Volume 71 Issue 3
Thursday 23rd October 2nd Week
oxfordstudent.com
Wadham Matriculash out of control
Fresher house in Cowley trashed in “sick night” of post-ceremony partying NICK MUTCH NEWS EDITOR
PHOTO/ Daniel Villar Onrubia
Lecturers threaten strike action UCU strike ballot finds a majority in favour of a strike over changes to pension plans ADAM DAYAN NEWS EDITOR
The academics’ union, University and College Union (UCU), has threatened “marking boycotts and a refusal to set exams” over pension changes. The dispute is over Universities UK’s proposed changes to the Universities Superannuation Scheme (USS), a pension plan for academics at the UK’s “old” universities including Oxford. The changes are in response to deficit in the USS. With nearly 10,000 members, Oxford has the largest number of members in the USS pension scheme.
UCU’s strike ballot closed on Monday. The union reported that 78 per cent of voters backed a strike and 87 per cent backed action short of a strike. The turnout of 45 per cent was the highest seen in a strike ballot since UCU was formed in 2006. This development does not mean that a strike will necessarily occur. UCU general secretary, Sally Hunt, said: “UCU members at universities across the UK have made it quite clear today that they reject the radical changes being proposed for their pensions. We will go into talks on Wednesday hopeful that we can re-
solve the current impasse.” Hunt added: “However, we will go into that meeting with a serious mandate from members that they need to see real improvements. If the employers do not address our concerns then we will meet on Friday to determine what forms of disruptive action we take and when they would start.” A UCU statement described the possible consequences for Oxford students: “The ballot made it clear to members that a vote for action would most likely lead to a marking boycott and a refusal to set exams. The action would stop students
Music OXII p.7
Arts & Lit OXII p.2
Find out about some front-runners in this year’s Mercury Prize
Read an interview with the artist Fred van-Brandenburg
being set coursework or receiving formal marks and feedback, as well as halting exams.” The dispute between the union and Universities UK centers on the effect of proposed reforms to the USS pension scheme. Universities UK have argued that the changes are required to solve the scheme’s deficit. However, UCU argue that the methodology used to calculate the deficit is “too simplistic” and “doesn’t take account of the scheme’s underlying strengths”. A UCU statement said: “Since Continued on page 5 »
Comment p.11
Consider whether ‘myths’ surrounding Oxford access are really ‘myths’ at all
Wadham freshers have “destroyed” a substantial amount of furniture and turned a rental house into a “bomb site” after a house party at a second year residence got out of control. The second year tenants of the house have set up a crowdfunding page at gofundme. com in order to pay for the damage caused, and have raised over £150 so far from 29 people. The house party, which took place in Cowley on Saturday night, was part of the ‘matriculash’ celebrations taking place following the matriculation of Wadham’s freshers. The gofundme page explains that “You guys all had a sick night at matriculash but poor Jack McCabe now has no bed and his room is a bomb site so we need $$ to buy him new shit and repair the place.” One Wadham student who attended the party told the OxStu: “we lost control of the night about 2am and the party continued until about 4.30am. The same party was on last year but it was a bit shit; only a sink got destroyed. This party got significantly more raucous than normal. The police turned up twice, but we didn’t get shut down or anything.” “On the night we reckon we had between 150 and 200 people in the house, somehow a chest of drawers and a bed were destroyed, a door came off its frame and a few light bulbs were smashed. No disciplinary action has been taken yet, but our landlord doesn’t know either so we have set up a Matriculash Recovery Fund to raise money for a new bed.” Some of those who contributed to the crowdfunding efforts described their motivations for doing so. Jakk Hayes commented: “£5 is massively worth it for yoloprincessing to fuck Continued on page 7 »
Sport p.20
Take a look at racism in the sporting world and how clubs can best tackle it
2 Editorial
23rd October 2014
Editorial No platform
T
he debacle over the article featured in St John’s Gender Equality Festival’s zine is not an accurate reflection of the fantastic speakers and events being hosted throughout the week. However, it has brought discussions of ‘no-platform’ and editorial independence to the fore. Most arguments made in favour of the freedom of platforms equivocate. We are reminded it is oppressive to deny voices the opportunity to be heard, that we risk stifling debate and discussion. These are valid observations, however a few qualifiers are required. The very role of editor requires a rooting out of content considered illegal, inappropriate or poor, and in this sense, there is no such thing as News Comment Features Music Screen Stage Arts Fashion Sport
an entirely free platform. That sounds scary and fascist, but in purely pragmatic terms, the role of the editor is to regulate the platform in publication; that means selecting articles that suit your publication, its ethos, and your audience. It is when the editor forgets these things that the platform is undermined.
Up close and personal
F
rom reporting on Oxford life to being reported on, this week at the OxStu has seen some extensive coverage of both our staff and stories. We feel blessed to have been the subject of two Tab articles in one evening and are pleased to have assisted the online tabloid as it continues to reach new journalistic heights. To the fresher who vomited during an English lecture on the discourse of
work with us
‘Agony Lad’, we can only apologise for our predecessors who were responsible for the column this time last year. While it might not be fun to have your post-Park End puke posted on a newspaper website (photographic evidence included), there is a case for lecture-induced spew being in the public interest. Their other story, however, tells us nothing about the nauseating nature of English Prelims Paper I, and all about the Tab’s continued culture of attacking individuals. We were under the impression that the Tab had turned over a new leaf: fewer lists, no ‘Totty’, and opinion pieces that expressed more than a desire to defend ‘pissing in sinks’. As a well-funded online platform with a national reach, the Tab is a great space for students. An article from Leeds can go viral in Oxford, and vice versa, expanding the bub-
ble and enabling students to be more aware of what is going on throughout university culture – vomiting freshers included. This week, Ruby Breward’s ‘Don’t worry guys, we’ve cracked feminism’ demonstrated how the Tab’s broad appeal can be used to more constructive ends than sharing photos of wild-eyed clubbers in Bridge. That is why it is disappointing that the Tab chose this week to run an article that targeted not an institution, or a journalist with an administrative role in the organization of this newspaper, but rather someone whose work thus far has been in a creative capacity. The deliberate
miscontextualisation of her words is clickbait journalism. Like an unwell fresher, the Tab is regurgitating old material. It’s just a bit less funny.
Are you a photographer, cartoonist, film-maker or just a plain old journo? With the largest readership and the most national stories of any student publication in Oxford, The OxStu is the ideal training ground for budding student jounalists. In fact, in last year’s Guardian Media Awards we were not only shortlisted for Student Publication of the Year, but, of the five people on the shortlist for Student Reporter of the Year, three wrote for us.
To get involved email
editor@oxfordstudent.com
23rd October 2014
News 3
OUSU apologises for “deeply frustrating” election delays
Dangers of electoral fraud after ‘rigged’ NUS referendum last term causes OUSU to postpone JCR elections LUKE MINTZ DEPUTY NEWS EDITOR
OUSU has been forced to issue an apology after a number of JCR officers criticised its handling of college elections. OUSU’s actions were described as “deeply frustrating” after it cancelled its subscription to Mi-Voice – the online voting system previously used in most JCR elections – during the summer. OUSU officials failed to set up a new system in time for the beginning of term, with many JCRs consequently forced to postpone scheduled elections. Wadham JCR has delayed elections for its Vice President and Charities Officer, with Somerville JCR forced to use a paper ballot in its elections on Thursday. OUSU was also criticised for the failure to inform JCRs of its actions. OUSU cancelled its subscription to Mi-Voice due to weaknesses in the system and the potential for electoral fraud. President Louis Trup blamed the inability to establish a new system in time for Fresher’s Week on “the complexities of the data and its ownership”. Trup stated: “Our mistake was in not being more transparent about the work going on to make this happen. We apologise to the colleges for any inconvenience caused and will notify you as soon as the elections module is avail-
able”. Trup added that OUSU has put “all its available energy” into resolving the issue. Wadham SU Chair Andrew McKay said he felt “let down” by OUSU. McKay, a third-year Hu-
man Sciences student, stated: “It has caused a great deal of inconvenience … we want to know why common rooms were seemingly not informed of this change.” Aliya Yule, a candidate in the
postponed election for Wadham SU Vice-President, commented that OUSU’s actions are “deeply frustrating”, stating: “It would have been nice if OUSU had let colleges know, rather than allow-
PHOTO/James Waddell
PHOTO/Keith Bacongco
ing us to find out when it came to setting up our elections in 1st week.” Yule also voiced concern about the ability of OUSU officials to organise their own elections, scheduled for 6th week of Michaelmas. Discussing Somerville’s JCR elections, which due to the online difficulties will be held by paper ballot, Returning Officer Joe Smith stated: “I feel that it may actually increase turnout due to the election appearing more visible, rather than simply having voter codes that get lost in people’s inboxes”. But one Somerville student told the OxStu: “I know my ancestors fought for my right to vote but I’d much rather exercise that right from the comfort of my chair using my laptop than have to make the arduous trek to some ballot box. Think about all those poor Cowley dwellers who will be disenfranchised through laziness”. Mi-Voice states on its website that it aims to “provide the most cost effective solution for our customers and to increase participation in customer events”. OUSU’s decision may be related to the allegations of vote ‘rigging’ following the University’s referendum on NUS affiliation held in May. The allegations, which concerned 1,000 seemingly tampered votes, caused the referendum to be voided.
Baby Love and LGBTQ Society reach rapport after harassment claims
Oxford’s most popular gay night venue clashes with LGBTQSoc over bouncers’ “unnaceptable behaviour” and “victim blaming” MATTHEW DAVIES NEWS EDITOR
Baby Love Bar, home of popular LGBT night Poptarts, is to introduce a code of conduct in response to criticisms of the way it handled an incident of alleged sexual harassment last week. The allegations centred on an incident last Tuesday evening, which was described to the police as “one gay guy, sat on another gay guy’s lap.” The bar’s bouncers refused to eject the alleged harasser, and allegedly claimed that “it’s got to be physical to be sexual harassment” and that “these things happen in gay bars.” One witness told The OxStu: “Ok, so this older guy was there, and he was flirting with a lot of people. When they turned him down he would get quite nasty. For example, he asked me if I wanted a drink and I politely said no, then he got quite nasty, asking me if I was a child and a virgin, telling me I shouldn’t be here if I was an immature virgin The witness continued: “Then he abused my female friend saying she wasn’t really a lesbian and just wanted to have sex with me Then come and sat down on my lap and wouldn’t get off. He repeated this whole process with another boy, refusing to get off his lap for ages even after he said.” Thomas, duty manager that evening,
defended the bar’s handling of the incident, telling the OxStu: “The nature of the nightclub scene lends to numerous allegations being made. It would be irresponsible for unwitnessed incidents to be dealt with with ‘immediate removal’, without trying to establish the facts, being careful not to diminish the gravity of the situation. “Both victims and “alleged accused” have their rights to fairness,” although admitting: “Fairness though does not always comes across as fair in the heat of dealing with a sensitive incident.” However Joel Hide, Social Secretary for OU LGBTQ Society, claims the staff have since changed their position, saying: “The management of Baby Love are completely agreed that the lack of immediate response was wrong, and are working with the LGBTQ society and the police to write and implement an effective door policy. It is of the utmost importance to the Society that Poptarts remains a safe space for all our members, and we will be working closely to ensure that this new policy includes strictly enforced zero tolerance on sexual harassment.” He continued: “The bouncers’ behaviour was completely unacceptable, however the victim blaming and lack of action taken was less indicative of a problem with Baby Love specifically and more of a broader culture which accepts sexual harassment in clubs as normal.”
PHOTO/Baby Love Bar
Following meetings with senior members of the OU LGBTQ Society committee, Babylove Bar has pledged to work with the society and the police to
introduce a Code of Conduct for such matters. Thomas declined to comment on alleged comments made by the bouncers
noting “I am not in a position to comment on ‘these things happen in gay bars’, as I do not know what ‘these things’ refer to.”
4 News
23rd October 2014
Tommy Robinson cancels Union talk after prison recall Former EDL leader still expects to be able to speak at the Oxford Union later this term despite arrest over tweets
MAXWELL RAMSAY
Tommy Robinson, founder and former leader of the English Defence League (EDL), has been recalled to prison and will not give a scheduled talk at the Oxford Union on Thursday 23rd October. Robinson, whose real name is Stephen Yaxley Lennon, was jailed in January for 18 months for mortgage fraud but released in June. Robinson’s Facebook page states he “has been recalled back to Prison for responding to a threatening [tweet] […] in breach of his Licence conditions”. An email from the Oxford Union to its members on 20th October confirmed that Robinson will not speak on 23rd October but, “having spoken to his lawyers” they “still hope to host Mr Robinson […] later this term”. The Union hope Robinson will appear after his recall, which they say is fixed at 28 days. Claims have been made on Robinson’s Facebook page of a police coverup. A post, apparently from his assistant Helen ‘Hel’ Gower, alleges that he has been recalled to prison due to the fact that the police “didn’t want him to speak at the Union […] because he was about to reveal some of their little secrets”. An image reportedly of a text mes-
sage written by Robinson shows him saying he was due to reveal “police persecution […] including bribery and blackmail” and claiming his return to prison is “to prevent [him] exposing the facts on Thursday at the Oxford Union”. When approached for comment, Gower, who currently has control of Robinson’s Facebook and Twitter pages, confirmed that Robinson will not attend the Union. She also stated her belief that his recall was due to Robinson “challenging Bedfordshire Police about their lack of action over all the threats […] on Twitter against him and his family,” labelling the recall an “excuse to stop Tommy attending [the Union]”. Bedfordshire police declined to comment on Robinson’s and Gower’s claims. Robinson’s appearance was controversial in Oxford: Oxford Unite Against Fascism (OUAF) had written an open letter calling on the Union to withdraw his invitation. They were also organising a protest outside the Union which was scheduled to coincide with Robinson’s talk. In the open letter, published online, OUAF criticised the Union for “contributing to a climate of Islamaphobia”. Mayank Banerjee, President of the Oxford Union, defended the move to
invite Robinson: “The Union stands by the invitation to Mr Robinson and we would like to reiterate that an invitation from the Union is not an endorsement of any particular agenda. “The Union believes in the principle of freedom of speech and we would encourage all members who disagree with Mr Robinson to question him on his views at the event later in the term.” While he was leader of the EDL, Robinson “organised and lead [sic] violent racist demonstrations and waged a campaign of demonisation of Muslims”, OUAF claims. Although he is no longer involved with the EDL, OUAF say he “continues to incite racial hatred against Muslims”. The open letter had received support from Billy Hayes, General Secretary of the Communication Workers Union (CWU), who signed OUAF’s letter according to the Unite Against Fascism campaign’s Facebook page. The CWU is the major trade union for those working in the communications industry and Hayes therefore represents over 200,000 people. Robinson left the EDL in 2013 and now collaborates with Quilliam, a counter-extremism think tank. However, when contacted, OUAF said they “do not believe that Robinson has changed his fascist views” and “remain opposed to any future invite”.
PHOTO/chrisfp
St John's Gender Equality Festival accused of libel by OUSU campaign leader
SJC Gender Equality apology over trans exclusionary radical feminist article comes under fire from "Mind Your Head" campaigner Sam Galler NEWS TEAM
The committee for the St John’s Gender Equality Festival have been accused of libel in a circular email sent by Sam Galler, co-chair of OUSU’s “Mind Your Head” campaign. The accusation centres around the statement released by the committee on Saturday evening, which apologised “unreservedly” for a “transexclusionary” article written for the festival zine by former Magdalen LGBTQ rep Elsa Field. The committee’s apology, which disowned the practice of “platforming views [...] that contribute to a culture of oppression and fear’ was released following a flurry of criticism on social media, most prominently from the Oxford University LGBTQ Society
trans rep Rowan Davis, who labelled the article “transphobic”. Field has since resigned from her post as LGBTQ rep for Magdalen JCR, citing her “personal political views” as irreconcilable with her position. Galler, who described himself in the circular as an “OUSU welfare campaign leader” slammed the committee’s statement as “inappropriate” and “libellous”, claiming that it both “negatively mischaracterises” and has been used to “demonise” Field, the author of the original piece. “As someone responsible for promoting mental health at Oxford, I feel strongly that there have been mistakes made that are damaging to student wellness, and that these need to be corrected,” Galler continued, before
requesting a full apology from the committee. When contacted by the OxStu, OUSU VP (Welfare) Chris Pike stressed that Galler’s email does not represent an official OUSU position. Pike noted that, while “the feelings and wellbeing of all students are important, I do not believe that individual wellbeing can be used to excuse systemic oppression, including transphobia.” Anna Bradshaw, OUSU VP (Women), took a similar line, commenting: “Within OUSU we are totally committed to the representation, inclusion and liberation of trans students. “Our policy means that we define a ‘woman’ as ‘anyone who self-defines wholly or partially as a woman and/or as transfeminine’.”
STATEMENT FROM ST JOHN'S COLLEGE GENDER EQUALITY COMMITTEE There have been concerns raised in relation to one of the articles published in the zine, and the committee would like to issue the following response. We would also like to say that we do not, and will not in future, give a platform to trans exclusionary radical feminists. We, the members of the Gender Equality Festival Committee, unreservedly apologise for the inclusion of the piece 'What is a woman?' in the Gender Equality Festival Zine. We do not agree with platforming views in our zine that contribute to a culture of oppression and fear, even in a situation where the publication was trying to remain neutral. Sole editorial responsibility was maintained over the content of the zine and the copy was not seen by the committee at large before publication. We are deeply sorry for the pain this article may or did cause people. We sincerely hope that Rowan and Alyson (the LGBTQ society trans reps), and the trans community, can accept our apology and the Festival can continue as planned, with a renewed commitment to being inclusive of all people throughout the week. Flora Sheldon, Shana Caro, Siwan Clark, Harry Gray, KatieRose Comery, Samuel Horsley, Nick Cooper, Eden Tanner, Stephanie Larcombe. Elizabeth Woodward, Caitlin Farrar, Charlotte Hopkins, Ursula Brewer, Maham Khan, Ophelia Stimpson
PHOTO/St John's Gender Equality Festival
News 5
23rd October 2014
Lecturers to stop setting exams if strike action goes ahead
PHOTO/Nick Efford
ADAM DAYAN NEWS EDITOR
» Continued from front page 2011, when the last set of detrimental changes to members' pensions were made, the fund's investments have grown by £8bn, the number of members has grown by 18 per cent and returns on investment have outperformed both average earnings and inflation. “However, Universities UK want
to reduce the coverage of the defined benefit element of the scheme and introduce a riskier defined contribution pension scheme, with those in or aspiring to the highest academic grades suffering most.” Oxford University appeared to have backed the UCU’s criticisms in a working group paper on the pension changes. The report characterised Universities UK’s arguments as “misleading”, and claimed a more realistic estimation “would show a much greater reduction of benefits
to the average academic member of staff than is shown in the UUK… examples.” A Universities UK spokesman accused the criticisms as containing “considerable speculation and numerous misconceptions” and said that UUK would hit back in the Times Higher Education supplement on Thursday. Despite Oxford’s support for the UCU’s arguments, the UCU confirmed that Oxford academics would stop work if a strike goes ahead.
An Oxford spokesperson told the OxStu: “The University will always respect the right of individuals to take part in lawful industrial action. If such action should go ahead, contingency plans will be in place aimed at minimising any disruption or inconvenience to students and staff.” OUSU President Louis Trup: “OUSU is and always will be a democratic organisation. None of our elected officers have been elected on a platform of support of this UCU strike or marking boycott and there
is no existing policy on this particular issue.” “As such, it would be unfair on the students we represent to take a position on this issue which has valid arguments on both sides. In a personal capacity, I refuse to use this position to voice my own personal political beliefs, so will only speak on this following a vote at OUSU council. If this is an issue students have strong feelings on, I urge them to bring a motion to OUSU council.”
University stops registering students to vote automatically Oxford downplays A-level panic Trup promises to make new system clear as new voting invitation-pidging introduced
University unperturbed by "provisional" August results
ADAM DAYAN NEWS EDITOR
MATTHEW DAVIES NEWS EDITOR
Students are no longer automatically registered to vote by the University, it has emerged. The information was revealed in a small note in a student news bulletin from the University on October 20th and a number of JCR Presidents have warned their JCRs. A University spokesperson said: “The change has taken place as a result of a change in the law designed to reduce electoral fraud. Under the new system, people who are registering need to provide a few more details to identify themselves. The new process will also gives people the option to register online for the first time.” The spokesperson explained that colleges will be “forwarding Oxford City Council’s formal invitation to register”, saying: “These invitations will arrive in individual student pigeon holes either this week or early next. Students should then be able to follow the instructions to register themselves online. It is a simple process which should take no more than five minutes and should give students ample opportunity to register to vote.” OUSU President Louis Trup told the OxStu: “Ruth (our VicePresident for Charities and Community) and I have been working
on ensuring students know about the changes to voter registration. We have met with representatives of the Council, Brookes Student Union and Ruskin Student Union to find ways of making sure that all students in Oxford know about these changes. This lead to there being a stall at OUSU Freshers’ Fair dedicated to voter registration. “We are also working with Bart Ashton, Chairman of the Domestic Bursars’ Committee, to ensure that college authorities know
about the changes and make it as easy as possible for students to register to vote. We will soon be launching a large campaign aiming to inform every student about how to register so look out for that!” Trup added: “On November 3rd, I will be presenting to the All Party Parliamentary Group on Students on this issue.I intend to highlight how the changes to voter registration will affect students and the ways in which students should be informed of these changes.”
PHOTO/Louis Trup
The University of Oxford has denied that the “provisional” nature of August A-level results mean that it should not longer use them to finalise course places. The denial comes after OCR, one of Britain's biggest exam boards, admitted that results should “not be viewed as finalised” before remarking has been completed in late October, almost a month after the beginning of Michaelmas term. The exam board’s comments have been made despite the standard practice of allocating places on the basis of August grades, which OCR now insist should be viewed as “provisional” rather than final. A statement from the university press office denied that the lateness that “the University has never denied anyone a place at Oxford as a result of an exam board error,” while admitting that “In a very small number of cases the delay in re-marking may result in candidates having to defer entry.” Alison Rogers, chief executive of the Chartered Institute of Educational Assessors, was critical of OCR’s admission, saying: “It is always disappointing to hear of cases where students’ university chances are disrupted by human error in the marking of examinations and we should all be concerned about
any erosion in public and schools’ confidence in the marking of Alevels and GCSEs. “Standards in our qualification system must be seen to be robust, rigorous and able to stand up to the highest scrutiny and this must begin with the marking of examination scripts.”
PHOTO/davidhc
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News 7
23rd October 2014
Oxford students recruited to develop Radiohead strategy
ELLIOTTHORNLEY DEPUTY NEWS EDITOR
A group of Oxford students at the Saïd Business School helped Radiohead frontman Thom Yorke to release his latest solo album, Tomorrow’s Modern Boxes, via BitTorrent, a peer-to-peer file-sharing service. The MBA students worked with Mr Yorke on “user experience, media strategy and financial analysis,” according to Courtyard Management, Yorke’s representatives. The students also devised potential strategies for the release of the next Radiohead album which, Billboard reports, could be “another unconventional album delivery.” Speaking on the decision to work with students, Courtyard Management stated, “It was immensely useful to have the input of the MBA students on data analysis and new marketing strategies. They produced a thorough and insightful document.” The album is being sold for £3.75 on file-sharing service BitTorrent, with 90% going to Yorke and the remaining 10% going to the website. According to figures released by the site, the album was downloaded 116,000 times in its first 24 hours. ‘Tomorrow’s Modern Boxes’ has now been downloaded more than one million times, qualifying it for a UK Gold certification. Explaining the decision to release
the work through BitTorrent, Yorke said, “It’s an experiment to see if the mechanics of the system are something that the general public can get its head around… If it works well it could be an effective way of handing some control of internet commerce back to people who are creating the work." Phil Barry, one of the students who worked on the project, commented, “We were able to witness first-hand the success Radiohead has had by continually innovating outside of the major label system. Radiohead and its team are bold, creative, fearless people who are willing to take risks, and working with them was inspiring for all of us.” A spokesperson for the University stated, “The MBAs were able to put their learning into practice on the project, analysing fan and market data and bringing together new technologies to generate new ideas challenging conventional content distribution mechanisms”. Yorke grew up in Oxford and attended the all-boys Abingdon School, where he first met future bandmates Ed O'Brien, Phil Selway, and brothers Colin and Jonny Greenwood. The BitTorrent decision is not Yorke’s first experiment with alternate release methods. Radiohead released their 2007 offering, ‘In Rainbows’, through their own website, allowing fans to pay what they liked for the work.
PHOTO/Daniele Dallledonne
Queen's introduce Blobby levy
Damage to Cowley house after matriculation bash
MATTHEW DAVIES NEWS EDITOR
NICK MUTCH NEWS EDITOR
Every undergraduate student at Queen’s is to receive a life-size inflatable Mr Blobby following the unanimous passage of an emergency motion proposed at last week’s JCR meeting. The scheme will be funded by means of an opt-out blobby levy, or ‘blevy’, on every member of the JCR. The ‘blevy’ of two pounds, reduced from an original estimated cost of five pounds, will be added on to the battels of every student in the Queen’s JCR who neglected to email JCR Treasurer Matt Lewis to opt out. In a circular sent to the entire JCR, Lewis heaped praise on Mr Blobby as “one of the most influential spotted things in the history of spotted things” who “once reduced a girl to tears during one of his shows” and is responsible for “the worst song in the history of recorded sound”. The proposer of the original motion, third-year Biochemist Andy Russell, explained the reasoning behind the scheme: “Mr Blobby inflatables was [sic] initially conceived due to their popularity at the recent ‘90s bop. “People liked them so much that they took them home with them and there weren’t any left at the end. It was clear that JCR members had a desire to own their own personal inflatable Mr. Blobby.” However, the motion has stirred discontent among certain members of the JCR. One commented: "I had hoped this motion would generate
» Continued from front page
New "blevy" will pay for life-size Mr Blobby inflatables for all JCR members
PHOTO/Paul Downey
some controversy, so was very dispirited to see it pass without objection. “To rectify this, I’d just like to put on record that the JCR imposing levies for public goods is a form of slavery, like taxation and free healthcare; furthermore, I’d also like to point out that having a straight white cis man put into our pidges is an offensive reminder of the pervasiveness of the patriarchy."
Residents set up a gofundme page to pay for the damage after bedand other items are destroyed
all over ur [sic] bedroom”. Katia Mullova-Brind, who also donated £5, asked: “Do you believe in life after lash?”. Robbie Aitken, a Wadham fresher, stated: “Well and truly matricul∞ed”. Jake McCabe, a second year Wadham student who hosted the party told The OxStu “"We knew what we were letting ourselves in for, but there is still something mildly distressing about watching your possessions get reduced to kindling beneath a multitude of over-expensive trainers bopping around over-enthusiastically to Darude’s song Sandsorm." Lucy Halton, President of Wadham SU commented; “A house party was held on Saturday night at a private property in the course of which some damage was done to the property in question. While the event was attended by some freshers, it was hosted by a group of second-year students and was not an official college or freshers event hosted or endorsed by Wadham SU or college. Our main concern is for the welfare of the students, as far as we are aware none of whom were hurt during the party.' The OxStu understands that no disciplinary action has yet been taken against any students present at the party. Wadham authorities were unaware of the situation when contacted for comment and declined to discuss the matter further.
PHOTO/Matriculash Recovery Fund on gofundme.com
FRESHERS’ Congratulations! on getting into Oxford and welcome to the Class of 2014! To celebrate your matriculation into the University and your College.
HOODIE
Pick your college and personalise it with your own name. Your hoodie can be delivered to your home or collected from your College.
2014
Order now for only:
ÂŁ22.99
Go to www.ousu.org for details on how to order.
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Lauren Soules Jae-Young Park, Elle Tait and Helena Winterhager Nick Toner, Rosalind Brody, Miles Dilworth and Ruth Maclean
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23rd October 2014
Profile Profile 9
Joan Bakewell
Jack Myers
St John’s College
L
ong vacaction, down in Oxford, sitting in Exam Schools, and the place is heaving. It naturally brings back memories of damnation,doubled over in the excruciating realisation that I have completely underestimated prelims. This time however, Oxford is heaving with humanists, as the World Humanist Congress comes to Oxford, once the intellectual home to polemicists Christopher Hitchens and Richard Dawkins. I attend a few lectures to get in the mood; at one I am told that, on a scale that gauges religious freedom and freedom from religion,, the IHEU – International Humanist and Ethical Union – found the UK suffering from ‘systemic discrimination’. Later in the afternoon, when asked what a humanist is, Dawkins describes it as being “an atheist plus”. Over at the stall for the American Humanist Association, a member and a passing delegate were eager to emphasise that “humanists weren’t the enemy of religion, just some religions consider themselves enemies of humanists”. My immediate feeling is that there is a tension, a tension that has great consequences for the coherence and direction of the humanist movement. For when it comes the aim
of humanism, the delegates here are divided into two camps, hawks and doves. The aims of the humanist movement seem confused, divided between those who are here to tackle human rights’ abuses and those who are here to tackle the religious establishment.So when I manage to grab Baroness Joan Bakewell as she leaves her interview with Peter Thatchell, I ask what she thinks the aim of the humanist movement should be. Journlaist, presenter, and now a Labour Party peer, Bakewell’s media career stretches over fortyfive years, and having debated ageism in broadcasting and the effects of the sexual revolution, today she turns her attention to the relationship between the religious and the humanists. “The humanist movement is cer-
I don’t go for attacking religion, because that’s to behave like the worst kind of religious fanatic
tainly a great champion of human rights, that’s of course not confined to the humanists. It’s a very worthy project in many enterprises which I support, like Amnesty International, English Pen which supports writers. There are a lot of organisations that support human rights,
which do need defending these days, and there’s a slight trend out in the world that human rights have sort of done their job and it’s over, and it’s not over at all, so I think that’s important. I don’t go in for attacking religion, because I think that’s to behave like the worst kind of religious fanatic, I don’t want to hate, I understand why people have a religious point of view, I’ve done many programmes about the religious perspective, and I find many of them chime in my sensibilities. That would go down badly with many of the delegates here, but that’s my private view. I’m not secretive about it.” We start talking about Oxford as venue to this year’s World Humanist Congress, and I tell her how jarring it feels to hold a humanist congress in a country which still has an established church and faith schools. “I grew up in a household that was Christian, grew up quite devout, I was christened and confirmed, so I am actually a non-believing member of the Church of England, but I am still a member of the Church of England. I do find it is anachronistic that we have an established church, but we have it, so there it is. I have lots of issues with the church, but nonetheless I don’t set aside the moral teaching that I learnt from my childhood. My moral teaching happened to be Christian, but it shares the same values as Islamic
teaching – take in a stranger, give alms, tend to the needy, do not kill without good reason (my goodness we could debate that one for a long time). So I think that a lot of religions are rooted in how society can survive and get on well. I set aside all the supernatural stuff, because I don’t believe in the Virgin birth and the resurrection of the body; Jesus was a remarkable human being who came
The English are lukewarm in their passions, aren’t they? and was a great teacher. So to that extent I don’t feel virulently antireligious in the way, say, my friend Richard Dawkins does, because he always feels a lot of damage has been done – crusades, inquisition. I feel these things happen because human beings behave badly.” The conversation turns to other anachronisms. What happens whenthe established church has political weight, such as the Lords Spiritual in the House of Lords? “They sit on the benches opposite me, its very eccentric that the Church of England has such a grip, but its an established church, it has 26 seats. I did in one speech get up and say ‘I represent a group of
people whom you have welcomed into this House apart from those benches, which I am not eligible to sit on.’ But mark my words,They’ll have a woman bishop in no time in the House of Lords, you bet. They’re part of an age-old system like the monarchy and the courtiers and the grandeur and all that. I’m there because I was asked to do a job for the Labour Party, and that’s what I’m doing.” Throughout the conference, speakers have mocked the weak atheism in the UK, where the most activists can muster is a bus campaign. Does Bakewell feel the UK is wracked by anaemic atheism? “The English are rather – I wouldn’t say timid - but sort of lukewarm in their passions, aren’t they? And that’s why Richard Dawkins shakes everyone up so wonderfully. They really are quite milk-and-water about expression, including the Church. People who’re Christian here aren’t fanatical, there’s no incense, there’s no hellfire, no eternal damnation; it’s all just rather nice, like a nice summer fair. On the other hand it don’t think it means we take these issues casually, I think we are just rather more discreet, and we feel to go shouting at our enemy would simply drive him back or make him more stubborn. So I think it’s just a different technique. I don’t feel it’s a failure of humanism.”
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2 Arts & Lit
Arts & Lit
23rd October 2014
A charming encounter with Fred van-Brandenburg As the Venice Biennale 2014 draws to a close, Thomas Barnett reflects on meeting New Zealand’s Fred van Brandenburg to talk Gaudi, biomimicry, and why surprises are always important…
Thomas Barnett Mansfield College
I
am in Venice, slightly lost, content to be foiled in my meandering search for the comforting copper and terracotta of St. Mark’s square. I slip into the inviting penumbra of an arched palazzo entrance. The Museo Diocesano di Venezia Sant’Apollonia, as I later learn the building is called, is inconspicuously sinking into the turbid green water. The Museo Diocesano makes no conscious effort to entice, seduce or impress, and yet I am drawn up a flight of stone steps, strangely certain that something singular lies within... It does. Installed in the vast, intricately vaulted main room of the museum is the Biennale exhibition of New Zealand’s Architecture van Brandenburg. Large, gleaming white models of staggering detail punctuate the space, and beneath mosaicked arches, Fred van Brandenburg himself presides over his
miniature kingdom of rippling organic forms and sumptuous textural detail. The models show various features of a vast, 75,000m/sq building, due to be completed in 2016, commissioned by Chinese fashion house Marisfrolg for their new headquarters. The exhibition is named ‘Unfurling’, which not only aptly describe the Marisfrolg building (which magically seems to be simultaneously blossoming, spreading its wings and arching in the breeze); but also Fred’s personal career trajectory. The key to decoding the mesh of complex organic forms that constitutes ‘Unfurling’ lies in a single moment of epiphany that took place a decade ago. In 2004, Fred was compelled to entirely rethink his approach to architecture, in response to the buildings of Antoni Gaudí. “It happened whilst looking around Gaudí’s Park Guell in Barcelona. I was in awe of what I saw: no other spaces or man-made objects have inspired me as much as what happened on that day. Besides the obvious attraction to the decoration, what fascinated me most was the stonework moulded
from distinctive shapes. I saw structural solutions created by intersecting forms that seemed spontaneous; seemed so natural – yet controlled by a specific geometry. What I saw on that day in 2004 was the source of a change in me like an unfurling process that is now made manifest in this exhibition” So profound was Gaudi’s effect that Fred now splits his career into “preGaudi” and “post-Gaudi” periods. He describes his pre-Gaudi work as “almost like set design, as opposed to truly expressing a structure”. However, he is mindful of appearing overly mimetic “You would be totally arrogant if you ever thought you could replicate what Gaudi does”. Van Brandenburg’s unfurling is as much an emotional as an aesthetic revolution. “I went to all my old drawings and literally ripped them up. It must have been a bizarre thing to look at, this drama queen type reaction, I was just like: Not. Interested. An-y-more. In. An-y. Of. This. Whoosh. Gone…and of course my wife died a thousand deaths”. As he speaks, Brandenburg gestures violently, mime-tearing invisible sheets
and rather camply pushing them away. He looks over to his wife, Dianne, and grins maniacally. She explains, “He came back from Barcelona having had a whole change of view…and the next thing he says, ‘I’m just not doing my architecture any more’, then he was looking at bits of cardboard, and scissors and clipping things and steaming the kettle and bending cardboard, and… uff, it was really quite…I didn’t know what was going on, I didn’t know how we were going to feed ourselves!” “In the end it was looking beyond Gaudi: looking at nature itself ”. Fred explained to me his fascination with the image of an ant, perfectly sheltered from heavy rain by a leaf “with a stem that cantilevers from a twig; its arching form comes from its fundamental function – to support the leaf ” It is the efficiency, and above all the functionality of the beautiful forms that Fred sees in nature that allows his newfound biomimetic fascination to comfortably coincide with his commitment to ‘buildability’ – a philosophy of honesty that manifests itself in exhaustive model making and disarming frankness about building problems “Oh, they’ve messed up the exterior finish for all of this bit on the actual building. Just awful” he says flippantly, waving his arm at a great skeletal tower that forms an alarmingly important looking part of the Marisfrolg structure. As I am shown around the various models, from exquisitely painted miniatures of mosaic walls, to various ideas for railings inspired by interlocking vines and foliage, another key characteristic of Architecture van Brandenburg’s manifesto becomes apparent: surprise. Though the cohesiveness of the entire structure and its integration into the landscape (“as if it has put down roots!”) are of paramount importance, Fred is convinced that the building must surprise people. “ A building shouldn’t expend itself in one ‘puff ’, it should have variety of form so that it can surprise – you have architects like Frank Gehry who just crumple up a
piece of paper, throw it at a building and say: there, that’s your façade. It’s boring! Where’s the surprise or interest in that?” Obstacles and obstructions in the form of landscape mounds and foliage are strategically placed so that the building “reveals itself gradually, so that the visitor would have to make a special effort to step back to study the building as a whole”. The Marisfrolg building is a coquettish amalgam of biomimetic metaphors, “with references to animal, vegetable, and mineral elements”. Occasionally the structure seems to teeter on the edge of chaos, with its complex layering of crystal patterns within interlocking feathers, which in turn sit within curvilinear leaf structures, but van Brandenburg has mastered a fluent natural geometry that ensures the individual elements of the building never seem disparate. I ask van Brandenburg about the beautiful room we are in, defined by its regular arches and classical form. How do buildings like this fit into his scheme of surprise, biomimicry and variation? His reply is that the intense detail in older buildings provides the surprise. I ask him about Oxford: he replies that yes, Oxford is beautiful to him, because each building seems to be part of the whole city as a single, enormous structure. The architecture is consistent, yet still surprising. Talk of cloisters and turrets spark a new flurry of eloquent hand gesturing, tracing the arc of human surprise around the lines of a building. Although AVB is an all-New Zealand team (right down to the watercolour artist who was specially recruited to compose the iridescent, peacock inspired mosaic walls), Fred and Dianne are committed to building a truly global architecture, not as a vast corporate exercise, but as a beacon for an integrated, international language of design, taken, in the words of Gaudi, from the only “great open book that one must strive to read: the Book of Nature.” AVB’s organic, responsive, sensitive architectural vision is the shimmering antidote to an age where shapeless lumps of steel and glass all too often masquerade as innovative design.
Arts & Lit 3
23rd October 2014
Frieze 2014: Canapés and Nuclear Soup
Natalie Harney Pembroke College
I
n its own words Frieze London is the “contemporary art event of the year”. Whilst that’s not wrong, Frieze London is also a glorified champagne social for the all black tie-wearing elite of the art world, with a rather disappointing lack of canapés. In fact, the closest I got to a canapé was the much discussed and vaguely controversial United Brothers’ soup, which contained vegetables flown in from near Fukushima. After a slight hesitation, I wasn’t entirely sure if I should trust an assurance of safety given by a man who owns a chain of tanning salons. In the interest of being a
good journalist, I sampled some of “Does this soup taste ambivalent?”. Although I’m not sure if it was ambivalent, it was definitely delicious and at the time of writing this I am alive and well. Apart from the plethora of articles questioning whether soup can be art (apparently Warhol wasn’t convincing enough), there hasn’t been much talk of the art at Frieze this year. Instead it’s much easier to find comment on the fair’s attempt to be more accommodating to an influx of Chinese buyers, the wave of contemporary art buyers looking to invest in historic pieces rather than the new, or even the fact that Beyoncé and Jay Z visited - unfortunately just hours after I’d left. But that’s not to say that there isn’t anything worth seeing on show. Most galleries have really stepped up their game and moved away from the dull hanging large
abstracts on off white temporary walls, as has been the fashion these past few years. For example, Salon 94’s bright yellow stall and Smile Face Museum offer a fun, if brash, reprieve from the dull and grey. Turner-prize winner Mark Wallinger’s commission for Hauser & Wirth to curate a show inspired by Sigmund Freud’s study allows for conceptual development within a small exhibition space. And Kate MacGarry Gallery even made their exhibitor’s desk a part of their show with chairs that look like famous faces (I am now one step closer to being able to say I’ve sat in Angela Merkel’s lap). Fluxia even offer you the opportunity to buy your own hyperreal puddle, in case you were worried that the damp patch your umbrella’s left on the floor after running between Frieze Masters and Frieze London won’t last. The majority of people who aren’t
Magdalen College
Words by Natalie Harney Melbourne based artist Evie Cahir’s watercolour illustrations depict the little moments in life. Each fragment of is carefully detailed and archived, then left to stand alone in a frame of negative space, which just begs you pay attention to what’s at its focus. That focus is what’s most interesting about Cahir’s work, because she zeroes in on the everyday things you wouldn’t ordinarily consider beautiful and makes them poignant. Her work can be seen in zines, editorial spreads and on her (exceedingly popular) blog. “I have learned that the internet works in mysterious ways”
flourescent lights and narrow spaces between stalls. That said, it can still be an overwhelming experience if you haven’t gone in with a purpose; intimidating even, if you haven’t gone in with a large enough wallet. Frieze is a spectacle, a fete of artistic wonders, but it’s really an industry event rather than a great public exhibition. Go and see the sculpture park in Regents Park, for free. Visit one of the 160 galleries exhibiting on your own terms and actually see what they have to offer, for free. Spend some time exploring the masses of shows put on to coincide with the fair all across London, for free. Don’t feel you have to go to Frieze, just because it’s Frieze. It may be “The Event of The Year”, but it’s not necessarily the best, and it’s certainly not the only – I mean, there weren’t even any canapés.
the manuscript, was a survivor of the so-called ‘Death Railway’. In his acceptance speech, Flanagan stated that he “did not come out of a literary tradition” and never expected to receive the prize. Regarding his work, he added “Novels are not content, nor are they are a mirror to life, or an explanation of life, or a guide to life… Novels are life”. The book received an ecstatic reception from the press, with Financial Times declaring it to be “nothing short of a masterpiece”. A. C. Grayling, who chaired the judging panel, was impressed by its “negative capability”, allowing readers to “see the other side of the story” which inspired it. The judges also recognised Ali Smith’s How To Be Both, with its experimental two-book format that can be read in either order, as the second most worthy contender. In a piece for The Guardian, judge Sarah Churchwell wrote: “We all loved
them both, but one had to win”. This year’s shortlist for the prize had proven to be particularly contentious, following accusations that opening the historically Commonwealthonly prize up to all writers in English for the first time would result in an American takeover. One Australian former winner, Peter Carey, recently spoke out regarding the changes, suggesting that the Booker’s “particular cultural flavour” might suffer. In the end, only two Americans reached the shortlist: Joshua Ferris, for To Rise Again at a Decent Hour, and Karen Joy Fowler for We are all Completely Beside Ourselves.As well as his £50,000 reward, Flanagan is expected to receive additional success in the shape of a healthy boost in sales in the run-up to Christmas. Last year’s winning novel, The Luminaires by Eleanor Catton, went on to sell over 500,000 copies worldwide.
Railway Tale Bags Booker, Leaves America in its Tracks James Riding
“Because it’s made out of human hair and dead beaver’s skins...”
exhibitors, performers, or the press at Frieze aren’t merely dripping from the rain, they’re dripping with cash. I genuinely overheard a conversation that included “1.5 million? Alright, that sounds like a bargain”. But the super-rich are to be expected, who else has the space to display a Damien Hirst tank of 32 formaldehyde suspended fish in their home, let alone the £4 million needed to buy one. But, when it costs £30 just to get into the “contemporary art event of the year”, it’s very easy to understand why so many people think art today is inaccessible for ordinary people. And, I think, potentially for the first time I’m going to have to agree with them on this one. Unless you’ve come to buy or sell, Frieze isn’t really made for you. They have made walking around the tents a far more pleasant experience, gone are the overly bright
L
ast Tuesday saw Tasmanian Richard Flanagan crowned as the winner of the 2014 Man Booker Prize for his historical novel The Narrow Road to the Deep North, depicting the plight of Australians who were held hostage by the Japanese and forced to construct a railway from Thailand to Burma during the Second World War. The success of Flanagan’s sixth novel, which was twelve years in the making, makes him only the third Australian writer to have won the prize since it was first awarded in 1969. The novel has an extremely personal attachment to its author; Richard’s father, who died the day he finished
23rd October 2014
4 Arts & Lit
A Tasteless Exercise In Puppetry Solomon Johnson
Press me between your thumb and forefinger So you may see what comes out of my mouth: Observe the frantic tongue, burst at its tip, Frayed, hanging splayed, over each incisor. With canine curiosity you would Chew my words. With mandible hands you would Chew my words. Pick from your manicured jaws Every vocal vesicle that I left Congealed between skin and vermilion Chipped nails, your nails, that wore my hollow speech On two fingers, and bore my hollow speech In your gunning fist, waving your wayward Words – my tongue – a sick act of dentistry: A tasteless exercise in puppetry.
Night Thoughts T.W.B
Superior, lonely creatures, ranging through the night, Smoke blowing back from a figure up ahead, Price tags still hang from his clothes, And clutch back at me like a hook. The palsied twitch of the crowd repulses, So many fake faces in a wakeful fantasia. Fag ends, magnetise on lusty club doorteps, Burning cyclops eyes stare and then die. I imagine you, immaculate, inside, as I buy onions, Your cool green gleam, I flailing, with discount tins and sins in a darklit room. The rattling penumbra of sad kebab half-life. So the great tiny tragedy subsumes, whipped up between bedsheets and books. I roll your shape into the blankets, my canvas. Roll you into every nervous cigarette And blow you up the walls.
Critic, Your Anonymous
Pursed lips press below your high, furrowed brow, Gently chasing wrinkled skin into corners, And order my fleeing lines, “thinner, more fine!” Going on, to map out a traceable depression; On and on between red sips, spots, dots and ties; Strands of discontent fuel still its inky fill. Pout-out a fettering wind of letters read To bind your knotted, troubled threads And ravel us a wordier cause.
Music 5
23rd October 2014
Music
and I think that’s probably wrong if you’re asking people to pay money.” Having been in a band before Eliza and the Bear, Callie and ven if you have not heard of Eli- James have known each other for za and the Bear, you are likely eight years. to have listened to them due “I met James, by pure coincidence to the fact that their song ‘Friends’ at a show. He was playing in a has been gracing the Bulmers advert really bad band at a local club in across commercial television over the London.” past month or so. Their feel-good pop “Your band was worse,” James -music vibe has been gathering them retorts. Somehow they’re not quite fans at a rapid pace, and the five boys entirely fed up with each other, look like they could be capturing a but they joke that they are with much bigger audience soon. James quipping: “If I could throw There was one key point to clear him out of a plane I would. That’s up straight away why it’s good when I spoke “ being in a band to James (lead with three other singer) and Callie people. You (keyboardist) can spend more ahead of their time with them. Oxford show. I’ve finished with this guy.” “None of us are called Eliza. Callie replies, laughing, “Yeah we only talk at Christmas and None of us are bears either.” “When we started we had no real on birthdays”. The relationship is plans to actually play properly so clearly working and it’s allowed the we were just looking for a name. band to develop into the folksy pop “There’s a poet called Eleanor that is attracting all the attention Rees from Liverpool and Paul at the moment. There is an album (drums) randomly stumbled across in the works. this book and mentioned it as “We finish off this tour in like being a possible name. three week’s time and then we “I was up in San Francisco and have a week off. Then we are going walked past a shop and there this to fly to Nashville to record the book was starting at me so I was record and hopefully we’ll have like this is surely fate, this must something next year. We’ve been writing since we started but there happen.” Fortunately, Rees allowed them was a point where it was like now to use the name and James adds: you are writing for an album.” “She lives in Liverpool so every Callie suggests that really changed time we play Liverpool she comes the way they thought about it: down and says hi.” “an album is different from like Aside from the band name, Eliza a collection of singles. You don’t and the Bear’s influences tend to be want to have 12 songs that are musical; although quite disparate. all like happy clappy, you want a “The grass roots of everyone bit of depth. We’re playing like in this band are really bizarre,” five songs that are unreleased for James says. “Callum and I used this tour.” The band basically have to be in what to, considering that was essentially “We were bored of they have an hour’s a grunge band. set planned and It was six audiences staring at us only six released songs. They have minute songs, blankly” no choruses, considered playing just loud and dirty and…” their main hit again and again “Indulgent,” Callie adds in. though. “I think the only person in this “We did that in Germany one band who has roots similar to what time actually.” Callie says: “we we do now is Paul. Paul loves pop didn’t realise it was customary to music, he has Katy Perry on his do an encore and then we were like iPhone all the time and did loads oh shit we have no more songs. So of covers of Lucy Rose and stuff.” we were like look we’ll come out Callie says that they started to but we’re going to have to play change their style because “we some again.” were bored of audiences staring at James says that the band enjoy us blankly. We were having more touring most of the time though. fun at shows than the audience “It’s like there’s this weird thing.
Jessy Parker Humphreys
JesusCollege
E
None of us are called Eliza. None of us are bears either.”
PHOTO/Chuff Media
Bearing their teeth
It’s like the grass is always greener. You tour for 30 days, you can’t
wait to get to the studio and start writing. Then you’re in the studio for 30 days and you want to get the hell out of the room with no windows and no air con.”
“I even find myself missing travel lodges,” Callie jokes. “I go home to my own bed and I’m like “Where’s the neon lights?” The band’s potential shows in the calibre of acts they have been supporting recently: Paramore and Imagine Dragons are just two of the names dropped by the band. James and Callie are pretty unanimous that supporting Paramore was ‘terrifying’. “Every single one of them is just so welcoming. We bumped into a couple of them at Reading and they came and said hi which was so nice of them because we’re only small fish. “They have a kind of reputation of taking new music out on the road. Charli XCX has gone on to have massive sales.” Being chosen by Bulmer’s to soundtrack their advert has certainly opened
doors for the band, and opened ears to them. “We barely got approached. We received an email on the Monday. You get asked to do loads of stuff but a lot of it doesn’t actually happen so we were just like ‘cool’, and didn’t think much about it.” “Then four days later, we got an email with the video attached! It’s
“Martin’s obsessed with his hair. He’s employing a bandanna around the base of head to keep it all in place. I think he looks a bit like someone from Mötley Crüe”
still weird seeing it on TV.” James adds: “I’ll be sitting watching tv with my mum and she’ll get really excited and I don’t know whether I should be excited like she is.” Callie quips: “You’ve got to be blasé about it.” It’s clear that Eliza and the Bear don’t take themselves too seriously. As we chat before the show, they
happily joke around, casually drinking beers. On stage though they are energetic and enthused. Guitarist Martin flicks his hair back and forth for most of the show, as James had promised earlier in the evening. “Martin’s obsessed with his hair. He’s got long blonde hair and when he head bangs he thinks he looks like Harold Carter. He’s employing a bandana around the base of his head to keep it all in place, but I think he looks a bit like someone from Mötley Crüe.” There is an influx of teenage girls at the O2 Academy Oxford, who , following the show, go after the boys for photos. It’s clear that they’re perceived a bit as heartthrobs. But their appeal stretches further than that as evidenced by the more middle-aged couples scattered around the room. They live in the overlap between Mumford and Sons and Coldplay’s popularity. Given the enjoyment shown by most at the show, Eliza and the Bear are only going to get bigger as time goes on.
6 Music
23rd October 2014
In conversation: concert pianist Adam Gyorgy Jessy Parker Humphreys Jesus College
C
oncert pianist, Adam Gyorgy, made his debut performances in the UK this week. The 32 year old Steinway artist is considered as one of the finest players of Liszt. The musician, entrepreneur and philanthropist is keen to make his performances as accessible as possible for younger audiences. He is trying to change the perception of classical music that tends to exist. His own atypical career has included opening Euro 2012 in Warsaw with an interpretation of Chopin’s ‘Winterwind’ which was remixed by DJ Karmatronic. Gyorgy also runs The Adam Gyorgy Foundation which supports talented young musicians from across the world. We caught up with Adam ahead of his show at the Jacqueline Du Pre Music building. What’s it been like coming to play in the UK for the first time? It has been a dream from my childhood to perform in the UK, as well as in other European countries. The UK carries a special weight on my agenda as I have been traveling and touring for 15 years in Asia and America without coming here. Europe, and especially the UK stands for the European tradition and culture. People understand classical music and European tradition here. Having played at Carnegie Hall a few times, as well as among other important venues, I am very excited for this opportunity to play in Oxford.
er). We loved it. He was my inspiration to start playing. He never pushed us or forced us to do it. Regardless of the fact that he is an engineer, he played brilliantly. Of course we listened to Beatles vinyls and knew all the songs before I even played a note at the age of four. What is your favourite piece to play? Interesting as it is, I mostly like to just sit down and improvise and play freely. I love Chopin and Liszt, as I think they speak the same musical language as I do. Also people understand them very well today. This is why I program their pieces in my concerts, and I also improvise a lot. I love Chopin’s ‘Ballade in G minor’, Liszt’s ‘Hungarian Rhapsody No. 2’ and ‘La Campanella’. The ‘Sonata in B minor’ takes everything, but it does need a good player to play or an educated listener to at least appreciate the efforts. Or sometimes both. You seem to have done everything from football to piano to motivational speeches, how do you fit it all in? I think balance is the most important. We need to be passionate about what we are doing and the never ending interest of wanting to be better every day is fundamental. I love whatever I do, let it be a day
biking on my race bike, playing a football game with my teammates, practising the piano, or just travelling on a concert tour and sharing my music. I love to dive into something and forget about everything else, and then turn to something completely different and do the same. What is next for you after your shows in the UK? I am flying straight to New York to play fundraiser concerts to benefit the Adam Gyorgy Foundation. Supporting young talents is an important part of my life at this point. I believe that if you are good in what you are doing, you still need support to carry on and master it and be one of the best. The foundation stands for investing into talent. I head to South East Asia in November. where I will be playing in Singapore, Jakarta and Tokyo as well. My final destination is Bali this year where I’m hosting a master class session support-
ed by the Adam Gyorgy Foundation and MS Works in December. This is a continuation of my summer program in Hungary, the Adam Gyorgy Castle Academy, which has been going on for seven years now. What can we expect from your shows? It will be a very different experience. I can’t emphasize enough how many of my fellow classical musicians do everything to make people stay away from concerts lately. I always thought differently about the entire experience. I
“People understand classical music and European tradition here”
which has little to do with classical music, and then get back to more difficult repertoire such as Franz Liszt’s ‘La Campanella’, or the ‘Sonata in B minor’. I couldn’t care less for these old conventions and I couldn’t care more for the journey which we take with the audience. I usually have a young crowd at my concerts beyond the regular concert-goers. I am sure this is the right way to think about a concert experience. I am certainly most excited to play in Oxford. I can’t wait to share my music and probably learn something at the same time. You can catch up with Adam’s performance on BBC Radio 3 on Iplayer
take a look at the piano as a channeling instrument, which is beautifully capable of transmitting emotions and telling stories. It’s not about the repertoire but the experience, that’s beyond everything. It’s about the journey we take with the audience. I am not shy to program half an hour of improvisation into the middle of the concert
Do you remember the first time you played piano? Yes and no at the same time. I remember my first memories when my dad came home from work and played the piano to all of us (I have a broth-
PHOTO/AGP Agency
Oxford is wowed by Nick Mulvey’s meditative music Live Review: Leo Mercer caught the Mercury Prize-nominee at the O2 Academy last Sunday
Leo Mercer
Kellogg College
S
o whether music or madness: we live by one of the two’. When Nick Mulvey played to a packed house at the 02 Academy on Sunday night, it was definitely music to counter madness. His meditative soundworld, memorable lyrics, and soft, warm voice lull listeners into a sort of uber-tranquility. As a performer, too, he had the sort of calm, quiet confidence that he puts into his songs. He played the songs from his gorgeous debut album First Mind (as well as a Drake-cover encore), which is well worth checking out if you haven’t already. In fact, it’s worth going back even further
on the Mulvey-trail. He used to play the hang (an unusual percussion instrument that looks like an upside-down wok) in the Mercury-nominated Portico Quartet. As a solo artist, Mulvey still has the same ambient, spiritual feeling, though he’s on the guitar (playing often very intricately) and not percussion here. It’s clear that he is influenced by a huge range of music, from jazz to minimalism to Cuban music, even though the result feels very at home in the wider context of the sort of indie-folk that you hear in Ben Howard or Laura Marling. That’s probably why the audience seemed beautifully diverse: he brings people in from a lot of musical places. His stand-out songs lull the audience into a meditative feeling, yet one that can be latched onto by memorable re-
frains and killer lines that you can’t help but sing along with. One of the most popular, ‘Cucurucu’, is an amazing adaptation of DH Lawrence’s poem ‘The Piano’, yet done freely and sensitively, re-creating it as opposed to merely setting it. Where for Lawrence, it is about yearning for childhood (“the heart of me weeps to belong to the old Sunday evenings at home”), Mulvey goes back to childhood to remember learning that we become strong through ‘yearning to belong’, to be part of something bigger than ourselves. As I walked home after the gig, I saw some people sitting in front of a kebab shop, shout-singing that phrase, and it seemed summed up some of what music can do so well. Though some of the songs lack this same inspiration - they
are less memorable and distinct, and are subsumed into a general sensibility of tranquil lyricism - at best, Mulvey is stunning. I get the sense that this is music we will look back down at through the vista of our years.
Last chance: Win tickets to an upcoming gig! We have two tickets to see Amber Run, FYFE, Kimberly Anne and Pixel Fix play The Art Bar on 7th November. The record label is the home of artists like Deap Valley, Catfish and the Bottlemen and Pale Seas. Aside from being run by one of Mumford and Sons, it has a great reputation for picking the best upcoming young talent. To enter simply email us at music@ oxfordstudent.com with “Communion Competition” in the subject line!
PHOTO/Isadora Tanner
Music 7
23rd October 2014
The OxStu tells you who should win the Mercury Prize Sachin Croker, Jessy Parker Humphreys, Nasim Asl and Alex Bragg pick their personal winners. Sachin Croker
Jessy P H
FKA Twigs
F
East India Youth
LP1
Total Strife Forever
M
KA Twigs (a confusing moniker derived from a lawsuit: the FKA supposedly stands for ‘formerly known as’) frankly deserves to win this award off the back of lead single ‘Two Weeks’. The song is a frank and explosive burst of sexuality that flies head and shoulders above any pop music that’s come out in this year. Lines like “I can fuck you better than her”, and “My thighs are apart for when you’re ready to breathe in” make it too rude to play in front of your parents (as my younger brother found out to his eternal embarrassment), but show that Twigs is a pull-no-punches artist. Her uncompromising musical vision that carries alt-R&B across numerous other genres on LP1 is undoubtedly worthy of serious praise, and is far more significant feat than any other Mercury record has accomplished.
aking a quiet allusion to Foals’ second album Total Life Forever, William Doyle truly announced himself back onto the music scene with his debut album. Having previously led the somewhat mediocre indie folk group Doyle and the Fourfathers, Doyle turned his hand to electronica with huge success. East India Youth requires speakers up the walls to trully appreciate the vibrating bass and synthesizers. The album is mostly made up of instrumentals, beats layered over each other to create hypnotic soundscapes. Occasionally East India Youth’s vocals feel small next to the overwhelming sounds but ‘Dripping Down’ uses hushed backing choruses to create a holistic track. ‘Heaven, How Long’ is another highlight, with Doyle again turning down the synths to let himself take centre stage in a burst of 80s melancholia.
Nasim Asl
Alex Bragg
Everybody Down
Jungle
Kate Tempest
T
he Mercury Prize nominations this year feature a number of hip-hop and rap artists. Kate Tempest is one of these. Aside from being a successful and powerful poet and published author, Kate’s debut album, Everybody Down, proves that the Londoner is also capable of so much more. The 12 tracks weave a tale that Kate has promised she will explore more in her writing, yet she has the uncanny ability to bring to life the stories of an array of characters within four minute songs. Her songs document an array of the aspects of the London underworld, yet her quick tongue and real mastery of language manages to transport even the most detached listener right into the world she builds. Kate manage to bring poetry and stories into modern, South London hip-hop an impressive skill in itself.
O
Jungle
ften absent from the Mercury Prize roster is, plain and simple, as sense of fun. We become so obsessed with the idea of the award ceremony as prestigious, as rewarding some contrived notion of ‘music as art’, we lose sight of what really sticks in the mind of the listener; music that makes staying still neither practical nor desirable. When I stumbled upon Jungle’s set at this year’s Latitude festival, this was my experience; a sea of sweaty bodies all in constant motion, galvanised by hypnotic drums and brilliant bass lines; there wasn’t a still pair of feet in the tent, nor any other body part you may care to mention. In addition, their debut album captures this faithfully; twelve tracks of flawless modern funk, fleshed out by spine-chilling soul vocals. I can’t recommend this highly enough. A vote for Jungle is a vote for fun.
There’s no Star Power as far as this album is concerned
Foxygen’s attempt to shock and surprise listeners with their third album falls flat for Alex Bragg
Alexander Bragg St Hilda’s
T
he third offering from California neo-psychedelica wunderkinds Foxygen, let’s make it clear, is largely full of individually great songs. Following on from the resoundingly pleasant tones of their second full-length, the boldly titled We Are The 21st Century Ambassadors Of Peace, Love and Magic, the boys mine their exhaustive record collections ever more deeper, pushing their horizons outward to provide us a tapestry speckled with a greater variety of shades. While the wizened shadows of Messrs Jagger, Richards and Wood loomed over their previous offerings, and certainly still have their influence, here Syd Barrett-era Pink Floyd provide a welcome expansion, and perhaps, at their most zany, even Beefheart has his role to play; ...And Star Power is an attempt to write a bona-fide prog album (even if work indebted to the progressive music of yesteryear presents something of a conundrum). So it was made with good intentions, then. However, when it comes to progressive rock, we must consider
the album as a cohesive work rather than merely a series of interchangeable nice tunes, and in this respect the album largely fails; not due to the quality of the songs themselves, but due to the incoherence of its internal narrative. It’s confusing, and confused; imagine Dark Side of The Moon, recorded without any regard for the flawless way in which songs can interact with each other.
The album occassionally veers into downright obnoxious territory
This is amply demonstrated within the first few tracks; the introduction, ‘Star Power Airlines’, simply gave me a false impression for the rest of the album. Chock-full of guitar squalls and pummelling drums, it was an exciting start, and easy to interpret as a statement of intent for what would follow; but when an anaemic mid tempo piano ballad by the name of, ‘How Can You Really’, immediately followed it up, crashing (or more like sauntering arrogantly) in with no warning, as if it had been plonked down by a particularly disinterested builder, I was left flabbergasted, much as you would be if someone ap-
proached you on the street, punched you savagely about the head, and then offered you a banana. It was surprising, certainly, but about as subtle as a boot to the face. In addition, the album occasionally veers into downright obnoxious territory (did half of ‘Cold Winter/ Freedom’ really have to be self-indulgent noise?). Although there are still plenty of tracks which still demonstrate the boys’ undeniable ability to write heartfelt, emotive songs when the mood strikes (see the heartbreaking lyrics of ‘Coulda Been My Love’, the Gilmour-channelling space-rock of ‘Cosmic Vibrations’, and the ballsy stomp of ‘Freedom II’), the prevailing mood here is one of trying FAR too hard to surprise the listener. I’m not by any means trying to condemn an expansive attitude to songwriting, but here it simply fails to translate, lacking any of the internal cohesiveness of the masterworks of its heroes. It’s sporadic, apparently merely for its own sake. Perhaps this is a breathtakingly bold undertaking, and its innovation is lost on me. However, the final verdict is that I can’t help but be reminded of a toddler trawling through his favourite toys, briefly playing with one, albeit with genuine enthusiasm, for a while and then moving to something else; apparently completely on a whim.
Taylor Swift is ‘Out of the Woods’ for good
Here at OxStu Music, we are counting down the days, the minutes, until Taylor Swift releases her new album ‘1989’. You can imagine our eager anticipation as we waited to hear the most recent track from the album, and we were not disappointed. ‘Out of the Woods’ is an incredible slice of dream pop, with all of the lyrical aplomb that Taylor has so wonderfully demonstrated over the past few years. Centred around Swift’s relationship with One Direction heartthrob, Harry Styles, the song pulses
along with drum machine beats, and chanted vocal samples akin to Bastille. The verses see Taylor crooning and heart aching the way she does best and by the time she is singing “Remember when you hit the brakes too soon / twenty stitches in the hospital room”, you are ready to be yelling along with her. Swift described ‘Out of the Woods’ as one of her favourite songs on ‘1989’ but if this is the standard for the whole album, we’re going to be in for a treat come October 28th.
23rd October 2014
8 Screen
Screen
Somerville College
W
ith three films already under her belt, a BFI Screenwriting competition win and recognition at multiple film festivals, Lizzy Mansfield can definitely call herself a successful student filmmaker. Yet she still seems to shy away from any recognition from her peers, and tends to keep silent about her triumphs. Humble to a fault, Lizzy seemed hesitant to speak at first, but slowly became more comfortable as she started telling me about what sparked her interest in film. “I started off doing a bit of acting and watching a lot of films. As a child I didn’t really go to the cinema much at all, my parents didn’t see it as a thing we did, so we went like once a year. And I think it must have been that, because I rediscovered film when I was 15 at this nice independent cinema called Tyneside Cinema in Newcastle. And then to discover that they did this filmmaking course, for free, that you could get involved in was even more exciting. I weirdly did it the opposite way you’d expect, so I started off on the course, and that developed my passion for filmmaking. I did that and applied for another course, and it kind of snowballs? The more you do the more exciting it becomes.”
With film, the reason that I love it is that it doesn’t have to be real. Fractured, Lizzy’s first film, explores some really disturbing themes as it depicts two girls, who appear to be in a romantic relationship, exploring the woods until things take a pretty dark turn. It was the location that inspired Lizzy to make the film. “I was on this filmmaking programme in Newcastle, Northern Stars and it’s great, and we did location recces before we had our ideas, which is a really good way of starting out. If you don’t have ideas, you kind of need something to spark them. So we started with locations, we went to see the woods in the village and stuff – and we thought the woods would be an amazing place to set the film. “It very much came from the place we were in, something I really recommend doing. Because the location can sometimes tell its own story, and if you find that then it can feel very genuine and kind of work.” Lizzy’s latest film, Collection Day, is a comedy about a man who is so painfully shy that he is forced to hide in a bin for fear of speaking to the woman he loves. I asked Lizzy how doing the comedic Collection Day was different from Fractured. “As a filmmaker, there’s always a
temptation to go for really sombre, serious stuff. Filmmakers always want to tackle big issues all the time, which is fine, but comedy is what people want to watch. For Collection Day, we wanted to make a film and have fun – that was our priority. So then you have to make a comedy really, because everyone was going to enjoy it. “Also we didn’t really have access to good sound equipment, and sound is so important for film. It’s kind of one of those things that if it’s great, you won’t really notice, but if it’s bad, it’ll ruin the whole film. So we decided to do something without any words. I think silent film is a lot easier to write, because dialogue is a
be good or worth showing it’s such a buzz and pat on the back for all the hard work that’s gone into making it.” Lizzy also attended the BFI funded talent campus at the National Film and Television School. The enthusiasm in her voice was catching as she told me about her experience there. “The best thing was meeting all the other people, because you get put in a big room with 53 other really keen 16-19 year old filmmakers, and that’s like the best networking you could ever have. You do keep in touch and see how the others are going and stuff. That also motivates you to keep going, and because filmmaking is such a collaborative thing, you need to
PHOTO/Srishti Nirula
Srishti Nirula
No money, no problem: Lizzy Mansfield lot harder. I find it a lot harder to get it [dialogue] completely genuine. You can always over think it. But obviously, with silent film you don’t need to worry about that, because you only care about what’s going to happen. So it’s quite a nice way of storytelling.” Of her three films, Lizzy has written two original scripts and adapted one. When I asked her how Screen Writer Lizzy was different from Director Lizzy, she immediately shied away from the idea of being a director. “With screenwriting, you have to collect all the experiences that have happened to you. I can imagine that if you were sitting in a blank room, it would be impossible to write anything, there’d be nothing to have ideas about. But with all these films, you just have to go out. Like I remember with Collection Day, just going out and looking at all these dustbin men just collecting the bins, and then thinking that I really want someone to be in one of those bins. “But as a director, you suddenly work with people and that’s completely different, because you have to communicate and get your idea out and work with actors and producers and stuff, and that’s loads of fun, but it’s a lot of responsibility. If you have a budget, or even just a team behind you, you have the pressure to make something decent. There are all sorts of stresses that you feel as a director. But then at the end, the reward of seeing it finished, seeing it made, is kind of incredible.” Selected for international Comic Video festival in Pavia, Italy, Chris Anderson Award for young filmmaker at Berwick Film Festival and KidsforkidsUK film festival at BFI Southbank, Collection Day was a massive success for Lizzy. I asked her how it felt to be recognized by so many different organisations. “You make something as good as you can and you put your heart and soul into it because every film you make you get quite invested in, attached to, and when it’s recognized to
know people; you need to have those connections. The talent campus was amazing for making those. I now know producers and composers and cinematographers who are willing to help and be involved.” Yet when asked if she saw the same degree of enthusiasm for filmmaking in Oxford, Lizzy seemed quite hesitant. “It’s a very different atmosphere in Oxford, because everyone has a different thing that they’re doing. Everyone is trying to do their degree at the same time. At the talent campus it was ‘we are all super keen on filmmaking and that’s all we’re doing and that’s why we’re all here.’ Which I think is the difference, you’re not trying to fit film around anything. “Last year, because I had just come from the talent campus where it was like ‘oh my god everyone loves film’ to here where it suddenly felt like nobody was interested or excited by filmmaking – which is fine because everyone is different and has different hobbies and stuff – but it’s also a bit isolating when you need those people around you to make stuff. And there are people about, but it takes a while to find them, and they have to come out of the woodwork a bit. I think it’s taken me a year essentially to find them.” One of the biggest challenges for student filmmaking in Oxford is the lack of funds. So I asked Lizzy about making films on a really tight budget. “That’s what I really enjoy. I think someone said that ‘limitations are the most helpful thing that you will have as a filmmaker.’ So if you have no money, no sound equipment, and only two actors who happen to be your friend, they help your creativity because you have to think out of the box which is super helpful and I love it. It also means that you can make all these mistakes and you have nothing to lose. “[For] Collection Day we spent five pounds on a crappy bunch of flowers
and the money we got from the Oxford Film Fund which went into the distribution of that, which was nice.” Puddles [Lizzy’s next film] was made on no budget at all. I hate spending money. You can literally have these ideas, write them all down and go out and make them which is the best feeling ever. For me it’s more fun making films without any money, but that obviously limits you to a certain kind of project.
“Do what you want to do and experiment how you want to experiment”
“I’m really lucky to have people who lend me their equipment and editing software, and you kind of need that as a filmmaker, because that’s something you can’t live without. I was really lucky to have that support there.” Using your limitations and making your mistakes on no budget seemed like a great advice, so I asked Lizzy if she had any advice for students who are just starting out. “Have fun and explore, use the fact
that you’re just starting out to have a good time. There are lots of people who want to impart a serious message through their work, which is great, but don’t worry about that too much because don’t worry if your first film is five minutes and doesn’t tell the world how you really feel about something. “With film, the reason that I love it is that it doesn’t have to be real. You don’t have to use the sound of someone walking across the floor when you show a shot of someone walking across the floor. Anything goes, and the people who are on the edge of the industry pushing forwards are those who break the rules. Do what you want to do and explore and experiment how you want to experiment. If everyone is going to obey the same rules as everyone else, you’re not going to have anything new or interesting.” “Connections are the most important thing. Don’t be afraid of putting yourself out there, don’t be shy. If you’re thinking about sending someone an email but not quite sure if it’s okay, just go for it, because largely people are great, and if they’re not great then it’s their loss and not yours, but it’s so important – you have to have those people on your side.”
23rd October 2014
Screen 9
Broadcasting: yay or nay?
Laura Hartley pits CherwellTV against OxStu
H
ere at Oxford, we have one of the most opinionated student bodies in the country. As students clamour to have their voices heard, student broadcasting becomes a bigger and bigger industry. In light of this, we took a moment to talk to the broadcasting editors of both The Oxford Student and Cherwell about what they currently do regarding broadcasting and video content and what we should expect from them this year.
PHOTO/The Oxford Student
Pick of the week: Maps to the Stars PHOTO/Gregg Jaden
Balliol College
L
os Angeles has long been a potent setting for filmmakers. It’s a place of great desperation and aspiration, of pragmatism and idealism. It’s the City of Angels, a run down paradise where the powerful prey on the weak. A place where the coyotes are as hungry for their next meal as the actors are for their big break. And this all happens under its otherworldly street lights, glowing beneath the Hollywood Hills. This twisted unreality has formed the backdrop of a spate of recent films. It was there in last year’s crime drama The Bling Ring, in Paul Schrader’s Lindsay Lohan comeback trainwreck The Canyons, and in Jake Gyllenhaal’s forthcoming journalist drama Nightcrawler. But it’s here, in David’s Cronenberg’s Maps to the Stars, that it finds its most intriguing depiction. The film is a constellation of revolving characters and symbols, a crazed zodiac of life and death. It’s perhaps the most entertaining, and certainly the most ridiculous of this current crop of Hollywood nightmares.
The film is at once a comedy, a Hollywood exposé a ghost story, a mythological allegory and absolutely completely insane. An ensemble piece with three main intersecting branches, the film is at once a comedy, a Hollywood exposé a ghost story, a mythological allegory and absolutely completely insane. The film begins with the arrival of Agatha, an unhinged burns victim played by Mia Wasikowska, who strikes up a friendship with Robert Pattinson’s chauffeur and jobbing actor. Meanwhile, Julianne Moore’s Havana Segrand, an ageing actress, vies to be cast in a remake of the film which made a star of her long dead abusive mother,
in a plot seemingly pulled from Joan Crawford’s headlines. Elsewhere, Benjie, a young child star, attempts to stay sober through the filming of the sequel to his hit comedy movie “Bad Babysitter,” whilst his motivational speaker father, played chillingly by John Cusack, prepares for an upcoming book tour. As these seemingly disconnected stories unfold, the relationships and actions of the characters take on increasingly mythological and fantastical dimensions. By the film’s end, it’s transformed into a glorious mess of incest, murder, revenge, mental illness and spirituality. It’s really something to behold. The film is gleefully critical of a Hollywood that has lost touch with its craft. The characters schmooze, scheme and socialise, but barely ever step foot on a film set. Everybody’s acting, just not for the cameras. The script is ruthless in its critique of the vanity and delusion at the heart of Hollywood’s egos. Havana in particular is an unforgettable creation. A manipulative, cruel, horrifically self absorbed character, who nevertheless struggles beneath several layers of pain and self doubt, she is haunted by visions of her mother, who taunts her for her lack of talent and fading desirability. Havana demands constant reassurance from those around her, even as she bullies and belittles them. Moore is absolutely fearless in the role, committing entirely, even as she dances around her pool, celebrating the drowning of a child. She magnificently portrays both the vulnerabilities and monstrous qualities within Havana, often in the same breath. She reminds us that Havana, at heart, is a victim. A victim of chance, a victim of her own ambition, and a victim of a town where twenty-something starlets are dismissed as menopausal by their teen idol contemporaries. The film clearly has a lot on its mind, but theres simply too much going on for it to express all of its ideas coherently. The Hollywood satire gets lost amongst the mystical aspects of the plot, even as a general examination of delusion emerges from the chaos. This delusion manifests in the characters’ self destructive hunger for success, in their faux-spirituality and
constant invoking of the Dalai Lama, and in the ghosts that externalise their fears and anxieties. However, for all its astrological allusions, Cronenberg never takes time to ground the film in any kind of reality outside of the Hollywood Hills, and as such it’s hard to see from which direction we should approach its subjects. Is it the people that are despicable, or an industry built on distrust and abuse which made them so? The addition of supernatural elements and cosmological concepts further disorientates, and yet that is half the film’s fun. It indulges in its characters’ delusions to the very end, leaving the audience confused, bewildered, and a little unfulfilled. It’s both incredibly complex and utterly ludicrous.
It will stand as a snapshot of a particular moment in time, capturing and critiquing an era simultaneously enraptured and appalled by the cult of celebrity. “Maps to the Stars” is relentlessly entertaining, but struggles to elucidate the profundity in the actions of the shallow people it depicts. It is however, a return to anarchic form for David Cronenberg, after the staginess of recent misfires “Cosmopolis” and “A Dangerous Method.” By abandoning his attempts at solemnity, Cronenberg has made his most vital work in years. The film is littered with the names of today’s celebrities, making it likely to date as quickly as a TMZ news cycle. However, it will stand as a snapshot of a particular moment in time, capturing and critiquing an era simultaneously enraptured and appalled by the cult of celebrity. “Maps to the Stars” leads us to a place that disgusts and entertains in equal measure.
CherwellTV
Broadcasting editors at Cherwell, Lily Taylor and Niluka Kavanagh, say that “CherwellTV is one of Oxford’s fastest-growing and most diverse broadcasting channels”, covering everything from news to theatre, interviews to sport and fashion to charity. Receiving numerous requests from students to preview their events, CherwellTV’s presence in Oxford is only growing with each term. Probably best known for their regular episodes of ‘Shark Tales’, in which the survivors of Park End (allegedly Lava Ignite) are interviewed about their evening and other (very important) issues such as images of Putin riding a horse topless, CherwellTV “does hope to entertain”. Alongside these light-hearted features, they say that “we also give great prominence to current affairs and topical debates, and viewers can expect to see a variety of longer reports from us over the next few weeks”.
OxStu
Although The Oxford Student does not have an official broadcasting channel that parallels CherwellTV, there is still lots of content being broadcast. The Oxford Student is currently in the process of putting together a new set of plans for the section this term. The editors say, “predominantly we aim to produce material that best accompanies the feel and content of our individual sections”. There are already numerous exciting plans in the pipeline with the Music Editors currently hosting an Oxford Student radio show, where they review latest album and single releases, as well as interview an array of artists. The Drama section is planning to preview some Oxford plays, and the News Team are “expecting to cover some of the more topical events happening around Oxford this term”.
PHOTO/The Oxford Student
Samuel Joyce
B
roadcasting is no easy feat with CherwellTV emphasizing that each broadcast is “collaborative effort, involving huge amounts of teamwork and dedication from camera-people, editors, presenters, and, of course, the people being filmed”. So far, student broadcasting at Oxford has not been as popular as the printed word but it is likely that we will see more video reports in the future. Both The Oxford Student and Cherwell seem keen to grab as many broadcasting opportunities as possible over the coming year but it remains to be seen whether we will see a significant shift away from more traditional methods of reporting towards digital content.
10 Stage
Stage
23th October 2014
Convict drama set to grip audiences
OxStu Stage talks prisoners and plays with the cast and director of Our Country’s Good
Charanpreet Khaira Exeter College
“Frenzying, maddening”: The Oxford Greek Play
Tortuous and triumphant, The Oristeia Trilogy comes to a dramatic close with The Furies
PHOTO/ Duncan Cornish
Emily Holman Balliol College
A
s light coaxes the scene into visibility, a man drags himself across the front of the stage. Behind him is an enormous extension of plastic, part-dangling placenta, part-distorted womb, partshackling net. One is reminded of Atlas and the earth that it is his destiny to shoulder. Inside the plastic is a body. Soon we will realise that it is the man’s dead mother, and that it is he who has killed her. So opens the triennial Oxford Greek Play, which brings the final part of Aeschylus’ Oresteia trilogy, The Eumenides (otherwise known as The Furies) to the Oxford Playhouse. Entirely in Ancient Greek, with English subtitles, the Oxford Greek Play has a well-deserved reputation for extreme difficulty in conception and for excellence in realisation. The Furies, directed by Arabella Currie, does not disappoint. The play is a masterful rendering of Aeschylus, with an innovative artistic interpretation that enables the language – the evocative revival of which is the whole point of the Oxford Greek Play – to kindle forcefully a sense of the power and range of its meaning. Orestes has killed his mother, Clytemnestra, to avenge the death of his father, Agamemnon, murdered by Clytemnestra and her lover upon his glorious victory return from Troy. The Furies want vengeance and have sworn to plague Orestes beyond
the grave for having murdered his kin. While the Oresteia is famous for its exploration of justice, what this production brings out is its artistry. Currie’s play makes manifest the horror of Orestes’ experience, showcasing the sheer range of the resources of drama with obvious commitment, passion and talent. The hideousness of the Furies, for instance, is evident in every aspect: their shrieks, their movement, their number, their pleas and accusations and curses, even their song. And that omits the most important of all: their words. For it is the achievement in language in this production that especially compels attention. In one of the earlier scenes, Clytemnestra exhorts the sleeping Furies to avenge her death. Frightfully she urges them to curse and quell her son. Her emphatic insistence on the way that Orestes is “laughing at you” awakens the Eumenides, forcing them into a response that is already for them a kind of torture, recalling them to their fate as “daughters of the night,” foul and frenzied beings that are neither human nor god, and fit only for the most inhuman and ungodly vengeance. Quite how consummate has been Currie’s direction and how complete her attention to the production is indicated by the link between Clytemnestra’s reference to the “tightest net” of guilt, from which she claims Orestes has escaped, and the image with which the play begins. The mention of “net” recalls the visual imprint marked in the opening scene, that of Orestes dragging his mother’s corpse in plastic behind him. It is clear that the net is something he has not escaped, whether or not the Furies continue to follow him. This
Stage 11
23th October 2014
makes the mother’s relishing of the prospect of her son’s punishment all the more awful: “I am Clytemnestra, calling to you,” she shrieks at the Furies. And, worse: “What are you for, except to do evil?” The torturous imagery of the language is told in good characters as well as bad. Apollo, wonderfully played by Jack Taylor, wreaks cursing words on the Furies that are almost as devastating as those they hail on Orestes. He is merciless, objurgating them even for their presence amidst “prophetic walls,” which “it is wrong for you to touch,” as they belong only in the hell-place where “murder is justice”. Let no one accuse
Aeschylus of writing only didactically. Instructive though the interrogation of justice is, above all it is language that holds the key to those who adhere to or deviate from it. Hearing the Greek and seeing the English, words from two and a half millennia ago, only makes this clearer. While the Furies chant a deathsong over their victim, revelling in its “frenzying, maddening, mindsickening” qualities, Apollo advocates the “ice cold
thrust of the public whip”. It is Athena who is able to conciliate Apollo and clear Orestes; most importantly, though, it is she who can bring a justice to the Furies that is also merciful. The building of music at the end and a slow shifting of the set from red to white present strikingly the creation of a new order of justice. The reign of the Furies is at an end, along with the horrors of their language. Currie makes this point even more forcefully by having the voices of the Furies change along with their demeanour at the play’s close.This is an astonishing feat. You don’t need to know Aeschylus and you certainly don’t need to know Greek to enjoy this production.
T
imberlake Wertenbaker’s politically charged Our Country’s Good comes to Oxford’s Keble O’Reilly theatre in 3rd Week. Situated on a convict ship headed to Australia in the 1780s, the play is packed with love triangles, power struggles, and clever dialogue. The crux, however, is the staging of a play within the play itself, completely altering the relationships between the characters as all are leveled on the stage. As their involvement with the theatre gradually softens the hearts and minds of the convicts, the
play raises vital questions about the role of art in convict rehabilitation. Director Fay Lomas describes how controversy over banning books in prisons made her keen to put on the play: “I heard Chris Grayling being interviewed on the radio trying to justify the ban and ended up shouting at the radio in frustration. It really got me thinking about the importance of art/literature as something for everyone, and about the role art can play in rehabilitation.” The play sees convicts find their voices and learn about themselves through theatre, unfolding in the shadow of one execution, and under the looming threat of another. The dichotomy created is clear: either convicts and leaders can come together to better themselves through theatre, or the group can self-destruct as those in charge exploit their power over those below. The power relations between the
cast are at the heart of the play’s dramatic tension, as Lomas aims to stress visually by creating a literal hierarchy with blocks on the stage. The ground level is the confine of the convicts, who are only allowed to progress up onto higher levels when acting in the play.
Though the metaphor is clear and striking, it will be interesting to see how the cast succeeds in playing this out without disrupting the movement of the play. Dominic Pollard and William Yeldham do good jobs, however,with their testosterone-fuelled contest as Ralph and Wisehammer trying to win the affections of Mary, played by Alannah Jones; it fits perfectly with Lomas’s stage concept, as the two of them subtly air their grievances with Mary nervously shuddering between them. Mary’s part, played by Alannah Jones, is set to be more challenging than those of Ralph and Wisehammer. The female characters are given a more passive role, so that much of their acting relies on body language, something that presents an inevitable challenge. Jones calls her character “frustratingly shy,” presenting a “compelling contradiction of worldliness and naivety.” It’s an absorbing combination, and hopefully Jones’s female cast members will do it justice. Another difficulty that faces the cast is the doubled-up casting, as all the characters but Ralph
play dual roles; Lomas takes the same approach as Ralph within the play – the difficulty can be turned into an advantage. While it’s hard to see how a play set on an 18th century convict ship could be relevant and engaging to an audience today, Our Country’s Good is set to grip its viewers firmly. Its metatheatrical elements keep the audience thinking about their role, and the role of theatre, equally keeping Lomas on her toes. Directing Ralph to act as director “is really rewarding because of the way it makes you more conscious of your own process of creating a show,” she says. The thought and passion going into the play at this early stage is set to result in a thrilling and entertaining watch – don’t miss out!
Our Country’s Good will play at the Keble O’Reilly Theatre from 29th October until 1st November
BT comedy to tackle “body shaming”
Fay Watson Mansfield College
I
arrive mid-rehearsal of Fat Pig into an intense argument that feels more like a courtroom drama than the scene of a comedy. Yet, the immediate connection I witnessed between characters solidifies what this play is about – human relations and interactions. Neil LaBute’s Fat Pig has been widely performed since its inception in 2006 from Melbourne to Mexico City. This is indicative of the play’s universal appeal, dealing as it does with PHOTO/ Duncan Cornish society’s endless
obsession with weight. Talking to the director/ producer/lead actress (and probably more roles than can be listed here) Phosile Mashinkila, she tells me that this universal appeal is why she wanted to put this play on in Oxford. We are bombarded with a constant stream of body shaming every day in the media yet it still remains a difficult topic to talk about. Fat Pig concerns Tom (Jason Imlach) who falls in love with plussized Helen (the aforementioned Phosile Mashinkila) and how his friends and colleagues react to this. Yet, this play with its brash direct dialogue is not pushing morals but instead about confronting this issue head on. The audience may feel uncomfortable, they may not want to hear the horrible things that are being discussed but surely a shout out loud is better than a whisper behind backs. The Burton Taylor Studio, then, is perhaps a perfect venue for this play. With its not-quite darkness, and closely compacted seats, the will be no space for an audience to hide. This is not to say that the play isn’t an enjoyable watch as LaBute’s writing offers comedy as well as depth that Mashinkila’s clever
directorial touches aid – whether it be the sly offering of chocolate or the dramatic dropping of a book. The scene I was shown was the second scene in the play – a tense office scene where Tom is confronted by both his co-workers – Jeanie (Martha Reed) and Carter (Brian Chandrabose) – asking whether he is seeing someone. Even in this brief extract it is clear that the actors have thought a great deal about their dynamics and relationships. As an audience member, you already begin to question your sympathy when the bullied Tom in one interaction becomes spineless in another. This play is what the best drama is – real people and real situations. Due to its uncomfortable dialogue, bittersweet ending and comedic moments, this is a play you won’t want to miss.
Fat Pig is playing at the Burton Taylor Studio from 21st until 25th October
mind your head Mind Your Head is OUSU’s mental health campaign, and aims to increase awareness of mental health issues among students and to reduce the stigma and misconceptions surrounding mental illness. We work to empower students to look after their mental wellbeing, to encourage them to seek help when needed, and to look out for others in need of support. If you are interested in being a part of the campaign, please come to our first meeting of the academic year at 5pm on Wednesday of Week 2 in the Pusey Room at Keble College. More generally, for more information and to get involved, please email mindyourhead@ousu.org to join the mailing list, follow us on Facebook, or visit mindyourheadoxford.org.
Fashion
Fashion 13
23rd October 2014
Jennie Graham Christ Church
I
n many ways a rather irritating heroine, Lady Dona St. Columb in Daphne Du Maurier’s Frenchman’s Creek has also been a source of much sartorial inspiration, mixing corsets and cross-dressing with aplomb. This 19th century aristo-brat charmed her way into my heart during my early teenage years, teaching me how to style a pair of pirate boots long before I had even heard the name Chloé. From her mastery of the masculine I learned an early lesson about the power of a strong silhouette and she rocks a ruby earring like no one else. Above all, Lady Dona made it OK to break the rules, don a pair of breeches and run off with an incredibly inappropriate man. And isn’t that the most important lesson any girl can learn?
Style stories
Lisa Cave
The Queen’s College
Y
es, yes, I know Daisy Buchanan is the main female character in The Great Gatsby (F. Scott Fitzgerald, lest we forget), but, from a fashion perspective, she just doesn’t go as far as Jordan Baker. And from a non-fashion perspective, she is also highly irritating (see her “beautiful little fool” comment for more information). Whilst Daisy can undoubtedly rock the little white dress, Miss Baker, a professional golfing champ, is the one “who wore her evening dress, all her dresses, like sports clothes”. Presuming she isn’t wearing a tracksuit to a party in the Roaring Twenties, this quotation evokes the sleek silhouettes, the casual, yet smart dropped waists and neutral shades of Jordan’s evening wear, that was so natural it was as if she donned them every day (and if you’ve read The Great Gatsby, this isn’t so hard to believe). You can’t go wrong with a twenties-style dress code and Jordan’s effortless elegance when she attends the hottest party in town ensures she is far more than just a secondary female character. All hail Jordan Baker, a sartorially excellent literary heroine, who can even make golfing look cool.
Léa Caresse
Worcester College
I
t is not often that a poet is noted as a style icon, but in Mayakovsky’s case, it is definitely justified. The Russian futuristic poet from the 1920s was somewhat of a dandy, declaiming his poetry in the heart of Moscow in his signature yellow blouse and with drawings on his face. In the manner of many avant-garde artists of that period, he would also wear brightly patterned scarves and huge hats. Only occasionally would he discard his eccentric dress for an elegant top hat and waistcoat. After all, who said the proletariat couldn’t be chic?
Once upon an OxStu Fashion meeting ... For this week’s literatureinspired issue, the fashion team share their sartorial icons from the wonderful world of fiction. From Fitzgerald to futuristic Russian poets, check out the literary heroines who have influenced our style.
Alys Key
Somerville College
“A
ngular a n d elegant, he was precariously thin, with nervous hands and a shrewd albino face and a short, fiery mop of the reddest hair I had ever seen.” Thus enters Francis Abernathy onto the pages of Donna Tart’s The Secret History. Smart, rich, and with an East Coast collegiate air about them, all of the novel’s characters appeal to my aesthetic sensibilities, but it is Francis whose style I find most seductive. The narrator describes his clothing in detail: “beautifully starchy shirts with French cuffs; magnificent neckties; a black greatcoat that billowed behind him as he walked and made him look like a cross between a student prince and Jack the Ripper”. And of course, who doesn’t want to look like a royal serial killer? I am normally one for my floral dresses, but there is something to be said for that dandy-ish rogue look, especially when it’s a rainy day and I just want to sit in the bar with a book and look edgy. Francis provides a blueprint for that, and gives me a justification for my extensive collection of winter coats.
PHOTO/Matt Seppings
Lisa Cave
The Queen’s College In a makeup rut? Finding yourself baffled in Boots? Let Lisa Cave help. This week, the OxStu’s Deputy Fashion Editor invites you to take a peek into her makeup bag and gives you an exclusive run-down of her must-have beauty products of the moment. Urban Decay ‘Naked’ Palette
You’ve probably heard of it. The ‘Naked’ palettes are the only eye shadows you’ll ever need to buy. There are three different selections; I personally am rather fond of the original (i.e numero uno) but
all three palettes offer a range of universally flattering and natural shades that can be worn alone or blended with other colours. As a cheaper alternative, Urban Decay have also brought out a range of ‘Basics’ for each palette. Amazing Cosmetics Amazing Concealer
Forgive the slightly arrogant name; this concealer is genuinely quite amazing. Available in a rainbow of 20 different shades this full coverage, water-proof product deserves a place in makeup bags everywhere. Eyeko Skinny Liquid Eyeliner
The only liquid eyeliner that I have ever applied with any success. The super-slim tip is basically idiot-
proof and smudging is minimal. Also very useful for creating a cat/ dog/mouse nose for bops (I speak from a lot of experience). L’Oréal True Match Foundation
Designed to blend perfectly into your individual skin tone. Think Yves Saint Laurent Touche Éclat , but without the hefty designer price tag. Anastasia Beverly Hills Brow Wiz
Brows are big. Or so I’m told. One end is a pencil for defining your eyebrow shape and filling in any sparse patches, whilst the other end acts as a mini brush to comb through as a finishing touch. Exceptionally easy to use and teeny-tiny so it won’t clutter up your handbag.
PHOTO/Maria Morri
Modern Heroine
Fashion 14
Editors: Rosalind Brody and Beth Lambert
features@oxfordstudent.com
23rd October 2014
Photographer: LĂŠa Carresse; Assistant stylist: Jennie Graham; Model: Kitty Russman
23rd October 2014
Fashion 15
Limited Availability! Buy your tickets now to get the chance to experience Oxfords best student Ball.
www.oxfordragball.co.uk
OxStuff 17
23rd October 2014
One to watch As the first person ever to hold the "Ones to Watch crown for two weeks in a row, Natalie has cemented her position as Oxford titan and thoroughly good egg. But wait - could this really be the same Natalie who was revealed by the Tab to have brutally trampled that famously oppressed Oxford minority: visiting students? According to an egregious streak of nonsense written by the Tab's fashion ed Karina Kalinowska, Natalie gave freshers a "harsh warning" not to befriend visiting students. Of course, the Tab didn't stop to ask Natalie whether her comment (in a "message to my fresher self" feature) was a tongue-in-cheek wink at her wide, tight-knit circle of visiting student friends; it was just more
Natalie Harney, Pembroke College
evidence of "hostility towards visiting students". One Pembroke visiting student from last year, who would have had to bear the brunt of Natalie's "hostility" first-hand, commented: "Natalie Harney was my closest friend. and I still count her as one of my closest friends. I have hardly had a day since leaving Oxford that I haven't been in touch with Natalie. She visited us in Washington DC in September. I got a letter from her in the post last week. If every visiting student had friends like her at Oxford, I suspect the UK Border Agency would see a remarkable uptick in applications for refugee status from American university students. Natalie's comments about visiting students were
made with tongue firmly in cheek; I say this as someone who frequently needled her about the fact that I would be leaving at the end of the year. If the Tab fails to grasp that, then perhaps they are either intentionally thick or need to string a few more brain cells together." Unlike the Tab themselves, we follow Tab culture editor Tom Ball's rule of "not slandering individuals", so we won't dwell on Klickbait Kalinowska's motivations for writing the piece. Perhaps, to allay the concerns of Tab's compassionate social justice warriors, it's best to grant a voice to another Pembroke visiting student: "The Tab's piece is nothing more than a spiteful misrepresentation of Natalie Harney to their own cheap ends".
Natalie delivering her toxic doctrine of hatred to the heart of the visiting students' community - by crossing the pond to pay a friendly visit
PHOTO/James Aldred
It's been a stellar start to term for this Somervillian. Beginning as the top member of the Union's Standing Committee, he's just been promoted to Secretary. In first week, he opened the infamous 'This House Has No Confidence In Her Majesty's Government' debate, and was described as "devilishly handsome" by OxStu's own livetweeter. He also confirmed the Union's new Screen Actors' Guild partnership, thus confirming arguably the biggest speaker this term: Morgan Freeman. And as if that wasn't enough, his BNOC status has been truly affirmed by the fact that not one, not two, but three people dressed as him for the annual 'S for Somerville' BOP. From one (Ox)Stu to another, we applaud you.
Stuart Webber
OxStuff Cliterary Theory Y
ou may object to ‘textbook’ sex. Doing it by the book, you think, is barely doing it at all – it is rendering carnal pleasure academic, unexciting, cerebral and ‘up there’ rather than animal and ‘down here’. Not me. It is time for you to meet that rare breed of fetishist who is in their sexual element amongst the dreaming spires, flitting from the erotic literary frenzy of the RadCam to the sensuous archival treasures of the SSL and the cavernous inner depths of the Gladstone Link. It’s all about the academic. Like most good things in my life, it all started with the Classics. Reading about the “Bacchanalian frenzy” that Plato’s symposiasts got up to, I couldn’t help but feel out of the action. Sex in the Academy, so to speak, was fun for a while, but there’s only so long that the Platonicstyle “intercural” sex (that’s between the thighs for the unluckily uninitiated) could give me what I needed. It was only when I started getting better acquainted with my Kant that I, well… Sure, my personal preferences are geared towards the Classical side of things. But by no means am I picky – anyone with an interest in theory of any kind is welcome to get cltirary with me.
In fact, I’ve had some of by best experiences with engineers – they have such raw hunger to
understand how things are wired, and the results can be electric (even shockingly so). Mathematicians, you mught think, find it hard to apply their understanding of the abstract in the bedroom, but getting your
+155
HackDaq -5
James Waddell
head around curves the way they do is only a short step away from knowing how to get your hands around them. Besides, when most mechanics problems have something to do with upthrust… English students with a taste (so to speak, as it were, if you know what I mean) for literotica will do anything – just find a reference to in D H Lawrence (and believe me, you will) and they’ll be practically soliloquising about the literary significance of some contortionist position that most philistinic fetishists will only be able to access on the darker fringes of PornHub. I know what you’re thinking. And you’re right – tutorials can, on occasion, be a bit awkward. I’m grateful that my equipment isn’t of the right type to stand to attention whenever my tutor expounds a particularly elegant argument, but my tutor must sometimes have felt things heat up under my searing, penetrative gaze as he extracts the juiciest nuggets of wisdom from a tome of Homer. I wouldn’t trade it in though. At least I had a compelling answer when asked why I was so enthusiastic about my subject at interview. - Oedipussy Galore
James may think that waddelling down Cornmarket in his rolled up jeans and thickrimmed indie glasses makes him look pretty damn cool, but the fact that The Tab voiced their agreement by featuring him on their ‘best-dressed' 'feature' on their 'website' ought to show him just how wrong he is. This OxStu Deputy Editor must face appropriate punishment for this most egregious of crimes against The Oxford Student and, let's be honest, the Oxford student too. For this reason, WaddellStock (not to be confused with the much trendier WadStock) drops this week by the grand total of people who liked the photo on Facebook (presumably the entire readership of The Tab).
PHOTO/The Tab
18 OxStuff
25th October Oxford Book Club Sale Java&Co
Editorial Address
OxDigs Milo Corcoran Wadham Buried in Wadham’s Bowra Building, just above the bar, you’ll find the “Zen Den” of Sanskrit student Milo Corcoran. It’s a place of ultimate relaxation, with the smell of incense and candles in the air, and the “too aggressive” fluorescent lighting never tuned on, in favour of a few coloured lamps. Even the presence of Mansfield’s looming building blocking the view can’t spoil the mood. “The first time I came into this room I was a little bit miffed, but then I thought if I make it nice enough inside I won’t care anymore.” That principle guides the decoration of the room, with almost every wall covered in canvas designs. “I have as many things as I can that remind me of India, to keep me inspired, keep me motivated” The “Zen Den” also serves as a respite from the harsh realities of the library, or Park End’s cheesefloor. Work can happen there in the day, “but when it gets to the evening it’s exclusively a relaxing place”. A futon laid out near the bed also provides a much needed service: “Often times after a night out people come back here, have a cup of tea, sometimes people fall asleep, and they lie down there, I put my blanket over them and they go to sleep.” The actual bed is approached differently, with a plain duvet cover projecting calm and control away from the red coloured lights of the desk: “I like having a clean bed, I make a point of always making my bed in the morning. I guess the white is just crisp and fresh” It’s not all peace and love, however, as a reindeer fur rug provides some essential comfort (“the first thing I do in the morning is put my feet on the softest rug”) but also might spoil the mood for one of Wadham’s many vegetarians seeking some chill space.
PHOTO/IPublicDomainPictures on Pixabay & The Tab
23rd October Industry Welcome Drinks Turl Street Kitchen
Culture
23rd October Oxford Finance Society Prez’s Drinks Duke of Cambridge
Journalism
Careers
Tabatha Hackworthy An Average Tab Writer So Tabatha, how do you come up with your ideas? Well normally we just think about who we don’t really like and take something they’ve said out of context, or exaggerate something they’ve done. Sounds like hard work. Yeah, it’s brutal. I’d say I do literally at least one hour a week. That’s tough man. I suppose you probably had extensive experience in order to get your position? One time I wrote an offensive message on a bathroom wall, if that counts. What’s your favourite feature on The Tab? Best Clubbers is always a good way to cover up the fact that I just quite like creepily going through nightclub photos to find people I find attractive. Do you think The Tab has a strong online presence? Yeah, we’re so strong that we sometimes just subsume the Instagram accounts of other newspapers’ fashion sections. Yeah thanks for that. So who is your biggest inspiration? I think Nigel Farage is a great guy. Plus he’s a proper fittie. 10/10 would bang. And who do you most dislike? It changes on a daily basis. Right now I’m not so keen on Jeremy Paxman. I mean… why would a respected broadcaster feel it was beneath him to read a trashy student tabloid?? Do you think it’s OK to write an article personally attacking someone?
PHOTO/Sachin Croker
OxStuff Pick of the Week
23rd October 2014
Of course not. In fact our culture editor Tom Ball said on Oxide’s show ‘A Point of Information’ that “we also want to concentrate on the ethos, not directing articles at inidviduals.” But then again, if it gives me an opportunity to promote myself or my friends or shit on someone I don’t much like then it’s probs fine lmao #YOLO
29th October Vulture: Grime & Garage Night Carbon
Drama
28th October ‘Your Kindness Could Kill’ Panel Oxford Union
Clubbing
Activism
Drama
28th October Bouncers Burton Taylor Studio
29th October Our Contry’s Good Keble O’Reilly Theatre
See our What’s On Calendar on oxfordstudent. com for event listings
OxStuff 19
23rd October 2014
What you were reading on oxfordstudent.com PHOTO/Rosie Shennan
Rosie's Recipes Rosie's Recipes
Ultimate foodie Rosie Shennan shares some of her student-oriented recipes this term to help you battle freshers’ flu, 5th week blues and get in the Oxmas spirit. Follow her on Instagram @a_scone_atatime or her blog asconeatatime.wordpress.com
Ingredients 3 leeks, washed and sliced 20g butter 1 onion 6 small potatoes, peeled and in small chunks 1.5l veg stock 75ml single cream
Puzzles
Leek and potato soup
Autumn has arrived, so whip up this easy soup to microwave for lunch or dinner. Serves 3 – 4.
Melt butter in pan and add the onion, then the potatoes and leeks. Cook for 5 mins, ensuring the mixture doesn’t stick. Add the stock, season and bring to the boil.
Simmer for 20 mins until the potatoes are soft. Then either blend for a smooth consistency, or simply mash for a chunkier soup.
Crossword by ‘Chuckles’
1.Transmisogyny and “Radical” feminism Rowan Davis 2. Union Secretary resigns Adam Dayan 3. St. John’s Gender Equality Festival in transphobia U-turn OxStu News Team 4.
Downton Abbey: Where are we now? Thomas Bannatyne
5. The search for Oxford’s ultimate drinking hall Jack Lale & Hugh Mchale-Maughan For clues & answers contact oxstu.puzzles@gmail.com
Down
Across
1. Hideous reptilian King with one eye missing has become an international gay icon (4,8)
1. The codes of 10’s church state that west-facing wall looks wrong with east-facing Italian Father in front of it (5,3)
2. You hastily intervening without a paddle leaves us with a pretty shit creek (6) 3. Battle document notes raiders ending up in a spread out way (3,5)
6. Foreign-language farewell that becomes a Foreign-language greeting coming back again! (5) 7. Botched forensic evidence answers nothing (4)
4. Give across a silent message by turning that frown upside-down for this month (5)
8. German city cuts down on drug-induced food binges by 25% before letting it get freaky (6)
5. Pathetic, barely under one carat diamond ring is making a mockery of the real thing (12)
9. Disorderly assemblage of governments arrest the movement of the seas and oceans with just one quick question (6)
8. For showing doubt, controversial saint shall remain nameless (8) 9. Items of lingerie etc. wear away in the end this doesn’t mean it’s over! (5) 10. Pious Monarch initially Prince of Party Empire (4)
11. To start off with a strange topic, is it wrong to describe more than one sea creature in this manner? (6) 12. English city puts everyone amidst small, glittering lights (5) 13. After a brief timeout, smashing up huge 1000 tonne units of mass is still a very difficult thing to crack (5,3)
I failed my exam, what can I do?
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Comment 23rd October 2014
Comment 11
Gowns, grades and getting in to Oxford
PHOTO/ Skittledog
Hannah Barker Lincoln College
T
here’s a lot of talk about the need to change Oxford stereotypes. It’s now the university’s mission to prove to all those teachers and future applicants that prancing around in gowns and attending graduation services in Latin doesn’t mean that you’re rich – or, for that matter, that you come from a private school.
It is difficult to alter the image of an institution which requires you to attend exams in black ribbons and a hat As the OxStu's 0th week article on the Sutton Trust report proved, it is hard to dispel the myth that the majority of Oxbridge students are privately educated. And it is, of course, self-perpetuating; the more state school pupils are put off from applying by the thought that they may
be in the minority, the more this comes to be true. However, I wonder whether the word ‘myth’ is really the right one to use here. Granted, if you look at the figures, the ‘majority’ of Oxford students do indeed come from state schools. But they triumph by a narrow margin – 6.8 per cent to be precise. Given that merely seven per cent of the school population is made up of independent schools, the fact that their former pupils amount to almost half of the Oxford student population is somewhat troubling. The huge number of teachers who have the impression that Oxford is dominated by the privately educated might have their figures wrong, but state school pupils clearly draw the short straw when it comes to applications to the top universities. Of course, the root of the problem doesn’t lie in the application procedure per se, but rather in the inherent inequality in the state/private school system. However, it is down to universities like Oxford to grapple with the difficult task of smoothing out these differences. The question is: can this possibly be achieved? A recent report by the Higher Education Funding Council for England suggests that, to a certain extent, it can. The report proves that state school students are likely to
get a better degree than private school students with the equivalent grades at GCSE, suggesting that those who have been held back at school are able to live up to their true ability at university level.
We need a way to assess a candidate's ability that is not influenced by their background What these findings also make clear is that grades are not the best way to assess the potential of a university candidate. For years, the discrepancy between attainment at GCSE in independent and state schools has been enormous – in 2009, privately educated pupils achieved almost three times the number of As and A*s than their peers at state schools. Despite this huge disparity, GCSE grades still remain a determining factor in the acceptance into universities. I do not think the answer is as simple as reducing the grade expectations for applicants from state schools, as there are huge discrepancies between different government schools, even before you throw grammar schools, academies and the like
into the mix. Neither am I an advocate of patronising state school applicants by implementing a specific quota for those who have not had the advantage of attending a private school. Instead, we need to find ways of assessing a candidate’s ability which are as little influenced as possible by previous educational background. Easier said than done, but there are definitely some changes which can be made. Oxbridge has the huge advantage that, if you make it to interview, you get to see a real person and that person gets to see the real you – but, with competition for courses raging as fiercely as ever, steps need to be taken to more fairly filter applicants in the preinterview stage. Firstly, I would suggest that universities like Oxford and Cambridge introduce their own general entrance exams as an alternative to relying on GCSE grades. In the style of the 11 plus, they could test a general aptitude and a whole range of skills, whilst being as difficult as possible to prepare for. In addition, the universities should place more value on the ability to accomplish tasks like the analysis of a previously unseen poem, graph, or music score than on a string of A grades or a piece of coursework which may have been edited five times by a teacher who has less
than half the number of pupils. Finally, if Oxford wants somebody, why not drop the grade expectations, as they did for our parents’ generation? Not just for applicants from state schools, but for everyone. Surely the university should rely more on the ability of its professors to choose suitable candidates than on our supposedly fair education system?
The root of the problem lies in the inequality in the state school/private school system
In no way do I want to diminish what Oxford is doing to solve this issue, but attempts to combat the stereotypes seem to have little effect. It’s going to take more than e-newsletters and school outreach work to radically alter the image of an institution which requires you to attend your exams in a pretty black ribbon and hat. The way in which such a traditional institution as Oxford is seen by the outside world will take decades to change, but an adjustment in the way it chooses its candidates is something which can happen now.
12 Comment
23rd October 2014
An interview with SMBC’s Zach Weinersmith
Sid Venkataramakrishnan Pembroke College
I
f you had to describe Zach Weinersmith’s webcomic, Saturday Morning Breakfast Cereal (SMBC), in one word, it would be ‘eclectic’. Graphs, sex jokes and philosophy are all common targets – sometimes, all at once. Tales from antiquity are subverted; illogical ideologies ruthlessly lampooned; the horrors of modern life mocked - and people love it. SMBC’s spin off YouTube channel funded a miniseries via KickStarter, earning over £35,000 more than they needed with 2400 backers - so who better to talk to about the future of online content? Although he doesn’t have a specific moment which inspired him to take up cartoons - “I started young enough that I didn’t really have a proper inspiration. I liked a few comics, but it was more about how (I suspect this is a common story) I was okay at art and okay at writing, and there’s one medium that rewards that dual mediocrity” - Weinersmith does recall the market for web comics.
If you had to describe SMBC in one word, it would be ‘eclectic’ “There wasn’t really money for comics on the Internet in 1998, so there was no vision.” Web comics, a nascent media, were neither well read nor, in his eyes, very well done – “man, we pretty much all sucked. I sucked more than most, but one of the cool things back then was that it was probably easier to make a name for yourself”. He names Penny Arcade, a video-game webcomic and one of the oldest which is still widely popular, as inspiration. An SMBC strip from 2002 references classic models of syndication - and the difficulty of breaking in and he repeats what he said then the kind of pay that top cartoonists once commanded is just not there for web comics. “Catherine the Consumer has MORE disposable income than she did in, say, 1970. However, the money is also distributed more widely. So, for example, take Randall from XKCD [one of the biggest web comics, centred on science humour.] He’s at the top of the heap in terms of traffic and brand recognition for webcomics. I don’t know how much he makes, but there’s no way he comes close to Gary Larson or Bill Watterson in their heyday. That said, I think that’s just what the web did. Media is so distributed that it’s very hard to concentrate wealth. Even the Penny Arcade guys, who have a giant franchise and a bunch of conventions, probably will never come close to as much income as Jim Davis has made for Garfield. That ship has left the dock, I’m afraid.” Yet, he continues, “there are, I suspect, more “middle class artists.” That is, people like me,
who make an excellent salary while spending most of their time doing art, but who are not millionaires.” We talk about the format of the web comic versus traditional comics with their longer lifespans and shifting writers over the years, and whether web comics might move in that direction in the future.
“Webcomics haven’t changed comic BOOKS that much, but they have changed comic STRIPS” “I think it won’t be the same, but I’m not entirely sure. The incentives are a bit different. You have to remember that in the old syndication system, getting a comic into the papers is like getting in the NBA. It almost never happens. Once you’ve got it, it’s a major cash cow for whoever controls it. So, that’s why artists often pass their work to their kids. It’s like passing a landed estate or a trust fund. This is especially true for those old banal Sunday comics (I will not name names), where you wouldn’t even notice if the author changed. “Webcomics tend to be a lot more personal. If Kate Beaton wasn’t writing Hark, a Vagrant, [which parodies historical and literary characters] it simply would not be Hark, a Vagrant. If the author of Blondie changed, you wouldn’t notice. So, although it’s conceivable a comic could be passed down, I think in webcomics it’d be much harder. “The other thing is webcomics people, unlike many syndicate people, own their intellectual property. So,
“The coming revolution is that there will be more tame mainstream content available”
His view for the future of web comics? Is the bloom of the political web-comic right around the corner? “I think there’ll be stronger niche comics. For some reason there aren’t a lot of political webcomics. Someone will be The Oatmeal of politics, but it ain’t happened yet”, he says, referring to Matthew Inman’s highly popular comic site, whose 2012 revenue was in the region of £300,000. “I think there will be more cartoonists, but I think in general, no. Politics is a good way to lose your audience.” What is more certain, it seems, is that the current crop of high-end, almost academic webcomics like SMBC or XKCD, will lose their crown. “This is the natural result of the web making the final transition from its roots as a nerd toy to being a regular piece of media...So, and I hate to say this to a college student, I think the coming revolution is that there will be more tame mainstream content available. But, I may be wrong. There’s been a rise in classy woman-friendly porn comics, like Oglaf and Smut Peddler. There’s a niche that will probably grow.”
“But I would definitely say it’s been evolution, not revolution. I have this pet theory that you can tell a cartoonist’s age from how they draw comics. A cartoonist who was born in, say, 1975, is much more likely than me (1982) to draw a horizontal three or four panel strip. And, for a long time, that was most of webcomics. It’s only as more new people come in to comics and more old techniques are discovered to be arbitrary that the medium changes.”
Finally, as both an English and a Physics student, what’s his take on the debate over the Humanities versus Sciences? Is there a junction between the two? “There is no junction, but there’s also no disjunction. Sciences
they have a choice over whether their work gets passed to someone else. I suspect for most of us, the choice would be to have the comic stop when we want it to stop.” When we discuss the content of web comics, we touch upon the freedom from censorship and whether it’s had a revolutionary effect on webcomics and pushed onto new ground. “I wouldn’t necessarily say new ground. All the ground that was left fallow got touched in the 60s and 70s by independent comics. I think what’s new is that a 13 year old can grow up with a comic that isn’t ... Andy Capp or whatever. That is, a 13 year old can get a comic with pathos or real intelligence, and the author doesn’t have to cloak it in cuteness or keep it to three panels. “Another way to say it: Webcomics haven’t changed comic BOOKS that much, but they have changed comic STRIPS.
There is no junction between arts and science, but there’s also no disjunction
and humanities are part of the comforts of life, and of things that are worth knowing about, but I don’t know that there’s anything profound to be said about it. I like the arts, I like science, and I wish other people did too. The intersection of them can be very fruitful, but I think that’s only true because Art talks about everything, and Science is a big part of everything. “In terms of the value of the humanities - of course the humanities have value. People are just dumb about it. How many times do you hear a geek talk about how literature is bullshit, who then turns around and reads 14 science fiction novels a week? I think what’s at issue is you can’t eat a poem or live inside a song. But, you’d still rather have them than not! And, you still appreciate when they are done well, whether you think your friend the English major is an idiot or not. “And, in fairness to the anti-humanities people, there are aspects of the humanities that or useless, or worse. A lot of people who are anti-humanities are reacting not to humanities per se, but to postmodern philosophy or bullshit literary theory. The other day I was reading someone who talked about how evo psych is definitely bullshit, but Carl Jung makes a lot of sense. “If that’s the sort of humanities people you’re talking about, then I side with the anti-humanities people. I think a lot of the anti-philosophy sentiment, for example, in people like Lawrence Krauss and Stephen Hawking, and earlier Richard Feynman, comes from them having to deal with epistemological anarchists like Feyerabend. “It’s no wonder they think philosophy is useless.”
PHOTO/Christina Xu
Comment 13
23rd October 2014
CARTOON/ CHARLES CLEGG, ST JOHN’S COLLEGE
Mary Seacole, hero Crimean nurse, honoured at last Amber Tallon Merton College
I
’m not sure how much you know about Mary Seacole. I have to admit, even as a student passionate about History, my first awareness of Mary Seacole as more than a passing name associated with the Crimean War came from an episode of Horrible Histories. Seeing that, however, made me wonder why such an amazing woman had so little recognition, but I didn’t think much more about it. At least, that was until a couple of weeks ago when I stumbled across a fascinating talk at the Black Cultural Archives in Brixton from Elizabeth Anionwu, Professor of Nursing at the University of West London. She was talking about her involvement with the Mary Seacole Memorial Statue Appeal. The primary aim of this appeal is to raise the funds to erect a permanent public memorial
to this amazing woman who, almost unbelievably, still does not have a statue dedicated to her anywhere in the world.
This amazing woman... almost unbelievably still does not have a statue anywhere in the world Born in Jamaica in 1805 of Scottish and Creole descent, Mary Seacole learned her mother’s skills and herbal remedies treating invalid soldiers in Kingston. In 1854, she went to England and after being refused by the War Office to help in the Crimea five times, she travelled there anyway and established the British Hotel. This gave the soldiers a much-needed roof over their heads and for those stranded and wounded on the battlefield, Mary went out to treat them.
Such heroic behaviour was celebrated in 1857 when a benefit festival was held to raise money for a bankrupt Mary with more than 80,000 people attending, but since then she has almost faded into obscurity. So much so that Professor Anionwu was shocked at how little she learned about her while studying to become a nurse and how few nurses today even know her name.
ognition she deserves and the Appeal has good relations and backing from the Florence Nightingale Museum in London.
My first awareness of Mary Seacole [...] came from an episode of Horrible Histories
She travelled to Crimea and established the British Hotel This is in stark contrast to the number of people who know of Florence Nightingale. Professor Anionwu was quick to add, however, that this Appeal is in no way meant to rival or belittle Florence’s achievements (as it has been portrayed in the press) – this is simply about earning Mary Seacole the rec-
Funding for the memorial is finally nearing the target amount, and the statue, designed by Martin Jennings, will hopefully be going up in the grounds of St Thomas’ Hospital, London, next year. The website mentions that ‘she did not ask for, or expect any reward’ but I feel like it is about time we gave her one.
PHOTO/Xuan Che
For more information about Mary Seacole and the Appeal, please visit: http://www.maryseacoleappeal.org.uk
Features 34 Features
23rd October 2014
Xavier Greenwood Balliol College
S
tepping off the plane at Johannesburg Airport following an eleven hour overnight flight, I was exhausted and clinging onto the last vestiges of sanity. And so, after well over twenty four hours of travel, the last thing I wanted was to be tested for Ebola; unfortunately, a malfunctioning facial scanner thought otherwise, and I found myself ushered away to be examined. One thermometer in the ear later and the result came out as negative. I was left somewhat shaken, with the dubious benefit of an unusual future sconce to my name. I was in South Africa with Project Plett, an organisation recently set up by Pippa Ford, a resident of Plettenberg Bay, and the mother of a Balliol student (one of five other Oxford students joining me on the trip). Plettenberg Bay is the jewel of the Garden Route and lies between the Indian Ocean and the Tsitsikama mountains. As a volunteer child development programme, Project Plett aims towards improving education within South Africa.
Tales from Plettenberg’s lost school After well over twenty hours of travel, the last thing I wanted was to be tested for Ebola Though I was given information about volunteering with them back in April, for a long time it remained just another far-off summer possibility. However, come June, several of my friends had booked flights, and the opportunity became more real as I started hearing more and more about the project. Soon after, I found myself sitting in STA travel, and the casualness of “found myself” should be emphasised – I had left college intending only to buy a Boost but returned with a return flight to Johannesburg. Such flippancy had all but left me by the time I had reached Plettenberg Bay in early August. It was during the car journey to Plett from the local airport at George that the reality of my new environment hit me. Dotted along the motorway, we began to see the townships, underdeveloped living areas which at worst are just a rudi-
mentary and haphazard collection of shacks, with no central infrastructure. One such township is Kwa-Nokuthula, which lies just a couple of miles from the idyllic Plettenberg Bay. It was in here, at Phakamisani Primary School, that we would soon be teaching Grade 4s. After a weekend of recovery, the first day of school was a surreal experience: though we were well prepared by the organisation (we received a detailed welcome pack about Plett and the school along with exercises and children’s books which could be taken into lessons), no kind of verbal or written preface could have prepared for six Grade 4 classes, each with forty children. Phakamisani is the most overcrowded primary school in the area (the school is built for 800 pupils and contains 1900), and, owing to the fact that it is continually underfunded by the government, has become known locally as “the lost school”. Such overcrowding arguably causes the biggest problem in Grade 4, since it is the first year that lessons are taught and exams are taken in English, rather than Xhosa, the local dialect. With all these problems, we were understandably apprehensive about
the amount of help we could give, particularly when none of us had any teaching qualifications. However, it took less than a day for this attitude to change. Considering that most of the pupils are growing up in very difficult circumstances, either financially or socially, it is hard to comprehend the relentless positivity with which the children approach their lives.
It is hard to comprehend the relentless positivity with which the children approach their lives Not one of them takes their education for granted. We were happily welcomed on arrival, and we left the school at the end of the trip with reams of letters written by the children thanking us for the contribution we had made and hoping to visit us in England one day. The letters seemed themselves to be the best indication that we had actually made a difference – they were all written in English, and many were from children who, when we first arrived, didn’t have the
confidence even to speak in English to their teachers. It became eminently clear that all the children needed was individual attention, whether this came from marking their workbooks, learning their names, playing football with them in the afternoon, or listening to one pupil recall the whole plot of Once Upon a Time in Mexico. The hope is only that we have formed a lasting relationship between Oxford University and Phakamisani, which can be sustained by future volunteers. When not volunteering at the school, our everyday life was helped massively by the low cost of living. This not only meant that eating out was often cheaper than self-catering (a meal at a five-star restaurant could be had for less than ten pounds) but also that we could enjoy a vast array of activities without breaking the bank. A walk away, we hiked the Robberg peninsula and spent several lazy afternoons at the beach; a short drive away, we visited a vineyard, an elephant sanctuary and an aviary, and went shark diving, kayaking and on a horseback safari (we missed the highest bungee jump in the world and walking with cheetahs); and a coach journey away, we travelled to
PHOTO/ Xavier Greenwood
Cape Town where we climbed Table Mountain and visited Robben Island. In Cape Town, great memories were made, which included bumping into a friend from home halfway up Table Mountain, which may feature as one of the biggest coincidences known to mankind.
The hope is only that we have formed a long lasting relationship which can be sustained by future volunteers Working with VolunteeringSA (www.volunteeringsa.com) was an incredible experience, and one which neither myself nor, I imagine, any future volunteers will ever forget. One of my fellow volunteers sums it up best: “Project Plett is an opportunity to visit a truly beautiful part of the world whilst making a rewarding contribution to the local community. I would wholeheartedly encourage others to take up the opportunity and to start their own adventure in South Africa.”
15 Features
23rd October 2014
“Fantastic and fascinating” autism zine launches Isobel Wilson
Regent’s Park College Last Friday was the launch of a collaborative magazine that discusses a topic widely publicised but little understood: Autism. The Aut of Communication is a collection of perspective on what autism is, and how it can influence lives on many different levels. For me, the idea of attending the launch felt somewhat strange. Growing up with a severely autistic brother, autism is not an alien concept- on the contrary it is something that for 19 years has shaped my day to day lifenor is it a topic which I have little opinion on- once you get me started I’m far more opinionated than I think! What felt strange, however, is listing to other people discuss the emotions, issues and reality of autism in their lives. Autism is something that I never really speak about with other people, despite how prominent it is in my life. It’s not a taboo subject and not a boring topic of conversation, rather the often distorted presentation of autism in popular culture, of genius child piano playing prodigies or extremely violent, uncontrollable children, makes it difficult to discuss. Often people jump to conclusions, homogenising the highly complex autistic spectrum into one single disability profile and then worst of all, they look at me with sympathetic eyes and feel sorry for my situation. Without wanting to let on, they use my most hated identifier- ‘young carer’- to summarize my position. With the way autism is so of-
PHOTO/The Aut of Communication
ten presented though, it’s hard to blame people for the way they react when the topic arises. For them there is no reason to understand that I’d much rather be my brother’s sister that his carer. This is why The Aut of Communication is such necessary publication. Composed by Sophie Baggott, a student at Corpus Christi, the work complies many highly varied perspectives on autism. From contributions of poems describing the emotions linked to autism to interviews with the research director of Autistica, Dr Steven Wallace, book reviews to personal stories the publication seeks to emphasis Autisms diversity and range. The launch took place in Corpus Christi and began with a poetry
reading by Sophie Baggott. The poem, dedicated to her brother, swept through the highs and lows of her experiences growing up and perfectly touched on both the difficulties and great rewards that comes from being a sibling in a family with an autistic child. Then Danny, her brother, spoke, reminding people with his measure words to accept autism and that he in many ways is just like us. Chris Pike, OUSU VP for Welfare and Equal Opportunities also read a poem about his experiences with autism, focusing on the stereotypes that are so often connected. He commented afterwards that “The launch was one of my favourite events that I’ve attended in Oxford. Not only did
I get to communicate my experience of autism to those in attendance, including some friends who I’d known for ages who got to learn something new about me; I also learned a huge amount from others about the diverse experiences of autistic people. I really hope all students get to learn some of the things we heard at the launch by picking up a copy of the zine in their common room or at OUSU. It’s a fantastic and fascinating publication.” Finally there was a presentation from Paul Issac of Autism Oxford, a company focusing on increasing awareness of the disability. While perhaps somewhat outdated in the science behind what causes Autism (a highly controversial subject to say the least) the pres-
entation was insightful into the life of someone with difficulties understanding visual and verbal stimuli and reminded us of how easy it is to take for granted our skill at processing social situations. Speaking about the success of her publication, Sophie Baggott said “Since May, The Aut of Communication has not only been an enlightening project for me but also an incredibly emotional one. Seeing so many people gathered to celebrate the launch last night took that to another level – I’m so thankful to everyone who came, and I hope that the perspectives given in the publication help to further understanding of autism among students.”The magazine is now available both in print and online at theautofcommunication.tumblr.com.
it’s time to start caring it’s soon time to vote in your student election. in 6th week during michaelmas term oxford University student Union is holding the student elections. this is your chance to have a say on what you want your student experience to be like. this is a great way of getting your voice heard and a way of letting us know what you want to change. FinD oUt more at www.ousu.org
16 Features
23rd October 2014
Navigating from matriculash to maturity
Top tips for securing a glittering graduate career once the Oxford Bubble has burst Jennifer Chan New College
T
he early bird catches the worm, they say. University is the time of your life, they say. Putting aside the ludicrous incongruity of my coupling ‘early bird’ with ‘university life’, I’d like to propose two caveats to these maxims. Only early birds who actually venture beyond their nests catch worms, and university is the time of your life because it precedes real Life (capitalised for authenticity) – a time when the alliteration that strings together ‘bringing home the bacon to pay your bills’ isn’t so much a matter of practical criticism as it is one of practical calculation. Now is the time of your life when reckless bacchanalia trumps (read: is way cooler than) responsible budgeting; when taking selfies at your college library could easily pass off as work; when proximity to the workplace qualifies as productivity.
I dare say that more people have regretted unemployment-induced hangovers than job stability Freshers, if you’re reading this, then take it from a finalist that there is an expiry date to this Arcadian existence. And no, this is not me scaremongering as some bitter horsewoman of the apocalypse, whose FHS dates are getting closer by the day. As for my final-year comrades, the time has come for us to take that sobering leap from matriculash to maturity, so if you are still stuck in those merry Park End days of yore and not all “internships/job search come at me!!!” then I’d say kudos for the chillaxing ethos. David Cameron
has taught you well, but good luck and let me know how it works out in the end. Perhaps this is anxiety is a tad bit premature, but I dare say that more people have regretted unemploymentinduced hangovers than job stability. Bottom line: in order to gain a foothold in the cutthroat job market today, it is imperative to kick-start your career prep work as soon as possible. As an Editorial Assistant for the 2014-5 University Careers Guide, I’ve recently liaised with over 50 Oxford alumni from various industries, and their achievements all attest to the importance of setting clear goals and planning ahead when it comes to mapping out a career blueprint. So read on for some pointers on how to go about navigating life after university, and hopefully they’ll help you alleviate that creeping fear about what to do with your paper-inundated self once essays and problem sheets no longer matter. 1. Brainstorm: passion vs. practicality Before you launch any sort of job search, perhaps it’s worth doing a bit of thinking about what your interests are and where your passion lies. Obviously it’s important to weigh them against more practical concerns, but that should come later when you’ve already identified a general direction that you’d be happy to go down for at least two or three years, if not longer. It’s likely that you may have diverse interests, so work that to your advantage and present them as evidence of openmindedness, flexibility and a wideranging enthusiasm. While your Nexus may already be regularly bombarded with emails from graduate recruitment companies like TargetJobs and Bright Network, don’t feel like you have to limit your options to whatever is offered on the table. Unless you’re dead set on getting a professional qualification in medicine or law, it definitely won’t hurt to think outside the box and consider opportunities outside of investment banking or management consultancy. Check out
PHOTO/BrightNetwork
PHOTO/BrightNetwork
Forbes’ website for a good supply of job-related articles, tips or checklists, or just ‘like’ their Facebook page to get updates on the trends of different industries or the latest market analyses. 2. Update LinkedIn & polish that CV The next step is to tally your assets – i.e. polishing up that CV. If your LinkedIn page screams minimalist at best and incomplete at worst, then start bulking it up with information, since more firms have taken to using LinkedIn as a CV substitute. It’s just one big exercise in self-marketing, and who doesn’t like a bit of legitimised ego-stroking? What’s more, you get to do research on different people by way of guilt-free stalking. All joking aside,
charting your achievements in life can help you gain a better perspective on what skills, credentials and leverages you have to work with. While this may sound clichéd, it’s incredibly important to know yourself well when it comes to evaluating where you stand in the current job market. What are the industries that give you an edge or allow you to play to your strengths? It is not so much blowing your own trumpet as it is showing potential employers why you’re an appropriate fit for certain roles and how you meet their specifications. Just bear in mind not to punch above your weight or weave too self-serving a narrative in the summary section. For example, instead of claiming that you are “diligent and dedicated” without providing any concrete proof, illustrate these qualities by putting down specific projects or assignments that you’ve done at university or during internships. Rather than spelling everything out, let the facts speak for themselves. 3. Research companies that interest you and approach them The next step is to do your research and be proactive about approaching companies. Attending networking events is always a good shout, but most people do that, which is why this doesn’t especially mark you out as an interesting or stellar candidate. A lot of the alumni that I spoke to didn’t limit themselves to Barclays or GlaxoSmithKline when they first started out as graduates, but instead looked extensively into less well-known companies or start-ups. One thing that definitely makes younger firms better is that they’ve got a smaller managerial makeup, which means that employeremployee relations are often closer and that the company is more tight-knit as a whole. Whereas responding to a
job posting online will only lead you to the HR department, try going down the gutsier, more person-oriented route, by approaching the person in charge directly, whether that be the department manager or even the boss themself. This may be less of a possibility when it comes to applying to big firms, but the point is that taking the initiative sets yourself apart from the flock, since you demonstrate that you’re really interested in that one company and aren’t just another clueless graduate who is randomly knocking on doors and trying their luck. Even if the other end turns you down, they might consider keeping your profile for future consideration, and it’s likely that you’ll be the first on their mind once vacancies arise.
Unlike deadlines, looking for a job isn’t something that you can cram overnight on a Red-Bull-induced high So there you have it: the prospect of leaving university for real life may seem daunting now, but it won’t be as much of a challenge by the time graduation beckons if you lay the groundwork early. Unlike deadlines, looking for a job isn’t something that you can cram overnight on a Red Bull-induced high. You’ve heard of people bashing out an amazing 2000-word essay in two hours, but I’d wager you anything that no one has ever managed to snag a job (bar parttime or menial ones) with that sort of spontaneity. Getting in there early is effort, but it is effort that will pay off – literally – in the long run.
Features 17
23rd October 2014
Restaurant review: The Cherwell Boathouse
Tom Ough St John’s College
L
ike death, graduation can take us by surprise. After all, it seems like only yesterday that I was embarking on that giddy first food shop of university, careering gleefully through the aisles of the Magdalen Street Tesco with Dairylea Dunkers thundering into my trolley like felled bowling pins. Yet there I was, draped in a graduate gown, disgorged by the Sheldonian with the Vice-Chancellor’s Latin ringing in my ears, throwing my mortarboard in the air like I just didn’t care about English Literature graduates’ ludicrously poor employment prospects. My life as an Oxford student was over, sealed with death by mortar-boarding. Degree certificate in hand, it was time for a celebratory meal in college. But I’m not going to tell you about it, because it was the St John’s Graduates’ Tea Party and there were only sandwiches on offer. Fortunately, my parents and I had already booked a table at the Cherwell Boathouse for that evening, so off we trundled, from afternoon tea to an early supper overlooking the river. And it seemed fair sailing from this point, given that OxStu food criticism tends to follow the tried-and-trusted formula of 1) eat a tasty burger; 2) go home and write a paean to it. Easypeasy. But just as I was about to bang my cutlery on the table and demand the pan-roasted fillet of beef with foie gras, I remembered that I’d turned
vegetarian this summer. This is for various environmental and ethical reasons which I won’t bore you with, but suffice to say John the Baptist himself would blanch at the jealous torment which racks me when I so much as smell a fish finger.
But just as I was about to bang my cutlery on the table and demand the pan-roasted fillet of beef ... I remembered that I’d turned vegetarian this summer So instead of the sumptuous-sounding ham hock, caper and cornichon ballotine, I asked for the vichyssoise followed by the tomato and lovage tart, angrily digging my fingernails into my legs into as I did so, wishing that my thighs would transform into slabs of gammon. However, if there’s anything that can distract you from the golden corn-fed chicken breasts being ferried by, leaving you in their warm, delicious slipstream, the scent of truffled baby vegetables hanging oh-so-briefly in the air, it’s – where was I? – it’s a refreshing draught of that leek, watercress and blue cheese vichyssoise. Vichyssoise, for those of you who haven’t graduated and thus automatically acquired an infallible knowledge of French gastronomy, is essentially cold soup, which after a sweltering afternoon was a welcome thirstquencher. Disappointingly, the blue
PHOTO/ Graeme T cooper
cheese came out more in the thickness of the stuff than the taste, but the dollop of mint crème fraiche, resting like an iceberg in the middle of a calm green sea, went swimmingly with the grassy tones of the leek and watercress.
My bouche, by now, was very much amused
My bouche, by now, was very much amused. Now I needed something hot, charred, and meaty, something hewn with singing knife from bleed-
ing flesh, thrust into roaring flames, and then deposited, twitching, on my ready plate. I got broccoli. But at least it was fried, fried into exquisite, crispy little florets, which lay ripe for the picking all around the tomato and lovage tart. The pastry was light, the red pepper pesto slightly tangy (and all the better for it), and the heritage tomatoes made for a satisfyingly savoury tart filling. Now I turn to my mother, who as my meat correspondent for the evening reports that the lamb was tender and succulent, and the hake flakingly moist. I’m further informed that the velvety dauphinoise provided
a creamy counterpoint to the star of riotously colourful al dente baby tomatoes and mangetouts. Back to the studio. The dessert menu arrived, but, at this point, I have a confession to make about those St John’s sandwiches: reader, I snaffled them. So there was no room for lemon and raspberry cheesecake, or for the intriguing ‘textures of strawberry’. It was a shame, because I imagine they were as enlightened and variegated as everything else at the Boathouse. The starter and main alone came to a princely £21.50, though – so until I get that big fat graduate job, I guess I’ll never know.
The Oxford pub crawl, week 2: The Trout & Jacob’s Inn
Wadham College & Brasenose College
P
ort Meadow on a sunny day takes some beating. This is Hardy’s England, the star of Albion; there is no escaping the sense that one is stepping into a Constable painting, with the lingering impression of a way of life far older even than our city. A brightly painted caravan, its chimney puffing smoke against the chill, only added to this feeling. After the rolling green and bovine gentleness, then, Wolvercote comes as something of a disappointment. It is a peculiar village, strung out coast-like against the far end of the meadow, and not quite rustic or suburban. Punctuated by frequent buses and ugly sixties’ flat-roofs, there is certainly little sense of having left the urban behind. Leaving the village, however, and following the Thames over a couple of bridges brings you to The Trout, a 17th Century inn perhaps more accurately described as a restaurant.
Having walked far further than is healthy or bearable on a post-Bridge Friday, it was with no little relief that we greeted the pub. There can be no question that this is a strikingly beautiful location: The Trout’s garden lies on the bank of the Thames, affording views both of a gorgeous watermill and, reaching into the middle distance, the tranquil expanse of Port Meadow watched over by dreaming spires. It is, quite possibly, the perfect place to enjoy an afternoon ale which is why the selection on offer struck us as so disappointing. Well provisioned, if overpriced for quality, on wine, and with an inviting food menu, the offer of just two (and these were of common or garden variety) ales amongst a forest of commercial lagers was a shock. It’s questionable whether one can even call oneself a pub with only Doombar on tap… This sums up more generally how we felt about The Trout. It had a great deal
going for it: the location and view are the finest we’ve seen in Oxfordshire, the food looked excellent, it was clearly busy and popular… but it didn’t quite cut the mustard. For the history and situation, it was undeniably sterile and – dare I say it – bland. The insistence on lightness and airiness in the bar had gone so far as to sap any atmosphere from the pub; it came across too open plan, too regimented. There was something of the Sunday afternoon salesman’s conference, the awkward family event about the place. It
certainly was not a young person’s pub; when we entered, we were so far the youngest as to feel awkward (I’m fairly sure we were the only non-pensioned people there). We had to bail after a single pint. For a local with such opportunity, and which got so much right, it was terribly disappointing that they also got it wrong. Heading back into Wolvercote, however, we stumbled across a gem. Jacob’s Inn, sitting on the village green, is like no pub I’ve been to before. It felt vaguely like going into an eccentric relative’s house: it was surreally laid out, with an awkwardly unclear distinction between bar and restaurant. However, the beer selection was varied and interestingand the pub managed to be homely and welcoming without feeling the need (seemingly true of all pubs in Oxford) to create some faux-historical interior replete with wood panelling and PHOTO/ Natalie Harney
Jack Lale & Hugh McHale-Maughan
aged photos. Instead, it relied on a pleasant garden and peculiarly fascinating collection of ornaments, and an artistic, if disorganised interior. Having now not eaten for what felt like days, we dived into the expansive if expensive menu. It was well worth it. The ham hock terrine – if slightly under portioned – was exceptional, and the steak burger was magnificent. This is a pub that has consciously chosen to differ from the norm, which is extremely refreshing; it knows what it wants to do, and it does it well. Combined with the glorious rural walk to get there, Jacob’s Inn makes a trip out to Port Meadow well worth it. Nonetheless, unable to face the return trek to Oxford half-cut and in the falling gloom, we swallowed our pride and were even grateful for the regular buses…
The Trout is at 195 Godstow Road. Jacob’s Inn is at 190 Godstow Road.
Sport 18
23rd October 2014
Blues rem
Handball – a continental sensation that’s on the rise in Oxford Theresa Reiker Magdalen College
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andball is probably one of the sports you sort of heard of in the Olympics, but you never really cared about or watched (probably along with synchronous swimming and rhythmic gymnastics). This is why we need to talk about handball. Handball is actually one of the most popular sports in central Europe. It’s like water polo, but without the water. Maybe a bit like basketball, but with goals instead of baskets. It is probably quite similar to hockey, except the court is smaller, the goals bigger, and you have no stick. And maybe it is a bit like football, except it is played with hands instead of feet. And you don’t start whining when you get fouled, but accept the other player’s apology and take the penalty shot – which brings me to the next point. Handball is a contact sport. Bruises happen. All the time. Unfair fouls however, do get called. Handball is fast, fun and really good exercise. A game is (usually) 60 minutes (with two 30 minute halves) and it is not uncommon to see a total of 50-60 goals in
one game. You shoot from a distance of at least 6m and with a classic three-step jump-shot; it is quite easy to put a lot of force in your shot. With Oxford having as many international students as it does, it is not surprising that in 2001, the Oxford University Handball Club (OUHaC) was founded. Last season, our men’s team won the British University Championships for the 6th time (2004, 2005, 2006, 2007, 2009, 2013, 2014). This in fact makes the men’s team the most successful university handball team across the UK. Our women’s team is not quite as successful as our men’s team, but still managed to win the women’s Development League in 2013 and 2014. One of the things that distinguishes OUHaC from other handball clubs is that we have a really good team spirit. The men’s and women’s team train together, we go the pub together and just generally have good team bonding. Even if you have never played before or have never even played any ball sport, that is absolutely acceptable. Training takes place at Iffley Road on Monday or Friday from 7.30-9pm. All are welcome and goalkeepers are particularly sought after.
PHOTO/Kuebi
OxStu Sport Predicts – Deputy Sports Eds vs an Oxford student
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his week joining the sagely Sports Deputy Editors, the erstwhile James Yow and Xavier Greenwood, around the famous Oxstu Crystal (Palace) Ball we have Balliol’s Pantry King Daryl Braier-Lorimer. With the return of the Premier League last weekend, and some shock results, how accurate will the predictions be this week? Will his predictions be as good as a pantry cheese toastie or as bad as his decsion to become a Spurs season ticket holder?
Arsenal v Sunderland
Southampton v Stoke
Xavier & James: Both Arsenal and Sunderland. have looked average at best this season and I expect the score line to reflect this. Neither team has shown themselves capable of reliably delivering the killer blow this season and expect each team to be frustrated by the other’s defence – however makeshift Arsenal’s may turn out to be! Prediction: 1-1 Daryl: Draws have been the most common result for both Sunderland and Arsenal this season. I think this trend will continue here.
Xavier & James: Southampton are a difficult team to break down in general, with their Captain José Fonte recently carried up to the Portugal side, and Stoke simply don’t offer enough in attack. This, coupled with Graziano Pelle’s impressive goals to minute ratio, should allow Southampton a walkover. Prediction: 3-0 Daryl: Graziano Pelle and Dušan Tadić have proven to be astute signings in the Summer. I expect this to be a comfortable win for the home side. Prediction: 2-0
QPR v Aston Villa Xavier & James: Harry Redknapp might claim he isn’t, but he certainly appears to be under some serious pressure. With Rio Ferdinand appearing this week to be in as much trouble off the pitch as he is on it, QPR need a change in fortunes and a good result this weekend. Aston Villa have had a tough few fixtures and will be itching to turn it around against QPR; we think they will. Prediction: 1-2 Datyl: Same old story for QPR this year, looking certain for relegation while Villa seem to have finally found their feet under Paul Lambert. Prediction: 0-3
Burnley v Everton Xavier & James: Burnley had a tiny transfer budget this summer were unable to strengthen and that seems to be hurting them now. Finding it hard to score and leaking goals, they will struggle against Everton here who themselves have hardly looked convincing, but the Toffees should have too much in attack with players like Romelu Lukaku.· Prediction: 0-1 Daryl: Everton have struggled for wins this season but I see them sneaking it here. Prediction: 0-1
West Brom v Crystal Palace Xavier & James: With talented young striker firing this season, Alan Irvine has surpassed early season expectations but they will faced a well-organised Palace side that are fast on the counter. Could be close, but the home side should have just enough. Prediction: 2-1 Daryl: After a torrid start to the season, West Brom’s fortunes have improved of late. This will be a tough game but I see West Brom nicking the points here. Prediction: 1-0
Man United v Chelsea Xavier & James: Louis van Gaal appears to be settling the ship a little more each week now but it still feels like they will rely heavily on individual brilliance from proven superstars like Angel di Maria rather than pulling together as a team. Chelsea have looked excellent so far this year and should continue their good run this weekend. Prediction: 1-2 Daryl: Chelsea just look unstoppable at the moment, while United have struggled to get out of second gear. Despite this I think this will be an even encounter. Prediction: 1-2
Liverpool v Hull Xavier & James: Life sans Suarez is not easy, as anyone would expect, but with Sturridge hopefully back from injury, the extra injection of pace into the time should be enough to defeat a Hull side which have at times looked great, at other times looked ghastly. Prediction: 2-0 Daryl: Despite looking shaky at times this season, Liverpool should have enough firepower in the ranks to edge this. Prediction: 2-1
Tottenham v Newcastle Xavier & James: Pardew desperately needs a win, but we can’t see it coming here. Tottenham have blown hot and cold this season, but with Newcastle all over the place at the minute, a home win should be a safe bet. Prediction: 2-0 Daryl: Despite a few minor hiccups this season, Pochettino has proved what a world class manager he is and Pardew will finally get the sack. Prediction: 1-2
West Ham v Man City Xavier & James: West Ham go into this match with a solid home record, but, despite the bolstering to their team which many of the new signings have provided, expect Man City to have just a little too much for the Hammers, whose threat has largely been limited to set pieces this season. Prediction: 1-2 Daryl: City are obviously full of quality, but West Ham are hard to beat at Upton Park Prediction: 1-1
Swansea v Leicester Xavier & James: While Nigel Pearson has got his newly promoted team settled into the Premier League early, the Liberty Stadium is an extremely tough away visit and the Swans could pass Leicester off the park. A comfortable home win. Prediction: 3-1 Daryl: Leicester have been the surprise package of this season and have done well to lie midtable after some tricky fixtures at the start of the season. Nevertheless, Swansea are tough to beat at the Liberty - entertaining score draw. Prediction: 2-2
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Sport 19
23rd October 2014
The Icemen Cometh: the rise of Icelandic football
Rupert Tottman explains the magic behind Iceland’s recent qualifying success Rupert Tottman Balliol College
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hey tell us that international football is slowly dying. Drowned out by the superior quality of the Champions League and the Premier League and weighed down by its own bloated format it’s something to be endured rather than enjoyed. Hence the grumbling from the majority of football fans when UEFA and Michel Platini not only announced that the European Championship finals would from now on include 24 teams rather than 16, thus making the qualifying process even more of a procession than it already was, but they are also condemning the finals to suffer the same overkill of meaningless games as the qualifiers. And yet last week was the most enjoyable international week in recent memory. All of the home nations came away with wins, the Republic of Ireland snatched a dramatic late draw with world champions Germany and in the shock of the week Iceland beat World Cup semi finalists Holland 2-0. The blistering start some of the smaller nations have made to this qualifying campaign is undoubtedly down to the idea that, with 24 places up for grabs, almost anyone can conceivably qualify for the tournament. Like a stopped clock that is right twice a day, Platini and UEFA may have finally stumbled upon something that works. Watching countries like Wales, Scotland, Northern Ireland and Iceland galvanised by the prospect of qualification and playing out of their skins has been thoroughly entertaining to behold. But to put Iceland in the same quality category as the likes of Wales and Scotland actually does a disservice to the country from the frozen north. The Icelanders are actually far better than either of them. Which is all the more remarkable when you realise that Iceland has a population of 320,000, or around the population of Coventry. And their thoroughly deserved win over Holland was much less of a shock than it seems
when you consider that they were desperately unlucky not to qualify for this summer’s World Cup, qualifying second in their group only being beaten by two late Croatia goals in the second leg of their qualification playoff match – the exact fate England suffered in the final game of their disastrous Euro 2008 qualifying campaign. Iceland sit 34th in the FIFA rankings, ahead of World Cup ever presents such as Nigeria and Japan and 30 places above the Republic of Ireland, and few would bet against them rising further as the qualification process continues. Iceland are, without a doubt, the most overachieving nation in world football, but how and why have they managed to punch so far above their weight? The first and most important reason is a grassroots programme for young footballers that is second to none. Up
The first and most important reason is a grassroots programme for young footballers that is second to none
until they started their slow ascent to their current position in around 2004, Iceland were one of the true minnows of European football, comparable to the likes of Cyprus, and looking at their tiny population no one would expect them to be anywhere else. Exacerbating this problem is the harshness of the Icelandic climate; grass only grows for six months of the year and the winter months are shrouded in almost 24hour darkness. Not ideal footballing conditions. Yet the Icelandic FA has managed to negate this problem by, starting in the late 90s, undertaking a programme to build both indoor and outdoor astroturf football facilities for every town with a population of over 1,000 people. In addition to this, every football coach in Iceland from under-10 level upwards has had to, since 2003, take a UEFAlicensed coaching course. There are just under 1000 UEFA-qualified coaches in Iceland, the overwhelming major-
PHOTO/Helgi Halldorsson
ity working at youth level, or one for every 17 registered players in the country. This compared to a ratio of one UEFA-qualified coach for every 19,565 players in England. In this context the success of the Icelandic youth system in creating a team that can hold their own against almost any in the world and produce players such as Swansea’s Gylfi Sigurdsson, one of the stars of this season’s Premier League is hardly surprising. Making this all possible is the country’s almost fanatical devotion to the game. The massive government investment in football was easy to understand in the wake of the country’s massive banking boom in the mid 2000s but the
fact that it has continued apace despite the country’s current financial woes is testament to the important place the sport holds in Icelandic culture.
Don’t bet against them making a place at football’s top table their own for years to come The best team in the understandably weak Icelandic Premier League, KR Reykjavík, play in front of crowds of around 3000 each weak, which is one per cent of the Icelandic population,
or the equivalent of 600,000 people turning up to watch Arsenal or Chelsea each week. 30,000 turned up at the Icelandic national stadium to watch their country smash Turkey 3-0 in Septmber, or 10 per cent of the population. These are scarcely believable figures. Iceland is a country with a staunch devotion to the game of football and the development of young players and they are now starting to reap true dividends from over 15 years of intelligent investment. With the team sitting pretty at the top of their qualifying group, expect them to be in France when the Euros roll around in 2016 and don’t bet against them making a place at football’s top table their own for years to come.
OxStu Sport decides: top five sporting punch-ups 1
2
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ew South Wales Waratah .playewcastle players Lee Bowyer urrent Leciester City manager n 2011, Leicester centre Manu ollowing a predictably tetchy .afN er Duncan MacRae punched N .and Kieron Dyer both received C .Nigel Pearson once apparently I .Tuilagi was banned for five weeks F fair, Arsenal players surrounded after punching Northampton’s Chris Lions fly-half Ronan O’Gara eleven red cards after a fight broke out befought off five vicious dogs whilst Dutch striker Ruud van Nistlerooy times to the head in their 2001 tour to Australia.
tween the pair in a game against Aston Villa in 2005. The fight apparently broke out after Dyer failed to pass to Bowyer which then led the former Leeds player to charge over to Dyer and confront him. Both were subsequently fined by the club.
after their 2003 game against Manchester United. Martin Keown appeared to slap van Nistlerooy with his arm whilst Ray Parlour, Lauren, Ashley Cole and Kolo Toure all surrounded the United player and were all subsequently charged by the FA.
away on holiday in Romania. He was confronted by the pack whilst on some sort of trek and fended them off by blinding a couple with his walking pole before diving into a patch of stinging nettles so they couldn’t attack him further.
Ashton in a Premiership semi-final game at Welford Road. The England team-mates clashed after Ashton took issue with a tackle that Tuilagi made on the winger by pushing him to which the Leicester man reacted by punching Ashton twice square in the face.
PHOTO/ Ronnie MacDonald
20 Sport
Robert Snell Balliol College
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ose Mourinho comes out with some mindless and ill-conceived crap at the best of times, but when the Premier League’s most colourful and recognisable manager recently claimed that “there is no racism in football”, he really did outdo himself. Even in the past few months, both text messages sent by Malky Mackay referring to the “lack of white faces” on a list of prospective signings and the level of abuse given to Mario Balotelli after a routine post on Instagram show that the issue of racism in football is far from dead. In the context that Mourinho was being addressed,
Jose Mourinho comes out with some illconceived mindless crap at the best of times
namely whether or not football should adopt the Rooney Rule, the fact that only 2 out of a possible 92 football league managers are black
23rd October 2014
Sport Racism and the Rooney Rule makes an absolute mockery of anyone who, like the ‘special one’, seeks to claim that racism is no longer a factor or problem in football. Adopted in the NFL in 2003 in order to cure a similar problem, the Rooney Rule stipulates that a club must interview at least one black or ethnic minority candidate when searching for a manager: or a change that increased the number of black coaches from six per cent to 22 per cent in the first three years of its inception. Indeed, it is a sad indictment of the laziness in English football to try and encourage similar changes that Mourinho’s tiny touchline scuffle with Arsene Wenger received ten times more coverage than his blasé remarks on racism. According to Jose, the Rooney Rule is unnecessary for the UK because “when you are good, you get the job. When you are top, you are top”. In which case we can only assume that the 25 per cent of black players who are black and 16 per cent of people currently doing their coaching badges are indeed all no good. Similarly, Blackpool chairman Karl Oyston says that “to say skin colour is a consideration is ridiculous, appointments have to be
based on merits and not tokenism”. Again nice words, but looking at the statistics it is actually ridiculous to claim that skin colour is not a factor in managerial appointments.
The statistics point to the “hidden resistance” to appointing black managers
Over the last 30 years or so, sport in general has been fighting against the perception that white players are more suited to the ‘thinking’ positions whereas black players are only able to ‘run around a bit’. The quarterback role in American Football for example, has traditionally been disproportionally filled by white players, whereas black players are seen as prime running back material, as epitomised by their description as “junkyard dogs” by one of the coaches in the popular and hard-hitting drama Friday Night Lights. Similarly, for years the prevailing attitude in football was that black players were perfect as pacey wingers and not much else, and while English football in particular
has undoubtedly made enormous strides in combating racism targeted at players, the raw statistics tell us that there is still so much to do once they hang up their boots. While things may have been somewhat ameliorated on the pitch, the shocking statistics still point to what Gordon Taylor has labelled the “hidden resistance” to appointing black managers. In football, it would appear, there is still an implicit institutionalised perception that black managerial candidates lack the intellect and ability to lead, often meaning that they lose out to white candidates who are less qualified on paper. Implementing the Rooney Rule would not, as Oyston claims, lead to appointments based on tokenism, it would simply give black candidates a more level playing field and a guaranteed forum to show what they can bring to the table. There is, of course, the argument highlighted by Les Ferdinand that many managerial jobs in football are foregone conclusions and barely even require an interview process. Indeed, few could argue with the fact that Cardiff City always intended to appoint Russell Slade as successor to Ole Gunner Solskjaer,
and to include a black person on that particular interview list would have made no tangible impact. Of course, there will be instances where the mind of a chairman cannot be changed, but at the very least this would provide interview experience for a prospective black candidate, and cases such as the recent managerial search at Bolton show us that there are plenty of instances in which the race is wide open and there for the taking.
Sport in general has been fighting against the perception that white players are more suited to ‘thinking positions’ The Rooney Rule does not say that black managers who are not good enough should be given a job in the name of diversity, it says that black managers should be given a fair opportunity to prove that they are good enough. Maybe the Rooney Rule isn’t the answer, but at least it recognises and respects the problem.