Saturday, April 26, 2025
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Tea Partyist fakes Oxford Degree

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Christine O’Donnell, the Republican nominee for Joe Biden’s Delaware senate seat has been accused of pretending that she studied at Oxford University.

O’Donnell is a member of the radical right wing ‘Tea Party’ movement in America. She advocates the teaching of creationism and once led a campaign against masturbation.

O’Donnell was described on professional networking websites as having received a certificate in ‘Post modernism in the New Millennium’ from Oxford University. Ms O’Donnell had in fact attended a summer school run by the private Phoenix Institute, an unaffiliated institution that rents teaching rooms in Oxford.

Ms O’Donnell said in a statement that she was not responsible for setting up the account on the networking site Zoominfo.com.

Oxford sweep Gramophone Awards

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The Oxford-based choir Cardinall’s Musick has won the prestigious Gramophone Early Music Award for their recording of William Byrd’s ‘Infelix Ego’.

Winning the award for the fourth time, Cardinall’s Musick secured the title with their recording of Byrd’s Latin mediation piece, which incorporates music from the late 16th and early 17th Centuries.

Three musical groups based in Oxford made up the complete shortlist for the Early Music Award this year. Cardinall’s Musick beat rival groups Phantasm and the Christ Church Cathedral Choir for the prize, awarded by classical music magazine Gramophone.

A panel of critics selected the three nominees from thousands of CD releases from the past year. It is unprecedented for all three groups to have strong Oxford links.

Both Phantasm and Christ Church Cathedral Choir are directed by members of the University Music Faculty, and Cardinall’s Musick was founded in Oxford when its director, Andrew Carwood, was a lay clerk with Christ Church Cathedral Choir.

Professor Jonathan Cross, Director of the Oxford University Music Faculty, spoke of his pride at the shortlist.

“In the Music Faculty we are delighted by the nominations of both Christ Church Cathedral Choir and Phantasm, directed by our colleagues Stephen Darlington and Laurence Dreyfus.

“Like the Oscars, it’s as much an honour to be nominated as to win!” he said.

Dr Stephen Darlington, the Director of Christ Church Cathedral Choir, agreed that the Oxford-dominated nominations reflected the high calibre of music at the University.

He said, “Overall, it shows the national recognition for the quality of music-making in the field of Early Music at Oxford, an area which has a long history of distinction here.”

The Gramophone Awards are among the most significant honours bestowed on recordings in the classical music industry. The winners are selected by critics for the Gramophone magazine, music retailers, broadcasters, arts administrators, and musicians.

In 2008, the Early Music prize was also won by an Oxford group. The Choir of New College carried away the prize based on their performance of ‘Missa Benedicta’, conducted by EdwardHigginbottom.

Universities Minister backs tuition fee hike

Higher-earning students should pay more than those on low incomes to cover the costs of higher education, announced David Willetts, the Universities Minister.

Speaking at the Conservative Party conference on Monday, Willets said, “When money is tight, it is right to expect people to make a substantial contribution towards the cost of their university education – not when they are studying but afterwards when they are graduates on a decent income. And there should be protection for the lowest paid”

The speech given by the Universities Minister appeared to confirm expectations that the upcomingBrowne Review will reccommend a significant rise in tuition fees.

Lord Browne’s report on higher education, which is expected to be released next week, has been predicted to say that universities should be allowed to increase current £3,290 annual fees to £10,000.

To support the substantial fee increase, Willetts proposed the introduction of a “progressive” funding system in which students take out loans to cover higher fees. Wealthier graduates pay back their fees at a more expensive rate.

Professor Steve Machin, a researcher for the Sutton Trust education charity, warned that undergraduate fees could “rapidly increase, particularly for those universities with the highest academic reputations”.
Lord Patten, the Chancellor of Oxford, has previously expressed his view that current tuition fees are “preposterously” low and must rise if Oxford education is to remain world class.

He said, “I would be prepared to cap the funding of our teaching grant if we were able as a result to set whatever tuition fee we wanted, provided that we could demonstrate that we were still guaranteeing needs-blind access with generous bursaries.”

Freshers fuss over alco-funds

Spending on Freshers’ Week by JCR committees varies greatly across the University, especially regarding the budget set aside to buy alcohol.

Queen’s College have allocated a budget of £4500 for Freshers’ Week, which includes £400 for a sightseeing tour of Oxford by bus for new students. Meanwhile, Oriel are spending £250 in total for the entire week.

Of the colleges surveyed by Cherwell, the average JCR spend on Freshers’ Week activities was £1900, all of which came out of the JCR budget. The only college whose MCR to contributed to Freshers’ Week was Mansfield.

The vast majority of JCR spending goes towards venue hire and alcohol, although other costs include magicians, barbecues, and a bouncy castle at Lincoln.

Many colleges try to win their money back through the sale of Freshers’ T-shirts and club night tickets.

Encouraging new students to go clubbing has been disallowed by some Colleges, after fears from College Governing Bodies that this could encourage excessive alcohol consumption, and endanger student safety.

But despite the concerns, some JCRs have spent thousands of pounds on alcohol for students. St Hugh’s budget totals £3000, of which £400 was spent on wine and £1000 on Pimm’s.

A cocktail evening and accompanying entertainment organised by Queen’s for incoming students cost £1000, and Magdalen have also set aside £1000 behind their college bar.

Chewell found that at least six JCRs are supplying no alcohol whatsoever. St Anne’s pastoral staff explicitly disallowed more than one official college club night this year after problems with drunken behaviour and an arrest in Freshers’ Week last year.

One member of the St Anne’s Freshers’ Committee commented, “It is ridiculous to only let us have one night where alcohol is officially allowed. By being so strict the College is making students more determined to go out and get really drunk.

“There would be less chance of something going wrong if college recognised that everyone is going to drink in Freshers’ Week, no matter what they say, and helped us organise it properly and safely.”
Corpus Christi organisers have also been monitored by the governing body, which has insisted on at least one “non-alcohol centred” night during Freshers’ Week.
“They told us there is enough drinking involved in Freshers’ activities as it is”, a Corpus Christi Freshers’ Week organiser commented. He went on to describe the attitude of the college as “stingy and generally anti-fun.”

Many new students are worried that their time at Oxford will not be as enjoyable as that of their friends starting at other universities. Facebook groups for incoming freshers express fears that Freshers’ Week will be “disappointing” and complaints that the planned schedule is “a joke.”

However, some students have welcomed increased involvement from staff. A second year Teddy Hall student commented, “Freshers’ is probably the same at every university but there are always people who take it too far with pennying and drinking games.

“Not everyone likes to get wasted five nights in a row and you shouldn’t feel pressured into it. There is a permissive lash culture in Oxford because of drinking societies and it can be a real social divide. It must be terrifying for shy new students.”

A second year History student said, “My friend drunk so much on the first night of her Freshers Week that she wandered out of a club to a building site and passed out. No one realised she had gone missing and eventually a passer by phoned A&E. She woke up the next morning in the John Radcliffe Hospital. It is really terrifying to think of the dangers of excessive drinking during Freshers Week.”

A University spokesperson said, “Everyone attending Freshers’ Week events will be an adult, and if not, should not be drinking. Responsibility for their behaviour lies with themselves.”

Bag bother at the Bod

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A new security policy has been implemented at the Bodleian Library, sparking fears that precious library materials will become endangered.
For the first time, readers’ bags are no longer being checked by staff on arrival at the central Bodleian Library.

The previous admission policy of bag searching upon entrance was described by OUSU as “extremely strict and supported by students”.
Yet, in a radical break from past procedures, porters will now allow readers to enter the Upper and Lower Reading rooms without presenting their bags for inspection.

This new and controversial policy has not been introduced in all the Bodleian Library buildings. Vigilant checks are still being carried out on arrival and exit in the Radcliffe Camera. Critics argue that this supports their claims that the new policy has been introduced for the wrong reasons.

According to a Bodleian source, the recent security changes were introduced in response to severe funding cuts and staff shortages rather than fresh ideas about library security.

However, a spokesperson from the Bodleian Library wavered any suggestion that the entrance policy was changed in response to a lack of funding.

He said, “There is no recruitment freeze in place at the Libraries. Like many other public institutions, the Libraries, as part of the University of Oxford, are acting responsibly in the current economic climate by identifying where savings can be made, or where funding can be reallocated, to provide the best possible services for students and readers.”

Students have expressed fears that hazardous materials could be brought into contact with invaluable reading materials if security becomes slack at the world-famous library.

Robert Bourne, a History student at St. Hugh’s, expressed his concerns that both historical documents and students alike may be put at risk if bags are no longer checked on.

He said, “This is absolutely disgraceful. The university simply must step in to protect students. The potential for inter-library carnage is quite unprecedented.”

But not all students are so perturbed by the news. A second year History of Art student said, “I’m glad they have abolished the searches because I do enjoy a cheeky can of coke and a cupcake while I work, and now I can enjoy these comforts without the stress of sneaking them in.”

The Bodleian Library assures readers that it takes the security of its collections and its buildings very seriously. Commenting on the recent changes, a spokesperson from the Bodleian Library said, “We keep the level of security under review, with the advice of the University Marshal.

“A range of security measures are in place across library sites. We will not comment on specific library locations.”

Cherwell goes under the covers

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An increasing number of cash-strapped students are turning to escorting as a way to earn money, Cherwell can reveal.

“I currently have three Oxford students on my books and have had many more previously. They come and go, whether to help finance their studies or just for the love of the money,” the manager of an escorting agency disclosed.

Contacting several escorting agencies based in Oxford under the alias “Kate Selby”, Cherwell found that escorts can be paid as much as £180 for a two hour booking, or up to £650 for an overnight booking.
A student in Oxford who escorts in her spare time said, “the thrill of earning money easily motivates me. 90% of the clients are very respectful and very nice guys. Most of the guys are in town on business staying at hotels”.

It remains unclear exactly what it is that the clients are paying for when they hire escorts. Some websites for escort agencies based in Oxford emphasise that the money paid by the client is not for sex, but rather for their escorts’ time.

One agency website explains, “[We] do not offer any illegal or immoral services. Any money paid is for time and companionship only and anything else that may occur is a personal matter between consenting adults.”

However when the manager of the same agency was asked whether working as an escort involved having sex with the clients, she replied that, “Yes sex is part of escorting.

Many students were not surprised to learn that escorting was an option some of their peers turn to.

Finola Holyoak, a second year Lincoln student, said, “There is no reason why Oxford students should be any less likely to escort than students at other universities.”

A survey conducted earlier this year revealed that one in three female university students would be willing to work in a gentleman’s club in order to fund their degree and lifestyle.

With 61% of female students saying they have felt “desperate” for money whilst studying, the survey showed that many women are turning to stripping and escorting in an attempt to find ways to financially support themselves.

One female third-year student, who wished to remain anonymous, said that she was considering working as an escort if her financial situation worsened.

Commenting on students using escorting as source of income, a spokesperson for the University said, “Most students are adults and therefore responsible for their own behaviour. With regards to any form of employment, students are discouraged from working during term time as terms are short.”

He added that the university expects students “to behave responsibly and to avoid bringing the university into disrepute or being a nuisance to the local community”.

However, for many the financial benefits do not justify the wider social implications of the escorting industry.

One second-year English student said, “I think that regardless of the money you can make, services such as escorting still encourage an unhealthy towards sex and distort student attitudes towards relationships. It must be very destructive psychologically for young women”.

Review: Surfing The Void

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With its novel combination of rock and “nu-rave” (a term coined by band-member Jamie Reynolds), Klaxons’ debut album Myths Of The Near Future immediately sent waves through the scene. Surfing The Void builds on the band’s established sound. Initially rejected by the their record label for being too experimental, the album is texturally chaotic, featuring deliriously energetic layers of riffs and melodies.

The first track echoes the hook-laden pop of ‘Golden Skans’, but is noticeably less tight; the band provide a turbulent backing of pounded piano chords, eerie guitar drones and unrestrained polyphony. It is nonetheless an infectious opening, and sets the tone for the rest of the album. The title track sounds like the soundtrack to a party inside a hurricane, as guitar lines twist around furious drums, and a screamed invitation to “Take in! Mystica!”. The music takes a distinctly eighties turn with ‘Venusia’, which eschews the sonic chaos in favour of a relaxed groove. The chorus is instead driven by the album’s characteristically dense use of special effects, which are also used to wonderfully deranged effect on ‘Extra Astronomical’. Yet they sound overdone on ‘Flashover’, which, in spite of some dynamic variation, feels like an aural assault. The album closes with the rockier number ‘Cypherspeed’, whose lyrics and psychedelic licks are a testament to Klaxons’ futurist inspirations.

On Surfing The Void, Klaxons appear to have supercharged their nu-rave sound with vivid electric soundscapes. The album is certainly ambitious, and although overdone in places, it allures through its sheer energy.

French Pop Music Today

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Given Britain’s lack of exposure to European popular music, is it surprising that we’ve come to assume that little of it is worth hearing? Moreover, is it not natural that our ignorance should give rise to certain cultural stereotypes? Some associate France, for example, exclusively with the nostalgic chansons of Edith Piaf and Charles Trenet, or with the cheerful, vulgar sound of the piano-accordion.

But today, French popular music is in danger of drowning under a global deluge of British and American music. Another stereotype holds that France now listens only to the blander forms of British and American music, together with its cringe-worthy French derivatives. When the popular French radio station Skyrock is not blasting out Lady Gaga’ soulless whine, it’s playing one of a vast number of glittery but banal home-grown pop tunes, most of which are sung in English. The French Top 40 chart of a few weeks ago, over half of whose entries were either English or American, reflects this trend only too well. The video for that week’s Number One – “Mignon Mignon” (“Cute, Cute”) – has a cartoon beaver babbling incoherent words to the tune of “If you’re happy and you know it, clap your hands”. Perhaps the French just took inspiration from the “comic” value of the moronic Crazy Frog tune, which stormed the UK charts a few years ago.

Beneath this commercial façade, however, lies an indigenous scene which confirms the musical inventiveness of the French. While some French artists – notably Daft Punk, David Guetta and Justice – have entered the international mainstream (and in the process forged a new course in the global electro scene), most of the country’s talent remains unknown abroad. Yet the sound of “électronique minimale” is currently flourishing in France. Kavinsky (Vincent Belorgay) is an electronic composer whose experimentation ranges from heavy-bass techno and dance to more minimal beats, while Sophie Gonthier, singing under the pseudonym Anything Maria, combines sensual singing with clean, edgy beats, producing music that lies somewhere between the darkly hushed tones of Bat For Lashes and the upbeat flavour of La Roux.

Yet French bands are as keen to seek inspiration in the past as they are to promote progressive electronics. Anoraak, in their album Wherever The Sun Sets, plays with an eighties synth-pop sound; while Jamaica’s latest release No Problem mines the pure electro-rock genre, inviting comparisons with the dance-rock music of another French group, Adam Kesher. Despite releasing many records over the past decade, Syd Matters have yet to achieve a huge breakthrough in their own country, but have gradually built up a reputation for producing brilliantly harmonised, sensitive, folk-tinged melodies; they are perhaps France’s answer to Mumford & Sons. Even more accomplished are the pure vocals and ukuleles of folk duo Cocoon.

The pop music scene in France is, in truth, as varied as ours. I’ve given only a few examples out of a potential many, but they in themselves dispel any notions that the French don’t have a flourishing popular scene of their own. And it’s only a Eurostar away.

A view from the (Cam)bridge

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As I report weekly from the other side of the M1, our familiar friend, Rivalry, is sure to raise his brazen head in the weeks to come. So I’m just going to get it over with here and now. I take your Burton, Beveridge and Bentham and raise you Byron, Babbage and Badiel. I take your lascivious Union Prez and Big Brother big-shot and raise you one Mr.G (that’s Ali G to you Dark Blues). I take your moth-eaten banquets and your gown-clad, latin-mumbling, musty-smelling traditions and I raise you…Er, well, you see it’s much the same round these ends.

If we’re all honest, the rules of play are more or less the same in the Bridge as they are in the Ford. We are but bickering siblings, denying our shared ancestry when competition strikes, but then reuniting in the camaraderie of the “Oxbridge” name when need be; which is usually when we’re faced with the shared opposition of irritatingly glossy, painfully prosperous American cousins. That said, I’m sure it still hurts when Cambridge is ranked the best university in the world and his bro sidles in sixth. We’re Ed, to your David.

So, fresh meat arriving at either slaughterhouse this week faces the same dripping axe and thus requires the same advice. You will grow accustomed to the fact that everything in your set looks like it should be a horcrux. You will learn to loathe tourists – especially the Yankee twangs that waft past the porter’s lodge exclaiming, “Can you believe they built all this just to film Harry Potter?” You will soon see the sense in ten-on-ten blind, double dates that go by the name “Crew Date”. And lastly, you will learn that bicycles get stolen, supervisors hand out Thirds and your chap may find another, prettier, funnier, thinner, girl…but Fifth Week does end.

Then there’s the lesser known advice I was given by my trusted companion, The Metro, last week. As soon as you arrive, you must join the Oxford Union. Apparently members of this esteemed institution receive perks beyond the mere debates and drinks that are advertised. Just flash just your Union card for a ten per cent discount at the local sex shop.

Reviews: Buried

In the past decade, it has become an increasingly rare occurrence for a film director’s ambition to exceed the capabilities of the medium. CGI has developed so rapidly that it is now possible to render convincingly entire planets onscreen, and visual limitations are still continuously being eroded. Yet one only need look at ‘Transformers: Revenge of the Fallen’ or the blunderingly moronic ‘Avatar’ to see that flawless digital effects do not equate to a good movie – more often than not they will take detract from an original story or interesting characters. With this in mind, it is perhaps unsurprising that with ‘Buried’, director Rodrigo Cortés has proved that limitations – both geographical and budgetary – can be an extremely good thing.

The pitch of the film is extraordinarily, deceptively simple: Paul Conroy (Ryan Reynolds) wakes up in a coffin, buried alive, with a mobile phone and little else for company. For ninety-four minutes, the camera remains with him inside this cramped wooden box as he tries to figure out who put him there and, more importantly, how to get out. Indeed, so simple is this concept that it is somewhat surprising that no filmmaker has attempted it before, and Cortés himself has spoken of how he couldn’t believe his luck when he was handed the script; in particular it seems tailor-made for Hitchcock, stretching the audacities of ‘Lifeboat’ or ‘Rear Window’ as far as possible. Then again, it is difficult to conceive of a greater challenge for a director, limited as the film is by the dimensions of a coffin.

It is to the great credit of Cortes that not only does the film maintain a grippingly dramatic narrative, but it also manages to be hugely inventive; the camera is continually spinning, zooming, moving to ensure an unceasing visual kineticism, the colour palette is impressively varied thanks to the presence of different sources of light, and the sound design regularly amps up the tension with occasional ominous creaks from the fragile wood. Surrounded by all this, Reynolds is onscreen the entire time, and as such, the film succeeds or fails on his performance. Fortunately, his ferociously intense and naturalistic acting ensures that the audience shares his panicked claustrophobia to a thoroughly uncomfortable degree.

The notion of being buried alive may be a familiar one, explored by everyone from Edgar Allen Poe to Quentin Tarantino, yet here it feels utterly fresh. Together, Cortés and Reynolds reinvigorate the concept, unleashing the full primal horror and panic that it entails while also exploring effectively themes of technology and bureaucracy. ‘Buried’ is by no means an easy watch, taking as it does the terrifying claustrophobia of ‘The Descent’ to the extreme, yet it is also utterly thrilling and moving, leaving its viewers drained of emotion and energy. There is unlikely to be a more original and forcibly immersive film this year than this minor taphophobic masterpiece.

Ben Kirby

Buried has a simple concept: a man, Paul Conroy, is trapped in a box underground and being held to ransom for $ 5 million. Not much else to it, right? Well, it is a credit to both leading and only on screen actor Ryan Reynolds and director Rodrigo Cortés that they manage to make something this simple one of the tensest films released in months.

The film starts off with an incredibly ‘Hitchcockian’ feel: the use of music, the every day man trapped in a situation that he didn’t cause; surrounded, in this case using a phone, by people and none of them can help you. Cortés borrows a lot from the master of tension and it makes the first half of the film un-missable. Add to it the close camera angles, face shots and occasional submersion into darkness and each member of the audience is taken into that claustrophobic box. Then, just as quickly, the cameras will pan out and surrounding the coffin is blackness and a sense of complete hopelessness. Cortés plays with the audiences’ emotions very effectively.

Being the only person on screen, Reynolds has a tough job of carrying the whole 94 minutes, but he does it superbly and is excellent to watch, for the most part. Conroy goes through a whole spectrum of emotion from anger, to despair, to acceptance, to hope and everything in between with Reynolds demonstrating them all superbly. However, he is not alone for the entire film as there are plenty of voices on the other end of the telephone. Some of the voice acting was excellent, such as Robert Paterson as Agent Dan Brenner, while others felt a little clichéd, such as Jose Luis Garcia Perez as the Iraqi kidnapper. Reynolds admitted himself that this was likely the toughest shoot he has ever done. He left the set after 17 days of being buried with splinters all over his body, singed fingers and heavy asthma; it all seems a very long way from Van Wilder.

The film, however, is not perfect and suffers from not quite believing enough in itself. After about half way through someone seems to have felt the audience might be getting a bit bored and decided to crank up the tension factor, using some very obvious cinematic ploys. Some of these ploys work and keep the audience on edge, but some don’t, only serving to accidentally break up the tension. Sadly, the film never really recovers from these blunders, and it is a real shame that no one felt the situation would be tense enough without having to force further jeopardy upon it.

That being said, this remains a very good film with a great concept, though one which unfortunately couldn’t be maintained throughout the entire film. If ‘Buried’ had been made 20 minutes shorter, all the cheap thrills could have cut out, leaving the audience more on edge and making the film better for it.

Matt Isard