Tuesday, April 29, 2025
Blog Page 1590

Exeter College pays tribute to student

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Exeter College is mourning the death of one of its students. On the night of November 12th a third year law student was killed in a road traffic accident.

In a statement to students, Benjamin Clayton, JCR President of Exeter College, wrote, “I am proud to have known and worked with her and more importantly I am incredibly fortunate to have been her friend. She was a wonderful, kind, generous and active member of the Exeter community. She was a beautiful person inside and out and a true friend on whom so many people relied.

“Flowers are being laid on the quad and extra welfare services are available to all affected. Exeter will never forget her, I will never forget her, and I hope that the spirit of vitality and exuberance that we saw in her smile will live on in us.’

The Rector of the College, Frances Cairncross, called a meeting in the chapel on Wednesday night, holding a short memorial service and offering support to those grieving.

After the service, students in the quad held hands and observed a minute’s silence for their lost friend.

A row of flowers with personal messages and other memorials have been laid in the quad and a notice in her memory has been posted on the main door to the college.

The student, who was a member of the University squash team, was described as, “beloved by many in and outside of Exeter College.”

Simi Nijher, a second year, said, “She was so welcoming when I first came to Exeter and in the year that I knew her she became more than just a friendly second year, she was a good friend and I’m so glad I got to know her.”

Another student said, “What happened has been a huge shock for everyone that knew her. She was an incredibly lovely and beautiful girl and to have her taken away in such tragic circumstances is, and always will be, just so unfair. She will be truly missed and my thoughts are with her family.”

PC James Mahony, of the Joint Roads Policing Unit based in Abingdon, released the following statement, “We would like to speak to anyone who may have seen this woman walking along the unlit section of the A40 heading towards Oxford just before 10.30pm [on the 13th of November].”

Review: Swimming Home, by Deborah Levy

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Deborah Levy’s short but imposing novel explores the insidious effects of depression on a seemingly stable family, holidaying in the French Riviera for a week in 1994, and on a mysterious guest, Kitty, who appears, floating in their swimming pool, on the first day.

Joe, husband to Isabel and father of Nina, is a poet by profession. He is immediately taken in by the beautiful young Kitty with her radiant red hair unfurling in the water. Both Joe and Kitty are emotionally dysfunctional, Kitty is even mentally unwell. They are drawn together by their poetry.

Swimming Home is deceptive. What appears as merely a rather unsettling affair between Kitty and Joe in an effort to numb the disappointment of their own lives, suddenly shifts to a fast-paced descent into a psychologically disturbing turn of events.

I found it extremely difficult to relate to any of the characters, or even to feel like they could ever be real people. The whole plot is suffused with an almost lyrical and oneiric tone that suspends realism. This, combined with Levy’s floundering efforts to incorporate the theme of an existential crisis for her characters, makes it altogether arduous to take the book seriously at all.

The same can be said of it’s elliptical style which is evocative of an unsuccessful cross between Virginia Woolf’s Mrs Dalloway and T S Eliot’s Wasteland. It is rendered absurd when almost every other word in the book is ‘Yeah’.

The narrative is interspersed with strange extracts from a poem written by Kitty, sometimes placed in diagonal lines across the page, and the chapter headings are another annoyingly forced attempt to make the book seem intriguing, with titles such as ‘Body Electric’, ‘Manners’, and ‘Spirited Away’. Moreover, an unnecessary last chapter written from the perspective of Nina, seventeen years on, attempts a last stab at symbolism and interesting form. 

Although I myself have misgivings about the book, it has been shortlisted for the Man Booker Prize 2012, and has scintillating reviews. The Daily Telegraph has called it ‘an intelligent, pulsating literary beast’, and the Literary Review opines that Levy ‘reveals a more urgent world humming with symbols’.

It is a book dependent on each reader’s taste, and I would recommend it despite my fault-finding, simply for the fun of a very critical read that succeeds in making you feel more intelligent than you really are and deludes you into thinking you could write much better.

Bo Guagua threatened by Neil Heywood

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It is alleged that the murdered businessman Neil Heywood threatened Bo Guagua, the son of the disgraced Chinese politician Bo Xilai.

The details have come to light during the court trial of Guagua’s mother over Heywood’s murder. An article in the Telegraph claims that three days before he was poisoned, Mr Heywood sent Guagua a “threatening” e-mail.

Heywood allegedly expressed disappointment at a failed property deal, before going on to demand that Guagua pay him £10m, which amounted to 10% of the expected returns. The court reputedly heard that Heywood told Guagua that he would “be destroyed” if he failed to pay up.

Guaga is studying at Harvard, though he is reportedly in hiding at the moment because he fears for his safety. 

When at Oxford, he was known for his playboy lifestyle. He attended lavish parties and neglected his work, earning the open disapproval of his tutors at Balliol. When rusticated because of his lack of work, he spent a year staying at the Randolph. 

When contacted by Reuter’s, Guaga told a reporter ‘I cannot comment on any of the details [of the email], but I can disclose that there is no such thing as either possessing or transferring 130 million pounds.’ 

Bo Guaga’s father is also on trial for charges of corruption, which in China can carry the death penalty.

Back to Black(adder)

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As I sit sipping a green tea adding the finishing touches to an essay on a grey and dismal Tuesday morning I suddenly receive a call from an unknown number. Answering my phone, the voice at the other end of the line is one I don’t immediately recognise, although for some reason it seems strangely familiar. And so it should – it’s a voice I have heard hundreds of times before, uttering hilarious lines about names on bullets, reading children’s stories and discussing where to dig new archaeological trenches. Over the last few decades Tony Robinson has firmly established himself as one of the titans of British television.

Robinson began his career on the stage, rising to national prominence for his role as Baldrick in the much loved BBC series Blackadder, and going on to present the hugely popular Time Team as well as to serve on the National Executive Committee of the Labour Party. He only has twenty minutes or so before he has to head to a meeting, and so I suggest we dive in at the deep end and begin with the Baldrick years.

Leaving school at sixteen to attend the Central School of Speech and Drama before spending years as an actor and director in theatres across the country, Robinson’s background was strikingly different from that of the rest of the Blackadder cast. I ask what affect this initially had on the group dynamic. “Certainly all the others had been to Oxford or Cambridge and had known each other for years” explains Robinson, adding that “[they had] probably shagged each others girlfriends” of which he recalls that there seemed to have been about three between them. “Walking into a charmed circle of young men ten years younger than me could have been overwhelming,” he continues, “if it weren’t for their incredible courtesy.” This confident courtesy made him feel “at ease from day one”, even though he admits he was at times “quite intimidated by their vocabulary and speed of thought.”

So were they aware at the time that they were creating what would become a British comedy classic? “Not at all”, he replies, adding that they had been far too engrossed in the work of crafting each episode to give much thought to any kind of future legacy. I ask what the exact nature of this work was. “We spent most of the time scrutinising the text” says Robinson, “which as an avid reader and lover of television is something I’ve always instinctively done. We had very few rehearsals in the way actors would normally do.” This was a habit that he admits frustrated many of the actors brought in for individual episodes. He recalls how they would spend hours trying to “get a nob joke down from six to three lines”. “Everyone was a paranoid perfectionist”, he continues, “I remember Hugh [Laurie] in particular just before taking an episode before a studio audience saying ‘Oh god, we’re going to be caught out.’ It was a fantastic experience- I learnt more about text than I thought I ever would.”

I raise the issue of whether the cast picking over their lines so meticulously had any effect on their relationship with the writers, Richard Curtis and Ben Elton. “Very much so”, he admits, explaining how Curtis would joke that his publishers would praise him as “the best young writer in Britain” whilst his cast would make him feel an idiot. “Richard felt that by the end of the week we had picked the show to pieces and built in again in our own image”.

I ask if he remembers one series with a particular fondness. Robinson replies that his enjoyment of each series depended largely on “how well we solved the problems set by that particular series”. He freely acknowledges that the whole cast had “no idea what [they] were doing” throughout the first series, a statement that may not come as too much of a surprise to many fans of Blackadder. “The most difficult challenge presented by series two was how to portray the character of Elizabeth I”, he continues, attributing the success of the Tudor setting to “Miranda [Richardson]’s superb instincts”. Series three was set in “a period which hardly any viewers knew anything about” and of course with series four they were attempting to create “a comedy about the biggest human tragedy of the first half of the twentieth century”. Robinson reckons that his favourite series is “probably Blackadder the Third”, adding that he has always loved Hugh Laurie’s hilarious portrayal of the foolish and flamboyant prince.

At this point I feel the time has come to pop the big question- have we seen the last of Blackadder? Or is a future return to our screens a possibility? “All of us toy with it as a possibility. The reality is that in order to pay for our retirement homes we’ll probably have to do one last special in twenty years time.”

Intrigued by this revelation I ask which historical period Robinson would most like to be the setting of any future return. “There’s an infinite number of times in history that would make one superb episode”, he muses, suggesting the Wild West, prehistoric Europe and- my own particular favourite- the British Raj as possible locations in which Edmund and co. might find themselves. However, he explains that it would be much more difficult to find a period of history in which it would be possible to set a six episode series. “Ben [Elton] would turn to the ladybird books as there were almost invariably six chapters on the major themes.”

A mention of children’s literature leads to a discussion about the relationship between Blackadder and his work in children’s books and television. Robinson sees very little distinction between them in terms of approaches. “Blackadder always had a playful, fresh and young attitude”, he says, adding that he believes this is the reason why “Blackadder goes Fourth is used by teachers teaching the history syllabus. “Roald Dahl, the Brothers Grim, and Hans Andersen all dealt with profound human issues using vocabulary that was accessible to both children and adults – I was trying to do the same thing with Maid Marian and her Merry Men. I think this is why Blackadder doesn’t look tired in the way that other comedy of the period does look tired.” I ask whether it is on account of his great love of history that so much of his work for children is set in the historical or legendary past. “Without wanting to sound presumptuous” he points to the examples of Shakespeare and Brecht using “tried and tested narratives” as a vehicle for their creative talent as his inspiration for reworkings of old stories such as the Homeric epics or Robin Hood. Robinson’s Maid Marian and her Merry Men is a fantastic children’s sitcom which tells the story of Robin Hood as a musical comedy.

It is by now becoming apparent that I have very little time left before Robinson’s meeting, and so the conversation is steered in the direction of his politics. Given his commitment to the public presentation of historical and archaeological heritage, I ask where he stands in the current debate over the teaching of History in British schools, in particular Michael Gove’s strong stance on education reform. “I’ve always been of the opinion that teaching should be left to the teachers.” he responds, “It’s inappropriate for politicians to be involved.” He also takes strong objection to the idea that education is becoming increasingly commodified and economised. And he is riled by the fact that schools and universities are simply the means to a financial end. “[It’s] a lousy idea that leads to very bad education. The reality is that none of us know what skills will be needed in five years time.”

He has been the recipient of many honorary degrees, with Masters from Bristol and the Union of East London, and an honorary doctorate from our very own Oxford Brookes. Robinson is also very much a union man, having served as Vice President of the actors’ union Equity and on the National Executive Committee of the Labour Party. “The problem with this new right idea that their primary test as politicians is to reduce debt by reducing the state, is that the first things to go are all the protections working people fought to establish. The primary task of the trade unions is to ensure those people at work are protected from danger, risk and exploitation.”

It’s been a fascinating conversation, my tea has long since gone cold, Robinson needs to get to his meeting and I really ought to get back to my essay. He may have played one of the most famous comic idiots of all time, but in reality Robinson could not be less of a Baldrick. He’s intelligent, incisive and quick-witted. It really is little wonder he has become such a household name and a name that is recognised with warmth and respect. Roll on the next Blackadder special.

Exeter hosts ‘Don’t Worry Be Happy Day’

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Exeter College enjoyed its inaugural ‘Don’t Worry Be Happy Day’ on Monday this week in a fresh attempt to sweep away the notorious Fifth Week Blues. 

The day aimed to boost morale in Exeter mid-way through the term in a variety of ways, ranging from free ice-cream to Youtube videos to live music and comedy. 

The day was conceived by the current JCR President Benjamin Clayton who commented, “As JCR President I had the crazy idea one day in summer that we could have a whole day of events, activities and giveaways to make people happy. Nothing else, just happiness!” 

To achieve this happiness, Clayton told Cherwell that “The brilliant Oxford Gargoyles performed for free, and G&Ds gave us 180 portions of ice cream without charge, just because they believed in the day. We gave out sweets in everyone’s pidges, emailed hilarious and heart-warming youtube videos every hour, and at welfare tea it was everybody’s birthday, with each person blowing out their own candle.” 

One of the highlights of the day was comedian Ben Target, who was nominated for best newcomer at the Edinburgh Fringe. Clayton commented, “Having a comedian crowd-surf and playing beach volleyball in the ancient hall was a real experience!” 

The event has been met with enthusiasm, with Michael Hart, Senior Fellow in Politics at Exeter commenting, “Don’t Worry Be Happy Day is a jolly good idea” and Che, manager at G&Ds asserting “We’re delighted to have been involved with the day and we’re happy it went so well!”

Member of the Oxford Gargoyles Henry de Berker told Cherwell “I thought it was great fun. We have a member from Exeter so, naturally, we received a full brief on targets in the audience who needed to be cheered up in particular. It was a really nice hall to sing in, and I feel like we got a good reaction.” 

Students reacted positively, with Thomas Coy commenting, “morale was definitely boosted and any potential dip after 5th week was effectively combatted.” 

It is also hoped that this could inspire future events in a similar vein. Coy commented, “There has definitely already been talk of potentially doing another such event in the future, which would be amazing, and maybe it will even begin to spread to other colleges.” 

Clayton summed up that “As JCR President I was delighted to see my vision come off and everyone having such a great time. We genuinely made people happier, there was a fantastic community spirit, and we’ve created a new approach to tackling mid-term blues. DWBHD will have a lasting impact on the JCR. It showed that when people come together and enjoy themselves it makes the moments that we’ll remember for years to come.” 

Shortly after the event, however, Exeter suffered a tragic loss. Clayton commented, “The next day Exeter was hit with the tragic passing away of one of its most beloved members, and this same sense of community came together stronger than ever in celebration of a true friend and wonderful person.”

Review: Crystal Castles – (III)

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Much of the greatness of Crystal Castles has always been their originality, and many were afraid that their particular brand of music wouldn’t be able to sustain a third album, particularly one which so unashamedly continues a Crystal Castles tradition with the simple title (III).
But, though the aural abuse of their incredibly distinctive sound has remained unchanged, another successful reboot has been achieved.
As soon as ‘Plague’, an album opener of staggering genius, hits its dizzying heights, it becomes obvious what Glass meant when she said that a theme of this album is ‘oppression’.
A crucial part of Crystal Castles’ appeal is of course their eclectic live show, and ‘Plague’ provides an assault on the senses entirely appropriate to the band’s reputation.
Interviews with Glass reveal that she seems to have lost all faith in human nature: she has said that “it feels like the world is a dystopia where victims don’t get justice and corruption prevails,” and this feeling is prevalent throughout, particularly during ‘Sad Eyes’.
(III) closes with the tragic ‘Child I Will Hurt You’, a subtle and heart-rending plea which perfectly displays Glass’s astounding ability to evoke intense emotion with barely an intelligible word. The subtlety of this song perfectly illustrates the dichotomy between Crystal Castles’ angry, aggressive death-trance and their more sentimental, thoughtful side.
All in all, Crystal Castles appear to have achieved one again what most bands struggle to do even once. They have retained what always made them compelling but have also progressed musically. Whatever’s going on inside the heads of Alice Glass and Ethan Kath, it’s still working.

Riding An Awesome Wave

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To be frank, it’s not often Cherwell speaks to a Mercury Prize winner. But the very next day after scooping the coveted title and its £20,000 prize, Alt-J (Δ) exhibit no discernible signs of a prize-winning transformation. The band famously refuse to have their faces shown in press shots, but their famous elusiveness is not evident in our pre-gig interview. Rather, Joe Newman and Gus Unger-Hamilton are open, grounded and more than partial to deadpan humour. And very hungover from the previous evening’s awards ceremony. Sound checking on stage, I overhear Joe muttering dejectedly, “I’m feeling so delicate it’s unbelievable.”

Yet for Alt-J, winning the Mercury prize has “not really sunk in yet” although with the prize money “we’ve got a plan to take our parents out for a lavish meal. We were always talking about going to the Fat Duck. We can probably get a fucking table there now!” Gus adds, “But put that as ‘ironic’ if you’re going to quote that.”

In the past, the indie-electro foursome have been characterised as trip-folk, which seems quite a fitting label for a band whose sound straddles a melange of styles, genres and influences. Joe ponders, “That’s going back a bit now. When we first started out we thought we were quite trip-hoppy. But we were naturally quite folky because I grew up on folk music, as did Gus. We’re inspired by each other. We’re so comfortable around each other. It took all four of us to meet to make us be creative, I would say. Tom was being creative before but when we all got together, something happened; it became so much more than the sum of all its parts.’

He adds, “Lyrics and the songwriting side are extremely important. I still play around with the classic rules and regulations, textbook singer-songwriting.”
So are there any themes which underpin the band’s debut album An Awesome Wave? Gus replies with typical humour: “It took a long time to write. It’s a surprisingly coherent album considering we literally wrote our track listing on the back of an envelope in the tour van.” Joe elaborates, “It’s largely an album which discusses basic clichéd stuff like love. Falling in and out of love with different people and sexual experiences. That’s an overriding theme; it’s hard to escape that.” This is something which has clearly resonated with this summer’s festival-goers, with Joe declaring, “Reading was fucking scary! There was a mosh pit in ‘Matilda’ – I mean, it’s a subtle ballad!”

Much has been made of Alt-J’s lack of a stereotypically rock ’n’ roll lifestyle. They admit that when they shared a house while at Leeds University, “We didn’t really go out much. I wasn’t aware of the music scene”. They have thus far avoided publicised involvement in any insalubrious debauchery. But with a Mercury Prize under their belt, will this reticence continue?
Gus quips, “I’m going to try and get really into drugs” while Joe chimes in, “Yeah, I’d like to get into hard drugs. Crack is where I’m gonna start.

“Yeah that would be a good place to start. You can smoke that, so its a bit like having a fag. And it’s really cool. Heroin doesn’t necessarily look cool, it just looks really dangerous.”
Joking aside, I ask whether there is any sense of anti-climax for a band for whom recognition has arrived so fortuitously yet so suddenly.

Joe replies with gusto: “Oh yeah, Everything’s an anti-climax when you start living your dream as a day-to-day work lifestyle. Meeting people that you’re in love with, that’s an anti-climax. We were at Jools Holland, and I saw [Jools Holland] the human, and he was keen to leave the set after. Probably wanted to get back, watch TV have a cup of tea or whatever. Everything was done and then he snuck off from the back, so you see what happens in real life…But we don’t know where the Mercury will take us.”

Not a union man, through and through

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It’s November and ’tis nearly the season to be jolly. However, in the meantime, ’tis the season for pointless elections. America has finally chosen between two men whose enormous election spending will be surpassed in magnitude only by the winner’s inability to push anything past a hostile Congress. Meanwhile we Brits will soon vote for (or rather refrain en masse from voting for) new police and crime commissioners. Once again we’re told to vote purely to keep out the racists – clearly the primary motivation in any healthy democratic election.

Ever keen to outdo the rest of the country, we in Oxford have two even vainer elections coming up. This week campaigning reached full flow for our utterly pointless OUSU President. And, in a couple of weeks, those of us persuaded into forking out 200 quid for front seats to Kerry Katona will elect the President of the Oxford Union.

The Union is a strange institution. Those frantic imps in black tie running about at the start of the no-confidence debate are the first giveaway. By the end of your first term at Oxford the calls will roll in from former friends transformed into embarrassed hacks, desperately chasing a place on Seccy’s committee. Finally you realise that this ‘debating society’ is merely an elaborate front for a cult of self-promotion. 

At the end of my second term at Oxford I was invited out for coffee by some bloke I hardly knew. At first I feared the floppy hairstyle I had affected over the term may have sparked a case of mistaken sexuality. Keen to clarify that this would be a purely platonic liaison I turned down his kind offer of cake and coffee.

When the conversation’s rapid turn towards his Union ambitions made the meeting’s true purpose plain, I felt strangely disappointed. “Actually, come to think of it,” I interrupted, “I’ll have a slice of Victoria sponge…” 

The union is politics minus electioneering. After all, how can ideas or policies play a part in an election where campaigning is banned? Here’s my system: first I vote for my friends, then for the positions left over I pick the female with the most ethnic-sounding name.

Countless degrees have been lost on the Union election gamble. The winners are awarded prime networking opportunities and the glowing self-importance that comes from getting sloshed with the famous and influential. The losers are left broken and friendless. As your vote-wrangling alienates you from everyone outside the Union, your dependence upon it quickly increases. It is the port-swilling, tuxedo-clad equivalent of smoking crack behind Asda. But with better career prospects.

OUSU elections are also infamously inconsequential. OUSU meetings are a passionless yawn-a-thon, devoid of the defiant spirit and niche politics that characterise other student unions. The reason for this is simple: the elec- tion of representatives is essentially a constituency system.

Whereas at other universities the socialist- environmentalist-dock-workers and free-Palestine-and-pizza clubs may be able to muster enough support to win representation, a candidate with such unorthodox views will never win a majority in a college election. As such we have a neutered student union filled with the popular kids from each college. Instead of socialists and libertarians we get boring self- promoters. I should know: my successful hust for college OUSU rep focused on my having the least stuff on my CV and hence most needing the position.

If there is ever a place for radical politics, it is university. It is tragic that one as influential as Oxford should be so politically inactive. If we want a strong anarcho-feminist contingent in OUSU, and we do, then what we need is a mixed- member system, with some assembly members elected at a university rather than college level.

This would be a radical change that would reflect the fact that Oxford students are members of the university as a whole, not just individual colleges. At least the rainbow-flag-meets-hammer-and-sickle t-shirts would make sweeter eye-candy than the current reign of blue college hoodie and brown tweed.

Vote if you need the exercise, but don’t feel obliged to give any legitimacy to these self-important clubs. Instead, be thankful that you’re not in an institution where you have to spend the last week of each term begging your Facebook friends to vote for you.

Then again, that CV is looking a bit empty, isn’t it?

 

Forget Socialising, Oxford’s one big network

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I remember a golden time when a dinner was just a dinner, having coffee was exactly that, and employability meant running around town desperately shoving C.V’s into Topshop employees’ faces. However, after one and a bit years in Oxford, these seemingly innocent pastimes strike the fear of Alan Sugar into me. What will I do when I graduate? How do I make the right impression at a function? Will Topshop take me back?! It appears that university life, academic life, is inextricably caught up in that most sleazy of grown up business words: networking.

Yes, I am being dramatic, and yes, I am well aware that I cannot run around Oxford waxing lyrical about the nice pointy rooftops forever, but still, there is something about the idea of socialising with intent which I fundamentally cannot get my head around. According to Wikipedia, it is a ‘socioeconomic activity by which groups of likeminded business people recognise, create or act upon business opportunities.’ This probably covers the finance and law events we all too often receive emails about, which are inevitably slightly uncomfortable parades of fixed smiles and fixed interest rates. At least the business events, those which favour the Randolph Hotel and seduce you with promises of canapés and an office with a view, accept what they are. They unashamedly market themselves as ‘networking’ events, they unashamedly say ‘FEMALE OXFORD GRADS, WE WANT YOU TO DIVERSIFY OUR COMPANY’, and they unashamedly bribe you with wine to attend. It is not this type of networking that we should approach with caution. It is the networking that filters down through university, from society recruitment events to desperately trying to befriend the latest treasurer of OUDS in order to get funding.* When does it all end? At what point does a drink with a friend become collecting a potential contact for the future? 

Becoming ’employable’ is obviously an important part of being at university, but it’s not the only reason we are here, nor should it be our main motivation for getting involved in university life. Just consider the sense of ego that comes with running for a Union position. Are you there because you feel you can contribute to the running of the university and the welfare of its students, or are you there because striding down those panelled corridors makes you feel pretty darn good. Most likely the answer is neither. More likely is the answer; it will look good on my C.V. Cynical and a bit grumpy, maybe, but a recent Cherwell article did show that on average 1 in 3 ex-Union Presidents could network themselves all the way to Parliament. However, the Union is just one example, Oxford another, and this isn’t a discussion about career politicians and Old Boys’ Clubs. All universities are judged by how employable their grads are, and I am extremely grateful for the opportunities that this particular establishment affords. It’s just that the idealist in me wants to get by with good honest graft, rather than a purse full of beautifully embossed business cards.

The fact is, the whole concept of networking seems a little contrived. Everyone knows that it is a part of university life, but we are reluctant to acknowledge that we do it, and even more reluctant to acknowledge that some of us consider it to be quite a skill. Sadly, I am not one of those people, but as much as I dislike the concept of networking, I find myself doing it almost unconsciously. One of my worst habits is a tendency to blend into the given situation, to become a ‘likeminded business person.’ Drinks with tutors equates to passing comment on the wine and name dropping a few articles, finance events involve dressing sharply and having a quick glance at the FT website beforehand, and somewhat humiliatingly, Cherwell Drinks meant hovering around whilst loudly discussing potential article ideas. It’s as if we are playing at professionalism in our safe little university circle, and we are most certainly playing characters. Today, in my head, I am a journalist. I may as well be drinking black coffee, chewing a cigar and hammering away at a typewriter. (If only).

The question is, do we really believe it? Do we believe ourselves in these roles? Those who do are probably far more likely to fall into a job than the few, like myself, who sit angrily in a corner and complain about ‘connections’ instead of making them. The strange thing is, I respect people who are natural networkers. They fascinate me because they have a goal, and they go for it, their pockets brimming with canapés and business cards. Good for them. I hope they are very happy in their job that neither I nor they fully understand. That said, I think I prefer my shamefully comfortable seat on the networking bench, where the contacts are in reach, but my soul ostensibly remains my own.

 

*Hypothetical example. Probably.

Interview: Michael Crick

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Oxford is full of over-achievers. Everyone knows one, the person who will not rest until they’ve ascended the top societies; the suit who walks around town with the air of the Cabinet Minister they will one day become.

Michael Crick, previously Political Editor of Newsnight, and now Channel 4’s Chief Political Correspondent, was of this sort. He was an absolutely massive hack, editing Cherwell, chairing the Democratic Labour Club and becoming President of the Oxford Union – to which he returned last Thursday to participate in the Media and Politics debate. He’s a little embarrassed about it now – “It was awful. It was office accumulation for the sake of it” – but not at all remorseful. And why should he be? For it helped launch a glittering career in political journalism.  

After Oxford Crick joined ITN, helping to launch Channel 4’s news team in 1982, and then working as its Washington correspondent, winning an RTS award in 1988 for his coverage of the Bush-Dukasis Presidential Election. From there he swapped to the BBC, first with its flagship investigative programme Panorama and then with Newsnight, becoming its political editor in 2007. But last year he hopped back to 4; he is now the Chief Political Correspondent of the network he joined as a lowly trainee three decades ago. He is famous for the political ambush, the prickly question and the chase. His greatest hits are when he does all three. When Iain Duncan Smith faced a leadership crisis, he delivered a speech at Party Conference famous for the line “The quiet man is here to stay”. Ironically he refused to take questions after the speech. Crick followed him to the next event, from which, as Duncan Smith left, he yelled: “Aren’t you taking this quiet man thing a bit far?” It is in no small part thanks to Crick that we have political satire like The Thick of It. 

The job of political correspondents is to follow the day-to-day dramas that typify public life, and to analyse the characters of their subjects. Extraordinarily however, given the enormous pressure they exercise on the political class, what is often overlooked is the character of the journalists themselves. 

Crick exudes the same characteristics in person that he gives out on screen. He is sharp, boisterous and funny. Opening his speech at the Union, he pivoted around the despatch box to address the President, John Lee, to deliver a phoney tribute that concluded with a description of the relationship between the Union President and Standing Committee as akin to that between a “villain and his sheep”. He is totally absent of any deference to the Establishment, for the simple reason that he had already outgrown it by the age of 22. But he’s very different from Jeremy Paxman, to whom this description could also be attributed, because he doesn’t take himself all that seriously. He is entirely prepared to accost politicians in the street, or chase them down corridors at party conferences, to demand an answer to the question of when exactly they stopped beating their wives.

The reason Crick totally lacks humility with politicians is because he knows the game so intimately from his Union days. Alan Duncan, the International Development Minister, was a contemporary – beating him to the Union Presidency on Crick’s first attempt. He learnt from that, and won next time around. “The best elections” he tells me, “were when you frightened off the opposition so there wasn’t any, and there were a few of those.” This sound very much to be the school of Robert Mugabe electioneering, but then again it is the Union. During his campaign Cherwell “gave me a two page spread [fully one third of the entire paper in those days] – it was basically a manifesto for my candidacy.” Given the opprobrium regularly poured by the student press on the Union nowadays, I find this hilarious. But just as the country at large treated politicians with greater reverence in those days, so the Union was seen then as more of a serious focal point of student life.

And Crick has had no small role in smashing that wholly undeserved reverence. He clearly loves the job, applying the same skills he acquired as a student hack to making politicians squeal in front of camera. What makes a good hack, I ask? “It’s about getting people to do things when you don’t actually have much power, just the power of ambition” is the straightforward reply. The same applies to journalism. After the Leveson Inquiry the media industry is currently on its knees, but the importance of holding power to account has never been more important. 

Predictably perhaps, Crick’s familiarity with politicians has made him totally immune to their charms and suspicious of ideology. He left university firmly in the Labour camp, though “to the right of 1980s Labour”, a natural stance for a grammar school and Oxbridge lad of that generation to take. This soon changed. “You have an opinion-ectomy when you go into broadcast journalism” he says very matter-of-factly, though print journalism is of course an entirely different kettle of fish. At Oxford he had “always intended journalism to be the means into politics”, but when the opportunity to stand in a by-election in a safe Labour seat presented itself, he turned it down and has “felt liberated” ever since.

More than that though: thirty years of close association with Westminster life has hollowed out the politics in him. As a leading political observer he is constantly asking ‘how’, ‘why’ and ‘when’, but in doing so he has unlearnt and rejected the ‘ought’. It’s dispiriting to hear him say, both because of what it tells you about the cynicism of Parliament by those closest to it and the implications of that: that we’re going to continue to see dull humanoids occupy Parliament. So apathetic is Crick that he “[doesn’t] vote at all, partly because of the job I do but partly I don’t know what I think any more. The only view I have now is that I’d bring back capital punishment, but only for people who drop chewing gum on pavements.” 

What words of wisdom does he have for those who want to follow him into media career? “Build alliances” is his answer, “stay in touch with people you meet at Oxford.” The implication I take from this is that journalism is nepotistic – if you look at how many journalists had parents or close family in the profession then you’ll understand how true this remains. Crick however claims never to have obtained a job through contacts, but as the industry contracts and graduate schemes become scarce, they will be increasingly important. “Being a journalist employs a narrow range of skills” is his last piece of advice, so it’s vital “to master those skills” and develop a specialism in the area you want to cover.

That powerful people go to great lengths to avoid Crick is a testament not only to how well he does the job, but to how much a spirited and informed democracy relies on quality, investigative journalism. As Newsnight, Crick’s old haunt, has been thrown into crisis in recent weeks, that point should be made with all the more force. Whilst I can imagine despising the nakedly ambitious Crick as a student, the grown-up version is almost impossible not to warm to. In that sense the message for today’s generation of hacks is far from bleak.