is so easily forgotten and abandoned by adults once they reach adolescence.

Hell, even Roald Dahl by his own admission lost a great deal of interest in his own children once they reached their teens.

Each person probably has their own favourite from the diverse and so enriching collection of Dahl’s stories for youngsters. Of course, while his material explicitly for adults remained popular, the different threads so intricately weaved in many of the children’s stories spoke to all generations, as did Blake's imaginative illustrations, atypical of scenes in Victorian novels printed in newspapers. The grotesque and the macabre are deeply probing of human nature.

To illustrate this gulf in division between how a child and an adult may perceive a book, let us briefly consider a few of Dahl’s most cherished works:

Book	Child’s view	Adult’s view
The BFG	The Bogeyman exists in some form or other.	Children do not like snozcumber. Or any other vegetable.
Matilda	When a person is bad, that person deserves to be punished. Ergo, children can punish parents.	Take the greatest of care in your child’s welfare: they could turn out to be a reflection of the Trunchbull.
Charlie and the Chocolate Factory	Too much chocolate is, in fact, bad for you.	Despite the belief of some important people, children should be seen and heard. Look at how far the economy depends on them.
The Witches	An ugly person is a witch. Fact.	A world with children is a better place than a world filled with vermin. Imagine the pest control issues. Besides, youngsters help you out in your old age.
George’s Marvellous Medicine	The bath is a perfect place to experiment. It needs to be more interesting in there anyway…	Invest money wisely for University. It is a practical outlet for George’s genius. We, however, are not.

Firstly, there is the most evident and amusing element, which is the ridiculous nature of his characters and storylines. James and the Giant Peach features aunts who make worse parents than those of Baby P, and overgrown spiders, ladybirds, stick insects and crickets as inhabitants of an oversized legume. Oh and they’re being hunted by a rhinoceros. Naturally. George’s Marvellous Medicine has a trickster brew his own remedies in the home on an epic scale, whilst a world made of chocolate is on the menu in Charlie And The Chocolate Factory. Sweet revenge.

Each of these episodes play on two interlinked themes: mild horror and humour. The careful balance of the two appeases all the desires of human nature in a single bound: this crux of literature allows us an insight into our darkest capabilities in extreme situations. Even if they are somewhat tentative ones, where teachers throw children in the Chokey.

Besides, when there’s a fantastical world where animals are friends in The Giraffe, The Pelly and Me, or when you have a devastatingly magic finger, who needs to care about reality?

Well Dahl actually does. And this ensures the longevity of his tales. After all “A little nonsense now and then, is cherished by the wisest men.” [Roald Dahl]

For example, we could take classic Fantastic Mr Fox, in which the book’s eponymous hero takes on the dastardly Boggis, Bunce and Bean (one fat, one short, one lean). Entertaining as the plights of an animated fox and his cohort are, many look over the book as the control of world supply as each farmer specialises in a different area of agriculture. Therefore, research suggests that the tale is one of Capitalism vs Communism: the cunning fox ensuring that all his friends share food, regardless of wealth, whilst the greedy farmers want payment and a hierarchy. Communism appears favoured: but then the war robbed Dahl of many of his dreams. Moreover, there is also the view that these three men are those who were in charge of the pivot of world power in early 1945: one fat, Churchill, one short, Stalin, one lean, Roosevelt. Whimsical characters may fascinate, but relating these to problems influenced by world politics leaves a lasting impression.

Whilst this layer of Dahl sounds overly serious, this man had been shaped by experiences of loss, child abuse and war crime. Why should his works not encompass those shady areas that are often greyed out for children?

In this way, Matilda makes a stand for children everywhere: abusive parents do not recognise her abilities and a cruel Trunchbull menaces and demeans all those who display any talent: education taking place in a restricted environment, as if mechanically. Child protection issues are the focus for any adult. Oh and the idea of feminism. Mrs D, Mrs I, Mrs FFI, Mrs C, Mrs U, Mrs LTY. Why exactly are they all married? Is it to reflect that married women are quite ignorant of their children, sending them to schools that taunt, tease and punish? After all there are right minded single women that are able to perfectly function in society and have many aspirations: cue Miss Honey, not Trunchbull.

The Vicar of Dibbleswick introduces a character with an issue akin to that of dyslexia, by which he says a great many of his words backwards. Whilst this provides domain for the most amusing and ridiculous of addresses in his sermon, an adult will perceive the need to accept many people, despite supposed flaws, in an age that saw the rise of political correctness.

Esio Trot sehcaet su s’ti reven oot etal ot llaf ni evol. Or rather, tortoise teaches us it’s never too late to fall in love. The most ridiculous and bizarre of love stories; through yonder balcony, not daylight, but turtle will break. And then the mad middle aged woman downstairs will fall desperately in love with you and you won’t have to be crazy old turtle man. Oh, and it’s never too late to follow your dreams. Important lesson there.

So we should consider three of the more important life lessons Roald Dahl bestowed upon us, each reflecting differently on child and adult:

1.       “What I mean and what I say is two different things”.

2.       “Never do anything by halves if you want to get away with it. Be outrageous. Go the whole hog. Make sure everything you do is so completely crazy it's unbelievable...”

3.       “And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don't believe in magic will never find it.”

Such duality is the most lasting aspect of the Roald Dahl’s work. “I'm wondering what to read next." Matilda said. "I've finished all the children's books.” All she need do, is read them again. The story is never the same twice, because the world shaping it will have changed. 

A + For Ed Sheeran

Both moody and mellow, the first album proper from Ed Sheeran has to live up to a great deal of expectations. Despite having released material for the better part of half a decade now, the young musician has only recently come to light and is now being hailed as one of the most inspiring and talented singer songwriters of his generation.

Broad and sweeping, the release tackles social issues, the idea of self-identity and the problematic twinges of love. 

Sheeran delivers haunting and wholly mesmerising vocals that seem somewhat haggard and worn by years of strife: the album is splattered with regret and retribution in equal measure. No more so is this obvious than the occasionally vicious pre-release ‘You Need Me, I Don’t Need You’, which showcases ability to rap at tongue-twisting, sizzling speeds. (By his own admission, when performing the aforementioned track, he normally is successful in snapping his guitar strings).

Yet, the album is much more interesting and notable once such bravado has been removed. Certainly, the long and difficult lessons of ‘You Need Me’ frame Sheeran’s growth, but the anguish of tracks such as ‘The A Team’ define the musician as coming to the pinnacle of bemoaned success.

For example, a great many of the featured tracks focus on the trails of love amidst attempts of a breakthrough. ‘U.N.I.’ talks of the differences that led to the end of a relationship, and yet with only “a hairband as proof you were here”, the regret hits like a ‘tsunami wave’, such its powerful force. ‘Grade 8’ has a slightly rockier edge granted by the various bouncing drums and piano chords, reflecting in the uncertainty of love: the affections of our musician are the attention of some playfully promiscuous paramour, that so induces “tears of a river filler”, need of “drink for a liver killer”.

Most compassionate and striking of these lost liaisons comes courtesy of ‘Wake Me Up’. In a-capella fashion, Sheeran both demonstrates the soft and hard vocals within his capacity, and delivers a performance that is such a postcard perfect representation of young and idol love, only foreshadowed slightly by the future problems in the breaking of the comedy fairytale ‘Shrek’.

Growing pains of ‘The City’ has the musician a stranger wherever he plays, and this the lesson of a singer who has travelled globally and slept on Jamie Foxx’ sofa. By contrast, the absent baby of ‘Small Bump’, once a map of future plans, taken too soon works in much a best laid plans of mice and men fashion.

Despite the fervent passion evident in Sheeran’s tracks and topics, the flaw of + is that by the close of the album, all this overwhelming onset of weary emotions becomes overbearing and somewhat repetitive, typified by the longing of ‘Kiss Me’. 

Shamefully, a great many of the tracks have their moments of pent up anger, where Sheeran spits and seemingly foams at his microphone, but the hatred lacks direction. Despite the best efforts of quirky ‘Grade 8’ and upfront ‘You Need Me’, there were a great many missed opportunities for inclusion of some rockier numbers: a feature piece for electric guitar, or dark rolling 80s synth would have added an additional dimension that not only would have interested a more diverse fan base, but would also have solidified Sheeran as a compatible artist from his first release and channeled those heavier, moodier vibes (consider features on records with Wiley and Wretch 32 as reason behind this opinion of latter lack of inspiration). 

Whilst the range of the album is also rather pleasantly surprising, there are occasions when lack of considered lyrics unbalances a song. ‘Wake Me Up’ cringingly fumbles through its second verse by recommending a back up VCR, due to lack of Blu-Ray. ‘Kiss Me’ suggests that whilst “falling into your eyes… I’ll forget I’m in love”, all too stereotyped and cheesy after other brash tracks on this release.

However, with continued success and recognition comes the opportunity to experiment in new areas and hopefully Sheeran will consolidate his achievements so far whilst delivering a sound equally as impressive and capturing next time. Indeed, with such an extensive back catalogue, this offering is merely but a taster of the man’s talents, finally being recognised after remaining an underground secret for so many years. There is no doubt that the elevator doors of ‘You Need Me’ will ping open in time for Ed to deliver an even superior 'load' when the follow up is released.

Get On Track.

At the heart of the industrial revolution, there was one machine that literally took the country in new directions.

The advent of the railways allowed a vast amount of the country to be opened up and accessed for the first time for those from different regions and facilitated a nationalising of the British public themselves: all coming together: working, changing and shaping the face of the modern UK.

As a student at the centre of the UK, I see myself in a prime position to utilise and exploit the services available. However, it now appears this gateway is gradually closing itself off; no longer are the trains a viable means of transportation and the resultant problems are bountiful.

Amidst growing concerns over the spiralling costs for HS2 – the high speed rail link between London and Birmingham, and hopefully beyond – the issue of cost of carriage has once again reared its head.

Transport Secretary Philip Hammond acceded that trains are “a rich man’s toy” to MPs in Westminster earlier this week.

Faced with numerous questions over the quality and development of the railway system and how it will fare in the future, the transport secretary stated concerns not only for British commuters post-High Speed 2, but admitted that "Uncomfortable fact number one is that the railway is already relatively a rich man's toy - the whole railway.”

The government has recently changed how it calculates for rail journeys.

For several years, increases were implemented on the basis of inflation plus 1%, however this increment has now risen to plus 3%.

Whilst many railway sector groups have cried out at the statement, this is an issue with which a great many people have long since taken umbrage. Unless one is to know and confirm all appointments approximately 8 weeks in advance, charges to the capital in the south are phenomenally extortionate. An average purchase just a week before for a single from Manchester to London could cost around £50: this being more at peak morning times.

In addition, this ensures that many journeys are being more economical to fund via car.

Considering that a great many of the country’s largest cities are attempting to promote greener lifestyles and lay on more efficient public transport services, the continued viability of the car over the train simply mocks councils’ efforts. With the surge in numbers of people that live further from work, the increased consumption of petrol will of course stain the environmental pledges in a poor light.

Moreover, the cost of running such inefficient services is only highlighted all the more by the way in which people are forced to avoid the train. Catch 22 is that with fewer services, people will complain about lack of choice, but with the mounting costs of a large fleet, there are not adequate enough ticket ranges to compete and expand the market for all those who might enjoy it.

Initial plans for the HS2 announced... 

Stephen Joseph, of the Campaign for Better Transport described fares as 'eye-watering', and pointed out that “Far from being simply 'a rich man's toy' trains are also vital for many of those on more moderate incomes who need to get to work.”

So it is that the train, a British invention, must look abroad to systems such as the TGV for inspiration as to how to deliver a more efficient and affordable model. Since ministers are already fumbling over the High Speed Links, not due to be in service until 2018 at the earliest, there is concern that the country will once more be shut from itself compared to its European counterparts.

Failure to review, reform and revolutionise could spell the apocalypse of the treasure of British transport.

 At least these station users have something to smile about.