Sunday 29th June 2025
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Interview: Shirin Gerami

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In 2013, Shirin Gerami became the first woman to represent Iran internationally in the triathlon. This alone says something about her character: she is brave, ambitious, and passionate. But ultimately her story illustrates more than just passion for sport and competition; it is a story of ishq, which is, in Gerami’s words ,“a very powerful word in Farsi”, combining “the highest sense of love and passion together.” And this story of ishq, unexpectedly, became bound up with my own.

Seven months ago, I received a call from my mum telling me that my dad had had a heart attack and died. I was living in Jordan and immediately I began searching for the next flight home.

On the plane, I began to write about my father – a piece of writing I would later read at his funeral. It may seem strange to begin writing a eulogy so quickly, but somehow even in that state of shock I found an intense clarity, and I knew exactly what I wanted to say: that my father lived his life for love.

Grief revealed to Dad the full strength of love. His father died prematurely and Dad would always remember the last loving caress his parents shared. In this, he realised the absolute bravery it takes to love another person in full knowledge that you can lose them.

This realisation changed his life; my dad was a Catholic priest, and after witnessing his mother’s grief he began viewing his celibacy as cowardice. He left the Catholic priesthood. He met my mother, confident that his love for her posed no conflict with his love for God or his role as a vicar. 

After the funeral Shirin, who had been a student at St Chad’s College, Durham, when my dad was the Principal there, contacted me. She had read the eulogy and was struck by how far his attitude towards love and grief reflected hers. Shirin’s own father died when she was nine. We were keen to talk to each other further and I asked if she wanted to meet.

Today, in Taylor’s on St Giles’, we smile at each other over our food and talk about her studying PPE, living out in a student house, her memories of my father – dodging the issues somewhat. I had watched a TEDx talk in which Gerami said that an attack she experienced aged 18 was the beginning of her journey towards the triathlon.

I ask about this. She explains that she and her friends impulsively decided to hike the Alborz mountains from Tehran to the Caspian Sea. Shirin describes how she “remember[s] the fourth night ever so clearly, completely and utterly overfl owing with a sense of love and appreciation; that immense sense of gratitude to be alive.”

But on the fifth night they were attacked by a group of men. “I really thought I was going to die that night,” Shirin tells me. “The experience still affects me today, helping shape who I am and what I do.”

She looks down at her food: it is clear that this is a painful subject. “After this, you still went on another adventure to Antarctica. Was that more difficult to do in light of what happened?” I ask.

“I was in pieces,” she replies. Soon after this she was diagnosed with a mental illness. She did not agree with the diagnosis, but was told that she had to take medication if she wanted to receive further help.

But the pills did not help; they made her worse. She wrote to the organisers of the trip, asking to drop out as she did not think she was mentally healthy enough. But the trip’s leaders persuaded her. Again, Gerami set out on an adventure. Once en route, however, she became ill and had to stay behind in her tent alone.

“That time still feels an eternity,” she says to me. Eventually, she recovered enough to leave her tent. As she crawled out, “I felt the warmth and the rays of the sun on my skin. It warmed me up from the core of my being. It set the beautiful landscape alight, and I realised that the universe doesn’t judge.”
She poured the pills into the sea.

Of course, trauma is not solved in an instant, but a process of healing was underway. That year she went to university in Durham and it was there that she found triathlon. It let her be “back in nature, doing something physically demanding”. It filled her with “selfconfidence; it was, and is, therapeutic and empowering.”

Gerami wanted to get permission to represent Iran in triathlon races. Permission had not been granted to Iranian women to race, previously. At this point, she looks up at me with a wry smile: “What does challenge mean?” she asks. Clearly she would never have backed down.

The process of getting permission to compete took six months. “It made me question everything,” she says. “Everyone was saying no. I had so many near yeses but they always ended in no. “But I had a ray of hope. Everyone was telling me to stop, but where there’s a will there’s a way…I arrived in London just before the competition and I still had no permission. I thought, ‘Let’s just crawl into bed.’ But then I thought to myself: there’s one last chance of staying positive, of not giving up.”

Permission from the Iranian government arrived that day and she competed. I ask her if this is something she wants to see more Iranian women involved in. “Of course,” she replies, explaining that she wants other women and girls to benefi t from the therapy and empowerment that sports can provide.
“No one’s willing to hear them, believe them,” she says. “This was the tool I had as therapy. It’s enlightening, empowering.”

After recounting these struggles, Shirin suddenly reiterates the philosophy that had connected us: that the very real pain caused by losing her father, being attacked, and nearly being prevented from competing in the sport she loves due to her gender had ultimately only strengthened her faith in ishq – her faith that love coexists alongside and within the pain.

As I was walking from Taylor’s back to my class, I thought about how, a few days before my father died, as part of a sermon for a friend’s wedding, he had written, “Life is ultimately all about love; life must ultimately be about love; if it’s not about love… well, it’s not about anything.”

This is the truth by which my father lived, and the truth by which Gerami works to bring the triathlon to others. This is ishq.

Thinking about wastage

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Just over a week ago the tech start-up I co-founded was presenting at the Advertising, Media and Marketing Fair in the Town Hall. From Amazon to Saatchi, companies piled up mounds of food and freebies trying to attract the best and brightest to their stalls. Go for the biscuits, stay for the grad scheme – so we hoped.

What always strikes me about these events is the enormous food wastage. Those mounds of leftover muffins, Jaffa Cakes and oranges standing half-excavated on tables and destined straight for the bin as the day draws to an end. This is astonishing even by Oxford’s standards – the city ranks fourth in the country for homelessness and the number of food banks in recent years has jumped from 29 to 251. Going on about homelessness and food banks to students tends to draw unflattering comparisons with the people standing around Piccadilly Circus yelling that the “End is Nigh” so not to waste a good PR opportunity we decided to gather up the leftover food and take it over to the Oxford Gatehouse homeless centre on Woodstock Road.

Asking for leftovers from pampered graduate recruitment officers at Ogilvy wasn’t exactly what I’d imagined I’d be doing four months after graduating from Oxford, but it got the job done. We gathered juices, baked goods, Haribo sweets (given to us begrudgingly because HR might need them for the next event), fruit and every variety of biscuits.

The Gatehouse greeted our start-up’s delegation warmly and accepted the donation. Dean, who helps to run the drop-in centre, told us that their work seldom receives coverage in the student press and so they get few student volunteers. Perhaps this isn’t entirely surprising given how full most peoples’ academic/social calendars get, but still that’s little comfort.

Food waste at the Advertising, Media and Marketing Fair however is just a small example of the way that we under-utilise our resources at university. In both my second and third year I lived out of college and was astonished by the inefficiency of the housing model. In Oxford and indeed throughout the UK, students renting privately are forced into 12-month contracts despite the fact that they live and study in their university cities for 6 months of the year. There are about 10,000 students living out in Oxford. Their rooms stand empty during Christmas and Easter holidays, not to mention over those long summer months. This represents £3,000 in wasted rent each year for the average student and does nothing to help Oxford’s reputation as the least affordable city in the UK.

The length of rental contracts is unlikely to change any time soon, especially while students continue to queue overnight to sign up to them. Legislative changes announced in the April 2015 Budget, however, would make it easier for students to make use of their empty spaces through subletting. This will not only help to increase the supply of medium-term housing but will also help to reduce the rising costs of student living. The legislation is by no means sufficient or the unequivocal answer to the housing problem. It is however a step in the right direction that will help us to use our resources more effectively.

If nothing else, it’s also a sign that some solutions to our everyday problems are closer to home.

The OxStew: PM criticises OUSU’s financial strategy

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The Prime Minister has written a letter to the Oxford University Student Union, leaked exclusively to The OxStew outlining concerns about OUSU’s finances.

The letter criticises the Student Union’s current financial strategy, and recommends a more “creative” approach to fundraising.

The letter reads, “Dear Rebecca, I wanted to write further to the 2015-16 Budget Briefing that your office kindly sent across. I have a number of suggestions to make that I am surprised you have not considered.

“My advisers tell me that many other student unions raise money through holding ‘club nights’ in the Union building (I hear that Hull has one which is extremely popular). I find it confusing that OUSU does not hold such events, but spends a lot of time and resources on hosting free debates and speaker events. If the Union building is large enough to host these sorts of events, I should think it could be an appropriate venue for some sort of disco.

“In addition, your initial £240 life membership fee might be off-putting to students considering joining the Student Union, and this may be something you wish to reconsider. If you do continue to charge this fee, however, you should make sure it rises in keeping with inflation.

“It is, of course, important to create a sense of community – a ‘big society’, if you like. A good way of doing this might be to introduce some sort of initiation process into the Union (any good butcher’s shop should be able to provide you with all the equipment you need).

“One final point – I would have hoped that the Student Union would have followed Conservative best practice in exploring legal and creative solutions. I note that you have not considered selling off student accommodation, establishing drugs rings or protection rackets. Plain theft is another extremely costeff ective way of raising money.

“I hope that the Union will move cautiously in setting out its budget plans, listening to both public opinion and the views of my fellow Parliamentary colleagues.

“Yours, David Cameron.”

Ceramic poppies at Christ Church

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Christ Church has been displaying 239 ceramic poppies throughout the period leading up to Remembrance Day. Representing the number of lives lost from Christ Church in the First World War, the poppy display is in Tom Quad near the entrance to Christ Church Cathedral.

The poppies displayed were acquired and inspired from the Tower of London art installation, Blood Swept Lands and Seas of Red, which marked the WWI centenary last year. Between July and November 2014, artists Paul Cummins and Tom Piper progressively filled the Tower’s moat with 888,246 poppies, each representing a British military fatality in the First World War.

The Dean of Christ Church, the Very Revd. Professor Martyn Percy, told Cherwell, “Visitors have really appreciated the stunning thin red line of ceramic poppies that currently pave the way to the Cathedral in Christ Church.

“They are there as a reminder of the love, lives and loss scattered by war, yet now brought together in acts of Remembrance. Our gatherings and prayers focus on solemnity and silence, recalling the damage, loss and grief that war brings.

“We also remember the sacrifice that many have made for peace, and the common commitment and resolve we now share to establish concord and reconciliation across the world. The poppies at Christ Church are a reminder of the number who fell in the Great War of 1914-18.

“Each poppy in Tom Quad is a poignant reminder of a young life lost. And each act of Remembrance is a renewed undertaking that we will continue to remember those who died – and in so doing, endeavour to build a world established in peace.”

Robbie Mallett, a fourth-year physicist and JCR Welfare Rep at the College, said, “I’m proud that Christ Church has chosen to commemorate the members of the College who have lost their lives to war.

“The poppies remind us that war isn’t confined to the twentieth century and we aren’t exempt from the lessons learned and still to learn.”

 

Shopping for perfection

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The media practically permeates the very air we breathe, and advertising is one area that causes the greatest impact on our day to day lives. After all, that is its aim – to get us to spend. But when the fashion industry starts to advertise the unattainable, it can take a toll on our self-worth.

Part of the problem is that brands enhance images. This is understandable; brands want you to think that by investing in their product, you can attain the ‘perfection’ represented by their models. It is not certain what the greatest selling point is anymore: models or clothes. Though this kind of advertising incites us to buy, buy, buy, it can have a detrimental effect on our mental health.

A survey by New Look in 2013 found that a third of women “feel the body they aspire towards is not possible for them to achieve”. We’re constantly trying to achieve the unachievable, causing many to be unhappy with their bodies. In fact, the same survey found that 650 out of the 2,000 interviewed felt extremely uncomfortable with their own bodies. It might seem like an inescapable cycle, yet some companies are starting to challenge this debilitating trend. Aerie launched a campaign called ‘Aerie Real’ last year, refusing to enhance models. Stomach rolls and stretch marks are uncompromisingly present. The images are accompanied by the positive slogan, “The girl in this image has not been retouched because the real you is sexy.” There is starting to be a change in fashion advertising towards celebrating body positivity and refusing to warp images to conform to unrealistic standards.

However, until companies also start to rethink who they hire (Aerie already pledges not to use supermodels in its advertisements), perhaps little will change. Victoria’s Secret recently launched a ‘Perfect Body’ range, but its definition of ‘perfection’ was limited to a very specific height and weight range. The company was forced by a petition to backtrack on the campaign, changing their slogan to “A body for everybody” instead.

Even though Victoria’s Secret does enhance images, the extreme exercise and dietary deprivation their models are subjected to means that an end to retouching may not be enough. Victoria’s Secret’s ‘Angels’ are advised that a 1,000-calorie liquid diet is sufficient, alongside fi ve exercise sessions per week, despite recommended intakes for women being twice that amount. The models many companies use are both genetically blessed and physically manipulated before being retouched. The end to Photoshop is only the beginning of the campaign to stop the fashion industry publishing the dangerous messages which keep them sustained.

The Way We Wore

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When I first started fashion journalism, I did it reactively: hot-headed, impulsive, aiming snarks at someone who’d wounded my ego in the only way I could by making witty comments about the banality of their wardrobe. Looking back, it was little more than crystallised bitchiness on my part; but I dressed it up in wry (anonymous) observations about the misleading gentlemanliness of cashmere polo necks, and, somehow, I ended up having lunch at Vogue magazine.

   That was two years ago, and for me the fashions of first years have now transformed into the wardrobes of finalists. Do we change the way we dress at university? Do we undergo some kind of evolution in style as we undergo an evolution in exam technique? I think so. Whether we do it consciously or unconsciously, I’m less certain. But few people, I’ve noticed, retain exactly the same sartorial aesthetic they came here with.

  Of course, there is something remarkably assuring about the people who do manage to wear exactly the same clothes at 21 as they did at 18. You will always encounter a William in the same gilet/red trousers combo that he wore the hazy hungover Sunday following Matriculash. There will be a standard Saz who only seems to have altered her style by expanding her range of Claire’s chokers. You will find an Eric who is still glorying in the dip-dyed nostalgia of his Gap Yah. And there will always be a dependable John, who bought his college sweater in freshers’ week, and has yet to remove it. Such folk are to be commended on finding a secure sense of identity so early on in life: people whose clothes do not change rarely change themselves. If they were nice people then, they are probably still nice people now.

 The same cannot be said, however, of all of us. Particularly not those of us whose university experience has largely been a series of small but cumulative epiphanies, resulting in the inevitable: I’m not who I thought I was. This thought usually follows some disproportionately enormous dilemma, such as one only experiences when life is filtered through the melodrama of serial essay crises, lack of sleep, Fifth Week Blues and terrible decisions made regarding strange men (sporting dubiously wonky blue mascara) while occupying a shadowy enclave in Cellar.

As time moves on through a phase I believe some call “growing up” the exposure we have at university to multiple intellectual strategies, not to mention plain old Other People, begins to turn us into something less fixed, more prismatic. Based on purely anecdotal evidence, I like to think that we have the better parts of ourselves unearthed at university: that the melting-pot nature of the academic world works its magic and individuals, for the most part, become increasingly accepting of alternative points of view. And also of each other.

  Which doesn’t mean the metamorphosis is not traumatic. Nobody comes out of this without a few bruises and scars: to the ego, to the heart, and to the mind. To get to the jelly bit of the trifle you have to first get through the foam, as they say (or don’t). Hopefully those we care about don’t get lost in the between-spaces for too long.

  When I got here, I was certain I was your archetypal Nice Girl. I dressed in ribbed tights and A-line skirts in pastel colours and I left my hair to its natural curls. I wore copious amounts of vintage. I wore princess dresses to college balls, frothy chiffon, icky virginal whites. I thought all of this legitimated my Goodie Two Shoes persona. Someone, somewhere, before university, had told me to be pretty and accessible but not too pretty and accessible: to also look smart, and a little bit frosty. To not let the boys think I was easy.

  Several drunken mistakes later, I had ricocheted to the other extreme: I was obviously a Terrible Human Being and dressed accordingly. I was hard and cold and impervious to heartbreak, I squished the egos of men under towering black leather lace-up army boots (gross exaggeration, but whatever). It was my very own aesthetic rebellion: armoured up in gratuitous amounts of black kohl as a frontline defence against my outdated little-girlishness, I looked as though someone had put Sienna Miller’s face with a Panda’s in a blender, but I was making a statement. Someone had said I was too “perfect” (read: unattractive) to be loved; if I couldn’t be loved, then I damn well wasn’t going to look, or be, perfect.

 Still, time moves on and everyone learns not to take drunkards seriously (particularly when that drunkard is your own reflection in the mirror). Finally, as a wise old third year, I’m happier with my golden mean: an affable-enough girl who sometimes spectacularly fucks up, I dress mostly in black, and wear considerably less eyeliner. I’ve started collecting my first “designer staples” (including a frankly incredible Balmain jacket discovered in a charity shop); I still buy vintage and always will, and I have an expanding collection of fabulous jackets, which the shallowest part of me tentatively tries to correlate to my slowly increasing sense of self-worth.

   Except obviously, it’s all bullshit. If my last three years have taught me anything, it’s that my original conception of fashion, and fashion’s obligations/uses, was totally ridiculous regardless of how it got me into the corridors of venerated glossy magazines. I’ve overviewed my own wardrobe transformation here, because three years ago, I would have been stupidly keen to overview somebody else’s. To dismantle it, appraise it, give it the old “hermeneutics of suspicion” treatment, say this is an indication of that, psychologically, sociologically, et cetera, et cetera, blah blah blah.

 In other words: I would have tried to rifle through somebody’s wardrobe without their permission, making reductive judgements, trying to argue my way to a suitable evaluation of their style choices as though I am the Suzy Menkes to the catwalk show of people’s lives (or telepathic). I would have cast them as indicative of a “type” of “fashion strategy” and twisted that into polemic, disguising annoyance/revenge as “aesthetic insight”.

And it would have been oh-so-tempting to pose this article as an encore review of the person who got me here in the first place. “The Way We Wore: Person X, then v. now“. What does their wardrobe look like these days? Largely the same? Drastically different? Somewhere in between?

What does that say about them? Is theirs the wardrobe of a consummate poser? Is it the wardrobe of someone who has learned their lessons? Do their socks indicate they are truer to themselves nowadays?

Have they finally learned how to convey their haphazard, wonderful, crazy personality via eccentric jackets? Are they still oppressed by stereotypical gender/class roles, and is that clearly demonstrated by their choice of bifurcated garments?

Are they evidently more confident because they dress to stand out as opposed to blend in?

Does loneliness really present in a V-neck?

Am I still talking the same old shit?

 Because don’t we all do that, to a certain extent? I’ve been on the receiving end of other people’s critiques of my fashion choices; I’ve never enjoyed having to defend myself. From the outright accusations (“she dresses like a slut”) to the well-meaning passive aggression (“but don’t you think you always dress for men?”), every “interpretive” comment has been an assault loaded into an assumption. It’s affronted me. And I’m guilty of doing the same; for, just because the presentation of my criticism has been different, doesn’t mean the underlying impulse has been. I once said a tuxedo does not a gentleman make, but that said, neither does an Apple keyboard a bitch unmake.

In the end, despite the tours I’ve taken through fashion criticism and philosophy breathtaking tours through Lars Svendsen and Stella Bruzzi, Diana Crane and Menkes herself I’ve learned sweet FA about what people’s clothes can actually, conclusively tell us about them. Neither Roland Barthes nor Karl Largerfield could have ever prepared me for how very far away from the truth my “evaluations” have been, no matter how sculptured my semiotic strategies. The language of interpretation is a necessary investigative perpetuator of our culture and our textbooks and our trends. But it is dangerously unintelligent about real life.

 If I’ve learned one vital lesson in my whole time at Oxford, it is this: to stop pretending I know everything. I may be able to offer advice on someone’s clothes I may be able to take them out and dress them up in ways that satisfy some kind of sartorial zeitgeist I may be able to talk endlessly in hypothetical ways about fashion theory I could probably hold my own debating McQueen v. Galliano with the FROW.

But I cannot legitimately claim to know why the person next to me wears what they do. Not without meanly obscuring facets of their individual experience. Loud clothes can mask loneliness, jackets can be comfort blankets, a basically boring pair of jeans can be the trousers in which we raise the strongest battle cries of our lives. The people you thought would fall in love with tulle and glimmer, fall in love with sweatpants, and that’s just the way this funny old world works.

Some things come full circle. You may look better and dress better and behave better three years after you first stumble into the JCR, hoping desperately to make a friend; you might be considerably suaver and cooler now than you were at the time you lost that friend; but sometimes, if you’re insanely lucky, collisions reoccur, you get a second chance, and, regardless of what you’re wearing nowadays, conversations have the flavour of excitement they used to have back when you were too busy trying to be kind to somebody to try to interpret them.

Those are the honourable endeavours, unfashionable as they may sound.

Interview: Alice McGennis-Destro

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It is a hot August afternoon in Paris and both Alice McGennis-Destro and myself are sipping iced coffees on a roof top bar. Sprawled across cushioned sun-beds with our laptops, and with a view over Montmartre, anyone would think that we are taking some quiet holiday-time out from the hustle and bustle of the tourist-ridden 10th arrondissement.

But Alice isn’t Parisian at all; she is from Melbourne, and she certainly isn’t spending her time relaxing. In Paris for a L’Oreal business trip, she types continuously; working on yet another article. It is ironic perhaps that Instagram is the first thing that we talk about. We both want a picture taken with the incredible view from the bar over the hill of Montmartre and the gleaming domes of the Sacre Coeur. With our coffees, and our books of course: that is all a part of the Instagram charm. There aren’t many roof-top bars in Paris that have this excellent a view, certainly not ones that come without a degree of exclusivity (this one in particular isn’t even open to the public), but this all adds to the appeal of a much-needed Instagram post. Increasingly this is what many girls and boys on Instagram like to share with their followers.
With Alice however, things are a little different. Sharing her life on Instagram is her job.

Instagram is without a doubt, one of the most fascinating social-networks. Consisting entirely of images, emerging designers are increasingly using it as a platform to promote their work, and fashion bloggers, such as Alice, help them in this process. Alice herself has built up a network of nearly seventeen thousand followers under the name ‘Catwalk of Words’; regularly posting images of her incessant travels from continent to continent. “That’s the great thing about being a fashion journalist for L’Oreal” she tells me, peering out at me from under a wide-rimmed sunhat and a cascade of thick golden curls. “As long as you have your laptop and access to the internet, I can do my job absolutely anywhere in the world.” The internet and social networking however, is a twenty-four-hour job. For Alice, there is never a chance to relax. “I write between six to eight fashion articles a day” she says with a laugh, “It’s not always easy, but the fashion-industry does not sleep.”

Working for L’Oreal is an extremely stimulating job. Based in Australia, Alice is in charge of editorial online content and manages the branded beauty platform. This involves interviewing L’Oreal ambassadors such as Eva Longoria and Barbara Palvin, whilst working with a long list of PR agencies and fashion brands for her blog. With training sessions in Paris, Alice attends the various Fashion Weeks worldwide, most commonly Sydney, Melbourne and New York Fashion Week. But when she isn’t writing articles, interviewing celebrities and arriving at exclusive fashion-events in a helicopter, Alice takes time to attend local events like store openings and pop-up runway shows throughout the year. “I like to support the fashion industry in Melbourne” she explains to me. Having studied journalism at Monash, Melbourne and then Master of Communication at RMIT, she interned at a variety of fashion magazines and fashion houses before earning herself a job at L’Oreal. Despite her travels and busy schedule, Melbourne remains her home and she wants nothing more than to see the fashion-scene there flourish.

Part of Alice’s work focuses on the promotion of L’Oreal’s new beauty products. She describes to me how she enjoys experimenting with make-up, something that comes across beautifully on her blog, but admits that she feels much better stepping out of the door with a full face of make-up on. “I think a lot of women feel the pressure when it comes to their beauty-look”, she says, “Girls are starting to wear makeup at a much younger age because of this (I don’t think I wore it properly until I was seventeen), and sadly they do this because they don’t feel adequate or attractive enough without make-up on.” She feels that this is due in part to the rise of social media and the obsession with celebrities.
I ask her whether she thinks our culture combats or celebrates the aging process. “I think it is beautiful to age,” She smiles, “At L’Oreal we make a concerted effort to promote mature beauty by working with incredible women like Jane Fonda and Julianne Moore.” However, she admits that people will always search for ways to improve their look. “That’s essentially the entire reason why the beauty industry exists.” 

As Alice and myself chat more about the fashion industry in Paris and we discuss some of the best places to dine out that evening, I cannot resist asking her just one last bit of beauty-advice. Exactly how can the every-day person make their beauty regime more efficient?  Who better to ask than the beautiful Alice McGennis-Destro, fashion blogger and journalist, L’Oreal representative and beauty expert? Alice laughs; “Use primer! When you prep your skin with primer it will smooth over large pores and fine lines, creating a dewy surface for the rest of your makeup to adhere to. Not only does this mean you will need to use less foundation, it will also ensure your makeup lasts all day. It’s absolutely my favourite beauty product!”

With many thanks to the absolutely lovely and inspiring Alice McGennis-Destro. Check out her exquisite Instagram @catwalkofwords and blog www.catwalkofwords.com

 

 

 

 

 

 

Profile: Joss Whedon

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It is only when I sit down to interview Joss Whedon in the bar of the Oxford Union that I actually get a chance to see the man in the flesh. Until now, a packed talk in the Union chamber and a horde of adoring fans surrounding him and clamouring for autographs and photos in the bar has left him obscured from sight. Indeed, the talk was one that was full to the point of bursting, if not with students clad in the brown coats of Whedon’s Firefly rebel heroes, then at least a large number in Buffy, Marvel and Firefly tees. Oxford University, it seems, is home to a lot of geeks. Whoever would have suspected it?

Whedon is perhaps best known to those less inclined to binge-watch cult television shows as the director of the recent Avengers movies, but to say that this is not the only string to his bow would be a severe understatement. Creator of Buffy the Vampire Slayer, Angel, Firefly and Dollhouse, Whedon has also co-authored comic books, written an internet-distributed three-part musical miniseries, directed an acclaimed adaptation of Much Ado About Nothing and, during the talk, mentions his desire to work in the medium of ballet. A one-trick pony, he is not.

I begin by asking a question that seems logical for a man engaged in such a wide spectrum of cultural activity and creation: does Whedon, speaking at Oxford, see an irony in the weight of scholarship attributed to ‘high’ culture whilst popular culture is neglected?

He does. “Oh yeah. My stepfather would always go ‘When are you going to make a picture without the vampires, and the rocket ships?’ You know, because everything that has the label of fantasy is considered low culture. My response to that is a) fuck you, and b) studying popular culture is always important, especially with great works of art. Whether they’re popular and you consider them highbrow or lowbrow, it’s necessary for one reason. If it strikes a nerve with people, it’s worth knowing why.

“With Buffy, we thought very carefully about everything we were doing. Even if we hadn’t struck a nerve, we’d know why. There are a lot of things that are popular that I’m not crazy about, but I know they gave the audience something they needed and that’s what we’re all trying to do.”

I suggest that it’s interesting to think that one could jump from directing a space western like Firefly and then adapt Shakespeare, and yet address the same concepts. Is there really that big a difference between the barbed repartee of Beatrice and Benedick in Much Ado and the sometimes-edgy banter of the Avengers?

“We’re all telling the same stories!” He tells me. “It’s not like anyone has come up with anything new! The Greeks did it, and Shakespeare did it in a more complex way, and they’re all cribbing, that’s the way of it. All of my favourite artists, in every medium, were enormously popular in their time, and I don’t think that’s a coincidence. I think it’s that I gravitate to people who are trying to talk to everybody. Some are storytellers and some aren’t, but I think what is considered highbrow you have to look at historically.

“In the case of my argument with my stepfather, modern culture tends to view – as I said – fantasy as something that is ‘less’ and I was like, ‘So fantasies, like the Odyssey or Hamlet, those are lame?’ It’s a fact that that is a twentieth-century conceit, because people including my stepfather – and I loved him! – could not understand that this is what we’ve been bred to think.

“So yeah, it used to drive me crazy, but I think now people are blurring the lines, they’re beginning to understand.”

Something that Whedon mentions in the talk is the lack of originality in cinema, a subject on which he remains somewhat diplomatic as someone who has worked extensively on adaptations and reboots, yet also iconic original material. Conceding that Buffy’s is an origin story in itself, Whedon tells me, “It’s tough. It is true, that every- body’s sort of falling into this framework of storytelling. It’s hard for me because this is the framework that I live by; everything I do is an origin story.

“That is a classic structure from comics that I have learned, and I look at myself and I go, ‘I need to figure out something else that moves me as much.’ At the same time, that’s just me, that’s who I am and it’s going to be part of the storytelling itself: the journey, the power – I’m okay with that. There’s a reason I have to tell that story and so I don’t mind turning that rock over and over again.

“But, it is a little worrisome. There was a period in the past decade where every reason for something was ‘issues with an abusive father’. Like the Hulk, they added a bad dad to the first Hulk movie, and I was like, ‘Why are you all doing this? I mean, you can’t all hate your fathers. Is this convenient? Or is there a generation of terrible fathers?’”

Whedon is well-known for his feminism and his views on what has been termed ‘torture porn’; franchises like Hostel in which young men and scantily-clad women are violently dismembered and attacked in a variety of inventive ways. He is also infamous among his fans for killing off much-loved favourite characters unexpectedly and often in heart-wrenching ironic circumstances. When I ask him to elaborate on these, an unexpected opposition seems to emerge: Whedon looks to invest in his characters and claims, “Every time I write somebody, I’m in love with them.” So-called torture porn, he says, skips this investment. The cynical spirit of the genre can seep into one’s world view, to an extent and the relation between art and life does not necessarily end when one walks out of the cinema.

“In a very broad way, it’s going to feed into the culture and it’s going to come from the culture as well, they’re going to feed each other. What I dislike about torture porn is the degradation of the human spirit. People don’t matter. The experience of watching them go through something appalling is about voyeurism.

“Although pretty much all horror has an element of that, you can look at horror movies that I love; people in them are interesting or matter in some way, whereas these are just set up to be terrible so they can be inventively killed. That is a hateful view of the human race, and I do think that after a time that can be damaging to people.

And his favourite horror films? “I like things like the classic 80s ones, like Nightmare on Elm Street, Halloween, Alien. I like the straight-up classic B-movie.” He also praises 2005’s The Descent. “It’s a very human story, so tense, in fact, that when the troglodytes finally showed up I was like, ‘Oh, thank God, it’s just a horror movie!’”

On the other hand, Whedon’s characterisation is intensely personal and individual. He cleary cares for those he writes into being. I wonder aloud at another statement he made in the talk, that “every character is a main character,” and mention a disagreement I had with a friend over who the main character of Firefly was. Whilst I was in favour of the spaceship’s captain Mal Reynolds, my friend argued strongly that it was his love interest Inara Serra, whose complexities were hinted at throughout the short-lived series. For the first time, I see Joss Whedon grin.

“When you’re creating an ensemble, you obviously have to have everybody feel as passionate about their story as everybody else, and their character has to be as richly drawn. You have to know that you can go to that character for an episode or a mark or a moment in time. Even to the point where, specifically on Firefly, when we were shooting the pilot, Adam Baldwin [who plays Jayne] was doing a scene when he was menacing a guy and he was going very big, and I finally said to him, ‘You’re playing Mal. Jayne thinks he’s the hero of the story. Play Mal.’ And he’s like ‘Oh!’ and then he’s doing it perfectly.

“It’s necessary for the life of a show. Our reality sits between each other. As we all know, there’s no objective one and if you can’t see what’s going on in between your version and somebody else’s then it’s going to be a nightmare. It’s important for people to see that and go ‘I identify with them, but I also know that they’re onto something.’”

Earlier, when posed with a question about the possibility of a Firefly sequel, Whedon – in typical storyteller fashion – offers what by now must be a well-rehearsed answer. He tells the traditional tale of the ‘monkey’s paw’, in which a couple is granted three wishes by said paw: they wish for $2000, and their son dies in a mining accident and they get $2000 in compensation. Then they wish for him to come back from the dead, and he rises from the grave. Finally, as he bangs on their door, wretched and disfigured, they wish him dead once more. He likens the return of Firefly to the zombie son; a curse disguised as a blessing, and something better left as a happy memory.

This prompts me to ask if these characters – the likes of Buffy Summers, the crew of Serenity and others – are so famous and popular among hardcore fans that it ever proves to be a burden. When fans are so keen to talk about the past, does it frustrate his future projects?

Yes and no. “When you answer a question, you expect people to know if you’ve answered it a million times. Sometimes, yeah, it can be a little tiresome. At the same time, the stuff they’re asking means a great deal. It’s more good than not. I want to create things that people need.”

Oriel liberation referendum fails

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A referendum held at Oriel College for the creation of three liberation officer roles has failed to pass. Although a majority of students voted in favour of the referendum, the question failed to gain the necessary two-thirds majority.

The referendum proposed replacing the role of Equal Opportunities Officer on the Oriel JCR committee with a Women’s officer, BME Officer and Disabilities Officer. It also encouraged only those who self-identify as members of those liberation groups to vote in these elections.

The vote was held on Friday of Fifth Week. In total, 137 votes were cast, 84 in favour of the referendum and 53 against. Overall the turnout of the vote was 41.8%. According to Section 10(D) of the Oriel JCR constitution in a referendum, “The motion proposed by the referendum must be passed by a two-thirds supermajority of those voting.”

The Oriel JCR President, Kate Welsh, admitted she was “obviously disappointed about the result” in an email sent out to the Oriel JCR on Saturday morning.  Peter Corden, the Oriel Returning Officer, described the turnout as “fairly disappointing” in the email to Oriel JCR members which contained the results of the ballot.

The full text of the referendum read:

‘This JCR would introduce three new positions to the JCR Committee: Women’s Officer, BME Officer and Disabilities Officer.

The role of the BME Officer would be to represent the views of and support members of the JCR who identify as belonging to a black and/or ethnic community.

The role of the Disabilities Officer would be to represent the views of and support members of the JCR with physical or mental disabilities, specific learning difficulties or long term health conditions.

The role of the Women’s Officer would be to represent the views of and support women of the JCR that includes but is not limited to those who self-identify or partially identify as a woman, who have a complex gender identity that includes woman, and who have a gender identity that includes feminine.

While it would not be part of the constitution, when elections for these positions come around, we would encourage only those who self-identify as a member of the liberation group that that officer represents vote in that particular election. For example, we would request that only those that identify as BME vote in the election for the BME Officer.

Should the referendum pass, the position of Disabilities and Equal Opportunities Representative will cease to exist when it next comes up for election and the position of LGBTQ Representative will become fully elected.”

The referendum was not without controversy. The vote itself had to be delayed from its initial date on Wednesday of 5th week, following problems with the BallotBin voting system which the Oriel JCR uses.

 

Year Abroad students asked to confirm they are safe

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An email sent shortly after 3pm GMT by the Modern Languages Faculty Year Abroad Team has asked all Year Abroad students, whether they are living in Paris or not, to reply to the email to confirm that they are safe.

This follows the terrorist attacks in various locations around Paris last night in which at least 128 people have been killed and an estimated 300 injured.

The email states, “Following the appalling terrorist attacks in Paris last night, we are writing to everyone on their Year Abroad, to ask you to contact us immediately on receipt of this message (simply by using reply) to let us know both your own whereabouts and of anyone you know who may be in Paris now. We are obviously concerned about the safety of all our students, which is why we are asking everyone to contact us. We wish particularly to be reassured that those in Paris are safe and have not been directly affected. Those of you in Paris will no doubt have already contacted your families, but it is important for both the Faculty and for your Colleges to hear from you.”

It goes on to say “We will also be happy to assist you with any questions or worries you may have. At present we do not consider that there is any reason to consider leaving France, as the French authorities appear to be taking all appropriate steps to ensure public safety, but we will keep you informed should there be any change.”

Year Abroad students in France are also being advised to read the official guidelines of the French (http://www.interieur.gouv.fr) and the British (https://www.gov.uk/foreign-travel-advice/france) governments.

It has since also been confirmed that a recent graduate of the London School of Economics has been killed in the attacks.

A march is expected to take place in Oxford from 5pm today “to show support for the victims of Paris, their families and their friends”, beginning outside the Radcliffe Camera. The Facebook event, entitled “Peaceful march for Paris” invites attendees to “bring candles, banners, and whatever you think is appropriate.”

A further march of support has been planned for 2pm tomorrow, also meeting outside the Radcliffe Camera.

A short service of prayer and reflection at Christ Church Cathedral has been organised for 8:30pm this evening, in light of the events in Paris.

If you are seeking advice or have been affected by the attacks, you can call the UK Foreign Office on 020 7008 0000. The equivalent French contact number is 0800 406005.