Tuesday, April 29, 2025
Blog Page 1593

French aristocrats trapped in Oxford by conman

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A French court sentenced Thierry Tilly, 48, to eight years in jail today, on charges of false imprisonment and abusing the weakness of psychologically vulnerable persons. He relieved 11 members of the aristocratic de Védrines family of £3.6 million, as well as property including a chateau near Bordeaux, over the course of a decade, in what the Judge described as a “Machiavellian Plot.” 

Tilly convinced the family that their lives were in danger as part of a scheme involving the Hapsburg dynasty and freemasons, and hid them in Oxford.

Tilly, with the aid of another man, Jacques Gonzalez, told the de Védrines that he was a NATO spy working for the true king of France and the international secret society called ‘The Balance of The World,’ fighting against  paedophiles and the masonic order. In return for protection against the conspiracy, he convinced the family to give him jewellery, property and cash over a ten year period. Their resulting seclusion from society in their ancestral Chateau led to the French press naming the de Védrines “the recluses of Monflanquin.”

When the property was seized by the French government due to unpaid taxes, Tilly moved the family into hiding in several homes across Oxford. Five properties were rented from Oxford Landlord Andrew Scully, and the family stayed in a house on near Cowley Road. Scully also alleges that he has been “well and truly conned” out of a quarter of a million pounds in damages, rent and court fees. The family lived and worked in Oxford for several years.

Throughout this period, their money was gradually transferred to a Canadian charity run by Gonzalez called ‘The Blue Light Foundation.’ Mr. Gonzalez has also been imprisoned for 4 years for deception and complicity. 

When sentencing, Judge Marie-Elisabeth Bancal said that Tilly had used the “creation of group paranoia” and the “exploitation of family weaknesses” to exploit the de Védrines. He became “a constant presence by their side, physically and then by telephone or email.” Daniel Picotin, the family’s British lawyer, said of Tilly that “he is to mental manipulation what Leonardo da Vinci is to painting.”

A spokesperson for Thames Valley Police said that they were not involved in the court proceedings, and declined to comment on the case.

Academics criticise bank regulations

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The UK’s leading academics, associated with the Institute of Economic Affairs, have called for a ‘U-turn’ in financial regulations, arguing for”‘simpler and more stable legal frameworks”. Experts said that the current regulations are ‘too complex, as well as being dangerous and unnecessary.’

Alan Morrison, Professor of Finance at Saïd Business School and one of the authors of the article, explained in an email to Cherwell: “Capital regulation is staggeringly complex. Its principles are laid out in a series of accords published by the Basel Committee.

“Their first capital accord was communicated in a 26 page document; the later Basel II document ran to 347 pages, and subsequent documentation has added a further 166 pages.

[That’s 539 pages] that are hard to understand, and [have possibly become] a focus for lobbying and regulatory arbitrage.”

The article further argues that increased regulation is not the key to a sustainable financial market. One alternative solution proposed by Morrison is increasing the level of equity held by banks.

He said, “Banker arguments that this would undermine industry are unconvincing to me, and smack of special pleading,’ he said in his email, emphasizing that the key is to make the requirements ‘easy to understand and hard to work around.’’

Additionally, Morrison argues that the tax break on borrowing that corporations receive should be abolished to make debt less attractive, and finally, he suggests, in line with the proposal conveyed in the Vickers Report, that separation of commercial and other forms of banking would be a step towards improvement.

“Interestingly, one of the proposals involved abolishing the deposit insurance, which is an often failing system developed to protect bank customers. This safety net inadequate because it encourages bankers to take more risks than socially desirable, but fixing this does not necessarily mean that people who keep their money at the bank would have to live with the threat of losing everything.’

“I think, although some of the other people signing the article to which you refer may disagree, that such an outcome would probably undermine the banking sector and that it would be arguably uncivilised and cruel. High and simple capital requirements would be one way to address that problem; another would be heightened liability for bank shareholders.”

Details of the argument can be found in IEA’s journal of Economic Affairs: “Financial regulation: the need for a revolution.”

‘Eton of the East End’ pushes for Oxbridge acceptances

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The first sixth form college to be established under education secretary Michael Gove’s free school initiative opened to 200 students this autumn.

The London Academy of Excellence in Stratford, Newham, aims to assist students from disadvantaged backgrounds in earning places at Russell Group universities, including an increased uptake at Oxbridge. It is supported by eight of the country’s leading independent schools. Demand for places at the Academy was high, with over 500 applications for 150 places, a number later increased to admit 200 students.

The admissions process involves interviews, verbal reasoning tests and the submission of personal statements. Successful applicants are taught from a selection of 12 ‘academic’ A-level subjects, chosen from the Russell Group guide to preferred subjects, ‘Informed Choices.’ Speaking to the Sunday Times, Richard Cairns, headmaster of Brighton College, said, “The aim is to have more pupils at Oxbridge than 75% of independent schools”.

However Robert Wilne, headmaster of the London Academy of Excellence, stressed that this aim is one amongst many, telling Cherwell that “We are focusing on Russell Group universities, of which of course Oxford and Cambridge are two, but they are only two of the 24.”  He added that the media focus on the school’s Oxbridge aims mirrored a problem he hoped his Academy could correct, saying that in some communities “it’s either Oxford or a former polytechnic. They don’t recognise there is a spectrum.”  

David Messling, OUSU officer for Access and Academic Affairs, commended the Academy’s aims, telling Cherwell, “School support is critical for students with potential and ability to see that they have what it take to apply to Oxford.”

Tony Little, headmaster of Eton, who is on the governing body of the Academy, added, “The LAE model will work because it engages a number of schools who are able to play to their strengths, enabling young people to be with like minded peers”.

The free school initiative is not without controversy, with many fearing they will prove detrimental to existing local schools. Oxford City councillor Sam Hollick said, “It tends to set schools in competition with each other, so it serves the students who are already doing well but the majority tend to see standards fall.”

Exeter student Owen Donovan agreed, saying, “Though this will be a brilliant opportunity for the children involved, I’d rather we invested more across education.”  Wilne, however, stressed that the impact of the Academy would not be limited to its students, but, through an ‘outreach’ programme, would be extended to existing local schools. Sixth formers will perform community service, whilst the Academy is currently recruiting for a “Director of Educational Aspiration” in hopes of ensuring a broad impact.

Kensal Rise Library to be turned into flats

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The ‘Save Kensal Rise Library Campaign’ has suffered a further setback, following a recent meeting with All Souls in which it was announced that the College is selling the library to a property developer to be turned into flats.

Campaigners who call themselves ‘The Friends of Kensal Rise Library’ held a rally on Saturday outside All Souls in the hope that Fellows would use it as an opportunity “to discuss a more meaningful future for Kensal Rise Library.”

Margaret Bailey, a Director of the campaign, said, “We invited the Warden and Bursar to come to speak to us on that occasion. They de- clined, but we have been invited to a further meeting on 20th November 2012. We have asked to meet with the College on other occasions and have been referred to Cluttons their property agents.”

They have also written an open letter to the College which expresses that they feel “misled” by the college. The letter, which has been sent to the Warden and all of the Fellows of All Souls individually, describes the college’s move as a “breach of faith.” In the letter Bailey said, “We represent a larger community that sees the Col- lege’s current proposal as nothing short of a breach of faith with this relatively poor area of north-west London, from which it has already profited handsomely.”

She continued, “Although the College do- nated the land, the library building from which the College and Mr Gillick now seek to profit was not paid for by the College, but by public subscription and a donation from Andrew Car- negie, the philanthropist.”

In a press release, campaigners asserted, “The Friends of Kensal Rise Library were shocked at a recent meeting with the College’s Bursar, Mr Thomas Seaman, to be told that the College was selling the library to a property developer to be turned into flats.

“On the 3rd August 2012 Mr Seaman, Bursar of All Souls, claimed that “this building will not be turned into flats. In reality the entirety of the old library is to be converted for residential use, with only a small part of the new building re- maining available for rent by the library.”

Campaigner Laura Collingon told Cherwell, “We are very disappointed by the way that All Souls’ have behaved so far. They assured us that the building would not be turned into flats but they are now saying that this will happen.

“However, they have said that we have persuaded them that there should be a library on the site. I don’t think this will be possible if we are shut out of our historic library building and forced into a tiny space where we have to pay a market rent to an unsympathetic property de- veloper, which is what is currently suggested by All Souls.”

She continued, “This is not a sustainable future for the library. It would be shocking if an educational institution like All Souls persisted in putting profit before learning.”

Bailey remains hopeful about the future, telling Cherwell, “We have a meeting with the college on 20th November and we hope the discussion will be productive.”

The library, opened in 1900 by Mark Twain, has been a source of tension between All Souls and the community in Kensal Rise. The cam- paign has been supported by numerous literary figures, including Alan Bennett, Philip Pullman, Zadie Smith, Jacqueline Wilson and Maggie Gee, as well as the Royal Society of Literature.

University Chancellor calls for radical overhaul of the BBC

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Oxford University Chancellor Lord Patten, who is also Chairman of the BBC Trust, has called for a “radical structural overhaul” of the BBC after the resignation of Director General George Entwistle.

Patten’s statement was made following a recent Newsnight documentary which suggested that a Conservative peer was involved in a child abuse network, after which Entwistle made the decision to resign.  Controversy has surrounded the BBC this autumn following revelations concerning an unaired documentary exposingchild abuse allegations against BBC stalwart Jimmy Savile. 

Lord Patten is also under increasing pressure from MPs and the media to resign from his role as Chairman of the BBC Trust following public anger at the £1.3 million resignation package offered to Mr Entwhistle who lasted only 54 days in the job.

Commenting on the severance agreement a BBC Trust spokesman said, “The BBC reached a consensual termination agreement with George Entwistle last night and agreed to pay him 12 months pay, in lieu of notice. This reflects the fact that he will continue to help on BBC business, most specifically the two ongoing inquiries.” 

Last week, Lord Patten appeared on the Andrew Marr Show to maintain his support of Mr Entwhistle, where he deplored the “awful journalism” that led to the Newsnight scandal. 

Lord Patten continues to resist pressure for him to also leave his post despite MPs calling for his resignation. MP Philip Davies, in a recent TV interview, labelled his position as “just as untenable” as Entwhistle’s and claimed, “the longer he clings on the more damaging it will be for the BBC.” 

Media attention has recently shifted focus onto the ten additional jobs that Lord Patten has on top of his role as Chairman of the BBC Trust, including work as an advisor for BP and energy firm EDF. 

In a blog post for the Spectator, Cherwell editors Grace Goddard and Barbara Speed expressed their concern regarding his many positions, writing, “As students at Oxford University, we are told repeatedly by tutors, proctors, and the Chancellor himself that we’re not allowed to do much outside our degree. We cannot do more than eight hours of paid work a week, and extracurricular activities are monitored carefully by colleges, who can revoke your right to do them at any time.

“Lord Patten has arguably spread himself a bit too thin, taking on another significant appointment at the BBC commanding a salary of £110,000 a year, in addition to holding other remunerated positions listed in the House of Lords’ register of interests.”

In response to Cherwell enquiries about Lord Patten and his involvement in the BBC crisis, a University of Oxford spokesperson said, “Lord Patten’s role as Chancellor of Oxford University is entirely separate from his position as Chairman of the BBC Trust. The Chancellor is usually an eminent public figure elected for life and serves as the titular head of the University, presiding over all major ceremonies. Lord Patten was elected Chancellor in 2003.”

Lord Patten has said he wants to appoint a successor to George Entwistle within a “few weeks” and the vacancy is top of the agenda for the talks at the BBC Trust’s Great Portland Street offices in central London.It is unclear whether further changes to the BBC’s management structure will take place in the coming weeks.

Lord Patten was a Conservative Member of Parliament for Bath between 1979 and 1992. From 1989 he held a position in the Cabinet. His current position at Oxford is part time, and until 2009 he also combined the role with the Chancellorship of Newcastle University. The BBC role, also part time, currently has a salary of £142,800 a year. The Trust Chairman is head of 12 Trustees, who represent the public who pay for the BBC. On the BBC website it is stated that “the Trust makes sure the BBC is run in the public interest and in the interests of licence fee payers.

A Brief Encounter

Life is great; all is going along just swimmingly. You are a strong, independent, young woman and nothing is going to undermine that.

Well, I’ve got news for you: something will, and when it does it usually turns out to be one of your nearest and dearest friends – regrettably through nothing more than her good intentions. Because in the eyes of others you are not ‘single and ready to mingle.’ You are lonely and this must be remedied. Fast.

‘Oh Emmm Geee, so you know Jake’s friend, Sam?? The one we met outside the Rad Cam?’

‘Mmm?’

‘Well, Jake told me he really fancies you. Exciting huh?’

Let’s just step back for a reality check here. This ‘Sam’ barely saw you, he definitely can’t remember your name, and Jake has clearly run out of things to say to his girlfriend if you’re becoming their topic of choice.

So what do we do with this precious gem of information? We’ve all been there before. At first, it gets brushed aside:

‘Oh no, that’s ridiculous. I’m far too busy to even care. I’m not interested at all; in fact, I’d rather die than go there.’

Blah, blah, blah. Great, good. Get on with your life. Power to you.

But then one day when you’re alone with your thoughts it creeps up on you, and despite having had absolutely no further contact with Sam, you begin to reconsider. He’s really not as bad as you thought. He’s quite nice actually. And you DEFINITELY shared some great eye contact outside the Rad Cam the other day. Maybe you could be interested after all?

OK, let’s step back from the situation again. You’ve just convinced yourself to like someone off the back of (at tops) an 8-second encounter. This bodes well.

While the self-inflicted mind-fuck is going on, your dear friend is still adding fuel to the fire at a rate that would make a pyromaniac proud…

‘Oh, Sam was talking about you the other day.’

(Yeah, that’s probably because I waved at him across the street like a loon on meds and he’s now concerned for my mental health.)

‘Has he added you on Facebook yet?’

(No! But now you’ve mentioned it let me get on that straight away. What did you say his surname was?)

While you wait for the golden moment of having your friend request accepted, you may as well take a quick glance through the profile pictures, they can tell you so much about a person. Compatibility checklist here we go…

There are a couple of girls in some of the pictures but they’re probably just his cousins so nothing to worry about there. He seems to have travelled a lot too, which your parents will LOVE. And he’s sporty too! Table tennis is such an underrated sport these days but he pulls it off completely (Note to self: ask mum to send up that racket from home. It’s never too late to take up a new hobby).

This Facebook stalking period is inevitable and usually lasts as long as it takes for you to see him again, which, with all the preparation you’ve been doing, should go very smoothly. But while knowing your subject in other circumstances is an advantage, it never seems to translate as well into social situations:

‘Oh my god, what happened to your moustache? I thought you were doing Movember.’

‘Uh… no, I did that last year.’

Great. Just fucking fantastic.

At this point, it is probably best to just admit defeat, crawl home and rip the shrine down while you wait for your friend to fabricate another potential lover to cheer you up with. The circle is oh-so-vicious.

Review: Beats

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Everything about the pre-show experience for Beats is hipster.  On entry I was given the ‘Beats EP’ burnt on to a CD, the people behind the polaroid photo covered ticket desk were wearing sunglasses indoors, and the show opened 20 minutes late leaving me wondering if it was just too cool to start on time. However when it did eventually begin the themes of mental disorder, familial tension and self-worth in this piece of new writing came into focus.

There is a great amount of attention to detail in this production. This is reflected both in the realism of Emily Warren’s script, the subtleties of emotion conveyed in the majority of the actors’ performances, and above all, the set. Whilst this created a believable and interesting performance space, the amount of different props meant that the scene changes, which were far too regular, went on for too long. In one instance the set changes were longer than the scene into and from which they were transitioning. This broke up the flow of the narrative and made it difficult for the script to achieve its full emotional impact, regardless of how well it was acted. A lack of consistency between the scene changes – some were accompanied by music whilst others were undertaken in complete silence – only emphasised this.

Phoebe Hames performance as Cecelia really was the highlight of this production. Her acting was of a consistently outstanding quality as she weaved her way through an array of emotions, moving swiftly from a performance that was utterly hilarious to one that was incredibly moving. The performances of Lauren Magee as Jean and Nick Fanthorpe as Oscar were also commendable, with both, for the most part, effectively portraying the difficult subject matter of the play. I was a little confused by the role of Oscar due to a slightly bewildering plot twist at the end. However, this is a problem with the script, not the acting ability of the cast. The supporting characters of Martha and Chris were less convincing. The artistic lothario character of Chris, played by Douglas Grant, was too much a parody of a well-known British rom-com actor and Oxford alumnus who shares the same surname, which seemed out of place against the performances of the rest of the cast.

One cannot question the dedication of the team who have worked on Beats. This is certainly more of a project than simply a play, with great care having been taken over the short films, music and art work that accompanies this production. This is a good piece of new writing, brought to life by good, and some excellent, performances. If you have the time, I would recommend seeing Beats, but at the very least I would urge everyone to explore the film making, composition and other artistic processes that have been an integral part of this project. 

THREE STARS

Review: A Little Night Music

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I love musicals. Unfortunately, A Little Night Music does not make my top five in terms of catchy numbers or plot, but this was an absolutely beautiful production. The musical itself is a turn-of-the-century society romp set in Sweden, dancing from extra-marital love affair to extra-marital love affair. As entertainment, it’s light: the main theme is definitely sex, but it’s always addressed through petticoats and innuendo.

The plot has a few kitsch flourishes (Magic wine? Magical waltz?) and the characters are not overly developed, but it never takes itself too seriously – you are always Being Entertained. I did find that the dirty jokes wore thin about halfway through, and the score was perhaps stronger than the script. The orchestra added atmosphere and a layer of seamlessness to proceedings, with no jarring between talking and singing. The Oxford Playhouse gives productions a lot more scope for lighting and scenery than we would usually expect from student drama: visually, A Little Night Music was absolutely stunning. The technical side of things accented already strong performances rather than threatening to overpower them – lighting designers Graham Cook and Jay Anslow deserve a special mention for their work.

Performances were stylish and meticulously directed. Georgina Hellier is assured and uncompromising as Desiree Armfeldt, and her voice never falters – ‘Send in the Clowns’ is the show’s the best-known song, and Hellier does it perfectly. Natasha Heliotis plays her ascerbic mother, whose flawless timing and dry asides had the audience on-side from the first scene. Claire Parry is Charlotte, a cynical housewife who has been disillusioned by her husband’s infidelity. Both Heliotis and Parry deliver their lines with effortless wit.  The two main heroes, Fredrik (Richard Hill) and Count Carl-Magnus (Aleksandar Cvetkovic), ooze machismo. Cvetkovic’s voice is particularly strong as he gyrates around the stage like a Swedish Lord Flashheart.

The cast is clearly talented, but the occasional dud song or unremarkable exchange left the audience’s attention wandering. I was looking for satire but realised halfway through that the male characters really did think it was fine for them to sleep with whoever they wanted, as well as demanding fidelity from their mistresses. At one point Frederik draws attention to this double standard, but it’s forgotten by the end when Charlotte takes back her cheating ‘dragoon’. The show presents a range of female characters, but spends rather too long on the superficial ones. It’s not very flattering about women, but it’s down on men too: as Petra the promiscuous maid puts it, marriage is just ‘Five fat babies and lots of security’. But hey, which musical represents relationships realistically? The staging was a triumph, the cast’s chemistry was tangible and they were having a brilliant time. A very strong performance of a less strong show.

Review: A Country Doctor

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A Country Doctor is a play which prompts questions. But mostly, given that this is an adaptation of the Kafka short story, the question is why?, or, more accurately, what the hell is going on? The plot itself – far though it is from being able to convey what exactly the play involves – consists of a doctor trying to treat a sick boy, first in his attempt to find horses to reach him, then in his increasingly strange and dark meeting with the boy and his family.

Perhaps it is strange, given the remarkably un-theatrical nature of the original – a six-page short story with very little dialogue or concrete characterisation – that the play even seems to find a home onstage. But this is largely a result of the confident writing of Henry Little and the work of John Evans and Nathaniel Whitfield on lighting, sound and set design. The bareness of the staging has a curiously complementary relationship with the richness of the language, as exemplified by the doctor’s amazed description of the apparently monstrous horses as he gazes on a shadow puppet projected on the wall by a handheld torch. What might otherwise have seemed the mark of the standard under-budgeted student production, feels eerie and disconcerting in the unadorned and intimate black space of the Burton Taylor.

Things take a turn for the darker when the doctor reaches the sick boy’s home. A crate which had been a carriage is upturned and becomes the boy’s bed, and there is a real sense of the play turning inside out as it meanders its way through the odd and basically insensible dialogue and action. Characters chant, they laugh hysterically, they scream, they attack each other, they collapse, and the play plays on. Rum is drunk, blood is split, prayers are said, and the play plays on.

‘The play plays on’ might well sum up the play: of course the audience can have no idea what’s going on, and neither does the eponymous doctor. Alex Wilson does a solid job of portraying his attempts, along with the audience, to keep up with what is happening around him, despite apparently not expecting any of it. A few stumbles, and some problems reflecting the striking metres of the dialogue, are slight, though frequently noticeable, blemishes on otherwise good performances. The characters are all largely stock-figures, and the cast on the whole do a fine job of treading the line between the real and the meaningless. The abrupt changes from dialogue to more ‘atmospheric’ interludes – all whispered chants and fevered poking –  are particularly well executed, sweeping the viewer along in a frenzy or a lull.

 The promotional material of A Country Doctor promised great things: a ‘unique and vivid experience’ that would ‘stretch the studio open.’ Does it deliver on its promises? Largely, yes. Weaknesses in technicalities are readily subsumed by the overall experience of watching the play, which is certainly an experience, however hard to pin down and follow.

THREE AND A HALF STARS

Report: OUSU Elections

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With thanks to Jon Metzer and James Raynor.