Thursday, May 15, 2025
Blog Page 1914

Intoxficated

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Our resident columnist has taken a jaunt to Trindad to sample that rum, and seeing as we’ve got no class or alcoholic know-how, we’re going big with alcopops. Before you even arrive at uni, films, television and the media all instil in you that ‘real men’ only drink beer, if not ale, if not Guinness. After bartending at a recent 18th birthday party, we can verify that the few lads who chose a nice glass of Grenache over the far more popular Corona Extra were faced with reactions that ranged from confusion to aggression at their refusal to conform. Even more tellingly, only one boy asked for a Bacardi Breezer all night, and this was only for the hilarious jape of drinking it in front of his incredulous mates – ‘Guys, have you seen Gary?! He’s got a breezer mate! What is he, gay? Nah, course not; what a joker!’ Comedy gold.

Yet when we arrive at uni, everything changes. If you take a minute to look around you next time you’re at Park End (I know it’s unpleasant but bear with me), you’ll notice that almost every ‘lad’ in the room is drinking a brightly coloured, diabetes-inducingly sweet ‘alcho-pop’. Once the preserve of 14 year old chavs drinking on park benches in city centres, these saccharine treats are now a fundamental part of the Oxford binge drinking culture.

Yes, the alco-pop is de rigeur in Oxonian establishments, particularly useful for their “strawpedo-ing” capacity – put a straw in your bottle before downing it, and the nasty process is made easier, and yes, you’re bevved even quicker. L-A-Double D. Incidentally, if you don’t like them bubbles, Reefs are a pretty good shout – they come in a variety of flavours, as do J20, but don’t be fooled, lashmongers…they’re non-alcoholic, so no pretending to be hammered after a coulple of cheeky rounds…the “J” stands for juice.

Brook-ie Error?

Rivalry isn’t the first word that comes to mind with Oxford Brookes. As one friend put it, ‘they think we’re rivals; actually they’re just jealous of us and we couldn’t give a shit about them.’ Like the ugly friend (the one with the ‘great personality’), we have a tendency to cast their students a pitiful gaze as we swan into the Rad Cam or pause to admire the architecture of our 400-year-old college, steeped with a rich history of famous alumni. And there are some pretty outdated stereotypes coming from both sides of the River Cherwell. To them, the University of Oxford is home to the Tolkien-wielding, socially-awkward recluse; to us, Brookes is home to the media studies student. So it’s about time to set the record straight: is Brookes really all binge-drinking, sex and drugs while we hole up in the library with our slippers and settle down for an all-nighter? Kim, a Brookes fresher, and I decided to swap for a day and find out who’s tame and who’s wild? Who’s clever and who’s dumb? And who really has it better?

Lectures vs. Tutorials

Helen:Now plenty of times last year when I excitedly told people that I’d got into Oxford was I met with the reply of ‘what, Brookes?’ Although seeming like a reflection on my intelligence (I prefer to think it wasn’t), Oxford seems to have set itself apart as the preserve of gifted yet obnoxious students to all the visitors that wander our arches and quads. Brookes doesn’t have a tutorial system like Oxford, and while it also doesn’t have every leading expert in the world on its books, you can’t fault the teaching. The students at Kim’s history of art lecture were more attentive than most I’ve seen at a 10am theology lecture and 10% of your course is reliant upon turning up to at least 8 out of 10 lectures (incidentally, I haven’t actually woken up in time for a lecture yet this term). If you miss the deadline for an essay at Brookes, you automatically get a zero (although Kim does only have one term…). I guess at Oxford the personal nature of a tutorial means that you can become friends with your tutor, and with friendship comes the occasional abuse of this privileged position when you miss a deadline. Oxford prides itself on the tutorial system for good reason; I don’t think a lecture could ever stretch me or I could enjoy it as much as a tutorial.

Kim:Apparently the one defining aspect of Oxford teaching is the tutorial system, unrivalled in its ability to strike fear into the heart of students. At Brookes, we only really see our tutors at our lectures, which are 12 hours each week, so it was really interesting to be able to join in with a tutorial. Interacting with a tutor on such a personal level as a tutorial was a little intimidating; however, everyone was extremely welcoming and friendly. I’m not sure whether it was down to the tutor, or the quality of the essays, or simply being so much more personal, but in the tutorial I picked up much more than I would in a lecture. At Brookes, tutorials are available to anyone but are not timetabled and need to be arranged privately with your tutor, which most people don’t, so I was startled at how much I picked up just in an hour and how effective (and not scary!) the tutorial system actually was.

Halls vs. College

Helen: RRenowned as one of the most expensive colleges in Oxford, yet still the poorest, my college, Pembroke, perhaps isn’t the greatest example of college accommodation. But compared to modern flats shared between 6 people at Clive Booth halls at least we have character and charm, and that counts for a lot more (if you ignore the 70s’ build at the back). I’d imagine the bedrooms at Kim’s halls were more conducive to any night-time activities than our paper thin walls and ceilings and the kitchen/living areas made it really homely, but that still wouldn’t make me leave our beautiful quads anytime soon.

Kim: The Clive Booth campus at Brookes these days is a construction site with some very ugly 1960s’ buildings so Pembroke was a real treat. I hate to admit Oxford’s better in any way than Brookes but the buildings and grounds of all of the colleges I looked at were gorgeous compared to ours. The whole college atmosphere with common rooms, formal halls (complete with sconsing) and staircases was a lot less Mallory Towers/Harry Potter than I imagined it would be, but there’s no way it can be as much fun. Our parties aren’t about to get broken up by a ‘junior dean’ if there are more than 10 people present.

Fuzzy Ducks vs. College Bop

Helen: My last encounter with Oxford Brookes was a Faithless gig at their student union. After spending the night locked in several ill-advised clinches with a Brookes’ boy named Drew, I discovered all my friends had left and I was stuck in Headington alone, drunk, with no money and the offer of a night of passion if I left by 9am so he could go to play football with his friends. I was apprehensive then at the idea of another Brookes’ night. Fuzzy Ducks promotes itself on the fact that several years ago FHM called it ‘the easiest place to get laid in the country’; with drunk girls, unfussy men, cheap drink, and plenty of costumes constructed from the odds and ends of Primark’s lingerie department, it isn’t difficult to see why it manages to hold onto its reputation. One fellow student called it ‘the biggest self-confidence boost’, which could either be put down to the ability to pull pretty much anyone you set your sights on or that fact that you’re guaranteed to look better than half the other clubbers. It did seem like a status thing for a Brookes’ guy to get with Oxford girls; Kim’s flat-mate was particularly proud of his current achievement in ‘university challenge’ (getting with a girl from every Oxford college, that is, not the TV show). The DJ’s cries of ‘Let’s show Oxford what we’re made of’ (tut, hanging preposition) whipped the crowd into a frenzy of drunken face-sucking, so Brookes, you’re welcome, I guess.

Kim: The word ‘bop’ evokes images of a 1950s swing dance in a village hall and its new definition as a ‘college disco’ didn’t really get me as excited as the college seemed to be getting about their ‘Halloween themed bop at Que Pasa’. In theory they sound fine, but from what I’d heard, it was all bad fancy dress and drunken snogs leading to a lot of banter/shame the next day. Sure enough, drinking games were in full swing when I arrived at Helen’s house because ‘you’ve got to be fucked to enjoy a bop’. Surprisingly, despite slightly-out-of-date R’n’B and enough Apple Sourz to burn away my stomach lining, I actually had a lot of fun. I guess the whole bop experience is based on the fact that you know nearly everybody there and you can get up to some illicit/incestuous/gossip-fuelling fun with a person you’ll have to make eye contact with for the next 3 years. Although that might be what makes bops good, a little anonymity is what makes Fuzzy Ducks great. If I want a little more of that kind of action I’ve been told a crew date followed by a Wednesday night at Shark End is the place to go. Any takers?

Oxford and Brookes. They’re different, for sure. I don’t think there’s going to be a day anytime soon when you hear the Union President heading for a pint at the Brookes’ SU or any Brookes’ student bemoaning the fact that they haven’t got 16 essays this term. But maybe we should concede (probably rather quietly, and just to ourselves) that we’re a lot more similar than most of us admit.

Drops of Jupitus

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Phill Jupitus, no really it’s Phill not Phil, brings something extra to the table, whether it’s an extra ‘l’ in his name or an extra discipline of entertainment he has decided to master. Best known as a comedian, he has forayed into the world of TV and radio presenter, DJ, guitarist and performance poet. Spending almost 15 years as a team captain on ‘Never Mind the Buzzcocks’ and making regular appearance on ‘QI’, he has become a household name, although there’s no arrogance about him; as a plane overhead drowned out our interview, he remarked ‘that’s actually my private jet. I want you to know that comedy reaaallly pays’. Obviously it wasn’t. He’d in fact just got lost following his Sat Nav through the ever-confusing Oxford one-way system.

Jupitus isn’t known for mincing his words; he has openly fought with the BBC and exhibits brilliantly cutting wit on the Buzzcocks, taking no celebrity prisoners. Yet the man I found at the Union, wearing a jaunty hat and sitting opposite me on a small wooden picnic table, was happy to share his time, muttering to me conspiratorially as the press officer tried to hurry us up: ‘Don’t listen to him, do a couple more questions. He’s just trying to control me!’ And so it was that we delved into the world of a comedian and the difficulty that is inherent with the public persona versus the private.

‘It’s that failure to meet expectation, which isn’t a pressure so much as an encumbrance on occasions, because people are expecting you to be the guy off never mind the Buzzcocks 24/7 and that’s the weird part of it. But also from a personal point of view, I actually used to be very sort of gobby and chatty among my mates and used to do jokes all the time when we were in the pub and everything, and now I don’t. I just don’t do it because it’s my job- it’s a bit of a busman’s holiday to sort of be larking around when you’re with your friends now.

‘As a parent now you’re just aware of changes more and I think as a comedian, I hate to think that people are disappointed when I meet them that I don’t give them something that they’re expecting. But I think if you keep an open mind it’s cool and if I relax enough then maybe something funny falls out, but I tend to not do comedy on the nod as it were, I only do it under controlled conditions. I’m a lab comic.’

His argument of comedy needing the right conditions is no better illustrated than by the story of his own inappropriate stand-up, when he was put on with ‘The Who’ at the Royal Albert Hall. Although Jupitus hasn’t done full-on stand-up comedy for years now (through choice, not due to this trauma), he charts this as his number one stand up nightmare – the stuff of sleepless nights: ‘I thought that I’d just be introducing bands at a benefit gig, but as it turns out, he wanted me to go on in the middle of a Who gig and do comedy. Now, if I can just say, in my defence, I was booed off, but if I’d have been in that audience, I’d have booed me off. It’s comedy out of its box. It’s a terrible terrible thing, and it doesn’t work and is wildly inappropriate on occasions.’

Jupitus’ work with the celebrity world, despite the distressing experience above, only developed with his role on the Buzzcocks. He has encountered the sublime to the ridiculous – with recent panellists such as the internationally-renowned Mark Ronson to the identity parade which has featured the likes of DJ Tommy B aka Tom Beasley from Blazin’ Squad (who?). He emphasises the bottom line of Buzzocks: ‘It’s a show where you check your ego at the door’. Yet this hasn’t stopped celebs in the past taking issue; Preston from Ordinary Boys (and Big Brother) fame stormed off the show after the the host Simon Amstell’s teasing got too much. But following my question of who Jupitus found the biggest diva to date, I was a little taken aback; I was thinking along the lines of an internationally-renowned songstress. I remember seeing Bonnie Tyler appear on the show a few years back, and quite frankly, if I had sung ‘Total eclipse of the heart’, I’d definitely be a diva, no questions asked. But no.

‘Oddly enough the most diva-ish person we had on was Vanessa Feltz, and she just was, I hate to say it, she just was quite ungracious. Could dish but couldn’t take. And it’s got to be a two-way streak when you come on that show. And she just really took issue with Simon, the host, I mean really, and suddenly I just felt this icy chill on my right hand side and she became quite angry sort of about half way through the show. It’s a comedy show ultimately and you can’t. If you’ve got somebody as high-profile as Vanessa Feltz, and you’ve put as much of your personal life in the public domain, then when that comes back at you, you should at least, at the very least, be prepared for that. Whereas she was acting like, ‘Oh my god what’s this?’ But all of it was out there; he was using stuff that was in the papers, interviews – stuff from her own interviews.’

The arrival of presenter Simon Amstell did undoubtedly bring a new level of controversy to the show, and a marked depature from the days of Mark Lamarr – Jupitus is now the only one of the old guard to remain. Both the original presenter and the other team captain, Lamarr and Sean Hughes respectively, started their careers in the same field as Jupitus, as performance poets.

Jupitus toured the student scene, travelling around universities, colleges and student unions supporting bands such as Billy Bragg, The Style Council and The Housemartins. And there’s certainly a fondness that is evident in Jupitus’ words about Bill Bailey, the absurdly creative comic who took over from Sean Hughes as the opposing team captain for 10 series. We discuss the most prominent of Bill’s features, naturally his groomed beard and mass of wizardly hair: ‘Well it’s that cling-on look.’ But Jupitus isn’t threatened – he backs his facial-growing prowess to the end: ‘Well I can, if I wish to, grow a similar thing. It’s not a big Hemingway beard, Bill’s, it’s that close-manicured beard, which is a bit like mine when I bother to grow one so I don’t envy it. I can rock one. When the need takes me, I can rock one.’

Jupitus certainly didn’t let us forget Bailey’s departure from the show with his musically questionable, but hilarious duet of Jordin Sparks’ ‘No air’ with Amstell, the presenter at the time. Years of practice in the ‘Intros’ round was put to great use with this performance in which Jupitus expanded from imitating various instruments to a full blown vocal performance. We muse over the innovative scientific question raised by Jordin Sparks’: ‘How are you supposed to breathe with no air?’

‘Well in essence it’s a vacuum. Jordin Sparks has violated a basic precept of physics there surely… And of biology at the same time. If there is no air then you suffocate, but is that not what Jordin Sparks is saying in the song – I am dead because there is a lack of air. And no matter how much I try to breathe, there is still no air. And so how am I supposed to breathe with no air? Well that’s surely rhetoric in its purest form.’

To summarise the life of a comedian, Jupitus shared with me a recent conversation he’d had with fellow comedian, Sean Lock: ‘The way he describes what we’re doing is, as a comedian, you are mining a facet of your own personality, which is an incredibly introspective thing to do and a weird thing to do. You’re pulling part of yourself out and selling it, which can make you feel a bit whore-y’. But there was nothing whore-y about Phill Jupitus; he didn’t plug his work or try to force his humour on me. He was light, casually humorous, and surprising. He didn’t tear my questions apart with the wit we so often see on TV, but revealed himself as a ‘Who’ concert gate-crasher, beard growing, groupie of Jordin Sparks (albeit a sarcastic one).

Follow Phill on twitter: @jupitusphillip

Embrace your naked ambition

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Whether you are a keen and active artist, a complete novice or just a culturally-minded individual, your university years should provide a good opportunity to pursue any interest you may have in the visual arts. Yet here in Oxford it has been, in my experience at least, not so easy to locate a visual art ‘scene’ as it is to find the equivalents for the other arts; music and drama, for example, are both cultivated in the activities of a thriving community. Readers might like, therefore, to know more about some of the activity in the visual arts that occurs inside and outside the doors of the Ruskin School of Drawing and Fine Art.
For centuries essential to an artist’s education, life drawing is today viewed with apprehension and the occasional snigger. The art of drawing the naked human form is a challenging task; but if you are an inexperienced draughtsman, attending a class with tuition is an excellent way to begin learning to draw. From my own experience, I would recommend life-drawing classes as a productive way of distracting yourself from the daily grind of student life, and as providing a space in which you may calmly achieve something that engages your creativity, as well as your powers of observation and concentration. It is encouraging to see signs of renewed interest in the traditional practices which cultivate the basic concepts of art – looking and seeing – at a time when the art world is overrun with video installations and brash objects professing deep symbolic meaning.

So where can you go for art classes within easy reach of the colleges? The Ruskin School, which can be found at 74 High Street, puts on life-drawing classes open to Oxford students every Wednesday and Thursday evening at 5.30. The classes are exceedingly good value, at £30-£35 a term, and this includes all materials except pencils/charcoal. As a regular member of the class, I can assure readers that they should not be put off if they lack experience, since there is absolutely no requirement that you have any prior drawing skills. The three-hour sessions provide a chance to explore and develop whatever artistic skills you may – or may not – have. The structure of each session encourages students to try different techniques: short 2-minute poses, during which the tutor may challenge you to attempt such experiments as drawing without looking at the paper, or using your non-dominant hand; a couple of 20-minute poses; and finally a substantially longer pose, which does demand a great deal of concentration.
If life drawing is not to your taste, and you are looking for an opportunity to explore your creativity in a sociable environment, then it would be well worthwhile to go along to the Christ Church art room on a Saturday, where Oxford Art Movement holds a session open to all. To get involved and to find out more, email [email protected]. The room is well equipped with paints, paper, and art books; and for a mere £2 you can make use of everything that is available. Whether you choose to follow the still life that is set up in the middle of the room, or are inspired by one of the many art books on the shelves, a couple of hours out of your weekend devoted to exploring your artistic potential should leave you feeling wonderfully refreshed.

To inspire you further, OAM will be holding an exhibition at the end of the term with the theme ‘Sublime and Grotesque’, which should give your imagination free rein. I hope that you will now feel encouraged to try out some new territory, and get involved in Oxford’s artistic life.

Review: My Beautiful Dark Twisted Fantasy – Kanye West

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It’s easy to begrudge Kanye West his critical and commercial success. He’s powered by boldness, able to turn Can and Curtis alike into garnish for his own ego or transfer unmolested into limp auto-tune balladry. With My Beautiful Dark Twisted Fantasy, his temerity has reached the next level.

Listening to ‘Power’, it’s easy to be swayed by the track’s audacity alone. The spindly guitars, King Crimson sample and spacey synth coda recall the bombast of progressive rock, while the vocal performance is one of Kanye’s best, simultaneously self-reflexive and egotistical: ‘they say I was the abomination of Obama’s nation’. By contrast, third single ‘Runaway’ – a quiet storm of RnB vocals and understated piano plinks – stands dangerously close to MOR.

Throughout the album, there’s a strange polarity between hip-hop and RnB – though the hammy vocals of West’s previous album 808s & Heartbreak have left their stain on the rapper’s music, here he produces the most straight-up rap tracks of his career. Highlights ‘Monster’ and ‘So Appalled’ hinge on a masterful succession of guest verses, spotlighted by expansive production. Fantasy is an album of extremes, of disparate and often bizarre strands colliding – ‘Lost in the World’ starts with Bon Iver channeling Phil Collins and ends with a polemical Gil Scott-Heron sample.

Whereas Kanye’s previous albums had their own signature, ranging from the hugely influential soul sampling of The College Dropout to Graduation’s murmurs of house, Fantasy is difficult to pin down – a chaos that somehow coheres into one of the most interesting mainstream releases of the year.

The hype being heaped on Imogen Heap

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She’s self-produced, self-written, and potentially the greatest musician ever to have had a song covered by an orchestra of kazoos. She’s written tunes so catchy that you’re singing them before you’ve heard them. Imogen Heap could – maybe should – be a female music idol, and yet many of you out there haven’t heard of her…

If you have, it’s probably because of ‘Hide & Seek’, the ballad that hit #1 on iTunes after featuring in The OC. The song ‘was an improvisation with my boyfriend’, says the artist to Cherwell. ‘It took the length of the song to write the music’. Written in a flash of inspiration, the song has become popular culture, weaving its way through a capella repertoires and club remixes. But Hide and Seek is by no means the only game Heap plays.

An adventurous composer, she has written for everything from the solo 5-octave array mbira (don’t ask…) to full orchestra. Explaining her unconventional taste in instrumentation, she confides: ‘I don’t like steel drums… but when I heard the hang (a drum found in the Swiss Alps), I followed the sound. I just walked towards it and found someone playing it in their lap’. Apart from instruments, Heap also records sounds from all over her house – floorboards creaking, eggs frying – then edits them down to their skeleton, before fleshing them out with her personality. She maintains that great sound comes first, melody second.

Heap’s ambition certainly matches her eclecticism. ‘It was always my dream as a child to premier my first piece of orchestral music in the Royal Albert Hall’, she tells me. This dream was realised last Friday, when she gave the premiere of her composition ‘Love The Earth’ at the venue. Explaining the inspiration behind the piece, Heap says that ‘one of the things I remembered from school was the Fibonacci sequence and its connection to the golden ratio, which appears everywhere in nature’. In the event, she conducted one hundred musicians across eleven movements, whose lengths in minutes were equivalent to the first eleven numbers of the sequence.

This recording will in turn be set as a soundtrack to an eponymous nature film.’No pets,’ Heap protests. ‘No people. Just nature. This will be aimed at real nature enthusiasts’. Yet this project represents only one side of an endlessly complex artist who’s making a name for herself as a composer, a filmmaker, and above all a songwriter.

Before long, Imogen Heap will be everywhere, and you’ll finally hear those catchy songs that you’ve been humming all this time.

Disability sport not looking so grey anymore

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There are few greater role models in the field of disability sport than Baroness Tanni Grey Thompson and so it was a privilege to meet with Britain’s most successful Paralympic athlete.

With the London 2012 games fast approaching her views on how young athletes can be encouraged to compete in disability sport events are clearly important. The problem, according to Tanni, is that young athletes with disabilities are often at a disadvantage at school and ‘it is a real challenge to make sure they get access to P.E.’ It is refreshing to hear that things have moved on since Tanni was still at school, some 25 years ago, but she still maintains that there is work to be done. In many ways she hopes that London 2012 be a huge positive for the disability sport community in general but issues a stark warning that ‘there is a real danger that we will just focus on those couple of weeks for the games and won’t think about what we should do afterwards.’
Tanni hopes that London 2012 will be used as an opportunity to leave ‘not just a physical legacy in terms of whether we have an athletics track or not, but a legacy in terms of trying to change the mindset of sports clubs, schools and parents to encourage kids.’ She suggests that these things ‘are not that difficult, but need to be carefully planned.’

In light of the suggestion that there needs to be greater encouragement for young people to become involved in sport we talk of the driving influences throughout Tanni’s career. She places responsibility not only upon her parents who ‘had a huge input’ to try and overcome the kind of discrimination which still existed at the time when Tanni first became a wheelchair user but also on another wheelchair athlete Chris Hallam who won the 1987 wheelchair marathon. She says that he was a role model who ‘broke down a lot of sporting barriers, showing that wheelchair athletes were able to compete.’

Great Britain’s preparation for the London 2012 Paralympic games clearly also important to her. But what has to be done differently for these young sportsmen and women in preparation for such big events? She tells me ‘there are lots and lots of positive things to be said about lottery funding and now athletes who gain a place on the squad have much better access to medical care, physio support and nutritional support.’

For Tanni, the message seems abundantly clear, that with the required support and with greater role models, awareness and encouragement a belief which was instilled in Tanni that you can ‘do anything you want’ will ensure that the future is bright for disability sport.

Aussie rules ok?

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Australian Rules Football is unique in many ways. In addition to its status as Australia’s national game, it is, as far as I can surmise, the only sport in existence in which the ball and the field share the same shape: oval.

Australian football looks foreign to most non-Australian sports enthusiasts and its origins remain the subject of dispute. Most likely, our sport developed as a hybrid of English football and rugby, designed by cricketers in Melbourne as a pastime to occupy the winter months. The game also exhibits the influence of a game played by indigenous Australians with a ball made of kangaroo skin. The game is different to the usual in that handballing is encouraged – players can use any part of their body to move the ball.

Australian Rules Football at Oxford has a long and distinguished history through the Oxford University Australian Rules Football Club (OUARFC). We have won 8 of the past 10 varsity matches and our club celebrates its 90th varsity match this year (the first having been played by World War 1 veterans returning to study in England).
Through our partnership with the sports federation the club has taken its professionalism to new levels in recent years and were able to purchase new goal posts in 2009. A relatively large club by Oxford standards, with membership numbering between 50 and 60 players, we represent a range of nationalities, including Canadians, New Zealanders, Irish (whose familiarity with Gaelic football makes them well suited), Swedish, British and, of course, plenty of Australians.

Aussie rules ok?

0

Australian Rules Football is unique in many ways. In addition to its status as Australia’s national game, it is, as far as I can surmise, the only sport in existence in which the ball and the field share the same shape: oval.

Australian football looks foreign to most non-Australian sports enthusiasts and its origins remain the subject of dispute. Most likely, our sport developed as a hybrid of English football and rugby, designed by cricketers in Melbourne as a pastime to occupy the winter months. The game also exhibits the influence of a game played by indigenous Australians with a ball made of kangaroo skin. The game is different to the usual in that handballing is encouraged – players can use any part of their body to move the ball.
Australian Rules Football at Oxford has a long and distinguished history through the Oxford University Australian Rules Football Club (OUARFC). We have won 8 of the past 10 varsity matches and our club celebrates its 90th varsity match this year (the first having been played by World War 1 veterans returning to study in England).
Through our partnership with the sports federation the club has taken its professionalism to new levels in recent years and were able to purchase new goal posts in 2009. A relatively large club by Oxford standards, with membership numbering between 50 and 60 players, we represent a range of nationalities, including Canadians, New Zealanders, Irish (whose familiarity with Gaelic football makes them well suited), Swedish, British and, of course, plenty of Australians.

Blues battered at Shark End

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Oxford Blues: 25

Sale Sharks: 43

A large crowd braved the fearsome early November cold to see the university’s finest once more come up just short against one of the best rugby teams in the country. After defeats against London Wasps and Cardiff Blues already this term the Blues were determined to produce a positive result and performance. However Sale, even without the services of world cup winner Jason Robinson who was listed as a replacement in the programme, were always in control of the game and deserved their comfortable victory.
A frantic and combative start to the game saw both sides struggle to take control. A penalty from Blues number 10 Charlie Marr put his side three nil ahead after 15 minutes, but Sale were growing in confidence with the ball in hand and looked increasingly likely to take the lead. They eventually did cross the try line with 20 minutes on the clock. Unfortunately this was the point that I had decided to take up the offer of a beer and a burger included by OURFC in the ticket price. I therefore missed the try so cannot describe it here – I can however inform you that the burger was delicious.

The Blues responded very well to this setback and were soon back in the lead. A clever short restart from Marr won his side a penalty, which he duly converted to make the score 6-5 – the Blues having been behind for only a matter of seconds. This lead always looked precarious however and Sale made the rapidly tiring blues pay as half time approached. Two well worked tries in as many minutes from the professional outfit saw them take a lead they would not surrender for the rest of the game.

The Blues were looking shell shocked and the pressure from Sale continued relentlessly. The large crowd grew quieter as a big Oxford defeat looked ever more likely – although this might have just been a sign of the cold properly setting in. The crowd were warmed however by a fabulous Blues try to bring them back into the game before the half time interval. Fly half Marr broke through the Sale defensive line for the first time in the night before feeding winger Luke Jones who provided a fine finish. Marr added the extras to put the Blues back within a score of the Sharks. Some belligerent defensive work on the Blues try line in the last action of the half kept the Blues very much in the game with the score at 13-19.

The second half began in frenetic fashion with both sides clearly fired up. Blues replacement Tom Yusef encapsulated his side’s mindset with a huge hit to bring Sale’s first move of the half to an abrupt end. The Blues were unable to capitalise on the atmosphere that this tackle created in the crowd however, and soon after Sale scored again. The Blues were beginning to look tired and, like in the first half, their line was breached for a second time just two minutes later. On this occasion a scintillating Sale move led to the try – and once more the Blues looked as if they could be on the end of thrashing.

The spirit in the Blues camp has to be admired however seeing as, despite being 25 points behind and with fatigue noticeably affecting many of the team; they gradually clawed their way back into the ascendency. One good chance went begging due to some poor handling along the line, but soon after they were rewarded with a deserved score, captain Nick Haydon darting over in the corner following some excellent pressure from the Blues forwards.
As the game entered the final ten minutes the Blues continued to look like the better side – a real credit to their fitness and conditioning considering the professionalism of the team they were playing. They soon crossed the Sharks’ line for the third time in the match when Alex Rowe tumbled over following an excellent driving maul. After Marr added the extras the crowd sensed a magnificent comeback could be on the cards, but some handling mistakes meant that the further try needed to set up a grandstand finish just evaded the Blues. In fact it was Sale who had the last say, running in an easy try in the last play of the game as the Blues defensive line was hampered by the search for a try of their own.

The Blues will undoubtedly be disappointed with the final result, and especially twice conceding tries in quick succession which ultimately lost them the game. The spirit and determination on show was exemplary however, and with the Varsity match at Twickenham now under a month away there are plenty of positives to take forward.