Tuesday 8th July 2025
Blog Page 1020

Further rule violations mar first day of voting in NUS referendum

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The first day of voting in Oxford’s NUS referendum was made more dramatic by instances of rule violations on both sides.

This morning the NUS issued an email to all NUSExtra card holders detailing the risks leaving the national union would have for those with cards. However, while NUS did not know of the rule, the email list was prohibited as the OUSU Returning Officer had ruled, “all NUS mailing lists are classified as excluded mailing lists and therefore cannot be used for campaigning during this referendum”.

Around the same time, Louis McEvoy a campaigner in support of the movement to leave the NUS posted in the Christ Church JCR Facebook group a post urging students to vote to leave the NUS, “Don’t forget to vote in the NUS referendum today (unless you want to stay in. In which case, feel free to forget)”. Posting of this form also breaks OUSU rules concerning campaigning in closed groups.

The NUS commented to Cherwell that “An email was sent to NUS Extra card holders who signed up to receive further communication from NUS. We feel we have a duty to inform card holders that they will no longer be able to access this service should students vote for their union to disaffiliate from NUS”.

Indeed, the returning officer, Anna Mowbray, claimed she did not have any reason to believe the email was sent at the direction of the Yes campaign, but did note that, while some were unsure a non-University affiliated group could break election rules, this did constitute a rule violation.

“According to the regulations, the official campaigns are responsible for the conduct of anyone who campaigns on their behalf”, Mowbray said. “Consequently, although the NUS are not part of Oxford University, sending out information that promotes the Yes2NUS campaign is part of Yes2NUS Campaigning. Therefore it does come under the remit of the election regulations.”

The Yes campaign was also unaware of the email before it was sent. “This situation has arisen from miscommunication, rather than any intention to break rules. We in the Yes to NUS campaign did not know that NUS were planning on using their NUS Extra email list to remind students about our referendum. Similarly, NUS officers did not know at all about the ruling. Had we known it was something NUS were planning on doing, we would have told them about the ruling”, a Yes campaign spokesman said.

This ruling by the returning officer is also why Louis McEvoy’s post broke the rules, for though McEvoy is a private individual unaffiliated with the official campaign, the No campaign is responsible for his actions.

“Louis’ rule break was unfortunate but an innocent mistake – he isn’t officially involved with No Thanks NUS and wasn’t aware of the rules. As soon as we were informed of the post on the ChCh page we contacted him to get him to remove it and the matter was dealt with quickly and efficiently,” leader of No Thanks NUS Anne Cremin said.

Though, the No side took a less forgiving tone with the NUS’s email violation. “We are disappointed by what appears to be a flagrant violation of the rules by the NUS. The NUS has demonstrated that it has no respect for the democratic rules of our student union” Cremin said.

While McEvoy’s post is being dealt with internally, OUSU is trying to “find a suitable recompense for this email which clearly limits the fairness of the referendum by allowing one side a channel of communication that is not available to the other”, Mowbray said.

This all follows an email from New College’s access rep in support of the Yes campaign, violating the same rules as the NUS.

Preview: A Streetcar Named Desire

A triumphant jazz ensemble plays us into the opening of Blank Canvas Productions’ production of A Streetcar Named Desire. Watching the first scene unfold it is evident that even without the promised spectacle of lights, costume, and set, Harry Lukakis and Anna Seccombe have managed to craft an elegant allusion of mid-century New Orleans. This is helped by an ensemble of well-crafted performances that aid in highlighting the naturalism of Williams’ text.

But of course, Tennessee Williams’ evocative work is not a straightforward piece of theatrical realism. “Our emphasis is in highlighting the elements of classical theatre,” says co-director Harry Lukakis. “We aim to showcase the ways in which the past, present, and future confront each other in Williams’ work.” Co-director Anna Seccombe adds, “The lights, the set, the costumes… It’s all about seeing the intentional onstage.”

There is certainly little in the production to leave one wondering if a moment was improvised. Lukakis and Seccombe appear to have worked tirelessly with their cast in maintaining a consistent, realistic flow of action. Each beat and gesture feels simultaneously effortless and well rehearsed. One can see such feats of acting ability in particular in Maddy Walker and Jason Imlach, whose performances as Stella and Stanley Kowalski raise the bar for collegiate productions of Streetcar.

The play follows Southern debutante Blanche DuBouis (Mary Higgins) who is visiting her sister, Stella, and brother-in-law, Stanley, in New Orleans after taking a leave of absence from teaching in Mississippi. A cornerstone of American theatre, Williams’ Pulitzer Prize-winning work of theatre explores the dichotomy of class, sexuality, and mental illness under the umbrella of repressed Southern American society.

While this American raised the occasional eyebrow at a few messy vowels, the actors generally did an outstanding job of maintaining the New Orleans’ ‘yat’ accent and the more distinguishable Southern lilt in the characters of Stella and Blanche.

Certain to be a highlight of the Oxford theatre scene, A Streetcar Named Desire rounds out a great term with its respect for its powerful source material and courage to experiment beyond Williams’ words. This high-caliber production is not to be missed.

‘A Streetcar Named Desire’ will be running Thursday-Sunday of 6th Week at the Keble O’Reilly Theatre

Is there hope for pop music?

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Inform – Educate – Entertain. This was the title of London-based archive-funk duo Public Service Broadcasting’s debut album, and it also serves as a kind of mission statement.

The band’s main gimmick is the use of archive clips and famous quotations to form the lyrical content of their pieces, along with live instruments to create a kind of anachronistic EDM/funk sound. It’s a listening experience best equated to listening to both Radio 4 and 6 Music, whilst simultaneously watching a history documentary. It’s the sort of thing which ought to suffer from the classic problem of being more interesting to read about than to listen to, but the band make it work through the sheer cleverness and skill of their compositions.

But these indie darlings also embody a number of recent trends in the pop scene, and shows where they might lead – as they put it themselves, they bring “the lessons of the past through the music of the future”. Public Service Broadcasting dispense with singers entirely, instead sampling their songs’ entire vocal content. Singers are by no means gone from the mainstream pop space, but producers are gaining serious ground as stars in their own right. Hell, even for traditional ‘pop stars’ the producer is increasingly visible and important – Justin Bieber’s recent comeback owed more to Skrillex than it did to Bieber himself. Vocals are becoming just one production aspect among many, and PSB present a pure expression of that sentiment. In the age of streaming and singles, album sales are at an all-time low. The Long Playing record is history. So why not take advantage of that? PSB are not exactly a pop act – number 21 on the album charts is the closest they’ve got – but they represent the best instincts of pop music as it stands today, and for that they deserve to stick to stick around.

A Beginner’s Guide to… Grace Potter and the Nocturnals

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Grace chirps a sassy “Ooh La La” and squeals like an angel. She is a Vermont blonde, whose voice proves more and more versatile as I go through her band’s four studio albums and 12 year-long history of blues rock.

I have the soundtrack album of Burton’s Alice in Wonderland, Almost Alice to thank for Grace Potter and the Nocturnals. If the trio’s cover of Jefferson Airplane’s ‘White Rabbit’ featured on the album stays on the safe side of innovation, venturing only as far as the addition of a bass and eerie twangs on an acoustic guitar, it is certainly more successful than Pink’s unexciting adaptation for the film’s sequel.

Grace and her two current Nocturnals, Matt Burr and Benny Yurco, play the occasional alt-rock song like the live version of the originally bluesy ‘Nothing but the Water’. In this soulful festival tune livelier than the average Americana, the full power of the vocals rolls over the music’s simple composition while Grace skips barefoot from end to end of the stage.

This voice becomes the voice of a classic diva for the contemplative ‘Colors’ or the teasing modern blues of ‘Paris (Ooh La La)’, both taken from the band’s 2010 album. Alone in solo debut Midnight, however, Grace Potter falls into the trap of overly-synthesised, repetitive tunes with no more impact than a weak Lorde superimposed on a noughties dance soundtrack.

Grace is better off with her Nocturnals’ swinging bass and folk undertones, and chances are you’ll want to kick your boots off too and skip along to the easy-going indie rock.

10 songs you probably didn’t know were covers

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1: ‘Torn’

An unmistakable one-hit-wonder for Natalie Imbruglia, the 1997 classic was a repurposing of a 1995 track by indie band Ednaswap, whose grungy guitar work did far less than the polished cover’s sunny chords and “ooh”s and “ah”s to unleash its credentials as a smash hit. Even if the cover is more infectious, the original still possesses a unique rawness and aggression which complement its yearning lyricism.

2: ‘Twist and Shout’

Yes, this undisputed classic of the Beatles’ oeuvre which we so loved in Ferris Bueller’s Day Off was in fact a cover. The Top Notes were an up-and-coming rock-and-roll band from New York who, guided by the then relatively unsuccessful Phil Spector, recorded this track… but to no avail. The consensus of the songwriters was that Spector butchered it, while the Beatles’ raucous rendition more accurately captured the song’s spirit.

3:‘The Ghost of Tom Joad’

Three mainline versions of this song actually exist: the first, by Bruce Springsteen featuring mournful harmonica and sparse accompaniment to his guitar and vocals; the second, by Rage Against the Machine, replacing Springsteen’s sorrow with white-hot anger. In tribute to this reimagining, Springsteen then re-recorded the song with Rage guitarist Tom Morello on lead guitar, and co-lead vocals. There is no definitive version – rather, there are three different conduits for the song’s John Steinbeck-inspired emotional devastation, based upon Steinbeck’s The Grapes of Wrath.

4: ‘Everybody Needs Somebody to Love’

This groove-based blues number was, like ‘Twist and Shout’, partially a Bert Berns composition, written in collaboration with a lesser known soul artist named Solomon Burke. The Rolling Stones then brought the song into the limelight, covering it on the 1965 album The Rolling Stones, Now!, paving the way for its subsequent success on The Blues Brothers’ soundtrack in 1980.

5: ‘Mad World’

‘Mad World’ was, at one stage, unavoidable through adverts, films, and a constant place in the Top 40. It’s a testament to Gary Jules’ interpretation of Tears for Fears’ 80s original, which maintained a quiet, subdued intelligence. In fact, the original’s synth-pop nature harms the song, with a strange incongruity between the lyrics and the audio. It’s tough to say, but the cover is far superior.

6: ‘Hey Joe’

This is a disputed one – many different people claim authorship, so much so that it is, to all intents and purposes, classed as ‘Traditional’. However, L.A. garage rock band The Leaves were the first to commercially record the song, giving them (debatable) first dibs in a rough-at-the-edges gritty rock single. But there is no denying that this is a song that Hendrix truly claimed as his own, blending Jaggeresque gravel with Beatlesy harmonies and in turn with his own classic guitar pyrotechnics.

7: ‘Sea of Love’

Whereas the Phil Phillips original was a quite classic blues-rocker, Cat Power on her Covers Record embraced the fragility of the subject matter, to lay bare her voice and guitar to create a breath-taking love song. Moving every time.

8: ‘Make You Feel My Love’

To contemporary listeners of the 19 album, this song must have seemed entirely Adele’s; perfectly suited in its hushed ambience to her huskily passionate vocals. However, this is one of many in Dylan’s oeuvre to be made famous by others. Dylan’s own version is subdued and his voice akin to an old-smoker’s growl; and upon closer inspection, draws out the similarities between Dylan and Adele rather than the differences.

9: ‘The Man Who Sold The World’

This one is generational: for many sprogs of the 80s, Nirvana’s classic 1993 performance of this song back when MTV ruled the world will forever be the defining version. Yet the song in fact stems from the genius of the late David Bowie, who’s third album bears both this song, and its name as its album title. Good luck picking a favourite.

10: ‘Bittersweet Symphony’

Lol, what a joke. Fuck you Allen Klein. This isn’t by the Stones, and you know it. Long live The Verve. This is their moment of glory, and what an absolutely fantastic tune it is.

Accidental rule violation clouds debate on eve of NUS referendum

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The New College access officer inadvertently violated OUSU referendum rules earlier this week by emailing out her support for the ‘Yes to NUS’ campaign using the JCR mailing list.

OUSU referendum rules stipulate that mailing lists “created or used by…a college (including a common room or college society)” should not be used for campaigning activity.

Without knowledge of this rule, Jodi Haigh, the Access, Minorities and Equal Opportunities Officer for New College JCR, sent an email to the JCR mailing list detailing the University-wide Access Programme Target Schools’ belief that disaffiliation would hurt access.

Both campaigns brought the issue to OUSU returning officer Anna Mowbray, and it was decided a further email detailing the arguments of No Thanks, NUS would fix the issue.

“All concerned felt the issue was resolved”, Mowbray said.

Indeed, the Yes side of the referendum distanced itself from the violation and wanted to move on with the campaign. “While it’s clear that staying in the NUS is the best choice for access, this was unfortunately against the regulations. The access rep in question was not on our campaign list, and likely not familiar with OUSU rules.” a Yes campaign spokesman said.

On the other hand, the No campaign was worried about rule violations. “We were made aware of the breach of the rules quite quickly as we have a number of supporters at New College and were disappointed to learn about it. We would urge the Yes side to respect the rules, particularly in light of concerns raised at other referenda in other SUs”, a spokesman for the campaign said.

Preview: No Exit

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Having found success in Michaelmas with another play about guilty people sitting in a room, director Zoë Firth seems well-placed to take on No Exit, an intense one-act drama about three strangers trapped together in Hell. This minimalistic, fast-paced production is a far cry from the ensemble cast and lush period setting of And Then There Were None, so I was intrigued to see how she and her team would approach the unique challenges that entails.

In the absence of the fire and brimstone they expected of eternal damnation, Inèz, Estelle and Garcin slowly discover that they are to be each other’s torturers – as such, they must be both immensely cruel and still recognisably human. “At the end of the day, they’re three quite ordinary people, and seeing ordinary people do awful things is so interesting, because it shows that these people go to Hell not because they’re extraordinary in some way,” Firth explained. “They’re actually quite normal, and that’s all the more chilling.”

The actors, for their part, proved more than capable of the intensity the play demands. In particular, Jessie See dominated the scene as Inèz, by turns seductive, solicitous and predatory as she hovered over Estelle (Lydie Sheehan). While the two women have excellent chemistry, Nils Reimer as Garcin was perhaps at his strongest when he was apart from the others, obsessing over his legacy among the living. To all three’s credit, the characters’ reactions to each other were just as impressive as the emotional monologues and quick-fire interrogations. When Garcin finally admitted the crimes that brought him to Hell, Estelle couldn’t bear to look at him, while Inèz couldn’t bring herself to look away – nor, I suspect, will the audience.

By staging the production in the round, Firth intends to capitalise on the intimacy of the BT and draw onlookers into the action. The door through which we enter the theatre will also serve as the locked door in the text, and the recurring theme of surveillance weighs all the more heavily when there are spectators on all sides to pass judgment (“Everybody’s watching,” Inèz taunts at one point, and Garcin is later tormented by the idea of “all those eyes intent on me). When the characters look back at what’s happening on Earth in their absence, they do so by peering into the crowd. Everyone in the room has a role to play in the revelation that “Hell is other people.”

The excerpt I saw was entertaining and affecting in equal measure, and I’m confident that the rest of the show will be just as compelling. Between its innovative staging and electric cast, No Exit seems set to be a powerful and thought-provoking night of theatre you won’t want to miss.

Saying Yes to NUS ignores anti-Semitism

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When Boris Johnson talks about ‘watermelon smiles’, or calls PoC “piccaninnies”, is it a slip of the tongue? An honest mistake? Unfortunate language by a man with benevolent intentions? Or are these comments dripping with prejudice, scarcely disguised under a thin veneer of political critique?

The answer seems clear, but you wouldn’t know it from the way the NUS’ defenders have been talking about Malia Bouattia’s now infamous comments. Her words were deprived of context, we are told, and that she has been an anti-racist campaigner all her life. What was Boris’ response? “The Tory Mayoral candidate insisted he “loathed and despised” racism and his words, written more than five years ago, had been taken out of context.”

No-one openly admits to their racism, especially not those in positions of power. To do so would be political suicide. Prejudice comes complete with facades and distortions, but occasionally the mask slips, and dark and disturbing views see the light of day. The argument that Malia’s comments were “taken out of context” is as credible as Boris’ comparable defence. Watch the video where she talks about a “Zionist-led media.” She spoke about generic “Zionist and neo-con lobbies” controlling the government Prevent agenda. If you want context, here’s context: the age old anti-semitic tropes of Jewish power and media control, scarcely veiled by the use of the term ‘Zionist’.

“Two Jews, three opinions” is a running joke in our community. Jews hardly ever agree on anything. And yet, here there is a startling unanimity. 57 Jewish Society Presidents from around the country, over 85 per cent of Oxford Jewish Society, every Oxford JSoc President and Vice President of the past two years, the Union of Jewish Students, the Board of Deputies of British Jews, the Jewish Leadership Council, the Chief Rabbi, and vast swathes of the Jewish community are all unequivocal in their opposition to NUS anti-semitism, including the remarks of Malia Bouattia.

Although some on the Yes to NUS campaign have already told us what they think of Jewish concerns. According to this piece, Jewish students’ concerns about Malia’s comments are in fact the product of Islamophobia. It’s a charge that originated with Bouattia herself, who responded to Jewish student concerns by claiming that this constituted “an attack on [her] faith”.

Islamophobia is vile and it is seen in the implicit claims that Malia is an ISIS sympathiser. This accusation here, however, is nothing more than a silencing mechanism against Jewish students, allowing Malia’s defenders to avoid the fact that she has been condemned by virtually every section of the Jewish community. We know anti-Jewish prejudice when we see it and hear it, and to claim that our fight against anti-semitism is disingenuous, or a cynical outing of anti-Muslim hatred is an unacceptable insult towards the UK Jewish community. It is repugnant that Yes campaigners are willing to defend their cause by setting ethnic minorities against each other.

This whole episode is part of a growing disease at the heart of the student movement. It is not just the anti-semitism itself, but the response to it. It’s the denial, the attempt to explain anti-semitism away, the talking over Jewish students, the idea that Jewish societies are somehow unrepresentative, the accusation of fabrication, the idea that we’re all just making it up as one giant Zionist conspiracy committed to defending Israeli crimes, and the lack of any sort of apology for any distress caused.

Consider the fact that this is now a real calculation for many Jewish students: Do I want a university experience free of anti-semitism, or do I want to be involved in student politics? For as long as the NUS apologists and Malia’s defenders run free, this is the choice we now face.

Ultimately, the only valid argument regarding NUS affiliation and anti-semitism is a pragmatic one. How do we tackle the problem? Should we stay in and fight the good fight for reform, or disaffiliate and leave, making a principled stand against anti-semitism as we do so?

There’s a reason Jewish students don’t buy promises of reform. We’ve been told change is coming for years and we’re still waiting. “Last week I resigned from my position as a National Executive Committee member, because of a continued apathy within the National Union of Students to Jewish student suffering.” This is Luciana Berger, and it’s from 2005. An anti-semitic sickness has infected the NUS for over a decade. And nothing has changed.

There are other reasons to be sceptical. Take, for example, the selective misrepresentation of the Union of Jewish Students (UJS), which fully supports Oxford Jewish Society’s position on disaffiliation. We’ve been told that Malia ‘listened’ to Jewish students by organising a meeting with UJS. The Yes campaign chooses to omit, however, the outcome of that meeting, where nothing was resolved. As the UJS campaigns director wrote, “I did not accept the invitation so that Malia could use it in the Guardian to attempt to improve her public image… Malia needs to go further to redress the concerns that were put to her… Many Jewish students will feel that they are unable to engage with an NUS under her leadership.”

But I think the biggest reason Jewish students have no faith in reform comes from the Yes campaign itself. It comes from the whitewashing of Maila’s comments, the smearing of the Jewish community as Islamophobic for having the audacity to speak out, and the co-opting of the fight against anti-semitism against the views of the overwhelming majority of Oxford’s Jewish Society. How can the Yes to NUS campaigners claim that they will fight anti-semitism in one breath, whilst simultaneously arguing Malia was innocently misunderstood in the next? Yes To NUS are selling Jewish students hopes and dreams that will soon turn to nightmares. Reform is an empty promise, and Jewish students are sick and tired of being duped.

So let’s cut through the distractions, the smoke and mirrors, and see the issue for what it is. This is an NUS President who has made anti-semitic comments, and who was subsequently elected regardless; this is an organisation where arguing against Holocaust commemoration is cause for widespread applause; this is an organisation with a long history of anti-semitism that expects Jewish students to buy empty promises of reform; and an organisation whose defenders in Oxford seek to defend the indefensible and ignore the overwhelming majority of the Jewish student voice.

Enough is enough. If you want to hear a message from Oxford’s Jewish students, let it be this one. Get out of the NUS. Get out now. Only disaffiliation can provide a big enough shock to the system to purge our student movement of this vile prejudice.

Preview: Colin & Katya

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“I feel like we are goods in a market. No one asks me about what I love, about what I dream. No one so far has asked this.”

Now in its second year, the North Wall Theatre’s single slot for new student writing is shaping up to be one of the highlights of the year in student drama, and this time it’s the turn of writer and director Jack Clover’s unique new play/musical/documentary Colin & Katya. Jack has been a regular on the new writing scene in Oxford, most recently writing the excellent Island People for the New Writing Festival in Hilary, and Colin & Katya has evolved out of Univ cuppers entry he wrote two years ago (it won Best Play and Best New Writing in the competition). In an ambitious combination of interwoven narratives and a ‘documentary’ approach featuring, slightly bafflingly but to great effect, a live Russian rock band and a sprinkling of physical theatre, the show tells the story of the phenomenon of British-Ukrainian matchmaking.

Central to this is the story of a romance between Colin from Essex (Tom Curzon) and Ukrainian Katya (Daisy Hayes), who have met online. In the rehearsal I saw, though still a work in progress, the chemistry between the two actors was electric. Concurrently, the play takes us on a ‘romance tour’ with a group of British men searching for love in Odessa, Ukraine, as presented by two documentary reporters (Georgia Bruce and Yash Saraf). Intriguingly, Jack tells me that the show will feature Hayes speaking verbatim Russian extracts (thankfully, both writer and actress study the language), and the two have already travelled to Odessa on a research and language workshop.

Clover aims to explore the cultural differences between East and West, looking in particular at the gender boundaries in both countries and the fact we’re really not that different at all. A highlight of the scenes I watched was Ell Potter’s brilliant appearance as Essex-born Sandra, Colin’s ex-wife and the mother of his daughter. In general, the multi-roling cast is a cross-section of the very best acting talent in Oxford right now, and they’re clearly having a great time bouncing off each other.

With a theatre like the North Wall, the show has the difficult task of creating a set which can both live up to the space and simultaneously become both Odessa and Harwich, Essex. Their design will centre around “chopped-up wind turbines”, which sounds, like the rest of the show, slightly mad but totally compelling. Lit by the talented Chris Burr (multi-roling himself as producer, production designer and lighting designer) and set-designed by Grace Linden, we’re likely to see a visual spectacle.

Colin & Katya promises to be a madly eclectic mix, with excellent performances across the board. You only get one chance to see Oxford writing at this incredible venue every year – go!
Colin & Katya is on at the North Wall Theatre, 1st-4th June in 6th week Trinity

One thing I’d change about Oxford: free the tortoises

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For too long Oxford has kept hidden its greatest treasures. I am not talking about its endowments, the manuscripts of the Bodleian or its educational techniques. Rather I speak of something far more precious than any of these: its college tortoises.

These tortoises are the heart and soul of their colleges. Their age and quiet dignity mirrors their storied surroundings, whilst their slow and purposeful movements create an oasis of calm amidst the hubbub of ordinary Oxford life. They are also extremely cute.

Yet where are these tortoises to be found? Caged and hidden away in porters’ lodges; a measure which is both cruel to the animal and to we students who fail to benefit from, or even realise, the presence of these charming creatures in our midst. Thus, if I could change one thing about Oxford, it would be to liberate its college tortoises, so that they might roam free in the central quad of every college.

The benefits of such a move have already been elucidated, but there is one potential danger, namely that the tortoise might be stepped on. There are, however, simple solutions to such a problem, for instance colleges might redirect some of their money to full time “masters of the tortoise” to act as custodians, or tie balloons around them as an obvious indicator of their presence.

Oxford can be a stressful and hectic experience, so I ask you this: what could be better for us all than to see living reminders that slow and steady wins the race?