Wednesday, May 14, 2025
Blog Page 1435

Helen Clark: Politics and Development

0

I never quite realised the irrelevance of my home country in world affairs until I told at least a dozen people how excited I was that Helen Clark was speaking at Merton College, and precisely none of them knew who she was. The closest anyone got was someone who asked if she was an Australian politician campaigning for gay rights, which considering she passed a Civil Union bill allowing legal recognition of same sex partnerships in 2004 isn’t that far off the mark. Apparently being Prime Minister of the international powerhouse of New Zealand for 9 years, however admirable, doesn’t quite make you a 21st Century Napoleon, Lenin or Churchill. She now heads the United Nations Development Program, making her the third most powerful person at the United Nations.

A strange misconception I find overseas is that New Zealand is a peaceful and harmonious society that is not plagued by many of the social ills suffered by other countries what many don’t know is that behind the veneer, New Zealand society has as many dark and ugly issues as any other nation, except that unlike in Britain, discussing major social or political issues is often seen as taboo. Most distressingly, this includes has one of the worst rates of domestic violence and child abuse in the developed world. As the first woman Prime Minister of New Zealand, Helen Clark has been critical in making women’s and children’s rights and welfare one of the most important aims of the UNDP, and she talked about her work in New Zealand when as PM, she led a campaign aiming at raising awareness of these issues in New Zealand society and leading a major culture change. In this she noticed that “a key way to change awareness was to involve men who had been previous perpetrators to stand up and admit they were wrong in an attempt to break the silence around domestic violence and stop the vicious cycle where abuse is passed from generation to generation.”

The keys with the developing world are causing a profound culture change in societies that often have deeply ingrained prejudices against the limitations of women; she notes that, rather than looked down on, “the power of women is often suppressed because it is feared as a key motor for social change” that risks upsetting traditional hierarchies of power.
Dispossessed youth, she notes, are one of the most dangerous elements in any society; whether it is Maori or Pacifica youth in New Zealand who feel profoundly alienated by a system they believe works against them who turn to gang violence or unemployed youth in Mali or Nigeria who turn to political extremism. “It is extremely important to involve community leaders at all levels, and make the political process of a country able to incorporate those who previously felt excluded.”

One of the most important and pressing countries in international affairs has been the international communities efforts to defeat the Taliban in Afghanistan, and I put the question to her of what the international community has done right, and what it has done wrong.

To this question she replies that the problem with Afghanistan is that, from the British Empire to the Soviet Invasion to the American occupation, it has constantly had foreign solutions to its unique problems imposed upon it at gunpoint. “What Afghanistan needs is solutions created by the Afghan people to its own challenges; we’ve seen those foreign solutions fail over and over again.” One of the major problems for international development she notes is the fragility of democratic institutions after a history of political and social instability. “Every country wants to have a Gorbachev enter, fundamentally change the system and then depart peacefully but very few actually get one; even the most well intentioned reformers end up having to be pried out of office with a very large crowbar.”

I finished by asking her what she felt was her proudest achievement, which turned out to be the important if colourless fact that “for 9 years, I presided over one of the lowest periods of unemployment in New Zealand’s history; people had jobs.” it’s far from a glamorous answer, but the most fondly remembered national leaders are often more important for what doesn’t happen in their countries than what does. 

There is something eerie about meeting someone you spent your youth thinking was one of the most important people in the world. Christopher Hitchens has a thoughtful passage in his memoir where he remarks that one of the most enlightening parts of the Oxford experience is to meet such imposing figures face to face and realise how human they are after all. There is something strange about Helen Clark; she is incredibly lively and energetic, and beams with charisma; yet her answers are often rather wooden and rehearsed, as if she still retains the politicians innate distrust of the political interview; she once called a New Zealand journalist a “sanctimonious little creep” after what she considered a series of ambush interviews on a current affairs show. I ask her if she’s glad she left politics. ““Oh I’m still a politician; once you get into politics, you can never really leave”

 

Is Oxford doing enough to combat sexual violence?

0

Will Railton: Yes 

First things first, I am not here to apologise for sexual violence and I will not defend allegations made against the university of cases in which victims have been made to feel like an inconvenience or wrong for seeking advice. However, I do think it is important to consider what the University is doing both to prevent incidents and to provide support for victims.

Cherwell’s investigation revealed that only 17% of the students questioned knew what support would be provided by the University. Yet, it is not that support is not offered. Rather, it is clearly not being effectively publicised. Probably because this advice is organised within colleges, through harassment advisors and peer support and some colleges will be more effective in advertising than others. The University does run a counselling service and OUSU also runs campaigns but college is likely to be the first port of call for many victims. This is very easy to remedy and would ensure that victims are aware of people they can talk to.

The unfortunate reality with sexual harassment and assault cases is that victims are reticent to inform any third party for fear of being labelled a “victim” in public. The University promotes various groups based in Oxford, which it does not run, providing a distance from their studies and college which some victims prefer. Rather than decry the promotion of these groups as outsourcing, it is important to understand that some will feel more comfortable speaking to an independent service detached from the university fabric. 

There are promising schemes in operation which aim to prevent harassment by educating students on what consent actually entails. So many have made complaints about being groped in clubs that “acceptable behaviour” evidently needs clarification. Earlier this term, Wadham ran mandatory workshops for freshers, raising issues of rape, sexual assault and violence. Many of these sessions involved asking students to identify whether consent had been given in a number of university-based scenarios. A number of colleges have run such projects and are considering making them compulsory. Controversial though this is, it would certainly reach people who would never ordinarily attend; those unconcerned with the issue who are perhaps more likely to perpetrate the offences in question.

Prevention is better than cure here; 100% of cases are avoidable. While Oxford might be able to help its victims, it can do little to compensate for the respect lacking in society as a whole. This needs to be addressed through wider public discussion. What the University can do is educate students on what sexual harassment and violence are, provide sufficient support to victims by publicising its own services and those available throughout Oxford.

Robert Walmsley: No 

The report into sexual violence in Oxford, by Cherwell, clearly shows that not enough is being done to address the issue. Considering out of 107 Oxford students surveyed, 83% stated that they were unsure or did not know about “any options at the University should you wish to report any kind of sexual assault”; there appears to be a serious problem of awareness about support services for victims of sexual violence.

The issue seems not to be that support organisations do not exist, but that they are not well-known. Unfortunately, the result of the lack of awareness of these organisations is much the same, as if they did not exist. No matter how good these services are, if no one has heard of them, then their benefit is largely wasted. Therefore, increasing the profile of these support services is something that badly needs doing.  If students are unaware of where they can go to report sexual violence, then the inevitable result will be some acts of sexual violence will go unreported.

The debate about sexual violence should not only be about how sexual violence is dealt with after the event, but prevention as well. Students themselves have the biggest part to play in doing this, by creating an environment where such behaviour is unacceptable. It is worth saying some people seem to think there are different standards of behaviour outside of college walls, particularly in night clubs. The truth is there are not. Workshops in colleges are an essential part of getting students to think about consent and the clear distinction between acceptable and unacceptable behaviour. 

There is an also the problem, in Oxford, of unclear lines of responsibility. For example, where does the responsibility of colleges end and that of the University begin? It is not the case that colleges or the University do not want to address the issues associated with sexual violence, but without clearly demarcated responsibilities gaps in the provision of services are going to exist.

Many people assume, because they do not hear about sexual violence, that it does not go on. This is not the case. A disturbing aspect of the Cherwell investigation was that several respondents said their complaints were not taken seriously, by their colleges. When that is allowed to happen, it only discourages other victims from coming forward. Telling someone you have experienced sexual violence is a both a brave and difficult thing to do. Therefore, it is only right that we should make it as easy as possible for victims to speak out.

It is immensely important that both students and the University finally take ownership of this problem. The conclusion, we, as a University, need to reach is that we can do more and so should do more to tackle sexual violence and the other issues associated with it.

Interview: Beans on Toast

0

The new upcoming album from Beans on Toast, Giving Everything, is going to be “same old, same old. Sex, drugs and politics in the same three chords.”

I catch up with the self-proclaimed drunken folk singer – real name Jay – before his gig at Art Bar (formerly The Bullingdon), which he has had some experience of before, playing here as a teenager in a band back in 1999. He also mentions with clear fondness a tour he did with bands on barges sailing up the canals and eventually making it to Oxford.

He seems keen to correct some possible misconceptions. Songs like ‘The Price of Rice’, ‘Protest Song’ and ‘Dirty Paki’ have clear political themes, and Beans, somewhat predictably, took a particular dislike to George Bush while he was in power, but, he claims, “I’m still not interested in politics. I don’t shy away from people saying I’m a political songwriter, but I’m completely uneducated in it. I still have zero interest in what you might call political affairs. It depends on what level that is, whether it’s who’s in power and who’s not or the politics of which way a spliff goes round the room. I’m just here for the good times. Say what you see. I just sing about what I know. I’ve certainly never had an open interest in politics and I don’t think I ever will.”

He clearly takes a very humble approach to his songwriting, and recognizes that just because he’s written songs about things, “I’m not claiming I’m right in any of my opinions” and goes on to relate a story about a song called ‘The Great Big Fucking Hole’, in which he connected the hole in the ozone layer to global warming, only to be informed by several concerned fans that the two were actually completely unrelated and that the ozone layer had in fact been fixed. “But no one ever got thanked!” he insists. “We should’ve got together and celebrated that! A lot!” The purpose of this story, he explains, is to show that people shouldn’t take his songs too seriously. “I don’t take ‘em seriously!”

Giving Everything will keep things topical, covering topics from “Prince Harry, Glastonbury and fracking” to “the future of the music business”, and with Jay now in a committed relationship, there will be “less whimsical songs about getting laid and more love songs”.

Despite occasionally seeming to disapprove of elements of Britain’s drinking culture, Jay’s as much a fan of pubs as anyone else, if not more. He becomes introspective, searching his soul as he tells the story of how he “sent a text the other day saying ‘We’re in Wetherspoon’s if you want to come and join us’ before realizing he’d sent the same text to the same person about four or five times in the last week or so. If Beans on Toast stopped drinking, there would be no hope for the rest of us.

Later on during his set, Jay is his typical exuberant self, at one point summoning all the female members of the audience up on stage to dance with him, and spending the rest of the time roaming through the crowd with the microphone. A lot of his music sounds quite serious, but he clearly doesn’t take himself too seriously at all, and thinks you shouldn’t either.

Review: Eminem – The Marshall Mathers LP2

0

★★★★★
Five Stars

Eminem knows what we’re thinking. “Here’s a sequel to my Mathers LP just to get people to buy!” But the purpose behind The Marshall Mathers LP2 is not to repeat, but to analyze, the success of the Detroit rapper’s third album. Opening track ‘Bad Guy’ is a direct follow-up to ‘Stan’, focusing first on Stan’s brother Matthew (remember him?), who loved Eminem even more than Stan. Matthew Mitchell (notice the initials!) kidnaps his brother’s indirect killer and drives off in an all-too-familiar manner as his conscious blends with Eminem’s own, wrestling with the rapper’s self-doubt as he questions the homophobia and misogyny present in so much of his previous work. Just as some classic examples of Eminem’s brilliant rhyming ability come in towards the end, talking about a “portrait of an artist/tortured/trapped in his own drawings”, the song fades away, showing that though Eminem still has his technical skills, it’s all ultimately meaningless if he can’t “recapture the lightning trapped in a bottle” that is The Marshall Mathers LP.

With lacklustre recent albums from Jay-Z and Kanye West, it seems everyone forgot about Eminem. He’s not broke, he’s not addicted to drugs and no one’s accusing him of corrupting the youth (did you know they said that about Socrates?), and this has led to a sense of aimless anger on his recent records. On this album, references to his own and other’s classic works are so beautifully intertwined with the music that his unrestrained anger, a necessary ingredient on any good Eminem album, fits in perfectly and produces what is not only an instant classic and his best album since The Eminem Show, but also a completely successful attempt to recapture the atmosphere surrounding Slim and Mathers, two of the best hip hop albums ever.

On ‘Rap God’, Mathers goes all EDM on us to great effect, showing that Kanye’s not the only one who can rap over insane synths, and making it all the more impressive with his own mad speed. The homophobic lyrics return without any real reason, though, and make listening uncomfortable. That said, it’s impossible to ignore the stunning musicality on this track. If ‘Bad Guy’ is the perfect summing-up of Eminem’s past, this track gives us a glimpse into a possible future in which Eminem takes hip hop by the scruff of the neck and asserts his own divinity.

The inevitable reunion with Rihanna on ‘The Monster’ is a magnificent set-piece, and shows exactly why the radio loves the two of them, while also returning to the subject of Mathers’ inner demons. Apparently he’s “friends with the voices inside of [his] head” but don’t call him crazy, “that’s not fair”.

I was all ready to be first in line to rip into this album, but it proved impossible, as hits are churned out with a regularity we haven’t seen from Em in years. So great is this album’s achievement that it makes even Recovery and Relapse seem like necessary, and almost deliberate, chapters in the compelling, up-and-down story of a kid from inner-city Detroit. You’re right, Marshall: “Why be a king, when you can be a god?”

Preview: Chicago

Not only is the Fools & Kings Theatre production of Broadway legend Chicago one of the first instances of the musical being re-appropriated by non-professionals, it looks to be a fantastic adaptation of Watkins’ original play, and a rollicking ride for the audience. 

The complete cast began by running through a couple of their warm-up routines, which, although clearly not part of the musical, served to show the troupe’s high levels of enthusiasm, and the choreographer’s vitality (turning around during ‘Cell Block Tango’, I saw Skingsley gripping her knees, miming out the moves and nodding through the cadences with fervent intensity).

The first piece per se was perhaps one of their more perfected ones: ‘Class’ is the duo between an irate Velma and an indignant Matron Mama Morton who, as they listen to the radio broadcast of Roxy’s trial, lament the degradation of the morals and ethics in the show business of Prohibition-era Chicago.

Josie Richardson, who plays Velma, stalked onto stage like she already owned the place, and her clear, almost faultless voice blended well with Big Mama’s suitably mellow twang (Florence Brady). Brady’s easy, seen-it-all attitude did not fall into dramatic complaisance, however: both Brady and Richardson kept the comical tempo and the scene’s energy up, and sailed through the harmonies and canons.

The second number presented was ‘Roxie’. Georgina Hellier, playing the song’s eponymous heroine, combined her impressive physique and her throaty voice – with particular praise for her powerful vibrato – to create just the kind of self-conscious sex appeal one would imagine the aspiring showgirl to display, artfully bordering on simpering self-indulgence. Nonetheless, this is a relatively private moment, an insight into what populates the landscape of Roxie’s desires. Which conveniently leads me to the quattuor of male performers (Lecznar, Woodman, Nicols, and Bland) embodying Roxie’s fantasies of fame and sexual gratification. These guys are great (albeit not always in tune), dishing out the hip-pops and the lingering caresses in unison, amusingly over-the-top but by no means a mere accompaniment.

In the infamous ‘Cell Block Tango’, Katherine Skingsley, a decidedly excellent choreographer, made ingenious use of space, replicating the traverse effect on stage, with the dancers either end of the stage, and each Merry Murderess consecutively in the centre. Despite missing a few cues, and Melissa Varney’s Hunyak unfortunately amalgamating helplessness with soundlessness (her singing and dancing were otherwise fine), their performance was definitely promising. And if they haven’t quite reached the viciousness of the song’s musical pulse yet, sometimes overstraining their voices to compensate, the six Merry Murderesses are genuinely at their best when they work as an ensemble.

As for the choreography, I was informed there would be the obligatory poles and a ladder, but from what I could see it was simply and effectively symbolic, making great use of diagonals and group effects of symmetry. A special mention should be made for Richardson, really coming forth as the Cell Block’s compact powerhouse, and for Leonie Ricks, who plays June (unforgettably “carving up a chicken for dinner”) and whose staggering bodily confidence and brilliant vocal hoarseness fuse into a rough, eminently appropriate sex appeal.

The last piece was ‘Nowadays’: Roxie and Velma have just buried the hatchet, and decide to collaborate their way towards glamorous glory. It’s a duo act which Jack Sain, the production’s wonderfully punctilious (and on-point) director, immediately presented as being very much unfinished. This was the first time it was put together, and its status as work in progress was unfortunately manifest. Richardson and Hellier were uncharacteristically subdued, nervously unsure of their cues and dance moves, and repeatedly out of sync. Hopefully, by the time the two leading ladies find their feet, ‘Nowadays’ will be as energetic and convincing as Chicago’s other numbers.

Afterwards, I asked the director Jack Sain whether he felt there was tension between the production’s emphasis on “feminist interpretations” of its central characters, and its concurrent aesthetic bias for a return to the “the colour and vaudeville” of Chicago’s theatrical source. Didn’t he find it contradictory to use this highly stylised, self-professedly farcical form (the Press Pack dubs the show a “gaudy satire”) as a means of exploring the rather more serious feminist implications behind its murky plot? “I see there is a tension, but multiplicity of genre is natural in theatre. We wanted to use the gaudiness and the unrealism as a dramatic means of apprehending the horror behind it all.”

For her part, choreographer Katherine Skingsley confessed that her one of her pet peeves with the staging and dancing of many past productions has been the compulsory presence of “fishnets and big sexy splits” for songs like ‘Cell Block Tango’. She explained that she meant to focus far more on the songs as spaces of “empowerment” in which their performers, exploited and abused, were the agents of a “female coming together”. And whether or not one reads such feminist potential in Chicago’s deliciously satiric storyline, the fact is that this is a troupe whose brilliancy lies in their unison: the best and most powerful moments in the preview were the duos, the quattuors, the ensembles.

All in all this is already a seriously impressive production, with ambitious choreographing, superb (if at times a little uneven) singing, and a great, driven cast. Oxford could do more with more musicals, and I have no doubt that under Sain’s demanding, finely tuned direction, Chicago will unfold into a memorably fabulous performance.

Chicago is playing from 20th to 23rd November at the Keble O’Reilly theatre. Tickets are £8.50, available here

Interview: Palma Violets

0

‘Palma Violets’ probably means one of two things to you: a) those horrible purple sweets from childhood, or b) one of 2013’s biggest indie bands. It’s been twelve months since the loud and rowdy London quartet released their debut single “Best of Friends”, and it’s been quite an amazing year.

International shows, awards, hype and gallons of sweat later, the boys have become a grimy gem in the current scene, and are heading to Oxford in just a few weeks’ time. “It’s all very surreal, because you dream about it, and then you live it,” says singer and bassist Alexander “Chilli” Jesson. “I don’t think any group would expect this level of progression.” The band signed with the iconic British music label Rough Trade back in 2012. “I always dreamed of getting signed to Rough Trade,” gushes Chilli. “It was one of the most amazing moments of my life.” For the young singer, a label is all about its attitude: “You get these major labels, and you’re not really part of anything. It’s all run by suits, and it’s a real business thing. But with Rough Trade it is all about the music. It’s a real family thing going on. It really is. And it’s so good for us, because we’re a young group, we really need that guidance from the greats. And they really are the greats.”

Before the group came to widespread attention, their animated sweatbox shows were what gave Palma Violets their name. But Chilli says an exciting performance is about more than just energy and skill. “When you know nothing’s going wrong, I find that boring.” says the singer. “I like bands where you think it might all go one way.” So what can we expect when they drop by Oxford as part of the upcoming Rattlesnake Rodeo Tour? “It will be everything you could ever dream of. It really will. It’s probably the last time you’ll see us in this way. It’s like the last party, the last dance.”

Hotly-tipped bands Childhood, Baby Strange and Telegram will be joining Palma Violets on tour. But for Chilli, they’re more than just supporting acts. “It’s a collection of our favourite bands coming on that tour, and I’m fucking excited. I mean, can you imagine going on a bus around England, with three bands of all your friends. I wanna look back and say, I went on tour with my mates, not some shit band that wouldn’t wanna hang out. For us it’s just a three week party. It’s just all about having fun, having a beer, having a laugh, because it is only music, you know?” Anyone else wish they were on that bus?
Following the success of debut album 180, details about a second record have been hard to come by. Chilli refuses to disclose much, but says the sophomore album will be “a whole new level for Palma Violets.” We’ve been told to “expect blood, sweat and tears,” from the new tracks, and they believe “it’s a great progression. There’s all the angst in there, but there’s something more. Something that was missing from us for a while. I’m fucking excited.” So are we, Chilli.

In an exlusive giveaway, Cherwell has five pairs of tickets to see Palma Violets at the O2 on November 28th!

All you have to do is tell us, in 100 words or fewer what is your favourite album of 2013 and why. We’ll pick the most entertaining entries on November 22nd. Winners will be announced via Cherwell Music’s facebook page.

Review: Judgment at Nuremberg

0

“You all seem like human beings,” says Judge Harwood to Frau Bertholt, “and yet such inhuman things happened here.”

The beauty of Judgment at Nuremberg lies in its ability to humanise history. It is concerned with how far we should be held responsible for doing as we are told, superimposing real people and their consciences onto the death tolls of the Holocaust. Judge Harwood (Jonathan Purkiss) says at one point that if the men in the Nazi government had been “perverse degenerates”, the atrocities which took place would have been as unavoidable and unremarkable as an earthquake.

In fact, the people who find themselves on trial are normal men, who were educated adults before Hitler’s rise to power; they were then given the tools to torture, sterilise and exterminate — this idea is far more unsettling.

Despite two minor setbacks before the play even started — the pedals falling off my bike on Cowley Road, and the woman beside me in the Keble O’Reilly falling prey to incredibly loud hiccups — I was impressed throughout by the calibre of acting and staging. To anyone who did the Edexcel A2 ‘Kaiser to Fuhrer’ module: this one’s for you. The play’s treatment of ‘consent versus consensus’ and the ‘Hitler myth’ is sure to leave you feeling smug about your residual knowledge and nostalgic for sixth form.

As a chiefly British audience, our prejudices and hypocrisies are examined on stage through the device of American judges. We are reminded of how shaky the victors’ moral high ground is: Hiroshima and Nagasaki are evocative examples used by an ex-Nazi to question whether the Allies are in any position to judge the rest of the world. The court case is lengthy and intricate: with a run-time of two and a half hours, the first half did feel a little drawn out, with its final line unfortunately garbled and difficult to hear from the back.

However, once the scene had been set, the audience settled in for a dynamic production in the capable hands of this stellar cast. Purkiss gave a flawless and convincing performance from beginning to end, complete with perfect drawl and impressive limp. Relief from the tension of the courtroom came in the form of evening scenes between Frau Bertholt (Hannah Bristow) and Harwood. Bristow plays a stoic German widow with a distinct Britishness: her easy movements and natural delivery make scenes between Bristow and Purkiss a definite highlight.

Elsewhere, Luke Rollason gives a mature and multilateral performance as Oscar Rolfe. As an attorney, his character is required to perform in court, presenting only one side of the argument when in fact he sees them all. Despite an occasionally slippery accent, his final speech in court defending some of the most reprehensible figures of 20th century history is unnervingly valid and faultlessly executed.

The play crescendos at the end with a series of impassioned and eloquent speeches: the atmosphere is tense as the audience is convinced by one speaker then dissuaded by the next. When Ernst Janning (Charles Hooper) finally addresses the court, his presence fills the room.

Following last week’s camp-fest The Producers, Judgment at Nuremberg offers a more serious portrayal of the Nazis. The cast’s decision to carry on with the play following the tragic loss of a key character is commendable. The script is intricate, the acting compelling and assured.

Judgment at Nuremberg is playing at the Keble O’Reilly until Saturday 9th November, tickets are available here

The production is dedicated to the memory of Conor Robinson, a Magdalen student involved in the production, who sadly died last month.

Blues v. Russia: The Lowdown

0

@CherwellSport will be live-tweeting the match this Sunday – kick off at 3pm    

A short history lesson

Oxford rugby has had a Russian connection since the days of Prince Alexander Sergeevich Obolensky. His name may not be immediately familiar but the Rurikid prince, who became a naturalised Briton and went on to represent England in internationals in the 1930s, earned himself two full blues on the rugby fields of Iffley.

Since Obolensky, there had been a modest lull in Russo-Oxford rugby collaboration but after a connection forged in late 2009, OURFC has enjoyed two tours and is in the process of organising a third to Russia. In 2010 the Blues took their pre-season to Moscow, where Rocky -style fitness training was interspersed with cultural excursions to the ‘Gremlin’, the Russian Space Centre and a drinks reception at the British Embassy.

The second half of the 2010 tour involved an overnight trip on the trans-Siberian railway to Kazan (home of the 2013 World University Games) where the Blues had the honour of opening a newly build Rugby stadium in preparation for 2013.

In 2011 the Blues ventured further east to Siberian city Krasnoyarsk. This was a truly memorable tour for all involved as the Blues once again put a successful pre-season training programme into place with back to back Russian tours resulting in back to back Varsity Match victories for the first time in many years.

OURFC hosted the Russian national team at Iffley Road last year, with the Blues just losing out 15 – 29. This year the Russians return with another full strength International side, fully deserving of their IRB World Ranking of 19th.

Match Preview

It is a very rare thing for a university side to play a fully-fledged International side in any sport, much rarer for it to be a major sport, and almost unheard of for it to be on your door step.

On Sunday 10th November at 3pm, Oxford University Blues will face, to borrow a perplexed New College undergraduate’s phrase, “the whole of Russia.”

The Russian Bears start their Autumn International Test series with a fixture at Iffley road against the Blues. With an IRB World Ranking of #19, the full International Russian side will provide the Blues with a stern test in their lead up to The Varisty Match at Twickenham on 12th December.

Russia participated in the World Cup in 2011, and didn’t look out of place against the likes of Six Nations teams Italy and Ireland. They arrive in the UK beginning a three Test series against Oxford, Japan and old rivals, the USA.

Following their plucky defeat to Worcester Warriors, this will be another massive test for the Blues.

Entry for the match is £2 for students, or free if you have been lucky enough to get your hands on the limited number of tickets being given out around the University. For the Blues, this will be a test match in every sense of the word, and will prove a key point in their journey to Twickenham. Head coach James Wade is in the fortunate position to have the opportunity to select as close to a full strength team as one can expect at this stage in the season.

Come along to support your University against a country of 142 million.

One to Watch

Russia’s Vasily Artemyev channels Prince Obolensky, as Russia’s current flying winger. Currently plying his trade with the Aviva Premiership’s Northampton Saints, OURF’s defence will need to be on their guard for this man’s tricky running.

A man with a broad Irish accent gained from studying in the Emerald Isle, Artemyev made a lightning start to his Saints career with a hat-trick against Saracens, and has impressed with nine tries in two seasons for his club.

Internationally, the winger has been a key component of the Russia side which gave Australia a scare during the 2011 World Cup, whilst he was vital to a string of impressive Churchill Cup performances.

A law graduate, we can be sure that Artemyev has the intelligence to challenge our students; it remains to be seen if the Blues have the wherewithal to stop him.

Head to Head Stats

 

Oxford University

Russia

Population

21000

142,501,000

Surface Area km2

45.5

17,098,242

GDP $ (millions)

13

2,555,000

Soldiers

300

1,040,000

Rugby Players

648

21,670

Rugby Clubs

34

365

IRB World Cup Qualifications

0

2

College football 4th week round-up: Hotting up

0

The college football leagues are getting into full swing and Worcester are currently unbeaten in the JCR Premier division after having seen off St Hugh’s 5-0 in their 2nd match. Hugh’s got their first win of the season over St Catz with Hugh’s captain Arved Pohlabeln scoring the winning goal as well as assisting the other in a 2-1 win. Hugh’s then capitulated to Balliol this week; timidly losing 3-1. However Balliol’s start has also been patchy and they lost to Exeter the previous week with Blues Vice-Captain Ben May getting on the score sheet for the Turl Street outfit. Wadham were denied a first win of the season by Harry Lighton’s late equaliser for Teddy Hall after Wadham’s Captain Jeremy Stothart earlier scored two towering headers. Wadham’s wait for their first win only went on a few more days as they defeated Catz 2-0 with Stothart scoring again and former captain Josh Vivian also blasting in for Wadham. The JCR Premier Dvision is looking particularly tight this year although Worcester still look favourites.

In the JCR first division Keble continued their good form with a 6-2 win over Brasenose; Hamish Birrell scored two and assisted two for Keble who will be hoping to continue their fine start to the season. Brasenose have looked particularly meagre and also lost 5-1 to New who saw American fresher Michael Feeney bang in four goals! Feeney also scored twice in a 3-2 win over Merton/Mansfield and New will be praying he can continue scoring goals and finally take NCAFC back into the promised land of the JCR Premier Division. Trinity have lost two games in quick succession against Lincoln and Magdalen and it looks as if Trinity may be in a scuffle to avoid relegation. Keble and Lincoln are likely to be battling out for promotion with New in with a shout if they can build on their last two wins.

There’s a three-horse race for the title in the JCR 2nd Division with LMH, St Anne’s and Pembroke all having taken maximum points from their opening three games. LMH have done the double over St Peter’s after having stuck six passed St Peter’s as Kiran Fothergill scored a hat-trick in their 6-2 victory before winning 3-2 against Peters just days later. Pembroke have also played the same opponent twice in quick succession; two 2-1 victories over Queen’s have left Alex Tsaptsinos’s side in a strong position in the 2nd division. St John’s have had a mixed start beating St Peter’s 5-3 but then losing 3-1 to St Anne’s. All John’s footballing attention surely must be focused on their Cuppers match against Exeter on Friday 8th November.

Univ have taken their customary bottom position in the JCR leagues after 8-0 and 3-0 losses to Jesus who have also beaten Christ Church 4-1. It is certainly looking like a tussle between Christ Church and Univ for bottom place with both teams on a -11 goal difference although Christ Church have managed one point more than Univ – gaining one point after a 1-1 draw with Somerville. Corpus/Linacre are gearing up for their Cuppers match against New after collecting one win and two draws from their first three games. Rory Johnson scored a hat-trick in a 4-0 victory over Oriel after two days previously those two teams drew 1-1. Corpus/Linacre’s 2-2 draw with Hertford will give the team that has forfeited Cuppers before playing a game for the last two years some confidence.

Head down to Marston playing fields this Friday (today) for a 2pm kick off to see Exeter take on St John’s in Cuppers or Cherwell’s other recommendation is Trinity vs. Keble at Trinity’s grounds just off Marston road – also a 2pm kick off in Cuppers.

Exeter student recalls mountaineering adventure

0

I was at Byron, burger in hand, talking with a friend who tells me, “Exeter is looking to sponsor someone to climb Kilimanjaro for the 700th Anniversary, haven’t you heard?”

As it turned out, the deadline for applications was that day. I wrote mine in a hurry, did a follow up Skype interview the next week from my girlfriend’s kitchen, and a few days later I’m told I’m going to climb Africa’s tallest mountain.

I have a list of things to do before I die. Up until last month I had mainly managed to do little things: fly a kite, learn how to play Cluedo, have my fortune told, this was my first chance to really do one of the big things on there, have one of those huge, incredible, once in a lifetime experiences I’ve heard so much about that inspired me to start the list in the first place. I couldn’t let the opportunity slip past.

Then training began. I dragged friends up the Mourne Mountains with me on a weekly basis, went twice a week to ju-jitsu to get into shape, and did an eighteen-mile trial hike to see how things stood. I gathered my gear, guilt-tripped everyone I knew for sponsorship, and thought about which of the ‘recommended’ vaccinations were expendable. Then I climbed the Mournes some more.

All in all, the training served me well. Physically, I was happy to find that I was able to manage, and I had learned a lot of lessons during the earlier practice, including the sort of willpower it took to keep plodding on. Pole pole – slowly, slowly – was the mantra of the trip. We trekked through the rainforest, across scrubland and alpine desert, across the plain of a low-lying caldera, with Uhuru peak always visible, growing larger by the day. The scenery was breathtaking; to look out over rippling valleys of treetops fringed by huge cathedrals of rock was exactly what the trip was about for me. Seeing things so few people see, and which really stun you was why I wanted to climb the mountain in the first place.

The altitude, however, was something else. It isn’t something you can prepare for, and I think we were all just crossing our fingers and taking things as they came. My blood pressure dropped, blood sugars went crazy more than once, and altitude sickness hit. I didn’t quite make it to the 4,600m Lava Tower for acclimatisation on day four with the rest of the group, reaching 4,450m before having to descend to the next camp to recover. I, for one, was certainly happy for the comfort Haribo I had brought, which I maintain were what got me up the mountain.

On the last night, through nine hours of darkness, the 1000m ascent to the peak provided the final challenge. The lack of oxygen made it difficult to think straight, and it was becoming impossible for me to walk for more than a few minutes without taking a breather. I don’t know what the others were thinking, but it was hard for me not to question whether I could make it. The best I could manage was to put one foot in front of the other. I suppose that’s all you need.

It took a long time, and I needed to draw on every last bit of inner strength, but I made it: I reached the peak, walking the last 100m or so in silence with some of the people, one fifty years my senior, that I had gotten to know over the course of the walk getting us to this point, passing the others of our group on their way back, who hugged us, encouraged us, and walked on with their hearts soaring.

Seventeen Exonians made it to the top, and I am extremely proud and grateful to have been among them, to have walked with them and gotten to know them, and to have had such an incredible experience alongside them.