Friday, May 23, 2025
Blog Page 846

Honey-glazed, hedonistic, and hyper-real

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In the summer of 2013, I hadn’t yet been kissed or gotten drunk, I could count the friends I had on one hand with several fingers to spare, and I spent most of my time visiting my beloved grandpa in hospital. But whilst my reality was filled with NHS wards, tea from paper cups and religiously completed Times crossword puzzles, my imaginary life was lines of coke off a dashboard, sitting in the lap of a sugar daddy, Californian sunsets, gambling and sweeps of silky straight hair. I had discovered Lana Del Rey, and she was giving me the gift that she continues to reliably provide: the summer you would have, were your moral standards and instinct for self-preservation several notches lower, if you had never heard of feminism and if, crucially, her brand of honey-glazed hedonism could actually exist as a reality.

Sceptics will say that Lana Del Rey produces the same album every two years, and fans agree, yet continue to glug it down like the Diet Mountain Dew she immortalises in Born To Die: it may not be nourishing or good for you, but its teeth-rotting sweetness cannot be resisted. She cherry-picks motifs from hip hop and rock, siphoning off the best of superficial cool from both genres to feed her persona. Breathy, slow vocals, building over rich soundscapes, sing of manicured degeneracy where Rey again and again stars as the wronged heroine, devoted only to her bad-boy lover and the wild American road. She presents the 18-rated version of a Disney story, as she plays the role of the adored princess. Although she has candy necklaces sticking to the skin instead of a tiara, and her Prince Charming arrives on a motorbike rather than a white horse, the fantasy of feminine passivity lives on. “If I get a little prettier can I be your baby?”; “I can be your china doll if you want to see me fall”; “I’m your jazz singer and you’re my cult leader”: Beyonce’s ‘Flawless’ is certainly not playing on Rey’s speakers on the beach, as she instead decides to hark back to an age where women’s liberation was as far off as heathaze over the sea, and similarly impalpable.

However, even as a seasoned, strident Angry Feminist™, I cannot drag myself away from her mythic world, where submission is glamour and pain is beauty. In the long, indulgent, spoken-word piece of the ‘Ride’ video, Rey proclaims “I believe in the country America used to be”. As problematic and rage-inducing as this is—remember segregation, Lana? Where does that fit into your rose-tinted view of the past?—what she really means is, ‘I believe in the country America never was’. It is a hand-clapping, ‘I do believe in fairies, I do, I do’ moment, as her will to live in this romanticised American dream creates and keeps alive a version of it in her music.

She is the master of creating a fantasy, as vivid settings spring into life from a few choice words: “Glass room, perfume, cognac, lilac fumes” creates the heady casino of ‘Off to the Races’, whilst “blue hydrangeas, cold cash divine, cashmere, cologne and white sunshine” conjures a picket-fenced, Gatsbyesque mansion for ‘Old Money’.

This talent for visuals comes across in her distinctive aesthetic. Her fashion is predominately 1960s prom queen, but with an edge of trailer-park princess. Gucci shoes encrusted with lacquer cherries will be downplayed by loose cotton dresses, the leather jackets and band t-shirts may be Chanel and Yves St Laurent, but who’s to know she didn’t pick them up from WalMart—the key is making her low-fi, lazy summer vibe seem effortless. Instagram videos seem to capture moments when she is off-guard, singing along to her own music in the car or simply blinking languidly, listening to Joni Mitchell: the implication is that she drives to the shops in extravagant old Hollywood fake eyelashes, and never snaps out of moody, melancholic nostalgia. On winning the Brit Award for International Solo Artist in 2013, she used her acceptance speech to thank her managers and her label for helping her turn her life into a work of art, and it does seem as if her every move consolidates the image of herself presented in her songs: if there are edges to her persona, they are safely out of public sight.

In a recent interview for Elle, Rey ominously claimed that her new album would be more political. That, combined with a recent Instagram speech about North Korea, suggests that she might be finally waking from her opiated dreams and dipping a tentative, kitten-heeled toe into the real world. I can’t help but be suspicious of the prospect—as the world rolls to hell in a handcart, she provides a much needed summer holiday from real life.

Cliché of the week: “Professional foul”

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It’s the last few minutes of a tense match.

Finely poised at 0-0 and with both sides in vital need of the points, the players are well aware that conceding a goal now could have disastrous effects on their season.

The opposition winger breaks free on the halfway line and looks about to initiate a counter-attack which may lead to a winner.

Alas, there is a school of thought in football that has conditioned a certain breed of players to think that the only justifiable course of action in this scenario is what, in common football parlance, is referred to as the ‘professional foul’—or in other words, the deliberate fouling of the opposition so that when play is resumed they will have a theoretically lower chance to score a goal.

I detest the professional foul because of what it stands for in the modern game. The ‘win-at-all-costs’ mentality behind it is the same one that underlies play-acting to get an opposition player sent off—as demonstrated so expertly by Sergio Ramos in last weekend’s Champions League Final.

While these actions are universally condemned in the media, somehow the professional foul is revered in the modern game as an unattractive, yet ultimately selfless, sacrifice for the team.

It is this vain of thinking, that makes players like Lee Cattermole into cult heroes for their apparent willingness to devote all to the team, in the form of executing a well-timed scything down of an opposition player when needs be.

Such fouls should not be sugar-coated by terming them ‘professional’ but instead be branded for what they are: examples of negative play, excuses for petulant or, in their lowest form, nothing more than pure laziness.

We must end our tacit praise for such examples of cynicism, and condemn them for what they are to try and maintain the excitement and beautiful play that they prohibit.

Oxford mobilises to aid Grenfell Tower residents

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Students from across Oxford have come together in aid of the victims of the Grenfell Tower disaster, with JCRs, societies, club nights and local residents all contributing donations and money to those left homeless.

On Wednesday morning, as news of the disaster broke, a group of Corpus Christi students established ‘Oxford Aids Grenfell Tower Residents’, a Facebook page aimed at facilitating the donation of clothes, shoes, food and toiletries. According to spokesperson Kiran Benipal, the support of Oxford students has already been “overwhelming”.

At Hertford, student campaign ‘Hertford for the Homeless’ was quick to join in, setting up a collection box in which donations could be deposited. Spokesperson Kez Smith told Cherwell: “Within an hour of putting the collections box out we had already had a great response and offers to help us buy and transport donations.”

University JCR is reportedly donating items such as tampons and other sanitary supplies, while Pembroke JCR is organising a general collection that will be taken to Corpus for transportation to London. These trips are scheduled to happen twice on Thursday and again on Friday, with more planned and dependant on the volume of donations.

Town and gown have come together to facilitate these efforts, with local residents volunteering to drive student donations to London, and one woman reportedly taking the bus from Abingdon to Corpus in order to donate.

Aside from the donation of items, people and organisations across the university are raising money for those displaced by the fire. The student run club night Supermarket will donate all profits made on the door at tonight’s ‘Jeremy Corbyn victory party’ to the “affected communities”, while Corpus chaplain Dr Judith Maltby will collecting money, also tonight, at the ‘Corpus Christi Day’ chapel service.

Many of those involved at Oxford were united in viewing the fire as to some extent the result of gentrification and socio-economic inequality. Kiran Benipal told Cherwell: “We were moved to begin the collection because we recognise the relationship this catastrophe has to the institutional and historic silencing and neglect the residents of Grenfell Tower have undergone.

“Oxford is full of ostentatious wealth and luxury—it felt absurd to the students who organised this collection that such wealth should juxtapose such an austerity-related, class related catastrophe, and seek to redress that imbalance.

Students transporting donated goods
Students helping to transport donations to London. Photo: Josh Deru

“We hope to move Oxford in various ways to help rebuild the lives of the affected communities in more ways than just this initial collection—we feel we have a responsibility that comes with the impact that Oxford can and should have.”

‘Salazar’s Revenge’ sinks with no survivors

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Pirates of the Caribbean is massive. It’s the ninth highest grossing franchise is cinema history. It’s bombastic. It’s outlandish. It’s rammed with big names—Johnny Depp, Keira Knightley, and Bill Nighy with a squid on his face to name but a few. There is, however, one thing that the Pirates franchise seems to struggle with—closure.

Although quality was variable, the first three films formed quite a neat trilogy. The lovable crew from Curse of the Black Pearl achieved something in the way of closure with the epic-scale finale of At World’s End. This was a natural end point, and it is hard to view the two efforts since as anything but cash-grabs. 2011’s On Stranger Tides was a dismal trudge with few returning characters and Ian McShane wasted as an underwritten Blackbeard.

This fifth instalment of franchise has, however, been billed as “the final adventure”. Titled Salazar’s Revenge (or Dead Men Tell No Tales), this supposed last hurrah brings back the main cast of the first film. Orlando Bloom, playing the new young hero’s father, and of course Johnny Depp as the lovable pirate Captain Jack Sparrow—although Depp’s personal appeal has plummeted of late.

The hero of this latest film is the handsome, young, and generic Henry, played by Brenton Thwaites of Home and Away fame. Henry has found his father, Bloom’s Will Turner, trapped upon the Flying Dutchman, and the only way to save Will and break Davy Jones’s curse is, for some reason, finding the mythical Trident of Poseidon.

Remembering Will’s friendship with Jack Sparrow, Henry finds Sparrow locked away after a drunk failed bank robbery, with Carina Smyth—played by Kaya Scodelario, an astronomer whose intelligence has sparked fears that she is a witch. The three manage to break out of jail and begin their hunt for the lost trident.

Also on the hunt is Sparrow’s old friend/nemesis Barbosa (played by a returning Geoffrey Rush). Javier Bardem’s leering Captain Salazar pops up too, aiming to thwart the trio’s plans as he seeks revenge on Sparrow for an incident in their youth (conveyed in flashbacks which include an impressively CGI-ed young Jack Sparrow).

Depp is a swaggering, irreverent rapscallion as ever, but after five films the act feels worn. Bardem manages to add a sense of ghoulish terror, however the plot is anything but watertight.

The heavy use of flashbacks, and bids for nostalgia with the re-introduction of Bloom show what is very obvious—the film cannot recreate the franchise’s old magic.

Thwaites and Scodelario are both charismatic at times but ultimately lacking in chemistry, and cannot match up to their predecessors Bloom and Kiera Knightley. The CGI is as impressive as a $230 million budget would suggest, but while the effects are overwhelming they do not make up for the fundamental lack of plot substance. Jeff Nathanson’s script does the talented cast no services—though there are some fun scenes and moments that, although forced, do produce an audience reaction, including a surprise cameo by Paul McCartney.

Ultimately, however, the film as a whole feels tired and disjointed, and this attempt to capitalize on the success of the charming 2003 film, despite its high budget and constant nostalgia tripping, ends up floundering.

Contrary to the original marketing, director Joachim Ronning said in a recent interview that Salazar’s Revenge is “the beginning of the finale”. Don’t expect Disney to stop flogging this dead horse any time soon.

“Alan Rusbridger ended the phone call by saying, ‘for fuck’s sake, just come along.'”

Working class council estate kids like myself don’t fit into Oxford. Or so I thought. The Foundation Year programme is a new initiative introduced by Lady Margaret Hall this year, and is the only one of its kind at Oxford. It selects talented students who show great potential from the most deprived areas of the UK, and from schools whose students do not tend to progress into academic higher education institutions, and gives them a year of Oxford teaching, free of charge, to equip them to then apply for degree courses at top universities. As Trinity term draws to a close, it seems the appropriate time to reflect on my, and the programme’s, first year. To be perfectly honest with you, this has been the most confusing, weird, yet wonderful journey of my life.

Growing up, I was taught in no uncertain terms to despise the middle and upper classes. I never thought I would look at someone who studied at Harrow, or Eton, and think to myself, “I’d get on incredibly well with you”. But everyone who I have met here has been wonderful. The stereotypes are just exactly that: stereotypes. The guys who I initially considered to be public school toffs have, to my surprise, became some of my closest friends.

The biggest surprise was how different Oxford turned out to be from what I had expected. Yes, there is a large proportion of what you would call the ‘elite’. But I have been touched by how well we all got on, regardless of how diff erent we are. I thought I would be judged for my back-ground, but in reality, I have ended up loving many, and, perhaps, also being loved by many myself. The majority of the staff , and all the stu-dents of LMH, as well as the wider Oxford community, have helped the foundation students in some extraordinary ways throughout this journey. It has made me realise that the support and aid that you get at this place is beyond any spectrum of sheer excellence. The foundation year has given me, and others, so many opportunities. We’ve been able to meet and question politicians, Supreme Court judges, world-renowned scientists, barristers, newspaper editors, and many more. It has opened doors and provided connections in fi elds far beyond the academic. Of course, it hasn’t all been perfect. The foundation year has had some teething problems—as many pilot programmes do—for example with its structure and teaching style.

Furthermore, I have discovered, as I think many students do, that there is a pressure in Oxford to spend every hour of the day working, and if you can’t manage that, to at least appear like you are. It’s an unhealthy ideal, and not one that I see many people enjoy. I have also seen some variability in the teaching quality. It may rank highly for research and employability, but it’s no big surprise that Oxford comes only 47th for student satisfaction, according to The Complete University Guide’s rankings. So the foundation year has ended up being a personal journey, as much as an academic one. I’m not yet fully convinced that a full Oxford degree is for me—though the majority of my fellow foundation year students are very much looking forward to progressing on to an undergraduate degree. But is the Foundation Year programme a good idea? Yes, despite its problem and its flaws, I definitely think so. An entire year of training and personally tailored academic help to make sure that Oxford no longer scrapes against the fingertips, but instead becomes well within the reach, of students like myself is a priceless gift. Oxford is renowned for being one of the greatest academic institutions in the world, from far into the past, to the present day. But if it wants to maintain this prestigious status, the selection process has to be altered, and the Foundation Year is a huge step in the right direction.

The university is missing out on students with enormous potential, who never even consider applying, or believe they are unwor-thy of a place. Many of these students, including the ones on the Foundation Year, have undergone difficulties in their lives which have prevented them from reaching their full academic potential. LMH has got the ball rolling, but it’s on the shoulders of other colleges to carry on from this, and begin their own foundation years. But in order to get students from under-privileged background to apply, the stereotypes of Oxford need to be eliminated. The main way of doing that is by reaching out to students in colleges and sixth forms across the country, and showing them what Oxford is really about. In my own case, it took several phone calls from our principal Alan Rusbridger to get me to come along. I remember how he ended our final phone call saying (in the calmest tone of voice I have ever heard), “for fuck’s sake, just come along”. And so I did. And I met what I consider to be the greatest bunch of people. The kindest, welcoming and most gracious people, who embraced me for who I am, and treated me no different from anyone else. I wish I could give all of their names a mention. However, this is Oxford, and I only have a limited word count, and another essay due in at 5pm. I hope they all know who they are.

To any applicants considering the Foundation Year, or Oxford in general, who believe they are underserving and would never fit in, I would say this.I came from a poor background. I grew up in a bad environment, where horrible things happened almost every day. Yet I managed to get to school on time, and get my homework done each night, and ended up receiving an offer from Oxford. I am by no means special, and I don’t care who contests that fact. I am not a wonder kid, and neither do I think I am particularly intelligent. What I am is a hard worker. And I work hard because hard is what life threw at me. If I can do it, the girl or the boy who lives down the road from me can also do it. Being scared means nothing. Having self-belief is everything.

The secret coach who revived Alastair Cook’s career

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In the spring of 2015, Alastair Cook’s England future looked bleak.

It was almost two years since his last Test match hundred, and he had been axed as ODI captain just months before the World Cup in Australia and New Zealand. To make matters worse, Head Coach Peter Moores had just been sacked, and there were whispers of a big overhaul within the national set-up.

But in a ‘batting lab’ near Oxford, Cook found redemption. Then-England batting coach Graham Gooch had been contacted by a former Somerset player named Gary Palmer, who had contacted him in the belief that he had the ability to correct a few technical faults in Cook’s game.

The move instantly paid dividends. After just a month with Palmer, Cook hit 162 in the first Test of the English summer, and played with an elegance and fluency that was almost unprecedented in his Test career.

Last week, Palmer agreed to a rare interview with Cherwell, and I presented him with some statistics about Cook’s Test record before and after working with him.

Indeed, the numbers are pretty clear that Palmer’s work with Cook when facing seamers has been extremely successful: before summer 2015, the Essex batsman averaged 40 against pace bowling, but since then has averaged 59.

“He used to be reasonably sideways-on when he batted,” Palmer commented, “but he now looks a lot more open. He holds the shape of his shots more, and technically, he’s more aware of trying to get into good shapes every time he hits the ball.

“He sets himself a really high standard, and generally, he’s a really easy guy to work with: very open-minded, very humble.

“It really is an honour and a privilege to work with Cook: he is a legend of the game.”

Whilst he may be Palmer’s highest-profile client, Cook is by no means the only top player that the 51-year-old has worked with. Indeed, the ex-England trio of Ian Bell, Michael Carberry and Nick Compton have all spent time at the Palmer Batting Lab, and Pakistan opener Shan Masood recently used him to get his career back on track.

There are other names that have been rumoured to have worked with him, but he is watertight in maintaining their anonymity, so declined to say who they were.

And yet despite his success, Palmer remains outside of the cricketing mainstream. Whilst his methods are simple and effective, he is something of an innovator in his reluctance to stick to classical, by-the-book methods.

Indeed, the ECB remain set on hiring former internationals to form part of their extensive coaching staff: they have never openly contacted the man who sorted the nation’s all-time leading run-scorer’s form out in a matter of months.

“You can understand why they hire ex-England players,” Palmer says. “They have a wealth of knowledge which is complemented by their experience of playing at the highest level of the game.”

But that is not to say that it is only the top players who can be elite-level coaches: “coaching technique is an art form in itself—you need years and years of experience to really know your trade,” he adds.

“I’m coaching the same methods that most of the best players in the world are using, but what they’re doing is not quite the same as what is in a lot of the manuals that you see out there, which makes it awkward for me in a lot of ways,” Palmer continues.

In 2015, ESPNCricinfo’s George Dobell suggested that Palmer “has often […] been dismissed as something of a maverick,” due to his hands-on approach and innovative methods.

But in reality, Palmer coaches the basics, and focuses on hitting the ball straight to the highest technical standards. He does use inventive techniques and grooving systems to construct, repair, enhance and challenge his clients’ movements, but ultimately his message is clear and simple.

“The stuff I coach works. It’s successful. There are a few subtle things that I do—[alter] back foot position prior to hitting the ball, being a bit more open—that aren’t in the textbook, but technique has now moved forward as the game has.”

Why, then, are more coaches not adapting? Surely, if Palmer’s methods were as good as he suggests, the cricketing mainstream would quickly be following him?

He disagrees. “If suddenly someone comes along and goes ‘well actually, I don’t think you should be that sideways on, you should be more open’, it’s quite a big, bold statement,” Palmer told Cherwell.

“But, you know, it’s difficult to change people’s mindsets if something’s been done the same way for donkeys’ years, and great players over the years have said ‘this is how you do it’.

“I’m not high-profile enough to have the input that they would have on changing something,” he says, evidently frustrated at the fact he remains on the periphery.

And yet despite this view of him, Palmer’s coaching appears to be intense, but not completely revolutionary. His website provides a clear outline as to how he wants batsmen to play, and emphasises the importance of a strong technique to be able to hit straight back down the ground in the ‘V’ between mid-on and mid-off.

There is not a massive difference in the way he coaches depending on his clients, be they young cricketers who have been gifted a session by their parents or Test players: he wants players to build up a muscle memory and enhance their concentration by simply hitting a lot of balls well over the course of a session.

It is an uncomplicated message, and one that has clearly been effective for his clients.

However, there are difficulties in working in his environment. Palmer doesn’t get the luxury of being with players on a day-to-day basis, and has to make a positive and noticeable difference to a batsman’s skill levels within any given two-three hour session.

“It is all about attention to detail,” he says, “and striving for perfection as regularly as you can.

“Once a technique has been coached, it needs to be serviced and challenged on a regular basis to maintain it. This leads to consistent positive performances.”

Therefore, it is not out of the question that there could be a path for Palmer into the ECB set-up. He says he would “love to be involved” with the national team in some way, shape or form as a specialist consultant, so that he could share his ideas with players and coaches.

Last year, England assistant coach Paul Farbrace invited him to a practice day on the eve of a Test Match at the Oval, and he remains in regular contact with certain coaches involved in the national set-up. The opportunity to work with top batsmen every day is one that he believes he would grasp with both hands.

When asked about the short duration of a lot of his sessions, Palmer comments that it means “I’ve got to make a difference here and now.” This seems like an apt way to demonstrate his drive. Without a moment of doubt, it is in the interests of the game for Gary Palmer to enjoy a bountiful and successful future.

Oxford business graduates are UK’s highest earners, report reveals

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Oxford business graduates are the most financially successful a year after their graduation, figures released by the Department for Education have shown.

Oxford degrees in the category ‘Business and Administrative Studies’ topped the list of graduate incomes, with the average salary of Oxford Business graduates being £41,500 one year after graduation, according to figures based on the 2012/13 group of graduates.

Business graduates also topped the list three years after graduation, averaging £50,900 per annum, and five years after, gaining £71,700 a year.

The starting salaries place the graduates in the top 20 per cent of earners in Britain, only a year into their professional lives.

Oxford beat Cambridge University’s Business graduates (£32,200) and Bath’s (£29,400) in the recently released survey.

The results were less good news for other Oxford students however. Those doing Historical or Philosophical studies came in third nationally, with average salaries of £22,200 one year after graduation. This was behind the LSE and Birkbeck College in London.

Similarly, those doing courses in Engineering were placed fifth but were more fortunate than the Oxford historians and philosophers. Their average starting salary was £30,300 per annum.

The Open University came in second overall, in the rankings, with their economics degree averaging a starting salary of £39,600.

The figures also showed the gender imbalance in starting salaries. The average male salary after one year for English graduates was £22,200. Whilst for female graduates, the figure was lower with £17, 400.

However, among law graduates, female students had an average salary of £29,000 compared to the male average of £23,900.

Ex-Oxford don, 80, trampled to death by cows

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Magdalen College have paid tribute to an 80-year-old former professor of the college who has reportedly been trampled to death by a herd of cows in a field near a village church.

Professor Brian Bellhouse was named as the victim of the incident in Guestling, near Hastings, East Sussex. He is said to have been walking in the field, before a herd of cows became agitated and charged.

Police, paramedics and air ambulance crews were unable to save his life, and he was pronounced dead at the scene on Monday morning.

A Sussex Police spokesman said the death was not being treated as suspicious and had been passed to the coroner’s office.

“An 80-year-old man died after being found trampled in a field of cattle at Church Lane, Guestling, on Monday 12 June,” said the spokesman.

“Police and paramedics performed CPR after being called at 11.02am and an air ambulance landed at the scene, but he was sadly pronounced dead at 11.46am.”

Magdalen College, to which Bellhouse came to read Maths in 1957, paid tribute to his time at the University.

“The college is very sad to announce that Professor Brian Bellhouse has passed away at the age of 80,” a spokesman said.

“He obtained his DPhil in Engineering Science in 1964 and was then made a Fellow by Examination. He was elected an Official Fellow in Engineering Science in 1966. On his retirement in 2004 he was elected an Emeritus Fellow.

“Brian co-founded the company PowderJect in 1993 which became one of the first companies to be spun-out successfully from the University of Oxford and was based at our Oxford Science Park.

“Brian was a major donor to the college and endowed the Oxford-Bellhouse Graduate Scholarship at Magdalen in biomedical engineering.”

Oxford faces sexism claims after introducing ‘take-home’ exams to close gender gap

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Oxford University has defended itself against ‘sexism’ allegations in the national press, following its introduction of ‘take home’ exams for some history students.

From Michaelmas 2017, history students will be able to replace one of their five finals papers with a exam which they will be able to sit at home.

According to a document seen by The Sunday Times, the change was designed to help close the gender disparity in the awarding of firsts in history. Last year, 37 per cent of men achieved firsts in history compared to 32 per cent of women.

The move was described as “so insulting” by the University of Liverpool’s Amanda Foreman. While recognising the good intentions of the decision, she said: “The reason why girls and boys perform differently in exams has nothing to do with the building they are in.”

Several of Oxford’s own faculty members are said to have criticised the decision, raising concern at the increased risk of plagiarism, and seeing it as only a short-term solution to gender disparities in results.

But the University has hit back at these claims of sexism, saying that broader considerations caused the change in exam regulations.

A spokesperson told Cherwell: “Timed exams remain an important part of the course, testing skills to complement the other assessed elements.

“This change is part of a broader goal of diversifying the history course in response to a number of factors, including the need to test a greater range of academic skills.

“The gender gap was also a consideration in this change, although research shows that the causes of the gap are broad do not lie solely in methods of assessment.”

It is reported that Cambridge University has also assessed the possibilities for changing their examination systems.

Man arrested after ‘smashing up’ Univ hall

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Police arrested a man at University College yesterday, after he reportedly wreaked havoc in the main hall, damaging the high table and shouting at college staff.

A student reported seeing the man “screaming” at college porters, before he “started trashing the main hall.”

Students said that the hall was closed off for dinner last night after the high table was apparently knocked over. The College has confirmed to Cherwell that some furniture in the hall was damaged, but that no students were injured.

A police spokesperson told Cherwell: “Thames Valley Police officers were called at about 4.25pm yesterday (12/6) following reports of a criminal damage incident at University College, High Street, Oxford.

“Officers attended the scene, where a 27-year-old man from Oxford was arrested on suspicion of criminal damage. He has been released under investigation.”

One student told Cherwell how “A disturbed man somehow got into Univ shouting and screaming – [he] smashed up the main hall before being taken away by police.”

Another student told Cherwell: “[I was] Walking down the high street, and observed police running into Univ, as we went in we heard a man screaming from the hall.

“We were walking that way anyway and saw staff and police crowding around the entrance before going in, restraining the man and dragging him out.”

The student reported seeing the man “screaming all the way out of college, struggling at the doorway before being eventually shoved into the back of a police van.”

University College hall dates back to 1656, with its internal decorations in the Gothic revival style of the late eighteenth century.