Sunday 12th April 2026
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Wilderness and Truck Festival Fever

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It starts with a vision. Add in a lot of money, willing friends and family, a location, some bands, years of hard work, and bang, you’ve got a festival. They range from the peace and love haze of Glastonbury to the commercially driven Reading and Leeds, but these big festivals have their drawbacks — after days lost in the crowd, sick (perhaps literally) of overpriced burgers and beer, it would be fair to yearn for something a bit different. Wilderness and Truck festivals, both in Oxfordshire, provide just that viable alternative —small yet ambitious, offering high quality bands alongside a dollop of quirky idiosyncrasy that marks them off from the crowd.

Wilderness Festival, which takes place at Cornbury Park and features Antony and the Johnsons, Laura Marling and Gogol Bordello, was born from a dream. Organiser Tim Harvey explains that the festival, which runs in August for the first time, has been in the pipeline for six years, and showcases a new concept in the festival experience. ‘It amalgamates lots of types of outdoor activities and entertainments, which have all independently happened before, but not all in one place. It’s a Renaissance festival, celebrating time-honoured traditions. There’ll be banquets, parades, it’s a celebration of pursuits that hark back to a Golden Age, recreating the sense of wild abandonment of books such as Swallows and Amazons. It’s not just a music festival, it’s a place you can get away. We’re trying to get away from the model where it’s all about beer and cars and stages. We’re creating a concept that offers more, a place of rejuvenation and relaxation.’

Truck Festival’s origins go further back. Organiser Robin Bennett says, ‘When I was 18, I thought it would be fun to do a festival. In 1998 there didn’t seem to be too many decent festivals in Great Britain, unlike now. It was originally going to be a birthday party, but I had to move it, I only started planning two weeks before and didn’t have a license. Now it’s all planned a year ahead.’ This year Truck features Gruff Rhys, Philip Selway (of Radiohead fame) and Johnny Flynn, but the focus remains on local talent. ‘Our original vision was that there would be bands we liked playing in our local village. Now to secure larger artists you need a lot of money and persuasion. But Oxford has a stream of very good bands, and people move to Oxford as it’s a good place to have a band.’

Tim’s attitude to band selection is similarly fresh: ‘We wanted to create a music line-up that was different, unique, not the same bands that were playing all the other festivals. We weren’t concerned to get the bands with the most recent album in the charts. We’ve been asking bands to collaborate with each other once they’re on site, so we’ve got Antony and the Johnsons performing for the first time with the 30-piece Heritage Orchestra, and the ground breaking Mercury Rev album Deserters, the NME Best Album of the Decade, will be performed in its entirety. There’ll be lots of special happenings.’

Both festivals embrace more than just music, with Wilderness featuring literary debates and fine dining opportunities alongside dramatic collaboration with the Old Vic Tunnels, while Truck have a theatre tent curated by the Oxford Playhouse. Tim says his festival is ‘about creating a journey, and music is a part of it. There’s something very seminal about a festival, and the legacy it can create.’ Robin is proud of the sustainability of his event: ‘It’s more than just a music festival. We have the Truck Store on Cowley Road which represents the wider mission of Truck, beyond the festival. We like treating people individually.’ All the profits used to go to charity, but Robin regrets that this is no longer viable: ‘It became impossible, but we still make large donations. Truck has a Glastonbury-like vibe — no-one knows how much Glastonbury actually donates to charity, but it creates an atmosphere, the feeling that it’s about more than just entertainment.’ Tim agrees: ‘There’s something very seminal about a festival, the legacy it can create. It has to be underpinned as a business case, but when you start you know it will be a journey that will affect your life in different ways. It’s a total joy.’

While Wilderness is run by a team with experience of organising festivals including Lovebox and the Secret Garden Party, Truck is a family affair, spearheaded by Robin and his brother, their wives and parents. Organising a festival is not an easy job, and both have suffered their setbacks. Tim describes the biggest challenge as ‘communicating the concept to the locals, that it’s something they should seek to support.’ For Robin, nothing could go quite as wrong as it did at the 2007 Truck Festival, which had to be moved due to flooding. ‘There’s always something different, from risk assessments to securing artists to getting a license to keeping the residents happy to finding space for tents and getting everything the way you want it.’ Yet Truck is now integrated into the local village. ‘There’s a very friendly community atmosphere. The farmer used to be less keen on the festival, now he’s working on the burger stall.’

While Truck takes place among stables and pastures, Wilderness is located in the middle of a forest. ‘There are landscape gardens, big ornamental lakes, great vistas and lookouts, no other festivals have anything like Cornbury’s majesty.’ Tim and his team have worked to design the space so that all the stages are in their own little amphitheatres: ‘There’s a nice design to the site, a sense of openness so you’re not too crammed in.’ Robin’s festival also has a new layout this year, accommodating new stages including one curated by a label, ‘a good way of varying the programme without making it too random.’

All this work, and the festival is over in a weekend. Will the organisers get to relax and enjoy the fruits of all their labour? In the spirit of community, Robin will be found greeting people and making sure everyone’s having a good time, as well as hopefully performing with his own band, Dreaming Spires. Tim, however, may not even make Wilderness — his wife is due to give birth to their first child during the festival. Either way, it will be a weekend to remember.

Cherwell has teamed up with Wilderness to offer one lucky reader a pair of tickets to the festival! To be in with a chance of winning, send a sentence explaining why you want to go to [email protected] by Friday June 24.

Wilderness runs from 12-14 August, www.wildernessfestival.com

Truck runs from 22-24 July, www.thisistruck.com

The Glories Of Trashing

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Walking down High Street towards the end of Trinity Term, it’s easy to miss the hints of confetti on the sidewalk when there’s sunshine soak up and tourists to dodge. But take a stroll around the corner where Exam Schools sits and chances are, if it’s around half-past noon or five in the afternoon, the clouds of glitter and Silly String will be impossible to dodge.

As finalists finish out their Oxford undergraduate days and first-years sit for their Prelims and Mods, the tradition of trashing commences. The aforementioned confetti is seemingly the most popular choice; when I finished my Prelims it was the most ubiquitous tool of trashing and my friends and I used it ourselves this year when fellow second-year classicists took their Hilary exams. But the variety of possibilities is endless.

Some students use food: flour, eggs, whipped cream, syrup, and occasionally even cooked items, as if they’re serving up breakfast upon the gowns of their finishing friends. Others revert to the childhood methods of party poppers and spray paint. Around this time every year, e-mails are sent from the university and from colleges pleading with undergraduates to think of the environment, of the local population, of the quiet needed by students still revising, and to confine their trashing.

But on a sunny afternoon when you’ve just been liberated, no matter how awfully you’re trashed, the feelings of exuberance and invincibility take over. I never understood trashing until I experienced it myself; there’s really no equivalent in the United States, although I suppose one could compare it to having Gatorade poured over the heads of winners in an athletic competition. Academic achievements just aren’t commemorated in the same way. Caps are tossed in the air at graduation, but trashing is different – it’s something done to you.

In the end, it seems, trashing is a necessity; a quintessential part of the Oxford experience, without which your degree is really not complete. It leaves its mark on the streets and sidewalks of Oxford, creeps up the staircases of student accommodation and seeps into halls. It ingrains itself in each new crop of freshers as they leave their first year at university behind, ideas of what they’ll do when their turn to trash arrives swirling in their minds. And it leaves its mark on the gowns of finalists as they take flight into the world beyond the city.

Rory and Tim’s Friday Frolics – episode 5

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A trip down to the pub and a parody that was topical five years ago.

Review: Are You Having a Laugh?

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The Jam Factory is a pleasant, if a touch over-priced little restaurant cum bar cum arts centre on the station side of Park End, and the Boiler Room there is a nice place for a one-man show, or, indeed, a comic sketch duo. Not too hot, not too loud. Nothing too challenging. Which about sums up the evening, really.

Perhaps I have been spoilt, but it is a little while since I have felt as uncomfortable watching a sketch show as I did with Mullins and Gladwin’s Are You Having a Laugh?. Not that they were offensive. One thing that these cheerful, well-groomed men are not is controversial. Nor did they lack energy; clearly they enjoy working together, and their broad grins and good humour in the face of minor prop malfunctions was endearing. Theirs is a friendly, gentle set.

So gentle, in fact, that I began to get the odd impression that they were deliberately shielding us from the full force of their humour, cushioning their punchlines in such a thick layer of build-up and ex-post facto exposition that any punch the lines might have had dissipated entirely before the blackout. If they were trying to protect us, they probably needn’t have bothered.

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They made the unfortunate mistake of opening with their strongest material. Much of this relied on mime, and both of them, Gladwin especially, display entertaining flexibility and energy of movement. There were indeed some perfectly well-executed, respectable physical gags interspersed throughout the show. But that is what they were; respectable. Belonging to a safe, almost conservative canon of Twentieth Century Humour.

The whole performance seemed to belong to another era, in a way which cannot now be pulled off without a near-lethal injection of irony. I, for one, have never seen a workman in a brown raincoat outside a Guy Ritchie film, and oddly I think even Messrs Mullins and Gladwin must be too young for the phrase ‘She’s a bit of alright’. Their jokes come from an earlier period in the evolution of sketch comedy, but without the abrupt, stylised delivery of the music-hall. This, perhaps, is why their cartoonish physicality plays such an important role. Granted they are not attempting naturalism, but there is something naturalistically flabby about their script. The only time the intellect of the audience is challenged is when a red herring is thrown in, some extraneous, irrelevant piece of information which must be carefully ignored for the sketch to have any meaning. 

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It is telling that at one point the incidental music was the theme to Fawlty Towers. It was, no doubt, a diet of shows like this and The Two Ronnies which inspired their entry into sketch comedy, but unfortunately without the writing of a Cleese or a Corbitt to back it up, this stuff just falls flat in 2011. 

There is a future for these men in children’s television; perhaps when the Chuckle brothers finally leave our screens their hour will come; it’s clean, visual, clearly signposted, daytime stuff. Nothing to frighten the horses, and no jokes younger than that expression. With this in mind, though, they might find their niche audience amongst pensioners. They’ll never give anyone a heart-attack, after all. 

2.5 STARS

Review: Macbeth

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Both the text and this performance of Macbeth are timeless, gritty, and fascinating. Reviewers always want people to see plays with the same sense of wonder and surprise that they experienced it, which makes reviewing a performance with deft twists on this classic difficult.  Any words put on paper cannot possibly live up to this performance, but I will try here. If there is only one play you see this season, if there is only one evening you take of late in Trinity Term, it needs to be this one.

Macbeth is a tragedy par excellence, and Shakespeare at his best. For those unfamiliar with the text, the play revolves around the ambitions and hubris of the titular character. We watch as he vaunts from minor fief to king and then falls from happiness, sanity, love, power, and life.

Director Michael Boyd’s ambitions, at least, are fulfilled in this piece. He left the play un-periodized, which made it feel timeless and cloaked the audience in a blanket of disbelief. The stage itself, brilliant designed by Tim Piper, is reminiscent of a crumbling chapel: blown-out glass-stained windows, crumbling artifice, defaced idols. The play literally envelops the audience, as entrances are made from the back of the stalls, from the ceiling, and the floor. The ambiance of decay and corruption, of the acrid taste of ambition flawed, complements the actors’ performances and the director’s visions.

This production holds nothing back. The blood and gore of war and murder are fully on display. The death scenes are harrowing. Banquo dies fighting; Lady Macduff dies struggling against her captors as her children are killed in front of her. The music selection (a live three-piece cello ensemble and drums) and lighting combine to hold the audience in tense suspense throughout the entire performance. The violence and fear of tyranny is spelled out on the stage.

The most effective device of the play, and perhaps the most innovative, is the casting of the witches. Instead of making them croons or sirens, Boyd instead chooses to display a much more sinister form of evil: he casts the witches as near-dead children.  Their voices echo, their pale and bruised faces leer at the actors and the audience, their shrieks and laughter haunt the theatre. The children are truly terrifying.

On the whole, the acting is superb. There are hiccups, though. Malcolm (Howard Charles) doesn’t justify his character’s transition from faithful son to outlaw to avenger as well as could be done. Macbeth (Jonathan Slinger) takes a while to warm up – the first few scenes of his are wooden and stilted. However, as the play progresses (and Macbeth increasingly becomes insane), Boyd’s faith in Slinger is justified: by the end of the production pity, hatred, and fear simultaneously flood the audience while watching Macbeth struggle against the fate of his own making. The constantly revolving supporting cast is solid (especially the poignant and complex rendition of Lady Macduff by Caroline Martin), allowing Lord and Lady Macbeth to shine in their horrible glory. This play is not to be missed.

Circumcision in Uganda

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The Renovation of the Corner Club

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Revolution vs. Repression

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Tucked away next to the Eastern Art Paintings and Prints Study Room in the Ashmolean Museum, there’s a small display of posters, paintings, and objects from the Cultural Revolution — a time when the State determined cultural production, and art and politics were intertwined. The left hand wall, emblazoned with bright red hues, the visual and notional sign for Communism, is saturated with shiny, smiling faces. They are images of the masses — that is to say the Proletarian people-workers, peasants, soldiers, and revolutionary cadres — for the masses.

Typical of the Cultural Revolution, the art is cheerful, sweetened with candy colours and bold forms, easily readable, and heavily laced with Communist ideology. Perhaps paradigmatic of this popularist art form is the poster Long Live the Great People’s Republic of China (1974). Here a swelling crowd of gleeful faces is pressed up against the picture plane, a heroic image of the people. Three figures stand out amongst the crowd: a peasant, a worker and a soldier. The worker thrusts his flower-laden hand in the air, his gaze, like his companions, filled with reverence as he looks out into the distance and into a brighter future. Pinks, blues and yellows write a sense of cheerfulness on the image, whilst the abundance of flowers marks it with a sense of celebration. Behind the heroic three, an image of Tiananmen Square pierces the blue skyline, framed by the archaic red landscape from which the sea of people seem to emerge. These people are colourful and traditionally dressed, marking their minority identity. Here image and text combine: this is an image which seems to say ‘men, women, workers, peasants, soldiers, and minorities unite’, showing a people bound together by a sense of nationalism and revolutionary fervour.

In contrast to these sickly sweet posters, the end wall shows a different kind of visual language of the Revolution in the guohua (national paintings). Rooted in the ‘traditional’ styles of China’s national heritage, watery figures are scratched on to the surface of these ink paintings. Each one maps out China’s ancient landscape and yet is stamped with the spectral presence of modernity: an image of the people, an electrical pylon or some other kind of modern construction.

On the right hand side is a cabinet full of objects and memorabilia. Lying next to scattered boxes of matches there are four targets, each depicting one member of the gang of four as the bull’s-eye. Here joviality and politics mingle; as part of a children’s game these targets reveal the political potency of the period, with ideology permeating all areas of commodity and culture.

With all the beautiful ink figures, the bright colours, the cheerful faces, and the childish games, one forgets that this was a period defined by corruption and violence, political indoctrination and the manipulation of the masses. However it is precisely this denial, this masking of the violent reality of the Cultural Revolution, which reveals the sheer strength and authority of Mao’s regime. 

‘Cultural Revolution: State Graphics in China in the 1960s and 1970s’ is on until 3rd July

College choice affects graduate earnings

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Data exclusively obtained by Cherwell indicates some shocking trends in salary levels among recently graduated Oxford students. Figures show that within six months of graduating, students from certain colleges earn significantly more than those at others.

Provisional survey data of the statistics from the Destination of Leavers from Higher Education census show that at Keble, the average salary six months after graduation was £36,100. The figure at Wadham was almost half of this, at £20,700.

President of Wadham Student Union President Jacob Haddad speculated that this was perhaps because Wadham graduates opted for lower paid careers, saying, “Many students at Wadham see themselves pursuing careers in the public sector, the third sector, or the arts.

“While salary level is an important measure of success, many students here would argue that it is no more important than job satisfaction and having a socially beneficial career. 

Sebastian Leape, a first year PPE student at Keble said that he was surprised by the College’s high average, but added, “Although Keble is not as academic as other colleges, the class group is sociable and confident.”

The data also showed significant gender imbalances, with female graduates earning less than their male counterparts.

At LMH, for instance, the average salary for male undergraduate leavers was £38,100 while the female average was just £21,500.

Accounting for the differences, Jonathan Black, Director of the Careers Service, said it may be because fewer women choose to go into the City, and opt instead for jobs in health care or teaching.

He added, “The question for me is why women don’t feel they want to apply to the City – when we studied this with about 600 students a year or two ago we learned that women students felt there was significant prejudice in the City (and elsewhere) that manifested particularly in promotion prospects.”

Where the information was provided, the statistics also revealed the occupations which recent Oxford students have entered.

At least 362 go into secondary education, while 38 of the respondents entered the clergy, and 20 becoming authors or writers.

The independent education charity Teach First told Cherwell that almost one in ten current Oxbridge finalists had applied to join their 2011 intake

In total, 84 Oxford graduates will be joining the scheme this year which makes up just over a tenth of the scheme’s total intake.

Liz Brewer, a Senior Officer in their Graduate Recruitment Department, said the company targeted all universities but had a “high presence” in Oxford and held many events with colleges, faculties and university societies throughout the year.

She added that they had already had “a lot of interest” from Oxford students for their 2012 intake despite only opening for applications a few weeks ago.

The statistics show that 45% of 2010 leavers took up employment while 37% opted for further study and a further 5% were combining work and study.

The 2010 unemployment figure for those finishing undergraduate courses was 7%.

Commenting on this figure, Jonathan Black said the figure had changed little over recent years and added, “Those who had been unsuccessful at interview, and had received feedback, found it was predominantly about lack of specific experience that let them down.”

However, the postgraduate unemployment figure had gone up by 4 percentage points since 2008 which Black described as “a worrying rise”.

In light of the introduction of the £9,000 annual fee, the statistics showed the number of students earning below the £21,000 repayment threshold.

If the current levels earning below this amount were maintained, 50% of Humanities students would pay nothing back on graduation in 2015 although the figure was only 25% for those in MPLS and social science courses.

Rafael Palluch, a third-year Economics and Management student said he already had a job offer in a financial company after completing an internship at the firm.

He said he had faced few difficulties in the process, commenting, “If you only plan ahead moving on is very easy.”

Commenting on the reliability of the survey, Jonathan Black said they were only able to reach 80% of UK-domiciled leavers as well as 65% of EU-domiciled and 35% of international leavers but admitted the data did have limitations and was “directionally sound, not statistically significant.”

He was positive about the graduate employment situation in Oxford, saying that the number of permanent vacancies posted on the Oxford vacancy situation had risen by 45% in the first 5 months of 2011.

Black said he believed that Oxford graduates were still at an advantage when it came to finding employment, adding, “I don’t believe that other universities will have seen such a large rise in graduate employment prospects – nationally we hear of 10%-15% rises – we believe that we are reaching new employers who traditionally have not advertised at Oxford or considered hiring an Oxford graduate.”

Commenting on the employment situation within the context of the fees rise, David Barclay, outgoing OUSU President, said there would be an “increasing focus for students on how Oxford prepares them for the world of work”

He added, “Whilst it would clearly be wrong for Oxford to turn into a production line for the economy, the University does have a responsibility to invest in student development in a holistic sense.”

“That means better support for clubs and societies, more training for Common Room officers, and proper funding for organisations.”

The full data set containing the survey results is due to be officially released by the Careers Service within the next fortnight.