Tuesday, April 29, 2025
Blog Page 1777

Playing the beautiful game

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Elegantly clad in a cocoa-brown dress, with foxy red hair and subtle make-up, it is clear that Dr Catherine Hakim is a woman ‘bien coiffée’. This is probably necessary for the research fellow, who has just published a book called Honey Money: The Power of Erotic Capital. Hakim claims that her idea of erotic capital is completely new. She defines it as a broad combination of ‘beauty, sex appeal, skills of self-presentation and social skills.’ This weapon is more potent for women because there is a male sex deficit. In plain English, men at all stages of their lives want sex much more than women and value looks more highly when selecting a partner. The fairer sex should scrap any silly ideas that beauty is superficial and worthless, and proudly exploit this valuable bargaining tool in all areas of life, be it the workplace, public life or at home.

The criticism of Hakim’s main theory has fallen into two opposing camps: either, she is stating the bleeding obvious – we all know that looks are important; or, her ideas are worryingly passé, proposing a return to the era of our grandparents, where women were admired for their lustrous hair and hour-glass physique, rather than for their brains. The argument of the latter slightly undermines that of the former. Maybe there is a point to calling a spade a spade.

The predominantly female critics, taking the moral high ground, have missed the point. Clearly beauty has economic and social value. As Hakim tells me over lunch, nonchalantly spearing vegetables with her fork: ‘This is the way the world works. Saying the world should be a different place cannot be a starting point. I want to give women an edge in any way possible to readdress the power balance.’

Hakim seems to have anticipated the two main rebukes when she argues that Feminism splits into two groups, those that value erotic capital and those that value human capital (one’seducation and career). It is true that women are not encouraged to aspire to both in Britain, unlike for instance, our friends across the Channel. ‘Here, the only message you ever get is that beauty is skin-deep, shallow, superficial,’ she says bitterly. This book isn’t a how-to-guide on how to work those womanly wiles. Hakim is calling for an attitude change.

So does she call herself a feminist? ‘Yes, of course.’ This response may surprise some readers, because, in many ways, Honey Money goes to show that Feminism has become a dirty word. In one of many sweeping generalisations, she writes ‘Feminists argue that there is no real distinction between marriage and prostitution.’ The crusade against Feminists makes you wonder for whom Hakim is actually writing. ‘Everyone’, she insists, ‘both men and women.’

Unfortunately, Hakim’s views on the Feminists are frankly conservative compared to those on prostitution, which she showcases as a stellar example where the financial value of erotic capital can reach its full potential. She celebrates the economic and psychological benefits of prostitution for the workers, completely downplaying the problem of security and trafficking. For Hakim, these girls are empowered, not exploited. Anyone who disagrees is brainwashed by a patriarchal society, which stigmatises selling sex.

The book seems to openly encourage young female students to turn to the sex industry to help fund their tuition fees: ‘the preponderance of university students and graduates among these women is strong evidence that beauty and brains are often combined and work together.’ Prostitution is the smart option for the average female student, didn’t you know?

Hakim prefers to refer to call-girls as ‘party girls’, as if to insinuate that girls who do not prostitute themselves are not as adventurous as girls who do. ‘But they are fun girls!’ she gushes breathlessly. She’s piqued my curiosity. Has she spoken to anyone working in the sex industry? ‘No’. Did she not consider that to be an important part of her research? ‘I just relied primarily on the literature – that way someone else has done the work.’ Then how can she know what it is like to work as an escort? ‘I just know,’ she repeats several times. I sincerely hope she isn’t toying with romantic ideas that call-girls are all ‘party girls’ based on Holly Golightly from Breakfast at Tiffany’s, who is presented as an iconic example in her book.

Given Hakim is urging women to adopt a more ruthless, business-like approach to their erotic capital, I ask if she thinks women should behave more like men. ‘Yes, women should be more professional, and professionalism is more like the way men behave. Men are rational and practical. You can always do business with a man. Women treat each other so badly in the workplace. They have no team spirit!” It seems fair to say that we do have something to learn from the other sex.

We move on to a discussion of the reviews published on her book so far. It is clear that this is a sensitive subject, especially owing to one Guardian article. ‘No man would write that kind of article, ever. No matter how much they disagree with you, they wouldn’t bring emotion in. Women find it easier to attack another woman than attack a man.’ In agreement, I point out that in the storm of the Dominique Strauss-Kahn trial, British journalists took greater pleasure in criticising Anne Sinclair’s decision to stand by her man than her husband’s peccadillos.

In Money Honey, Hakim bombards the reader with numerous statistics illustrating how common it is for men to commit adultery. So I ask if this is another instance where we should accept the world as it is. ‘I am a social scientist. I am not concerned with morality.’ I don’t mean in terms of morality, I say, but rather in terms of bringing about the greatest happiness. Eventually, after a hesitant pause, Hakim replies, ‘women should turn a blind eye’.

As I leave the LSE, I find myself unsure what to make of Hakim and her book. I can’t help but wonder if she was merely implementing her erotic capital philosophy when she laughed so excessively at a borderline-funny tale. Her aggressive, bolshie  style of writing undermines the thought-provoking parts. Her theory of erotic capital was first advanced in an article published last year in the European Sociological Review and I found myself wondering how the two would compare. As suspected, everything in the 248-page book can be found in the 20-page article, written in a far more neutral and less irritating manner. I would recommend reading that instead.

Do you like plays? They do

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How many people can claim to have set up a business at our age? Not so many. Most of us graduate and moan about the lack of employers champing at the bit to take us on.Yet the former is exactly what recent English graduates Imogen Sarre and Olivia Edwards have done; and the latter may happen all the less because of it

How many people can claim to
have set up a business at our age?
Not so many. Most of us graduate
and moan about the lack of employers
champing at the bit to take us on.
Yet the former is exactly what recent
English graduates Imogen Sarre and
Olivia Edwards have done; and the
latter may happen all the less because
of it.
Following the massive success of
their first venture, Oxford Theatre
Review (OTR) – which has firmly established
itself as an integral part of
the Oxford drama scene since its inception
in 2008 – the pair launched
Ed Fringe Review (EFR) this year at
the Edinburgh Fringe Festival. Based
on the same model as OTR, 44 lucky
representatives from the universities
of Oxford, Cambridge, Durham
and Bristol were invited to attend
and appraise any and all student
and Free Fringe shows across the festival
in August. Two student reviewers
were sent to each production on
the company quest to ‘find the real
Fringe’.
So well conceived and presented
was the business plan that these
innovative young ladies cooked up,
they secured corporate sponsorship
from RBS (the overall sponsors
of the Fringe itself), who are largely
to thank for the bright red jumpers
that quickly began to attract attention
across the city and became the
hallmark of the Ed Fringe Review
brand.
Indicators of the company’s success
this August are the statistics
that show that over 250 amateur
productions were reviewed twice
over, with over 70,000 page views
counter from over 15,000 visits to
the website over the three-week period.
In fact, such was the popularity
of the site that it couldn’t quite
handle the hits, suffering two days’
worth of downtime, its only glitch.
The winning formula led to much
needed media attention and critical
reception for many under-publicised
shows. Who knows how many
young stars are now in the ascendant,
rescued from obscurity by EFR
coverage? It certainly goes some way
towards providing relief from unemployment
– but that’s not all. Writing
for the team offers participants the
chance to showcase a palpable body
of work, with each user to be assigned
their own profile page containing
links to past contributions.
Reviewers are able to demonstrate
their writing skills and commitment,
controlling their own image
and making a name for themselves.
The question is, what’s next for the
team? Phoning from a Cambridgebound
car with Olivia, Imogen confirms
that replica site of OTR are being
launched simultaneously in the
EFR team’s constituent university
towns, providing a national framework
of student reviewing which
aims to enable many more to develop
skills and encourage dramatic
debate.
After Cambridge, they’ll be heading
north to Durham and then back
down to Bristol, all the while crashing
with various friends on their
mission (to which they’re dedicating
a solid year of their lives).
An interactive community will see
liaisons between branches, beginning
with an inter-university radio
script competition. The hope is that
ideas, traditions and practices will
migrate, each environment offering
something new. Oxford’s Cuppers
may see itself spread, while Cambridge’s
centralised ADC location
(with bar) may attract more covetous
attention. Durham could particularly
benefit, with untold numbers
of wonderful College performance
spaces unknown to people not from
that particular one, while info on
Bristol’s productions – usually limited
to the drama faculty – will be
better advertised.
The response to my one critical
question – how can inclusiveness
and accessibility be paramount
when they’re setting up shop in arguably
the most elite, privileged
universities in the country? – is honest
and considered; “A lot of universities
could learn from how well developed
[these ones] are.[They] need
to learn how it’s done well first.”
Spreading even further is most definitely
not off the cards, then, for this
ambitious duo.
Will the enterprise take off? Will
the Directors’ friendship last the
test? I hope so – we’ll have to wait
and see. One thing’s for sure: this
writer will be proudly sporting his
kitsch red jumper for some time to
come.
For more information on the
company, or to sign up, head over to
www.oxfordtheatrereview.com

   Following the massive success of their first venture, Oxford Theatre Review (OTR) – which has firmly established itself as an integral part of the Oxford drama scene since its inception in 2008 – the pair launched Ed Fringe Review (EFR) this year at the Edinburgh Fringe Festival. Based on the same model as OTR, 44 lucky representatives from the universities of Oxford, Cambridge, Durham and Bristol were invited to attend and appraise any and all student and Free Fringe shows across the festival in August. Two student reviewers were sent to each production on the company quest to ‘find the real Fringe’.

   So well conceived and presented was the business plan that these innovative young ladies cooked up, they secured corporate sponsorship from RBS (the overall sponsors of the Fringe itself), who are largely to thank for the bright red jumpers that quickly began to attract attention across the city and became the hallmark of the Ed Fringe Review brand.

   Indicators of the company’s success this August are the statistics that show that over 250 amateur productions were reviewed twice over, with over 70,000 page views counted from over 15,000 visits to the website over the three-week period. In fact, such was the popularity of the site that it couldn’t quite handle the hits, suffering two days’ worth of downtime, its only glitch.

   The winning formula led to much-needed media attention and critical reception for many under-publicised shows. Who knows how many young stars are now in the ascendant, rescued from obscurity by EFR coverage? It certainly goes some way towards providing relief from unemployment – but that’s not all. Writing for the team offers participants the chance to showcase a palpable body of work, with each user to be assigned their own profile page containing links to past contributions. Reviewers are able to demonstrate their writing skills and commitment, controlling their own image and making a name for themselves.

   The question is, what’s next for the team? Phoning from a Cambridge-bound car with Olivia, Imogen confirms that replica sites of OTR are being launched simultaneously in the EFR team’s constituent university towns, providing a national framework of student reviewing which aims to enable many more to develop skills and encourage dramatic debate.

   After Cambridge, they’ll be heading north to Durham and then back down to Bristol, all the while crashing with various friends on their mission (to which they’re dedicating a solid year of their lives). An interactive community will see liaisons between branches, beginning with an inter-university radio script competition. The hope is that ideas, traditions and practices will migrate, each environment offering something new. Oxford’s Cuppers may see itself spread, while Cambridge’s centralised ADC location (with bar) may attract more covetous attention. Durham could particularly benefit, with untold numbers of wonderful College performance spaces unknown to people not from that particular one, while info on Bristol’s productions – usually limited to the drama faculty – will be better advertised.

   The response to my one critical question – how can inclusiveness and accessibility be paramount when they’re setting up shop in arguably the most elite, privileged universities in the country? – is honest and considered; “A lot of universities could learn from how well developed [these ones] are.[They] need to learn how it’s done well first.” Spreading even further is most definitely not off the cards, then, for this ambitious duo.

   Will the enterprise take off? Will the Directors’ friendship last the test? I hope so – we’ll have to wait and see. One thing’s for sure: this writer will be proudly sporting his kitsch red jumper for some time to come.

For more information on thecompany, or to sign up, head over to www.oxfordtheatrereview.com or www.edfringereview.com

Going Wilde for Dorian

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 Adapted from a new text which includes some sections originally censored for excessively homosexual undertones, this exciting new version of Oscar Wilde’s The Picture of Dorian Grayis a noble effort to transfer this most beguiling of novels onto the stage, recalling, intentionally or not, Shakespeare, Greek tragedy, the problems of ageing female BBC presenters and, of course, the whole question of censorship in literature. One of the characters remarks that ‘it’s bad for morals to see wooden acting’, and – thankfully for the actor who gives this hostage to fortune – there is little woodenness in evidence in Dorian.

dapted from a new text which
includes some sections originally
censored for excessively
homosexual undertones, this exciting
new version of Oscar Wilde’s The
Picture of Dorian Gray is a noble effort
to transfer this most beguiling
of novels onto the stage, recalling,
intentionally or not, Shakespeare,
Greek tragedy, the problems of ageing
female BBC presenters and, of
course, the whole question of censorship
in literature. One of the
characters remarks that ‘it’s bad for
morals to see wooden acting’, and
thankfully for the actor who gives
this hostage to fortune, there is little
woodenness in evidence in Dorian.
From the scenes previewed, particularly
engaging were those featuring
Jordan Waller as Lord Henry Wotton
and Jamie McDonagh’s Dorian. In the
first scene, Lord Henry appears overbearingly
camp and creepy yet strikingly
erudite, a deeply unsettling
combination, while Dorian is naive,
simultaneously wooed by and wooing
the visiting aristocrat. Waller’s
Wotton is probably the strongest
performance (although not everyone
had as much stage time in the
preview, so comparisons are probably
a little unfair). The ‘dichotomous’
character of Lord Henry, as Jordan
put it, requires a hugely impressive
emotional range, which he deploys
with aplomb. Ziad Samaha as the Picture
handles very effectively a daunting
role with involves having ‘lots to
do and nothing at all’, a hurdle overcome
through what we are starting
to recognise as the textbook Samaha
combination of smouldering looks
and an air of dismissive superiority
over everyone in the room. It is
a compelling performance that can
only be enhanced by his being surrounded
by a huge frame and shorn
into the likeness of McDonagh.
There were a few tantalising vignettes
featuring the scene-stealing
chorus, a tragedy-inspired innovation
of Lucinda Dawkins and Adam
Scott-Taylor, the directors and adapters,
used to cover the huge chunks of
dialogue-free prose in Wilde’s text.
Sybil Vane’s (Nouran Koriem) intentional
impression of a bad actress in
the second scene I saw was very convincing,
although unfortunately the
subsequent encounter between her
and Dorian had the capacity to send
the real audience into the same embarrassing
slumber affected by the
chorus on stage: by next week there
will need to be much more life in her
perhaps overly-long speech to match
the energy and pace of McDonagh’s
Dorian.
Chatting to the set designer afterwards,
it was clear that she and her
team have put in a huge amount of
work to meet the whims of directors
Lucinda and Adam: from what they
described, it sounds like it could be
a great sight, full of the opulent, garish
vividity that one would expect
from Wilde, draped in velvet and
floored in marble. I am looking forward
to seeing it!
Dorian wasn’t perfect, but it was
an engaging and exciting production,
striking the right balance of
high drama, emotional engagement,
homoerotic flirting and entrancing
looks from the male leads. It looks
set to draw in a big crowd

   From the scenes previewed, particularly engaging were those featuring Jordan Waller as Lord Henry Wotton and Jamie MacDonagh’s Dorian. In the first scene, Lord Henry appears overbearingly camp and creepy yet strikingly erudite, a deeply unsettling combination, while Dorian is naive, simultaneously wooed by and wooing the visiting aristocrat. Waller’s Wotton is probably the strongest performance (although not everyone had as much stage time in the preview, so comparisons are probably a little unfair). The ‘dichotomous’ character of Lord Henry, as Jordan put it, requires a hugely impressive emotional range, which he deploys with aplomb. Ziad Samaha as the Picture handles very effectively a daunting role with the epigram of having ‘lots to do and nothing at all’, a hurdle overcome through what we are starting to recognise as the textbook Samaha combination of smouldering looks and an air of dismissive superiority over everyone in the room. It is a compelling performance that can only be enhanced by his being surrounded by a huge frame and shorn into the likeness of McDonagh.

   There were a few tantalising vignettes featuring the scene-stealing chorus, a tragedy-inspired innovation of Lucinda Dawkins and Adam Scott-Taylor, the directors and adapters, used to cover the huge chunks of dialogue-free prose in Wilde’s text. Sybil Vane’s (Nouran Koriem) intentional impression of a bad actress in the second scene I saw was very convincing, although unfortunately the subsequent encounter between her and Dorian had the capacity to send the real audience into the same embarrassing slumber affected by the chorus on stage: by next week ther ewill need to be much more life in her perhaps overly-long speech to match the energy and pace of MacDonagh’s Dorian.

   Chatting to the set designer afterwards,it was clear that she and her team have put in a huge amount of work to meet the whims of directors Lucinda and Adam: from what they described, it sounds like it could be a great sight, full of the opulent, garish vividity that one would expect from Wilde, draped in velvet and floored in marble. I am looking forward to seeing it! Dorian wasn’t perfect, but it was an engaging and exciting production, striking the right balance of high drama, emotional engagement, homoerotic flirting and entrancing looks from the male leads. It looks set to draw in a big crowd at the Playhouse in 2nd week.

 

3.5 stars

Oxford Playhouse, 19:30 Wed-Sat 2nd Week

Cherwell Music presents Mixer: Oxford Blues

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Okay, it’s not London or Liverpool – in fact, it’s not even Sheffield – but for a fairly small city Oxford has a lot to offer to any music fans willing to keep their ears open. As [2010]’s documentary Anyone Can Play Guitar showed by tracing the city’s recent musical history, Oxford has given the world some pretty major names in contemporary music. But the city has recently been home, too, to a new and thriving music scene, an Oxford Movement for the 2010s, which has started to attract media attention from around the world. This week Mixer presents some of the best bands to come out of Oxford in the last twenty years, and the local acts you should be keeping an eye on for the future.

Ride – OX4

It’s a seven-minute shoegaze masterpiece, and it’s named after the postcode for East Oxford – what more could you possibly want from a local band? Ride may very well be the archetypal ‘dreaming spires’ group, and if you want to know why, climb up your nearest bell-tower, listen to this sublime, soaring track off 1992’s Going Blank Again, and look at the Oxford skyline of an evening. You’re welcome. 

Radiohead – You

Radiohead are probably Oxford’s most famous musical export, and still call the city home – keep an eye out for Thom Yorke in the Botanical Gardens. This standout track from Radiohead’s 1993 debut Pablo Honey – back when Radiohead still, y’know, wrote songs – anticipates their later taste for rhythmic deviancy and unusual time signatures, but first and foremost it’s a straight-up alt-rock anthem. Better than ‘Creep’? Quite possibly.

Fixers – Crystals

Ecstatically mingling indie, electronica, and surf-pop, Fixers are a fast-rising pivot of the current Oxford scene, and ‘Crystals’ (from the intriguingly titled Here Comes 2001 So Let’s All Head For The Sun EP) is a pitch-perfect slab of psychedelic pop with a dancing beat – Oxford’s answer to Animal Collective.

Jonquil – It Never Rains

Another gorgeous Afrobeat track from Jonquil, founded by the rather prolific Hugo Manuel (alias Chad Valley). Cherwell called their recent single ‘Mexico’ ‘a sparkling mix of jangling guitars, horns and keyboards’, but Jonquil themselves prefer ‘Paul Simon’s take on The Smiths’.

Spring Offensive – A Stutter and A Start

Okay, Spring Offensive may sound a little dated, stuck in the mid-2000s indie rock vein of The Maccabees or early Bombay Bicycle Club. But ‘A Stutter and A Start’ is redeemed both by the innovatively jittery percussion underpinning the whole thing, and by the occasional burst of beautiful Midlake-style vocal harmony. More of this sort of thing, and they could turn into something very impressive indeed.

We Aeronauts – Chalon Valley House Band

This track has its origin in a band holiday to the French countryside, and it shows: indie-folk boy-girl melodies and retro organs jostle against lyrics about ‘blue sky, burnt shoulders, and bicycle rides’. It’s beautiful, downbeat, and (we imagine) very, very good for road trips. Go and see the eight-piece We Aeronauts at the Oxjam Oxford Takeover this weekend – you won’t be disappointed.

Pet Moon – Ganger

Pet Moon is the new project from Andrew Mears, formerly of Youthmovies (and, briefly, Foals). Even without that Oxford indie-cred to back him up, ‘Ganger’ would be impressive: minimalist, downbeat, but oddly funky, it sounds at times almost like Prince (yes, really). Insidious synths and loops slowly creep into what starts out as a lonely folk song. Chilling and brilliant.

Trophy Wife – Canopy Shade

The menacing, dub-inflected ‘Wolf’ crept onto our September Mixer, but this jittering electronic track – also off the recent Bruxism EP – shows further promise for Trophy Wife. The band also to be found collaborating with a number of other local artists in the Oxford supergroup Blessing Force, and drinking in The Star on Rectory Road, East Oxford. (The garden makes it worth a visit even if you’re not trying to spot obscure musicians.)

Youthmovies – Magic Diamond

The truly one-of-a-kind Youthmovies formed in 2002, and ‘Magic Diamond’ shows the difficulty of pinning their sound down, shifting as it does from indie-folk to noise-rock to prog to post-rock with consummate ease. Last year saw their final tour, but new material from various former members points to a bright future.

Chad Valley – Now That I’m Real (How Does It Feel?) feat. Rose Dagul

Chad Valley is trying, as Cherwell recently discovered, to back away from the American chillwave scene. You’d think that would be fairly easy for Hugo Manuel, because he’s Oxford born and bred (his parents run a paint shop on Cowley Road), but his Equatorial Ultravox EP showed clear affinities with the likes of Washed Out. This track off the EP, however, shows that the real difference between Chad Valley and his American counterparts is Manuel’s talent for pop composition. 

Talulah Gosh – Steaming Train

Talulah Gosh are the twee-est of the twee, the band who were just too C86 for C86. They later evolved into the more sophisticated Heavenly, but their earlier frenetic jumble is best delivered in small doses. Conveniently, this particular track comes in at under two minutes of shambolic joy. Listen loud.

Foals – Two Steps, Twice

Fact: Two of Foals’ founder members dropped out of St. John’s College to devote themselves to Foals full-time. On this track off 2008’s Antidotes, indie rock gets acquainted with classical minimalism as layer joins layer of simple guitar riffs (Foals were famous early on for rarely straying below the twelfth fret), pounding drums and mantric lyrics. 

Swervedriver – Never Lose That Feeling

Oxford’s answer to The Smashing Pumpkins started making an agreeable racket in the early ‘90s as part of what was then called ‘The Thames Valley Scene’, and are still at it twenty years later. Ignore the fact that they looked rubbish: ‘Never Lose That Feeling’ is up there with the best that shoegaze has to offer. 

An abridged version of Mixer: Oxford Blues is also available on Spotify – click here to load the playlist. For more information on Anyone Can Play Guitar and Oxford music 1980-2010, visit www.acpgthemovie.com.

Storm Chasing and Story Breaking

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“Thank you, I’m hoping the storm’s going to come right through here.”

Thank you, I’m hoping the storm’s going to come right through here.”
I had just wished Robert Moore, ITN’s correspondent in Washington, good luck, as Hurricane Irene prepared to wreak havoc up the East Coast of the United States at the end of August. While he was advising me to sit tight in Canada, Moore was hot-footing it up to Manhattan in the hope that he would be right in the destructive path of the hurricane. Chasing storms, both real and metaphorical, is an everyday occurrence for a foreign correspondent.
And Moore has been in the path of many a news storm, reporting from the USSR, Middle East, Europe and Rwanda, in a career spanning more than 25 years. From the “totally negative story” of the Israel-Palestine conflict, to checking into a flight to Italy in pyjamas at 6.30am to cover the earthquake two years ago, there does not seem to be a typical day in the life of a foreign correspondent. Moore has had to watch, helpless, while the genocide in Rwanda unfolded around him, and been in the front row for the “train crash in slow motion” that was the Bush presidency. Though the expression is certainly cliched, it is undeniable that the charming, well-spoken Oxford graduate has ‘seen it all’.
While at Oxford, Moore edited Cherwell in 1984, with a team that included David Lappard and Christina Lam, respectively Chief Investigations Editor and Washington Correspondent at The Times, and Mike Germey, Head of News at ITV. Although they reported on Thatcher being rejected for an honorary PhD, we laughed as we agreed that student journalism hadn’t really changed much. Moore recounted that most of their content was “pretty second rate news – academic gossip and student debauchery”. In his final year, Moore also set up Oxford News Agency with friends, selling profiles of Rhodes Scholars to their local papers. 
After graduating in PPE from Exeter college, Moore joined ITV as a “News Trainee”, writing news links in the London office for a couple of years. He was then sent to Moscow in 1988, as a producer, and it was here that he got his big break.
As the Soviet Union and communism were beginning to crumble, the Russians “decided to return the favour” to the British, who had just expelled some Soviet spies. “Thanks to the KGB, when they kicked the correspondent out as an MI6 spy on cooked up charges, they wouldn’t let ITN replace him”, Moore told me. “So I had to step in.”
Moore describes being thrown in at the deep end, to report on the collapse of the USSR, as “an unpredictable roller coaster ride.” At the start of his four years in Russia, the foreign reporters were aware that something was going on, but no one was quite sure what. As Moore put it, “cracks were appearing. It was going to crack, but we didn’t know where or how.”
Although the reporters were unaware that they were observing a society on the brink of collapse, it was clear that this was a system with fundamental flaws.  “They ran out of tobacco in the USSR for about a month. No cigarettes in the whole of Russia. For the addicts it was a nightmare – every morning we used to film fights outside the tobacco kiosks.”
With the privilege of the front row seat that he was given to the most significant political event of the end of the 20th century, Moore is aware that it gave him a once in a lifetime opportunity to make his name as a journalist.
“I like to say I was the first person to predict the failure of the coup against Gorbachev. I looked outside my window and there was a column of rebel tanks heading to the Kremlin to seize power. And the light went red and they clunked to a halt. Obeying traffic laws – a perfect symbol of how these guys weren’t ruthless enough to take power.”
A stroke of luck, considering that Moore had returned from London the night before, yet  his report made that evening’s broadcast. Though Moore admits that there is a “huge amount of luck” involved in news reporting, he emphasised the importance of making your own luck, of working the unpopular shifts and of following your instincts.
I asked Moore whether he believed that the way news is reported has changed, and is still changing, with the explosion of online journalism, and of social media outlets such as Facebook and Twitter. Though he admitted that the platforms have changed somewhat, he was adamant that the fundamentals have remained the same.
“People wake up and want to know what has happened.  The skills of storytelling and news gathering, the basics, have stayed exactly the same. People want a compelling story; they want to know how it affects them personally.”
Having often heard people complaining about television news – that it never has anything positive to say, that it exploits personal sorrows for a story – I put it to Moore that putting a sobbing relative, for example, into a broadcast was pandering too much to basic emotions.  “It’s all part of good storytelling”, he replied. And watching the ITN team put together ‘10 Years On’ broadcasts, for the week leading up to the 10th anniversary of 9/11, I had to admit that he was right.
The flood of images that made up the broadcasts – the huge towers crumbling to the ground, the New Yorkers stumbling blindly through the ash clouds, the mother taking her children to put flowers on their father’s grave in Section 60 of Arlington Cemetery, reserved for soldiers killed in Iraq and Afghanistan – did bring a lump to my throat and tears pricking at the corners of my eyes. Having been only ten years old when the planes crashed into the twin towers on September 11th 2001, I had never fully felt the emotional impact of what had happened that day. Yet for those who are old enough to appreciate the enormity of events, the images you see and the voices that you hear on the news will be the lasting memories of days that change the world.
I wondered if  Moore was ever relieved when there was no news, and he smiled knowingly. “If we’re honest we all like the adrenaline of a big breaking news story – we’re not all saints”, he laughed. And Moore is clear that while he’s “got the chance”, he’s going to keep reporting from the front line, doing what he described as “the best profession in the world”.

I had just wished Robert Moore, ITN’s correspondent in Washington, good luck, as Hurricane Irene prepared to wreak havoc up the East Coast of the United States at the end of August.

While he was advising me to sit tight in Canada, Moore was hot-footing it up to Manhattan in the hope that he would be right in the destructive path of the hurricane. Chasing storms, both real and metaphorical, is an everyday occurrence for a foreign correspondent.

And Moore has been in the path of many a news storm, reporting from the USSR, Middle East, Europe and Rwanda, in a career spanning more than 25 years. From the “totally negative story” of the Israel-Palestine conflict, to checking into a flight to Italy in pyjamas at 6.30am to cover the earthquake two years ago, there does not seem to be a typical day in the life of a foreign correspondent. Moore has had to watch, helpless, while the genocide in Rwanda unfolded around him, and been in the front row for the “train crash in slow motion” that was the Bush presidency. Though the expression is certainly cliched, it is undeniable that the charming, well-spoken Oxford graduate has ‘seen it all’.

While at Oxford, Moore edited Cherwell in 1984, with a team that included David Lappard and Christina Lam, respectively Chief Investigations Editor and Washington Correspondent at The Times, and Mike Germey, Head of News at ITV. Although they reported on Thatcher being rejected for an honorary PhD, we laughed as we agreed that student journalism hadn’t really changed much. Moore recounted that most of their content was “pretty second rate news – academic gossip and student debauchery”.

In his final year, Moore also set up Oxford News Agency with friends, selling profiles of Rhodes Scholars to their local papers. After graduating in PPE from Exeter college, Moore joined ITV as a ‘News Trainee’, writing news links in the London office for a couple of years. He was then sent to Moscow in 1988, as a producer, and it was here that he got his big break.

As the Soviet Union and communism were beginning to crumble, the Russians “decided to return the favour” to the British, who had just expelled some Soviet spies. “Thanks to the KGB, when they kicked the correspondent out as an MI6 spy on cooked up charges, they wouldn’t let ITN replace him”, Moore told me. “So I had to step in.” He added that being thrown in at the deep end, to report on the collapse of the USSR, was “an unpredictable roller coaster ride.” At the start of his four years in Russia, the foreign reporters were aware that something was going on, but no one was quite sure what. As Moore put it, “cracks were appearing. It was going to crack, but we didn’t know where or how.”

Although the reporters were unaware that they were observing a society on the brink of collapse, it was clear that this was a system with fundamental flaws. “They ran out of tobacco in the USSR for about a month. No cigarettes in the whole of Russia. For the addicts it was a nightmare – every morning we used to film fights outside the tobacco kiosks.”

With the privilege of the front row seat that he was given to the most significant political event of the end of the 20th century, Moore is aware that it gave him a once in a lifetime opportunity to make his name as a journalist. “I like to say I was the first person to predict the failure of the coup against Gorbachev. I looked outside my window and there was a column of rebel tanks heading to the Kremlin to seize power. And the light went red and they clunked to a halt. Obeying traffic laws – a perfect symbol of how these guys weren’t ruthless enough to take power.”

A stroke of luck, considering that Moore had returned from London the night before, yet  his report made that evening’s broadcast. Though Moore admits that there is a “huge amount of luck” involved in news reporting, he emphasised the importance of making your own good fortune, of working the unpopular shifts and of following your instincts.

I asked Moore whether he believed that the way news is reported has changed, and is still changing, with the explosion of online journalism, and of social media outlets such as Facebook and Twitter. Though he admitted that the platforms have changed somewhat, he was adamant that the fundamentals have remained the same.

“People wake up and want to know what has happened. The skills of storytelling and news gathering, the basics, have stayed exactly the same. People want a compelling story; they want to know how it affects them personally.”

Having often heard people complaining about television news – that it never has anything positive to say, that it exploits personal sorrows for a story – I put it to Moore that including a sobbing relative, for example, in a broadcast was pandering too much to basic emotions. “It’s all part of good storytelling”, he replied. And watching the ITN team put together ‘10 Years On’ broadcasts, for the week leading up to the 10th anniversary of 9/11, I had to admit that he was right.

The flood of images that made up the broadcasts – the huge towers crumbling to the ground, the New Yorkers stumbling blindly through the ash clouds, the mother taking her children to put flowers on their father’s grave in Section 60 of Arlington Cemetery, reserved for soldiers killed in Iraq and Afghanistan – did bring a lump to my throat and tears pricking at the corners of my eyes.

Having been only ten years old when the planes crashed into the twin towers on September 11th 2001, I had never fully felt the emotional impact of what had happened that day. Yet for those who are old enough to appreciate the enormity of events, the images you see and the voices that you hear on the news will be the lasting memories of days that change the world.

I wondered if Moore was ever relieved when there was no news, and he smiled knowingly. “If we’re honest we all like the adrenaline of a big breaking news story – we’re not all saints”, he laughed. And Moore is clear that while he’s “got the chance”, he’s going to keep reporting from the front line, doing what he described as “the best profession in the world”.

Mixed response to Jack Wills deal

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The decision for Jack Wills to provide the kit for Oxford and Cambridge rugby teams has met with a mixed response among students.

For the next five years, Jack Wills supply the apparel for the Oxford–Cambridge Varsity match, and the five Oxford representative teams: the Blues, Greyhounds, U21s, Colleges, and Whippets. There is a possibility that they will also supply kit for college rugby teams in the future.

The Varsity Rugby match is features prominently on Jack Wills’ website home page, alongside “The Official Varsity Match After Party” which they are hosting.

Oxford University Press Office distanced itself from the Jack Wills’ branding saying, “The kit was chosen by Oxford and Cambridge for its suitability as rugby apparel, not for its branding.”

Ronnie Lamb, OURFC Chairman, also emphasized that Jack Wills was chosen based on its strengths as a kit provider. He said, “If they can supply us in the quantities that they are committed to on time with the quality that we have contracted for, I think we will be very happy. Likewise, they will be very happy on the basis that they will gain some kudos from the fact they are kitting out the Oxford and Cambridge teams.

“Given that we are going to be supplied by a first class supplier with a very good product I can’t see why we should feel that it is particularly old fashioned or particularly elitist or traditional.”

Rob Campbell Davies, a third year PPEist who played fly half for the Colleges team last season, said, “People in Oxford spend far too much time concerning themselves with stash and far too little time with the sports they are actually supposed to do.

“Having said that if they try and stick any oars, lacrosse sticks, horses, or references back to the colonial era or any of their other ludicrous branding manoeuvres they try and pull, then I will not be happy, and I’d rather wear my gran’s blouse.”

A spokesperson from Jack Wills said, “Jack Wills’ target customer is the British university student and we are therefore delighted to be the official sporting supplier to the 2011 Nomura Varsity Match. Oxford and Cambridge are world class universities and we are proud to be part of this historic sporting event.”

Keble History book finally finished

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A book begun in 1950 by former Keble History don Douglas Price, has just been published, 61 years after the book was first commissioned, and over a decade after the author’s death.

A contract to edit the volume, entitled English Historical Documents 1558-1603, was issued to Price by the printing firm Eyre & Spottiswoode in 1950. However, Price had still not finished the book by the 1970s. He died on Christmas Day 1999.

A Keble history alumnus who was taught by Price in the 1970s told Cherwell, “Its lateness was a running joke in the 1970s when Price taught me.”

Dr Ian Archer, the current tutor in Early Modern History at Keble, undertook the task to bring his predecessor’s project to fruition. The book, covering the reign of Elizabeth I, was published by Routledge in June. Dr Archer says of the book, “It fills a gap in a series which is still in use by students.”

In his preface to the completed volume, Dr. Archer writes: “When I approached Taylor & Francis, the publishers to which the series had descended, I was pleasantly surprised to find that the EHD project was still very much alive, as they were in the process of commissioning volumes to fill the gaps; they were very keen to see it in print, and I accepted their invitation to edit it.”

Price left his entire estate to Keble when he died, and the naming of Café Keble, otherwise known as the Douglas Price Room, is a testament to his contribution to the College. Born in 1915, he was an undergraduate at Keble in the 1930s, and after his first degree went on to read for a B.Litt. In 1949 he returned as a history tutor and stayed at Keble until his retirement in 1982. He was Dean between 1950 and 1962.

Dr Archer adds, “[Douglas Price’s] diaries reveal that he worked intermittently on the EHD volume, but he was all too easily diverted into college affairs, and the project stalled when he became overwhelmed by the sheer volume of his transcriptions and proved unable to make the cuts the publisher required.”

“Douglas was an example of one of those old-style bachelor dons whose energies were engrossed by undergraduate teaching and the minutiae of college administration. It was a different era and the pressures to do research were less.”

Brasenose Ball loss fiasco continues

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Brasenose JCR passed an emergency motion on Sunday to pay £4,000 towards the losses incurred by the “Dreams of a Golden Age” Ball, which took place on the 14th May 2011.

This contribution is less than a third of the total of £13,597 lost by the college as a result of the ball. Last term the JCR agreed to pay the college the sum of £3,500 in compensation, but the Brasenose Governing Body, which holds full control over the JCR budget, rejected this proposal, prompting the JCR to propose a more generous contribution this term.

Last summer, College Bursar Philip Parker insisted, “the JCR could not expect the College just to write a cheque for the loss” and said, “We will certainly be putting in place measures to learn from the experience and avoid losses at future balls as the College has no desire to provide any financial support to future balls”. He declined to comment this week.

The motion, proposed by JCR President Dan Wainwright and Treasurer Stephen Kyberd, noted that the JCR “breaks even or has a slight surplus year on year”. The payment will leave
the JCR with just £3,300. The motion also states that “The JCR would aim to reach a stable capital base of £5,000 over a number of years,” without specifying how long this would take.

Wainwright commented, “The JCR finances are still in good shape, despite this loss”, and that “the meet- ing on Sunday went really well”. However one Brasenose undergraduate described the atmosphere as “one of general resignment.”

A second undergraduate said, “We had hashed out this issue so many times in previous JCR meetings that everyone had grudgingly accepted the bail-out.” She claimed that the majority of the JCR were tired of the issue while, “the majority of freshers (bless them) didn’t have a clue what was going on, considering it was their first JCR meeting.

“In all honesty, it is a fair amount to pay back as college agreed to foot £10,000 towards the total ball loss. If it means that the JCR remains on good terms with college, then it’s worth it.”

President of the Ball Committee, Crispin Royle-Davies, wrote an email containing an apology last term, but declined to comment this week.

Sexual assault in Cowley

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Police are appealing for information following the sexual assault of a 19 year old woman in Rose Hill, close to the Cowley Road area, late last Friday night. She was reportedly paying a visit to the shops on Asquith Road, before she was dragged to an open area in the vicinity and attacked.

The investigation is being led by Detective Inspector Steve Duffy who commented, “We are still at the very early stages of this investigation but we would urge anyone who saw anything that could be connected to this attack to come forward.”

The man suspected of committing the assault has been described as black, medium build and 5ft 6ins tall. He was also said to be dressed in all white clothing. Inspector Duffy added, “We would also encourage anyone who matches this description, or anyone who has seen someone arrive home last night wearing this very distinctive clothing, to come forward so that they can be elimi- nated from this inquiry.”

The attack follows a spate of similar incidents in the area last term in which five sexual assaults occurred in the space of eight days. Cowley Road is home to many Oxford students, making sexual crime a worry for some.

Lucy Marriott, Women’s Welfare Officer at Regent’s Park College said, “I am obviously quite concerned about incidents such as these, especially with people living out of college this year, and having to walk long distances late at night.

“I would suggest that all girls living out are cautious after dark and try to be accompanied whenever possible. I would also suggest that the university look into the policy of handing out free rape alarms to female students.”

However, not all students were as concerned by the risks. One female undergraduate said, “The fact that there has been a more recent attack makes me wonder if I should be more careful, but I really doubt I’d change my routine or actions. I feel pretty safe on my bike at most times of the day or night – I’d be far more concerned about this if I tended to walk anywhere. I think pretty much everyone at Oxford knows that parts of Cowley can be a bit dodgy, but I’m probably more worried about my bike being stolen most of the time.”

Another student agreed saying, “I don’t think [this attack] makes living out unsafe … it’s not necessarily more unsafe than college and the in- dividual chances of attack are low.”

Yuan Yang, Vice President for Women at OUSU, disagreed that sexual crime was relatively uncommon, stating, “The National Union of Students recently reported that 1 in 7 female students have experienced rape or attempted rape while at university. Sexual violence is more prevalent than we realise.”

Yang added, “Students have the right to feel safe and confident walking around Oxford at night … this is why I continue to campaign on better prevention and awareness-raising within the University.”

Another incident, in which the vic- tim was a 20 year old woman was assaulted, occurred this week in Bravissimo on Broad Street. The woman was approached by a man who began talking to her and then proceeded to grab and grope her. Police are appealing for help with their investigations, but PC Ria Kumar, who is investigating the case assured the public that “this appears to have been an isolated incident. We are working closely with the store and following a number of lines of enquiry, including reviewing CCTV.”