The Oxford Student - Week 7, Michaelmas 2017

The

OXFORD STUDENT

Friday 24th November 2017

oxfordstudent.com

Vol. 81, No. 8

Queen’s bans JCR committee from Oxford drops exclusive dining societies in graduate employability rankings Nathaniel Rachman Staff Writer

Simononly

Anisha Faruk

Deputy News Editor

The Queen’s College’s JCR has voted to ban all exec members from also being members of “exclusive and/or secretive dining societies” in Oxford.

Participation in these societies, which hold regular social events, is by invitation only. They are also granted access to the SCR wine cellar.

In a meeting that lasted around 2 hours and 45 minutes, the motion passed with 94 votes for, 19 votes against and 5 abstentions. The vote was conducted by secret ballot due to

Grad sues Oxford for “inadequate” teaching Charlie Willis News Editor

Faiz Siddiqui, an Oxford graduate who obtained a 2:1 in History in

Screen

We interview Ken Loach, director of I, Daniel Blake p.20

the controversial nature of the motion.

Alice Shepherd and Ciara Moran, the proposer and seconder of the motion respectively, said to The Oxford Student: “The presence of exclusive societies like these reinforces the idea that Oxford is not an inclusive space.

“We think it’s important we pass this motion to show that this JCR at the very least stands for inclusion. This motion is targeted specifically at the exec because we believe we as exec members need to set the standard and embody the values of the rest of the JCR.” Queen’s currently has 3 exclusive

dining societies: Reginae, Eaglets and Halcyon. The latter is currently inactive. All three were named specifically in the motion but an amendment passed means that JCR exec members cannot be part of any exclusive dining society at Oxford University. A fourth dining society, the Addison Society, exists but any member of Queen’s College can ballot for a place on dinners.

It is the official position of Queen’s JCR to discourage JCR members from joining these three exclusive societies if they are invited as they “do not align with the ethos of the JCR.”

It is a constitutional requirement that the JCR President emails every JCR member no later than the third week of Trinity term each year discouraging JCR members from accepting invitations to these exclusive societies.

Arguments against the motion centred around the rights of JCR members to freedom of association.

The Queen’s College JCR constitution states: “All members of the JCR…have rights to freedom of association, correspondence, movement, expression, [and] speech.”

2000, has sued Oxford University for £1m, alleging that the university gave him “inadequate” teaching and failed to properly handle medical information which could have altered his attained classification.

Siddiqui said that multiple members of staff being on sabbatical caused his failure to achieve a First, which he says has cost him a lucrative career

as a commercial lawyer, and that his “inexplicable failure” has worsened his clinical depression and insomnia.

Siddiqui’s counsel Roger Mallalieu said: “Whilst a 2:1 degree from Oxford might rightly seem like a tremendous achievement to most, it fell significantly short of Mr Siddiqui’s expectations and was, to him, a huge disappointment.”

He also said that Siddiqui’s employment history after graduating was “frankly poor” and he was now unemployed.

Mallalieu added: “Mr Siddiqui has been badly let down by Oxford. He went there with high - perhaps extraordinarily high - expectations.”

Continued on page 3

Retelling Tales wows as TED Talks take centre stage p.18

Stage

Continued on page 3

Music

Oxford has fallen eight places in the Times Higher Education’s (THE) Global University Employability Rankings. Having held seventh spot in 2016, the university has now sunk to fifteenth, below fifth position Cambridge.

The highest echelons of the rankings continue to be dominated by American institutions: CalTech, Harvard, Columbia, MIT, Boston University, Stanford and Yale all feature in the top ten.

The most employable non-Anglophone university is cited as the Technical University of Munich followed by the University of Tokyo.

Oxford’s drop comes despite Times Higher Education’s placement of the University as first in the world in its overall World University Rankings for the second year in a row.

The THE rankings are produced

by Emerging, a French HR consultancy that asked 6,000 top recruiters to rank institutions based on how attractive their graduates were to employers.

Laurent Dupasquier, associate director of the company, has remarked that this lower position for Oxford may reflect the rise of Asian universities along with weaker ties to industry.

He was however, also quick to underline the uncertainty over Brexit as a factor, noting that “It is obvious that Brexit has huge implications for the higher education system in the UK.” The 2018 QS Graduate Employability Rankings published in September have Oxford at eighth, above Columbia, Yale and Princeton, while also awarding it a perfect employer reputation score of 100.

Nevertheless, Oxford is once again beaten to the top UK spot by Cambridge, which is currently sitting at sixth.

Billy Brag’s performance at the O2 p.22-3

The Oxford Student | Friday 24th November 2017

STAFF LIST

Editors-in-chief Wizard of Oscroft Rosie Clooney

Deputy Editors Daniel Spoons James Odds Katrina & the Waves Maud Tara Smelling Verity Lose

News

Charlie Won’tis George Lucas Anisha Nearuk (deputy)

Comment

Dizzie Leane Sid Danielle Jr. Deaned (deputy) Won’t Evans (deputy)

Investigations Baron Robertson

Profile

Nicholas Linhand Tobi Thomas the Tank Engine

Features

Caitlin Chaos Penny Old Harbour Hackett (deputy)

Art & Lit

Abigail Nosedley Sree Ayyar Edward Cullen (deputy) Kingi Li (deputy)

Stage

Anya Lung Bethan Spoundser

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Eve Truthtollis Richard York Irina Boerme (deputy)

Alex Oscroft Mansfield

And so we come to the end of term, and the end of our editorship. It’s strange to think I’ve come to the close of my time both as editor and at the OxStu totally.

My time at this paper has been without a doubt my most enjoyable experience during my degree, and a memory that I’ll cherish for a long long time.

I think what stands out for me, above all, is the people invovled, who have been so consistently impressive in their commitment, diligence, and unrelenting positivity about the paper.

It would never have been the joy it was without the individuals who made up the team supporting us throughout the term, whether they were agreeing to print my stupid headlines, forcing me to come on crewdates, or picking up the slack when I was feeling low and couldn’t focus, every single one of them has helped make OxStu one of the most friendly places in this

Editorial 2

Editorial university.

Of course, nothing it ever without its hitches. There were a few moments where it looked like everything might collapse, or we might end up with several headshots of Jeremy Corbyn making it into the first issue, or we had to stay in the offices until security chucked us out writing Oxstuff at the very last minute. It’d be a lie to say at some points it didn’t overwhelm me – but it was worth every second of it.

So it’s with an enormously heavy heart that I hand over to the next generation of OxStuers, who will undoubtedly keep this lovely paper going in their own equally fantastic way, and continue its legacy of openness and inclusivity. You reading this could be part of that team: have you heard we’re hiring?

So long OxStu, and thanks for all the fish.

COMMENT Monks, lasagna and reckless idolotry: Oxford’s War on Christmas

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Rosie Shakerchi St Catherine’s

Mince pies, Michael Buble and microwaved mulled wine (classy): Oxmas is undoubtedly here. It’s the most wonderful time of the year, but how can it be, when it’s time for us to let go of OxStu? Being a part of this paper has been such an amazing part of my time at Oxford. Somehow the team of people here turned what could have been a torturous task into an awesome experience.

So here, for my goodbyes as cheesy as the Park End floor you’ll find me on if I don’t fall into an end-of-term hibernation/coma. To the sub-eds who flawlessly pointed our every mistake thank you for being easily the most (/only) organised part of this paper.

From the news eds who worked so late into the night that they were kicked out by security each week (soz guys) to a broadcasting team so utterly on-

spot light PROFILE Reviewing Comptoir Libanais

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Music

Maud’s Revenge Bessie Braddock Joe Big (deputy)

Fashion

Leonie Coop Capt. Lucinda Kirk

Sport

Danny Sheepan Vincent Cable

Sub-editors

Sarah Chestnuton (chief) Emma Timberdick Grant-me-a-wish Dalton Ban Her Johnson Lily-Anna Thimble Mayan Shabor Taro Konishi-Viscounts

Broadcasting

Henry Nosh Tom Silver (deputy)

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it that Henry’s hat collection deserves to be be transformed into go(u)lden crowns, the entire team through has been ridiculously committed, Spoonsloving and prepared to sacrifice their lives/degrees/sanity on the alter of InDesign. The biggest thanks of course is to our wonderful deputy editors, who toiled away every Wednesday evening while I moped about my degree. And of course to Tom, who (like Maddy) will be showing up at the offices in between Finals exams; you give me hope that I can cling onto OxStu forever.

For all those who have no idea who I’m talking about: getting to the end of my editorial proves you’ve got the dedication to procrastination needed for student journalism. We have loads of positions open for application, so join us next term: I’ll probably still be at the offices, unable to let go.

STAGE Retelling Tales: Storytelling in its purest form

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FASHION

Is camouflage an appropriate fashion statement?

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News 3

The Oxford Student | Friday 24th November 2017

Oxford hires poscolonialist professor to diversify humanities William Crona Staff Writer

Professor of Cultural Studies Rosinka Chaudhuri has held the role of the first ever Global SouthMellon Visiting Professor at The Oxford Research Centre in the Humanities (TORCH) this term.

Normally based in Calcutta, Professor Chaudhuri is currently Director of the Centre for Studies in Social Sciences. Professor Chaudhuri, who completed her DPhil at Trinity College in 1995, has been affiliated with St Hugh’s College and the Faculty of English while at Oxford.

Professor Elleke Boehmer, director of TORCH, said that the Global South Fellowships, set up in collaboration with host faculties and colleges, were “to deepen and widen our understanding of the world beyond what used to be called the West or the Anglo-American world.”

Through these scholarships, TORCH invites leading figures from the global south to join Oxford University for at least one term. While in Oxford, the visiting professors take part in and contribute to the

university’s teaching and research, in order to “offer both academics and students new interdisciplinary and comparative perspectives on a far wider universe of knowledge than is currently reflected in the Oxford University syllabuses”.

Professor Boehmer continued: “The impact will be to increase the diversity, in all senses, of what we research and teach at Oxford, and inspire other universities whose coverage may be as restricted as ours to follow this lead.

“Chaudhuri’s expertise speaks directly to these aims. Her knowledge and expertise are welcome at TORCH and are a timely contribution to work that is ongoing to make curriculums and conversations at Oxford more inclusive.”

Professor Chaudhuri said that she hoped to “[contribute] in some way, I hope, towards broadening the discussion [...] especially in the context of the ‘decolonisation of the syllabus’ debates raging here. My intention is to point to a way that goes beyond a token ‘broadening’, however important that may be at this stage, toward an understanding of the deeper conversation that

Queen’s JCR execs banned from being in dining societies Continued from front page “If individuals don’t want to vote for drinking society members in elections then that’s totally legitimate but to make it a bar for office is unnecessary.”

Several amendments were passed on the motion including that JCR exec members could not attend the events of these societies as guests of members.

Another of the amendments changed the ban to apply only to future exec members.

In the same meeting, Queen’s also voted to install a “Class Representative” executive role that would “be responsible for matters specifically concerning those mem-

Tom Bastin Policy Exchange

bers of the JCR who are working class, low income, state comp educated, and/or first gen students”.

Ross Lawrence, Queen’s Access and Outreach officer, said of the importance of the role: “Queen’s has a good support and welfare system, but an elected Class Representative would allow specific, confidential support and representation.

“Such a representative would be an explicit voice for these students in debates within the JCR, provide specific advice, identify and publicise what support is available through the college and the university (both pastoral and financial) and provide a direct link between the JCR Executive and Oxford SU’s Class Act Campaign.”

world literatures have been engaged in in the last two centuries.”

Professor Chaudhuri’s “influential and pioneering” work includes postcolonial studies and poetry. This term, as part of her scholarship, she spoke in a workshop entitled “World Literature: For and Against” on the Kolkatan poet, Rabindranath Tagore. She also gave a talk at TORCH on the recent student uprising at Jawaharlal Nehru University in Delhi.

She will return to Oxford for part of Hilary term for a lecture and conference.

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Graduate who got a 2.1 and sued Oxford found history a “little bit dull” Continued from front page “He - and others - became the victim of poor teaching provision by the University in what was anticipated to be his favoured special subject and he, uniquely among his peers, was further disadvantaged by his personal tutor not conveying his knowledge of his illnesses to those responsible for making reasonable adjustments and for moderating his examinations.”

“He - and others - became the victim of poor teaching provision by the University in what was anticipated to be his favoured special subject and he, uniquely among his peers, was further disadvantaged by his personal tutor not conveying his knowledge of his illnesses to those responsible for making reasonable adjustments and for moderating his examinations.”

Siddiqui also claimed that his

Bill Rand

tutor failed to submit medical information to examiners.

Oxford University has defended itself, saying that Siddiqui’s claim has been made “massively” outside the time limit, and have denied negligence and causation.

Julian Milford on behalf of the university told the court that Siddiqui had received the same amount of teaching as he would have in any other year, and he did not find any flaws in that teaching beyond being “a little bit dull”.

He said: “Whatever teaching he received was sufficient to enable him to do well in his mock exams.

Because he did not on the day was nothing to do with teaching at all.”

On the medical information which Siddiqui claimed was not submitted appropriately, Milford said that his poor performance in a single exam could have been due to severe hay fe-

ver, which was taken into account and also affected his revision.

Reportedly no records made reference to Siddiqui’s mental health in his final year, despite the claim that he had told his tutor about his depression. Milford said that it was “exceptionally improbable” that a tutor would not advise obtaining a medical certificate, as evidence would be needed to influence his result. Even if he had, medical information can only be used to assign a student’s “proper class”, which in Siddiqui’s case was reportedly the 2:1 he received.

Milford also said that the idea that Siddiqui was denied a career by his classification was “complete speculation and fanciful”, particularly considering the excellent opportunities available at the end of his degree, including a training contract with Clifford Chance, a leading law firm.

The Oxford Student | Friday 24th November 2017

Bitesize Lady Margaret Hall student dressed as Your weekly roundup of university, research and city news

Oxford City Reps launch website for twin cities This weekend, a website dedicated to Oxford’s five twin cities will be launched at a drop-in event at the Oxford Story Museum. The site has been created by nine Oxford City Reps who spent the summer visiting Oxford’s twins, where they met locals and discussed ideas for exchanges and future links.

After training by web-development firm Made With Joy, the group have created a website for information and inspiration for those wishing to make links with the city’s twins.

The City Reps scheme was launched earlier this year, partly funded by Oxford City Council, and provides opportunities for young people to develop skills as well as strengthening Oxford’s links with its twin cities: Leiden in the Netherlands, Bonn in Germany, Leon in Nicaragua, Grenoble in France and Perm in Russia.

Liam Frahm Oxfordshire Growth Board welcomes infrastructure report A final report by the National Infrastructure Commission (NIC) has been published on the Oxford - Cambridge Arc, a 130 mile corridor linking the two cities.

The project is intended to grow the “knowledge economy” across the two cities to allow competition with global hotspots such as Silicon Valley, and to protect the area’s environment.

The area includes four of the fastest growing cities and towns in the UK, centres of research and manufacturing, in addition to Oxfordshire’s “Harwell and Culham science parks, Oxford’s universities and medical research centres and the automotive and motorsport clusters”.

Transport infrastructure is also expected to be developed, including a scheme for an East-West Rail connecting Oxford and Cambridge through Milton Keynes.

Councillor Bob Price, leader of Oxford City Council and chair of the Oxfordshire Growth Board, said: “Oxfordshire is at the centre of the UK’s knowledge-based economy. This region is already growing strongly and the OxfordCambridge ‘brain belt’ offers an opportunity to create a fourth economic powerhouse for the UK to rival those in London, the Midlands and the North.”

Charlie Willis

News 4

Harvey Weinstein kicked out of bop Joanna Lonergan Staff Writer

LMH’s ‘classic horror films’ themed Bop was marred by the attendance of one student as Harvey Weinstein, the American movie producer who has been at the centre of numerous rape and sexual assault allegations.

The student appeared in a dressing gown with a ‘Weinstein’ badge, and was asked to leave by other students of LMH. The act prompted LMH’s Equalities Committee to release a statement condemning the “mocking of sexual assault.”

They reminded students that ‘To trivialise the lived experience of survivors and position their trauma as a part to play within a narrative of ‘humour’ is unacceptable’ before criticising the behaviour as ‘rude, insensitive but most importantly extremely damaging’.

These feelings were shared by

other students at LMH, and an anonymous post submitted to the Facebook page ‘Oxfess’ recounted the personal experience of a student who was ‘sexually assaulted by a family member when [they] were about 10 years old’.

The unnamed author expressed their relief that they did not attend the Bop, writing ‘some people might think it’s ridiculous of me but when I keep hearing about these allegations and seeing the articles, it’s very upsetting for me’.

LMH prides itself on being a ‘healthy, inclusive and supportive environment’ and the JCR’s statement warned all students that ‘any further behaviour will be directed to the senior management of college’, adopting a ‘zero tolerance’ policy.

According to JCR President, Lana Purcell, the student met with the college dean to ‘reflect on his behaviour’. It is not known if any further action has been taken.

This is not the first time LMH

Relationships more simple than thought Charlie Willis News Editor

Scientists at Oxford University’s Department of Zoology in collaboration with peers from the University of Exeter have found that the formation of social relationships and friendships is actually easier and simpler than previously thought.

The research found that “friendof-a-friend” acquaintance relationships, or indirect social connections, are formed in the same way as direct friendships: that is, they are governed by simple factors such as preferred group size and frequency of interaction.

Based on previous research, indirect social connections appear to be important in the animal kingdom for such purposes as the survival of dolphins in their early lives and the reproductive success of birds, monkeys and apes. It was thought that this indicated a greater degree of complexity in social connections, specifically that individuals could identify the social connections of others and behave accordingly with those connections.

This study used computer simulations to create social networks from groups of individuals with only simple differences, and produced complex societal frameworks, in which the dif-

ferences had an effect on the number and types of acquaintances produced beyond the individual. This suggests that complex societies do not necessitate complex social behaviour.

Dr Josh Firth, Postdoctoral Research Fellow at the Edward Grey Institute of Field Ornithology and lead author of the study, said: “I’m often asked how an animal’s own genetics could possibly determine the social connections of its associates and how these aspects of individuals’ social behaviour could ever be subject to natural selection.

“This research provides an intuitive explanation for this. If an individual’s friends-of-friends connections are actually underpinned by a simple behaviour, then it may be this behaviour that is governed by their genetics. In this way, evolutionary forces could act on complex social network positions in a fairly straightforward manner.”

freestocks.org

has been faced with a scandal involving Bops; back in 2015, the JCR was forced to issue an apology after a number of students came in ‘racist’ and ‘offensive’ costumes to the ‘Arabian Nights’ themed party - including one student who came as the extremist Abu Hamza.

Other colleges too have faced

similar problems. Earlier this year, Christ Church banned a student from all JCR events for donning a pillowcase resembling a Klu Klux Klan hood to the ‘2016’ themed Bop. Although intended to be satirical, such costumes have been widely criticised as ‘beyond disrespectful’.

Ed Webster

OU Law School makes exam ‘Vote Leave’ jibe Anisha Faruk

Deputy News Editor

Oxford University’s EU law team has been praised by online commentators for its “A+ trolling” after its 2017 examiners’ report made fun of the Vote Leave 2017 campaign.

In page 28 of the report, beside the usual information of marking procedures and the percentage of students gaining firsts was the line: “All scripts were written in the standard answer books. No one wrote on the side of a bus. We are grateful for this. Experiences suggest it is hard to tell the truth about the EU when using such a medium.”

The comment is presumably in reference to the Vote Leave campaign-

Oast House Archive

ing bus which sparked controversy with its claim that “we send the EU £350 million a week”. The claim was considered false by critics and became a point of tension during the referendum campaign. Boris Johnson, who campaigned for Vote Leave, stood by the figure after the referendum but Dominic Cummings, the Vote Leave campaign director, admitted it may be “an error”.

Examiners’ reports are provided to students and staff to summarise how the academic year went and provide feedback on examinations.

The bus comment in the report was posted on Twitter by Bachelor of Civil Law (BCL) Oxford student Katy Sheridan with one Twitter user calling the line “superb”.

News 5

The Oxford Student | Friday 24th November 2017

David Lammy criticises Oxbridge response to alleged admissions “social apartheid” Zoe Tidman Staff Writer

Labour MP David Lammy has condemned Oxford and Cambridge for their response to recently published statistics on ethnic diversity and undergraduate offers made by the two universities.

The former education secretary has not only spoken out against the lack of diversity at both institutions but has also accused them of “trying to make journalists change their stories” to protect their public image. He said that the universities had failed to engage in a serious debate over the issue and to look for solutions to achieve greater equality.

A tweet from Lammy’s official Twitter account published 20th October read: “As I understand it, @UniofOxford Press Office have spent the day trying to reduce the impact of the story, NOT responding to the substance”.

The former education minister first highlighted the lack of diversity across both universities

through statistics obtained in October 2017, after making freedom of information requests in 2016.

The data showed that almost a third of Oxford colleges did not admit a single black British Alevel student in 2015. Oriel College in particular was singled out for having offered only one place to a black British A-level student in the six preceding years.

However, Lammy’s recent criticism is aimed largely at the lack of discussion over these figures and the alleged attempt to play down the gravity of the issue, which he has called a “social apartheid… utterly unrepresentative of modern day Britain”.

In his letter to Louise Richardson and Stephen Toope, vice-chancellors of the University of Oxford and Cambridge respectively, Lammy expressed his “disappointment” at the responses of both institutions.

He said: “I have been made aware that your press teams have been demanding corrections to stories that are factually correct and accurately re-

Bodleian announces early English exhibit Liam Frahm News Editor

Oxford University’s Bodleian Library has this week announced a new exhibition exploring Anglo-Saxon and medieval craftsmanship, to be shown at the Weston Library from 1st December to 22nd April next year. ‘Designing English: Graphics on the Medieval Page’ tracks the use of English by bringing together a vast collection of manuscripts and objects held by the Bodleian as well as loan items from the British and Ashmolean Museums.

Curated by Daniel Wakelin and Jeremy Griffiths, Professor of Medieval English Palaeography at Oxford University, the collection contains a diverse range of exhibits.

Some of the highlights include the Macregol Gospels, dating from Ireland around 800 CE, with English translations added to the original Latin text, as well as English translations of hymns composed by Caedmon (657-680), an illiterate cowherd who lived at Whitby Abbey and was the first named English poet.

On display are some of the earliest known works in the English language, including Chaucer’s The Canterbury Tales and early drama and songs, as well as examples of texts with colour coded instructions on how to read them, such as an English translation of the Bible which

could have belonged to Henry VI. Exhibited as well are a range of medical texts, such as revolving ‘volvelle’ diagrams, magical charms and colourful drawings and diagrams for doctors.

Local artefacts include the Alfred Jewel, an ornate enamel and gold jewel on loan from the Ashmolean that contains the inscription ‘Alfred ordered me to be made’ and is widely believed to have been commissioned

by King Alfred the Great, champion of the English language and an Anglo-Saxon sword and gold ring found at Oxford’s Godstow Abbey.

Wakelin said: ‘Medieval writers had to be graphic designers every time they wrote or carved their words. Tracing the earliest uses of English, from illicit annotations on Latin texts, to more everyday jottings in ephemeral formats, this exhibition celebrates the imagination and skill of these early writers. Their craft and inventiveness resonates today when digital media allow users to experiment with design through word processing, social media and customized products.”

Richard Ovenden, Bodleian Librarian said: ‘The Bodleian Libraries holds one of the most important collections of medieval manuscripts in the world, and this exhibition celebrates all aspects of the ingenuity and craftsmanship that went into some of the most beautiful, and everyday items that still survive today.”

fer to the figures provided.

“I am deeply disappointed that both universities have refused to engage on the substance of the data published and are instead trying to make journalists change their stories.”

Oxford University has also been criticised for the format in which it published its data on diversity and the delay between the

request for and handing over of such information. There was no detailed breakdown of undergraduate offers by ethnicity, only a narrow set of data showing only “white” and “black” offers.

David Lammy was the first black Briton to study at Harvard University, completing an LLM at Harvard Law School. He is currently MP for Tottenham.

Policy Exchange

University College to introduce skincare reps Carla Fuenteslópez Staff Writer

University College’s JCR introduced two “skin care representative” positions with the objective of catering for student skin care.

Shaving, grooming, and general cellular wellbeing are topics that will also be addressed. These skin care reps will be given seats in the general committee.

The motion to introduce these posts was presented by Francis Kerrigan and seconded by Anjelica Smerin. It was approved by Univ’s JCR and will hold elections in Seventh Week to elect the new officers.

The main goal for the establishment of such posts is “to

help banish the stereotype of the ‘spotty geek’ for Oxford”, which is particularly problematic as exam season approaches and skin issues usually worsen due to high stress levels.

Responsibilities of the position include spreading awareness of issues surrounding pores, hydration, and chapped lips. Perhaps even more appealing is the creation of weekly videos that will discuss, among other things, grooming regimes, face masks, shaving and mosturising.

The videos will be live-streamed and recordings will be saved so that they are permanently accesible to students. Moreover, skin care reps will hold consultations throughout term time available to all Univ students.

Swift Tower designs on display at the town hall More than 30 designs for a ‘Swift Tower’ in Oxford’s University Parks have gone on display in the city’s Town Hall. The exhibition was launched following a competition by the RSPB to find a design for a new Swift Tower to be built in the City.

A panel of judges selected a shortlist of three before the public were asked to vote for their favourite design. The people chose Jonathan Wheeler, from Lower Radley, and his design will be built

by Oxford University in the park, subject to planning approval and consultation.

A Swift Tower is a free-standing structure filled with boxes for swifts to construct nests in, to combat the loss of traditional nesting sites in buildings. The competition was part of Oxford Swift City, a two-year project to improve the future outlook of Oxford’s swifts.

Oxford Swift City project officer Lucy Hyde said: “This is a fantastic opportunity to celebrate the incredible creativity of all those who submitted designs to the competition, and an ideal opportunity for people to learn more about the Swift City project.”

Liam Frahm OU sets up supercomputer to support AI and cloud learning Oxford University has agreed with Atos to provide a supercomputer to “enable UK academics and industry to develop and test deep learning applications and Proof of Concepts”. The supercomputer will be a national Deep Learning Supercomputer.

Funded by the Engineering and Physical Sciences Research Council (EPSRC), the system will be powered by 22 NVIDIA DGX1 supercomputers, making it the largest GPU-based system in the UK. The Alan Turing Institute for data sciences and AI will be one of the main users of the cloud, which will provide the newest technology in cognitive analytics to both academics and industry.

Deep Learning has wide-ranging capabilities “from automated voice recognition and autonomous vehicles to medical imaging”.

Professor of Scientific Computing at the Mathematical Institute Mike Giles said: “The University of Oxford partnered with Atos to provide a national GPU supercomputer for the UK, which we will use specifically to develop and support deep learning and AI applications in addition to GPU-based supercomputing.”

Charlie Willis Samuel Woodforde

Steve Cadman

The Oxford Student | Friday 24th November 2017

Oxford asks: what will the city look like in 2050?

News 6

Oxford City Council launches consultation over how to best make use of Oxford’s limited space Carla Fuenteslópez Staff Writer

The Oxford City Council (OCC) has launched the Oxford2050 Consultation in order to find out what residents and businesses think the city should look like in the future. The five week long consultation considers both the built and natural environment and covers different aspects of life such as transportation, housing, economy and culture.

The feedback obtained during the consultation period will be used to create a single document that will guide the whole community towards a common vision.

The Oxford2050 Project is driven by various topics, namely the biodiversity threat that anticipates increased extinctions by 2050. Similar to government interventions such as the ban on the sale of diesel and petrol cars in 2040, Oxford2050 also seeks to improve greatly the air quality in the city.

An important complication that arises from any developments that can move the city towards a greener future derives from the number of Grade I and II listed buildings, some of which date back as early as the eleventh century.

Oxford is considered to be, according to PwC, “the top city in the UK for economic wellbeing, based on job creation, skills, wage levels and personal health”. As such, this has led to major issues related to the extremely limited space available to build new homes, businesses, and shops within city boundaries, which have driven Oxford to become the least affordable place to live in the UK. To counteract this situation, urban extensions to the north and west of the city have been planned well in advance for the 190,000 people estimated to inhabit Oxford by 2050. Nevertheless, housing availability is not the only concern – quality is also sought.

Councillor Bob Price, leader of OCC, stated: “a decent home is a basic human right. By 2050 Ox-

ford should aim to provide homes to rent or buy at prices that genuinely meet the needs of our citizens at every income level”.

So far, suggestions made in the Oxford2050 project website include: well-designed green spaces and living areas; retaining the blend of build and natural space; ensuring that homes outside of the city boundary are connected to accessible public transport and cycle routes; producing food and energy locally; minimising water use and waste production; making commitments to high animal welfare; ensuring the health of soil and biodiversity; favouring fairtrade; and reintroducing municipal kitchens.

Moreover, a transition into a low carbon economy is key in achieving clean air, secure energy, and healthy homes and economy. “By using a lot less energy to run our lives”, Dr Barbara Hammond (CEO Oxford Low Carbon Hub) thinks, “we’ll have healthier people as well as much lower spending on paying energy bills”.

Bike thefts and crashes on the rise in central Oxford, new data shows Anisha Faruk

Deputy News Editor

Journey planner CycleStreets has released new data that shows there were 2004 cycle collisions resulting in injury between 2005 and 2016. Abingdon Road, Banbury Road, Botley Road, and Woodstock Road are shown in the data to be especially dangerous. Cherwell reported that ‘Barbelo Road’ was one ‘particularly hazardous area’, even though no such road exists in Oxford.

Louise Upton, Labour Councillor, commented: “As many collisions go unreported, this already distressing data is likely just the tip of the iceberg. It shows the urgent need to improve Oxford’s cycling infrastructure and, in particular, the need for segregated cycle lanes.

“Recognising the importance of this issue, the city council created a £367,000 budget in 2012 to support the transport authority by improving cycling infrastructure and, in 2015, established the cycling forum to bring together cycle groups.”

Chairman of the Oxfordshire Cycling Network, Robin Tucker, said crucial to improving cycle safety in the county was the separation of bikes and other vehicles on all major roads.

“There’s a lot of reasons but at the end of the day if you have cars and bikes sharing the same

space occasionally they are going to bump into each other.

“When it happens it’s the cyclists who bear the brunt of the impact.

“The best solution is to separate them with very clear cycle pathways - they have been included as part of the Access to Headington scheme and recent funding for them has been secured in Botley Road, which is good news.

“We all see individual cyclists behaving irresponsibly, including not having lights, which makes me very annoyed.

“But we also see motorists behaving irresponsibly, by using

Jeremy Noble

mobile phones while driving or not looking before they turn.”

Oxfordshire County Council was successful last month in its £5 million bid to improve Botley Road which will see separate cycle lanes and a £12.5 million Access to Headington scheme which will see lanes designed to separate traffic.

Simon Hunt, Cyclox chairman, has been pushing for people to sign the Claudia Charter, named after the cyclist who died in May after coming off her bike in Botley Road, which aims to improve safety during cycling.

chensiyuan

Professor James Morwood dead at 73 Angus Brown Staff Writer

Professor James Morwood, Dean of Wadham College from 2000 to 2006 and Head of Classics at Harrow for seventeen years, has died aged 73.

A renowned figure in the teaching of Classical literature and languages for over forty years, Morwood was born in Belfast in 1943 and was educated at St John’s School, Leatherhead.

He then attended Peterhouse College, Cambridge where he studied Classics and English and, after graduating, attended Merton College, Oxford, earning his Diploma of Education in 1966.

He then went on to teach English and Classics at Harrow for thirty years before being appointed Grocyn Lecturer at Oxford University and elected a Fellow of Wadham College in 1996.

Well known in academic circles for his enthusiasm for Latin poetry and Greek Tragedy, Morwood also authored biographies of Sheridan and Hadrian, and served as the President of both the London Association of Classics teachers (1995-1996) and the Joint Association of Classics Teachers (1999-2001).

Morwood also played a significant role in the ongoing preservation of the study of Ancient Greek in British academia through his extensive work as

part of the JACT’s Greek Summer School programme from 1970.

He is particularly renowned for his translations of several of Euripides’ extant plays, as well as his A Dictionary of Latin Words and Phrases and his translation with Christopher Collard of Iphigenia at Aulis and, of the course, The Oxford Latin Course written with Maurice Balme in three parts from 1987-1992 which was widely adopted for Classical education.

Outside of his academic pursuits, Professor Morwood was known for his extensive cultural knowledge, love of drama, film and music - particularly Opera - and a delight in mischief making which endeared him to many pupils. He is survived by his two nephews and his older brother Bryan.

Wadham College

e g d e l P e i g g e V # 2017

Thank you! > Total of 929 pledges > Saved almost 19 tonnes of carbon in the month > Equivalent to driving around the equator three and a half times

#VeggiePledge2017 VeggiePledge

COMMENT

Comment 8

The Oxford Student | Friday 24th November 2017

Catalan and Kurdish independence: thwarted by the spectre of brute force Recent manifestations of regional assesrtion have shared the insurmountable use of military power Joshua Dayan Staff Writer

In recent weeks it would have been easy to fall into the belief that the age of centralised government was coming to an end.

Catalonia was a ballot box away from independence, and Iraqi Kurdistan a mere gun barrel’s length from freedom. Yet as the political Indian summer of October gives way to an increasingly harsh November, it has become clear that the apparent tide of regionalism has found itself broken on the stony shore of realpolitik. The fervour of the Catalan masses was strong enough that they were willing to vote in the face of violence, but not enough that they were actually willing to physically oppose the Spanish government– and now their President has handed himself over to the authorities. The Peshmerga, so lionised in the West as ISIS, fled in the face of the Iranian-backed Shiite shock troops that some observers charitably call the Iraqi Army, and in one case where some of them dared to stand and fight their superiors quickly yanked them away.

tent. But in these two latest ones there is a shared core reason for their failure, and it is an idea that most commentators in the West shy away from recognising. It is, in essence, power. This is not the cyber power of the digitally networked citizen activist, nor the moral power of the OutragedIvory-Tower, or any one of the many modern manifestations of influence and pressure, but rather the old-fashioned blunt instrument of overwhelming force.

It is easy to view the situation in Catalonia as fundamentally similar to that of Scotland, except that it has all got a bit out of hand, with extremists on both sides, that most beloved phrase of the nominally even-handed analyst. However, the conflict that is engulfing the most prosperous Spanish province hinges on the question of who can marshal the greatest coercive coalition. Spain played a strong opening hand catastrophically badly, forgetting the old political adage that ‘it always makes you look like the bad guy if men dressed in black armour are beating elderly would-be voters’, which allowed the Catalans to snatch European sympathy from the jaws of defeat.

What the sad tales of Catalonia and Kurdistan should teach us is that closing our eyes to revanchist authoritarianism in pursuit of a false stability is neither morally acceptable nor politically sensible There is a great deal of difference between these two cases, and every example of independence and autonomy movements will always be unique to an ex-

But while many in the Anglo-Saxon media took the opportunity to drool over the outpouring of solidarity as a sure sign that what looked dangerously like petty

Levi Clancy

nationalistic flexing was in fact a yearning for internationalism, the real reason that the Catalan government took cheer from this was that it hinted at the potential that other European states might come to its aid. But in what form would aid have been useful to the Catalans? A strongly worded letter to the avowedly, unshakeably, and obligatorily unionist Spanish Prime Minister Mariano Rajoy would have done little except likely provoke a caustic and Castilian crowd-pleasing reply.

No, the reason that the Catalan government had to cling to the ideal of Europe was the perceived promise that should the Guardia Civil get too much of the May 1937 spirit back in them, a multilateral intervention would rescue the ‘rebellious’ pro-independence leaders and, one presumes, their supporters. Of course, any sober analysis of the European political scene would show that there was never any chance of material help to Catalonia ever being extended, even the ever war-ready élite of Flanders’ finest found themselves content to offer sanctuary to any potential VIP refugees. Catalonia has long been a peaceful region; its crime rates are relatively low, its drug smuggling problems are not outsized, and its politics were, until recently, confined to the verbal and written arenas. As a result, it is not awash with arms or trained fighters. So when the Spanish state came steaming up the Auto del Nordeste there was precious little that even a militant nationalist could do, and moreover the inordinately blatant power disparity discouraged anything more than civil resistance, a phenomenon that Rajoy could certainly endure. And so, with only a few tear gas canisters fired, the referendum has been defeated, the leadership surrendered and Catalans must now get ready to live under direct rule from Madrid. The spectre of tanks in Barcelona and soldiers in Tarragona was, understandably, enough to make the Catalonians look at Hungary in 1956 and Czechoslovakia in in 1968 and know which one they would rather be.

No one was morally convinced by the riot police to stay home during the 42.3 percent turnout referendum, but the truncheon spoke eloquently enough.

Now, while all this savage brutality might be shocking in a supposedly civilised and cultured Europe, surely it is just another day in the scarred Middle East?

Well it appears that certain brave

Robert Bonet/Licencia Creative Commons

souls thought that maybe West Asia wanted to start deciding national destinies by the ballot box rather than the whim of whoever the Americans have shipped more arms to this week. But, as ever, these progressives faced some rather strong pushback from their local Baghdadi reactionaries, who no doubt do agree that words are violence, but thought that perhaps the Kurdish referendum required just a little bit of a stronger response than declaring a no-offense zone over Kirkuk and that having seen Spain’s grand success in crushing their pesky independence movement, now was a good time to strike.

Once again, the grand rhetoric on both sides did not cause the inhabitants of the euphemistically named ‘Disputed Territories’ to see the error of their ways and voluntarily re-accede to Iraq.

As the political Indian summer of October gives way to an increasingly harsh November, it has become clear that the apparent tide of regionalism has found itself broken on the stony shore of realpolitik Rather, the T-72s rolling up to the Kirkuk frontier combined with thousands of Arab militiamen pouring in - as clearly, driving IS from Western Anbar pales in importance when compared with the opportunity to force the barely-Islamic, Westoxified, and yet primordially evil Kurd from sacred Arab territory, which is so ancestrally tied to Baghdad that it first gained an Arab majority in 1980s. The Kurds are

no strangers to the fickle hand of geopolitics, having been picked up and dropped almost a dozen times by various powers over the last century, not to mention their own internecine conflicts, and yet this time must have stung particularly strongly, as in President Trump they have a nominally anti-Iranian president who seemed as though he wanted to rebalance the whole Middle East.

However, the unstoppable and unidirectional force of Trumpian diplomacy soon ran up against the immovable object of President Erdogan’s worldview, and so when the KRG launched its referendum, the US remained highly cautious. The final dagger blow came with its cautious welcoming of the ‘federal reassertion of authority’ over Kirkuk, a clear sign that the C-130s were not coming this time - Kirkuk is not Kobane and the American public simply does not care enough. So once again, for all the diplomacy, all the appeals to national self-determination, and the co-operation and solidarity of 2014, ultimately the side with more tanks won.

Malcolm X famously declared that in the struggle for equal rights African-Americans would eventually have to choose between the ballot and the bullet, but it rather seems that in the modern day the ballot is exercised only to be met by the bullet.

Not everything, however, is bleak.

Political consciousness in many Western nations is rising rapidly, as is interest in other countries; the fragile flower of democracy in countries such as South Africa is being maintained and strengthened, and support for liberty and rule of law is growing in many parts of the world. What the sad tales of Catalonia and Kurdistan should teach us is that closing our eyes to revanchist authoritarianism in pursuit of a false stability is neither morally acceptable nor politically sensible.

Comment 9

The Oxford Student | Friday 24th November 2017

Adding to Boris Johnson’s accolades: increasing a UK citizen’s prison sentence Karishma Paun Staff Writer

Nazanin Zaghari-Ratcliffe is currently facing five years in Iranian prison. She is said to be “on the verge of a nervous breakdown” following Boris Johnson’s utterly shambolic comments alleging that she had been training journalists in Iran. Nazanin has been in prison since April 2016, when she was arrested by members of the Iranian guard at the airport and separated from her two-year-old daughter, whose passport was confiscated. A crucial part of Nazanin’s defence has been that she was simply on holiday in Iran and had no political reasons for her visit.

So not only have Johnson’s inaccurate and foolish comments threatened to double her jail sentence, but they have also been seized upon by the Iranian authorities and used to justify further accusations against her, namely a new charge of “spreading propaganda against the regime”. In the 12 long days it has taken for Johnson to apologise for his remarks, the Iranian media has presented his comments as an accidental confession and

threatened to raise Nazanin’s already baseless sentence to 16 years. Labour leader Jeremy Corbyn and Nazanin’s local MP Tulip Siddiq argue the Foreign Secretary should step down if Nazanin spends “even one more day” in prison as a result of his precarious claims. This seems fair.

In the 12 days it has taken for Johnson to apologise... the Iranian media has presented his comments as an accidental confession and threatened to raise Nazanin’s sentence However, despite a catastrophic few weeks for this government, it is important to ensure that this issue does not become dominated by the foreign secretary’s plain inadequacy. At the heart of this problem is primarily an innocent young mum, currently languishing in a Tehran prison, being branded as a spy by the Iranian media, while she remains miles

away from her husband and separated from her daughter. We must remember that this woman’s life is on hold whilst she is being used as a political currency in the internal power struggle within Iran and its deeply problematic and suspicious relationship with the UK. The key to understanding and indeed improving our hostile relationship with Iran is to go back to 1953 and the British-backed coupd’état that overthrew nationalist Prime Minister Mohammad Mosaddegh, and reinstated the autocratic Shah. Suspicions of the West grew, and following the 1979 Islamic Revolution these doubts turned to outward displays of antagonism. This hostility has not been solely reserved for the government but for Western media, most notably the BBC’s Persian Service. This media source has long since been viewed with scorn and journalists have continually been harassed and intimidated by the hard-line Iranian establishment. Only two months ago all the assets of 150 BBC staff, former staff, and contributors were frozen following allegations of a “conspiracy against national security”.

Thus we finally come to where Nazanin Zaghari-Ratcliffe fits in.

Many years ago, she worked for

BBC Media Action, the charitable wing of the BBC. Although it has no direct connection to the BBC’s Persian service, this has been seized upon by the Iranian authorities in order to suggest that she was in Iran for political reasons. After many months of relentless campaigns led by her husband, Richard Ratcliffe, and Amnesty International, this blunder from Boris Johnson has added fuel to the fire and exacerbated

an already desperate situation.

Of course, it is easy to only pay attention to these flagrant human rights abuses when Boris Johnson clumsily interferes with them. Crucially though, we must put pressure on the government to provide us with a foreign secretary who takes human rights abuses seriously and deals with them effectively - not just when the fate of his political career is wrapped up in them.

MrZeroPage

The war on Christmas ends today: call Oxmas what it is Alex Oscroft Editor

Oxmas is one of those traditions that Oxford is so proud of. Every year, to celebrate the fact that colleges need to maximise their conference incomes over the holidays and so can’t carry on teaching us, we have our own little Christmas a month before anyone else. Aren’t we lucky? Two Christmases! Institutionalised good cheer is without a doubt my favourite kind.

And so we gather round dining tables, troop about the Christmas market on Broad Street without buying anything, get unnecessary amounts of tinsel and fairy lights to limply decorate our rooms with, start having mulled wine rather than regular red wine at pres, pack into the Sheldonian/college chapel/Half Moon to sing Christmas carols wildly

jeffreyw

out of tune – a whole month before anyone else gets a chance to.

Such an extended period of cheeriness probably has downsides, but you’d be hard pressed to get any Oxford student to admit it. By 7th week does anyone really care if your essays are late? Tutors are busy with admissions so they aren’t that bothered any more. It’s cold and rainy, but it’s your first taste of that after the summer so you’re not that sad about it (unlike Hilary cold where you can literally feel the life sapping out of you).

In the fifteenth century, the monks that populated many colleges would shave their heads into the shape of tinsel to celebrate Christmas But, my friends, it has come to my attention that Oxmas is a deeply flawed tradition. For many, it is the start of the Christmas season; the celebration of Jesus Christ’s holy birth in a ditch and/or some weird pagan

thing with flying reindeer and slave elf labour. But how can both be the same? Christmas is an ancient tradition stretching back millennia, and yet in Oxford we seem to forget that such a heritage exists. We destroy the work of thousands of years of ritual in favour of our own chance to gorge ourselves. Christmas has been usurped by the same privilege that sees Oxford stay up all night on May Day and throw up on our matching freshers t-shirts.

Christmas is a sacred time, and the attempt of Oxford to whitewash it has gone too far. It’s time that Oxmas faced up to what it really is, and what any good person should call it: Christmas.

We’ve come a long way since the start of Oxmas, but throughout it has been a fundamentally disrespectful term for the holiest of holidays. In the fifteenth century, the monks that populated many colleges would shave their heads into the shape of tinsel to celebrate Christmas, but were forced to have ‘Oxmas’ branded on their foreheads to remind everyone what the real holiday was. Of course, the colleges don’t want you to know that, but their silence speaks volumes.

By the Victorian era, where Oxford was undergoing a renaissance and new colleges were being founded left right and centre,

attitudes had hardened even further. Keble’s famous red and white colour scheme was not an attempt to look like lasagna at all – instead, it was a deliberate move to celebrate their Christmassy founding fathers, who were disciples of St Nicholas himself and hoped to attract his patronage with their choice of brickwork. But the University, upholders of Oxmas’s repressive ideology, forced them to dismantle the permanent masonry fir tree in the centre of quad as an offensive reminder of who

held real power in Oxford – not good cheer, but academic rigor.

Even today, Oxmas has usurped Christmas in its privileges and its customs. How can the former claim that crackers are part of its own culture when good Christmas-supporters have been practicing it for generations. This is the war on Christmas incarnate – the heathens that support Oxford are undermining the central pillar of Western society, the glue that binds civilisation together – Christmas. Oxmas must end, to save us and all our souls.

Diliff

PROFILE

The Oxford Student | Friday 24th November 2017

Profile 10

Rosianna Halse Rojas

On the future of YouTube, community in the age of online abuse and growing up online

Tara Snelling Deputy Editor

Rosianna Halse Rojas is incredibly busy. I know her primarily for her vlogs on her YouTube channel missxrojas, and so it is a priviliedge to find someone who has spoken at your for six years of your life responding to your questions.

You seem to be doing lots of everything - how would you describe what you do right now?

“So, I think that’s pretty accurate. I’m a YouTuber – for my day job I’m a producer and producing partner with John Green.

I live out in Indianapolis, and so day-to-day I work on producing films and a lot of the time reading books and reading scripts and seeing what could make a good film or TV show or so on.

Because I worked as John’s assistant before this, I still have a role in managing his life etc.

And I still do YouTube, and had my eleventh anniversary.

I also recently launched a podcast, so that’s eating into my evenings. But it’s going well!”

“That’s made me more hopeful about open platforms” What’s it been like recording the podcast Make Out With Him, with fellow YouTuber Lex Croucher?

“It’s been really fun. So we’ve been wanting to do a podcast for a year or two, and one of them was called “Grammar School” – Lex came up with this idea – and the idea was that we’d come up with different topics which we’d discuss every week. And I don’t know where that idea went, but it seemed really complicated, and like it would require a lot of work.

One day she texted me and asked – why don’t we do a romance podcast? And it’s great because

we have different perspectives, but also we’re on the same page with a lot of things. It’s been amazing how open people have been with their questions from the outset. They’ve been really honest about the things that they’ve been struggling with in ways that I don’t know that I’m as good as being as honest about. Romance is so personal, – it’s very personal, close to the heart, revealing, exposing even if you’re under a pseudonym. I’ve been really grateful that people have been sharing their thoughts with us, it’s been good.”

What made you want to start vlogging?

“I used to watch videos with a user who is now my friend, but back then was just a YouTuber who I really liked called ifancythetrio. And she made lots of that kind of video which was sketch-comedy videos at the time about Harry Potter. When I started making videos, Deathly Hallows wasn’t out yet and I was desperate for all of that Harry Potter – my friends were excited about it but not at the same level, so I was trying to find more places and spaces to discuss and make things about Harry Potter.

YouTube was a new thing, and it was quite a small thing. In 2006, it was really small, so you could be part of that community early on. I started making videos without telling anyone who knew me in real life. Just talking about Harry Potter in my day-to-day life, which at the time was exam stress, secondary school and getting used to with the level of volume I should use in a video. I feel like I’m whispering in a lot of them. It’s a horrible thing to look back at! But YouTube has been a really good space to talk about books especially, and to have a second community to interact with. I think this has changed a little bit now unfortunately, but a lot of the people who would comment on videos and who would watch your videos would be making videos – so there would be a back and forth. Now, the community is spread out more, and people feel like there’s more boundaries, as the production value of videos has gone up so much. But I really kept going with

it because of the community, and because I liked the conversations we were all having together.”

What is the most meaningful thing you’ve got to do as a product of producing and/or vlogging?

“The most recent one is [backburner] videos, where you would follow me cooking for a month.

I have all of these cookbooks in my flat which I dip in and out of, but I don’t really like looking through them, and usually don’t cook more than the the six or seven recipes which I keep going back to. What was interesting is that I was intending to use it as a way in which to track my journey with food, cooking and my life in Indianapolis. However, it became a series about my mental health and ups-and-downs, as for me it also became a way to draw those correlations between how I was eating, how much I was going out, what affected my mood in a way that felt extremely helpful to me and was incredibly fun to make.

There is another video which for me is really meaningful. Right after my dad died and I got back to the UK, I made a video then and that’s such a little time capsule for me. In the video, I say “I know my life is going to be different now”, but it’s weird to think about how much I didn’t know and all the different ways that kind of loss ripples through your life. Also, because of the fact that the response to that was amazing. The community response and the community support I have received over the years, any time I talk about grief as well has been incredible. As the community grows old together, more and more people are experiencing losses together. When I go to the comments on YouTube on much older videos, only four or five weeks into the loss, people say “oh, that’s where I am right now”. That’s the strange, inadvertent, positive result of everything that’s happened, is that I can be an archive for different periods of my personal grief, and I don’t think there are that many records of that really. You have C.S.Lewis and Jane Diddy and so on, but it’s sort of hard to visualise that kind of longer term , and not just the first two

months afterwards, weirdly.”

Does your love for literature love feed into work as a film producer?

“I am definitely someone who is a read-the-book first kind of person. I have a lot of friends who love film and they know every single reference, and shot references, and I don’t have that.

But I’m really character-driven.

I also think it’s exciting because there’s no budget on what you can do in a book – have an explosion in space, don’t have a studio saying you can’t afford it. Books are really expansive, and I’m really drawn to that kind of open thinking, which I kind of look for in stories that I can take to film if possible. It’s hard to know, I sometimes do feel my lack of experience from the film world, and coming from a very specific perspective, so I’ve been learning a lot on the job and from people who have also been in similar paths as wel, a few rungs up the ladder”

“I kept going with it because of the community” What do you think of the changing nature of YouTube and its future?

“YouTube announced recently that I would be one of the YouTube’s Creators for Change fellows – a really cool initiative that I’m thrilled that they’re doing. They picked six or seven mentors, and chose thirty fellows from all around the world to tackle hate speech and any kind of discrimination. Refugees are a big focus for a lot of people. They’ve given people kind of a free reign and a video production grant. We can make what we want using that grant with advice and workshops in the next year or so. That’s one example of the way YouTube is coming around

with some of the problems that an open platform inevitably leads to. I have been really impressed since Steven Lejitski, the CEO for three or four years now, has been coming around with these more creator-engaged, creatorenabling focuses. Also, when I wrote that essay for Lean In, there weren’t really that many features from people who had experiencing a lot of online harassment and it felt really scary.

However luckily now you’ve got a lot of backend features – like you can blacklist certain words so that they automatically go to review, the features with blocking and hiding comments are a lot better. I don’t want to sound stupid, optimistic or naïve about it all, but I do feel like the response is better than it used to be and the focus is in the right place.

“When problems do come around, like with the restricted mode discussion - when a lot of LGBTQ videos were being flagged automatically as restricted content, the response was so unified from the creators that YouTube kind of had to respond.

What’s really good is that there is a consistent back-and-forth, and this consistent sense of recognising the value that there is in the people that are making videos on their platform that they have to listen to. Ad money is very powerful – they could drop everything and just listen to what the advertisers are saying, but they’re still listening to the creators and they’re participating in the discussion. They’re still including people in the discussion as well, and they still bringing creators along to roundtables and asking for open feedback and so on. That’s made me more hopeful that I have been in a long while about open platforms and the internet as a place of discussion, because I think we’re all still making it. No one has quite figured it out yet.”

Make sure you check out Rosianna’s YouTube channnel (missxrojas) and follow her on Twitter at @papertimelady

27th Nov – 2nd Dec 2017

In solidarity with those studying without the support of a family network #WithEstrangedStudents oxfordsu.org

Features

Features 12

The Oxford Student | Friday 24th November 2017

The Alchemist’s concotions live up to the hype Lydia Earthy Staff Writer

As an English student, the occult science of alchemy has never really appealed to me. That was, until a new branch of The Alchemist opened on Westgate’s sky terrace!

The EarthyEats team visited last Tuesday to concoct some reviews.

sion. We meet Lila, The Alchemist’s Business Development Manager, who agress with this - most of the money they spend goes on lighting and decor!

To begin, we have some drinks.

True to its scientific aesthetics, the menu is laid out like a periodic table with intricate drawings and gold embellishment. Whilst my interest is piqued by ‘The Colour Changing

In all, we are impressed by the Alchemist’s dedication to spectacle - particularly in terms of their drinks A review of this restaurant would be incomplete without first acknowledging the stunning interior design. Sleek, grey interiors are coupled with effusive orange lighting throughout, making the bar area in particular look like a warm, glowing and welcoming hearth.

This imagery is particularly effective at night, where the light bleeds beyond the confines of the restaurant into the crowded terrace of Westgate. On a cold Oxford day, the juxtaposition between the grey skies overlooking the Oxford skyline and the orange innards made us particularly glad to be inside.

Indeed, aesthetics seems to be a huge part of the restaurant’s vi-

One’, my EarthyEats assistant - today, Amelia Gosztony - opts for the ‘Lightbulb Moment’. The drinks arrive in scientific beakers for self assembly. Upon construction, they are undeniably spectacular; Amelia’s drink comes in a yellow light bulb which is overflowing with dry ice, and covers the whole table while she pours. My drink comes with two beakers - a blue concoction, and a clear one. Upon mixing the two, the colour does indeed change to a pale pink! Delightful!

On top of these aesthetic points, the drinks are also delicious. Mine taste of apple and lemonade - the vodka, much like the ‘magic’ the menu suggests it contains, is masked.

The Alchemist’s menu is unique

in that they have curated the most popular dishes from all cuisines in one unified menu. Lila explains they wanted their menu to have something for everyone. The starters menu features everything from California Rolls, to Gyoza, Nachos to Thai Fish Cakes. Equally, the mains list ranges from Moroccan to Tandoori cuisine, alongside more conventional burger options. When we arrive (12.30), they are no longer serving the brunch options - yet these seem more in keeping with our expectation of a brunch menu.

We order the Crispy Lamb Ribs, the Prawn Lollipops, and the Popcorn Chicken to start. Of these dishes, the best is undoubtedly the popcorn chicken, which is tender, bitesize, and incredibly moreish. It comes with Sriracha mayo, which is spicy but incredibly tasty. The prawns are truly lollipops - battered, and presented impaled on tall sticks with a sweet and sour sauce. They are crisp, fresh, and sweet.

For the mains, we opt for decidedly different dishes. While I get the Beef Raman, Amelia orders the Fajitas. While both are beautifully presented steaming and searing hot, my Ramen proves a little underwhelming compared to Amelia’s beastly fajita composing kit featuring sauces, shredded lettuce, warm wraps and a searing hot skillet with chicken still cooking on top.

Lydia Earthy

To round of the meal, we order some non-alcoholic drinks (forgive our lack of adventure, but it was Midday on a Tuesday and we are but boring finalists). The ‘Bubblygum’ proved true to its name, proving delightfully frothy, and the ‘Kaleing me softly’ came garnished with a huge kale shrub. This was delicious, but did make the refreshing smoothie slightly difficult to drink!

In all, we are impressed by the

Alchemist’s dedication to spectacle - particularly in terms of their drinks. With a huge range of unique, spectacular drinks to chose from, my only regret is we did not have time (or tolerance) to try more. One thing that surprised me was the very reasonable prices.

At £8.25 for a burger, the Alchemist is absolutely within a student price range. The EarthyEats team will definitely be returning for date night.

The Varsity Jazz Off is a mesmering evening of music Caitlin Law and Robert Goode Features Editor and Staff Writer

On the 17th November, the soldout ‘Jazz Off’ between the Oxford University Jazz Orchestra (OUJO), and the Cambridge University Jazz Orchestra (CUJO), was less about shoeing the Tabs in a battle of the bands, and more about a relaxed, friendly showcase of each band’s jazz chops.

Both bands treated us to a tour de force of big band jazz standards, as well as perhaps unexpected re-imaginings of contemporary tunes.

Opening the night were CUJO, whom we sincerely hope didn’t have to take the X5 to get here.

They mesmerised us with a mix of contemporary and classic tunes.

Impressively, a number of these were even arranged by current or past members of the ensemble.

There were initially some understanadble concert nerves, as

OUJO certainly had the home advantage, but the band managed to find its feet admirably.

The ensemble was held together by a tight rhythm section, a welldisciplined saxophone section, and a particularly strong brass section. The highlight of CUJO’s performance was an original arrangement of ‘Feeling Good’, as made famous by Nina Simone.

This usually sultry tune was revitalised by CUJO’s crisp, foottapping, and funky reimagining, with an excellent vocal performance by Fenja Akinde-Hummel.

In our view, we would have liked to have heard more of the classics, as this was really where the band grabbed us. We have no doubt that the ensemble is talented enough to carry the big tunes with finesse and charisma.

In the second half, OUJO did not so much come onto the stage, as they exploded onto it. The home team produced an enthralling wall of sound, whilst maintaining an excellent balance and blend between its rhythm, saxophone,

and horn sections. The band exuded confidence, and were clearly having a fantastic time entertaining us with a riotous selection of our favourite big band standards.

Our personal highlight was a frenetic and technically-impressive rendition of Dizzy Gillespie’s ‘A Night in Tunisia’. It was hard not to be taken in by the band’s infectious sense of fun as they wowed us with a performance they were clearly relishing.

The home team owned the fact that they were a big band We were also treated to some outstanding vocal performances

by Olivia Williams and Jack Gee, culminating in an unexpected yet wonderfully effective rendition of ‘Wonderwall’. Who knew Oasis could translate so well into jazz?

It will come as no surprise that we though that in this ‘Jazz Off’

Robert RobertGoode Goode

OUJO had the edge. The home team owned the fact that they were a big band, with a combination of confidence, excellent musicianship, and strong solo performances. The laid-back, friendly nature of the event, however, makes it seem almost unfair to pick a winner, and the real take-away of the evening was the impressive excellence of both ensembles.

The Oxford-Cambridge ‘Jazzoff’ really was an enthralling evening of entertainment, capturing the energy of each ensembles’ repertoires – not one to miss. OUJO lived up to their impressive reputation, and it goes without saying that we’d recommend looking out for future performances, whether at venues around the city, or a College Ball near you.

Features 13

The Oxford Student | Friday 24th November 2017

Comptoir Libanais is a visual and culinary treat Lydia Earthy enjoys the vibrant decor and mouthwatering food Lydia Earthy

Staff Writer

It’s easy to say the new Westgate centre has transformed the Oxford shopping scene. Much like a spaceship that has only recently touched down, the shopping centre has catapulted Oxford into the 21st century. Alongside its momentous, monochrome entrance, lies a smaller, rather more col-

Lydia Earthy

ourful establishment: a restaurant called Comptoir Libanais.

Like moths to a flame, the EarthyEats team were drawn in by the pretty patterns, so popped by last Wednesday to try their wares.

What is most initially striking about the restaurant is the interior decor. Clashing patterns, colourful tiles, and more fezes (what is the plural of fez?) than I have ever seen in one place before. They have baklava built in mesmerising, concentric patterns in the window, and a beautiful salad counter with fresh food laid out. The result is a space that seems fresh and exciting with every turn.

If the interior design is carnivalesque, the food continues the party. We are greeted by a man called Josh, (who I kept calling John via email - sorry Josh), who gives us an insight into the company’s family ethos and welcoming spirit.

He tells us more information than I can detail here - or indeed, remember but it is clear he is incredibly passionate about the food they create.

He tells us the falafels are hand shaped and subject to frequent testing by their head chef; that the dressing in the Fattoush salad is ‘unlike anything’ he’s ever come across, and compares himself and the restaurant to magpies, which like to collect shiny things to put on their walls. In all, we feel informed, welcome, and touched.

Josh orders us some of their principal dishes to Lydia Earthy try. In terms of presentabefore. These were spiced with tion, the dishes are beautiful; they red pepper, garlic and chill, and are colourful, and often come gargone before we had tried many nished with pomegranate seeds of the other plates. We also loved and olive oil. We try the starters the falafels, which were crispy on first. the outside and soft on the inside.

The Cold Mezze options were so They were served with a silky yodelicious that the EarthyEats team ghurt, and bright pink dead sea think they preferred them to the pickles which was a welcome salty main course. Particular highlights accompaniment. include the hummus; creamy, For mains, we sampled the chicksmooth and fresh, and the Baba en and olive tagine, the mixed Ghanuj, which was rich and smokgrill, and the aubergine tagine. Of ey. Another of our favourite dishthese, our favourite was definitely es was the Batata Harra - potato the mixed grill - the chicken in cubes like you’ve never had them particular was smokey and ten-

Intellectual eats: the Ashmolean Rooftop Ruby Jones Staff writer

If you’ve ever walked along St Giles on a Thursday night you might have seen a big sign for ‘free jazz’ at the Ashmolean Rooftop Restaurant. It’s true - right in the centre of town you can hear some amazing live music over dinner, on the rooftop of the most famous museum in Oxford. Alternatively, they serve afternoon tea which is perfect if your family is visiting for the day.

The journey to the top floor is thankfully - by lift, and as you go up the museum transforms from a schoolroom-atmosphere to a candle-lit autumnal palace in the evening, and a bright, contemporary space with a killer view during the day.

If you go during the winter but you’re really keen on the view, feel free to sit shivering outside whilst you have your soup, but bring a blanket to keep warm, like a few people I saw - or if you’re less Bear Grylls than that, be sensible and sit inside.

Family-friendly, but also a great

Ruby Jones

place to take a date if you want to impress, the restaurant has clearly marked vegan and vegetarian options, disabled access, and a gender-neutral toilet.

The cocktails are reasonably priced considering the prime location and how strong they are (maybe only order one!) - I had a refreshing Gin Cooler with elderflower, cucumber and soda.

I then tried the crab crostini, which was delicious, especially if you’re a fan of garlic. I had the

der, with an accompanying leafy salad, long grain rice, and mint yoghurt. To compliment these, we tried some halloumi bread, which reminded us of garlic bread. This was salty and seasoned to perfection.

In all, we ended our meal absolutely stuffed, and impressed.

For the feast that we sampled, we thought the price was very reasonable. A meal here would cost you in the £10 - £20 range, depending on your choice of drinks and starters. The meal was a bargain; the Instagrams: priceless.

Tales from the Bakery: matches from heaven

pork chop with butterbeans, ar- Andrew Wood tichoke hearts and salsa verde, Staff Writer which got better and better with each mouthful - in particular the To bounce back from the disaster salsa verde was punchy and full of last week, BakeSoc needed to go flavour. big. Cinnamon buns are the antidote to that extravagance, simple brilliance in the form of bread Family-friendly, and spice. Add the second recipe, a tried-and-tested chocolate lava but also a great cake and the results were always place to take a going to be a match made in date if you want to heaven.

A tactical change in timing impress also meant that this week’s fun was taking place on Monday afternoon, with a strong turnout anticipated. As the start time The dessert menu was full of approached people arrived, and classics with a twist - I tried the arrived, and kept arriving until lemon syllabub with poached rhu- we had our strongest group yet, barb and pistachio shortbread. a massive 16 people in one small The rhubarb was noticeably fresh kitchen. Recipes had to be douand the dessert was perfectly bled to deal with demand, and creamy, and not too acidic de- fortunately there was enough spite the lemon. The shortbread spare ingredients to do so. tasted homemade, and melted in An hour or two later, with bakes the mouth. in the oven and the ingredients And to top it all off, every pur- in the process of being put away, chase from the restaurant sup- there was a knock on the door. ports the museum below. Eating The melodic strum of an acoustic at the Ashmolean Rooftop is a Bruno Mars’ Marry You drifted perfect way to round off a visit to in as the door opened. the museum.

What followed was a full serenade ending in the wonderful sight and sound of a college marriage proposal.

As rings were exchanged (YES, REAL RINGS!) the cakes were brought out. The lava was suitably runny, and the cake sufficiently yummy that all ate their fill.

Ten minutes later, the cinnamon buns came out of the oven; sticky, sweet and divine in every way. A drizzle of cream-cheese icing complemented the situation perfectly. Matches made in heaven have set a new benchmark of brilliance for BakeSoc. Roll on the next batch of bakes!

Ruby Jones

Features 14

The Oxford Student | Friday 24th November 2017

A life in care: the secret diary of a foster kid

S ophia Alexandra Hall discusses police, social services and victim shaming Sophia Alexandra Hall Staff Writer

I think the most important words a child in care can hear are, “I believe you”.

I didn’t realise just how important those three words were until earlier this week.

As a kid in foster care, there is a high chance that you will have dealt with the police at some point in your childhood; for me, police visits seemed to be part of the weekly routine whilst I was at school. When children are first placed into foster care, it is likely that they will be escorted to their first placement by the police. This can be scary for anyone, but especially someone who has just been taken away from their family, for whatever reason, and doesn’t know what to expect. Sitting in the back of the police car has terrible connotations that you’ve done something wrong, when in reality, you are the victim. Later in foster kid life, police interviews can plague your schedule and if you ever get caught up on the wrong side of the law you can be sure it will be blown up massively out of proportion because you come from a care background.

The topic dominating the headlines at the minute is sexual assault and misconduct, especially focusing on allegations against male entertainment stars. This has included the recent #MeToo campaign, which saw my social media channels flooded with countless posts from too many of my Facebook friends. It is interesting that in the last month, for the first time in my memory, there has been a lack of victim shaming in the media. If you think back to previous global allegation scandals, there has almost always been a focus on the victim and blame has somehow fallen their way thanks to some widereaching article or feature. It is a positive and hopeful change to see this move away from public victim shaming. Sadly, the same cannot be said for the children in foster care.

Social services like to pride themselves on putting children first and always believing our stories, and the majority of the time, this is true. The police however, are a completely different ball game. One minute, they can be on your side and be supportive, and the next, they’ve read your file, know you’re a foster child and suddenly, they no longer

After being a victim in an evidence-heavy police investigation, the detective visited my college unannounced and told me, “I don’t believe you” A few weeks ago I released a video titled, “The Real-Life Tracy Beaker: A guide on how to survive the UK foster care system”, after I was stopped from speaking at a public event to make the same speech. The video received a positive reaction and subsequently, I was asked to write an article for the OxStu. There are a number of aspects to foster care that I could talk about, but after an incident earlier this week, I think this is the most appropriate.

trust you. I’ve dealt with hostile and unprofessional police in the past, but nothing compared with what I experienced earlier this week. After being a victim in an evidence-heavy police investigation earlier in term, the detective visited my college unannounced and told me, “I don’t believe you”.

Shell-shocked at what could have swayed her opinion on a case which had enough evidence to arrest the perpetrator, I decid-

ed to speak to my Oxford tutors.

As shocked as I was with the police treatment, comparable with the overall attitude to the Rotherham social services scandal earlier this year. In March 2017 police and social services in Rotherham were outed as having victim-shamed more than 100 teenage girls who were raped and prostituted whilst in foster care during 2012.

There is a serious problem with the authorities in England choosing to not believe victims in rape allegation cases who have been a part of the foster care system.

There are enough stereotypes associated with foster kids as it is, but to have them affect whether or not the police believe a victim is frankly unethical.

In the majority of care abuse cases, the perpetrators have been convicted years later as no one believed the children who reported it at the time likely because they were in foster care. Actions like these can have horrific consequences.

One of the victims from the Rotherham case was trapped in a prostitution ring until she was 20 years old, even though she reported it when she was 15. Her rapists were finally brought to court in 2014 when she was 22 years old.

The stereotyping of children who have been in care is still painfully prominent in 2017. Those who know I was in the care system are always shocked to find out I go to Oxford, (“Don’t you mean Oxford Brookes?”) and those who don’t know have to be reminded repeatedly. To some extent, even Oxford subconsciously raises barriers up to care leavers. Every year I have to fill in forms where I’m asked for my home time address as well as my college address – and the online system won’t let you fill in the same address for both. I also have to give information on ‘parent 1’ or ‘parent 2’. When foster kids turn 18 we become what are known as “care leavers”, which is social services’ way of slowly moving us out into the real world by the age of 21. At 18, we are no longer entitled to foster parents and are put in charge of finding our own housing. I was lucky enough that when I turned 18, (February of my last year at school) my foster parent kept me on until the end of A levels. As I’m one of the few foster children at University, social services continue to give me a weekly allowance of £28.95. However, after I graduate this summer (age 21), everything stops: financial, legal, and social support.

You might be thinking, “21 years old? You’re an adult now!

Quit complaining”. But then,

Dickelbers

think about how many times you might need to call upon your parents after the age of 21. What if you needed help with childcare to be able to get a dream job? Or help buying a car after university? How about clothes for that interview but were too poor to purchase them yourself? A shoulder to cry on and some words of comfort? A Christmas dinner with all the trimmings? Or just you know wholeheartedly that should everything go wrong, you would always have a home to go to?

a great network of funding and support in place for any foster kid who gets here (although there is definitely room for improvement: see above about forms). Oxford has always offered me accommodation outside of term time and a huge network of emotional as well as financial support. The challenge now is to make other foster kids aware that if Oxford is the right choice for them, the University will do everything in its power to help them come here.

With authorities like social ser-

The stereotyping of children who have been in care is still painfully prominent in 2017. Those who know I was in the care system are always shocked to find out I go to Oxford (“Don’t you mean Oxford Brookes?”)

These questions are from a poignant article in the Guardian.

Think about what your life would be like if those resources weren’t available to you; now you realise how those leaving care really feel.

It is only since last year that social services have been supporting us until the age of 21: before 2015 it was only until a foster child’s 18th birthday, and depending on when your birthday is in the academic year, you could have had to apply for university whilst not having a home or support of any kind. I can’t be surprised at the shocking statistics about care leavers in university with the number of people I know who’ve been unable to complete their A-levels because they had to work three jobs, or were simply homeless.

Although I have slated the police and social services, one institution I have been completely able to count on for the last three years is Oxford. Even though the most underrepresented group at the University is adults from a care background, they have

vices and police making it hard for foster children to believe in themselves, I know from experience that really all it takes is someone to say, “I believe in you” to change their outlook on their present, as well as their future.

For me, it was Oxford, and I know I wouldn’t be here if they didn’t truly mean that. Having my tutor today say she “believed me” reminded me of this, and how even though the Oxford access system may need work, what they are doing for students in positions like mine is really admirable – Oxford probably has one of the best University support systems for care leavers in the country.

This week a police officer told me she “didn’t believe me”.

Thankfully, as much as it shook me at the time, I can keep my chin up and take it as it comes. This is because my friends believe me, my tutors believe me, and my social workers believe me. But most importantly, I believe me, and no stereotype handed down by a police officer or social worker can ever change that.

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ART & LIT

Art & Lit 16

The Oxford Student | Friday 24th November 2017

Hannah Ryggen’s ‘Woven Histories’ comes to Oxford Isabella Cullen

Deputy Art & Lit Editor

An exciting new project ‘Woven Histories’, a new exhibition at Modern Art Oxford, showcases impressive works from across the lifetime of Swedish artist Hannah Ryggen in this first major exhibition of her work in the UK. On display are an early painted self portrait, which dates from 1914, a short video and timeline of Ryggen’s life, and 15 of her captivating tapestries for which, since the 1920s, she has been best known.

Born in Malmo in 1894, Ryggen began creating art as a hobby, attending painting classes alongside her career as a primary school teacher. Experimenting with new techniques, Ryggen taught herself textile skills to create what became her characteristic woven tapestries.

In 1924, the artist moved with her husband to Ørlandet, Norway, where she lived on a farm with no running water and no electricity until 1944.

Here, the natural landscape was incorporated into Ryggen’s tapestries as she carded fibres, spun wool and extracted colours from insects and plants to create natural dye. Both the artist and her husband, Hans, worked together to foster her talent: Hans Ryggen made a stand-

ing loom for his wife to work on.

‘Woven Histories’ provides a thrilling insight into Ryggen’s left-wing politics. Aligned with the feminist and anti-nuclear movements, she was also involved in the Norwegian Communist party for much of her life and subscribed to left-wing newspaper Dagbladet. Often refusing to sell her tapestries to private buyers, Ryggen clearly sought recognition for their value as public statements and agents of change.

Ryggen is justly restored to popular consciousness in this timely exhibition Ryggen’s political stance was closely entangled with her personal experiences. ‘Fishing in a Sea of Debt’ (1933) depicts the harsh social consequences of the 1930s economic depression. A banker sits, his fishing line bobbing along the surface of a sea which drags down a father and his drowning children; a doctor takes the last coin from a dead man who lies on the ground nearby. Unlike the starker distinctions between colour blocks in her subsequent tapestries, this early work preserves smoother

transitions between shades, with muddy hues of dark orange and shadowy greyish blue figures haunting the landscape. This bleak impression of rural hardship was true to life – the family was often in debt. The average Norwegian salary was around 2000 krone at the time, yet Ryggen earned a mere 3000 Norwegian krone for her artworks between 1926-1940.

Ryggen drew inspiration from the protest work of artists like Claude Cahun, who distributed anti-Nazi propaganda in Jersey during the occupation and was arrested by the Nazis for her subversive activities in 1944. Through ‘Ethiopia’ (1935), Ryggen attacked the growing fascist movement in the wake of Mussolini’s invasion and annexation of the country in October 1935 and the inactivity of the League of Nations. The Italian King, Victor Emmanuel II, is positioned alongside Emperor Halle I of Ethiopia in a striking composition made up of geometric shapes and muted brown shades. In 1939, the tapestry was displayed at the New York World’s Fair, but with a cloth obscuring the area which showed a spear piercing Mussolini’s head.

The 1939 Nazi occupation of Norway prompted a strong reaction from the artist: 1943 work ‘6 October 1942’ crowds an ensemble of different

characters in haptic reds and browns into this dynamic scene. The date makes reference to the new declaration of martial law in Norway. On the far right, the ghastly red faces of Hitler, Goebbels and Göring loom down from the clouds over Ryggen and her family who look out to sea from their small boat. A stern Winston Churchill with his characteristic bow tie and hat stares out on the viewer from the central panel, protected within a brick fortress which presumably guards the way to Britain.

On the far left lies a scene of actors from a production of Ibsen’s The Wild Duck, staged in Autumn 1942 and starring its director Henry Gleditsch.

In the tapestry, Gleditsch is dressed as his character Doctor Relling, yet in reality the director was unable to perform: arrested just before the dress rehearsal, Gleditsch was shot dead alongside nine other dissidents in what the Nazi Reichskommissar for Norway, Josef Terboven, saw as an effort to eliminate “those who pull the strings.” The Wild Duck thereafter held symbolic resonance for Norwegian viewers, who refused to clap after each performance of that run. Instead, in an act of defiance against occupying forces and remembrance for the slaughtered men, the audience stood to observe

a minute’s silence when the curtain went down. Behind the figures from Ibsen’s play, a deathly naked figure watches, his face and torso bloodied. This was the Serbian prisoner of war whom Ryggen encountered near her home, who had been tied up and tortured on a stake by soldiers.

Finally, the tapestry shows Hitler floating above the scene, guns in his hands and oak branches – symbols which pervaded Nazi propaganda and uniforms – protruding from his behind. According to her friend, Ryggen’s fearless defiance in the face of the Nazi occupation was such that she even hung this strangely beautiful and deeply rebellious work on the side of her house, in plain view of the soldiers who frequently passed by to reach nearby labour camps.

Despite recognition in international exhibitions during her lifetime, Ryggen has been marginalised on the international stage since her death in 1970. Repeatedly overlooked in the Norwegian and international artistic canon, Ryggen is justly restored to popular consciousness in this timely exhibition of her captivating tapestries. Ryggen’s enduring message of equality for all and her rage against abuses of power proves timeless, resonating with viewers of the exhibition today.

Diversify – June Sarpong’s polemic on social division Rosalind Perret Staff Writer

On 24th August 2017, Harper Collins published June Sarpong’s Diversify, an ‘intelligent and empowering polemic which argues the case for how limited we are by social division while inspiring us to make a change.’

Thursday 9th November saw Sarpong bring the topic and her dynamic persona to students at Oxford University where she discussed access to opportunity for all, and engaged in meaningful dialogue about the issue of diversity within higher education.

Sarpong is one of the most recognised faces in British television. In 2005, she hosted the major ‘Make Poverty History’ event, and in 2008 co-hosted Nelson Mandela’s 90th birthday celebrations in Hyde Park.

She appears regularly as a panellist on ITV’s Loose Women and Sky News’s political debate show The Pledge.

Sarpong’s lifelong dedication to advocating the rights of women in business and education has had a global impact on how diversity is viewed and fought for. She is the founder of the WIE network (Women: Inspiration and Enterprise) and DNA (Decide Now Act), both of which aim to bring about social change by encouraging global communication and action.

In 2007, Sarpong was awarded an MBE for her services to charity and broadcasting. But the journey hasn’t

been easy. As a working class woman of colour and the daughter of immigrants, Sarpong understands “firsthand what it feels like to be discriminated against or underestimated.”

Diversify is, in many ways, the culmination of Sarpong’s career so far. Wide-ranging in its exploration of discrimination in all its forms, it has been heralded as a “timely, truly global book” that “highlights our common humanity” (Kofi Annan), with the author herself described as “an incredible ambassador for positive change.” In Diversify, Sarpong combines personal anecdotes with leading research from Nuffield College Oxford to explore the impact which ‘otherizing’ has on our society. The book includes the ‘Ism’ calculator, designed to encourage readers to calculate their levels of bias towards certain groups, with a view to following a six stage approach to re-evaluate and overcome their prejudices, no matter how small. If completed online, the participant receives an electronic letter from the ‘other’, assisting them in understanding their responses to the test. Such an interactive approach demonstrates that Sarpong is leading the way in championing diversity, bringing the issue down from a societal to a personal level.

Among the figures Sarpong identifies as instrumental in shaping her beliefs is the Reverend Martin Luther King whose March on Washington

speech represented, she believes, the ideal society that we should all be striving for. “But if Mr King were alive today”, Sarpong states, “he would be disappointed in what he

Rosalind Perret

saw, or rather, what he couldn’t see.”

As Sarpong explores in Diversify, society is still fractured along race, class and gender lines, with these cracks threatening to expand into chasms in the light of recent political developments. Sarpong describes Britain’s decision to leave the European Union as a “painful and bitter blow” that “still hurts” her now as it facilitated, along with Donald Trump’s divisive but ultimately successful Presidential campaign, a rise in hate crime and an “open season on the ‘other’”.

Why did the results go the way that they did? “Because of a failure to ad-

dress symptoms of unfairness and inequality in society”, Sarpong explains.

“We are now more divided than ever before”, she goes on to say, and diversity, once again, seems a “dream”.

Progress, Sarpong acknowledges, has been made, and the numerous success stories contained in Diversify illustrate this. Legislation such as the Racial and Religious Hatred Act (2006) and the Disability Discrimination Act (2005) represent key advances in the battle for a more equal society. According to Sarpong, however, there is a façade of tolerance which is acting to conceal unexamined attitudes and inaction.

When carrying out research for Diversify, Sarpong worked closely with Anthony Heath, Head of the Centre for Social Investigation at Nuffield College. Heath shares Sarpong’s concern that prejudice is endemic in our society, with severe consequences.

“Equality of opportunity”, Heath states, is “what Britain stands for”, and so tackling major contemporary social problems is “a matter of living up to our values”. Heath identifies the comfortable assumption that “things are alright at the top”, that our female Prime Minister and Muslim Mayor of London serve as cases in point that we live in a time of true diversity and acceptance. He refutes that all possible progress in creating a fairer society has been made, addressing the “scarring effect” of youth

unemployment on individuals and its devastating repercussions for society as a whole. The issue, Heath goes on to say, is “storing up a timebomb of disaffection or disillusionment”, and accruing problems that will “come back to haunt future generations.”

Oxford is a key area for bringing about change, Sarpong explains. She hopes that all students and staff at the university will seek to be politically engaged, will collaborate cohesively and positively to encourage more applications from underrepresented groups, and to ensure the same access to opportunity across the board. In Diversify, she quotes E.M. Forster, explaining that we need to “Only Connect”. But we need to go further still, not merely connecting, but also reinforcing and supporting. Eradicating intolerance, battling bias, and defeating discrimination. These are all objectives which shouldn’t be aspirational, but achievable. Our separate society has a duty to itself, to its economy, and its children to address inequality in all its forms, and to effect meaningful social change that will stand the test of time and provide a model for societies worldwide. Now more than ever we need to recognise our “common humanity”, to work with one another to better understand the ways in which diversity “enriches our society and moves it forward.” Put simply, we need to get to know each “other”, and Diversify is an excellent place to start.

Art & Lit 17

The Oxford Student | Friday 24th November 2017

Is modern art and writing better than ever before?

Grace Crabtree Staff Writer

Looking around the white floor of the ICA’s show Bloomberg New Contemporaries I see a half tree protruding from the ground, some Photoshopped digital prints, and a video installation of two people singing a slightly painful rendition of ‘We Can Work It Out’ by The Beatles.

Even an art student like myself has to accept that, to all but the most ‘in the know’, this can be a mystifying sight. But is our bewilderment in this field all that different to that of generations gone by? Only time will tell if I am right or I am wrong, as Lennon and McCartney would say, as we shine a light on some possible inroads into this complex web of contemporary art and writing.

Only time will tell if I am right or I am wrong, as Lennon and McCartney would say Modernity – denoting both the ‘modern era’ of the early 20th century and the range of processes, practices and phenomena of that time – has been bemoaned as the driving force in the destruction of tradition and ritualistic value in early twentieth century society. Nevertheless, many radical artistic and literary movements were borne out of this time and as the century drew to a close, ideas about representation had been radically altered once more, with critics like John Berger writing about social classes and race in terms of the production and representation of images.

Today, some of the issues raised at this time of industrial revolution and political turmoil in the context of the production of art and writing, still remain relevant – but to consider how contemporary art and writing can be viewed as of equal value to classical art might be a baffling issue to many people today. Peter Osbourne, philosopher and art critic, has written extensively on the matter of contemporary art, and what it means in relation to 20th Century modernism: is it merely a temporal distinction or something more? He is conscious of the sometimes-tricky distinction between what he terms “shallowly imagistic forms of up-to-dateness”, what we might deem good, or great, art. So, although this showy, sometimes superficial art that makes a splash in the public realm might be what the public is most often confronted with in newspapers and popular exhibi-

tions, this is only one element of the complex scene of contemporary art today.

One of the ways to view contemporary art more expansively and relevantly might be to move beyond traditional notions of ‘authorship’ (including both the writer and the artist). When thinking of the notion of authorship, contemporary artistic practices such as socially collaborative art or participatory art must be mentioned: this so-called ‘social turn’ in art has further blurred the boundary between art and life, with art looking increasingly like social activism, or non-governmental work. Jeremy Deller’s collaborative artwork ‘The Battle of Orgreave’ (2001), the re-enactment of the conflict known by that name between striking miners and the police at the Orgreave Coking Plant in Yorkshire on 18 June 1984, has a practical function: to retell the events that were grossly misrepresented in the media. The collaborators who took part in or were affected by the strike undergo a kind of cathartic process, while the other collaborators, members of a historical re-enactment society, add to the questions that the artwork raises about artifice and realism, memory and imagination. In this piece, Deller is not an active performer or creator as such; instead, he is a curator of situations and interactions between groups of people.

To consider how contemporary art and writing can be viewed as of equal value to classical art might be a baffling issue to many people today The contemporary novelist Ali Smith is also concerned with time, memory, and their shifting, mutating nature and possibility. In her novel How to be Both she binds together the spheres of art and literature by trying to linguistically echo the visual structure of Italian frescoes.

They are painted onto wet plaster (fresco, fresh) and so are part of the wall, rather imposed upon it. Damage to frescoes has more recently uncovered layers below the surface image; likewise, this novel is about telling one story with another one “underneath it up-rising through the skin of it” – as one of the characters says.

One narrator is a fifteenth century Italian renaissance painter, a young woman dressing as a boy to pursue her artistic talents, caught between the boundaries of life and death; the other is a present-day teenage girl processing the sudden unexpected

Creative Commons

death of her mother. The two halves of the book are printed in two ways: half of the published books beginning in 15th century Ferrara, and half in present-day Cambridge; the reader’s experience of the book will forever be bound to only one of these readings. Smith’s interplay between language and image, the seen and the unseen creates a layered structure that is akin to our experience of the world: a complex, interweaving structure which ebbs and flows with the times.

Perhaps not much has rally happened except that times have changed and need something new to distinguish them.

Writing about digital and video art, perhaps some of the more daunting or, at times, seemingly incomprehensible forms in the recent history of art, Osbourne notes that narrative is often a key component of the work, integral to its structure. This, he suggests, is a continuation of the ancient orality of storytelling.

This “anachronistic reintroduction” is a way for new stories to emerge, carrying with them the historical threads that feed into a newly patterned social fabric.

This social fabric in turn yields to these new, and more relevant, stories, myths, and folklore – though whether this has been achieved is yet to be determined.

Some digital art is now also made to be interactive, allowing the viewer to become more actively engaged in the work than if it were a static painting or sculpture. Along with the interactive possibilities, another attraction of video art when it was introduced and subsequently popularised in the 1960s was that it was cheap and easy to make and distribute, allowing the artists to free themselves somewhat from

the tight grip of the gallery and art market.

It is true that some depictions of the state of contemporary art and writing can prompt the public to write much of it as superficially provocative in its experimentation; or to perhaps be put off by the overly complex, jargonheavy press releases at some art exhibitions. But in many ways contemporary art suffers for the assumption that ‘the contemporary’ means everything that is new, flashy, or unyieldingly complicated. The best way to think about contemporary art might in fact to recognise that nothing much is different to previous artistic and literary periods, because there have always been new forms and approaches, always

been provocation and challenge, always been a certain reticence towards radical or avant-garde practices, before these get swallowed up into tolerance and then convention. One only needs only to cite Van Gogh’s lack of recognition in his lifetime, or Melville’s Moby Dick being rejected with the comment, ‘does it have to be a whale?’, to show how works we now consider canonical can be misunderstood in their time. There will always be much to write about in every age, both to celebrate and to criticise.

Perhaps not much has really happened except that the times have changed and need something new to distinguish them, a cycle of events that will continue indefinitely.

POETRY CORNER Scrabble

by Vatsal Khandelwal

Puerile night-sky, so fickle, such flickering love-loss light Afflicted heart that thumps through vivid aches and delight Never will I forget the rose that makes my soul bloom so red Kindled thoughts awaken thou from your soft-sleep bed Avaricious destiny may have stolen thy breath, my treasure Jocund mind still remembers thy face with all its pleasure Sanctimonious doctrines of life, loss and love are abounding Aloof, you and I romance in our secret sweet heart’s founding Remember I, you, when thoughts flood my pink barren cheek Oxymoronic grief of mine, love, you cannot potentially measure Jaundiced heart, longing for you, is my fortunate pleasure!

Stage 18

The Oxford Student | Friday 24th November 2017

STAGE

Retelling Tales: storytelling in its purest form Katie Stanton Staff Writer

‘Retelling Tales’ aims to bring theatre back to the ‘roots of humanity’, according to the producer, Úna O’Sullivan by showcasing a series of personal stories performed as monologues in the intimate space of the BT Studio.

Four pieces are performed on the night out of a total number of 9 pieces, meaning that each night has a different configuration of performances and therefore a different overall effect. The performances are unrelated in content but are thematically fairly dark, but ultimately uplifting.

Each piece has been taken directly

from a TED talk without adaptation and is recreated on stage by an actor, on a plain stage with minimal props.

This is to try to present storytelling in its purest form, in an almost bardic way. The problem with TED talks, however, is that they sound like talks, rather than stories, and they are recreated as talks, featuring the pacing, repeated hand gestures and tonal consistency which are hallmarks of public speaking, rather than drama.

Personal TED talks derive a lot of their power from the speaker themselves, since they have actually experienced the difficulties they want to discuss; the ‘retelling’ distances the audience from the visceral.

Moreover, the configuration of talks

Gabriella Farah

on any given night will drastically change the overall impression: the previews given were about the topics of poaching, anorexia, and depression. The first is about moral difficulty and reflection; the second two are about inner pain and destruction; there was slight tonal dissonance.

Nevertheless, the talks themselves are on important topics and are affectingly delivered. The first, on poaching, features the experiences of a special ops sniper who had been on 12 tours to Iraq, who recognised that he was ‘programmed to destroy’ when he visited Africa in 2009. There, he encountered the effects of poaching on the wildlife, being particularly influenced by the death of an elephant whose tusks had been taken for ivory.

He was motivated by this experience to set up an anti-poaching initiative.

More importantly, in his mind, he recognised his own ‘flexible morality’ concerning suffering, which he deemed speciesism; thus he recognised, ‘in reality [he’d] been the beast’. The talk served as a call to change one’s lifestyle away from the exploitation of animals, but the emotional introspection the experiences triggered was well conveyed by Jeremy Warner.

Gabriella Farah

Caroline Dehn delivered the second talk, on one girl’s struggle with anorexia, with great vulnerability.

The trajectory of her anorexic experience was transmitted, highlighting the way no one saw it for an illness, but rather complimented her appearance, saying, ‘clothes just look good on you’; even she did not recognise her illness for what it was, adamantly refusing, although eventually receiving, hospital treatment, since the hospital was ‘for sick people’. Dehn paced the stage, avoiding the scales on the floor.

The third talk was about the dual lives those living with depression experience: the life everyone else sees, and the life they live. A story of at-

tempted suicide, it condemned the way that mental illness is stigmatised in our society, and argued that the inability to talk about one’s problems due to this stigma was a key reason for escalation; the most important words this man uttered were ‘I suffer from depression’. It was powerfully delivered by Jody Clark .

‘Retelling Tales’ features heartfelt performances on important issues, which are slightly dampened in their emotive effect by the nature of their source material; in a way, a series of TED talks more forgivingly adapted for the stage might have further enhanced the power of the production. Nevertheless, they do succeed in telling important stories well.

God of Carnage: a crafted explosion of anguish and humour James Wall Staff Writer

“A living room. No realism. Nothing superfluous.”

From this first line of stage directions onwards, Yasmina Reza’s internationally-acclaimed God of Carnage seems a perfect fit for student productions: the minimalist set, combined with the focus on the intensity of the acting and dialogue, complements student theatre’s size and ambience in general.

Under the claustrophobic, sloped roof of the 50-seater BT Studio, however, it was especially powerful - it’s impossible to hide away from the tragic and bleakly humorous verbal, mental and physical breakdowns happening in front of you, though the captivating performances of the cast meant that nobody in the audience could take their eyes off it regardless.

The premise of the play is straightforward – two married couples are meeting for the first time to discuss an event that occurred between their sons. Alain and Annette, the parents of Ferdinand, are visiting Véronique and Michel, the parents of Bruno, who was hit in the face

by Ferdinand with a stick and as a result lost two teeth. What begins as an attempt by the parents to deal with the matter in as civil and formal a way as possible (Véronique begins

the play by reading out a statement on the event) descends into utter carnage: an inability to agree on the correct language to explain the matter, and both couple’s failure to support their respective partners, sees the formality of the situation disappear, and what follows is a cacophony of insults, bigoted philosophies and physical violence as the parents infantilize on stage. Reza’s play looks at the social and political adult masks that the middle-class wear, and what can happen if they’re given the chance to take them off.

A play that needs excellent pacing and a balance of tragedy and humour to work, God of Carnage is a work that is easy to perform but difficult to perfect. The team behind this student production did an admirable job creating what Yasmina Reza has referred to as the “theatre of nerves”, and this started with the excellent use of what was a small set. In terms of stage directions or descriptions, productions of Reza’s plays have little to go on when creating sets and costumes, making the use of space and colour here all the more impressive. The initial placement of Véronique and Michel in front of the exit furthered the sense of enclosure in the beginning encounters, and the use of one sofa and two separate chairs during the play was used cleverly and not

farcically. Véronique and Michel’s white table and clear objects gave off a pleasant, formal appearance contrasting with the predominantly black and red clothes of all four characters. Of particular note were the all-black clothes of Alain and Véronique, which symbolized their strange and compelling anti-relationship during the performance. These subtle choices added to but did not overpower the tension that was being broiled on stage.

Alex Matraxia’s direction helped the performers to show off their constant switches of allegiances between each other and their communicative degradation (or perhaps elevation) to raw impulse. Many different vertical levels were found on the small set – standing, sitting either alone on a chair or together on a sofa, or sitting on the floor – which conveyed both the relationships between characters and their individual feelings. Other small actions not mentioned in the original Christopher Hampton translation of the Reza script, like Annette taking off her shoes, were also neat, understated touches supporting the cast in their performance.

Speaking of the cast, the qualities of each of their performances seemed to be wholly linked to the character they were playing. Though Hampton once said in relation to Reza

that “her plays bend themselves to the actors”, it was of no surprise to see Joana Isabella as the impulsive and short-tempered Véronique being the most dominant presence on the stage, and Katie Cook as Annette perhaps being the most impressive for the quite stark changes in tone that her role required. Alec McQuarrie, in probably the most difficult role for a student in this play (Michel was first played by James Gandolfini when the play hit Broadway), captured the subdued, politicallyincorrect husband very well (his line “We tried to be nice…my wife passed me off as a lefty” received the biggest laugh of the night), and Lee Simmonds’ Alain, with the haughtiness and presence of a diva that I could never have even imagined, provided the antagonistic and comical spark to set the play in motion.

The chemistry between the cast was strong, and the contrast between the tense relationships within the marriages and the shifting relationships across them was very apparent.

On a final note, two script changes from the Hampton translation were particularly noticeable. The change of one homophobic slur to another, more offensive homophobic slur gave a stronger political edge, highlighting the outdated political opinions that were also hiding under the surface at the beginning of the

play. The very ending of the play was also changed, which, without giving too much away, saw the last few lines that resolve the play omitted, instead leaving an awkward, darkly funny silence. This, however, might not have been the perfect time for what struck much of the audience as a fairly cheap laugh.

Though the balance of tragedy and humour was not struck entirely, God of Carnage is a mightily impressive student play, full of subtlety and pacing that is rarely seen with young directors and performers. For an evening of tension, dark tragicomedy, and a strange kind of primitive catharsis, the BT Studio is the place to be this week.

Stage 19

The Oxford Student | Friday 24th November 2017

Raising money for Mind mental health charity: Jericho Comedy Anya Gill Stage Editor

Could you tell us a bit about yourself and your role in Jericho Comedy?

I’m Harry, I was at St. Hugh’s for three years studying Archaeology and anthropology during which time me and a mate, the wonderful Alex Farrow, started a comedy night in Jericho called ‘Jericho Comedy’ it does what it says on the tin! Alex and I both host the evening with a line up of Oxford’s finest and the UKs up and coming comedy acts.

What does a typical night at Jericho Comedy consist of?

We usually have between 6-8 acts in two halves downstairs at the Jericho Café. But we also often double room. Which is basically where we do the same show twice in one night in two different venues…

Instead of turning people away at the Jericho café we put on a gig somewhere else (for instance this week at Turl Street Kitchen) so that people don’t miss out. It’s the same line up in each room as at the interval acts from one venue leg it over to the other. We’ve double roomed a lot – we even did 4 gigs in the same night once!

How long has Jericho Comedy been running, and what has the response been like?

We’ve been going for about two and a half years and the response has been great! We’ve now sold out every show since last September so for over a year and we’ve been really lucky to have some great comics come to do the show.

What has, in your opinion, been the most memorable act so far?

Our first headliner was Ivo Graham which was a lovely start to our residency at the Jericho Café – Ivo has since appeared on Mock the Week Live at the Apollo and a bunch of other BBC shows. We’ve also had the acerbic and whimsically politi-

cal comedy of Josie Long one of the most exciting stand-ups in the UK. Not to mention great appearances from Robin Ince (Radio 4, The infinite monkey cage with Brian Cox) at our occasional gig ‘Stand-up Philosophy’ and Simon Evans (Live at the Apollo, Mock The Week) at our History night ‘Stand-up History’

What has been the best part of running this comedy club?

We’ve been very lucky to have some amazing acts who have come and donated their performance. I’ve seen some of my favourite standups in the basement of the Jericho Café. We’ve had some exceptionally talented acts who have been on TV

Alex Farrow, Jericho Comedy

Have you faced any challenges since starting Jericho Comedy?

In the first year audience numbers did ebb and flow quite a bit, but once we had a foothold and once people had come and realized that the shows were good (thanks to hard work vetting and booking) we’ve been sold out ever since. We’ve been very lucky not to have typically Saturday night crowds. We barely every get stag and hen parties and our audience are generally very well behaved.

Oxford crowds really do behave differently, but mainly in a good way. We have something we call an ‘Oxford heckle’. Most places you go in the UK heckles will be horrible, crude and abusive. In Oxford heckles are usually somebody being pedantic and they usually are accompanied by a raised hand as if the show is a lecture. Personal highlights from shows have included “that’s the 17th not the 18th century” “That’s meant to go through the X axis” “Eistein was non-euclidian physics actually” and “those are both constricting snakes”

Lovesong, Facebook

What: Lovesong When: Wednesday - Saturday (29th-2nd) Where: The Michael Pilch Studio Tickets: £12/ £8 conc.

and are at the cutting edge of UK comedy and you get to see them downstairs in an intimate venue.

We also love our regulars. We get a lot of people coming back. Some people have been coming to pretty much every show since the beginning such as our heckler in residence rowing coach John. But we’re very happy that John and lots of others like him want to keep coming back.

It’s great that Jericho Comedy donates all of its profits to charity - what made you choose the mental health charity, Mind, in particular?

There’s no other charity that is so close to people in both Oxford and the comedy community. If you were to put Oxford students in one circle and comedians in the other you’d get a Venn diagram with mental health problems in the middle. I think most people didn’t make this connection until the tragic death of Robin Williams, but it’s a well known fact that studies have confirmed.

Those in the comedy industry and dramatically more likely to suffer from mental health issues. It attracts

a certain kind of personality that perhaps can be quite vulnerable, stand-up involves putting yourself out there and examining your own life in quite a forensic analytical way.

There was no other choice for us when we were deciding on a charity.

This year is Oxfordshire Mind’s 50th anniversary in actual fact and we’ve agreed to organize 50 comedy nights as a tribute to their 50th birthday.

Have you got any exciting upcoming acts for viewers to look forward to?

We do indeed. We have an incredible line-up on February 17th.

We’ll be doing 3 shows in one night all at the Old Fire Station. By the end of the night we will have done our 48th, 49th and 50th show for Mind. The show features our first headliner Ivo Graham, the wondrous Rachel Parris (the IT Crowd, BBC Radio 4). Not to mention our headliner who we’re incredibly excited about, James Acaster.

James is in the process of recording three shows for Netflix, he’s also just debuted in the states on Conan O’Brian not to mention having been nominated for the Edinburgh Fringe Comedy Award (the most sought after award in comedy) twice. He’s one of the best stand-ups currently in the UK and he’s about to explode across screens. We’re very lucky to have him on board, and we’ll be very pleasantly surprised if he doesn’t get snapped up by a TV recording on the night.

Do you have any previous ex-

Harry Houseman, Jericho Comedy

The Oxford Playhouse

What: All That Fall When: Tuesday - Saturday (28th-2nd) Where: Oxford Playhouse, BT Studio Tickets £6

perience in theatre/comedy?

Alex and I both met on the Oxford comedy scene. He was a philosophy R.S. and history teacher and I was an archaeology and anthropology student both doing stand-up for a couple of years.

What are your upcoming drama plans alongside Jericho Comedy?

I also run a new night which has been really exciting ‘Mock Trial: An Improvised Court Case’. It’s a comedy trial in a real court house.

The story is one of the interns has shredded all of the legal documents and destroyed all of the evidence so we rely on audience members to bring their own household items and to make up fictional crimes (which they fill in on little witness statement forms), then we present the trials and crimes. The show has been really well received with four stars from the Oxford Mail it really is “guilty of fun in the first degree”.

The next show is on Jan 17th at the Oxford Town Hall Court Room Anything else to add?

If you ever fancy having comedy in your college you can have us to run a fundraiser with our night ‘College Comedy Nights’ where we book all the acts and bring our kit you just invite us into your college. We’ve done shows in 13+ colleges and they keep coming! Also if you fancy hearing about shows you can always find tickets at www.tightfive.org or on the facebook page ‘Comedy In Oxford’.

Keble O’Reilly

The Old Fire Station

What: A Very Old Man with What: Doubt: A Parable Enormous Wings When: Tuesday-Saturday (28th2nd) When: Tuesday-Saturday (28thWhere: The Old Fire Station 2nd) Tickets: £14/ £12 conc.

Where: Oxford Playhouse, BT Studio

Tickets: £6

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The Oxford Student | Friday 24th November 2017

SCREEN

An interview with Ken Loach: film and politics Richard Tudor Screen Editor

“Films can do anything: from the broadest comedy, to the darkest tragedy, to documenting what’s happening in a very direct way.”

When asked the question “Are films the best way to put forward a political agenda?” this was how Ken Loach responded. A director whose entire career has been spent highlighting social problems and individual experiences through a realist lens, Loach rejects the boundaries that we place on films, stating that we should not ask what films should do, and instead recognise what they can do. He looks for “stories that demand to be told, that have a signifcance beyond their simple narrative.”

Ken admits that one film alone cannot make a political movement. He argues that his films must be placed in their political context and that have inspired thousands of people into social action. One of his early works for the BBC, Cathy Come Home, had an enormous impact on social attitudes towards homelessness, spread awareness of the problem and encouraged support for the newly-formed charity Shelter. In making Cathy Come Home, Loach

pioneered realistic documentarystyle filmmaking.

We move on to discuss his latest film, I, Daniel Blake, which was one of the most well-received and critically praised works of his career, receiving the Cannes Palme d’Or and the Outstanding British Film Award at the BAFTAs. Ken and I speak at length about the filming of the much-discussed foodbank scene, and again how he achieved the shocking and realistic style of the scene. Filmed in a real foodbank with real foodbank workers and users, Hayley Squires, who starred as Katie, was the only member of the cast who was aware of what she was to do in the scene.

The responses from the rest of the cast are how they would respond in real life. Inspired by the Italian neo-realists of the 1940s and 50s, Ken’s use of non-professional actors has been a theme throughout his career, using a blend of experienced actors and ‘real’ people in scenes in Land and Freedom and Cathy Come Home. He tells me that he always tries to use the people who will “bring the story to life in the most authentic way possible.”

As regards the scene in the foodbank, where Hayley Squires’ hunger betrays her, and only she knew what would happen, Ken tells me

Ozgurgerillla

OxStu’s Top 5 Christmas Films...

Irina Boeru & Richard Tudor

it was impossible to predict how the actors would respond. He describes orchestrating the scene, by ensuring that there was an obvious place in the set for the actors to move to. Summing up his directorial philosophy he tells me that “direction is like digging a trench for the water to run down into, making sure that it goes in the right place.” Ken is keen to stress the collaborative role of the director with the rest of the crew.

ing on the cult of celebrity which enshrouds footballers, Looking for Eric was an exploration of football fan culture by a lifelong football fan. Marked with his usual exploration of social issues and personal difficulties, Looking for Eric is one of Loach’s most popular and well-known films.

From the start, politics have informed and underpinned the films he has made. Despite a chequered relationship with the Labour

Direction is like digging a trench for water to run down into, making sure that it goes in the right place After asking him about his role as a “film-maker,” Ken observes that generally too much emphasis is placed on the director; he is only one cog in the machine of the overall team. Ken is keen to stress that the creative powerhouse of the film is the writer, bringing the film to life from a blank piece of paper.

Ken has worked with a huge number of people throughout his long career as a director, but none more than long-term collaborator Paul Laverty, who wrote both Palme d’Or winning films, I, Daniel Blake and The Wind that Shakes the Barley and the 2009 comedy Looking for Eric, starring footballer Eric Cantona as himself.

Cantona is the spiritual guru to down-on-his-luck football fan Eric Bishop, a film of particular interest for me as a Manchester United fan, to which Ken remarked “never mind, someone has to be!” Ken tells me that during the filming, Eric was a team player who helped out with everything: “one of the gang.” Despite, like Bishop, being initially overawed by the Messianic figure of Cantona – “as a football fan, film people hold no mystery, but footballers do” – Ken and Eric struck up a great friendship during the filming which persists to this day. Deconstructing and play-

Party, he has returned to the fold following the election of Jeremy Corbyn as leader in 2015. He took a role in campaigning leading up to the 2017 General Election and directed a party-political broadcast. He sees the possibility of real social change, and with the arrival of Corbyn and John McDonnell, the public is no longer faced with two parties whose politics are sometimes hard to distinguish.

The public “no longer has to support the lesser of two evils.” With the support of thousands of new members, Ken argues that the party must change through the grassroots (where Corbyn’s main strengths lie), replacing many of the MPs and councillors, who remain in office today, and who failed to fight the cruel austerity measures he so vociferously rails against in I, Daniel Blake. He sees the role of the grassroots Labour party as essential in reshaping the party.

As well as his relationship with the Labour Party, Ken Loach’s career has been defined by his powerful political activism and support for the causes he champions.

Unafraid to show his support for the BDS movement by withdrawing his films from festivals sponsored by the Israeli government, Ken tells me that such activism is

simply following the logic of the films he has made: “You have to be prepared to defend the views that are implicit in your films.”

This applied particularly to the discussions following his 2006 film The Wind that Shakes the Barley, which depicts conflict between Irish republicans and British ruling class in the Irish War of Independence. Throughout his career as both political activist and director, what he tells me next rings very true: “You either support the people who are being oppressed or the people who are doing the oppressing, so that’s not much of a choice really.”

Does he have any regrets? Although he recognises that he’s made mistakes when he was younger, and looks back at edits that he may have cut differently or scenes he may have shot differently, he sees it as a process: you learn from it the next time, and make sure the next time you get it right. Ken says to me that a lot of his career has been about luck: his first real stroke of luck was getting into St. Peter’s, Oxford (before it was granted collegiate status), and his second, starting work for the BBC, where his attentions turned away from the theatre of his student days and towards the screen, which would become such a defining part of his life. Being lucky to be in the right place at the right time, in his words, was very important in his career. He has devoted himself to championing the cause of the underdog, telling the stories of ordinary people on the silver screen, and presenting his perspective on the world around him. In his own words, Ken Loach has continually stretched the limitations of the medium – “like prose, the medium of film can be anything – consciously honest, or consciously dishonest, or doing your best to be honest.” This striving for honesty, presenting the struggles of real life and the stories of people that “demand to be told,” has defined Ken Loach’s long and illustrious career in the film industry.

Die Hard (1988) Bruce Willis foils a terrorist plot led by Alan Rickman’s Hans Gruber in this Christmas Eve action staple. As he crawls through the vents of Nakatomi tower, Willis stops the terrorists single-handedly., ending in a gripping final showdown above the Los Angeles skyline. Yippee-kye-ay, melon farmers!

It’s a Wonderful Life (1946) Set in the Great Depression, James Stewart’s George Bailey contemplates his life on Christmas Eve and wishes he had never been born. Guardian angel Clarence shows what the world would be like without him in this heart-warming Christmas classic about the significance of the little things we all do on a daily basis.

Home Alone (1990) Left alone in his house over the Christmas holiday, and under siege by two accident-prone burglars, 12-year-old Kevin must fend for himself while the adults are away. This film propelled Macaulay Culkin to child superstar status, and won Pointless presenter Richard Osman’s World Cup of Christmas Films in 2016.

White Christmas (1954) Starring Bing Crosby and featuring the Irving Berlin Christmas song of the same name in the iconic closing sequence, this must-see classic film depicts Christmas in the golden age of cinema.

Elf (2003) This modern classic features Will Ferrell as Buddy, an oversized ‘elf’ who causes havoc in Santa’s grotto and is consequently sent to America to find his real faPixabay ther.

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The Oxford Student | Friday 24th November 2017

The cinema experience: why do we still visit cinemas?

Laura O’Driscoll Staff Writer

“Anyone seen anything good at the cinema recently?” My professor cheerfully asked a room full of film studies students during a recent seminar. An awkward silence descended. Somebody coughed. From a corner, somebody else muttered sheepishly: “I haven’t been to the cinema in years.”

It’s a phrase that’s becoming more and more frequent as streaming becomes more and more a part of our daily lives: the ever-growing empires of Netflix, Amazon Prime and Mubi (not to mention other slightly less legal options) mean that there’s barely a film gracing the big screen that you can’t get hold of from the comfort of your own home for a fraction of the price (with the added benefit of being in your pyjamas and a few feet away from the fridge). So why, in the age of instant gratification and on-demand entertainment, would anyone bother going to the cinema?

The problem is that film in the mainstream is all too often seen as falling into one of two categories: “art” or “entertainment”.

Films in the “art” box are assumed to lack plot, whilst films in the “entertainment” category are dismissed as unintellectual and aesthetically unoriginal. But film is neither art nor entertain-

ment: at risk of stating the obvious, film is film. Just like good literature, painting or music, a good film should combine both art and entertainment. In this light, asking “why go to the cinema instead of just streaming the film?” is a bit like asking “why go to the Tate Modern instead of just googling pictures of modern art?” or “why read the book instead of just skimming the SparkNotes?”

There’s a big difference between watching a film and experiencing a film There’s a big difference between watching a film and experiencing a film. When you’re streaming a film you can have your phone in one hand and Facebook pinging away in the background, you can pause the film to go to the loo, make dinner, put the kettle on or answer a phone call. Focus goes out the window. In a theatre, there’s quite literally not a window in sight. You focus: you turn off your phone, the lights go down, you become immersed in the sights and sounds of the film.

Plot is only one of many elements that combine to make a film worth watching, but with

streaming culture comes a need for constant action, something constantly “happening” to hold your attention – you lose the intensity of a swelling soundtrack, the agonising tension of a long take, the growing network of significant patterning between scenes, the crucial subtlety of a character’s change of expression or nervous tick. Essentially, you miss the aesthetic suspense, that vital meeting of art and entertainment that makes the difference between simply watching a film and really experiencing it.

Focus on the whole piece, and you won’t need a plot haemorrhaging adrenaline, heaving with high speed chases, bursting at the seams with belly laughs or vomiting up romantic drama. A film can move at a snail’s pace and yet be utterly gripping if you simply give it the time and attention needed for it to hook you in: take Hitchcock’s Rope for example, which, in only eight long takes filmed within an almost claustrophobically small set (the film’s most dramatic moment is over within the first thirty seconds) still manages to captivate audiences from the first moment right up until the very last second.

This year, after years of rapidly declining turnouts at cinemas worldwide (with 2015 seeing the lowest box-office revenue in over two decades) Jordan Peele’s directorial debut Get Out famously

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became the highest-grossing debut ever from a writer-director working from an original screenplay, with Peele himself echoing fans’ sentiment that the “theatre energy” was vital to the “intended experience” of the film. At a cinema viewing of a film like this the audience member has no control, and the growing horror and chilling proximity of the relentless social paranoia that envelops them is inescapable: at home, this is boxed up and contained in the safety of a television screen, and if it all becomes too much you have the ability to escape the oppression of the screen. Removed from the cinema, the film’s effect is diluted and its power flattened: in a word, it’s just not the same.

Of course, not every film fits this bill. I’m sure nothing particularly mind-blowing would be revealed about American Pie, for

example, (and all its various sequels) on the big screen. That’s not to say it’s not an entertaining film, but it certainly falls into the “entertainment” category more firmly than it does the “art” category. Films like this are made to be easy watching: they deliberately don’t demand your full attention. But there’s a reason films like Interstellar and Avatar made a big impact in cinemas before swiftly fading into almostnothingness once they quit the cinematic arena: any film worth its salt is made to be seen in a movie theatre.

And if none of that’s convinced you, just go to enjoy some alone time with heinous amounts of popcorn and Coca-Cola – because when else is it socially acceptable to sit on your own in the dark and inhale a bucket-load of sugar and salt? Exactly.

Sex on screen: heavy breathing and awkward silences Nathaniel Rachman Staff Writer

It’s undeniable that the movie sex scene can be an awkward affair. The way the camera lingers a little too long when it should have cut a good ten seconds ago.

How your talkative family viewing suddenly dries up into a clammy silence. The way you don’t quite know where to look. The nervous clearing of the throat once it’s all over. The knowledge that this is something you’re all interested in, but don’t want to be interested in together, at the same time, in the same room. Or maybe how the scene seems instead almost procedural, a slightly boring and trite inevitability that takes you out of the film.

Sex scenes, however, don’t always have to be so bad. It’s perhaps fitting that an especially well-done example also comes from the best film of the 21st century (or so the critics would tell you): David Lynch’s Mullholland Drive. This sex scene also happens to be my favourite moment of the movie. Whenever I tell anyone that, I tend to get a weird look.

First off, it’s not exactly the choice of many others; some particularly famous scenes in a diner and a surreal club tend to receive more attention. Then there is the understandable suspicion that my enjoyment of this episode comes from the fact that it has two conventionally exceptionally attractive actresses going at one another for a good couple of minutes. There is perhaps some truth in this. It’s undeniable that part of the appeal of the scene, and sex scenes in general, is their eroticism and, indeed, the voyeurism involved. If there’s none of that, it’s hardly a sex scene in the first place. The reason, however, why Lynch gets this moment so right is that it’s about a lot more than just carnal pleasure. Having experienced a surreal and terrifying trip round the streets of LA, Betty and Rita, the protagonists of the film share in sex a mutual display of their vulnerability and unity. It’s a bizarre combination: Betty, the all-American ingénue and Rita, a distant amnesiac holed away in a stranger’s flat.

But because of the emotional significance behind it, it avoids being a purely smutty filler. There’s also a touching degree of sexual

exploration: when Betty breathlessly asks Rita whether she’s ever done this before, all Rita can reply, with her damaged memory, is ‘I don’t know’. There’s even more to the scene on a second viewing (if any film ever deserved one, it’s Mullholland Drive). The moving and pitiful ‘I love you’s from Betty become gut-wrenchingly resonant knowing how the film ends.

Throw in the mournfully soaring score of Angelo Badalamenti and you have to my mind the film’s finest moment. Rather than an awkward interlude, the scene becomes an utterly enthralling and deeply moving portrayal of sex, yes, but also something that transcends a purely physical plane.

There could after all be something fun about mindless expressions of sexuality An illustrative example of where things can go wrong is that of Park Chan-wook’s The Handmaiden, a Korean adaptation of

Sarah Waters’ novel Fingersmith.

Here, the film repeatedly teeters on the edge of bad and good sex scenes. What’s good about them, is, again, perhaps their wider significance. The film (initially) concerns a confidence trickster in the form of a handmaiden, known as Sook-hee, and her attempts to con her unhappy mistress, Lady Hideko. Things get out of hand however, and end up in extended lesbian sex. But, as with Mullholland Drive, there’s something more. In gaining pleasure from one another, the two escape from a world of male domination and their sex becomes a clandestine counterthrust to the perverted games that Hideko’s uncle forces her to undergo for the enjoyment of his cronies. In walking however, an admittedly thin tightrope between smut and something more, Park can seem to tilt a little too much towards the former. The sex scenes are almost too drawn out, too acrobatic to be taken very seriously. The old tropes of lesbian scissoring are particularly unfortunate. By rendering their sex something of a performance act, he perhaps undermines the message of his own film. Sook-hee and

Hideko have escaped the male gaze of its villain, Uncle Kouzuki, but fallen straight into that of the audience and director instead.

While voyeurism is probably an intrinsic part of sex scenes, a good one needs to be done with a degree awareness as well as enthusiasm.

This article has therefore a depressingly simple point that extends beyond sex scenes: if you want to make a good film, at least conventionally, make the audience care about the characters emotionally and invest their actions with meaning. In the thrill of getting two actors to writhe about for a bit, however, this seems to be all too often forgotten. It is admittedly possible to conceive of a sex scene that is both excellent and doesn’t quite follow these rules. Perhaps its sole aim is to portray cinematically an erotic climax, purposefully divested of feeling. There could, after all, be something fun about mindless expressions of sexuality. Generally, however, it’s maybe worth adding a little something extra to try and elevate the more risqué moments beyond the standard of heavy breathing and awkward silences.

The Oxford Student | Friday 24th November 2017

Music 22

MUSIC

More relevant now than ever: Billy Bragg in the modern day

Charlotte Lauder finds much to applaud in Billy Bragg’s performance at The O2 Charlotte Lauder Staff Writer

Billy Bragg is never one to shy away from the prescient issues facing British society. In 1986, whilst other bands sang “shyness is nice”, Bragg, his guitar and amplifier, were out at political rallies, marches, and demonstrations supporting the 1983-84 Miners Strike and, importantly, on Top of the Pops, singing that “there is a power in a union”. And now, after the political turmoil of the last few years, Bragg

has re-emerged as the unchanged and punchy socialist folk-punkpoet that the 1980s made him into.

This is reflected in his audience – the over-fifty bracket – who, as teenagers and young adults, listened to Bragg and found someone else with the same underlying feeling of loneliness and anger in a world that was misunderstood.

His songs are about collectivising some kind of British experience, whether that be adolescent unrequited love, rising against Thatcherism, or the solidarity of working class life. Unlike his peers from

the 1980s Red Wedge movement – with the notable exception of Paul Weller – it could be called nostalgia. And yet Bragg is more relevant now than he ever was.

well-known songs, he slips into two or three minute speeches about what he’s been writing, listening to, and what worries him in modern day society: embed-

His songs are about collectivising some kind of British experience, whether that be adolescent unrequited love, rising against Thatcherism, or the solidarity of working class life.

At the O2 Academy on a Friday night, in between his beloved and

Kris Krug

ded racism in America, the lack of journalistic responsibility in the UK, and the frightening realities of climate change around the world, to name a few. Interspersed are his new songs: Full English Brexit, written from the perspective of a disillusioned Leave voter, is a hard listen, but it smacks the listener with the truth of why such overwhelming numbers may have felt compelled to vote leave last June. He covers Woodie Guthrie’s feminist anthem She Came Along To Me, inspired by his tour of America with Joe Henry last year during which they travelled from Chicago to Los Angeles by train.

Bragg’s resulting repertoire is full of lingering songs like The Sleep of Reason, a ballad written in the run-up to the American Presidential election. The track is featured on his latest album, Bridges Not Walls, another Trump-inspired sentiment which holds together a nuanced and rousing set of tracks, aimed at anyone who ‘has felt lost, but not so lost that there is no cause’, he says. Particularly enjoy-

able to hear live is Saffiyah Smiles, a 1950s-blues track, inspired by a photograph taken of Saffiyah Khan, in which she smiles in the face of an English Defence League member whilst protesting at an anti-immigrant demonstration in Birmingham in 2016. During his set, Bragg proves he is still able marry his long-serving political tunes with the layered lyrics he is currently reeling off. He is still able to write and, crucially, listen to society around him and report back on the rebellious societal pulse, which he believes has been re-galvanised by the number of young people who turned out in support of Labour this past May. After a solid two hours, Bragg ends with New England. For a song written thirty-four years ago, its lyrics leave a resonant feeling amongst the audience. Ironically, Bragg may not have wanted a ‘new England’ back in 1983, but neither, now, does he want the ‘new’, post-Brexit, England.

For an audience of (mainly) English people, and as a Scot standing amongst them, it is clear to see why Bragg holds such affinity for his fans. He is up-front when he sings about English problems; but he relates these and other issues (Scottish independence, for example) to a universal movement of solidarity.

What I hope is that, in the future, more young people are able to hear and see Billy Bragg. It is our generation that needs the most amount of convincing that the problems of our world are solvable, surmountable, and not devoid of all hope.

What’s on this week?

harijohnson

Reading Tom

What: Robb Johnson When: 24th November Where: St. Aldate’s Tavern Corbynistas rejoice: musty old earring-sporting folk rocker places a show at that city centre pub most notable for having Sky Sports and being rather over-priced. Aren’t they all. Robb Johnson, furthermore, should serve as a guarantor of the comfortably middle aged demographic said establishments cater to, But it’s a fundraiser, and for a good cause at that, and who knows; it might even be enjoyable. £25.85

What: Open Mic Session When: 27th November Where: The Royal Blenheim Even within the rather notoriously rowdy network of Oxford open mic nights, the Royal Blenheim’s weekly revelry has acquired a notoriety all of its own. Local notables and gypsy flamenco artists of legends past mix and mingle with a crowd as vocal in their appreciation as Mike the landlord is of his beer. If you want a guaranteed session on a perennially inconspicuous Monday, however, there are few better places to be. £0 / Your dignity

Fiction Records

What: Pumarosa When: 27th November Where: The Bullingdon The gradual metamorphosis of shoegaze into dream pop might well be welcome in terms of giving audiences something to sing along to besides vacuum cleaner sounds, but it hasn’t yet quite caught on to the desire for a four to the floor backbeat. A niche gap in the market, to be sure, but then none fill it better than Pumarosa. £8.80

Bryan Ledgard

What: Scouting for Girls When: 30th November, 7pm Where: O2 Academy A vaguely predatory band name hardly helps, but truth be told Scouting for Girls have rather dug their own grave with their music. At least the money they’ll have made from peddling shitty pop rock to their local supermarkets should pay for the boatman’s fare on the ferry across the River Styx.

Who Cares?

Music 23

The Oxford Student | Friday 24th November 2017

‘Luscious, shimmering’: Permo, Spinning Coin Connor Thirlwell Staff Writer

I must have heard the same chords, likely in similar orders and played at much the same tempos, from all the sundry guitar bands I’ve heard.

And yet, an A, followed by an E, and back to an A, with harmonic frills dusted on top and spoonfuls of adorable lyrics about wishing the world were a better place sealing the mix together (all baked at a decent volume), still hardly fails to swell in me some lovely aesthetic wonder.

When I first heard Spinning Coin supporting Girl Ray at the Cellar earlier this month, this is what I was thinking. That, and how I have never seen any group with lanker hair, never a keyboard player who so rarely had cause to use both hands on the keys at any one time, or a more ostentatious display of musicality live on stage – anyone present could not forget when co-frontman Sean Armstrong told the world that the closing song of their set began with a C, a move almost as gawky as when Lou Reed hastened to announce that “Femme Fatale” was the first song he ever wrote with an augmented chord on the Velvets’ Live at Max’s Kansas City LP. But these were just frivolous aside thoughts.

The contrasts in both visual and musical style between Armstrong and his co-frontman Jack Mellin

captured the essence of Spinning Coin’s sound live, and on their debut album Permo. Armstrong, with his sweet, airy voice, delivers luscious, shimmering numbers redolent of “Sunday Morning”. He is into tuning out, having a lie in on a weekend with his lover while watching the warm sun stream in through the windows – “I’m happy just floating with you” he lovingly intimates on “Floating With You”.

Mellin, a tall and rangy presence, has a rougher-round-the-edges roguishness tempered in the messier Carl Barat, Libertines-esque, School of Rock. On “Magdalen”, Mellin is hungry for more illicit leisures- “I want some music in my ears. I want some weed. Some whisky, and couple of Es”, he hollers before the group enter into an unprovenanced hardcore punk thrash.

Amid tender love songs are confessions of daily struggle - “Need some money but not a lot / just a reason to give a fuck”, Mellin pleas on “Magdalen” - and a raging social consciousness - Armstrong too, as it happens, is also into tuning in and lashing out body blows to the apathetic and idle masses in “Starry eyes”: “you say things will never change but don’t ask why… they won’t if you don’t even try.”

As much as Permo proclaims a socialist agenda, sounding stronger is the sense that Spinning Coin are honest, compassionate people who want, more than anything, to do good things with their good intentions. Laced with a thick Glaswegian accent, Glasgow’s indie-music heritage is an unmistakeable

This tension between the loving and gentlemannered with the restless and angry is what makes Permo such an intriguing

This tension between the loving and gentle-mannered with the restless and angry is what makes Permo such an intriguing listen.

Paul Hudson

OLDIE OF THE WEEK

influence. The Postcard records’ ‘Mothership Connection’ “Sound of Young Scotland” sen(1975) sibility – Josef K, Orange Juice Parliament and the like – is the source for a style that is one part love-struck fantasy, and one part insistent, gritty realism. The Orange Juice frontman, Edwyn Collins –who once painfully sang, “Only my dreams satisfy the real needs of my heart”- notably produced half the tracks on Permo at his own Leo Reynolds Clashnarrow studios in Helmsdale, even contributing his oft-unrecognised Moog playing on one track.

But even if their influences are Joe Loong perhaps too detectable, Permo is an accomplished debut. Indeed, I As 8th week dawns, let yourself be transported by the light-year could not refute Armstrong when he groovin’ of psycho-transcendental insists, “I’m giving away my heart”. recording angels George Clinton I’m more than happy to receive it. and Bootsy Collins, coming to you directly from the Mothership. I promise you won’t regret it.

George Clinton’s origins in the quaint barbershop quintet ‘The Parliaments’ flourished into the mid-70s lysergically enhanced funk collective, Parliament. The Mothership Connection, their utterly crazed, debauched concept album stands as the masterwork of all things funky. Clinton takes on the role of intergalactic messiah ‘Starchild’, with Bootsy’s thumbslapping bass stomp guiding the journey through time and space, to a strange world where visitors regularly describe an irresistible desire to tap their foot and nod their head.

But Parliament’s wisdom goes beyond a bass loop sampled to infinity (to which Dr Dre’s ‘Let Me Ride’ among many others owes its success). In the hubbub of end of term party, you might even find yourself quoting Mr Clinton (no, not that one) to your college deans: If you hear any noise, it’s just me and the boys. And really, who can say fairer than that?

Review: The War on Drugs at Alexandra Palace Madeleine Taylor Music Editor

The infirmities of modern rock have been much discussed: Supposedly, anthemic arena-rock has attuned our ears to belting choruses and booming drums, around which are weakly strung a few afterthoughts (‘verses’), while a lazy bassline chugs away in the background. But for my weary ears, there’s no better antidote than Adam Granduciel’s rambling yet meticulous song-writing; and thankfully, during last week’s performance at Alexandra Palace, there was more than enough of it to go round. The War on Drugs have a special knack for creating ‘atmosphere’ – one that emanates from each introspective guitar lick, each droning saxophone solo, and each lyric charged with The War on Drugs’ characteristic combination of pastoral motifs and sentimentality. Most of what they’re doing is just eking yet more mileage out of the playbook of classic Americana (Springsteen, Dylan, and Neil Young), and is hardly revolutionary; But in performance The War on Drugs emerge

as heroes of a push-back of sorts.

The Philadelphia sextet first came together in 2005 over alcohol and Bob Dylan, jointly fronted by Adam Granduciel and early collaborator Kurt Vile (a star in his own right thanks to his subsequent prolific solo career). Since then, they’ve released four albums, with their 2017 release ‘A Deeper Understanding’ receiving near universal acclaim from critics, retaining the lush long-play soundscapes and relentless mid-tempo drum rhythms that popularised their previous record ‘Lost in the Dream’. When The War on Drugs took the stage at Alexandra Palace, kicking off with ‘In Chains’, it laid out the blueprint for their entire hour-and-a-half performance: No fanfare, no celebrity, but simply six virtuosic musicians completely devoted to capturing each subtlety of the music. From the decidedly unshowy brass ‘section’ (Jon Natchez), to Granduciel’s stellar Neil Young imitation, singing with eyes shut as if in the midst of an emotional crisis, not to mention the harmonica solos.

Their set-list comprised mostly songs

Sputniktilt

from their last two albums, which allowed the audience to really feel the tensions between those albums as they fought themselves out on stage: ‘Lost in the Dream’ is an anxious tangle numbed by lonely longing at its core, with no better rallying cry than its marvellously tetchy opener ‘Under The Pressure’ (‘When it all breaks down and we’re runaways / Standing in the wake of our pain / And we stare straight into nothing / But we call it all the same/ … Just wading in the water / Trying not to crack, under the pressure’). Juxtaposing that with recent single ‘Thinking of a Place’, Granduciel’s voice quivered with emotion

and we glimpsed in a flash the real transformation in him as a person between then and now, as he uttered the most sincere romance of his writing career: ‘See it through my eyes / Love me like no other / And hold my hand and something turns to me / And turns me into you’. Mind-blowingly intense as live performances go, my legs were turned to jelly and I’m not entirely sure that my body didn’t transmute briefly into one large goosebump.

One thing that became clearer and clearer as the performance went on, was Granduciel’s ‘from-the-bottomup’ approach to song-writing – The War on Drugs built up layers of sound

‘Well, all right, starchild Citizens of the universe, recording angels We have returned to claim the pyramids Partying on the mothership I am the mothership connection Gettin’ down in 3-d, light year groovin’ All right, if you hear any noise Ain’t nobody but me and the boys’

step-by-step, in perfect harmony, songs bleeding into eachother with rambling guitar solos and synth-play such that you’d be hard-pressed to tell where one ended and another began. The performance rose and fell like a swaying tide, with euphoric ‘woop’s on single ‘Red Eyes’ and up-tempo drumbeats on ‘An Ocean in Between the Waves’ marking definite highs, balanced out by the quiet reflective majesty of ‘In Reverse’ which opened their encore.

Either way, The War on Drugs’ live show is unmissable, and unforgettable.

LIVING OUT Checklist Use this checklist when you go to look at a house. It should help you decide which is the right house for you.

Why not photocopy this list, complete for each house, and take photos on your phone to remind you? You can photocopy this list for free at Oxford SU.

ADDRESS OF PROPERTY:

LOCAL AREA Noise level Shops Transport EXTERIOR OF THE HOUSE Is the roof sound and in good repair?

Are the drains and gutters clear or do they have weeds growing in them?

How does the woodwork on windows and doors look? - are there signs of rot?

Is there a garden? Does it look maintained? - what maintenance will you be expected to do?

Are tools provided?

SECURITY Does the house seem to be secure?

Is there a burglar alarm?

Are the locks on the external doors adequate 5 lever mortice locks? (affects insurance) Are the external door solid and secure?

Do all the ground floor windows have security locks?

Are the window frames strong and in good repair?

Are the windows double glazed? (affects heating costs)

AGENT:

HEATING AND PLUMBING Does the house have central heating?

Does the heating system work effectively?

Is there a gas meter?

Do any of the taps, pipes or toilets leak?

Do the toilets flush?

Is there a shower and/or a bath?

ELECTRICAL SAFETY Does the electrical fusebox and wiring look modern and wellmaintained?

Have all the electrical appliances been safety checked?

Are there enough power points for each room?

Is there an electricity meter?

FURNITURE Has the house got enough furniture for everyone?

Is the kitchen big enough to store and prepare food?

Which items of furniture belong to the current tenants?

KITCHEN AND LAUNDRY Washing machine Tumble dryer Dishwasher Oven Fridge Freezer Do these all work?

GAS SAFETY Is there a current gas safety certificate for the house? (Look for the Gas Safe mark). Legal requirement.

Is there a carbon monoxide detector fitted?

Legal requirement.

FIRE SAFETY In the event of a fire could you escape easily?

Are there front and rear exits to the property?

Are smoke detectors fitted?

Legal requirement.

Is there a fire extinguisher/ blanket?

LICENSED HMO (Houses in Multiple Occupation)

MONEY How much is the rent? ........................................................

What is the total amount you will pay? .................... ............................................................................................................

Who pays the water charges? ........................................

How much is the deposit? ...............................................

Is the deposit placed in a Tenancy Deposit Protection scheme? ..............................................................

Is there an agents fee? If so how much? ................... ........................................................................................................................

Are there any other charges? ..........................................

How much are the utilities? ..............................................

Notes:

Basic rule: 3 or more people who are not related.

Does the property need a licence?

If it does, have you seen it? * All information correct at the time of going to press. 09.15.

advice@oxfordsu.ox.ac.uk oxfordsu.org/advice

The Oxford Student | Friday 24th November 2017

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Fashion 26

The Costume Institute released its theme for the 2018 Met Gala just in time for Oxmas, so let’s talk about that. And camouflage.

Heavenly Bodies: Fashion and the Catholic Imagination Leonie Hutch Fashion Editor

Each year, as I’m sure you know, the Met Gala is held at the Metropolitan Museum of Art in New York in order to 1) fundraise for the Costume Institute and 2) mark the opening of their annual fashion exhibition.

This year Anna Wintour has chosen Rihanna, Donatella Versace and Amal Clooney to host the 2018 gala.

For 2018, the Costume Institute has chosen the theme “Heavenly Bodies: Fashion and the Catholic Imagination”. The exhibition will be hosted across three galleries: the Anna Wintour Costume Centre, the Medieval Galleries at the Metropolitan Museum’s Fifth Avenue Location, and the Cloisters.

The exhibition is intended to create an understanding of the link between the pieces that grace the runway and the items (and ideology) that inspired them. Hence, religious artworks and couture are being displayed alongside each other.

As Andrew Bolton, the CuratorIn-Chief of the Costume Institute at the Met explained: “the focus is on a shared hypothesis about what we call the Catholic imagination

and the way it has engaged artists and designers and shaped their approach to creativity, as opposed to any kind of theology or sociology.

Beauty has often been a bridge between believers and nonbelievers.”

For instance, a Balenciaga wedding dress will be shown in the chapel in the Cloisters next to an oversized crucifix. Parallels will also be drawn between the Met’s Byzantine art collection and a dress from Dolce & Gabanna’s a/w 2013 show, which featured heavily embroidered clothes that mimicked the mosaics in the Cathedral of Monreale in Sicily.

Beauty has often been a bridge between believers and nonbelievers.

According to the Met’s website this is meant to “situate these designs within the broader context of religious artistic production to analyse their connection to the historiography of material Christianity and their contribution to the perceptual construction of the Catholic imagination”. Yes. Also, as so many Western designers are Catholic or have

Catholic connections themselves (such as Coco Chanel, Elsa Schiaparelli, Jean Lanvin, John Galliano and Christian Lacroix), there are a wealth of religious references and holy homages in fashion history to choose from.

The idea of doing an exhibition which examined the connections between religion and fashion was something that Bolton has said he had hoped to do for years.

Initially it was thought that the exhibition would look at Christianity, Judaism, Islam, Hinduism and Buddhism, and feature pieces from each. However, the exhibition now soley features pieces which reference Catholicism.

This restriction may have also

had an effect regarding the lack of non-Western designers. Only three non-Western designers will have work shown as part of the exhibition. Also, of these, only one, Isabel Toledo, is from South America – a predominantly Catholic part of the world.

The exhibition will showcase around 50 ecclesiastical garments from the 18th to the early 21st century, which have been loaned by the Vatican, pieces from the Metropolitan Museum’s own collections and archive as well as around 150 designer garments.

The garments which are on loan from the Vatican have been lent by the Sistine Chapel Sacristy Office for the Liturgical Celebrations

Rvin88 Glamorous Pope Benedict XVI

Korea.net (Jeon Han) Minimalist Pope Francis

of the Supreme Pontiff. Although some of these garments date from the mid 18th century, they are all still used by the Church and so will be set apart from the other exhibits out of respect.

Bolton has said that he has met with various Catholic representatives, such as Cardinal T.M. Dolan (the Archbishop of New York) to discuss the use of such religious artefacts as part of the exhibition, and to ensure that it remains considerate of people’s beliefs.

The last time that so many garments from the Vatican were shown in the States was in 1983 for ‘The Vatican Collections’ exhibition at the Met, which became the third most visited in the museum’s history.

As Bolton stated: “it could be controversial for right wing or conservative Catholics and for liberal Catholics… [and] there will always be viewers who want to reduce it to a political polemic”. However, unlike his predessor at the museum, Harold Koda, he has chosen to tackle more current issues and reflect interests in contemporary society.

“Heavenly Bodies: Fashion and the Catholic Imagination” is being shown May 10 to October 8 2018 at the Metropolitan Museum of Art in New York.

Should we be wearing ‘Camo’ as a fashion statement?

Lucinda Kirk Fashion Editor

“Camouflage” has been an undisputed staple print to any wardrobe.

Articles on “how to wear it” flood my newsfeed and stand prominent from any fashion magazine.

Unconfined to a particular season and successful in maintaining its popularity for decades, its followers include Cara Delevingne, the Kardashians and Rihanna.

But something distinguishes this print to the others. At first glance, camo appears no different to zebra or leopard print, polka dots or stripes. Yet there is something frighteningly more sinister about the former which without a doubt slips the mind of Khloe Kardashian as she laces up her camouflage boots. It is the print of warfare. It is the pattern soldiers are cloaked in as they troop into battle, most likely to their death. But don’t take this as an attack on my part

against any wearer of the print or indeed any brands who indorse it, including Prada, Kurt Geiger, Givenchy and virtually any other retailer. I am myself guilty of owning T-shirts and skirts adorning the style and have have complimented and made positive remarks to those wearing it. As a society, we think that it is tasteful, as it is fashionable and the fact that “everyone”, from a regular club-goer to a world-famous socialite, wears it, we are conditioned to like it.

In the West perhaps, yet it is easy to forget the countries around the world which recognise the connotations with the print. I learned, over the summer, whilst excitedly packing for my summer getaway, that the pattern is banned in Cuba (and tourists are strongly advised against wearing it). A Cuban airport states on their website “It is an offence for anyone, including children, to wear items of clothing or accessories made from camouflage material. Any items will be

confiscated at customs and given back on departure”. The ban also exists in countries such as Grenada, Barbados, Saudi Arabia and many other African countries. Despite the indubitable reason for these countries being on the list, is that they are either ones with a strong military presence or have had a prominent history in warfare or conflict, the point is that they recognise that this print is for soldiers, and not civilians.

It is important to question whether it is appropriate and sensitive Though the military “khaki” can perhaps be excused as being “merely a shade of green”, there is no masking the connotations of camo.

The main aim of camouflage is to ultimately confuse the eye and to

subvert reality. The pattern can be found ubiquitously in nature from birds to tree bark, and in all these cases, its aim is to conceal the subject. This effective method eventually transcribed itself to be put to military use. Before the invention of modern rifles, there was no necessity for military troops to be inconspicuous due to the hand-to-hand combat. In this light we can recollect upon the British red coats in their iconically bright uniform. This all changed during the mid-1800s when the modern rifle was invented and consequentially, marksmen began wearing more inconspicuous gear to conceal themselves while picking off targets. Militarily, it was camouflage was a practical answer to the necessity of reduction in visibility from a distance. Camouflage provided a solely functional role (rather than aesthetic) of increased durability and reduced visability.

The psychological effect of camouflage also has to be taken into account in terms of its usage.

Studies demonstrate that its presence has a mental and hormonal effect on soldiers, both boosting their testosterone and adrenaline levels, as well as gearing them up emotionally for imminent combat.

The crux of the matter is that the association with the pattern is no longer connected to the the desire of remaining inconspicuous, for example animals in nature or hunting. With the global context of incessant wars, conflict and British troops being sent abroad to kill and be killed, this is the current connotation. Perhaps this opinion is too “PC” and others would argue that the pattern was “around long before modern warfare”, it is important to question whether it is appropriate and sensitive considering what is ongoing now politically and militarily. Making a fashion statement out of something controversial has never been looked upon with favourable eyes, so why is this glossed over as it is directly linked to death and injury.

Fashion 27

The Oxford Student | Friday 24th November 2017

FASHION

Jesus walks, God show me the way down the runway Leonie Hutch Fashion Editor

Fashion and religion has been entwined for eons. In fact, Karl Lagerfeld even declared himself a “fashion missionary” in the 2013 documentary ‘Mode Als Religion’ (Fashion as Religion). He also talked about which Popes he considered to be the most fashionable (Pope Pius XII is apparently the best dressed of all time).

And Giorgio Armani actually donated a collection of ecclesiastical vestments to mark the opening of the parvis in a church on the island of Pantelleria in Italy.

Fashion designers have been inspired by and used Catholic religious iconography and symbolism in their collections for years to create opulent and, quite often, gaudy creations to send down the runway: Thierry Mugler’s fashion show for his a/w 1984-85 collection featured nuns, cherubs, a Madonna and Child, Hasidic Jews, the crucified Christ, the bleeding Sacred Heart, ex-votos and a Communion chalice.

Versace’s designs from the early ‘90s featured crosses and iconographic images of the Virgin and Child, as well as elements inspired by the opulent and gilded Byzantine mosaics in Ravenna.

John Galliano’s show for Dior’s Haute Couture Autumn/Winter 2001 collection was opened and closed by a cleric wearing a gown with embroideries by Lesage.

Jean Paul Gaultier’s s/s 2007 couture show featured stained-glass windows, milagros, and garments which alluded to clerical vestments.

In his couture a/w 2009 collection, Christian Lacroix closed his show with a religious bride ensemble in white with gold embroidery and adorned with veils and crosses.

As part of their a/w 2010 collection, Dolce & Gabbana sent models down the runway swthed in red with gold and silver exvotos hanging from their waist.

For a/w 2012 they created a black cloak with golden floral embroidery which mimicked the traditional dress donned by statues of Our Lady of Sorrows.

Their couture s/s 2013 show

Pascal Mannaerts “Crucifixes are sexy because there’s a naked man on them” – Madonna, Spin Magazine 1985

Google Cultural Institute Crucifix by Giotto do Bondone ~1330

included a golden wedding outfit with a crown and veil, which copied elements that appear in statues of the Virgin Mary. And their a/w 2013 women’s collection featured embroidered red and gold dresses based upon the mosaics in Sicily’s Cathedral of Monreale. These dresses were accessorized with golden crowns, cross earrings and branded rosary beads worn as necklaces.

They also named a bag after Agata, the Patron Saint of Catania.

golden crowns, cross earrings and branded rosary beads worn as necklaces For their menswear collection of the same year they showed tops printed with images of saints, lace jackets akin to sacramental linens, as well as shirts patterned with pictures of priests on bicycles, and scarves that were reminiscent of stoles.

For Chanel’s a/w 2011 collection Karl Lagerfeld created designs based upon the mosaics in the Basilica of Sant’Apollinare Nuovo.

In a/w 2011 Cantarelli produced an advert featuring a painting of Christ in a suit on a crucifix alongside the line “Devoti allo stile” (Devoted to Style).

Sarah Burton presented a punk reimagining of Pope, nuns and cardinals for her a/w 2013 collection for Alexander McQueen.

Karla Spetic’s s/s 2013 collection featured a series of dresses, tops and skirts which had been digitally printed to look like stain glass,

Google Cultural Institute The Seated Madonna by William Adolphe Bouguereau 1888

and included designs of Jesus.

Tisci is known for referencing Catholicism in his work, and for his s/s 2013 menswear collection for Givenchy used a number of religious paintings of the Virgin Mary, such as ‘The Seated Madonna’, ‘The Madonna of the Lilies’ and ‘Pieta’ by William Adolphe Bouguereau as his inspiration.

Thom Brown’s a/w 2014 collection also made reference to Christian symbolism, with models walking down the runway with their hair coiffed into halos and in veils.

Christopher Kane created sweatshirts printed with his school’s patron saint, Thérèse of Lisieux this year.

Also in 2017, Jeremy Scott used religious imagery, to “challeng[e] the status quo by pointing out how the commercialism of fashion often seems to resemble an organized religion”.

Celebrity Religious Influences Katy Perry, who was brought up as a Christian, actually wore a dress and crown from Diors’ a/s 2013 this collection to the Met Gala in that year.

Numerous other artists have sighted their religion, or religious upbringing as an influence on their work.

For instance, Kanye West frequently uses Christian religious imagery and symbolism- his music has featured gospel music extensively, for instance in ‘I’ll fly away’ and ‘Jesus Walks’, he has appeared on the cover of Rolling Stone in 2006 wearing a crown of thorns, and had his ‘Yeezus’ period.

Beyonce’s Instagram photo to announce her pregnancy in February parallels Jan Brueghel’s painting of the Madonna and Child in a floral wreath.

Nicki Minaj also attended the Grammys in 2013 in a flowing red cloak with a man dressed as the Pope. wMadonna (the clue is in the name) has used Christian references extensively. In her ‘Like a Prayer’ music video she goes into a church and kisses a statue of a saint, has sex on a pew, has stigmatas on her palms, and dances in front of a couple of burning crosses. However the Vatican decided that this was more sacreligious than sacrosanct, and banned her from Italy.

Peter Hutchins

If you also want a little piece of Christian kitsch* look no further....

Jesus socks, £4, IDEASOX Thorn crown Jesus necklace, £38, Mister on asos Virgin Mary and Christ t-shirt, £11, TEEPUBLIC Virgen de Guadalupe sequin applique patch, £13.30, albioalabao on etsy Virgin Mary tote bag, £10, TheGrungeMonkey on etsy ‘Peace’ christmas decoration, £4.25, Paperchase Cross earrings, £21, RockNRose Jesus leggings, £33, REDBUBBLE You can also purchase iconographic nail art from Hailthenails on etsy for £2.50, because, obviously.

*Let it be noted that no offense is intended, and I’m even a semi-proper Catholic who dressed up as a tiny bride for my first Holy Communion (photo upon request).

OxStuff 28

The Oxford Student | Friday 24th November 2017

OXSTUFF

This week in broadcasting: Christ Church Regatta OVERHEARD IN OXFORD

Tom Gould Deputy Broadcasting Editor

If you have been craving more delightful OxStu broadcasting content this term then Christmas has come early. From Wednesday to Saturday we will be releasing daily highlights of the Christ Church Regatta.

Our coverage will include footage of key races, interviews with the crews, professional commentary from veteran rowers and behind-the-scenes featurettes explaining how the whole regatta is put together.

All the crashes, every cheer from the crowd, each follicle on Henry Grub’s head of hair is in full HD. In our Wednesday coverage we bring you an exclusive interview with Sherlock the dog who was chilling by the riverbank seriously not giving a shit.

Relive every worthwhile moment of the Regatta on our Facebook page and Youtube channel.

“She looks like the girl who called me a c*** on twitter” “I’d rather be sexually active than an old person”

“Do wavy garms give you a wavy soul?”

“I can only really drink Taste The Difference these days”

Thomas Miller

OxQuiz

Which Oxford celebration are you?

1. What’s your favourite song? a. Jingle Bells (Michael Buble) b. Get the Party Started (Pink) c. All Night Long (Lionel Richie) d. Celebration (Kool and the Gang) 2. What’s your favourite drink? a. Mulled Wine b. Some kind of gin based cocktail c. Red Bull d. Champagne Mostly A’s: Oxmas Come the 1st of November you change straight into your Christmas jumper You are not ashamed when it comes to your love for Christmas.

3. What’s your favourite season? a. Winter - the time when you can indulge in all your favourite Christmas past times. b. Summer - you love those long summer evenings. c. Spring - you love to see the blooming flowers. d. Autumn - the changing season gives you a sense of possibility.

4.

What

do you unwind? a. Arts and Crafts

do

to

Mostly B’s: Commemoration Ball You’re here for a good time.

Trinity is your favourite time of year, your only difficulty is deciding which Ball you should attend.

b. Go out for drinks c. Morris Dancing d. Read some classic literature.

5. Where would be your ideal weekend break location? a. Berlin - you can’t wait to check out those Christmas markets. b. New York - the glitz and glam of the city is for you. c. Lisbon - you just want to relax on your city break. d. Paris - so you can check out all French culture has to offer.

Mostly C’s: May Day Your friends are amazed at your ability to stay up all night, your dedication must be commended. Your interests are wholesome

6. What’s your favourite Disney film? a. Frozen b. Sleeping Beauty c. Bambi d. Beauty and the Beast 7. Where is your favourite Oxford hang out? a. The Missing Bean - you can get a steaming hot drink. b. A cocktail bar in Jericho c. The Botanic Gardens. d. The Radcam of course - you can get more studying in.

“D E A T H” “PT is eternal” “PT will always be eternal”

OxFURd

Mostly D’s: Graduation You’ve made it through Oxford and you have your life together (mostly). Now there are some big and exciting changes coming up in your life.

This is Sherlock. He was found at the Christ Church Regatta and enlightened us with his commentary

OxStuff 29

The Oxford Student | Friday 24th November 2017

Drunken debauchery: Our agony aunts share their advice Socrates & Ion Ancient Greek agony aunts

S: At last - a cause close to my heart.

Who among us can throw the first stone when it comes to drunken debauchery? We’ve all made mistakes in the clubs and pubs around this

city which should probably never be forgiven, and some of us have made more mistakes than others - right, Ion? If you can tell me that you’ve never done something in your life that you regret, then don’t mount that high horse and lord it over me every time you see me in college just because I sucked a stranger’s toes on MDMA last night. Hypocrites.

I: I’m all for having a good time, but when your “good time” infringes upon my enjoyment of the evening - for example, if one was to push the limits of inebriation to the point of (God forbid) vomiting, and cause oneself to be excluded from future events at said college, I feel it wouldn’t be unfair to reprehend their behaviour. A verbal warning isn’t necessary, but a patronising look or two, along with a slow shake of the head, should do the trick.

S: Listen, if you’ve chosen to be my friend up until the moment we hit that bop - even if we’ve only just become the Best Of Friends in the toilets or in the Bridge queue - you’ve signed on to be around during my lowest moments. You get more than enough compensation in the form of my sparkling

wit throughout the night, and all the great sconces you’ll have on me for the rest of my life. Hey, if you pull out a few magic tricks, who knows where the night could go?

I: Socrates, no-one - least of all myself - is debating the enjoyment one might receive from a few riveting card tricks. But if you want to ace my spade, you’d better make sure you’re not going to take things so far that my only plausible option is to ghost you for the rest of term. Bad memories of an unsavoury night out can linger on longer than even the worst love bites of a cheeky one night stand, and I certainly won’t be trying to cover my dissatisfaction up.

S: We can certainly agree that there is

nothing worse than a bad night out.

But sometimes the best nights out are also the messiest - a single sordid crew date can open up a whole world of possibilities for all of us, from a fling to a full-on relationship. Let your hair down once in a while and embrace the dark side. At the very worst, you’ll have an embarrassing story about me which you can spread around college thicker than the butter on a stolen bagel.

I: The crucial difference between the fling and the full-on relationship, however, is a having a savoury or an unsavoury tale to tell the next morning. If I intend to spend my evening having a nice time, and end up instead having to restrain an out-of-control friend from miming

fellatio at anyone who will make eye contact, I won’t be spending a night with them again. Its a purely logical conclusion - you can have a good time, just not on my time.

S: And yet you know you will be talking to them again - or doing something even worse, like writing an 8-part series of columns in Oxford’s best student newspaper - because you just can’t stay away from the raw magnetism of bad human behaviour. Sure, we can spend our lives drinking tea and eating tortilla chips, but sometimes you need to spice up your life!

Drink tequila, throw up in a welly, make a misguided pass at a friend’s friend from home - live while you’re young and forgivable, Ion!

Sport 30

The Oxford Student | Friday 24th November 2017

Inside the minds of the NFL: Efe Obada Vincent Richardson interviews NFL prospect about making it in the US Continued from page 32 On his upbringing: “Originally from Nigeria, grew up in south London, Brixton, then recently moved out to Stevenage.”

On what life has been like as he tries to earn a roster spot whilst still living in the UK: “Every time I’ve had an opportunity for a team I’ve flown out and stayed wherever they put me or found somewhere to stay, but I’m still based in the UK.” On his experience of trying to make an NFL roster: “It’s been up and down.

Nothing’s been guaranteed, everything’s earnt in this industry.

Hopefully it’ll pay off.”

On the NFL International Player Pathway program: “I think it’s an amazing program that’ll definitely allow us time to develop. But personally, I’m grateful for the opportunity but I don’t want to solely rely on that.

I want to practice and perform as if I was competing for an active spot on the roster: as if I can get released.”

On how he has found training camp with the Panthers: “There’s been some ups and downs; there’s been some bad days where things didn’t click and there’s been some good days

Jesse Fratis

where I think I’ve learnt things.

Overall, I think I’m getting better, I’m improving and I’m learning the system. They’ve got some amazing players and some amazing coaches and I feel that everybody’s a product of their environment and I’m in a great environment.”

On what he thinks he needs to work on most: “Mainly for me technique: learning how to use my body, how to play to my strengths; and the scheme as well, leaning where I have to be to be part of that bigger picture.”

On where he thinks his technique needs to improve: “Everything; I’m never going to be satisfied with where I am. I’m just going to keep working on everything, keep working on the little things, the fundamentals; getting off the ball, using my hands, recognising where people are and just being able to react faster.”

Obada, a 6’ 6”, 255lb defensive end was initially signed by the Cowboys as a tight-end back in 2015, following a work-out resulting from the Cowboys liaison with UK-based coaching interns during their NFL London game the previous season.

On being asked to transition from defensive end to tight end when he initially signed with the Cowboys back in

2015: “Initially, when they signed me I was a tight end. I played defensive end in the UK but, because of my size at the time (I was much smaller than I am now) and my athletic ability, they thought I’d be better suited to playing tight end because I can run. But the gap that I needed to bridge, in

and his thoughts on the experience: “Yes I have, my first game I think was the Dolphins versus the Raiders at Wembley. It was amazing, the atmosphere was amazing. In Wembley, people don’t really come for a team they just come for the sport; you see all the different jerseys at the same

“It’s been up and down. Nothing’s been guaranteed, everything’s earnt in this industry. Hopefully it’ll pay off.” terms of what I had to learn, was too large so they moved me back to defensive end.”

On how players like Lawrence Okoye have helped pave the way for international players like him: “Lawrence Okoye is an amazing athlete, I’m proud of him coming out here, he’s an Olympian at the discus and played rugby as well, he’s an amazing athlete. I’ve had the pleasure of meeting him and I feel like people like him trying to make that transition definitely benefitted this program, one hundred percent. It’s all about exposure, the thing that separates the Brits, or any other people that have not been involved in the sport, is exposure.”

On whether he has been to an NFL London game,

game” On whether he thinks the NFL London games are making a significant impact on NFL’s international standing: “Definitely, without that I don’t think I’d be here right now.

Without that exposure, without Dallas going over there I wouldn’t have had the chance to work out for them and be where I am today. That definitely increases the number of people who want to play the sport, the number of people that support the sport, who follow stories and follow people.”

On whether he thinks there is enough appetite for a franchise moving to the UK: “Yes - in short; yes. There is a huge following, there are a huge number of people who are learning about the sport and being exposed

to it and going to games. I feel it would definitely work.”

On his thoughts of potentially being able to play at Wembley: “I would love for the Panthers to go out there, that would be amazing; that would be my dream actually, to play in front of my friends and my home fans.”

Speaking to Panthers’ Head Coach Ron Rivera before the Panthers’ first pre-season game, he has the following to say about Obada’s play thus far into the preseason: “I think Efe’s done an outstanding job, he really has.

He’s picked up what we do very nicely. We see his athleticism, his skill; he’s an explosive athlete.

It’s going to be fun to see him get his opportunities on the football field.”

During the Panthers’ four pre-season games Obada had three tackles, a sack and a pass deflected in limited playing time.

While he will not play throughout this season, given his athletic ability and improving technique he genuinely has a good chance to make the Panthers roster for the 2018-19 season.

I would like to thank the Panthers for the opportunity to cover their training camp and for setting up the interview and I would also like to thank Efe for spending the time to talk to me.

I wish him the best of luck in his quest to make an NFL roster.

The Oxford Student | Friday 24th November 2017

Oxford City in the FA Cup - a preview

Sport 31

Semi-pro Oxford City face Notts County in the second round

Harry Croasdale Staff Writer

In what has been a difficult season so far, the FA Cup has proved a welcome distraction for semiprofessional Oxford City. Sat comfortably within the relegation zone of the National League South and without a win in 9 league games, it seemed inevitable that City would succumb to defeat away to League Two Colchester United.

However, a tremendous rearguard effort set City up perfectly to gain a smash-andgrab victory over the U’s, courtesy of top scorer Matt Paterson’s well placed header early in the second half. As they approach the second round, City will be well aware that they are just one win away

from a potential clash against Premier League behemoths such as Manchester United or Arsenal.

In their way stand Notts County, managed by former West Ham, Newcastle and Bolton star Kevin Nolan, who has transformed the outfit from relegation candidates to promotion contenders. Notts, who currently sit top of League Two, will be far from pushovers, having achieved their rise by correcting a previously leaky defence whilst maintaining their attacking effectiveness.

Former Welsh international, and this season’s captain, Richard Duffy has been a commanding leader at centre back, and whilst an attacking partnership of Shola Ameobi and Jon Stead may not seem as intimidating as it may have a decade ago, it has been integral to much of Notts’ success

so far.

That is not to say that all hope is lost for City. County, the oldest football league club in the world,

once had, a problem embodied by former Stoke City man Carl Dickinson at left-back. Should Oxford exploit these faults, they

In the FA Cup, with every move captured under the watchful eye of the cameras, anything can happen have suffered their fair share of upsets over the years.

Just two seasons ago, a Notts side containing Stead was embarrassed by minnows Salford City on live TV, with City’s match also scheduled to be broadcast on BT Sport in just over a week’s time.

Indeed, thi0s Notts side suffers from many of the same issues as its predecessor, featuring players with experience in higher divisions who no longer possess the pace they

could well find themselves once again on the brink of an upset.

The City players will not be short of motivation for the tie, particularly striker Patterson. Aged only 28, the Scot will be looking to prove that he still has the quality to perform at a professional level, having previously been released

by Southampton and Southend United. Four successful seasons in non-league have not been enough to see him return to the higher

echelons of the football pyramid, and for a player looking to prove his worth, the occasion will not come much bigger than on national TV against such an historic club.

By reaching the second round, Oxford City have equalled their best ever FA Cup performance, and will be hoping for a more positive result than they achieved at this stage in 1969, when they were defeated 5-1 at home to Swansea Town (now Swansea City). They will be far from favorites, but if they are able to use their underdog status to their advantage, whilst also maintaining their turnaround in form following victory in the previous round, then it would be unwise to dismiss the non-league outfit. After all, in the FA Cup, with every move captured under the watchful eye of the cameras, anything can happen.

dannybearham

The pursuit of equality: are quotas worth it?

Continued from page 32 Yet where they are not wrong is that a quota system does discriminate based on race, which many view as the wrong way to address the issue.

The quota system, really, seems to boil down to an issue of incentives.

The real aim of the system is to improve the underlying systems for player improvement, and extend equal opportunities throughout the country. Quotas are not the only way to do this. In fact, they are an indirect way of reaching this goal. Quotas provide clubs and national sides with incentives to help the non-white players be as good as they can be,

because they have to include them, and hence the system is improved.

They are about engendering need within the clubs, and in this respect, they appear necessary.

South African rugby clubs have long been able to rely on a stable core of hulking Afrikaners. Rugby is like a religion to many in white South Africa, and has been for generations. Schools, such as Grey College, King Edward VII and Paarl Boys – all predominantly white – have produced generation after generation of sporting talent, and continue to do so. These are the three top-ranked South African rugby schools in 2017. Yet they are not the type of schools that many from marginalised

communities areable to go to. In 2015, Paarl Boys did not have a single black staff member, and many of these rugby schools are very Afrikaans. What this means is that sporting opportunities, though not as overtly, are still swayed in favour of the Afrikaans and white population of South Africa – despite the fact that they make up just 8.9% of the country.

Without a strong push, this is unlikely to change, and this is the justification for a quota system.

However, this is not where the argument ends. It essentially comes down to pitching short-term success against equality, and surely greater success in the long-run.

Some are unhappy with the short-

term costs, and lament ‘the demise of South African rugby’, others are more long-term in their views.

It does seem that the sporting world is crying out for an alternative. A measure that would be effective, but that would also give teams the autonomy to pick on merit. Perhaps positive incentives – financial rewards for expanding the training network, or government funded programmes – rather than a fear of punishment, should be the course of action.

There is no clear answer to this issue. The greatest advocates of the quota system are, of course, disheartened by the current lack of success in South African rugby, and they also realise that it could

mean missing out on talent, or preventing talented sportspeople from playing – Kevin Pietersen is a standout, who moved to play cricket for England as a result of the quota system. Yet, this lack of success can certainly not be blamed on the quotas entirely, and, really, if this is the cost of long term change, and improvement of the underlying systems of opportunity, training and selection, then perhaps it is worth the disadvantages.

Follow @OxStuSport on Twitter for more sporting updates

SPORT Sport 32

The Oxford Student | Friday 24th November 2017

Oxford City FA Cup Preview

Are quotas worth jeopardising success?

The pursuit of equality: are quotas worth it? Inside the minds of the NFL: Efe Obada Vincent Richardson Sport Editor

Rae Allen

Danny Cowan Sport Editor

Sport is supposed to be the world’s greatest meritocracy. An arena in which it does not matter where you come from or how you got to where you are, where talent is the be-all and end-all of selection and success.

Sport is supposed to be like this.

Yet, in many ways, it is not. Sport is not a meritocracy because life is not a meritocracy. Though it is, mostly, possible to break into the highest echelons of sports from all sorts backgrounds, there is no denying the fact that those with the greatest opportunities have the best chances to succeed, in sport as in life.

This is what a quota system attempts to address. Perhaps the most obvious example of a quota system in world sport today is in South Africa. After

years of Apartheid, when nonwhite players were unable to represent their national side, the South African government and sporting unions have taken steps to try and remedy the sporting imbalance that endured beyond the end of the Apartheid regime.

For rugby, fifty percent of the squad by 2019, and four out of eleven players for cricket, are required to be “players of colour”.

The aim of such policies is honourable. It is, in effect, an attempt to balance opportunities.

The disinterested or unthoughtful may make the argument that all players currently have the same opportunities to enter South African teams, but this would be to ignore completely the lasting effects of Apartheid.

A system in which non-whites were relegated to second class citizens and barred from participating in national sport meant that there

were no systems in place for their training, the cultivation of their talent, and – amongst them – no culture of involvement or passion to play. The underlying systems by which one makes their way to national sport were just not present in these communities.

The sudden changing of rules to allow anyone to play for the national and club sides does not immediately put these systems in place. The national sides, as well as the clubs and academies below them, need to be encouraged to expand their scouting and training networks into previously unchartered territory, and one way to ensure that they do this is to make it obligatory to have people from previously unwelcome communities in the team, and hence make it in the teams’ best interests to expand the opportunities and training available to them. The aim is to equalise the system,

and, ideally, quotas should be a temporary measure, implemented until the opportunities to make it to the top are in fact equal for everyone, and sport can once again return to a purer meritocracy.

Yet this system, though healthy in the long run, has some serious short-term effects on the teams.

The South African rugby side has fallen greatly in stature in recent years, and many blame this on the quota system. They believe that it has resulted in talented players being overlooked in favour of some that are less effective.

The system is one that may require the exclusion of a superior player based on his racial background. Some even go so far as to make comparisons with the regime of old, though this clearly overlooks the chasm between the motivations for each system.

Continued on page 31

The NFL might sometimes be thought of as a purely American sport, but in recent years there has been a sharp increase in the number of players trying to make it from overseas. The most high-profile player to attempt the transition in recent times was British Olympian Lawrence Okoye.

Despite showing obvious promise, Okoye failed to make the leap.

Following on from him, German amateur player Moritz Bohringer was selected in the sixth round by the Vikings back in 2016.

While Bohringer again showed interesting athletic promise and base technique, the learning curve has so far proved too much for him and he is currently a free agent.

The NFL, recognising how players coming from overseas will likely need longer to adjust to the NFL game than those coming out of US colleges, decided to make a change. From the beginning of this season, four teams – the Saints, Buccaneers, Panthers and Falcons – were selected to be the trial group for a new international programme.

Under the programme, each team gets an additional practice squad spot for the year in order to develop an international player. While the player would be ineligible to play in games, the idea behind the scheme is that, by giving the players a year to train with an NFL team, they would then be in a better position to compete for a roster spot a year down the line.

During Training Camp in Spartanburg, South Carolina, I was lucky enough to sit down with Brixton-raised Efe Obada, the Panthers’ signee, who is trying to make it after pre-season stints with the Cowboys, Chiefs and Falcons. I wanted to get his take on the programme, NFL London and his transition to the NFL.

Continued on page 30