Friday, May 2, 2025
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Presidential candidates in tape leak scandal

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A secret tape has been leaked to Cherwell apparently containing recordings of Will Chamberlain, current Standing Committee member and candidate for President of the Oxford Union, discussing other candidates and planning electoral strategy involving the use of slates.

The tape contains conversations at meetings of Union members and officers, as well as recordings of Chamberlain having brunch and watching clips from Eurovision with an unidentified friend.

At one point, derogatory remarks are made about a Jewish member of Secretary’s Committee.

The date can be identified as the weekend of the 29th and the 31st of May, as there are several references to OUCA becoming re-affiliated with the University. There is mention of the Union election being “less than two weeks away.”
The elections are taking place today, and the tapes have caused concern that several of the candidates may have broken constitutional rules to form slates.

The recordings include comments which seem to reveal the existence of at least two slates, with Chamberlain referring to “James Langman and his team”, and Juan McLean advising those present at the meeting to “think about why you’re on this slate”.

According to Union rules, it is considered electoral malpractice to engage “in any electoral pact between Candidates in the Election.”

Jack Sennett and McLean, current members of Standing Committee, as well as Chris Adams, ex-Standing Committee member, can be identified on the recordings, among others who are currently candidates in the upcoming elections.

Hasan Ali, who last week was deemed to have resigned from Standing Committee and Cyrus Nasseri, current member of Secretary’s Committee, are identified as part of Langman’s ‘team’.

Both are mentioned in a negative context several times, and at one point on the recording, an unidentified person refers describes Nasseri as “not a massive Jew, but he’s Jewish, really Jewish.”

Langman described these comments as “absolutely despicable”, and said, “I don’t think that somebody who says that sort of thing should be thinking about putting themselves up for election.”

Alleged pressure from other potential candidates in relation to the upcoming election is much discussed.

Chamberlain says early in the meeting that “a lot of people here have had negative experiences with members of the other slate in terms of…intimidation, bullying tactics.”

McLean is then heard to say “As Will said, a lot of people in this room have suffered intimidation and harassment, but being much stronger we are far less likely to be intimidated by the other group, definitely.”

When asked about these comments, Langman said, “I have no knowledge of any intimidation.”

At the end of the recorded meeting, there is discussion about canvassing support, and a meeting regarding “how to campaign” is suggested by McLean.
“Your close friends, like really close friends…just get them excited about what you’re doing,” he advises, “and if they think it’s exciting they’ll work for you.”
The next recorded meeting discusses what has been mentioned as the “merger” between Union Secretary Zara McGlone’s slate and Chamberlain’s slate.

McLean is implied to have switched slates, and Adams asks whether Zara has called him, to which McLean replies “No, I really hope she doesn’t”.
When contacted for a response, all those mentioned or heard on the tapes declined to comment.

The Union also declined to issue a response.

Review: Women Without Men

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Women Without Men is the feature film debut of Shirin Neshat, the Iranian visual artist who has become renowned for her explorations of Islam and gender relations. Adapted from the novel by Iranian author, Shahrnush Parsipur, the film weaves together the lives of four Iranian women in 1953 when a coup d’état backed by the Americans and British removed the democratically elected government of Mohammad Mosaddegh. The four women represent different social classes and the film details how each of them is mistreated by the society in which they live, leading them to visit a garden outside of Tehran which is a literal and metaphorical refuge from the injustices of their lives.

The acting of the four main women is universally strong and Hungarian actress, Orsolya Tóth, is particularly impressive as the mute, anorexic prostitute, Zarin. A scene in which she rubs her body raw in a public bath is gruelling to watch but her expression of hurt and anxiety is moving throughout. The main male characters are also well portrayed though there is a tendency to let them fall into pastiche meaning that the characterisation of men as bad guy and women as martyrs at times seems a little contrived.

The emphasis of the film is the marginalisation of the female in Islamic society, especially clear when Amir Khan (Essa Zahir) asks Faezah (Pegah Ferydoni) to marry him, telling her in an off hand way that his current wife will become her servant; to this she asks whether she will be the servant of his third wife, leaving him speechless but still oblivious to his own misogyny. The shots of Iran are at times stunning, as we might expect from someone who is known for her artistic video installations. The garden to which the women retreat is particularly beautiful and the contrast between the peacefulness of the Iranian countryside and the trouble of the city is captured with skilful ease.

But despite having a moving plot, strong acting and some fantastic cinematography, Women Without Men doesn’t quite add up to the sum of its parts. It tries to do too much and there is not time to build a relationship with all the characters, particularly Farrokhlagha, the upper class wife of an Iranian general. It is worth watching for the beauty of the filming but if you’re looking for a thorough exploration of the contradictions of Iranian culture I suggest you look elsewhere.

Oxford sees red over cash for internships

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News that the upcoming Red Dress Couture Ball will be auctioning off prestigious summer internships in the name of charity has sparked controversy among aspiring lawyers and OUSU officials.

The auction will take place immediately after the Runway Show, for which tickets are priced between £40 and £300. Co-director of the event Sam Friedman, confirmed ‘you can only come to the auction if you have paid for a ticket’.

The most contentious items on the auction list include a mini-pupillage with Neil Kitchener QC, a summer placement at Clintons Solicitors, and a PR-Marketing internship in Escada’s London office.
Nathan Jones, OUSU Access Officer said, ‘There is something deeply unfair and extremely distasteful about an auction selling off prestigious internship opportunities.

‘Oxford University should be a bastion of social mobility and should support all its students in reaching their fullest potential through dedicated study and hard work.

‘Endorsing an auction which allows the richest of our peers to buy themselves life-changing opportunities is utterly wrong, deeply unmeritocratic, and can only perpetuate traditional stereotypes about the institution and its students.’
Ben Lyons, Co-Founder of Intern Aware, said ‘It is perverse that the money from this auction will both improve educational standards in developing countries but also increase inequality in Britain.’

A Worcester law student said, ‘Even those with very good academic credentials often struggle to secure vac schemes, so this auction is grossly unfair.’
Charlotte Carnegie, a second year Law student at Wadham, echoed these sentiments. ‘People should be able to get internships on their own merit, not on the bank balance of themselves or their parents. Surely firms would want the best people, not the richest people.’

Hannah Cusworth, OUSU Academic Officer, added, ‘People without money will lose out as they can’t afford to bid in the first place, and they wouldn’t be able to support themselves through the internship.’

QC Neil Kitchener who is offering a mini-pupillage as a prize to the chief auctioneer, told Cherwell, ‘The mini-pupilage offered is very much personal to me and is not part of any wider scheme operated by Chambers. I have offered to do this to help raise money for good causes.’

Sam Frieman, a co-director of the event, said, ‘In repsonse to the criticism that a lot of people could be priced out by the auction, I would say ‘That’s life’. The purpose of the event is to raise funds for charity.’

The Ball is taking place on Friday of 8th Week. An ‘exclusive dinner’ at the Cherwell Boathouse will be followed by the Runway show and auction, and a ‘VIP after-party’. The event is raising funds for charities H.E.L.P. and Teach a Man To Fish.
Some students feel that throwing lavish balls is a distasteful way to raise money for charity. A law finalist said, ‘These charity fashion balls are an exercise in self-righteous self-aggrandisement by a self proclaimed self-obsessed social elite. The closest they have ever come to poverty is not knowing where their next latte is coming from.’

 

Doing it just for kicks

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Created as part of Liverpool’s tenure as a European City of Culture, Kicks appears to be a standard football film billing itself as ‘a compelling tale about two teenage girls infatuated with celebrity’. However the synopsis and marketing cruelly underrates the film. The press release states ‘Nicole and Jasmine bond over a mutual obsession for premiership footballer, Lee Cassidy. Fuelled by their fantasy of meeting him, they track him down and before they know it their dream has become a nightmare’ suggesting that this is merely a football fanatic story. Whoever is responsible for marketing has clearly missed the mark as the power in the film lies in the social questions it raises. Teenage adolescence, first love, friendship, fanaticism, football culture and even rivalry are all addressed at least at some level during the film.

Cruelly this is its main strength as the film is stodgy and the script is basic in places. The line ‘I’m Lee Cassidy. You’re just fucking nobodies’ is particulary onerous given that it panders to the cliché prima donna footballer. Subtlety is also a weakness – the burning of papers to signify the purging of an obsession, hugging a tyre tenderly to demonstrate an adolescent desire for love – all begin to grate after a while.

What is gratifying is the new talent within the film. The film is carried by the two young stars – Nichola Burley and Kerrie Hayes – who bring life into the screen and are extremely convincing as two young teenagers fraught with adolescence and desire and brought together through this from two very different backgrounds. The actresses’ attribute this to the concentration of character experienced on set – the time frame to shoot was extremely short as the sets were small – creating an intense experience. This isolation, they believe, aided in their portrayal of their characters adding that the extreme scenes shot with Cassidy (played rather apathetically by Jamie Doyle) were done without meeting him before perhaps adding to its passion and energy.

Kicks is shot in some stunning locations around Liverpool, Eduard Grau’s warm-coloured photography brings life into the most urbane settings such as the Docksides. This beauty is obviously reflective of the financial backing of Liverpool based Northwest Vision and Media but the general message of the film seems to portray Liverpool negatively – characterizing it as obsessive over the media, celebrity culture and obviously its’ football club.
The girls agree that there is ‘huge pride in Liverpool football club’ within the city but defend the film saying that they can either take it as ‘an insult or take it on board.’
Poppy Hodgson

 

Horror’s fright-hand man

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Oxford local Ben Hervey could only be described as unassuming jack-of-all film trades. A critic, screenwriter, and lecturer who has made an early mark as the author of a British Film Institute book on the 1968 classic horror film, George A. Romero’s Night of the Living Dead. Hervey completed his doctorate on turn-of-the-century Victorian horror literature here at Oxford, but attributes his passion for the creepy-crawlies to a fascination with horror starting at a young age. ‘I’ve always been a horror enthusiast, although I was forbidden from watching them as a child. For Night of the Living Dead, my parents were out, and I was aware that they would come back at any moment. I had sat right next to the TV with my finger on the stop button, inches away from the screen.’

At age seven or eight, he saw Don’t Look Now, which remains his favorite horror film. However, as I can attest from the terrifying character of Ursula in The Little Mermaid, fright can also come with a PG rating. Hervey agrees. ‘I was very traumatized by films that weren’t specifically horror. Jack the Giant Killer was a crude children’s fantasy film that was intensely disturbing to me.’

So, magic beans aside, now that he’s viewed a few more movies away from the watchful eye of Mum and Dad, what exactly defines a good horror flick? You mean it’s not all about gobs of gore and copious carnage? ‘For me, the most compelling horror is that which undermines our sense of reality to some extent. One thing that the best horror films have in common with some Victorian literature is finding ways to impart the feeling that the physical world around is almost a charade or mirage, and that there’s a larger, eerier and more threatening reality behind it.’ For those like me, blubbering wimps who would rather undergo a root canal than watch a Saw film, there may lie a less threatening comparison in Hitchcock. ‘There’s not a very big sense of mystery in Hitchcock, except maybe in The Birds,’ Hervey explains. ‘There’s something very profound and pregnant about the way the birds are just sitting there afterwards and you’re just much more aware of how volatile the world is.”‘

However, this mysterious aspect of horror films remains an anomaly in today’s exceedingly violent, and often senseless, films. ‘The tendency of horror now – and Night of the Living Dead is an important step towards this – is a more materialist form about violence and the destruction of the human body. Often the best horror films show virtually nothing, are very inexplicit, but have created a sense of mystery.’ He cited the recently released House of the Devil, set in 1980 at the height of American panic about Satanism. Hervey also downplays shock value, which can make audiences immune and indifferent. Instead, he favours a more excruciating approach: ‘Just to mercilessly let stuff simmer, without any kind of shock or violence interrupting that, can be the most effective.’

His book on Night of the Living Dead is well-regarded, but Hervey feels guilty about contributing to the critic culture that has tethered the often unappreciated Romero to the undead. ‘I believe that he doesn’t want to read my book, because he refuses to look back on that stage.’ Yet that isn’t to take away from the importance of the film: ‘I think it’s fair to say that horror movies up until Night of the Living Dead were about horror and evil and dark forces, but they were ultimately about the abilities of people to overcome them. It was the first horror film in which everyone dies, and that was absolutely shocking. I’ve spoken to people who saw it when it was first shown and there were people just left sitting in their seats, because they didn’t have enough of a sense of the film having rightly ended.’

Surprisingly enough for a critic, Hervey dismisses the notion that all horror films can be examined from a critical angle. ‘It’s sort of become a cliché that horror films were meant to represent a society’s anxieties and I think these days, it’s very easy for filmmakers to borrow a little bit of extra credibility by making some superficial gesture towards that,’ Hervey clarifies. ‘For example, the Hostel films have these nods towards being some sort of commentary on Abu Ghraib or Guantánamo Bay. But I can’t help thinking that filmmakers like Eli Roth are just attempting to ride the coattails of people like Romero with obvious nudges to suggest that they’re doing something ideologically interesting, when in many ways Hostel is just a retread of civilized Americans going abroad and meeting rural menace genre that’s been around for decades.’

Aside from more cinematic dismemberment, is there anything for horror audiences on the horizon? Hervey thinks that horror’s influence is creating an exciting fusion with the mainstream. ‘Maybe the positive things that have been happening in horror have been somewhat outside. What can be done by sort of contaminating mainstream cinema with horror elements, I think that’s where the fun is. In the meantime, I think horror is waiting for another defining film to come along.”

 

Hometown: Dedham, Essex

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Dedham aims to be a cliché of the English rural picturesque. It made its money from the wool trade, to which the huge knapped flint church and large mediaeval merchants’ houses, now re-fronted with elegant Georgian facades, stand testament.
But it was John Constable who made the lowland pastures, rivers and mills of the Stour valley famous: the so-called ‘Dedham Vale Area of Outstanding Natural Beauty’ basically occupies an entire room of the National Gallery because of him.

Gainsborough, Munnings and Cedric Morris were also locals. Now hoards of tourists crawl from Flatford (The Haywain) amidst the cows and alder trees to the ice creams of Dedham. The slightly more adventurous demonstrate their suburban origins while ostentatiously failing to row kitsch clinker boats.

When I was little, Dedham was dominated by culture-elite types and World War Two generals (Do you know Venice? Well, I took it), but now post-big-bang bankers have brought their brand of tastelessness. The feuding network of old Dedham has now had to end its exclusivity and let former Fulhamites join in. But they continue to win the battle against streetlights and skate parks, although the antique shops and a stuffy clothes shop have slowly been replaced by delicatessens, a farmers’ market, a beauty parlour and a manicure parlour.

For big towns, there’s Colchester, a Ghurkha garrison town which reminds visitors that Dedham, despite its smarter Suffolk pretensions, is actually in Essex, and Ipswich, the ugly commercial county town of Suffolk, which is improving rapidly with a vast redevelopment of the docks, including a new University, the hyper-cool University Campus Suffolk. Both towns provide the usual array of high street stores and dismal clubs. These occasionally have pretended to the glamorous by hosting half-hearted shootings. But Colchester, despite the best efforts of sixties town planners, still wins due to its Norman castle and its maltreated Roman walls, all testament to the glory days when it was actually worth Boudica’s time to burn it down. It also boasts Rafael Viñoly’s unwanted art gallery, which has sat uncompleted for years.

But the glories of the Essex-Suffolk frontier are not urban: here we come to celebrate Cicero’s otium cum dignitate, not Catullus’ urbanitas. The best places are the small villages and the coastal waters, the country house parties and The Sun Inn, the hub of local relaxation. Also, of value is the Siberian Manningtree station, only 59 minutes from the centre of the City of London.

 

 

You think you’re so smart

Smartphones are sound:

I have been asked to compare the ‘smartphone’ i.e. the Blackberry or the iPhone with a ‘normal’ phone. The comparison has become impossible; the ‘smartphone’ is now the ‘normal’ phone. This wasn’t always the case. Last year the Blackberry was a sign of wealth or business, a slightly embarrassing, totally non-student-budget-compatible gadget to pull of out the pocket, the 21st century version of a filofax. Bringing out a Blackberry was equivalent to whipping out a Buller tie. A socialist school-friend rang me recently to shamefacedly admit that he was ringing off something that he thought ‘might be a Blackberry’ – something he had obviously obtained by accident, perhaps forced upon him in order to better coordinate with his comrades in order to beat the bankers. Despite this deeply respectable motivation, he was worried that people might judge him, which, sure enough, they did. Many of my friends made comments that he had ‘changed’ or ‘sold out’; the irony is that these scornful comments, were, of course, made via Blackberry Messenger.

Things have changed; the Nokia 3310 is now a statement, the Blackberry is standard. The only real debate then is Blackberry or iPhone. The iPhone seems an obvious choice. Surely you would opt for the better phone with better features, the wonderful world of apps, a larger memory. What’s more, it actually works. It is totally unrealistic that in the (otherwise totally realistic) Sex and the City 2 Charlotte waves her iPhone desperately in the air, unable to get signal while Carrie happily BBMs away. A gadget that has an app that apparently transmits sleep into one’s brain has to be an unbeatable miracle of technology.

The iPhone may rival Dr. Who’s Sonic Screwdriver, but it is a social outcast. It is excluded from the elitist club of BBM. However sophisticated a sleep-enhancing app you may download, there is just nothing more comforting than the buzz of the received BBM as one nods off, or the flashing red light reflected on the ceiling as you wake up. BBM, to fill in the few unconverted individuals, stands for Blackberry Messenger and is a free instant messaging application, which has changed the nature of our generation’s communications. BBM is a skill. It requires a certain mode of delivery, which has now been adopted into every day speech. It has created the need for a new mode of flirtation. How can one leave the adequate wait for a reply if the message is received? And what to do if you are the last to send a message and faced with that cruel ‘R’, standing officially for ‘read’ but emotionally screaming ‘rejected’? It is dangerous. It becomes a horrific reminder of the night before, tracing one’s descent through spelling mistakes. ‘Hjh oare scowe jfru’ provokes fewer ‘lols’ when control over ones digits returns.

It is, or was, essentially exclusive. There is nothing more wonderful than sitting at a pub table and BBMing your neighbour about how much you hate everyone else there. BBM is not a text. In an inexplicable way. And it is this club, which the owner of the iPhone cannot be included in and know they cannot. They must sit with the proud BBMer, as both ignore the flashing red light. However, things are all changing. With the introduction of WhatsApp, the iPhone and the Blackberry may now communicate. Add ping to the mix and the Blackberry is redundant. While the iPhone is the likeable smartphone, the Blackberry is the loud obnoxious one. We can only wait and see if it will become totally extinct.

 

Blackberrys are bad:

How do I hate thee, BlackBerry? Let me count the ways. Being with a BlackBerry owner isn’t like being with a real human being. You never have their full attention, because Blackberry Messenger never sleeps.

They don’t even realise they’re doing it, but do it they do; casually slipping out their black monstrosity, more often than not swathed in a protective rubber layer like some newborn S&M baby, just ‘one second’ to reply to an inane message. It doesn’t feel as rude to them as answering a text, email or call because – as one BlackBerry owning friend so succinctly put it – the BBM occupies the until now vacant space between ‘texting’ and ‘speaking’. And what a gap that was.

Walking with a good friend the other day, whom I hadn’t seen properly in a week, I noticed she sounded distracted. I looked to my side, and sure enough, there was the ‘Berry, attached to her hand as ever. I didn’t point out how offensive I found it because, hey, I’m a pretty relaxed and cool kindofa guy, and if people want to conduct two conversations at once, concentrating fully on neither and ultimately allowing life to pass them by, then that’s one of the great things about our liberal democracy. Then we turned the corner into my college and bumped into her BBM interlocutor. Ha. How funny. We were both on BBM and now we’re speaking, like, in real life. Gr8. Why not just speak in the first place? Why chain yourself to what is, essentially, a glorified, portable version of MSN messenger, which any self-respecting member of our generation left behind along with the emo fringe?

There are two types of BlackBerry users. The BBM-me brigade, as described above, and the power play posse, far too important to be so detached from their emails as to have to log on to a computer (which isn’t to say there’s not some occasional overlap in the Venn diagram of mental incontinence between the two). The latter puts their smartphone down on the table even during a date – face down? Why insult my intelligence by putting it face down? It’s still a blatant symbol of your own sense of self-importance – because to be out of contact for a single second would be to suffer an existential death.

The constant availability of calls, texts, BBM and email – aside from the presumably desired effect of making the user look popular (ask yourself: does it really? Or does it just make you look like an overgrown child, dependent on the technological equivalent of a safety blanket?) – has a knock-on impact on those clinging to their retro non-smartphone. Emails are sent at the very last second, plans are changed, because, everyone can access their emails anywhere, yah? No, some of us have plenty enough time staring at a laptop screen without having to carry a mini-one around in our pocket.

And the worst of it? As my respected opponent points out above, the rise of the Blackberry has only just begun. When my Sony Ericsson K510i (Adidas themed, bought at a shop which doubles up as a laundry. Edgy) kicks the bucket, I can’t say for certain whether I’ll be able to resist the pull of the smartphone. They’re becoming the norm, no longer the preserve of rah girls in trench coats.

No, that’s not true; the BlackBerry has stayed exactly how it ever was, and we’re all mentally turning into rah girls in trench coats. Resist it for as long as you can.

A week without make-up

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Beauty is only skin deep, or so the saying goes, yet most of us plaster our skin daily with a not inconsiderable layer of reconstituted pig fat, or whatever makeup is made of, to ensure we reach maximum depth. On average, we’ll spend up to £9000 and roughly 240 days on it. Dolly Parton had it right when she remarked how much it really cost ‘to look this cheap’. Far from a modern invention, make-up, like prostitution, has been around forever. From ancient Egyptian kohled eyes to Elizabethan leaden faces, women have never really embraced ‘au naturel’ in the way they perhaps should, and though we laud ‘fresh-faced’ girls, these fresh faces are rarely entirely fresh. Indeed, Calvin Klein once said that ‘the best thing is to look natural’ only to add plaintively that ‘it takes make-up to look natural’. One can’t help but wonder, moreover, why make-up is a purely feminine phenomenon; why can’t you find foundation in the already embarrassingly metrosexual men’s aisle in Boots? Should we take up the feminist face-wipe and cleanse ourselves of this social blight?
There are several reasons why I decided to take up the challenge of a week without make-up. Facing finals and an addiction to the Bridge, I thought it would be one way to encourage hibernation whilst simultaneously rediscovering my inner beauty. But perhaps I did it to prove Schopenhauer wrong, to show the world that it is not inherent in women ‘to regard everything simply as a means of capturing a man’. Perhaps I even thought the project would be enlightening: it’s not that I actually cake my face in foundation – in fact I pride myself on caging the inner WAG – but I rarely, if ever, leave the house with none on whatsoever. It was therefore not without trepidation that I entered into this task.

The bustling social scene that is the Oxford library network suddenly became a somewhat terrifying prospect. Could I be seen in the Rad Cam without facial embellishment? What if that mysterious and brooding 4th year philosopher from Magdalen were there? Swoon. Sure, we’d exchanged a few lingering glances at the library checkout desk, but he certainly wouldn’t feel the same visceral reaction if my fluttering eyelashes weren’t caked in mascara, would he?

Having moisturized my skin to within an inch of its own suffocation, polished my nails to perfection and blow dried my hair for the first time in about 2 years, I set off bright and early last Tuesday morning. With all my good intentions of a productive day in the Bod, once I actually neared the cobbles of Catte Street, I quickened my step and ended up facing the glass doors of the RSL. I knew that here I was safe, for in the eyes of my fellow mathematicians, my obvious natural beauty could never parallel that of Euclid’s proof of the infinitude of the primes, with or without makeup.
Aside from being forced to confront myself in the toilet mirrors, encounters which I kept as brief as possible, by the end of the day I had completely forgotten about my nakedness, but this lasted only as long as my social seclusion. On Tuesday night, in contrast to my day, I did brave the more humanities inclined student body at the finale of Antigone. Thank god for experimental student drama and its requisite low light levels. That said, my confidence in the dark faltered at the after party, and I lasted a mere 20 minutes before fleeing to the backstreets of Cowley and the anonymity of being among the Brookes crowd (around whom it’s normal to feel make-up deficient).

Wednesdays usually require a touch more lipstick than average, as at precisely 5 minutes past 2, my silver fox of a lecturer begins, in his husky Dutch tones, to educate me in the continuing presence of Kantian themes in subsequent continental philosophy. Swoon. (I am constantly swooning, which is sometimes problematic). Today, however, I didn’t sit in the front row, nor did I venture to ask a question. Even in spite of my conscious show of cleavage I retreated to the very back of the lecture hall, conveniently placing myself next to the fire escape lest an unsuspecting fellow philosopher should turn around to pass me a handout.

By Thursday, I had no choice but to put most of my fears to one side, and boldly decided to go where many have gone before: the Bodleain Lower Reading Room. Given my designs for a post-grad boyfriend, with requisite facial hair, that hark back to my days as a fresher, this was a more daunting prospect then it may at first seem. One unexpected effect was that in ensuring my face was kept hidden from public view, most easily done by keeping my head in my books, I soon actually found this purely narcissistic activity translating into genuine concentration and much more time efficient working. Apparently the time usurped by cosmetics is more far-reaching then one could ever imagine.

Thursday night and another outing, this time for my DJ-ing debut at Supermarket. After my crowd pleasing set – the 10pm slot meant I was truly grateful to my three supportive friends loyally busting their moves in the almost entirely empty downstairs of Babylove – I went to socialize with the steadily growing mass above. Ignoring my internal insecurities, I soon realized that actually, no one cared or even noticed. Well, that lasted until an unnamed Cherwell type shouted across the crowd, ‘she’s not wearing any make up!’,and those around me promptly began to console me with lots of ‘you really don’t look any different’, and ‘no, I don’t believe it’. It seems that for all our apparent intelligence, no-one really gets lying. Either that or I too am totally self-involved, and cannot fathom how people wouldn’t see, even on being explicitly told, that I looked entirely different to usual.

Friday, and I felt already well-versed in presenting myself in a natural light – it’s all about the floral patterns and bright colours. Time to enter the intimidation and imminent insecurity of the Rad Cam. Already excited at the prospect of not having to worry about my far too visible vaso-dialation – rosy cheeks aren’t quite as endearing when you can’t control the rosyness levels. However, after three days of obvious vulnerability, it seems my pinnacle of makeupless insecurity was less a culmination of self-esteem and personal acceptance and more a realization that quite honestly, no one gives a shit.

So, by the end of my week, had I shed my image-conscious outer layer to discover the magnificence within, or had ‘the natural look’ exponentially increased the time I took choosing what to wear? Shamefully, the latter is closer to the truth. However, I did learn that confidence cannot be applied to the face, however deftly it may be done, but equally, feeling attractive certainly does help. The day after I got back on the makeup bandwagon, my renewed sense of self-worth prompted a few friends to mention how nice I looked (I’d rather choose my self-assurance then my tinted moisturizer as the reason). And my Tuesday library outing to the Taylorian, may or may not have resulted in a propositioning from Philip the devilishly attractive cleaner.
Is Schopenhauer right then? Does our love of make-up stem from our need to reproduce and our inability to do so naturally? Or as the man who believes that ‘only a male intellect clouded by the sexual drive could call the stunted, narrow-shouldered, broad-hipped and short legged sex the fair sex’ shall we take his view with a pinch of salt and claim make-up is worn because we’re worth it? No, I’m sorry, but it was not the lonely nights, watching iplayer in bed, that made going cold turkey so hard. We wear make-up to be attractive, to be able to compete – it’s ‘the other woman’ who propels us to further our chance for survival.

But does that mean, as the feminists would have it, we are crippled by our need for make up, and that men condition us to feel inadequate and exposed without it? No. We all want perfection and shall continue to strive for it. Indeed, on explaining to a cosmetics-obsessed housemate that Simone de Beauvoir saw make-up as a chauvinist tool of oppression with which women are forced to conceal the degradations of their female flesh, she replied simply – ‘I reckon she just hadn’t found the right mascara’. I have promised this second-year Wadham linguist that she shall remain anonymous.

Surely in the same way as I’ve seen a Godard film and read Nietzsche – isn’t it all just a self-conscious attempt to appear interesting to others, better ourselves and get the most from life? Am I not allowed to want those sleazy men, Hugh Grant included apparently, to buy me drinks at Wahoo on a Friday? However, even though I’m not so obtuse as to say girls have make-up and boys have the gym, there is some contrast between the falsity of an attractive girl and the rugged reality of an attractive boy. Therefore is there some truth in make-up as concealment – is our charm our covering? Then again, have you not seen the hoards of teeth-chattering semi-naked girls on Cornmarket or what we wear to Park End?

Girls have no problem exposing themselves, much to the dismay of my mother, and the feminists should let off. I’m not going to solve the gender war with 1500 words and a week without bronzer. But all I do know is girls want to be pretty and girls want to have fun, and the two are intertwined. Plus soon, I’ll shed my youthful beauty – which just necessitates a touch of rouge – and have to resort to numerous nips and tucks. So let me have my girlish fun, whether with or without make-up.

Blind date: Where are they now?

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ELOISE and CHARLIE – On!

They said they would be willing to do it again, and ‘do it’ they did. Apparently neither was too worried about putting out on the second date, which happened only two days later. Recent reports suggest that Bridge was only worth the five minute pit-stop before Eloise was lured back to Charlie’s frat-pad.

CHRISTINA and TOM – On?

A rather chaste romance blossomed shortly after Christina and Tom’s first date. A close friend of Tom’s tells Cherwell ‘it was all very sweet and innocent, a bit of kissing here and there, but after a fateful trip to the Magdalen garden show they have since gone their separate ways.’ However Cherwell hopes a reconciliation may be on the cards.

HANNAH and SIMON – Off.

A shock rustication from Simon stopped an inevitable (?!) romance in its tracks. Many believe Simon has taken the time out to recover from his undoubted heartbreak after these two went their separate ways straight after the date (and were never seen together again). Let’s hope absence has made the heart grow fonder…

RACHEL and MARK – Off!

It didn’t take long before the self proclaimed ‘ChCh Big Dog’ revealed himself to be a Love Rat. A St. Hugh’s insider tells Cherwell ‘Mark had promised to buy Rachel a drink at Bridge, which basically means they were going to get off, but then he pulled her best friend at Park End the night before who then brought him back to college.’ Apparently Rachel bumped into Mark trying to sneak out of college the next morning unnoticed. AWKWARD.

 

Top Five: Things to do this summer

5th: Read Sloane Ranger
At some point in your Oxford career you will be tempted to deride or, let’s face it, emulate members of the real Leisure Class. In either case, Barr and York’s classic satire, The Sloane Ranger Handbook, is an essential guide to all things Sloane and Rah. (For guidance on all things Prep and WASP, see Lisa Birnbach’s The Preppy Handbook.)

4th: Have a love affair
Not some one night drunken affray but a series of frantic, torrid trysts of staggering poignance and ineffable beauty. Life is far too short, bleak and dreary not to heed Emerson at least once: ‘Give all to love;/ Obey thy heart.’ (N.B. Emerson is helpful in orchestrating trysts.)

3rd: Take a road trip
On the spur of a moment, purchase a roadmap or coach ticket and pack only a change of clothes and Jack Kerouac’s On The Road. Do not pack any mobile or Blackberry. Feel liberated as you rediscover both yourself and the fact that the world can carry on just fine in your absence.

2nd: Get epicurious
The best time to learn cooking is the summer, when everything is fresh and relatively inexpensive (stick to farmers’ markets). Leave Mastering The Art of French Cooking in your mother’s kitchen cupboard (although we still love you Julia!) and stick with websites like Epicurious.com for loads of simple summer recipes.

1st: Do absolutely nothing
Especially for those sitting Prelims or Finals, visible displays of effort are sometimes unavoidable at Oxford, but that doesn’t make them any less dispiriting (or gauche). As a tonic for your soul, spend at least a week avoiding all responsibility in order to get properly reacquainted with the bliss of inconsequence.