Saturday 5th July 2025
Blog Page 1273

Oxford students rally for Ferguson

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Oxford students joined international voices supporting protesters in Ferguson, Missouri today with a large demonstration in the city centre.

The fatal shooting of Michael Brown, an unarmed 18-year-old black man, by white police officer Darren Wilson has sparked outrage against racism and police brutality across the United States.

After this week’s grand jury decision not to indict Wilson, massive demonstrations have been held around the world in support of on-going protests in Ferguson, a suburb of St. Louis, Missouri. On Wednesday, hundreds gathered outside the American embassy in London to commemorate Michael Brown and protest police brutality against ethnic minorities in the US and UK.

Today’s Ferguson demonstration organised by Oxford students is one of the largest in the UK to date.

Approximately 250 students and locals marched down Cornmarket and Broad Street chanting slogans associated with the protest movement, including “Black lives matter” and “Hands up, don’t shoot!”. A small police escort looked on as the crowd moved through the city.

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The demonstration concluded outside the Radcliffe Camera with speeches, poems, a list of names of people of colour killed by police in the US and UK in recent years, and 4.5 minutes of silence representing the 4.5 hours Michael Brown’s body lay in the street after he was shot.

The protest was organised by American Oxford students Josh Aiken and Nicole Nfonoyim de Hara, who both addressed the crowd before and after the march.

Aiken, who is from St. Louis, spoke to Cherwell outside the Rad Cam in the aftermath of the demonstration. He was extremely happy with the significant turn-out, he said.

“I think it’s always amazing to see people come out to show solidarity,” Aiken commented. “I think it’s really easy, if something doesn’t feel like it directly impacts you, to say ‘Okay, I see that on the news, I know that it’s happening, but this isn’t related to me at all’.”

“From the very beginning, we tried to make this demonstration not just about what’s happening in Ferguson, Missouri, but the fact that it’s related to so many struggles around the world for communities that are marginalised. Wherever people are from, seeing so many people come out in the context of Oxford is unbelievable.”

“This is not the first place people I know in St. Louis and Ferguson would think of where people were showing solidarity with them,” Aiken continued.

“But there are people in the most elite academic institution in the world who see this injustice for what it is. For my friends and family to feel they’re not alone on this is, I think, all we can ask.”

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Though the majority of speakers were American students, several linked the message of the demonstration to police brutality in the UK, including the 2011 killing of Mark Duggan.

Brian Kwoba, a history student at Pembroke, addressed the crowd about the pervasiveness of racial oppression in the United States, as well as the importance of recognising the struggles of black women.

“I was really moved and pleasantly surprised by the tons and tons of people who came,” Kwoba told Cherwell. “It made me a feel a lot better coming back to Oxford having been in the US doing research.”

“Oxford is the intellectual seat of British power, not only here but in the world,” Kwoba said. “As such, we have a responsibility to raise our voices here, because we have the privilege to do it and we have so many monuments, like the Cecil Rhodes House, that continue to symbolise the violence of the British government.”

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The protest, which was peaceful and well-organised, was generally well-received by the Oxford community. Many students had condemned the Ferguson grand jury’s decision not to indict Darren Wilson earlier this week. Nada, a St Antony’s student, expressed surprise that so many people had shown up.

“It says a lot about students and breaks the stereotype of Oxford students being stuck in their own bubbles,” she said.

Others stressed the significance of the day’s demonstration to inspiring future action. “It’s amazing to have so many people standing in solidarity,” commented Miriam, another St Antony’s student.

“This case shows the complex ways racism persists at all levels in America. One protest isn’t going to change that, so we need to keep up the pressure, especially as this case is going to be going on for a while.”

Review: Ridley’s Choice

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★★★☆☆

Three Stars

When snowed under with Facebook notifications, texts, and emails filled with spam, advertisements and most horrifyingly looming piles of work, it can seem like the most appealing option would be to swear off modern technology for good. In his new play, Ridley’s Choice, James P. Mannion takes this idea and runs with it. Crushed after his newest play is lambasted by critics, our protagonist, George Ridley, escapes the modern world to live a simpler life in the woods. In our modern world of smartphone wielding youths, however, this simpler state of life cannot last for long.

At times overwhelmingly pretentious and frustratingly contemplative, George Varley proves himself to be a stellar choice for Ridley. The rapport between Ridley and Archie Thomson’s hypnotically sinister Clive is enjoyable, certainly sparking more interest than Ridley’s relationship, or lack thereof, with his estranged family. The struggle between these characters travels rapidly between the dark and the farcical, and both actors are well-suited to the comedic aspect of their roles. Their dialogue, however, intermittently becomes stilted and heavy-handed, warping into overly sarcastic speech riddled with unnecessary profanity. Ridley’s Choice is not exactly subtle. Despite this, Ridley and Clive never become unwatchable, with Varley and Thomson together lending the play an infectious energy.

Like Thomson and Varley, Ali Ackland-Snow shines in her performance as an almost Machiavellian newspaper editor, the harbinger of the encroaching influence of the media. Although quieter than the exchanges between Ridley and Clive, the interaction between Ackland-Snow’s Polly and the isolated Ridley are almost equally captivating. The intimacy of the half-thrust stage set up of the Burton Taylor works well for a play so focused on the intrusion of technology and the media; the audience is aware of the invasion upon Ridley’s life and private feelings, and yet remains intrusive, fascinated with a figure made increasingly public.

Despite the convincing performances of the whole cast, the play can at times feel laboured, too wrapped up in allegorising the evils of our media-driven age to focus on what this all means for human relationships, other than the rather extreme reaction of cutting off all contact and staring again alone in the woods. The media is an easy scapegoat, the newspaper editor an easy villain, particularly in the post-Leveson era. The accusatory finger at times points to the smartphone-wielding youth, or the ignoramus preferring his phone to the Nobel Peace Prize Awards Ceremony, but for the most part is directed squarely at the immoral journalists and editors, sacrificing humanity for the scoop. You almost expect Polly to rub her hands together and announce her plan to the audience like a pantomime villain, while the naïve Ridley gazes off into the distance, mentally embarking on his imaginary romance.

Overall, this was a pleasure to watch. The production as a whole is commendable, with a thought-provoking script. Subtlety may have been sacrificed, but the charged dialogue meant an enthralled and amused audience. Funny, fascinating, and well-written, seeing Ridley’s Choice is not a choice that any audience member would regret choosing. 

Interview: Andrew Strauss

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Time’s a great healer.” “I’m not in the business of falling out with people.” Andrew Strauss is, during his talk at the Oxford Union, very keen to explain that he’s willing to let bygones be bygones in regard to Kevin Pietersen. In a way this flies in the face of some of the things Strauss tells me during our short interview earlier in the evening. Then, he’s subtle but staunch in disagreeing with Pietersen’s rather brutal indictment of the England team’s “bullying culture”, although on that front it’s worth pointing out that Pietersen is hardly the first player to criticise the team spirit of an England cricket team over the last decade or so.

However, it seems reductive to focus on ‘KP’ during my chat with Strauss. During their international careers — which started at roughly the same time in the period before the 2005 Ashes — Pietersen’s flamboyant style often distracted from the solid, sometimes unspectacular, but more often than not top-drawer cricket and captaincy from Strauss, and I’d like to prevent that happening in print, too.

“There were times where players said and did things they’d regret.”

In the past three Ashes series to have taken place in Australia (in 2006-07, 2010-11, and 2013-14), England have won one series in impressive fashion and been whitewashed twice rather more ignominiously. It would be simplistic to give the fact that Andrew Strauss wasn’t captain as a reason for the two calamitous series, but to look closer at the manner in which Strauss’ successful side took the fight to an Australia side unused to being challenged on home turf is revealing. Strauss seemed to balance the egos and the strains of a long tour in a way that both Andrew Flintoff before him and Alastair Cook after him failed to do. Now of course, these successes seem distant.

A couple of years on from his retirement, the struggles of Cook, Pietersen et al make Strauss’ diplomacy and calm style a nostalgic memory. At the time though, the retirement felt abrupt to many. No doubt the Kevin Pietersen scandal of that series — yes, for those who have been paying attention this is a very different scandal to either the one which got Pietersen sacked as captain in favour of Strauss or the one which ended his England career after this year’s Ashes — played a role.

When I broach the subject of the timing of his exit though, Strauss avoids the elephant in the room. “I think most people felt I went a little bit too early. I mean everyone wants to go out exactly at the top and it’s very hard to manufacture that but what I didn’t want to do was go on beyond my sell-by date. I didn’t want people looking at me thinking, ‘Oh well he’s done a few good things for England but maybe he should retire now.’ So I always took the view that if I wasn’t enjoying it as much as I used to be and I wasn’t getting any better then that was probably the time to go.”

I ask about how he’s adjusted to life away from the crease. Has Strauss even been able to keep himself out of his pads? “I’ve played a fair amount of charity stuff since I retired but I had the philosophy that when I retired I’d be fine to play a game as long as there was absolutely no expectation of me doing well, because I’ve had enough of that over the years. As long as people realise it’s just for fun then that’s great. In some ways I do miss the game though: I miss the competitiveness and the batting side of things, but ultimately life moves on, I was ready to move on, and it was great to do different things.

”Obviously my main engagement at the mjnute is with Sky TV doing the commentary which I’ve really enjoyed. It’s a completely new challenge and not one that is easy to be honest. It takes a good while to get used to. Also, it’s obviously been great getting to know the likes of [Sir Ian] Botham and David Lloyd.” As though I might be unconvinced at his successful “moving on”, Strauss does then clarify that he’s been doing some non-cricket related things. “I’ve started a consultancy business called Mindflick which works on leadership and performance have really enjoyed having a lot more time to do things with both charity and family.”

As he mentions, Sky TV has given Strauss a home. Often those commentating on sport get a pretty bad name from those playing it — not least when you’re calling a certain Kevin Pietersen a “cunt” on air as Strauss did recently — so I wonder about how Strauss feels the dynamic between pundit and player works. As a player, he says the relationship is “pretty frosty”.He continues, “As Alastair Cook found out this summer, every decision you make as captain is analysed to the nth degree. You know people will have opinions about whether you did the right thing or the wrong thing. As a captain that can get pretty frustrating because you can’t keep everyone happy all of the time so needless to say you have times when you feel pretty frustrated with those who are criticizing you. But I think having stepped onto the other side of the fence you realize that often people are just finding a subject to talk about, it’s not really as serious as you think it is when you’re England captain.”

Strauss’ relationship with the coach who was elevated to the top job at the same time he took over that captaincy is frequently cited as one of the fundamental building blocks behind the run that led to England being crowned the world’s number one side. Strauss says, “I think it was [special]. I think we were both lucky that we started at the same time. We always had a very even relationship and we built something together. They were special times in my life working with Andy actually. It’s obviously never quite the same when you have a different leadership in place. Andy had obviously done a phenomenal job for six years, which is about the right time for a coach, so after the last Ashes was the right time for him to go.”

The suggestion of a “bullying culture” in Flower and Strauss’ England side was one of the hot topics to emerge from Pietersen’s recent book. Strauss feels this is misleading. “I’ve never seen a bullying culture. I don’t think that ever existed. There were times when, in the heat of the moment, players said and did things they’d regret, but then you’ve got to remember that it’s high pressure cricket and people are pushing themselves to the absolute limit. That’s going to happen in any walk of life, and when anyone did overstep the mark, they were quickly brought back into line, so I just don’t think that was the case.”

“When one of English cricket’s greatest players is struggling, it’s not really on.”

Changing the subject, I contend that cricket has a class problem. The make-up of the English cricket team has always had a public school feel about it. Strauss feels my point has a grassroots cause.

“It is a bit of an issue. I think 90% of state primary schools play no cricket whatsoever, so there’s a danger of cricket becoming increasingly more elitist. It’s difficult because is there time in the curriculum for sports in a lot of these state schools? Do they have the facilities? Often they don’t. But I would like to think that cricket is a national sport, and for it to be a national sport we need as many people playing as possible. There are some great initiatives out there, like Chance to Shine, and there’s a lot of work being done to get more sport played in schools. The clubs have a big role to play: I don’t want cricket to be thought of as a game for the privileged.

Another pressing issue in the cricket world is scheduling. Often international players can be playing for 300 days a year, and the stresses associating with touring have shown themselves dangerous on a number of recent occasions. On touring, Strauss recalls, “It’s incredibly difficult, and gets more difficult the longer you go, especially when you have kids. It’s has a gradual wearing effect on you, and if you’re out of form it’s particularly tough. I think all of us have been through times when we were struggling to hold it together, but for some people in particular it’s just been too much. The people in charge of scheduling have got to think about that.” He continues by making reference to the mental health struggles of two of the best English batsmen of recent times, “They’ve got to think about the right times to rest players because it’s horrible to see the Jonathan Trott situation or the Marcus Trescothick situation. I mean when one English cricket’s greatest players is really struggling, it’s not really on.”

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(Statistics from ESPNCricinfo.)

As we come to the end of our time, talk turns to the immediate future of English cricket, there’s a World Cup coming up and England are notoriously poor in One-Day International tournaments. I put it to Strauss that this might be their best chance in a while. He is cautious but positive. “I think the fact the World Cup’s in Australia is a big thing, that’s to England’s advantage. They’re not very confident at the minute, so they need to win a lot of games between now and the World Cup if they’re going to have a decent chance.”

On that note Strauss is chivvied towards his speech, and I’m left sure that English sport has another ex-pro who’d likely be more useful providing sage advice and criticism within the game than from a TV studio

Interview: The Oxford Imps

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The Oxford Imps have been performing hilarious and spontaneous comedy at the Wheatsheaf for over ten years, making frequent forays to the Edinburgh Fringe where they receive universally rave reviews. To maintain an improvised comedy troupe for such a long period of time, an occasional influx of new members is of course extremely important, and Cherwell were lucky enough to have the opportunity to meet this year’s nine new Imps, ahead of their debut performance at the Wheatsheaf at 7.20pm on Monday 1st December.

There are always a lot of current and former Oxford students in the Imps, and so it’s easy to make the mistake of assuming they’re affiliated to the University. They’re not – as I discover to my embarrassment when I ask my interviewees what year they’re in, only to be informed by new Imp Dawn Parsonage-Kent, that she’s in her thirties and has, like, a proper job. The others are from a mixture of years, subjects and backgrounds, with Chesca Forristal, a first year at Wadham and the youngest of the Imps, performing alongside post-grads Kevin Pinkoski, Adam Mastroianni and Lydia Allegranza France, who were all involved in improv at their previous universities in Canada, the USA, and, erm, Brighton.

Getting into the Imps is no mean feat. One hundred and ten people auditioned this year, with the auditions taking three hours and the recalls another three on top of that. Although undoubtedly intense, the audition process is also reportedly a lot of fun, and Harry Houseman tells me he unsuccessfully auditioned last year, but decided to give it another go this year purely because the experience was so enjoyable. It seems the journey into performing was a natural one for Harry, as he’s a long-time fan of watching comedy, having been to see his first show when he was nine, and going to over three hundred shows since. By contrast, Chesca has never done comedy before.

“My friends always tell me I’m not funny,” she laughs, but after she was inspired by seeing the current Imps perform at Wadham in Freshers’ Week decided to have a go herself. She credits her success as an Imp to “foot-in-mouth disease,” her suffering of which she believes to be illustrated by her audition, one part of which concluded with her slithering onstage in character as a sea cucumber, before declaring “Eat me if you dare.”

Whilst a tendency towards the surreal and the unexpected is certainly a key aspect of Imphood, the Imps also rehearse key skills to help them in their performances, such as punning and working with new pianists, Josh James and Sam Davies Una, to practice making comic musical masterpieces extempore. Although, Kevin tells me, rehearsals are key in getting to know the way the Imps work and in getting to know the other newbies better, it’s clear from what the Imps tell me about their process that there are no tricks – they really are that good.

When I ask what the Imps have been doing to prepare for their first show, Oliver Mills explains that the nine new Imps have been attending the weekly performances at the Wheatsheaf and staying behind for notes afterwards, so they can see the more experienced Imps in action. Other less obvious methods of preparation include rapping whilst cycling, belting out rock ballads, and, in the case of pianist Josh, only finding out the “Big Debut” was a thing at a previous interview, and then wondering whether to be concerned or not.

The Imps’ shows are a brilliant mixture of natural comedic talent and games that are carefully designed to showcase and focus this innate gift for humour. If my brief chat with the nine newbs is anything to go by, these Imps seem well-prepared to continue the legacy of the troupe’s shows as one of the funniest nights you could hope to have, not just in Oxford, but pretty much anywhere.

Interview: Judge Rinder

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“There’s a lovely phrase, and in Darlington, let me tell you, they think of nothing else: it’s called ‘Caveat Emptor’.”

With a quick quip, daytime television’s newest star disposes of another case. The star in question is Rob Rinder, who presents Judge Rinder on ITV. Twenty episodes were broadcast between August and September this year. After Rinder doubled the audience to 1.2 million viewers, he was quickly signed up for another series which will be broadcast in January.

The format of the TV judge deciding real cases has a long history in the USA, going back to Judge Wapner’s The People’s Court and now Judge Judy. While those cases featured retired judges in the title role, Rinder is young, irreverent and still in practice at the bar. The success of the show lies in his charismatic personality, and waspish tongue. He told a bride who was suing her wedding photographer for being drunk at her wedding, “If you’d been at the Last Supper, you’d have asked for ketchup.” “They get even funnier in the new series,” he promises.

The show has not escaped controversy. Comments about Rinder on the website Legal Cheek give an insight into the conflicting views on whether his show makes a mockery of the legal system. Whilst many are positive, others think that, “The show is a joke. It portrays a terrible picture of the English legal system and now many will base their impression on this drivel.” Scrolling through the comments, there is anxiety about the authenticity of the cases and whether justice is prey to the needs of entertainment.

I put some of these concerns to Rinder. Does he think the show damages the image of the law and of lawyers? “No, I definitely don’t. I have had some of that feedback and I understand why people are concerned but the bottom line in our show is that I wouldn’t have done it if there were any problems.” I also asked him if all the cases and claimants who appear on his show are real, after allegations were made against courtroom reality TV shows in the USA. Rinder stresses the stringency of external regulatory bodies for shows like his, “Everyone who comes on the show is absolutely real, the stories are real, and the people are real. About ten or twelve years ago there was a controversy about the authenticity of reality TV shows, particularly panel shows.”

Since then, “the regulatory framework has really tightened and it is a very serious breach of the regulations to contrive stories. The reason I feel I can do the show is because the policing and controlling of content is so stringent.” And the quality of the judgments? “I wouldn’t have done it if there was any suggestion that my decision would be interfered with in any way… integrity lies at the heart of the show, although obviously the entertainment value is important.”

Both parties agree to go on the show and be bound by his decision, with Rinder operating as a small claims court. Most of the cases are straightforward contractual or family disputes. I asked him about the selection criteria. “There has to be some ‘push back’, a legal dispute with a case on both sides, preferably a claim and a meaningful counter-claim. The subject matter also has to be authentic and sufficiently interesting, there’s undoubtedly a sense that it has to be interesting to watch, but there’s no hard and fast rule.”

He assures me that the claimants are not “cast” for entertainment value but admits that a lot of the show’s comedy comes from the ways in which the claimants conduct themselves. Rinder insists that he applies exactly the same principles of law as he would in any case, asking the same questions. “Is there a contract? Was there an intention to create legal relations? Was somebody lying? Who is to blame?” General opinion seems to agree with him. One QC who is a closet fan of the show said, “The legal analysis is very good. Anyone who suggests that the level of justice offered is somehow below that which the participants would have got, had they stayed in the small claims court, is wide of the mark. “As to whether the show trivializes the court process, or raises awareness of issues that affect us all, I’ll let you be the judge.”

I turn to how the show came about. Whilst working as a lead advocate on a major prosecution case, Rinder was working on scripts and television proposals in his spare time. He tried to sell one of his scripts and came into contact with Tom McLennan, the current producer of the show. He was looking to do a courtroom reality show and asked Rinder if he would be interested. The rest is history.

The allegation that the show trivialises law must be particularly annoying because Rinder is a very serious lawyer. He has appeared as a barrister in a number of high profile criminal cases, many of which had an international element. He describes his most fulfilling professional experiences as acting “as an advocate [for] people who are the poorest, or the ones that are the least able to communicate, or the ones with the most challenging issues. Standing between them and injustice is enormously fulfilling. That’s when cases really matter. You can really be a conduit to protect individual rights.” He also appeared in the trial of British servicemen accused of the manslaughter of Iraqi detainees. “It was enormously important, and challenged my preconceptions about the army, the challenging and difficult decisions that soldiers have to make every day.”

Rinder studied Politics and History at university, and humanities students stressing about getting a job after university may be interested in his views on whether those seeking a legal career are disadvantaged by not studying law. “Definitely not. I would say that the competition of the bar is so intense, the broader your education, the better. In terms of getting a pupillage at my chamber, which is one of the leading sets for international arbitration, we have between 350-750 applicants. In some years. we take two and occasion- ally only one … There is no preference given to a law degree or a conversion, it depends so much on other factors such as quality of degree or whether you have done a masters.”

Rinder is clearly passionate about the criminal bar, and about the challenges it faces from cuts in public funding. “People don’t really think about criminal justice until it affects them. Their instinct is to think, ‘Why should criminals have access to public funds?’ It has been significantly cut, which means that now there is a significant threat to the quality of defence counsel.” While he thinks that the state of affairs can continue in the short term, “in the long term it means that chambers like mine will increasingly start to turn away that kind of work. The result of that will be injustice, it’s as simple as that … It could lead to a horror scenario, which happens in certain states of America, where a public defender fresh out of law school has to fight a case against a seasoned prosecutor. How are they, despite their best endeavour and capacity, going to effectively defend their client?” Rinder also warns us not to be misled by politicians railing against “fat cat” lawyers. “For criminal lawyers, it is very challenging. To give you a sense of the decimation, the cases that I used to take when I was first qualified are now worth about a tenth of what they used to be.”

Rinder’s enthusiasm for the law inevitably prompts consideration of whether life will in due course imitate art. Does he hold secret ambitions to exchange the role of a TV judge for the real thing? “The jury’s still out.” A very judicious response. If that day ever comes, it will bring some much needed diversity and vitality to the bench. And some court hearings which really would be worth televising.

Interview: Ed Balls

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“Very little actually. Surprisingly little. Except that was a pub. And there was a library there.”

That was the gist of the Shadow Chancellor’s response to me asking how much of Oxford had changed since his days as a PPE undergraduate at Keble, as we walked along fairly swiftly from the station into the centre of town and as I hastily jot down his words whilst trying to sort out the voice recording function on my phone. He seems to my eye, although he may just be good at pretending, to be pleased to be back in Oxford.

I quickly learn that the interview will be done whilst walking up towards Keble, and that I will have to compete for Balls’ time with a reporter from the Oxford Mail. The Shadow Chancellor is a busy man. But at least my phone is working
now.

I decide I want to know about his background first and so start off by asking him about his roots as a politician. Was being an MP something he’d always wanted or something he stumbled into? The answer, it seems, is that he came into the world of politics as a result of intellectual curiosity.

He tells me, “I think I started studying economics when I was 16 at A-level and then here at university in Oxford. It was at a time when, under the Thatcher government, unemployment was high and rising and in which poverty was getting worse.”

He goes on to add, “At that time, although many of the big challenges we faced were economic challenges, the only solutions were going to be solutions that came through political correction.

“We’ve got to change our politics to make it more representative.”

“And so being involved in the economy [was a start], but being involved in politics was the obvious way to try and change our country and try and change our world for the better.”

That explains an interest in politics, I think – but why the Labour party? Before I can ask him though, he explains, “And as it happened my Dad was already in the Labour party.” He pauses then adds, “and chair of the local branch. So that’s why I joined.”So I ask if his interest in politics is a result of his surroundings as he was growing up? Yes, “it started as a product of my era, the late 1970s, early 1980s, which was a very tough time”.

Balls’ past, especially his time at Oxford, has long been an interest of the national media. The Daily Mail and other tabloids have run stories criticising him for the fact that he was a member of both the Oxford University Labour Club and the Oxford University Conservative Association whilst he was a student. How many other Oxford students past and present have committed this ‘crime’, I wonder.

Undoubtedly a talented economist, he went on to finish his Oxford degree in the late 1980s, taking a higher first than David Cameron, who was at the University at the same time – although the two did not know each other. He then went on to work as a teaching fellow in the Department of Economics at Harvard for a year, before returning to the UK to work for the Financial Times. Balls was a lead economic writer at the paper. A former acquaintance of Balls, who I was coincidentally put in touch with shortly after conducting this interview, explained that, “Ed Balls was very popular at the FT. He got on well with senior writers and editors and impressed everyone with his bright mind – and famously got popular song lyrics into FT editorials.”

“People will really focus on the election choice in the final months as we get closer to polling day.

In 1994, however, he was offered a job by Gordon Brown, then Shadow Chancellor of the Exchequer. John Rentoul, in an article published in 2011, claims that Balls was advised against taking up the job by Martin Wolf, an Associate Editor at the FT at the time (and one of the most respected economic journalists in the UK), who thought Balls had a career at the paper to look forward to. But, the Economics Editor of The Observer, William Keegan, told him it would be a wise career move.

In the end, Balls did take up the job and was, by many accounts, a crucial component of the Brown political machine in the years that followed. Then in 2005, he was elected with over a 50% majority to the seat of Normanton, which was subsequently abolished in 2010. Following this he won election in the newly created Morley and Outwood seat in the last election. With this career path in mind, which never really deviated much outside the narrow worlds of academia, economics, or politics, I ask him about diversity in parliament.

I explain that I’m a white man from London studying at Oxford with an interest in politics, and so perhaps not in a position to ask without it being – at least on some level – slightly ironic, but does he think politics needs to be more diverse? Especially given that we have a political climate at the moment in which millions feel disaffected and unhappy with their current crop of representatives.

“I think that we need to [make parliament more diverse] and we’ve got to change our politics to make sure that it is more representative”, he responds assertively. He continues, “We need more people from public sectors as well as the private sectors, we need more trade unionists as well as lawyers, we need more people like me who come from the provinces as well as London. That’s a given.” I agree with him, and appreciate that at least he’s not from London, but what he says is indisputable.

It gets interesting though when he adds, “We do need to make our politics more representative but I think our party’s very committed to that and we’ve shown we can make change. On gender, things have been transformed; so let’s transform some other areas as well. We’ve got much more to do on ethnicity and some other areas as well.”

Do his ideas stack up, I wonder? A bit of research seems to show he’s talking some sense (there’s certainly more to do). Before 1987 women never made up more than 5% of MPs. Now they make up 22%, which is dramatically better but still poor. And he’s right when it comes to party divides – Labour’s (who operate all-women shortlist’s in many seats) percentage of women MPs is by some margin the highest of all the three main political parties. Labour leads the way in terms of ethnic minority members too they have the highest number of ethnic minority MPs and are the only party to have Muslim women represent them on the benches. But given that ethnic minorities still only make up 4% of MPs (yet 14% of the general population), we can only hope that Balls, who is aiming to play a major part in a future Labour government, will lead the transformation he’s calling for.

Balls’ household-name status is brought sharply to my attention as we walk past a group of people who I presume to be students and one of them goes, “Shit, that was Ed Balls”. Later on I see a tweet reading, “Just saw @edballsmp giving an interview walking down Lamb and Flag passage, talking about the economy where many before have chundered.”

My guess is that much of this fame is a result of his leadership challenge in 2010. Balls had the support of the union Unite, but lost out to Ed Miliband. He would nevertheless have been recognised in political circles beforehand, having previously also served as Economic Secretary to the Treasury and Secretary of State for Children, Schools and Families, meaning he has experience in ministerial positions. His current position, and indeed the one he will surely inherit if Labour get into a position of power following the next election, is the most influential role he has occupied. Being a Labour Shadow Chancellor of the Exchequer must be an unforgiving job, especially given the narrative that ‘Labour broke the economy’ that the Tories fall back on when arguments run dry and that Labour has been unable to – in the eyes of the electorate anyway – prove wrong.

I think there’s a communication issue between Labour and the electorate, especially when you consider that polling suggests that Labour policy ideas are individually more popular than those of the Tories or the Lib Dems. I put this to Balls, and he responds with a comparison to the 1997 election, “I think that back in 1997 we didn’t actually come forward with our pledge-card or detailed policies until the final few months before the election and we’ve come out much earlier in this parliament, but you know there’s still a long way to go and people will really focus on the election choice in the final months as we get closer to polling day.”

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He hasn’t finished, “So we’ve definitely got a challenge to get our message out there and to communicate”, he says, “but I think we’ve got a good message and good policies at a time when everybody feels that they’re under pressure and some people say that, well maybe nothing can change, nobody can make a difference. Our biggest challenge is to persuade people that not only have we got the policies but we can deliver real change.” Part of that challenge will be overcome by campaigning he adds. He points out how it’s important in places like Oxford, but also for him personally. He is has the second slimmest majority in the Shadow Cabinet.

Between meeting him at the station, accompanying him to Keble and hearing him respond to questions at a talk, I’ve come to notice that Balls has answers. When there’s no pre-determined line, he pauses and articulates his views carefully.

Except I realise there was one question at the talk he couldn’t give an answer to: what was his take on Ed Balls Day? “It’s bizarre,” he says laughing. “I don’t understand it.”

Great Books, Good Looks

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Earlier this week, I got hit with a bill to replace library books I have lost this term. One item was for £87. Fortunately, I have just been lazy and left it gathering dust in the corner of my room for 6 weeks so instead of forking out nearly a ton, I just have to make the short walk to the library, hand it over, and face the consequences of my book-stealing antics with a steely-eyed resolve — I’d take the cold disapproval of a librarian over a substantial hit on my bank balance any day.

But it was a reminder of a problem that an enormous number of students face on a regular basis: academic books are extortionately expensive. On an unsupported student budget, it is virtually impossible to buy, rather than borrow, and in cases where necessity provokes a purchase, the prices of Blackwell’s and Waterstones are almost enough to make you question how much you value your degree.

Despair not, for The Oxford Book Club may be able to help. Set up this term, and quickly gaining recognition within the student body, the Club hosts fortnightly second-hand book sales above Java and Co. on New Inn Hall Street, and the books sold are tailored towards the needs of students. I chatted to founder Rich O’Grady in his book-strewn bedroom ahead of the Club’s final sale this Saturday to ask him about the origins of the Club.

“I had the idea for the Club over the summer”, he tells me, mug of black tea in hand, “after I went to a friend of mine’s second-hand bookshop and saw all the great books he had at such low prices. I realised how useful it would be for students to have such a resource, and then thought, ‘Where better to sell a load of books than Oxford?’”

“I hand select pretty much every book we sell and make sure they’re geared towards people’s courses.” He digs into a box full of books and pulls out Edmund Gosse’s Father And Son. “I know, for example, that next term, loads of Modernist English freshers will be reading Gosse because I’ve seen it on their reading list.”

He pulls out another: Germaine Greer’s Sex and Destiny. “I know that not only will a lot of people be interested in reading that for the sake of it, but anyone doing a gender course in history, or in classics, will want to read it as well.”

A key facet of the Club’s functionality is the online catalogue, maintained through O’Grady’s enthusiasm and dedication.

“I catalogue every single book and put them on an online document so people can people can see what books are available and can even reserve some. It’s the price and charm of a second-hand book store with the accessibility of a high-street chain shop. I try to make it really, really easy for people to get the books they need.”

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“People who come and find us really enjoy it. I had someone up to me in Bridge at 1:30 in the morning, ask me if I was the person behind the Oxford Book Club, and tell me how much he loved it, which was nice.”

But The Oxford Book Club is not just about providing cheap alternatives to the eye-popping prices of first-hand books, or the strict regulations of the library, it also has a burgeoning social scene. At the heart of these are the fortnightly sales above Java and Co., which O’Grady tries to imbue with a relaxed, sociable vibe.

“We completely transform the upstairs room of Java and Co. We just inundate it with books, hang posters and postcards on the wall, and put on a really chilled-out playlist. I want people come and have a coffee, have a chat, bring their friends, browse the books, and just have a good time really.”

“I’d like to push the social side of things a lot more. We had an event at Freud’s earlier in the term that couldn’t have gone any better. There might be another one of them next term, and I’m thinking about establishing some kind of book group as well.”

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The Club is also heavily involved with charity work. Half of the money from every sale is donated to The Gatehouse, a charity providing food, shelter and company for Oxford’s homeless.

“The Gatehouse is a fantastic charity to be involved with”, O’Grady enthuses, “and I really want to forge strong bonds with them. I think they have a fantastic attitude towards helping the homeless.”

“What we do benefits everyone involved, because students get good quality books a lot cheaper than they would elsewhere, they are simultaneously donating to charity, and they get to enjoy some great coffee and some great company. Everyone leaves with a smile on their face, even if they don’t buy a book.”

So, if you need a particular set text to read over the Christmas vac, or if you just feel like indulging your cultural appetite, The Oxford Book Club may well be the answer to your prayers.

Now, where’s that fucking library book gone?

John’s forced to change XXXmas-themed bop

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A JCR bop at St John’s which was originally given an ‘XXXmas’ theme has caused substantial controversy within the College.

The bop, held on Saturday 22 November 22, is reportedly an annual tradition at the College, with costumes usually “scantily-clad” but “festive themed”, as described by students. The theme was changed to ‘Xmas Bop’ just a few hours beforehand, after the College’s Junior Dean was forced to step in.

The controversy began when one student posted on the JCR Facebook page on Friday expressing dissatisfaction that the title unnecessarily endorsed an overtly sexual theme, which “would make some students feel uncomfortable”. Many of the student comments on the Facebook post expressed opposition to the said student’s suggestion of a name change. 

In response to the suggestion, the college’s Junior Dean sent out an email on Saturday evening — the day of the bop — to announce that the bop title was to be changed to ‘Xmas Bop’, in light of the existing bop theme making people feel uncomfortable.

In the hours leading up to the bop, many St John’s students expressed dissatisfaction with the decision by posting on the JCR’s Facebook page, with some students sharing photos of themselves in “scantily clad” costumes in protest.

Mike Jennings, a second year medic, told Cherwell, “While I wish bops to be as inclusive as possible, it is also desirable that they be fun. Bops are usually given names that are designed to capture the imagination of the students, be it ‘hilarious’ puns or something a little bit provocative that’s designed to make people laugh or just smile and think, ‘Well done Entz, that’s a funny theme.’ Otherwise you’re just boozing tragically in a slightly awkward sweaty room.”

Jennings expressed “disappointment” with the decision to change the bop theme, saying, “I like to think that students particularly might be able to see the funny side of a so-titled event and I think it is unfortunate that some individuals took offence.

“I have never seen a more scantily clad bop. It seems the students voted with their bodies, in favour of bops being a laugh – as I think they should be.”

He addded, “It was a very funny night.”

A JCR meeting was called after the bop, which first year PPEist Zoe Carmichael described as “literally jam packed with people”.

Discussions in the meeting ranged from the hard-core pornographic implications of ‘XXX’ to the possibility of a committee to approve bop themes. Several St John’s students declined to comment on the issue, while the college could not be reached.

St John’s is not the only college JCR to have caused offence with its choice of bop themes. For many years, Jesus’ JCR held a ‘Slag and Drag’ themed Christmas event, which involved a similar style of costumes to the St John’s bop. Despite the name being dropped from the official term card last year, the bop was still colloquially known as ‘Slag and Drag’ throughout the college.

Jesus JCR Social Secretary Catriona Thomson insisted, “At our last JCR meeting, a discussion was facilitated over concerns that the colloquial name of the event is both degrading and puts pressure on people to dress-up in a certain way.

“The outcome of the discussion was to make it clear that the JCR has identified the problems with the previous theme, and to make it clear that although people are welcome to wear whatever they choose to the bar party, they are in no way obligated to dress in ‘slag and drag’.”

As Social Secretary, Thomson vowed to working with the rest of the JCR committee to create an officially themed event with a completely different Christmas theme. 

Interview: Louise Chantal

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Oxford University drama owes a lot to Louise Chantal. As a student at Lincoln in the late ‘80s, she helped create the Professorship of Contemporary Theatre at St Catz, and was influential in the conversion of the Burton Rooms, a rehearsal space on Gloucester Street, into the BT Studio of today. Having been president of OUDS, she became its first Drama Officer in 1990 and established the annual tour to Japan, before leaving to forge a career in professional theatre.

In September, Chantal was appointed Chief Executive of the Oxford Playhouse. I meet her in the theatre’s circle bar to ask about her triumphant return. She has a smile on her face as I ask her how it feels to be back in Oxford, over two decades after she graduated.

“It’s fantastic to be involved with Oxford’s cultural scene again,” she tells me. “I’ve always joked that Oxford would be a lovely place to return to, as long as everyone I knew had either died or left. Funnily enough, that’s almost exactly how it’s turned out.”

In 1987, financial difficulties forced the Playhouse’s doors to close. It was eventually reopened in 1991, but only after Chantal had flown the nest. I ask how this impacted on her experience of drama at Oxford.

“We were very aware that we didn’t have a big space to use for shows. We did a wonderful production of Thunderbirds at the Catholic Chapel on St Aldate’s because we had to do those big productions somewhere else.”

“Of course, that means I understand how important the Playhouse is from a student point of view, because it provides that opportunity to work in a large, professional space.”

The playhouse offers the main stage up to two student productions a term. This term it was the highly-acclaimed The Pillowman and Oxford University Classical Drama Society’s The Furies. In Hilary, it will be Sondheim’s West Side Story and Michael Frayn’s Noises Off. Enthusiastic about these productions though Chantal undeniably is, it is the prospect of staging a piece of new student writing on the main stage that especially excites her.

“People see the playhouse as this daunting 600-seat theatre, and they feel obligated to play it safe. I would love to open up the main stage to a new, original student production; we just don’t get any applications. Of course, you would have to convince the panel that it would sell tickets, and would bring in an audience that wasn’t just students, but if you did that…”

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Finding ways to draw in new audiences is an integral part of Chantal’s role as Chief Executive — it is evidently a chief concern with student productions — but she is unwilling to compromise the Playhouse’s niche in Oxford’s cultural scene to do so.

“We do, for want of a better phrase, ‘serious theatre’,” she tells me. “It’s a slight misnomer, this ‘theatre for everyone’ label, because it doesn’t mean every show is for everyone, and nor does it mean we produce end-of-the-pier, lowest-common-denominator stuff. But it behoves us, financially and culturally, to get more people through the door.”

“So we are concerned with bringing as many people in as possible, but at the same time, I’m really not interested in competing with other theatres in putting on musicals with people off the telly.”

I ask Chantal about her plans for the future. The coming season is the last assembled by her predecessors, so audiences will have to wait until the summer to appreciate Chantal’s vision.

“The programming team here are so brilliant and diligent that pretty much the whole of 2015 is already sorted. I want to do more of our own shows, but I won’t be able to until 2016, and that’s driving me mad. I want to do more international work as well; we’re getting involved with a lot of international co-productions.”

“Theatre was my life when I was an undergrad. It’s lovely to get involved again.”