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An Olympic Transformation

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The Olympics are ludicrously expensive, crassly commercialized, and altogether rather frivolous. But can they also change the spirit of a country? I think I saw something like that happen at the end of February in Vancouver, the last time the Olympic flame will be lit before it makes its way towards London in 2012. Vancouver’s known as Canada’s third largest city, and one of the most beautiful places on earth. It’s also the city I was born and raised in and, Hilary Term be damned, there was no way I was going to miss the Olympics coming to my home town.

The Olympics put the spotlight on the host country like no other occasion, and give it a chance to strut its stuff. The question, then, is what stuff? Britons have been fretting over this question ever since Boris Johnson stumbled into the Beijing closing ceremonies followed by a fold-out double-decker bus. Canadians had similar concerns. Not only was there the expense, the strain on infrastructure, the prioritization of a trivial display over graver social concerns; the main worry, underlying all these, was simply what we have to offer.

In America they have a saying: ‘As American as apple pie.’ Never mind that apple pie was an English export, Americans have always had a strong sense of who they are and what they stand for. Some years ago, the CBC (Canada’s BBC) decided to address Canada’s comparatively weak sense of identity by holding a competition to find a suitably Canadian simile. The winning entry? ‘As Canadian as possible under the circumstances.’

‘The circumstances’ range from being swamped by American popular culture to having a vast country divided by two languages and various regional identities. Despite our image as the wild and rugged North, we’re a largely urban nation whose largest cities all hug the southern border as if they were waiting impatiently to be let in from the cold.

In other words, we’re a model former British colony: we’ve absorbed the self-deprecation and lack of chic and taken the bad weather thing to a whole new extreme. Britain and Canada both like to maintain a quietly smug sense of superiority while asking ourselves what we have to feel superior about. Britain’s greatest achievements lie in its past, and the empire is a bit embarrassing in a post-colonial world anyway. Canada’s just the eighth largest economy in the G8, and we’d rather you all forget that Céline Dion is Canadian anyway.

The Games started inauspiciously enough. Unseasonably warm weather forced helicopters to ferry extra snow over to Cypress Mountain. A Georgian luger was killed in a training run on the day before the Games opened. A clumsy technical mishap marred the opening ceremonies. And as the Games got underway, Canadian athletes began to exhibit their nation’s fixation on mediocrity by falling short of expectations. I arrived in Vancouver just in time to sit down in front of the TV to watch the men’s round robin ice hockey match against the hated Americans, who beat us 5 – 3.

Then things started to change. Gold after gold, Canadians actually started to win. By the final day of competition, Canada had notched thirteen gold medals, tying the record for the most ever at a Winter Olympics. One event remained: the ice hockey final, and a rematch with our American rivals.

It was one for the ages, with the Americans scoring the tying goal with just 24 seconds left, sending the match to sudden-death overtime. When the young Canadian superstar Sidney Crosby netted the game winner the cheers were deafening. Well into the night, flags were waving, people were hugging, and my hand was numb from all the strangers high-fiving me. I slapped hands with a gorilla in a Canadian hockey sweater and walked past a red-and-white Teletubby with a maple leaf on its belly screen. If a city could have a collective orgasm, this is what it looked like. Something truly bizarre was unfolding.

What exploded onto the streets of Vancouver was a national pride that had never been absent, just kept under wraps. The gold medals were a catalyst and not a cause: what Canadians learned over those two weeks was that showing national pride wasn’t boastful, it was healthy. It caught us all by surprise, an outpouring of collective emotion we hadn’t realized we’d been bottling up. Having released it, we can’t put it back in the bottle.

It’s far too soon to tell how lasting the change will be, or how deep, but something changed in Canada in February. The Olympics taught a country to love itself openly.

Can London 2012 do the same for Great Britain? There are plenty of reasons to be sceptical: The British aren’t known for their naked displays of emotion and it’s an old country that’s maybe too much in the habit of casting itself in a state of slow decline. But the Games didn’t provide answers for Canada’s similarly soul-searching questions so much as they showed them to be relatively unimportant. There’s plenty to celebrate even if we don’t know exactly what it is.

The Vancouver Games are hardly an isolated example. Germany-a country with national pride issues if ever there was one-experienced a similar turnaround while hosting the 2006 World Cup. Seeing so many foreigners gleefully toting their own national flags, Germans came to realize they could fly their flag and proclaim their fondness for Germany without apology. Sport is a trivial affair, and that’s precisely why it can have such a tonic effect. You don’t risk offending anyone by cheering for the home team.

Canadians didn’t learn anything new about themselves in hosting the Olympics, and nor will the British in 2012. The discovery was simply how much we loved what we already knew. One of the lessons from Vancouver is that what really matters isn’t the events themselves but the people enjoying them, and that the effect can be profound and surprising.

Fit Finding

The website ‘Fit Finder’ has become an internet sensation, but does it really work? In an exclusive investigation, we set out to find the faces behind the descriptions.

Presented by Emma Radford and Chris Greenwood

Edited by Chris Greenwood

Online Review: Robin Hood

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Can we be completely honest here? Aside from a surprising amount of singing, Ridley Scott’s latest, Robin Hood, didn’t astonish me in any way. Sure, I saw the preview, the medley of wild savages in the deep dark woods, the twangs of bowstrings as they release their arrows, the primal yowls of battle cries and blood being spilt. But was it wrong of me to expect more? I think not. See that preview and you’ve seen it all, and so I spent most of the movie trying desperately to figure out which one was the lion, or the snake (oh, Hiss) from the 1973 Disney version.

I watched this film with high hopes-instead of relying on the age-old story of Robin Hood that has been played by everyone from Errol Flyn to, most regrettably, Kevin Costner, this Robin Hood is an origins story. Robin Longstride (Russell Crowe) is but a common archer, returning home after one of Richard the Lionheart’s crusades. However, when Richard is killed in action, an opportunity presents itself for Robin to assume the identity of a knight, and he does so, returning to Nottinghamshire to his fake father, the Earl William Marshall (William Hurt) and his pretend wife, the lovely Maid Marion (Cate Blanchett). Things are just starting to get cozy and domestic when Robin realizes that there is some do-gooding to be done-the evil Sir Godfrey (Mark Strong) is plotting to betray the English crown to the dastardly French. It is only King John’s (Oscar Isaac) promise of liberty and justice for all through the Magna Carta that Robin can bind together the disgruntled masses against the French once and for all.

If this plot sounds a little bit crazy, that’s because it is. Robin Hood is a fictional character, and while the effort to add some historical verity to the legend might be applause-worthy, it is decidedly less so when the plot is so confusing. The social activism twist seems just a bit too convenient and forced-did Robin try picketing before pick-pocketing? Even the acting is predictable-though Crowe’s charming assortment of accents is admittedly insane, and at times, a bit distracting, he does well playing his typical gruff character. And Cate Blanchett is also inevitably fine playing a feisty, intelligent version of Maid Marion that is no shrinking violet or damsel in distress. Mark Strong is excellent as the scarred villain, while Oscar Isaac plays King John with a whiny arrogance that left me wondering which rival was the lesser of two evils.

The one stand-out scene is the final battle against the French, as nothing riles the British blood more than a bunch of sissies trying to conquer our sacred land with their wheels of brie. This part involved 1500 people in the making, and it shows-it’s a clash of the titans as swords are swung and showers of arrows rain down into the sand.

Maybe this is just a story that has been told one time too many, but don’t blame me for feeling hoodwinked and wanting something more from one of history’s favorite heroes.

 

Expectations are Wilder than ever

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Three years ago Oxford United fell to their lowest ever position in their 122 year history. They had dropped out of the 92 Football League and into the lowly depths of the Non-League. Now, though, just four years later, it is only fellow Blue Square Premier League rivals York city and ninety minutes of frenetic football which stand between manager Chris Wilder and his group of players and a return to heights of the Football League. The stakes could not be any higher.

For Oxford United, the road to recovery has been a long and arduous one. Since relegation from the top flight in 1988, the club has been on an 18-year decline which culminated in a final blow for the club with their relegation to the Blue Square Premier League in 2006. There is, above all, one reason which encapsulates the Us calamitous fall into the Non-League: instability. A total of sixteen managers have passed through the club’s revolving door in just twenty years – that really does say it all.

Although, the picture painted so far has been one of doom and gloom, it is important to underline that in the 1980s the club enjoyed unrivalled success. Under the leadership of the ex-Derby County manager and now a member on the Oxford United Board, Jim Smith, otherwise known as ‘The Bald Eagle,’ he led Oxford United to successive promotions into the First Division, and under his successor, Maurice Evans, the League Cup. Such heady heights echoed the glory days of the club in the 1940s, 1950s and 1960s when silverware was the norm. Since the 1980s though, silverware and success has been in very short supply.

Although the club has been blighted by problems on the field, the same can be said for the club off the field. Relegation from one league after the other inevitably took its toll on the club’s finances and a constant change at boardroom level has also not helped. Nevertheless, the club made a giant stride in 2001 with the completion of their current stadium, The Kassam Stadium, built by former chairman Firoz Kassam. In The Kassam Stadium, the Us are currently the best supported club in the Blue Square Premier League and have had the largest average attendance every year since joining the league. The infrastructure for the present and future is there, the support has been unwavering throughout and in manager Chris Wilder the club could potentially be going places.

Since joining the club in December 2008, the former Halifax manager has enjoyed a successful period in charge. Whilst just missing out on the playoffs last year, this year Wilder has guided the Us through to the playoff final and within reach of a return to the Football League. Yet, given their outstanding form in the first half of the season, Wilder will undoubtedly feel a tinge of disappointment at not getting automatically promoted. And the great hope is that lightning won’t strike twice. Four years ago the Us reached the playoffs only to taste disappointment and not champagne. Nevertheless, Wilder has bought shrewdly during his short period in charge, and in striker James Constable, Oxford United possess one of the most dangerous, in-form and highly sought after strikers in the division. Furthermore, captain Adam Murray has added a distinct steeliness to the midfield and defender Mark Creighton has shown total commitment throughout their campaign.

Unlike his predecessors, Wilder has placed round pegs in round holes. Having established a strong spine throughout the team, Wilder has introduced a new dimension to the Oxford United team: that of fast flowing absorbing football. Above all though, Wilder and current chairman Kelvin Thomas have, as it currently stands, brought something which all Us fans have been craving for for many years: stability.

When the Us walk out onto the Wembley turf on Sunday, the question which all Us fans will be asking themselves is which Oxford United side will turn up. If it is the side who faded away towards the end of the season, they may as well prepare for a fifth season of non-league football, but if it’s the Oxford United team that dominated the opening half of the season, then success may well return to the Yellows and Chris Wilder may well be on the way to writing himself into the Oxford United history books.

4th Week Photo Blog

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Fancy yourself as a photographer?

Want your photographs from around and about Oxford seen by the thousands of people who visit the Cherwell website every day?

If so, why not send a few of your snaps into photo@cherwell.?org

 

Saturday – Ready for revision in the RadCam – Wojtek Syzmczak

 

Friday – Behind the scenes of the next Cherwell Fashion Shoot – Ollie Ford

 

Thursday – Sunset over the river – Lauri Saksa

 

Wednesday – Memorabilia sales after Oxford United are promoted – Wojtek Syzmczak

 

Tuesday – 47 Rectory Road Gardens – Ollie Ford

 

Monday – Punter – Ursa Mali

 

 

Sunday – What will Cherwell’s issue 5 center spread be? – Ollie Ford

The Thirties: An Intimate History

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        The 1930s is widely dismissed as a rather dour, floundering period in British history. The Gordon Brown of twentieth century decades you might say. A decade bookended by The Great Depression and the Second World War, W H Auden judged it a ‘low, deceitful decade’ from a New York barstool in 1939. Juliet Gardiner, in her epic history, is here to make sure that we do not leave the thirties at that. She has painstakingly trawled local record offices for the unheard voices. The result is a recovery of the myriad experiences of the time and, as ever in history, a reappraisal of what we think we know,

She brings to light the hope and prosperity that could be found in varying sections of society. Beyond the hunger marches and employment, visible to the attentive eye is also the boom of suburban building, the deluge of new Baby Austin cars, a golden age of cinema and the advent of what we know today as ‘high street shopping’. Her arguments are brought to life by the details: a working class man hiding from the means-testing man in the pantry, the vicar’s wife reading trashy novels, the rain-soaked Silver Jubilee celebrations which infuriate British Communists, who point out that ‘the children need food not bunting’, the disgraced clergyman making a living walking on hot coals in Blackpool.

Juliet Gardiner acknowledges that it was difficult to avoid filling the pages with the impending doom of the Second World War. Given that we clearly know what the future had in store, I wondered how much contemporary anxiety there was. She explains that some strategists may have had an inkling in terms of foreign policy, but it took ordinary people far longer to believe that it was really possible that they were entering a second conflict. Despair for them was instead principally linked to intractable unemployment. However, despite these problems, Gardiner also identifies a strong thread of optimism. As she puts it, ‘People really did feel that there was a key to all this. It was a time of planning, think tanks, discussion groups’.

In our own, less ideologically driven, age it can be easy to forget how polarised and tribal politics used to be. Apart from the shock value of seeing the emergence of Oswald Mosely, there was much other grassroots activity, like the popular New Left Books through which people would subscribe to socialist literature and form book groups for discussion. As Gardiner explains, ‘the twentieth century was a long slow process of coming to terms with democracy’. I ask her what she found most surprising in her research. To her the idea that Ramsay McDonald, a Labour Prime Minister, refused to see hunger marchers was deeply shocking. Overall, she believes that the key to understanding the decade is seeing how static it all was. ‘People did sometimes move house, but not far. They went abroad, but rarely’. Individuals were ‘so very insular’.

There are not many aspects of the 1930s that one would perhaps want replicated in our own time, but they did have some wonderful vocabulary. So which words would Gardiner bring back into usage? ‘Wizard, ripping and stupendous!’ – three upbeat words from a decade that we should remember was not so unrelentingly gloomy after all. Even Gordon Brown smiled sometimes.

The Thirties: An Intimate History
By Juliet Gardiner (HarperPress, £30)

 

Carnaby Street Fashion – A Retrospective

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Despite being engaged in an ever-changing industry, Iain R Webb is a nostalgic fashionista. I grew up spending hideous amounts on monthly fashion magazines, so I know Webb as Elle’s dynamic fashion director. He has now left to work freelance, most often for The Sunday Times, and to write fashion books. In these books that he indulges his passion for the 1960s. His latest describes the idiosyncrasies of Carnaby Street label Foale and Tuffin, who created quirky items that have now become a collector’s dream. In the popular imagination, fashion is an industry for back-stabbers, attention-seekers and primadonnas, but during our interview Webb could not be more kindly – not a glimpse of Anna Wintour froideur.

Webb is troubled by the current slickness, sterility even, of fashion. He describes his collection of photographs taken behind the scenes at various fashion weeks over the decades that ‘sum up the mess that is the international collections’. It’s the messiness and the spontaneity and the freedom of fashion that drives him. He goes on to lament the passing of ‘the olden days’ when pictures came from photographers all along the catwalk. Now one only ever sees that perfect photo of a dress from the end of the catwalk. There’s no movement, no awkward angles. It is this haphazard, creative boldness lost, that informs Webb’s disappointment with the present, and his nostalgia for the sixties.

Since the 1980s, Webb explains, youth culture has been dragging its feet. The 1960s saw a seismic change ‘from this very grey world into colour’. The 1970s glam movement was ‘really outrageous because it played around with sexualities’, then of course came punk. These days it has become ‘really difficult to rebel. I mean now everyone’s mum listens to Lily Allen’. He is relieved to still find people ‘who use fashion intuitively, subversively’. However, for the majority, the ‘mega-watt, loudspeaker message now is copying a celebrity, trying to live their life. There are fewer people trying to make statements – other than ‘I want a footballer to be my boyfriend’.

It makes sense therefore that Webb finds the trend for vintage worrying. Rather than innovating, the best people can do is ‘put it together in a different way. It’s that post-modern approach to everything. I feel the same about music.

Can’t they get any tunes of their own? It’s someone rapping over a song I danced to in the eighties. That’s culture now, just different ways of putting things together’.

Alongside this unhealthy lack of creative flair, he believes that there are too many designers finding success simply because they are ‘very good at packaging themselves. It’s that packaging that can now take you forward. I don’t know what is there with a lot of people. You can get a gimmick, do that for a few seasons, great success. Then you’re gone!’.

He identifies strongly with the insights provided by The September Issue, a documentary made to reveal the creative process of American Vogue, as Anna Wintour glowers and belittles her way through her editorship. He acknowledges that ‘ruthless editing’ is what makes Vogue so commercially successful but as a former creative director and presently a tutor at Central St Martin’s, he regrets that too many now ‘just see it as a job and want to go to this place for lunch or get that handbag’. By contrast, for Webb, fashion can be intensely moving. He loved the ‘powerful imagery’ of Alexander McQueen’s and John Galliano’s shows. ‘To me it’s the nearest thing to opera, the sense of it can just transport you somewhere else’.

 

Foale and Tuffin: The Sixties. A Decade in Fashion
By Iain R. Webb (ACC Editions, £25)

 

Interview: Duncan Quinn

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Walk far enough east along Spring Street in New York City, past flocks of tourists and striving fashionistas buffeting big label shops in SoHo, and you eventually reach NoLIta (North of Little Italy), where the crowds are thinner, the stores less flashy and the real estate is more affordable. While great food and clothing can be had, you do need to know where to look, especially if you are trying to find Duncan Quinn’s eponymous bespoke suiting shop.

The blue and green fronting, colourful suits and accessories in the window – especially the umbrellas – are striking, but the storefront is so narrow you could miss it if you blinked. If such a low profile seems surprising – especially given Duncan’s preference for bold colours and distinctive patterns – after a moment’s reflection the message is clear: If you want something everyone else is looking for, go back to SoHo. 

Duncan opened his first shop, in New York City, in 2003, largely out of a desire to do something more interesting than his job as a corporate lawyer. ‘What happened in essence was that I started a store for fun for me and my friends as a sideline to my day job.’ Duncan was originally trained as a barrister in the UK, where he was born and raised, but moved to New York in 1998, eventually practicing with the law firm Kirkland & Ellis LLP.

Never a conformist, sartorially or otherwise, Duncan grew increasingly tired of corporate law (which he derides as ‘decision by committee at every level’) and eventually used the shop as a way to do something more entrepreneurial. ‘I was just frustrated and decided to have some fun and spank my Amex to the tune of $25,000 and see what happened.’

What happened was a label that quickly became successful as a distinctive voice in American men’s tailoring. Duncan’s website describes him as ‘arguably one of the handful of people responsible for the resurgence of men’s tailoring in the USA’. Brazen self-promotion? Not entirely: In 2004, the New York Times dubbed Duncan and three other menswear designers – including Thom Browne and Andrew Harmon – America’s new ‘Men of the Cloth’. The label’s success has continued, growing to include locations in Los Angeles, Miami and Dallas, and Duncan has since left the law to focus on his menswear business full-time.

‘I started the store in NY when people in the US were nearly all still wearing mass-produced suits that were cut for the lowest common denominator… I just decided that there was no way that metric worked for me.’

Take a stroll through any of his shops and you quickly get an idea of what ‘works for Duncan’: sharp suits flashing colour and hints of British sensibility (think side vents and hacking pockets), shirts in bold colours cut close to the body, and a full range of colourful furnishings, including ties, cuff links, shoes, umbrellas and motorcycle helmets. ‘Everything we do is an extension of the things I enjoy and my own particular take on life.’ 

Sorry, motorcycle helmets? ‘I tripped and fell awkwardly in a bar called Momo in 1996 and met a guy who is a legend in his own lunchtime. As a result I ended up riding around on the latest test bikes. I liked the helmets; they were unique and interesting. Very Steve McQueen. They’re pretty much the only thing in the stores that we don’t make ourselves.’

It’s these sorts of chance encounters that make-up Duncan’s ‘particular take on life’. Another example is how Duncan came to spend so much time as a youth living in the South of France. ‘When my father was at Scotland Yard in the 1980s the chief of police of Nice’s criminal division was seeking a young English lad to help his son learn English…’ That lad would be Duncan, and Nice’s chief of police turned out to be a classic bon vivant, sharing with his young tutor a taste for wine, food and most importantly, interesting people. (Except, alas, for the son: ‘We hated each other’s guts’.) 

So much decadence makes me wonder whether Duncan ever took corporate law seriously. (From DuncanQuinn.com: ‘Duncan likes nothing better than to sit and watch the world go by in Cours Saleya…’ As this reporter can attest, not a pastime typically enjoyed by Wall Street lawyers.)

So, what’s the story? ‘Ha! That was the time honoured tradition of honour thy father and mother. My father was in the flying squad and the Criminal Investigation Department for thirty years so he thought being a lawyer was the soft touch way to a nice life. I guess he never met any bankers!’

Is running a menswear business really less demanding than working as a corporate attorney? ‘Well, I semi-seriously look at it as me having retired when I gave up practicing law. I work very hard but its not a job, and I’m lucky that people find what I do interesting enough to part with their hard-earned cash which funds what I enjoy.’

Sounds pretty good. Any advice for people – say, budding Oxford entrepreneurs – looking to replicate that kind of success in their own life?

‘Ultimately it’s all about stories. If you don’t have any you need to live life a little more and accrue some.’

George Alagiah: Six in the City

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Nelson Mandela once told a gathering of international reporters: “You are privileged people. You can observe from near but judge from afar.” But for George Alagiah, this kind of disassociation was never possible. Born in Sri-Lanka, brought up in Ghana, and settled in England, he says that he has lived his whole life as a migrant. Formerly one of the BBC’s leading foreign correspondents, and now the face of the Six o’clock News, his career abroad has put him in the middle of some of the most significant events of the last decade.

Entering the BBC TV Centre in White City, I half expect to see Alagiah beaming at me from the plasma screens that line the reception. I’m greeted instead by Sophie Raworth presenting BBC News at One. Moments later, the man himself strides through the interior swivel doors. Ms Raworth’s televised reception just doesn’t compare.

His career in journalism began at Durham University. There was no climbing the ladder; he applied straight for the position of editor at the Palatinate student paper and got it. After that, his degree in politics was somewhat sidelined, and as Alagiah puts it to me “some people might say I read journalism really”.

But he didn’t make the BBC’s graduate trainee scheme. Instead he took a job as Africa Editor of the now-defunct magazine South. It was this experience that really shaped his journalism, he says. It was an attempt to look at the world from a southern perspective; “the poor world’s perspective. The world looks very different if you stand in Managua, Harare, or Mumbai.” He explains how the magazine was talking about issues like the Kurdish problem or the unfairness of trade agreements long before the rest of the world first picked up on them.

It is this sense of perspective that has always been Alagiah’s real forte, and so appointentment as the BBC foreign correspondent in Johannesburg in the 1990s was certainly no vocational detour. While stationed there he met two towering figures of the political world: Nelson Mandela and Desmond Tutu. I wonder what was going through his head in these encounters. As Alagiah recalls, the Mandela interview came when everyone wanted him. It was 1994 and the ANC had just won an election. “You were, whether you liked it or not, sitting next to a man of soaring moral authority. I had to curb the temptation to sit there and go ‘wow, I’m sitting next to Nelson Mandela’, and just get on with the interview.”

But while the experience was sensational, it was also one of the most challenging interviews Alagiah has done: “Mandela is a man who found it very difficult to talk in any personal terms. Of course this is half of what you go to an interview for. You want to find out what makes them tick and get something personal. But you couldn’t get him to talk like that.” Alagiah remembers Mandela’s eloquent explanation for this: “‘I learnt to think through my brains and not through my blood’.”

Tutu was an absolute contrast: “A man with vigour and a kind of impish humour. But the same kind of moral standards and goals”.

After almost two decades as a specialist foreign correspondent, I ask if he’s bothered by the parochialism of the mainstream TV news he now presents. There is inevitably some loss of intimacy with the stories; surely that’s the rub?

But Alagiah argues that there is a fundamental continuity: “OK, I no longer specialise in foreign affairs. But if you look at the job of a journalist, whether presenter or reporter, it’s to get an idea across, to boil down a story. And that’s still what I do.” He’s eager to expand on this point: “Most people think that presenting is the 28 minutes from six to when the program ends. I don’t regard that as my job.” The real journalism happens 2-3 hours before when he helps devise the program. “Right up until 5.30-5.45 what goes in is up for grabs.” He pauses, and then hastens to add: “But although it’s my program, in the end it is of course the editor’s call.”

Last year Alagiah made headlines when he was told to step down as patron of the Fairtrade Foundation charity. The media fuss threw up the issue of what it means to be an impartial broadcaster. “It is not the business of BBC journalism to take a view on this” said Helen Boaden, the BBC Director of News. I also flag up his position on the board of the Royal Shakespeare Company. But Alagiah assures me that he thinks no one, as yet, is against Shakespeare. All the same, he admits that striking a blanace between the personal and the professional is always a challenge. “We’re not cloned out of nowhere as presenters; we’re human beings, we live in the real world, and of course we have opinions”.

The thing is – and Alagiah is adamant that these aren’t confused – there’s a difference between opinion and judgement. “Nobody pays me to have opinions, or far less, broadcast them on air. Who cares what George Alagiah has an opinion about?” But he wants to be clear that senior journalists are expected to have some judgement. “You can’t have a half way house on everything. Where’s the middle ground between a woman that’s been raped, and the man who’s raped her? There isn’t. You have to make a judgement.”

Having now spent many years in our living-rooms, perfecting the BBC smile, Alagiah is also the Mr Nice Guy we all trust to deliver the bad news. And in Britain there seems to be a deluge of it. I ask how on earth he gets up every day to announce yet more deaths from the Middle East conflict, or that we’re all, yet again, doomed by the perils of climate change. He’s got to get disaffected by it all, surely? “Not at all,” says Alagiah. “Some stories get me more than others – but I don’t think I get bored with any of it.”

He also points out that it’s not all about the news. “We’re in people’s faces daily. People develop a relationship with you and the BBC.” And just occasionally he gets an email or letter where someone says, ‘Oh, you looked a bit upset the other day. Was anything wrong?’

The six o’clock news is on in a few hours and Alagiah gestures at his watch. I take a last look around the news room and it seems as though we’re sat among a vast workforce at his command. Maybe the Murdoch media czar image is a stretch too far, but I have to ask whether he thinks he’s clinched the best job in the BBC. “I’m not just saying this”, replies Alagiah, “but I pinch myself sometimes just to make sure it’s all real.”

George Alagiah speaks at the Union 19th May 2010 8:30pm