Saturday 28th June 2025
Blog Page 2203

Fake Oxford degree minister sacked

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The President of Iran is due to face a vote of no confidence following a ministerial scandal over a forged Oxford University degree.The turmoil follows the sacking of the Government’s Interior Minister this week, after revelations over the summer that his Law degree was in fact a fake.

Ali Kordan was officially dismissed from his cabinet post last Tuesday on charges of dishonesty and lying about his educational record, after months of political wrangling.
He had initially denied the allegations of forgery and copies of the degree were even released onto the internet in an effort to prove its legitimacy.

However Iranian political blogs soon exposed that the diploma was indeed a crude fake, riddled with spelling mistakes and grammatical errors.

An official statement released by Oxford University later confirmed that the Interior Minister had never received any type of commendation from the institution, leading to 20 Iranian Government ministers to call for Kordan’s impeachment after he admitted the degree was indeed a forgery. An overwhelming majority of Iranian MPs subsequently voted to dismiss Kordan, with just 45 of 247 members voting that he should keep his job.

President faces vote of confidence

The affair could have additional consequences for President Mahmoud Ahmadinejad, who now faces a vote on his own future after Kordan became the tenth government minister to be sacked during his tenure in office.

According to Iran’s constitution, the expulsion of ten ministers should trigger a vote of confidence in the President – which would make Ahmadinejad the first President in Iranian history to ever face such a vote.
However, the Iranian sumpreme leader Ayatollah Ali Khamenei condemned the attempts to undermine his country’s government.

He told the BBC, “This careless atmosphere of talking against the government is not to be easily forgiven by God.” His remarks appear to be directed against those who have impeached Kordan and came as implicit support for Ahmadinejad’s government.

Inflation at a high

The controversy comes at an especially bad time for Ahmadinejad as Iran is to hold a presidential election in just eight month’s time. The country is currently experiencing its own version of the international economic crisis as inflation is at a high of 30% and oil prices are continuing to drop.

The Iranian President, who defended Kordan when the allegations against him emerged last August, has refused to speak further on the issue and did not attend the vote to impeach the Interior Minister.

A spokesperson for Oxford University said this week that they would not be commenting again on the matter. They had previously confirmed that the academics who ‘signed’ the diploma had all held Oxford posts, but never in the field of Law, and they would never have signed degree diplomas either.

 

Review: Through the leaves

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It seems that these days that one cannot look at a newspaper without being assaulted by headlines spelling the end of the world as we know it. Hurrah for Oxford’s theatre companies, then, for not giving in to temptation and bombarding us with trite, saccharine productions designed patronisingly to cheer us all up!

After the bleak Richard III and the bleaker Endgame, our latest foray into the depths of dramatic depression is Through the Leaves, the work of German playwright Franz Xaver Kroetz. The play tragically charts the story of lovers Martha and Otto, a tripe butcher and a chauvinist drifter, whose precarious relationship is retold through entries in Martha’s diary. As the play unfolds, we bear witness to Otto’s abuse of Martha’s hospitality; his uncomfortable mind games and his cruel periods of absence finally leave Martha hopelessly devoted and powerless.

The sheer intensity and skill demanded is met with confident professionalism by this award-winning cast. Cuppers Best Actress Ed Pearce is outstanding as Martha, perfectly demonstrating the character’s helplessness, dead-end love and eroded self-confidence.

She is utterly believable, perfectly capturing the sinister flirtatiousness of early scenes with her co-star Barney Norris, in which the pair emphasise the characters’ common vulnerability. My only minor quibble was with Pearce’s inane chuckling in almost every other sentence, which very quickly grows tiresome.

A play as intimate as this could have no better venue than the BT, where uncomfortable realism will bombard the audience through their unavoidable proximity to the action. I applaud director Alice Hamiltons’s choice of recorded diary entries: lucid and emotive, it is an ingenious touch.

A few slips and slight hastiness of dialogue let this play down, but I’m sure such problems will be smoothed out with
last-minute preparation. This is not a play to see if you’re looking to be cheered up, but if it’s a beautiful depiction of flawed love and a doomed relationship that you are after, Through the Leaves is an absolute must.

Four stars

 

Review: Don Juan in Soho

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Don Juan in Soho is marketed as ‘a retelling of the quintessential tale of debauchery and damnation’: an appropriate description of Patrick Marber’s re-working of Molière’s classic.

It tells the story of DJ, a caddish but charming philanderer who moves from conquest to conquest, never satisfied. He’s accompanied by Stan, his factotum and the closest thing he has to a friend, and pursued by Colm, the irate brother of DJ’s new (and subsequently abandoned) wife, Elvira.

The cast deliver Marber’s often gritty prose beautifully, with an unexpected tinge of the poetic. The text’s comic potential is evident, and effective use is made of the opportunities for physical comedy under Guy Levin’s direction. Will Spray is on superb form as the eponymous anti-hero, oozing languorous charm, whilst John-Mark Philo is outstanding as the heady Stan.

Energy and vitality infuse the dastardly duo’s scenes, but the pace feels a little sluggish when the rest of the cast take centre-stage. Rather than allowing the action to build to the climactic first fight scene, there was an extended and uncomfortable pause, which killed the progression of the plot.

Some of the blocking is rather static but is generally adequate. The use of a split-stage design is potentially limiting and predictable, but does place focus nicely.

Don Juan in Soho may lack the moral clout of Molière’s original, but it is a fine play in its own right.

The cast do an admirable job of conveying the wit and symbolism of the text. The production had me laughing regularly; after all, who can resist a play in which the main character describes himself as the ‘Kofi Annan of copulation’?


Three stars

To shout or not to shout?

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I am back from the BT and I have a headache. Either Oxford is creating theatre for the deaf (in which case, I recommend sign language as a restful alternative), or our actors and directors have a problem with volume.

We shout before we can speak. Doubtless Neanderthals invented shouting when the first Neanderthal foot made contact with Neanderthal spear-head left on Neanderthal cave-floor, or when Neanderthal Jr wanted to signal that a mammothskin nappy had fulfilled its purpose. This historic association of shouting with shit and violence is no justification for charging me £4 to court aural abuse.

I do understand that shouting onstage is fun, and that it is tempting: big scene, big part, and some dimly-understood blank verse that suggests this scene is All About You And Your Big Huge Angst. Your audience is with you. Your character has just suffered unimaginable heartbreak. And naturally the only way to express this is by covering the first five rows in noise pollution and phlegm.

This is a fallacy. Volume is not emotion. Volume is not intensity. Volume is a con and a cesspit and usually a cop-out. While carefully charting a character’s early path, far too many actors and directors seem to think that the concluding emotional power can be expressed by a kind of all-purpose ranting, where one noise fits all.

While the actor wallows in their own verbal wankery, the audience is left wondering if all the big noise and dramatics means the queen my lord is (finally) dead.

Bewildered and betrayed, your paying guests – so attentive to your earlier characterisation, the hints dropped with your props – feel at the moment of aural assault like a lover who agrees to a little light bondage, only to wake and find their partner wearing a gimp mask and holding a blowtorch. It’s bizarre, embarrassing and exceptionally scary.

Contrary to popular belief, many of Oxford’s theatres are really quite small. Given current directorial trends, an embarrassed student audience is usually already combatting the cast’s sweat patches, anachronistic underwear and genitalia; with both hands clamped over their eyes, they have nothing left to cover their ears.

Real people, without RADA or BADA or the iambic pentameter, constantly vary their pitch, volume and pace in spontaneous speech. I am a bigoted reactionary (I like directors to direct, costumes to fit, and actors not to face upstage for hours without reason), but I hate the neglect of voice and verse-speaking.

Talent and determination are innate, but voices have to be exercised and techniques learned. Olivier wanted actors to have ‘an orchestra at their beck and call’ in vocal terms – not for the sake of the mythical Voice Beautiful (beautiful people beautifully enunciating beautiful lines until the audience is numb, dead or murderous), but to achieve stamina and versatility.

Charlie Reston has returned from a year at drama school and consequently sounds four hundred times better than anyone else on the Oxford stage, whilst his 4th week co-star, Sam Caird, has several big shouty scenes and yet manages to both enunciate his lines AND convey that his character is miffed. Clearly, it is possible.

I am not advocating a new Trappist drama, merely suggesting that actors fulfil the first rule of good acting, and be specific. If your character has something to shout about, remember why we open our mouths onstage: to communicate. Unless the playwright provides the blessing/curse of an ‘O, O, O’, part of what you must convey is words.

Use shouting onstage like nudity; sparingly, thrillingly, and only when integral to the plot. Humans are born shouting, but learn to speak.

 

The World’s A Stage: Buenos Aires

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On my first day at Teatro Colonial, a historic, independent theatre in the heart of Buenos Aires, I was given the grand tour: la sala, an auditorium with capacity 100 (not measured nor limited by the number of seats), la oficina, a desk with two telephones and an extremely retro-looking computer, and el vestuario, a backstage corridor with a wardrobe, a bed-turned-sofa, and various instruments required for the making of mate, Argentina’s choice brew.

I was then shown how to dar sala, or open house: I had to remove the splintering, nail-ridden planks of wood barred across the back of the doors, and place them carefully on the floor, ‘out of the way’. It was explained that this was a very important procedure, because health and safety laws are very ‘strict’ in Argentina.

The physical poverty is integral to independent theatre here. Originating from a Marxist-inspired tradition of a theatre for the people, by the people, it retains a place as a means to explore political and social problems when alternatives have been disrupted or destroyed.

The actors have no formal training and the profession is not one of particular prestige. As one of them explains, ‘Es gente que hace, no gente que piensa’ (They are people who do, not people who think). Considerably more farcical, the atmosphere both onstage and in the audience is always one of high energy, lots of noise, colour and movement. Think of the original Shakespearean theatre, with its blue-collar cast and mosh-pit style audience and you might begin to get the picture.

The plays serve as a popular, accessible means for everyday citizens to examine social problems. Roberto Cossa’s famous play La Nona (The Grandmother, 1972) still plays frequently. It works as a caricature of the archetypal Argentine family: a great deal of love, affection and conflict, set, crucially, against a background of inescapable poverty.

Compare this with the English tradition of theatre as primarily a pastime of the middle and upper classes, not just in terms of being able to afford the luxury, but of having the educational background to engage with the texts.
This idea of removing the intellectual fuss from the theatrical process is refreshingly liberating, particularly coming from a background in the world of Oxford drama, where we competitively cram excess theory into the dramatic action. Here is have a new and potentially enlightening perspective: that the main requirement for good theatre is energy and fun, leaving pretensions of ego and intellect at the stage door.

 

Get into… journalism

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Cherwell
News Meeting, Mondays 2pm, Aldates G&Ds

Content: 10
Friendliness: 10
Career Springboard? 10

Oxford’s oldest and also only independent student newspaper. What it lacks in financial resources, it makes up for in journalistic skill and integrity. Don’ t let the gritty offices put you off: the glorious staff are some of the friendliest, just generally most delightful people you’ll meet in Oxford. An impressive list of alumnae make this the publication to springboard your media career.

The OxStu
Check out the new website: http://www.oxfordstudent.com

Content: 3
Friendliness: 2
Career Springboard? 6

The lesser of the two student papers. Backed by OUSU money and situated in the OUSU offices, meaning that essentially they’re little more than OUSU gimps. Someone needs to give the editorial team a Photoshop tutorial and God knows why they didn’t redesign over the summer, but apart from that, could be a half-decent publication. Just never ever mention bloodsports…

The Oxford Forum
Send all applications to [email protected]

Content: 7
Friendliness: 8
Career Springboard? 6

The Oxford Forum states that it aims to “encourage a vibrant discourse on current affairs issues within Oxford University and the wider Oxford community.” Whilst it is debatable whether the Oxford Forum achieves this, it does fulfil an important role within the Oxford media world. It’s just a shame that the design is so piss-poor that many are put off just by looking at it.

Media Soc
Monday 10th November, 6pm, The Union, Vaughan Smith.

Content: 8
Friendliness: 8
Career Springboard? 7

Media soc has been fairly stagnant for the past few terms, but with new dedicated journo-hack presidents, it has become a must for aspiring journalists. Their impressive term card boasts speakers from all areas of journalism as well as CV building workshops. Although it isn’t actually a publication, meaning that it’s mainly full of ex- editors feeling nostalgic for their times at Cherwell or the Ox Stu…

The Gateway
Get in contact with the editors: [email protected]

Content: 3
Friendliness: 4
Career Springboard? 6

The Gateway is the only business and finance newspaper for students, but it is yet to be discovered if there is a student in Oxford who actually reads it. If the orange paper and small font isn’t enough to put you off, then the fact that it’s written and edited almost entirely by economists should be. It’s produced in London, so there’s limited opportunity for students to get involved, but those budding journo-economists shouldn’t let that put them off…

Etcetera
Upload material to etceterasupplement.org

Content: 8
Friendliness: 8
Career Springboard? 3

Etcetera is Cherwell’s literary supplement and is even more pretentious than Isis. Most of the contributors are pretty impressive student poets, but they’re far too arty for their own good. The illustrations are known for being one of the best features of Etcetera and their website allows anyone to upload their material at any time.

The Oxymoron
Send your ideas to [email protected]

Content: 8
Friendliness: 8
Career Springboard? 4

Oxymoron is one of the two satirical publications in Oxford. Don’t let the shit name put you off, it’s actually infinitely funnier than its rival. Their contributors regard themselves as incredibly amusing, but the sad thing is that most of them work for either Cherwell or Oxstu as well. Nominated for best magazine at the Guardian student media awards.

Isis

Email [email protected] and watch out for upcoming interviews…

Content: 8
Friendliness: 9
Career Springboard? 7

Established in 1876, Isis is something of an Oxford institution. It is wonderfully pretentious and tries desperately hard to be edgy. But with Isis now back to being published only once a term, it’s at its best once more. Isis is notable for cutting edge fashion shoots and enthusiastic creative team so if you’re more interested in creative journalism than run of the mill news, it could be the place for you.

 

Blues triumph after four year wait

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BLUES – 49
LOUGHBOROUGH 2nds – 36

The Blues netball team beat Loughbourough 2nd for the first time in over four seasons on Wednesday afternoon, with a tremendous victory of 49 – 36. Overjoyed coach Sandra Du Plessis called it the “cherry on the cake” of four years of hard work and that every player attacked from the first second with the “heart of lions”.

With the pressure of two close defeats last season, where the Blues lost by 33-41 and by 37-44, they began slightly unsteadily but very determined. Any doubts about their ability were soon shoved off court, however, as Goal Attack Lerryn Martin converted a excellent interception into the first goal of the game. With seven minutes gone Oxford were leading by two goals, and an accurate attempt by the Loughbourough goal shooter was masterly blocked by Goal Keeper and ex-Captain Alice Kelly. Oxford’s shooters maintained strength and standard at the opposite end of the coart as Goal Shooter Rhian Price offered consistent options around the post which enabled her and Martin to continue to up the tally. In the centre of the court, fresher Emma Lonsdale’s strong leadership and dictation of play meant that feeds and passes were flying at extreme speed and allowed for Oxford to dominate the remainder of the quarter. Loughbourough were unable to make it back on to the scoreboard and with fifteen minutes passed Oxford were leading 14-7.

Determined to show their distinction, Loughborough opened the second quarter with an altered defence structure and an increased pace. Now buoyed by their previous play, the Blues responded well and slowed the game down to a controlled pace and broke their opposition’s first centre.

Wing Attack George Weetch soared in to steal a quick interception which was then put to good use by the shooters in the circle. As Loughbourough increased their defence, the Blues were unable to manoeuvre the ball in their favour as much as they would have liked, and were reigned in by the end of the second quarter. However as the half-time whistle blew, their superiority was still reflected in their 3 goal lead and they were determined to maintain this for a further 30 minutes.

OUNC president Holly Woolven proved her worth as the third quarter began with a courageous tussle for possession between her and the Loughborough wing attack. The tone was thus set for the next quarter; both teams were hungry for victory, and both were going to launch a full-scale attack.

Kelly’s interception in the defending circle sent the ball up to the other end and onto the Oxford score-board, and Venetia Barrett was able to use her height under the post to produce her impressive match debut this season. Captain Zillah Anderson and triple-Blue holder Kelly’s defence was firm and unrelenting, and the Loughbourough shooters were forced to the edge of the circle. As a result, their shots were missed and their rebounds were able to be sent by the Blues back up court. There, the driving force of Weetch, Woolven and Lonsdale combined meant that the shooters were able to convert hard-work into solid goals. Restoring the speed and control of the first quarter, the Blues stormed to another 14-7 victory in the quarter.

With victory in sight, the Blues continued their persistent attack and Kelly and Anderson played sensationally in the circle. High energy, awareness and ability meant that Loughborough goals were blocked and rebounds were seized.

Lonsdale’s power at Centre ensured that these hard-earned balls were delivered through excellent circle feeds into the hands of the shooters. With one minute left and a 13 goal lead, Martin proved the fighting attitude of the whole team by making a superb interception and making the Blues’ victory even more emphatic. The final whistle concluded an incredibly exciting game, well fought by both teams yet with Oxford showing their prowess and willpower.

For an hour they had played as if they knew that they were never going to lose and fully merited their convincing victory of 49-36. In a sport where goals are quick and consistent and where wins can be snatched in a matter of minutes, the Blues focussed for every second of play and made every pass count. Their match last week was cancelled so this encounter with Loughborough was only their second play of the season. The opponents, however, were on their fourth and expecting to defeat the Blues as they were used to. No such luck.

Captain Anderson expressed her great pride in her team, and explained she knew it was “very important that we won this match, as the winner now takes first place in the Division.” She knew that the team could “pull together when it mattered” and looks forward to the rest of the season.

 

Mike Valli: Wk 4

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Our generous sponsors Xchanging visited us at the Wallingford boathouse this weekend. Their staff, including the CEO, were impressed by our enthusiasm for business processing services thanks to Ben Harrison (Christ Church), who recited the entire Xchanging company brochure word for word. Xchanging is ably represented at our other social functions by Nick Brodie, former OUBC President, Boat Race winning cox and their newest recruit.

Cherwell has an excellent coverage of sports current affairs in Oxford and last week’s article “True Blues or Mercenaries?”, debating the merits of one-year Masters courses amongst rowers, is no exception. As the only writer at OUBC in the Oxford student media, I feel compelled to raise several points.

Let me remove any doubt. Each athlete has passed the same application process as any non-rower in his course. He is not given extra time to submit work nor exempted from attendance. Any missed classes are caught up during our own personal time – at hours when other students are sinking pints at the Turf or trawling Facebook. We have to complete an international-level rowing program and Oxford University degree in the same time most people take to do one of these. We are here as students first and athletes second.

To argue that having world-class athletes at our university tarnishes its reputation is illogical. Losing the boat race over and over wouldn’t be much good! Should we evict every college’s artist-in-residence or clergyman and accuse them of unnecessarily occupying a room, which ought to be given to a British undergraduate? Underneath these arguments is an unspoken assumption that athletic ability and academic intelligence are inversely proportional. This is false.

Oxford is an international university and the multicultural nature of the Boat Race is a reflection of the wider student community. We are proud to represent our university and ask for your passionate support.

Our first regatta is the Fours Head, held this Saturday (8th November) in London. The 4 ¼ mile race is on the championship course between Chiswick Bridge and Putney – this is the Boat Race course in reverse. The squad has been broken down into fours and it will be our first competition against Cambridge and hundreds of other crews from rowing clubs around Britain.

 

Catz squeeze out champions

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WORCESTER – 1
ST CATZ – 2

The clash of last season’s premier and first division champions ended in a disappointing result for a jaded Worcester side who looked far from their fluid best in tricky conditions. Catz on the other hand continued their impressive form in college football’s top league.

The battered pitch and constant drizzle appeared to work in Catz’ favour as Worcester struggled early on to get the ball down and play their passing game. The match started at a high pace with both sides sizing up their opponents. Catz formulated the first real attack of the game, holding onto possession and driving back the Worcester defence, yet the solid base of centre-backs Sinnett and Stevens ensured Worcester held strong and repelled the barrage of shots from outside of the box.

The game quickly opened up, and after 20 minutes of trying to work with the pitch, both sides looked to exploit the aerial threats of target men Adam Healy and Alan

Macnaughton to good effect. One such attack saw Healy link up well with the pacey Richard Adams down the right so set up a good cross into the area, which nobody managed to latch onto.

Yet it was Catz who struck first in a tight first half, as the Worcester defence simply failed to deal with an attack around the edge of the box on 31 minutes and Carl Assmundson waltzed through to slot the ball past the ‘keeper.

However, the league champions were in no mood to be rolled over by the newly promoted Catz and replied instantly with a headed goal from Healy after a fine cross from Oli Gee.

Worcester seemed to have woken up after conceding and proceeded to pepper the Catz area, leading to a clear-cut chance for Portuguese winger Mauro ‘Ramos’ Pereira, which perhaps he should have converted.

Catz skipper O’Keeffe-O’Donovan would have been pleased with his team’s first half performance, but Worcester leader Sinnett wanted to see more, and clearly got his wish. Worcester began the second half just as they ended the first and Oli Gee struck the bar with a beautiful 25-yard effort. The champions seemed to have found their rhythm.

The game continued in a scrappy vein, with chances going both ways-most notably Sinnett heading just wide from a corner and Macnaughton testing Worcester ‘keeper Pound from distance.

The fixture was finely balanced and it was clear that neither side would simply settle for the point. Yet Worcester’s frustration at their failure to deliver the final ball and to create any solid chances began to tell and soon it was Catz who were on top once more. Their battling efforts finally paid off as a free-kick in a dangerous position on 70 minutes took a couple of deflections en-route to the Worcester goal and nestled in the bottom right hand corner.

Although Sinnett rallied his troops for one last push, the Catz back line held tight for a massive three points, whereas Worcester were left rueing wasted possession whilst on top.

Captain Matt Sinnett was disappointed not to have even salvaged a point: “At times, we played some really nice football but at the end of the day we just lacked the firepower up front today. Still, the season is far from over and we can still win this league.”

Champions Worcester then will be looking to get onto the front after a surprisingly disappointing start to the season while Catz’s march up the JCR Premier League table looks set to continue.

 

Interview: Will Young

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Last week Will Young, England’s favourite ‘Pop Idol’ turned actor turned pin up, addressed the Union. He was polite, witty and surprisingly candid. Dressed in a navy three-piece-suit and aged a little more than airbrushing prepares you for, he began with ‘I have been famous for six or seven years…’

It is hardly remarkable that a ‘celebrity’ of Young’s standing was quickly at ease in front of an audience. Despite following with ‘wow, this is terrifying’, he quickly settled into his routine performance, charming the chamber at every turn with tales of drink driving and renegade horses. On the heels of the release of what is likely to be his fourth multi-platinum selling album, Let It Go, Young was making the suspect publicity rounds and we were but one such drop-in on the way to the X-Factor and other ‘bigger fish’.

Whilst the Oxford crowd likely presented a tame substitute for his usually over-zealous fans, I was surprised at the reaction that Young got when he first entered the chamber. It has been six years since he graced our screens on ITV’s groundbreaking Pop Idol, ultimately winning the first of what would be the start of too many talent/reality TV-shows, and three years since his last studio album Keep On. And yet, the Union was very much alive with the sounds of Will Young.

When pushed, Young is unsurprisingly tentative when it comes to criticising the genre of television that made him. ‘I think it is great’ he says of talent-television, sidestepping the question where possible with, ‘I am so that guy that gets hooked on peoples story – they are like “this man stubbed his toe” and I am like “oh my god that poor man stubbed his toe”‘.

He does, however, assure me that he has little intention of returning to it in any capacity other than guest judge. ‘I know where I came from’, he proclaims proudly, and indeed he does, ‘but I am not going back’.

However, Young is as quick to criticise as he is to praise when it comes to the cult of celebrity. The target of 90% of his negativity for the evening was one Kerry Katona, that God-Knows-What-She-Does girl that MTV follow around regularly with a camera waiting for her to drop her baby or just some weight, with 10% saved up for the special case of Jade Goody.

‘I mean, I don’t know what they do, do you know what they do? I do get a bit irritated when we are all thrown in the same bag’. It is obvious that Mr Young is referring to the talented ones, and the untalented ones for whom there should be separate bags. Cameras following you and a perfume named after you ‘do not make you famous’ in his eyes.

It was particularly interesting that Young chose to address the chamber on the specific topic of ‘fame’ and celebrity, saying ‘I am famous’ or ‘I have been a celebrity’ in excess of twenty times within the space of a few hours. Most speakers simply address the Union but Young had a ‘cause celeb’. Who knows?

Perhaps in the current economic climate even the mega-wealthy are concerned about their position at the head of the table, eager to distance themselves from those who are ‘famous for nothing’ and those who ‘actually do something’. There is no question about the power of celebrity in our world, after all ‘we are a beacon’ of hope? Or just dysfunctionality?

Young is not unintelligent by any means. He graduated from Exeter University with a 2.2 in Politics and eagerly, if tenuously, discussed Plato for our Oxford delight as much as his own personal interest. It is thus to be expected that there is a slight tension between the life that he lives and the life that he preaches.

Young recognises the cultural climate that sees celebrities as ‘the sticker of endorsement that you see on a Christmas turkey’, but is far too engrossed in a world that has Telegraph journalists and ITV crews following his every move to know quite what to say. He placidly sits on the fence when asked if with great celebrity comes great responsibility – ‘well it is subjective isn’t it. It is different for everyone’. But equally he trounces the uselessness of varying z-list personalities.

‘The key thing is balance. It has taken me a long time to find my balance’ he concedes openly. ‘I think every person has to find their universal moral truth. That is a really hard thing to do, but it is what people have to live by.’ In principle, Young’s ‘universal moral truth’ seems to be working wonders: he is wealthy, successful and largely at ease with himself despite the obvious circus that permeates his personal and public life. He is also in a very loving and happy relationship, although he is as unwilling to discuss that as he is willing to discuss his drinking habits.

Young’s particular brand of humanity and candour is especially prevalent when discussing his philanthropic ventures, especially his associations with the Mood Foundation, a charity which is designed to help people who suffer from depression to get the help they need. It was in fact Will’s twin brother Patrick who began the Young association with the foundation.

‘He was an alcoholic and both he and I suffer from varying forms of depression’ as so many people in the UK do. ‘I am incredibly proud of him’ and ‘of course I will do whatever I can to help. If my name can raise money for something like that then it is worth having people take pictures of me as I buy milk’.

By this stage of the evening Young’s honesty does little but endear him to me, particularly when discussing the people that he cares about most. ‘There are about three or four people in the world that I rely on to tell me when I am being a prat. I don’t need more than that.’

Considering how simply Young slips under the radar, how few times we read that he has gone to rehab, driven with his dog on his lap or broken a fundamental rule of Kabala it seems fair that he is very together.

For the most part Young comes across as an incredibly grounded individual who does his best to maintain some kind of autonomy in a world that allows most of us little. Highly styled – no doubt. Managed – to perfection. But, as human as one who lives their life under an unpleasantly bright media spotlight can be.

Outside the Union buildings I watched him sign autographs for those who wanted them and bum a cigarette off the nearest willing hack. When all is said and done, it did not feel like there was a star to be struck by so much as a man to meet and ask a few questions during the evening.