Thursday 26th June 2025
Blog Page 1353

Sainsbury’s in Cowley removes ‘slave mannequin’

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An Oxford branch of Sainsbury’s has caused controversy on Twitter after advertising what appeared to be ‘slave fashion’ in connection with the DVD release of Oscar-winning film 12 Years a Slave.

Twitter user and Eurosport web editor Reda Maher (@Reda_Eurosport) said: “There’s so much wrong with this I don’t know where to start. What were Sainsbury’s thinking!?”

Placed at the front of the store, the advertisement featured a stand of 12 Years a Slave DVDs and a mannequin wearing clothes identical to those worn in the film by Solomon Northup, the protagonist. The outfit even comes with a twig in the pocket.

The mannequin wore a tag round its neck with a price tag on it, though it did not appear as if the clothes themselves were actually for sale.

Somerville student Andrew McLean commented: “the clothing of a slave on a mannequin suggests an image to be bought and emulated as fashion.

“But on the other hand it will just have been a handy human-shaped thing to put the clothes on. Clearly unintentional, but it accidentally sidesteps much of the issue at hand and makes it commercial”.

Meanwhile, Worcester student Oliver Davies remarked that the move was “probably not malicious, but hugely inappopriate and doesn’t really show an understanding of what the film’s about”.

Steve McQueen’s 2013 film about slavery tells the true story of Solomon Northup, a New York State-born free African American man who was kidnapped in Washington, D.C. in 1841 and sold into slavery. He worked as a slave for twelve years before he was eventually released.

The film serves as an uncomfortable reminder of slavery to the Western world, and its success has brought slavery in its current form into the public eye and even into Westminster, where the government is currently drafting a Modern Slavery bill.

Management at the Heyford Hill store declined to comment when asked, as did several staff members.

Sainsbury’s released this statement: “We can only apologise.  It’s been taken down from the Heyford Hill store and clearly should never have gone up in the first place”, but refused to answer further questions.

T20 Varsity Cricket: the summer’s biggest sport in Oxford

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Oxford University Cricket Club’s Varsity campaign gets underway on Friday May 23 at The Parks as the Dark Blues take on Cambridge in the Twenty20 fixture, the first of three encounters during the 2014 season. Oxford will be hoping to build on a strong 2013 season, which included dominant wins in the one-day and four-day fixtures. Oxford hold the Twenty20 trophy having won in 2012, the last time the match was held at the Parks, with last year’s Twenty20 fixture abandoned due to rain after Cambridge set an imposing 153 from 15 overs.

The Oxford team’s early season has placed an emphasis on the shortest format of the game, with the team’s pre-season trip to Edinburgh including fixtures against Fettes College and a strong East of Scotland Highlanders side. A comfortable win against Fettes was backed up by a determined performance against a Highlanders side boasting international talent, with the Blues ultimately falling short of the target of 157. Last Friday also saw the Parks play host to The Army and the Harlequins, a team comprising former Oxford Blues, as skipper Gus Kennedy sought to finalise his final squad for the Varsity Twenty20 match. Against The Army, Ferraby and Jones combined well in a 72 run partnership with the bat, while New Zealander Haines (2-12) starred with the ball, ensuring a 30 run victory for the Blues. Faced with a myriad of familiar faces against the Harlequins, Oxford once again performed strongly. Batting first, Kennedy and Chadwick recovered the Blues innings following the loss of early wickets, before strong hitting and innovative batting by the duo ensured Oxford set a challenging score for the Harlequins to chase. Despite a strong start by the Harlequins, miserly middle overs bowling by the Blues stalled the Harlequins chase, with Oxford eventually recording a comfortable victory. Wins against both teams should provide ideal preparation for the clash against Cambridge on Friday.

Pace duo Abidine Sakande and Jonny Marsden offer perhaps the most exciting prospect for the Blues come Friday. First year Sakande, who represented England Under-19s last June against Bangladesh and is affiliated with Sussex C.C.C, has impressed in his initial period at Oxford, bowling quickly with sharp bounce for the Oxford MCCU, as well as in his limited appearances for the Blues this season. Derbyshire’s Marsden will be looking to back up last season’s efforts with ball, having missed the rain affected Twenty20 last year. The pair will offer a tough challenge for the Cambridge top order. They will no doubt be well supported by the talented Sam Cato, with his useful off-spin bowling and the energy he offers in the field important for the Blues.

With the bat, skipper Gus Kennedy has started the season well with runs in the early season and will be looking to take this form into the T20 fixture. Having played varsity cricket for both the Cambridge and Oxford Blues, notably scoring a match wining 43 in the Lords one day fixture for Oxford last season, Kennedy will be a pivotal part of the Dark Blues top six. Alongside Kennedy, fourth year St. John’s engineer, Ben Jeffery’s aggressive batting and clean striking is well suited to the T20 format. LMH batsman Matt Winter will also slot into the middle order. Winter has scored well in his first year involved in the MCCU programme, and contributed with 51 in last year’s four-day win. He will no doubt be an important player in all three formats this summer. Nicholas Ferraby is a new addition to the squad, however brings with him years of cricketing experience having represented Leicestershire in domestic one-day cricket and having played for many years in the Home Counties Premier League. The talented all-rounder will hope to start his Varsity career well, with contributions with the bat, and through his wily ability with the ball. Such talent makes Oxford well placed to retain the Twenty20 trophy.

The Twenty20 fixture is sure to be fast paced, and is perhaps the most popular form of Varsity cricket for avid fans and casual viewers alike, with the match likely to attract a large crowd. Pinks balls, coloured clothing, music and other entertainment are all likely to add to the atmosphere and enjoyment of the occasion. Local food outlets Mission Burrito and George and Delilah’s ice cream will both be offering their products throughout the day. Ales and lagers will also be provided by north Oxford pub the Rose & Crown, Vincent’s club Oxford will be serving Pimm’s and their notorious Pinkies, whilst Mission Burrito will be serving frozen margaritas.

The men’s match begins at 3.30pm and is preceded by the women’s team, hoping to win their fourth successive Twenty20 Varsity, beginning at 12.00pm.

Entrance to the Parks for both matches is free of charge.

Interview: Malcolm Rifkind

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Last summer, Edward Snowden revealed that the scale of GCHQ (Government Communications Headquarters) surveillance was beyond what anyone had previously imagined. His leaked documents demonstrate that the UK’s Tempora programme had the most comprehensive access to internet communications and metadata of any Five Eyes country (an intelligence alliance comprised of the US, the UK, Australia, Canada and New Zealand), as well as handling around 600m ‘telephone events’ a day by 2012. The widespread outrage at the biggest intelligence leak in a generation pressured an embarrassed government into scrutinizing the largely unchecked, extensive powers of the intelligence agencies. 

A defensive William Hague asserted in the wake of the allegations that ‘legal framework is strong, ministerial oversight is strong. GCHQ staff conduct themselves with the highest levels of integrity and legal compliance’. Sir Malcolm Rifkind, Conservative MP for Kensington, is in charge of the governmental processes of oversight, as chair of the government’s Intelligence and Security Committee. The Committee has been criticized by some for its public vindication of GCHQ’s methods: a more comprehensive review is ongoing, but a preliminary report stated confidently that “GCHQ has not circumvented or attempted to circumvent UK law”.

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Sir Malcolm describes the current focus of the ISC (Intelligence and Security Committee); “what we call our privacy and security review, looking at the whole balance you should have in a free society between privacy of the citizen… and how you balance that with what we also want: to avoid being blown up by terrorists. Most people realize you have to have a slight balance. It’s rather like having CCTV cameras in the high street. Its an intrusion, but its one we can live with.”

The ‘war on terror’ , an umbrella term which has definitively shaped the course of 21st century international relations, has been similarly fundamental in expanding the remit of intelligence agencies. He goes on to argue for the legitimacy of GCHQ on the grounds that, “most terrorists are not foreigners, but people born and bred here. So we’re trying to get the needles from the haystack. And that’s not easy, it’s a big challenge.”

I would agree with Rifkind that “people want to feel they’re protected from terrorist and criminal activity”; however, the continued confidence in GCHQ relies upon key public figures such as Rifkind creating a culture of fear centred around terrorism, or, in the words of a former member of the Bush administration, “sustained hysteria”. As a result of this, “[the public] understand that the intelligence agencies have to have tools to do the job.”

The Intelligence and Security Committee is an important means of salvaging the credibility of GCHQ by reassuring the public that the intelligence agencies are subject to oversight and regulation, and are accountable in the case of illegal practises: “The committee I’m part of can go to M16, M15, GCHQ, look at their files. If they act outside of an Act of Parliament, they would be committing a crime.”

The claim for effective and impartial oversight sits uneasily with George Howarth’s (Labour MP and member of the ISC) admission in parliament that GCHQ’s usage of the US Prism programme was only seriously investigated after it was exposed in The Guardian. Given that in a speech given later at Wadham, Rifkind asserts that he is “strongly of the view that more public debate about intelligence and the role of our Intelligence Agencies is vital in Britain”, I ask him whether he thinks that there would have been any such debate without Snowden’s revelations, and, further, (if Snowden did not hold GCHQ and NSA to the scrutiny that the ISC did not). His answer categorically condemns Snowden: “In a modern democracy, you want to share everything with the public that can be properly shared. When you’re dealing with intelligence agencies there’s obviously a big area that can’t be shared. You cannot give information to the British public without it being available to the terrorists. He downloaded over 1 million top secret documents. He couldn’t possibly have read more than a tiny number of them; because of his background he could only have understood some of them, but he handed them all over to the press. Now that’s not whistleblowing, that is a political act. He was in a position of trust and I believe that was a very foolish, stupid and idiotic thing to do.”

When I try again to press him on whether he thinks there was any value in raising consciousness about the extent of surveillance, it is clear that he believes it would have been better if the general public remained ignorant: “We must accept that in our modern democracy, intelligence agencies must sometimes have the right to read people’s emails or listen to people’s telephone calls. The intelligence agencies were doing things that people didn’t know about, but I would have been very worried if that hadn’t been the case.” 

The ISC’s capacity for oversight does however rely upon the strength of current legislation; surveillance activity may comply with the law, but acts such as the Regulation of Investigatory Powers Act and the Justice and Security Act have been widely criticized.The right to read people’s emails or record telephone calls falls under the legal category of interception: as Sir Malcolm rightly points out to me, a warrant for listening to telephone calls must be approved by a secretary of state. However, the collection of metadata or communications data (i.e recording the time, length of transmission and location, but not the content, of communications) can be authorized by a number of authorities, including HMRC, the FSA, and local police forces, which Rifkind claims does require “proper authority, just not from the secretary of state. Collection of such data is entirely necessary; without it, you could not deal with modern criminals.” 

Rifkind also asserts that “collection of communications data is limited”. A recent report by Justice, a human rights organization, found that, in total, there have been close to three million decisions taken by public bodies under RIPA (Regulation of Investigatory Powers Act) in the last decade. Of the decisions we do know about, fewer than 5,000 (about 0.16 per cent) were approved by a judge. Similarly, in the last decade, the main complaints body under RIPA, the Investigatory Powers Tribunal, has upheld just 10 out of 1,100 complaints.

Nobody would deny that surveillance is a necessary activity for law enforcement and national security. But it is dangerous to normalize intrusive intelligence gathering on such an immense scale. Questions of privacy and individual freedoms raised by Sir Malcolm’s off-hand remark “I’m a private citizen. I don’t want my emails being intercepted unless there’s a damn good reason for it,” are immediately overwritten; “Ultimately, I don’t mind if it helps catch terrorists.”

Preview: She Stoops To Conquer

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There are few things more quintessentially “Oxford” than watching a group of students perform a garden play on one of Christ Church’s sumptuous lawns. So if you’re in search of this kind of evening’s entertainment – and it’s worth having at least once during your time at Oxford – I highly recommend this year’s Christ Church Cathedral Garden Comedy: Oliver Goldsmith’s She Stoops To Conquer.

She Stoops To Conquer has all the makings of a classic restoration comedy: deception, class politics, mistaken identity and jewel theft, all neatly ending with multiples marriages. Young man-about-town Marlow (Markian Mysko von Schultze is tricked into thinking that the home of his potential betrothed, Kate Hardcastle (Morag Davies) is actually an innkeepers. Meanwhile Mrs Hardcastle (Zoë Hare) wants Tony (Jamie Heredge) to marry Constance (Fatime Al-Kassab) who wants to marry Hastings (Tom Waterhouse).

The cast seem very strong. Hare is very comical as the meddling Mrs Hardcastle. Von Schultze, too, acts with humorous derision towards Mr Hardcastle (Titus Crook), when he believes him to be a lowly innkeeper. Testament to Crook’s acting skill is the fact that during the rehearsal when he forgot the occasional line and had to consult his script, he did so in character.

Director, Lily Slater, has made the decision to update Goldsmith’s Georgian drama to the 1930s, in order to make the play more accessible, without ridding it of its “fabulous costumes”. And indeed, the costumes are wonderful. Excited by arrival of their costumes earlier that day, the male members of the cast donned their velvet jackets, coordinated cravats and paisley waistcoats for their rehearsal.

The costumes are integral to the plot of the play. Marlow and Hastings, as London dandies, take a great deal of pride in their flamboyant attire, with good reason. On the other hand, Mrs Hardcastle, though she endlessly gushes about her love of metropolitan fashion, herself is decked out in a garish and unfashionable frock. Kate’s plain dress becomes the source of a great deal of misunderstanding when Marlow mistakes her for a barmaid.

All of the colours of the costumes, along with the peach-coloured fabric hanging at the back of the set are supposed to bring out the hues of Christ Church gardens, and in particular the large crimson tree, which overshadows the stage. And to complete the Oxford-garden-play experience, during the interval Christ Church bar will be serving drinks– Pimm’s and bellinis – which replicate those in the bar scene of the play.

 

 

Houmous Girl – 4th week Trinity

Her eyes were like twin pools of infinity. The buttons on her quirky dungarees were burnished by the cool light of a freezer crammed to the brim with fi shfi ngers. The own-brand Weetabix she held in her delicate, slender fi ngers gleamed with a transcendental lustre. Rower Lad’s honest heart swelled with love.

“H-hi! How are you?” he asked hesitantly. The rapier-sharp wit he exhibited when playing FIFA 14 after a few turbo shandies with the boys was nowhere to be found. Only the other day he had called someone a cockmuncher after they’d beat him on penalties! Yet another example of his classic banter.

That was the sort of doltishly homophobic humour you just couldn’t teach. You either had it or you didn’t, and normally Rower Lad had it in buckets. But now, confronted with this vision in kooky floral-print tights, all his charm had deserted him.

“Not bad,” replied Houmous Girl, slightly too enthusiastically.

Her chirpy demeanour belied the sudden flutter of kooky floralprint butterflies in her belly. Seen anew, and shorn of the putrescent odour of WKD which had accompanied their brief and saliva-filled tryst, she had to admit he was a pretty handsome bloke. She mentally compared Rower Lad’s oaken biceps to the limp Pepperami which drooped from the baggy sleeves of Obnoxiously Opinionated Guy’s t-shirt. In this contest of course there was only ever going to be one winner.

“You’re Rower Lad, right?” she asked. “Me? Yes! How are you?” he replied.

“I think you already asked that,” pointed out Houmous Girl. They both considered this suggestion for a while. It seemed pretty hard to ignore. Rower Lad gazed at her forlornly.

It was like seeing a sad little puppy gazing wistfully out through the dark eyes of a 16-stone, bevvy legend. Houmous Girl knew she was going to have to take the initiative. Thankfully, three years of intense study of gender theory had taught her that it was probably basically fine for a girl to ask a guy if he fancied a drink.

Rower Lad turned to leave, his heart dropping through the ketchup-stained linoleum. 

“Why don’t you ask me on a date?” Houmous Girl asked with a smile.

Interview: Chang-rae Lee

“I went to a high school where everyone stood up as the teacher entered the room and sat only when told to. If you were late, you were locked out of the classroom. It was very formal to say the least. So when Chang-rae Lee, prize-winning author, Yale graduate, and Professor of Creative Writing at Princeton, actually replied to an e-mail I had sent him without any form of address and beginning with ‘BTW’ I was actually quite taken aback.”

This youthfulness is unexpected but refreshing in a 49-year-old Ivy League professor. Perhaps it is why his latest novel, On Such a Full Sea, has drawn so many comparisons to The Hunger Games. Even Aloft, centred upon a middle-aged man, has a youthful optimism.

Lee seems to have always enjoyed a cheerful disposition; as a child fascinated by fighter pilots he “always imagined (him)self as an ace”, soundly ignoring the impossibility of his dream considering his poor eyesight and motion sickness.

Lee was born in 1965 in South Korea, before emigrating to America at the age of three. He went on to attend the prestigious Phillips Exeter Academy and Yale University, worked on Wall Street for a year, and then studied for an MFA at the University of Oregon. His five novels have seen him win the PEN/Hemingway Award, and be shortlisted for a Pulitzer Prize and a Dayton Literary Peace Prize.

A recurring theme in all of his works is that of isolation stemming from race, age, gender, or wealth. In his most well-known novel, Native Speaker, the non-native English-speaking protagonist speaks English just too precisely to be a convincing ‘native’. This attention to fine detail is certainly a trademark of Lee’s, a self-professed “obsessive person” who writes and rewrites his sentences “a dozen times or more”.

His words are carefully considered and beautifully constructed – he is obviously a lover of language and this is evident in the sheer range of his literary influences which include, among others, the works of Zola, Homer, Shakespeare, Dostoyevsky, Hemingway, and D.H. Lawrence.

There is no Surrealist stream-of-consciousness for Lee. For him, writing is a craft which “without a certain furious attention to the sentence at hand”, he becomes lost. He disdains chemical enhancement in writing, saying, “Writers have to be observers extraordinaire, but also must have ability to quarrel with what’s at hand, as well as to question the very self who observes.”

The fact that the self is so important to him also curiously seems to be linked to his love of golf. Golf is in many ways the ultimate sport for the career observer, as the player has no control over anything after they have hit the ball.

According to Lee, when one is playing golf “an infinity prevails, which of course can lead to greatness and beauty but more often invites tragedy.”

Although that might be seen by some as rather pretentious, Lee is also self-aware and understands how he is perceived but also how that itself is out of his control. He comments that due to On Such a Full Sea, his latest novel, “maybe in the end (he)’ll be seen as a Marxist writer”. This might sound incongruous coming from a Yale-educated Princeton Professor, but by highlighting this absurdity Lee has definitely shown that he understands his own privelege. 

Ursula Le Guin (author of The Left Hand of Darkness) wrote a scathing review of On Such a Full Sea in The Guardian. her criticism largely based on the fact that the novel treats its themes superficially; she argues that, “Lee uses essential elements of a serious genre irresponsibly, superficially. As a result, his imagined world carries little weight of reality.”

But Lee does not seem like a superficial person. His novels touch on such serious issues as suicide, racism, class, gender inequality, and sex; he is not an author to be taken lightly. His response to Le Guin does not mention her by name, but he does pointedly say “It’s always fascinating to me what a given reader will bring to a novel, this particular set of implements, baggage, lenses. It’s also sometimes startling that certain readers’ sets aren’t wider.”

Despite Chang-rae Lee’s body of work primarily being based in the form of novels, my personal favourite is his short story Sea Urchin, in which the teenage narrator finds himself in a Seoul restaurant and tastes sea urchin for the first time.It makes him sick, but he returns the next day for more. This story links food and sex in a clever, subtle way, and I suppose these are two words that apply very strongly to Lee; very clever and very subtle.

Creaming Spires – 4th week Trinity

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The Hipster: how did it even happen? He’s more likely to go to his lectures than the Parkend cheese floor, and now that Babylove has closed down you have no idea where on earth he goes in the evenings. You’ve never seen him in daylight, and you only went to the Bullingdon once for No Scrubs, and you didn’t like it because you don’t suit scrunchies, dungarees, or MD.

How do you meet him? You dream that one night he’ll mysteriously turn up at your college bop with several other people that you don’t recognise and be instantly attracted to your quirky-yet-ironic costume and you’ll fall deeply in love – you’ll be his muse, he’ll be your artiste, you’ll have fantastic sex, buy matching black turtlenecks and cigarettes (roll-ups, of course), discuss intersectionality and feminism and live happily ever after in Cowley.

In reality, he’ll happen to stumble across you hurling the contents of your stomach into the men’s toilet, and take pity on you and walk you home, then you’ll run up to him every time you see him in a club in the hopes that one day it’ll happen. Note to self: slut-dropping every time he is in the vicinity doesn’t really work on him as a pulling technique. And it definitely gets you some weird looks in Cellar.

If you do manage to go home with him, be careful. The last one I went home with had difficulties staying suitably up to the challenge, possibly due to the large quantity of drugs that I found in his desk drawer, and when it finally happened, it only happened for five minutes before he became so afraid of his headboard banging against the wall waking up his housemate that we had to stop.

There’s something endearing about a man who quotes French poetry in public, but is an awkward, shy mess in private. He may give you black coffee in the morning and he may have a collection of vinyl in his room (but often, oddly, no record player) and a poster from On The Road on his wall, but unless you know him really, really well it’s fairly rare to get him to laugh at anything. Least of all himself.

Preview: Timon of Athens

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When the audience make their way to Timon of Athens they will tread through the cloisters of Magdelen and up a stone staircase to the medieval banqueting hall. Met by a lavish champagne reception, they will be immersed in the world of the play in the company of cast members, who will burst into brief snippets of action as the ban- quet treads the boundary between reality and the theatrical. When the curtain comes up, the audience will take their seats not only for the play at which they are spectators, but for the banquet at which they are esteemed guests.

The play follows Timon, a noble lord of Ath- ens, through his descent from opulent wealth and social renown to the crisis of exile in an existential wilderness. It defies genre; Shakespeare, still in tragedy-mode after penning King Lear and Coriolanus, collaborated with the satirist Thomas Middleton, who wrote large sections of the play. The character of Timon, in particular, defies the tragic genre, so immune is he to the audience’s sympathy. Ambiguity is at the heart of the play, and the director of Magdelen’s production, Gabriel Rolfe, at- tempts to veer away from the approach of many contemporary adaptations, which have heavily contextualised the play in an attempt to demystify it. Rolfe acknowledges that “the beguiling absence of human, and particularly familial, relationships fits perfectly with a Wall Street setting, for example”, but his vision is never to rationalise the play, rather to preserve and amplify its obscurities. He wants the audi- ence to feel uncomfortable.

Since the play is situated in a kind of ‘nether- land’, while the banqueting hall will be luxuri- ous, the costume remains non-descript, as any specific period dress would betray the vision of a timeless setting. The experience of the play aims to be dream-like, and the lighting will be crucial in creating the disorienting feel of the second half, when it is ambiguous whether the audience is experiencing events objectively, or from within the mind of the protagonist. A dissonant, atonal arrangement of Purcell’s Timon Opera punctuates the play at intervals, as the drunken pianist totters over to the piano to hammer out what Rolfe describes as a “poisoned” version of Purcell’s original music.

“It’s the quintessential Oxford experience: black tie, Medieval hall, Shakespeare”, says producer, Frank Lawton, after discussing the decision to include two gala performances in the run of four shows, at which formal dress and banquet food will add to the luxurious at- mosphere. Rolfe hopes the audience’s elegant attire at these performances will help them immerse themselves even more authentically in the play.

The event is sure to hold all of the celebration and tradition that one would expect from a Magdalen garden show, but the performance of Timon of Athens, stripped back to its obscuri- ties and absurdities and reduced to an hour and a half of intense theatre, will bring the audience into the disorienting world of magic realism. Rolfe’s final comment resonates over the panelled walls and stone floors of the hall: “It’s Shakespeare doing Beckett before Beckett”.