Tuesday, April 29, 2025
Blog Page 1837

From Rags to Rubble

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With Matthew Bourne’s Cinderella in Oxford and the Birmingham Royal Ballet’s new version on DVD it seems that Ashton’s version, still performed in Covent Garden, is being left behind. However novelty isn’t everything and here in Oxford tradition is often something held dear to the heart. 

Bourne first transported Cinderella to wartime Britain, and more specifically the Blitz, in 1997, marking a great shift in the performance of the ballet and the fairytale itself – as the bombs fall Cinderella finds the Pilot of her dreams. A male Fairy Godmother is not as drastic a change as male swans but the production is suitably innovative for a choreographer and director often hailed as groundbreaking. 

Much more recent is David Bintley’s work in Birmingham – less obviously original to the layman and probably least surprising to someone who grew up with the Disney version of the plot – the neglectful father has been replaced with a Stepmother and the Ugly Sisters are danced by women, which makes them less pantomime and in many ways more comic,  because they are believable. 

However the canonical version has not been eclipsed. The inclusion of a father beloved by Cinderella and manipulated by the Ugly Sisters makes the First Act all the more tragic and the empty vastness of the stage makes Cinderella’s solos more evocative. The lack of artifice and high-concept allows the romanticism and lyricism of the music and choreography to shine through all the more. 

Something the Royal Ballet have always mastered is costumes, and the story of Cinderella requires some dramatic costume changes. The drabness of her initial tatters are more than made up for by Cinderella’s entrance at the ball with a lace cloak stretching across the entire stage – it’s a moment of extravagence which takes you back to childhood. For the boys there’s an abundance of role models with the cheeky Jester entirely stealing the show whenever he appears. Still, Bourne’s version does provide us with men in uniform and, having witnessed the royal wedding fever which swept the nation last Friday, I know they will be well received.

Of course the standard of dancing and choreography is brilliant across the board and each production has its merits. It is very in vogue at the moment to adapt well known fairytales and the reason these adaptations work is because of the intimate knowledge and love of the original shared by the audience and performers. Re-interpretation often serves as a mirror, highlighting and challenging previous assumptions,  but however much I look forward to an inventive retelling I tend to drift back to the original.  Call me sentimental but I still love a classic.

Rory and Tim’s Friday Frolics

This new sketch show will come out on Fridays for your enjoyment.

Breaking Legs – The Stage News Podcast Week 1

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Tune in next week for more information.

The Eagles That Rose From the Ashes

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Emblazoned on the front of the red 1958 Manchester United FA Cup Final jersey is that of an eagle. It is a symbol which came to define the Red Devils in the months following the most significant moment in postwar English football in which eight players lost their lives. What resulted was an impromptu scramble to rebuild a team in need of major surgery but whose soul remained intact – embodied by caretaker manager Jimmy Murphy. It was Murphy – often the forgotten man in this story – who would nurture a new generation of Eagles to rise from the ashes of Munich.

The events of 6th February 1958 on a cold winter’s day in Munich were unprecedented in the history of English football. The facts of the day have been regurgitated over and over again but what remains at the very core is that United had lost eight players, more commonly referred to as the Flowers of Manchester. What united those eight was youth, talent and, above all, a lack of fulfilment. Chief amongst them was defender Duncan Edwards – recently named in a Manchester Legend XI – who died 15 days after the crash. Edwards, more so than anyone, embodied these three characteristics. At the tender age of 21, he was the youngest ever international to represent England and gradually established himself as the heartbeat of the England midfield. Many have since posed the question that if Edwards had been alive and well, would he have been the captain leading the Three Lions to World Cup glory in 1966? Matt Busby’s team was widely regarded as the greatest team that ever was however the task of upholding this reputation let alone rebuilding the team following such a tragedy, was a daunting one – a task placed upon the shoulders of one, Jimmy Patrick Murphy.

United’s loss and subsequent rebuilding process must be placed into some sort of perspective. Nine years earlier a similar tragedy befit Italian club Torino whose loss was even more substantial than that of United’s. In total the club from Turin lost their entire team composing of 18 players including five members of the coaching staff. Like United, they had risen to prominence in the postwar years, winning four straight Serie A titles between 1945 and 1949 and, according to some sources, pioneered the 4-4-2 formation. It has been suggested that the Granata (The Clarets) have never quite recovered since that disaster. Nonetheless, what United found in this period of adversity was solidarity in the form of their nearest neighbours and fierce rivals, Manchester City. Three days after the crash, UEFA asked City to replace United in the European Cup to which The Blues responded ‘no’ to – wanting to help their Manchester counterparts instead of benefitting from the circumstances. This hand of support went so far as helping United’s staff, with City’s director and surgeon, Sidney Rose, arranging medical help for returning players. Whilst administrative back up was a priority, rebuilding the team around a central figure was of paramount importance.

Only three first team players – goalkeeper Harry Gregg, right back and newly appointed captain Bill Foulkes, and striker Bobby Charlton – remained from the decimated squad. Nonetheless, after much persuasion, Murphy was able to call on these players who had formed an integral part of the Busby Babes team. As for the rest of the team, Murphy – who was on international duty on the night of the crash guiding the Welsh National team to their first and so far only ever appearance at the World Cup – looked to the youth setup at United. He was viewed as a master of judging ability and potential, nurturing the likes of Ron Cope and Alex Dawson into the starting XI whilst also making shrewd acquisitions such as defender Stan Crowther from Aston Villa and attacking midfielder Ernie Taylor from Blackpool. Furthermore, it was Murphy’s insight which helped Busby to bring in a future Manchester United legend, Denis Law, from Torino in 1962 for what was then a club record fee of £115,000. It was principally he who, despite the panic around him, galvanised this new group of players together, resulting, against all the odds, in the team reaching the FA Cup Final that year.

In the space of a mere three months, Murphy had taken a team blighted by loss and tragedy to the final of English football’s premier club competition beating Sheffield Wednesday, United’s first game after the crash, West Bromwich Albion and Fulham along the way, the last two with the help of a replay. It was a game which pulled at the heartstrings with the majority of spectators rooting for United, hoping for the fairytale finish to what had been, up until that point, a season defined by the events of Munich. Nonetheless, someone hadn’t informed Bolton Wanderers’s skipper and striker and prolific England centre forward Nat Lofthouse – who died in January this year – of the script. Lofthouse singlehandedly steered The Trotters to victory, scoring the only two goals of the game – the second of which has been a point of controversy – and thus 1958 forever became The Nat Lofthouse Final. Furthermore, victory was made sweeter as Wanderers came back to the same venue where they had lost in the final six years previously to Blackpool. Despite the script not going according to plan, this final was the moment which signalled the beginning of a new generation of Manchester United legends.

Busby resumed his full-time managerial duties in time for the beginning of the 1958-1959 season working alongside Murphy who never chose to become manager of the club, sighting a hate of the limelight and a preference for working behind the scenes. Together they continued on from where they had left off before Munich, vowing not compromise on their attacking style on which their success had been built on. The United of the 1960s still had experience within its ranks but alongside it was another dimension, that of youth, exuberance and talent, embodied by the ‘Diamond Four’, as I like to call them, of Bobby Charlton, George Best, Nobby Stiles and Paddy Crerand. How fitting it was then that ten years later United returned to the scene where the foundations for the next generation of Manchester United players had been laid with their historic first European Cup triumph against the great Eusébio’s Benfica under the floodlights at Wembley. Symbolically Foulkes and Charlton, who scored two goals on the night, had finished the work begun by their former teammates ten years ago – a fitting tribute to those who were now firmly memorialized in the hearts and minds of all Manchester United fans.

The events at Munich, which will always remain an integral part of the fabric of Manchester United, and Welshman Jimmy Murphy being suddenly propelled into the managerial hot seat were never supposed to happen. Despite being approached to manage the Brazilian National Team, Italian giants Juventus and Arsenal, Murphy remained assistant manager at United until 1971, passing away in 1979. Thirty years later a small unassuming plaque commemorating his remarkable achievements is attached to his former family home in Treharne Street in Wales. Those who knew Jimmy Murphy will tell you that that’s the way he would have wanted it.

 

Click here to listen to more on the aftermath of the 1958 Munich Air Crash with the Cherwell Sport podcast, ‘Extra Time’.

Extra Time – Week 1

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Tune in next week for more sports coverage!

Review: Nine Type’s of Light

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In a world full of derivative music, TV On The Radio are unique. Their high intensity mix of beats, synthesisers and falsetto-powered choruses lend them a sound and an energy which could emanate from no other band. Nine Types of Light, their fourth studio release, comes two and a half years after 2008’s critically acclaimed Dear Science, the album which put them onto the music industry’s commercial map, samples of which cropped up everywhere from dramas to computer games. Refreshingly, their success doesn’t seem to have altered their musical style and Nine Types of Light still features the same lyrical cleverness and familiar combination of moments ranging from melodic tranquillity to riff-fuelled chaos. There is a danger that their propensity to go in for everything in a potentially too massive way will lead some people into dismissing TV On The Radio as being a bit ridiculous; but it is this very quality which lets them get away with it and when David Bowie volunteers to sing backing vocals on your music you know you’re onto a winner.

The main difference between Nine Types of Light and its predecessor is the overriding sense of freedom and joy which it possesses. If Dear Science was the sound of a man trapped in a confined space continually plotting glorious escapes, then Nine Types of Light is the sound of his return to the sunshine. Tracks like ‘Second Song’and ‘Will Do’are good examples of this and reveal that, at its essence, Nine Types of Light is a collection of unabashed love songs. The album’s energy is infectious and features many a sing-a-long chorus which lends Nine Types of Light the potential to become one of the best alternative albums of summer 2011.

Mount Kimbie raises Heaven’s roof

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Going to see Mount Kimbie the day they release a brand spanking new track – ‘Bave Chords‘, free download, Oh YES – is the sort of perfection that an adoring fan can only dream of. My luck lasted pretty much all evening, which explains the smug style of writing that you are about to encounter. Queuing at Heaven is unlike any other experience I’ve had before as adverts for ‘Gay Porn Idol’ surround the box office, this really is a special venue, but not only because of its sexually explicit advertisements, it’s a club inside the Arches near Embankment – which provide a perfect acoustic setting – and a balcony that lets you look down on the huge crowd below.

First to grace the stage is Sampha, an electro soloist signed to XL Recordings’ imprint Young Turks. Being a huge fan of practically all XL’s artists I had high expectations for the electronic soulster and I was not disappointed. Although his use of synthesisers and drum pads does not necessarily separate him from the crowd, it’s his decidedly emotional voice, which wavers inoffensively between being in tune and slightly out of it which sets him apart from the rapidly rising group of electronic songwriters. Luckily for Sampha and his audience, his use of autotune or something like it is intriguing rather than annoying and with lyrics such as ‘no one could love you’ it’s certain that he’s got stuff to sing about. The exquisite use of lighting in Heaven means that each act is bathed in a pool of coloured light, adding a visual layer of satisfaction to the whole affair.

The next act take the term audiovisual delight to another level as their whole set is enhanced by beautiful film footage playing in the background. Creep, the female witch house duo from New York fulfil and exceed the electronic double team stereotype as their equipment comprises two laptops (Macs of course), a guitar that is only used once, and surprisingly a cello complete with cello player. Wearing suitably creepy dark and baggy clothes, Creep are about atmosphere just as much as they are about music. With only a tiny lamp emitting light onto their stage you are tempted to close your eyes and let the heart trembling bass do all the talking. Their languid beats and drippy bass lines evoke a totally electronic world – sounding somewhat like an overhead approach of airplanes – but manage to convey perfectly human emotions. Still there’s a part of me that feels that full appreciation of their dark R&B/shoegaze sound necessitates some sort of hallucinogenic intervention – and by the looks of most of the people in the crowd I think I’m right. They’ve got a fantastic single out now called Days and it features vocals from Romy Madley Croft – aka Romy xx – who was incidentally in the audience.

Whilst waiting for Mount Kimbie to set up I also spotted Orlando from Maccabees – remember them? I won’t even pretend this is at all relevant to the gig, and although I could make some far fetched comment about the current drum pad trend in music and the possibility of an electronic album from Maccabees I’d rather admit my mild obsession with the lead singer. Confession over let’s move on to the humble headliners, Mount Kimbie.

As the ‘post dubstep’ duo – I’m allowed one annoying term per post – make their way on to the stage all the too cool for school fans shed their hipster skin and make their way to the very front of the room and Mount Kimbie are worth it. Suddenly it feels more like a club night than a random gig and the fact that we’ll all be tucked up in bed before 11 pm bares no relevance to our enjoyment. Drum pads at the ready Kimbie fill the room with itchy beats and engulfing bass lines, the whole audience is transfixed waiting to hear the first words from the manchester duo; ‘It means so much to see so many heads’ says one of them, it’s nice to know they appreciate their fans. Just like their support act the special thing about MK is the fact that they appreciate sound, be it electronic or acoustic. Their use of a real snare drum and cymbal brings them into an undeniably refreshing realm of multiplicious musicians.

Their tracks flow from shogeaze to D’angelo-esque hip hop without so much as a warning, and everyone loves it. ‘Before I Move Off‘ receives rapturous applaud from the crowd and it seems that Mount Kimbie can’t put a foot wrong, chopping up several different vocal samples to form the perfect puzzle. Ever eager to bend their own form of music, Mount’s use of guitar reveals the subtle melancholy of their music and it is their silent breaks and slow climaxes which prove to be the highlight of their sound. This memorable gig is ended with the performance of the first song they ever wrote, Maybes which is a staggered journey into an underrated but equally bewildering soundscape. If Mount Kimbie take as to reach their zenith as they do in their songs, we’ll be hearing from them for a long time to come, and thank god for that!

Whilst you wait for their next album, as they confessed  that ‘we have nothing more to play, we’ve been touring a 35 minute record for one year and a half…’, why not listen to a soundtrack of similarly laid back tunes.

Heading to the Shag-Cam

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Staring impressively across Radcliffe Square, contemplating the day’s assigned task, I was suddenly struck by the eroticism of Oxford’s library quarter. From the phallic pinnacles gracing the Old Bodleian to the heaving bosom that is the Radcliffe Camera, it all essentially boils down to one thing: sex. The city of creaming spires this most certainly is. 

taring impressively across Radcliffe Square, contemplating the day’s assigned task, I was suddenly struck by the eroticism of Oxford’s library quarter. From the phallic pinnacles gracing the Old Bodleian to the heaving bosom that is the Radcliffe Camera, it all essentially boils down to one thing: sex. The city of creaming spires this most certainly is. 
Such visual bombardment served to whet my appetite for the day’s exertions. Armed only with my Hannah Montana™ lunchbox, a laptop and a hugely inflated opinion of my own sexual prowess, I had been sent out to investigate what       should prove to be this term’s most popular library-related social activity: bookending. 
As none of you will know, bookending is a new name for an age old Oxford pastime – looking for a little love in the library. 
Rumoured to be as old as the university itself, bookending was most definitely around in my parents’ time; once, in an unguarded and frighteningly drunken moment (and, incidentally, one that I wish never to relive), my mother let slip that my brother had been conceived beneath the ornate plaster ceiling of the Upper Cam. 
So it was that – in pursuit of a mate – I found myself on a sunny Tuesday morning passing through the Rad Cam’s imposing double doors, presenting my delicate Hannah Montana™ lunchbox for inspection by the rough hands of the library porter, and taking the first steps on a quest destined, no doubt, to end in defeat and sexual frustration. 
You will need: A laptop with access to the internet.
Nothing screams ‘saggy bell-end’ like a ring-bound wide-rule A4 pad from WH Smith. If you’re searching for love in the Lower Cam you’ll need a Mac Book. Here – the favoured library of the Oxford dickhead – a Dell laptop is generally taken as evidence that its owner suffers from Chlamydia. A Toshiba will see you shunned like a leper at a health spa.  
So, equipped with Steve Jobs’ latest and your natural charm, you’re now ready to fetch a filly.
Step one: Find a seat. 
This may prove harder than you’d think. The Bad Cam gets busy and you’ll want to find a prime place to ‘witness the fitness’. Avoid the theology section of the Lower Cam; the standard of the ‘talent’ is generally poor, with chances of bookending success further weakened by the monkish chastity of the section’s inhabitants. More promising are those tables populated by English students, whose sole purpose in visiting the library is to stare at one another. 
Step two: Select a victim hottie
Happily seated in the centre of what to outsiders possibly resembles a meat market and sweltering in the heat of hipster-admiration, you’re now ready to select your ‘bookend’. Don’t fret if at first you can’t seem to find a face to match your own rugged good looks. Consider a short amble to the computers from which vantage point you should be able to spot more favourable partners. If even this drastic measure fails to provide the faintest whiff of success feel no embarrassment in giving up your search and fleeing for greener pastures (known locally as the Missing Bean). 
If, however, your initial scouting of the talent proves promising then bully for you; you can happily skip to – 
Step three:  Wooing
Nonchalantly flicking open your laptop, casually log on to Floxx (www.floxx.com/oxford), the sadly inferior successor to last year’s smash-hit Fit Finder. After a little deliberation tap in a suitably literary yet ‘fun and flirty’ message that’ll see you type your way into your crush trousers. Take inspiration from whatever – incorporate their features, clothes, or – if you’re really stuck – their reading matter. So, if your curly haired Adonis happens to be reading Marlowe’s Edward II, your post might read:  ‘Male, Blonde Hair, Super fine. Reading Edward II – you can put your red hot poker in me anytime!’
Having posted your hotchpotch of sexually charged filth and pseudo-intellectual literary reference, sit back, studiously scan this week’s Take a Break, poorly concealed in your never-opened copy of Ulysses, and hope that the new-found apple of your eye finds your flirtatious Floxx post.  
If after five minutes of anguished searching no golden glimmer of hope has flittered across their revision-torn visage, you should probably consider upping your game. Attempt eye contact. Flutter your eyelids suggestively, making sure that it doesn’t just look like you’ve acquired a particularly irritating ingrown eyelash. If this fails try inaugurating a game of footsie. In doing this don’t look too desperate to establish foot contact; there’s no greater turn off than the artistically pathetic grimace.
Waiting until your buxom beauty has left to find yet another book, steal over to their seat. Leave a note – prominently placed – couched in suitably romantic or sordid language as suits your fancy, detailing both your ends and a little about yourself. Make sure this self description, whilst flattering and flirty, isn’t completely unrecognisable. Remember – you want them to know that it’s you who’s writing the note and not the handsome devil sitting beside you, against whom you stand little chance. If you’re super-adventurous you might even consider embarking upon what’s known in Cambridge as a ‘paperchase’. Sign off the note with a ‘come find me’ adding only several kisses and the reference number to another book. In this next book post another message. Continue the process until you’ve either grown bored or feel you’ve built up enough suspense to risk a meeting. 
Step four: The meeting
When at last you do meet with your literary lurvely make sure it’s both suitably romantic and in a dark, private corner of the library. Nothing spoils a CV as much as the words ‘sent down for sexual indecency in the library’. But within these twin confines of mood and decency, go CRAZY! 
Hide in amongst the bookshelves; burst out from behind a pile of books/stack on sexual criticism; let your hands – awash with the sweat of adolescent anticipation – touch momentarily over a tattered library copy of Finnegan’s Wake. But however you reveal yourself make sure it’s romantic, ensuring you keep yourself free from prosecution and/or the prospect of having to raise a child in your final year.
But what of my own success, I hear you ask. Sadly, comes the doleful reply, I came away from my day of fevered expectation empty handed – so to speak. Picking the day of my visit poorly I found only mature students, visiting fellows and townies gracing the tables of a Lower Cam much depleted of talent. Remembering the ancient dictum ‘the wrinkly like it kinky’, I felt at first uneasy, then physically nauseous at the prospect of what a paper chase with one of these Methuselahs of Oxford might become. Collecting together the laptop and Hannah Montana™ lunchbox I hurried out of the library, leaving behind me the hopes and expectation of hundreds (ok, tens) of future bookenders.
But don’t let my poor experience put you off. Head for the library and with only your natural verve and Herculean self confidence, go grab that ass, plunge some clunge and, in so doing, plumb depths of depravity as yet unseen in Oxford’s premier research library.

Such visual bombardment served to whet my appetite for the day’s exertions. Armed only with my Hannah Montana™ lunchbox, a laptop and a hugely inflated opinion of my own sexual prowess, I had been sent out to investigate what should prove to be this term’s most popular library-related social activity: bookending. As none of you will know, bookending is a new name for an age old Oxford pastime – looking for a little love in the library. 

Rumoured to be as old as the university itself, bookending was most definitely around in my parents’ time; once, in an unguarded and frighteningly drunken moment (and, incidentally, one that I wish never to relive), my mother let slip that my brother had been conceived beneath the ornate plaster ceiling of the Upper Cam. So it was that – in pursuit of a mate – I found myself on a sunny Tuesday morning passing through the Rad Cam’s imposing double doors, presenting my delicate Hannah Montana™ lunchbox for inspection by the rough hands of the library porter, and taking the first steps on a quest destined, no doubt, to end in defeat and sexual frustration.

 


You will need: A laptop with access to the internet
.

Nothing screams ‘saggy bell-end’ like a ring-bound wide-rule A4 pad from WH Smith. If you’re searching for love in the Lower Cam you’ll need a Mac Book. Here – the favoured library of the Oxford dickhead – a Dell laptop is generally taken as evidence that its owner suffers from Chlamydia. A Toshiba will see you shunned like a leper at a health spa.  So, equipped with Steve Jobs’ latest and your natural charm, you’re now ready to fetch a filly.
 

Step one: Find a seat. 

This may prove harder than you’d think. The Bad Cam gets busy and you’ll want to find a prime place to ‘witness the fitness’. Avoid the theology section of the Lower Cam; the standard of the ‘talent’ is generally poor, with chances of bookending success further weakened by the monkish chastity of the section’s inhabitants. More promising are those tables populated by English students, whose sole purpose in visiting the library is to stare at one another. 

Step two: Select a victim hottie

Happily seated in the centre of what to outsiders possibly resembles a meat market and sweltering in the heat of hipster-admiration, you’re now ready to select your ‘bookend’. Don’t fret if at first you can’t seem to find a face to match your own rugged good looks. Consider a short amble to the computers from which vantage point you should be able to spot more favourable partners. If even this drastic measure fails to provide the faintest whiff of success feel no embarrassment in giving up your search and fleeing for greener pastures (known locally as the Missing Bean). If, however, your initial scouting of the talent proves promising then bully for you; you can happily skip to –


Step three:  Wooing

Nonchalantly flicking open your laptop, casually log on to Floxx (www.floxx.com/oxford), the sadly inferior successor to last year’s smash-hit Fit Finder. After a little deliberation tap in a suitably literary yet ‘fun and flirty’ message that’ll see you type your way into your crush trousers. Take inspiration from whatever – incorporate their features, clothes, or – if you’re really stuck – their reading matter. So, if your curly haired Adonis happens to be reading Marlowe’s Edward II, your post might read:  ‘Male, Blonde Hair, Super fine. Reading Edward II – you can put your red hot poker in me anytime!’

Having posted your hotchpotch of sexually charged filth and pseudo-intellectual literary reference, sit back, studiously scan this week’s Take a Break, poorly concealed in your never-opened copy of Ulysses, and hope that the new-found apple of your eye finds your flirtatious Floxx post.  

If after five minutes of anguished searching no golden glimmer of hope has flittered across their revision-torn visage, you should probably consider upping your game. Attempt eye contact. Flutter your eyelids suggestively, making sure that it doesn’t just look like you’ve acquired a particularly irritating ingrown eyelash. If this fails try inaugurating a game of footsie. In doing this don’t look too desperate to establish foot contact; there’s no greater turn off than the artistically pathetic grimace.

Waiting until your buxom beauty has left to find yet another book, steal over to their seat. Leave a note – prominently placed – couched in suitably romantic or sordid language as suits your fancy, detailing both your ends and a little about yourself. Make sure this self description, whilst flattering and flirty, isn’t completely unrecognisable. Remember – you want them to know that it’s you who’s writing the note and not the handsome devil sitting beside you, against whom you stand little chance. If you’re super-adventurous you might even consider embarking upon what’s known in Cambridge as a ‘paperchase’. Sign off the note with a ‘come find me’ adding only several kisses and the reference number to another book. In this next book post another message. Continue the process until you’ve either grown bored or feel you’ve built up enough suspense to risk a meeting. 

 

Step four: The meeting

When at last you do meet with your literary lurvely make sure it’s both suitably romantic and in a dark, private corner of the library. Nothing spoils a CV as much as the words ‘sent down for sexual indecency in the library’. But within these twin confines of mood and decency, go CRAZY! Hide in amongst the bookshelves; burst out from behind a pile of books/stack on sexual criticism; let your hands – awash with the sweat of adolescent anticipation – touch momentarily over a tattered library copy of Finnegan’s Wake. But however you reveal yourself make sure it’s romantic, ensuring you keep yourself free from prosecution and/or the prospect of having to raise a child in your final year.

But what of my own success, I hear you ask. Sadly, comes the doleful reply, I came away from my day of fevered expectation empty handed – so to speak. Picking the day of my visit poorly I found only mature students, visiting fellows and townies gracing the tables of a Lower Cam much depleted of talent. Remembering the ancient dictum ‘the wrinkly like it kinky’, I felt at first uneasy, then physically nauseous at the prospect of what a paper chase with one of these Methuselahs of Oxford might become. Collecting together the laptop and Hannah Montana™ lunchbox I hurried out of the library, leaving behind me the hopes and expectation of hundreds (ok, tens) of future bookenders.

But don’t let my poor experience put you off. Head for the library and with only your natural verve and Herculean self confidence, go grab that ass, plunge some clunge and, in so doing, plumb depths of depravity as yet unseen in Oxford’s premier research library.

The Pussycat that got the cream

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The standing oversplit is a dance sign featured in most Pussycat Dolls’ music videos. (You guys remember the Pussycat Dolls, don’t cha?) It is a move in which the angle of the legs, these being extremely long and perhaps fishnet clad, exceeds 180 degrees. What you may not have noticed as you stared, curled up on your couch watching early morning MTV count-downs, mesmerised by this inhuman act so casually broadcast for your viewing pleasure, was that there was whole person attached to that fabulous pair o’ stems.  Her name is Kimberly Wyatt and hey, she’s pretty cool.

The standing oversplit is a dance sign featured in most Pussycat Dolls’ music videos. (You guys remember the Pussycat Dolls, don’t cha?) It is a move in which the angle of the legs, these being extremely long and perhaps fishnet clad, exceeds 180 degrees. What you may not have noticed as you stared, curled up on your couch watching early morning MTV count-downs, mesmerized by this inhuman act so casually broadcast for your viewing pleasure, was that there was whole person attached to that fabulous pair o’ stems.  Her name is Kimberly Wyatt and hey, she’s pretty cool. 
Robin Antin, creator of the Dolls, originally spotted Wyatt when she was a backing dancer for a Nick Lachey music video. She began dancing at the age of seven, and as a teenager  earned herself a scholarship to study with New York’s Joffrey Ballet and the Broadway Dance Center. Her vocal debut came on the album Doll Domination with a solo song called “Don’t Wanna Fall in Love.” In 2010, Wyatt was the second doll to leave the group, which has now officially disbanded. 
Since then it seems Miss Wyatt has been a very busy girl.  Most recently, Wyatt has finished filming the second series of Sky 1’s Got to Dance, on which she acts as a judge alongside Adam Garcia and Ashley Banjo. She explains that she originally got involved with the show as means of staying connected with the dance world as she began to focus more heavily on her own more musical projects. That “was super important to me,” Wyatt says. 
The show itself had changed a good deal since its original 2010 incarnation when ten year-old Akai won his £100,000. Not only has the prize money increased to a staggering £250,000, which just happens to be the largest cash prize on a television talent show, but the program also had a new structure this time around. Four live semi-finals were followed by the grand finale during which, for the first time this side of the pond, viewers could vote using—go figure—an application configured for the iphone, ipad and ipod touch.  “We grew as a show and as judges,” Wyatt says. Elaborating on her own growth on the show, she explains matter-of-factly: “There is a talent to expressing how you feel as well, a way it can be heard and not taken as negativity.” She is a Southern girl after all. 
Wyatt had quite a few crazy moments herself this season. (At one point a contestant offered her an engagement ring.) When asked what her favorites were: “I have a few. The first was with ‘Dance 21.’ They were a large group doing cheerleading who all had Doune’s Syndrome. They sent so much joy over me; just squeezed my heart in such a way that tears came out. The second was ‘Happiness.’” You have probably seen her performance on Youtube. If you haven’t, you really should. “It was just absolutely genius. She was just this free little bird, doing what every dancer strives to do. 
“My last is the ‘street hop’ duo. They did everyday things and made it a dance. I felt bad because I honestly thought that they were joking.”
Talking about the series winners, 20 year-old dance duo Chris and Wes, Wyatt said: “Chris and Wes represent the show in such an incredible way. They are not just great dancers but great visionaries as well. They take an audience on a journey and have found a formula that works so perfectly. They can hold their own not just as dancers but with their comedy. They not only dance but build great shows.  My hope for them is to work in commercial television. I see them in a kids’ show. Like Pee-Wee Herman…but with dance! Opportunities for dancers are few and far between, you have to make your own, be the creator of you own vehicle.”
Wyatt has been working on several of her own projects over the past year as well. The song “Not Just a Doll” was posted on her official website in March of 2010.  In May she was featured on Aggro Santos’ track “Candy.” Most notably she has teamed up with former Jupiter Rising member Spencer Nezey to create a new group entitled Her Majesty & The Wolves. They have thus far released two tracks—“Glaciers” and “Stars in Your Eyes”—from their debut album 111 due out this June. 
“The album was the most phenomenal experience ever. With Spencer it felt meant to be. I did a lot of soul searching and [becoming a duo] felt like the way it was  supposed to be. It was the biggest learning experience as an artist. I learned a lot from Spencer.” What can we expect from the album? “We bring our inspirations together staying true to our love of dance and want to make a crowd just dance their little heinies off, but there’s some emotional heart felt stuff  too.  The album feels very personal.  When looking to make my own music it was about more than just music; it was a way to express myself.” Some of the heartfelt tracks to look out for are “Emerald Shower,” “Don’t Cut Me Down” and “Shades of Grey,” which Wyatt says is “everything I love to do.” 
“Her Majesty and the Wolves is bigger than the two of us,” she continues. “I stepped away from a large label and moved to a more indie label for the album. It’s more of a family effort with like minded people—looking for ways to create music and not sell out.”
The album drop isn’t the only big event coming up for the group this year. They will also be performing at the Wireless Festival in Hyde Park this summer.  “It is the biggest dream come true going to perform at the Wireless Festival,” beams Wyatt. “I had once seen The Who play there.  It goes to show that if you dream big you can make great things happen.” 
Wyatt, along with promoting Her Majesty & The Wolves, also has a make-up line coming out this summer. And it figures. Throughout the course of Got to Dance I couldn’t help but notice and admire Wyatt’s style in its ever-evolving forms. For one of her performances on the show she not only did the music and the choreography but even had her hand in the costume design. Beyond this she journals, blogs and draws. Does she sleep? Seems implausible.
The once backup dancer has proven herself to be an artist with a capital “A.” Her artistic influences include – maybe a little surprisingly—Vivien Westwood and Tim Burton. “I love Beetle Juice!” she explains. “I like very beautiful things that are a little left of centre.” Just like her split. 
Kimberly Wyatt is much more than a pair of legs. Though, we still must admit, it was something of a shame to have her sit so long behind that judging table. The girl’s got some nice gams. 

Robin Antin, creator of the Dolls, originally spotted Wyatt when she was a backing dancer for a Nick Lachey music video. She began dancing at the age of seven, and as a teenager  earned herself a scholarship to study with New York’s Joffrey Ballet and the Broadway Dance Center. Her vocal debut came on the album Doll Domination with a solo song called Don’t Wanna Fall in Love. In 2010, Wyatt was the second doll to leave the group, which has now officially disbanded. 

Since then it seems Miss Wyatt has been a very busy girl.  Most recently, Wyatt has finished filming the second series of Sky 1’s Got to Dance, on which she acts as a judge alongside Adam Garcia and Ashley Banjo. She explains that she originally got involved with the show as means of staying connected with the dance world as she began to focus more heavily on her own more musical projects. That ‘was super important to me’, Wyatt says. 

The show itself had changed a good deal since its original 2010 incarnation when ten year-old Akai won his £100,000. Not only has the prize money increased to a staggering £250,000, which just happens to be the largest cash prize on a television talent show, but the program also had a new structure this time around. Four live semi-finals were followed by the grand finale during which, for the first time this side of the pond, viewers could vote using—go figure—an application configured for the iphone, ipad and ipod touch.  ‘We grew as a show and as judges’, Wyatt says. Elaborating on her own growth on the show, she explains matter-of-factly: ‘There is a talent to expressing how you feel as well, a way it can be heard and not taken as negativity.’ She is a Southern girl after all. 

Wyatt had quite a few crazy moments herself this season. (At one point a contestant offered her an engagement ring.) When asked what her favorites were: “I have a few. The first was with ‘Dance 21.’ They were a large group doing cheerleading who all had Down’s Syndrome. They sent so much joy over me; just squeezed my heart in such a way that tears came out. The second was ‘Happiness.” You have probably seen her performance on Youtube. If you haven’t, you really should. ‘It was just absolutely genius. She was just this free little bird, doing what every dancer strives to do. My last is the ‘street hop’ duo. They did everyday things and made it a dance. I felt bad because I honestly thought that they were joking.’

Talking about the series winners, 20 year-old dance duo Chris and Wes, Wyatt said: ‘Chris and Wes represent the show in such an incredible way. They are not just great dancers but great visionaries as well. They take an audience on a journey and have found a formula that works so perfectly. They can hold their own not just as dancers but with their comedy. They not only dance but build great shows.  My hope for them is to work in commercial television. I see them in a kids’ show. Like Pee-Wee Herman…but with dance! Opportunities for dancers are few and far between, you have to make your own, be the creator of you own vehicle.’

Wyatt has been working on several of her own projects over the past year as well. The song Not Just a Doll was posted on her official website in March of 2010.  In May she was featured on Aggro Santos’ track Candy. Most notably she has teamed up with former Jupiter Rising member Spencer Nezey to create a new group entitled Her Majesty & The Wolves. They have thus far released two tracks—Glaciers and Stars in Your Eyes—from their debut album 111 due out this June.

‘The album was the most phenomenal experience ever. With Spencer it felt meant to be. I did a lot of soul searching and [becoming a duo] felt like the way it was  supposed to be. It was the biggest learning experience as an artist. I learned a lot from Spencer.’ What can we expect from the album? ‘We bring our inspirations together staying true to our love of dance and want to make a crowd just dance their little heinies off, but there’s some emotional heart felt stuff  too. The album feels very personal.  When looking to make my own music it was about more than just music; it was a way to express myself.’ Some of the heartfelt tracks to look out for are Emerald Shower, Don’t Cut Me Down and Shades of Grey, which Wyatt says is ‘everything I love to do’. 

‘Her Majesty & The Wolves is bigger than the two of us’, she continues. ‘I stepped away from a large label and moved to a more indie label for the album. It’s more of a family effort with like minded people—looking for ways to create music and not sell out’. The album drop isn’t the only big event coming up for the group this year. They will also be performing at the Wireless Festival in Hyde Park this summer.  ‘It is the biggest dream come true going to perform at the Wireless Festival’, beams Wyatt. ‘I had once seen The Who play there.  It goes to show that if you dream big you can make great things happen’. 

Wyatt, along with promoting Her Majesty & The Wolves, also has a make-up line coming out this summer. And it figures. Throughout the course of Got to Dance I couldn’t help but notice and admire Wyatt’s style in its ever-evolving forms. For one of her performances on the show she not only did the music and the choreography but even had her hand in the costume design. Beyond this she journals, blogs and draws. Does she sleep? Seems implausible.

The once backup dancer has proven herself to be an artist with a capital ‘A’. Her artistic influences include – maybe a little surprisingly—Vivien Westwood and Tim Burton. ‘I love Beetle Juice!’ she explains. ‘I like very beautiful things that are a little left of centre’. Just like her split. Kimberly Wyatt is much more than a pair of legs. Though, we still must admit, it was something of a shame to have her sit so long behind that judging table. The girl’s got some nice gams. 

Oxford’s Best: Burger

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The world loves the cheeseburger. I love the cheeseburger. Macdonald’s has even written an ode to the Big Mac. Finding Oxford’s best burger was a challenge I gladly took on.

The world loves the cheeseburger. I love the cheeseburger. Macdonald’s has even written an ode to the Big Mac.  Finding Oxford’s “best” burger was a challenge I gladly took on.
For those prolific penny pinchers, Peppe’s Burgers of Jericho is the way to go. A quarter pounder costs a mere £2.90, and includes two free sauces, lettuce and onion. I splurged for the cheese, an additional thirty pence. The portions are vast and sloppy, unassuming and yummy, though I wish they were assuming enough to give you napkins. Serviettes were inexplicably absent from the establishment.
If you want a cheap alternative that’ll make you look less of an outright cheapskate, Four Candles’ “beer and burger” deal is always a favourite.  The burger is a bit dry but a good size, and it comes with a drink and chips, so no reason to hate. Still, I’d say it’s best eaten when extremely hungry. Goes down easier.
Willing to spend more on your burger? The Gourmet Burger Kitchen offers an aura of class to the experience, but it’s hardly to my taste. Chips must be bought separately and they serve salads as mains—where’s their beefy integrity? The burgers are tasty, but too pricey for their diminutive and oddly demure nature. 
If your date, friend, or grandmother, believes that burgers are meant to be fun and messy in the best way, take them to Atomic Burger on Cowley Road. The service reached ungodly levels of slow and the prices of their kitschy and artery-clogging classics like the “Dead Elvis” burger are a little extravagant, but the atmosphere is fab. The walls are covered with comic books and movie paraphernalia. The burgers are imbued with personality and come with a free side. The patties are hand packed and there are five flavours of Margaritas on the menu. Win. 

For those prolific penny-pinchers, Peppe’s Burgers of Jericho is the way to go. A quarter pounder costs a mere £2.90, and includes two free sauces, lettuce and onion. I splurged for the cheese, an additional thirty pence. The portions are vast and sloppy, unassuming and yummy, though I wish they were assuming enough to give you napkins. Serviettes were inexplicably absent from the establishment.

If you want a cheap alternative that’ll make you look less of an outright cheapskate, Four Candles’ ‘beer and burger’ deal is always a favourite.  The burger is a bit dry but a good size, and it comes with a drink and chips, so no reason to hate. Still, I’d say it’s best eaten when extremely hungry. Goes down easier.

Willing to spend more on your burger? The Gourmet Burger Kitchen offers an aura of class to the experience, but it’s hardly to my taste. Chips must be bought separately and they serve salads as mains—where’s their beefy integrity? The burgers are tasty, but too pricey for their diminutive and oddly demure nature. 

If your date, friend, or grandmother, believes that burgers are meant to be fun and messy in the best way, take them to Atomic Burger on Cowley Road. The service reached ungodly levels of slow and the prices of their kitschy and artery-clogging classics like the ‘Dead Elvis’ burger are a little extravagant, but the atmosphere is fab. The walls are covered with comic books and movie paraphernalia. The burgers are imbued with personality and come with a free side. The patties are hand packed and there are five flavours of Margaritas on the menu. Win.