Friday 27th June 2025
Blog Page 1666

Oxford research predicts most expensive Olympics ever

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Oxford researchers have indicated that the London Olympic Games are set to be the most expensive of all time, with the current projected cost standing at £8.4 billion.

The working paper carried out by researchers from Oxford’s Saïd Business School also found that the budget overrun of London 2012, currently predicted to be 101%, is ‘significantly more’ than the average for the past decade.

Although the average overrun for 1968-2000 stood at 258%, the Games in the last 10 years have seen this average reduced to 47%.

When asked why London 2012’s expenditure is greater than other recent Olympics, researcher Allison Stewart expressed uncertainty, telling Cherwell, “With the data we have, we don’t have enough to speculate on why London 2012 is experiencing significantly higher cost overruns than Games of the last decade. By all accounts, London has been very well managed.

“However, they increased their budget to almost the current expected cost only two years after winning the Games, which suggests that the bid budget was simply unrealistic and unachievable.”

Despite this, lead researcher Professor Bent Flyvbjerg stressed that the difficulties in budgeting Olympics were shared by all host nations, commenting, “Unlike other major programmes such as bridges, airports, IT or engineering works, the Games are always a unique undertaking to that city. Of the thousands of people engaged to work on the programme, few of them will ever have been on a Games committee in the past.

“This means that they are highly reliant on the information from the International Olympic Committee (IOC) and the other host cities around the world. Whilst a significant amount of information is transferred, there is inevitably a gap in experience that means that the Games are always starting from scratch in certain areas.”

Researchers are confident, however, that the overrun will not significantly affect the quality of the Games, with Stewart commenting, “By all accounts, the London Games are on schedule, and given the early acknowledgement of the budget overrun, we do not believe that it is likely to affect the execution of the Games.”

She is also confident that the Games will not have a significant long-term impact on the economy, saying, “Fortunately, Britain has a large economy, so is relatively well placed to absorb this overrun. However, it will be important to recoup the planned legacy for the Games, for example in securing a tenant for the Olympic Stadium, to ensure that the costs do not increase through ongoing maintenance fees.”

The research is the first to document, in a consistent fashion, the costs and cost overruns for the Olympic Games from 1960 to 2012. The findings are based on a quantitative analysis of budget data from every summer and winter Olympic Games from 1960 to 2012.

Oxford unveils plaque for cricket star

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A plaque was unveiled at the Oxford University Pavilion in University Parks on Friday to celebrate the life and career of the Oxford and Indian cricketing legend Mansur Ali Khan Pataudi.

Mr Pataudi, known as the ‘Tiger Pataudi’, studied French and Arabic at Balliol College. Having captained Oxford and famously having scored centuries in each of the three Varsity matches he played in, he then went on to captain the Indian national side between 1961 and 1974.

His international career was nearly ended before it had even begun when he lost an eye in a car crash in 1961. Recovery saw him back in the nets learning to play with partial sight and he was able to lead Indian cricket for over a decade. The plaque was to celebrate the life and career of the ‘Tiger Pataudi’ who passed away last September at the age of 70.

Members of the Pataudi family in attendance were his widow Sharmila Tagore, eldest son Saif Ali Khan, a famous Bollywood actor, and his fiance Kareena Kapoor, daughters Saba Ali Khan and Soha Ali Khan and her partner Kunal Khemu. The family was welcomed by University Chancellor Lord Patten and Vice-Chancellor Professor Andrew Hamilton.

The University head of (Sport) Development Andrew Thomas said, “We were delighted to welcome such a prominent family from India with deep connections to Oxford and to share in the opportunity to honour Tiger Pataudi, one of our sporting legends.” 

The family of the Mr Pataudi had lunch at his former college Balliol and then went on to the Ashmolean, exploring the Indian collection. They finished their visit by watching the 160th match of the Harlequins, a club for Oxford cricketing alumni. 

Mr Thomas also commented, “The Pataudi family enjoyed the opportunity to walk around Oxford in relative anonymity, although at one stage a passing car came to an abrupt halt and a group of surprised and excited autograph hunters jumped out!”

Oxford extends support to all UK students

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Students will pay a minimum of £3,500 tuition fees in their first year, and £6,000 a year after that. Fee payments increase for those with household income above £16,000, with those earning over £25,000 paying the full £9,000 tuition fee.

Bursaries also range between £500 to £4,300 a year depending on household income and with extra funding in the first year of a degree. This adds up to a maximum of £22,400 financial support from Oxford during a three-year undergraduate degree.

However, maintenance funding for Scottish and Northern Irish students is still less than for the rest of the UK as it is distributed by local government. Whereas all UK students are eligible for tuition fee waivers and loans, maintenance grants and maintenance loans depend on the local student loan authority.

Most English students can claim a £5,500 maintenance loan annually, with an additional maintenance grant of up to £3,250 available, which is based on household income. Scottish and Irish maintenance grants and loans are income-based and are less generous than English support.

Oxford accepted 93 undergraduate students from Scotland and Northern Ireland in 2011, when 451 students applied.

An Oxford University spokeswoman, responding to allegations that Scottish students were getting unfairly generous financial support, said “Oxford will offer the most generous financial support in the country for low-income students from the UK from October 2012.’

‘This financial support is provided from Oxford’s own resources – not government money. Oxford’s financial support is automatic and based on income – the number of bursaries available is unlimited.’

‘So a Scottish student getting the package will categorically not take funding away from an English student. The same financial support package is available to all UK students (suggestions that we are running a separate inducement exclusively to Scottish students are completely incorrect).’

‘Oxford is committed to access and our message to all UK students is, ‘If you have the ability to study at Oxford, we’ll ensure money is no barrier.’ ”

Robert Kelly, a Scottish student from Lincoln, commented, “I think it’s a good thing as the numbers of Scottish students at Oxford are already very low, and Scottish students are facing the prospect of £27,000 of debt when you can get as good an education for free at some Scottish universities like St Andrews.

‘By offering this, Oxford should be able to encourage more students from poorer backgrounds to come as well.’

‘It is also a sign that they want more Scottish students as they clearly acknowledge that they are more intelligent.”

Nozstock calling

Could your band be the next Coldplay? Reckon you could put the Ox in Fleet Foxes? The Rad (-Cam) in Radiohead? If so, boutique Herefordshire festival Nozstock is launching a competition, PlayNoz, which will be music to your band’s collective ears.

The Nozstock team is offering a student band or artist the chance to play a slot at the festival which sees The Futureheads and The Proclaimers headline from 27th-29th July. It may not quite be Glasto, but based around a ramshackle Tudor farmhouse and converted cowsheds in the Herefordshire Hidden Valley, Nozstock is at the forefront of the kooky, home-spun tribe of festivals proudly scorning any corporate ethos and aiming to stay rooted to its ad hoc origins as a family and friends based affair. Now in its 14th year, it has previously seen acts as diverse as the Buzzcocks, the Joy Formidable, Sub Focus and Pulled Apart by Horses.

To be with a chance of winning, entrants must submit their best track (covers are not allowed) via the Nozstock SoundCloud DropBox by midnight 1st July 2012. Voting will be open midday Friday 6th July until midnight Sunday 15th July by way of Soundcloud ‘favourites’ and ‘likes’ (so basically beg, bribe or otherwise coerce your friends into voting). The Nozstock team will pick one of the most liked tracks from among the Soundcloud submissions to perform at the festival.

On a wider level, in a polarised music industry which has seen cuts in subsidies to independent music labels occur alongside the omnipresent spectacle of the X Factor, it seems low-level festival participation schemes such as this present a useful opportunity for struggling and unsigned bands to break through into the festival circuit. So if you fancy joining the scores of bands who hit the big time after forming in their university days (R.E.M, Coldplay, MGMT amongst other musical heavyweights) PlayNoz could well signify your lucky break. And if all else, it would probably beat the average lacklustre college JCR open-mic night…

More details on how to enter can be found on the competition entry page here http://bit.ly/McqjZ5.

 

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Review: Close the Coalhouse Door

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You can’t help but feel nostalgic while watching Close the Coalhouse Door. And it’s a nostalgia, I must admit, that I didn’t anticipate I’d feel when taking my seat in the Playhouse. It stems from the contrast between the then and now, and in particular, between the thriving mining community of back then and its disintegration into the nothingness of today.

The contrast between different strands of time is effectively realised in the very first scene, a scene which features an abandoned terrace and a glamorized billboard. It’s hard to ignore the penetrating gaze of Meryl Streep in her guise as the Iron Lady; the advertisement juts out incongrous to the dark, smoky red-brick terrace lying behind it. But this cardboard cut-out is the only reference we are offered as to Thatcher’s collision with the pitmen, which is a shame.

Streeps’s advertisement is just one of Lee Hall’s revisions, made in attempt to bring Plater’s 1968 show ‘up to date for its modern audience’. And although Hall includes many contemporary gags and witticisms, we are left with an overall feeling of incompleteness. The problem with this play isn’t in the acting, or in West’s directing, but lies in the vast historical gulf between the play’s publication and the events of today. No amount of impressive multi-roling or catchy folk anthems can detract from the absence of Thatcher. It’s an absence deafening in a play concerned with the history of mining, and is an absence which acutely dates the piece, despite Hall’s best efforts.

Nevertheless, there is something in the accelerated ride through mining history, set amongst a family gathering, which makes for satisfying, thought-provoking viewing. We are hurtled through time in a montage featuring the ghosts of mining past: from 1834 and the forced labour of six year olds, to the growing discontent of the mining union, to the between wars chaos- all pinned into place by the then ‘present day’ of 1968.

The Brechtian vein allows for a history lesson, satire, drama and musical to be fused together and cumulates into a piece of consistently entertaining theatre. Designer Soutra Gilmour’s revolving set cleverly allows for the duality of strained domestic drama and industrial stories to occur simultaneously, the strong cast in their element as they dynamically leap from one scene to the next. Jane Holman, the matriarch of the household, especially stands out by her comic timing and pompous performance as Lord Londonderry. The cast expertly weaves Alex Glasgow’s haunting folk songs into the drama, underscoring the loss of both the mining industry, and its corresponding community, a community of parlour music, tradition and strength.

After eighteen years since its first major revival, Lee’s punchy new material came at a good time, but I would have liked more of it. Bringing Close the Coalhouse Door up to date for a 21st century audience is a laborious task for any well-intentioned revivalist, especially since the mining industry wasn’t deemed as dying in the 60s so much as losing popularity. Despite the incongruity, generated from overlooked events, this production is a quality piece of theatre which celebrates the mining legacy. 

FOUR STARS

The sun always Riesers

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In an age where there are about as many internet DJs as there are remixes of Avicii’s ‘Levels’, it is always refreshing to witness a breakthrough DJ who seems to have found an original voice. Up and coming Austrian producer Tobias Rieser, producing under the name Klangkarussell, has generated a wave of popularity after his song ‘Sonnentanz’ went viral, being dubbed by many as the song of the summer.

The career of Rieser, who has been producing music since the age of 15, is in such an early stage that there is not yet a full EP released – only a couple of mixes on his Soundcloud page, one of which includes ‘Sonnentanz’ (‘Sun Dance’). Despite the reaction to the song being so widespread, with well over one and a half million views across different websites, Rieser told Cherwell that he ‘did not expect any reactions to the song at all.’

Having grown up in Salzburg, the home of Mozart, classical music has given a “wonderful influence” on the music of Rieser, who was born into a musical family, playing the trombone from an early age and learning from his father, a music teacher.

Klangkarussell’s music has been described by some as ‘deep house’, and by himself as ‘jazz house’ – but he says that “over the last few years it has become really difficult to talk about electronic music in terms of genres.

“There are some tracks you can easily connect to a genre, but I am proud of the fact that I would not try to assign my tracks to a special genre”. Although stating that his influences range from producers such as Marek Hemmann and Oliver Koletzki, to soul legends such as Otis Redding and James Brown, Rieser has stressed the need to have a diverse range of influences.

“You have to walk through the world with open eyes and ears and soak up everything and process it afterwards. There are beautiful tunes in every genre, you just need to listen carefully and sometimes hear music in the right context.”

How would Rieser recommend young DJs to manage to find an original, unique voice? “Just do what you want to do” he replies; “don’t think you need to follow any trends. Try to be an individual, and listen to your inner voice”.

Rieser was best friends in school with fellow Austrian producer Herald and I and who now, eight years on, is producing with Rieser under the name Helden:klang. “We are planning to release our first EP with ‘Sonnentanz’ and ‘Netzwerk’ [one of many popular Helden:klang collaborations] but we are not there yet”.

Dubbed as the next Paul Kalkbrenner, big things are expected of the man behind Klangkarussell.

The Enemy, Streets in the Sky review

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The Enemy have, with Streets in the Sky, delivered the best album of the recession so far. Although it’s hardly a surprise that The Enemy have continued to explore their favourite themes of urban depression and the difficulties of modern living, what is surprising is that they seem to be doing it almost on their own. Streets in the Sky is, therefore, a precious thing.

To compare Tom Clarke to Bruce Springsteen might at first seem a little odd, but there’s a real comparison to be made. Both write about struggling young men and women with startling emotional involvement, and with a deeply hopeful and romantic sensibility. The Enemy’s unashamedly British sound falsifies any further comparison, but Clarke’s faculty for empathy is unusual, and is worth taking entirely seriously.

It’s become unfashionable to write songs about reality, but The Enemy do it self-consciously, and they do it well. ‘2 Kids’ documents a depressingly common realisation that big dreams might have disappeared. ‘This Is Real’’s protagonist is poor, lonely, and struggling. But in both cases, there’s some hope. Tom Clarke’s characters haven’t quite given up yet, and they’re implored not to. ‘Love we don’t have much/But what we have’s enough/Just hold your head up/And we’ll be ok’. ‘Modern Life is Rubbish’, in some ways, but, as another football-terrace chorus notes, ‘Saturday will make it all ok’. Clarke’s characters always have something, and often someone, dragging them through. Streets in the Sky is an album, in many ways, about love.

Although, for those in The Enemy’s songs, and for those they’re written for, the build up of pressures entailed by urban life is near unbearable, there’s always hope to be found in human relationships: things are never as bad as they might be, and at the weekend they’re a hell of a lot better.

Oxford’s still got it

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Oxford. Infamous home of punting, Pimm’s, and pretentiousness. And it’s a home we’ve all come to know and love. Thousands of applicants voluntarily undertake the almost week-long agony of interviews, tests and talking to everyone under the sun, and it’s not just because they get a free (all-inclusive) holiday in the process.

The place has appeal – and it’s certainly not its position in the ‘University sex league table’ (51, to save you having to Google it). Well, we can’t tick all the boxes. But It did turn twenty-six ordinary scholars into Prime Ministers. It turned Rowan Atkinson into Mr Bean. It gave Harry Potter a home. What more could you want?

Of course, being a member of one of the oldest universities in the world means that we are able to grab every opportunity we can to drop it into a conversation that is undoubtedly not at all related. Although this inevitably results in an awkward silence, a nervous giggle and a glare of malicious hatred, we carry on. Let’s face it; having someone on the other side of the world fall at your feet because you mention the O-word (and I’m talking Oxford) is worth a scowl or two.

If that wasn’t enough, we’ve got a whole load of ridiculous traditions that we happily embrace and that allow us to pretend we’re something of a different species from the rest of the world. Anyone wanting to imagine they’re a) in the 1600s, b) in a novel or c) just (obviously) very cool, can quite easily do so as they slip on their sub-fusc and settle down for a formal in hall, the likes of which can only be found in fairy-tales, cartoons and… well, Cambridge. It might be a far cry from real life but we can wrap ourselves in a little Oxford bubble and happily bob along until the fateful day of graduation where we’re inevitably going to be forced out of our comfort zone and into the Big Wide World.

Until then, we can carry on basking in the bottomless pit of oddities particular to Oxford.Take sconcing; nowhere else will you find anyone that uses a word dating back to 1617 to tell twenty other people who your friend slept with last night, and nowhere else will you find that happening on a “crew date”. Say either of those words to anyone that doesn’t go to Oxford and you’ll find yourself babbling on for a good couple of hours trying to make it sound good (or at least relatively normal), miserably failing, and realising that you really are at a very strange institution indeed. But that’s hardly going to stop us.

Add to that all the other made-up words we find ourselves using (pidge, tute, rustication, matriculation, and probably a whole host of other equally dodgy-sounding words), and you could pretty much fill up an Oxford English Dictionary (ironic). You can guarantee that any conversation you overhear from a fellow student will contain at least one of the above listed words, and if you’re lucky might even combine them in a sentence such as “Kept getting sconced at a crew date last night, got fined for wearing sub fusc out. 9am tute was horrific, might have to rusticate because I’m always pidging my essays late”. What language is this? No-one has any idea, but it made us want to come here.

Then there’s the fact that we can imitate Brideshead and lie around on the lawns living the high life (well, we could if it wasn’t forbidden to step on the stuff). We can go punting on a daily basis (largely because there’s nothing else to do) and witness our friends gracelessly falling in the water, empty bottle of Pimm’s shamelessly in hand and dignity floating along the river Cherwell like a washed up whale.

When we’re not doing that, we can request Bod books from the strange concept of ‘stacks’, in an attempt to look studious and fulfil the expectations the world has of us (not really understanding what a ‘stack’ is, however, I think I might let them down).

Aside from all of that, Oxford is a place full of impressive architecture, extraordinary opportunities and extravagant balls, and although we might take it for granted as we sit in its “dreaming spires” at 4 o’clock in the morning desperately searching for something to say in a miserably dying essay, it really is an amazing place to be.

Even those early morning essay crises are part of the appeal, however; people are drawn to the place for its unceasingly fast pace. The work hard, play hard ethic means every term is intense, nothing is done in halves. We learn how to argue a case whilst still hung-over from the night before, to blag our way through tutes still bleary-eyed, and to get used to being ill 24/7 without mummy there to nurse us with Calpol. To summarise, we learn to balance a stressful life with a social one, all whilst dressing up in strange clothes on a worryingly regular basis and imagining we’re in some sort of hedonistic 19th century novel. If all that wasn’t enough, we’ve got Hassan’s, horrendously cheesy clubs, and a hardcore (mature) raver that’s out on the town every night and that’s always there with a cheery smile to greet your drunken declarations of undying love for the legend he is…

Review: Wagamama summer menu

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One of the perks of being a student journalist, and a reward for trawling through countless pointless press releases (review a hacky sack anyone?), is that you get the opportunity to review great stuff for free. So naturally I jumped at the chance to try Wagamama’s new summer menu, roping in some friends to sample the seasonal fare.

Wagamama is some of my favourite Asian food this side of the Urals, but with mains priced upwards of £7 it’s not everyday student food (though pretty good value compared to a lot of restaurants). It is at the top of my treats list though, and the new summer menu has definitely kept it there.

In between supping on the free green tea that Wagamama doles out, we tried the new fruit juices – Orange Berry Bang, with orange juice, berries and passion fruit, and apple, mint, celery and lime juice, the latter an odd-looking combination that is surprisingly tasty. Both were refreshing and delicious, with the added bonus of feeling that you were topping up on your vitamins, something that a late-night McDonalds just can’t quite match. 

Next up were the side dishes – Chicken, Beef and Lollipop Prawn Kushiyaki, all variations on mini kebabs. The first two were covered in generous dollops of a sweet, sticky soy sauce, and out of the two my vote went to the succulent barbecued beef over the chicken meatballs. The universal favourite, though, were the juicy lollipop prawns, with all of us giving the thumbs up to the garlicky, lemony, limey goodness.

Mains-wise, the intringuingly-named Firecracker was unfortunately sold out when we dined in Oxford, so all of us opted for the Yasai Pad Thai, save for one whose nut allergy meant that she had to choose the Chop Salad. The salad was healthy and tastily-dressed, and was given bonus points on the grounds that it had avocados in – ‘My favourite thing in the world that I can’t afford.’

The rest of us agreed that while the Pad Thai portions were very generous it could have done with a bit less spice and a bit more marinated tofu. I’m no Pad Thai purist, despite it being one of my favourite foods, but the Wagamama version could have done with a bit more of the traditional sticky sauce. Minor gripes aside though, we all agreed that the food lived up to Wagamama’s tastily high standards. 

The staff were also lovely and attentive, despite being rushed off their feet on Bank Holiday weekend, which made up for having to wait for a table outside (thankfully it wasn’t raining). The long tables, presumably meant to ape a traditional Asian diner, are not the best place for an intimate romantic dinner, but otherwise the noise and closeness of the fellow diners doesn’t detract from the dining experience. 

So all round worth stretching the student loan for if you’re still in Oxford, and definitely one to let the parents treat you to if you’re already lucky enough to be back in the safe embrace of the family credit cards.

Scientists claim to find bones of John the Baptist

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When Bulgarian archaeologists argued that bones found in a reliquary in a monastery on Sveti Ivan Island were those of John the Baptist, their claims were met with scepticism. However, recent testing has suggested that their claims may be true.

A carbon dating undertaken by Oxford professors on the right hand knuckle bone has dated the relics to the first century AD, the time when John the Baptist lived.

A DNA test carried out by the University of Copenhagen indicated that the bones belonged to a single person, probably a man of Middle Eastern ethnicity, findings that correlate with the historical John’s profile.

Though the findings are not conclusive, they do not refute the suggestion made by the archaeologists who discovered the bones.

Bulgarian archaeologists had found a small box made of hardened volcanic ash close to the sarcophagus during excavations under the church.

The box bore inscriptions in ancient Greek that referred to John the Baptist and the date that Christians celebrate his birth, June 24.

Many other religious foundations around the world claim to possess relics of the saint. The right hand, a particularly important relic as it was with that hand the St John baptised Christ, is claimed to be held by many monasteries including a Serbian Orthodox monastery in Montenegro.

Oxford Professor Tom Higham, who led the study, expressed surprise at the early date of the bones. He commented “We had suspected that the bones may have been more recent than this, perhaps from the third or fourth centuries. The result from the metacarpal hand bone is clearly consistent with someone who lived in the early first century AD,’

He continued: ‘Whether that person is John the Baptist is a question that we cannot yet definitely answer and probably never will.’

Dr Hannes Schroeder, from the University of Copenhagen, echoed this note of caution, adding “Of course, this does not prove that these were the remains of John the Baptist but nor does it refute that theory.”

The findings of another Oxford researcher, Christopher Ramsey, using historical documents, suggest that the monastery of Sveti Ivan may have received a portion of John the Baptist’s relics in the fifth or early sixth centuries.

John the Baptist, the namesake of St John’s College, is an important figure in the Gospels, foretelling the coming of Christ, before his eventual beheading by King Herod.