Tuesday, May 6, 2025
Blog Page 879

Oxford secure Varsity football double

The tension in the terraces of The Hive was palpable as the Oxford-Cambridge Varsity double-header got under way with the Women’s match.

Cambridge had a lot of the early possession, using great control of the ball in the midfield to force multiple chances with the speed of striker Xelia Mendes-Jones, who has made a habit of putting away hat-tricks in the BUCS league. Whilst she seemed uncatchable chasing Cambridge’s long balls through the middle, the unwavering pressure of Oxford’s back four meant that she was never given the chance to trouble May Martin, who proved a very safe pair of hands in goal throughout the first half.

Impressive on the counter-attack, Oxford found some early success with quick balls down both wings, as Caroline Ward and Becca May began what would be a standout performance from each of them. Some skillful play outside of Cambridge’s box saw Colleen Lopez round the Light Blue midfield and it was only the tireless work of Cambridge right-back Beccie Graves that saw the early chances of lone striker May not develop into anything more. Despite enjoying fewer chances in the box, Oxford’s accuracy under pressure saw them put more shots on target as they headed into the changing rooms at 0-0.

The Oxford team rallied, despite their frustration with a very solid Cambridge back four, and whatever the seasoned Oxford management said saw a marked shift in play as they headed out for the second half. Oxford began to make full use of the width in their heavily-loaded midfield to build their counter-attacks more slowly, giving May enough time to position herself for the through ball.

Just two minutes into the second half this newfound momentum saw Oxford capitalise on their accuracy in midfield; Ellana Slade’s pinpoint pass found May as she barged past Cambridge captain Gerda Bachrati and slotted home Oxford’s first with a strike across the Cambridge keeper.

Cambridge responded by ramping up their aggression, finding Becca Hirst more frequently as Bachrati began to open up the left wing with a few long balls. Eventually, Cambridge were rewarded for their pressure with a free-kick on the left of the box, whipped in by Bachrati to a Cambridge formation which had the Oxford defence confused. After a bundled attempt at a clearance, Light Blue midfielder Ceylon Hickman headed the ball into the far left post of the Oxford goal and past the hands of Martin to bring the score level.

Despite finally having some luck in the Oxford box, Cambridge still could not cope with the speed and aggression of the Oxford counter-attack, and with fifteen minutes left May found herself with a little space on the right wing, although with limited support. Nevertheless, after rounding Bachrati, May showed shades of a 2012 Papiss Cisse with a perfectly struck ball over the keeper’s head and into the bottom left corner.

With fatigue creeping in, Cambridge threw Daisy Luff up front to try to trouble Martin a little more, but even with a beautifully worked chance through the middle of the Oxford defence, Luff’s through ball to Hirst still wasn’t enough to draw level.

With only four minutes left on the clock, once again it was Rebecca May who capitalised on a scrappy clearance from the Cambridge right-back. She found herself in space with only Laura Bleehen, the Cambridge keeper, to beat. With a carefully timed nudge to the left, May rounded Bleehen and proceeded to roll the ball into the back of the net as the Light Blue centre-backs chased it over the line.

Following May’s hat-trick, the Dark Blues looked to secure their third consecutive Varsity win as the Men’s teams prepared to take the field.

As the two Blues warmed up with 134 years of Varsity hostility sitting between them, their minds only focused upon the game that lay ahead. Even though the Dark Blues had secured a 4-2 win and a 0-0 draw away in their last two matches against Cambridge this season, and victory at the last two Varsities, being the favourites going into the Varsity Match would never be enough to stop either side from putting every part of themselves into the match.

From the kick-off, Oxford’s dominance was obvious. A quick move by Dominic Thelen, Oxford’s top scorer, saw him pickpocket Cambridge’s full-back and hit a slow shot on goal. Michael Feeney’s attempt to finish the job saw the linesman raise his flag, to sighs of relief from Cambridge. Despite some shaky passing in the early stages, a movement through midfield saw Cambridge finally secure a free kick close to the Oxford box.

Defensive confusion meant they got away two shots: the first was a little wide and deflected, but the second from George Herring was the first to test Oxford goalkeeper David Windmill who kept his cool and collected the ball.

After this brief intermission, Oxford regained their dominance, slipping ball after ball down the left wing to wing-back Alex Urwin, who seemed to be perpetually in space. Working through Urwin and midfielder Wulfie Bain to Feeley, Oxford kept the pressure up and forced a corner. Pinged in from the left by Urwin, Oxford flooded the box. Sam Hale brought the ball down in front of goal before Thelen, ever-present, buried it to take the lead.

Still looking a little unsure in possession Cambridge struggled to put much together until Andy Sears-Black, a Cambridge fan favourite, followed up on a volley from the edge of the box, blasting the ball into Windmill who didn’t even flinch before taking the ball and moving it back up the left wing.

Uncharacteristically, there was disarray in the Oxford box; the ball was cleared but was quickly fired back in. It found its way to the back post, where full-back Ben Bolderson delightfully lofted the ball over the Oxford keeper. Against the run of play, Cambridge were level.

The Oxford dressing room was initially deflated at half-time, but a rousing speech from the coach reminded the players of the calibre of their first half performance and reignited the Dark Blues’ spark.

Cambridge started the second half stronger, putting Oxford under early pressure and stopping them from playing their passing game. However, the game began to open up and Oxford found space. Oxford not only looked more dangerous on the ball, but they also proved to be a threat from the dead-ball. Corners and free-kicks almost always resulted in a chance whilst Cambridge found it hard to deal with Urwin’s Rory Delap-esque long throws into the box.

In a quick turn of events, Oxford translated their dominance of possession into tangible results, with back-to-back goals. The first was a Salama own goal, turned in from a low and hard Thelen cross, created by his pace down the right flank. After a goal-line clearance and scramble within the box, Oxford’s foreign talent, Joan Crespo, coolly slotted the ball into the bottom right corner, giving Oxford a two-goal lead.

Chasing a two-goal deficit Cambridge looked like a beaten team. But, with ten minutes to go, they found a goal out of nowhere. A delightful through ball was met with a stunning finish, which David Windmill could do nothing about.

A goal down with ten minutes to go, you would expect the rest of the game to be all Cambridge. However, this wasn’t the case. Whilst there were a couple of scrambles in the Oxford box, man of the match, Michael Moneke, was able to deal with them effectively.

As the final whistle blew, it was evident that despite a spirited Cambridge performance, Oxford had been good value for a third successive Varsity win on an historic afternoon at The Hive.

Exeter College’s Cohen Quad formally opened

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Exeter College has officially opened the newly built Cohen Quad on its Walton Street site. It was due to open in August, but delays meant that 86 students were forced to move into hotel accommodation for the duration of Michaelmas.

Designed by architect Alison Brooks, there are 90 student bedrooms, a lecture theatre and a café, as well as teaching and archive space. The college purchased the site in 2010 from Ruskin College, with the redevelopment made possible by eighteen million pounds worth of donations.

The building has been named after the parents of lead donor and alumnus Sir Ronald Cohen, who graduated with a PPE degree from Exeter College in 1964. Sir Ronald said: “It is at Exeter College that I really learned to think. Education is the one possession that cannot be taken away and I am lucky that I can help future generations of Exeter College students to live in a collegiate environment where their minds are best nurtured and inspired.  The stunning design by Alison Brooks will greatly enhance our College’s life.”

Isabella Neil, a third year English student, said: “It is less obvious how great an impact the new building will have on students’ everyday lives. The extra living space that Cohen Quad offers means an end to Exeter students desperately scrambling to find private housing that is ‘adequate’. We now have the option to avoid 52-week rents, hefty deposits and administration fees, and potentially difficult landlords.”

Exeter College said in a statement released on their website that Cohen Quad “Will have a significant impact on encouraging students to apply to Exeter College and the University of Oxford. It will help to alleviate pressure on Oxford’s private housing market and will provide students with pristine and affordable accommodation designed around the needs of modern students, including 30-week rather than 52-week lets. Cohen Quad therefore makes an Oxford education both more affordable and more enjoyable.”

 

 

 

 

Is The Nightly Show an expensive insult to the British public?

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Television and radio are incredibly important in today’s world. With the advent of fake news, the rise of populism, and issues such as Brexit being discussed behind the closed doors of Whitehall, the British public needs outlets such as the BBC, ITV, Sky and Channel 4 to stay informed.

For all the criticisms one can direct towards the BBC—whether it’s the licence fee, the salaries of their biggest stars, or the fact that Nick Grimshaw still has a radio show—they have covered the ongoing drama of Brexit in great detail across their range of current affairs programmes.

Over at ITV, meanwhile, we have seen the collapse of the recently re-launched News at Ten. The Nightly Show has replaced Tom Bradby’s programme, and has quickly drawn criticism from almost every corner of the media industry. Whilst it was hoped that the show could become the UK equivalent of CBS’s hit The Late Late Show with James Corden, with its mix of sketches and celebrity chat, it hasn’t quite hit the mark. In fact, David Walliams’ first stint as host was described as “unbelievably poor television” by Buzzfeed’s TV Editor, Scott Bryan.

More recently, the Daily Mail reported that ITV bosses are under pressure to replace the show with the news, after just 923,000 people sat down to watch Davina McCall host Tuesday night’s show. For comparison, the last time the news aired in that slot, it pulled in an audience of 1.7 million.

Regardless of viewing figures, ITV are playing a very dangerous game. While both the BBC and ITV are organised differently and are accountable to different people, side-lining a prime time news programme for a poorly written and produced entertainment show is unforgivable. It’s a huge waste of money too, costing the broadcaster £10m, while Mel and Sue—former presenters of The Great British Bake Off—have already backed out of discussions to host a week’s worth of episodes.

This debacle has illustrated the clash between ITV’s current creative direction and their duty as a national broadcaster: to report the news. Moving the News at Ten is symbolic of their true priorities; they seem to care more about cheap laughs than about serious stories.

Of course, some may argue that ITV has a right to alter its schedule as it pleases, but these reshuffles show a lack of understanding of what the British public deserves during these momentous times of upheaval for the country.

Fortunately, other broadcasters are unlikely to follow suit and downgrade the position of the news. One can only hope that The Nightly Show is moved or cancelled, as then the British public can have the news delivered accurately by one of its major television channels.

Friendship, Feminism and Fun(damental Rights)

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On International Women’s Day, the Oxford Belles released a music video to Cyndi Lauper’s Girls Just Want To Have Fun, which gained over 40,000 YouTube views and a shout-out from Cyndi herself. The video is entitled Girls Just Want To Have Fun(damental Rights) and features inspirational feminist messages from female academics, interspersed with clips of the Belles singing:

[youtube https://www.youtube.com/watch?v=qmBF_4Iypos?ecver=1&w=560&h=315]

I asked their president, Jess Bollands, about feminism, music, and being a Belle.

What’s the best thing about being a Belle? Is it just like being in Pitch Perfect?
It is just like being in Pitch Perfect! The best thing is definitely the release it gives us from our work—after a long day in the library there is nothing better than spending an evening singing and dancing around, forgetting about any impending essay crises for a couple of hours!

Are you a close-knit group?
We are genuinely best friends. I think this is what makes the Belles so special; in the video I think you can see in the group shots that we are genuinely so comfortable in each other’s company. We are all each other’s biggest fans, and love spending time with each other inside and outside of rehearsal time.

Where did the idea for the music video come from?
We worked with a director, Marco Alessi, who has just completed a Masters in Film at King’s College London having previously studied English here, at Lincoln College. He knew we wanted to make a powerful statement with the video, and came up with the brilliant idea of getting academics involved.

How long did the video take to make? 
The groups as a whole only spent one day filming together, which was pretty intense! I then spent another day with our director and camera crew driving around Oxford and visiting the academics to film their scenes.

Who arranged the song?  
Amelia Gabriel arranged the song last term and we performed it at a couple of gigs, receiving great responses. Sophie Tang then penned her own rap specifically for the video, though of course it will now be a permanent feature in the arrangement.

Were there any particular highlights from filming the video?
Standing on the steps of the Rad Cam at 9am on a Sunday morning and belting out Cyndi Lauper to an audience of astonished tourists was pretty surreal! The whole experience was amazing. I personally also really enjoyed getting to meet all of the academics. After emailing back and forth for a number of weeks it was wonderful to talk to them in person about themselves and their messages.

The a capella scene at Oxford has long been dominated by all-male groups, does it mean a lot to you to have received so much acclaim for a song about empowering women?
It means so much, especially as the Belles were originally founded to combat the male-dominated Oxford a cappella scene, back in 1995! So it feels like we really have done what the original Belles set out to do: we’ve put our own stamp on the a cappella world, and celebrated other women whilst doing so, which is pretty amazing.


How does it feel to have had a shout-out from Cyndi Lauper for your cover of one of her songs?

It’s incredible to know that she has seen it—it had been the ultimate goal but we had almost given up on it happening! I hadn’t realised before very recently, but the original song was actually written by a man, Robert Hazard, and Cyndi decided to release it as an empowering statement for women. Our motivation was obviously the same, so we’re thrilled that she approves.

Out of all of the inspirational messages from the female academics in the video, which do you think is the most important, and why?
This is so difficult! All of the messages are so important. On the day of the shoot, the message that really made me quite emotional was Patricia Daley’s ‘They said she was too black to succeed’. The way she talked about her experiences so openly and cheerfully was incredible, she was so strong. Intersectional feminism is so important, so I am extremely glad that she agreed to be involved—we have had a lot of responses from young women of colour saying how much that message meant to them, which has been really moving. Another favourite of mine is probably Alice Prochaska’s ‘You can change the world’, because women can indeed change the world but often feel, or are made to feel, like they can’t. It’s also the last message in the video so I really hope that it leaves audiences believing it!

What do you think are the benefits of involvement in performing arts, and a capella specifically, for girls?
Being involved in performing arts has given me so much confidence, and a way for me to express myself that I otherwise wouldn’t have. I think that a cappella particularly is very empowering, especially if you are a girl and in an all-female group, because the world doesn’t have very high expectations of you, but you can come out and show them that actually you can achieve whatever you want to do. You can ‘break glass ceilings’!

What’s next on the horizon for the Belles?
Hmm, where does one go after achieving world domination? We’re really looking forward to another term of singing together, and are hoping to release an EP in the coming months, which will feature Girls Just Want To Have Fun(damental Rights). We have lots of other exciting plans, and we’re so grateful that the success of the video will help us on our way.

Netflix to present Orson Welles’ lost masterpiece

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On Tuesday, Netflix dropped a bomb in the world of cinema by announcing that it had acquired the rights to Orson Welles’ unfinished movie, The Other Side of the Wind, and would finance its completion and distribution worldwide. This marks the conclusion of a saga that began in the early 1970s, marred by endless legal battles and various failed attempts to finish the film, including an online crowdfunding campaign in 2015 that raised more than £304,000.

Considered a child prodigy and genius by many, Orson Welles is a legendary figure in theatre, radio and cinema. He is acclaimed as one of the greatest film directors of all time. His life was a tale of beautiful women and excessive quantities of food, drink and tobacco, fuelled by a titan’s energy for work that produced an endless list of incomplete and aborted projects.

The Other Side of the Wind is one of those. Welles started filming the picture in 1970, with a cast list including John Huston, Peter Bogdanovich, Lili Palmer and Dennis Hopper. Yet this story of a ‘bastard director’ (in Welles’ own words) who returns to Los Angeles after a mediocre European adventure was never completed.

1970 was also the year Welles returned to Hollywood after a decade spent in Europe. The Other Side of the Wind was intended to be his comeback film, a new Citizen Kane. But despite the similarities between his own life and the incomplete film, Welles claimed there was no autobiographical basis to the plot of The Other Side of the Wind. Rather, it appears to be a satire of the New Hollywood generation of directors.

There are very high expectations for the film, which has been publicised by Netflix as a masterpiece rescued from obscurity. Josh Karp, author of the recently published book Orson Welles’s Last Movie: The Making of the Other Side of the Wind, said: “This is like finding a lost Shakespeare play… Except, no one wants to read a Shakespeare play – so this is better because it’s a movie.” Peter Bogdanovich, who acted in the film and is one of the leading figures in the quest to finish it, stated: “From what I know it was one of his best things.”

Like Citizen KaneThe Other Side of the Wind opens with the death of its lead and takes us back in time to prior events, with Welles narrating throughout. The main character Jake Hannafot is described as an authoritative figure striving for power, which seems reminiscent of George Amberson Minafer in The Magnificent Ambersons and Charles Foster Kane in Citizen Kane. As for the meta-cinematic theme of a film within a film, and the innovative black-and-white and colour montage, we are reminded of Welles’ other work from this same period, including his so-called ‘essay film’ F for Fake (1973) where the director explores the value of artistic authorship and authenticity.

With expectations so high we can only hope that Netflix will keep its promise of presenting us with Orson Welles’ last masterpiece. After all, two versions of Welles’ unfinished Don Quixote were released in 1992 and 2008 respectively, and both offerings served to disappoint the critics.

However, at the time of his death in 1985, Welles had already edited 40 minutes of The Other Side of the Wind. Furthermore, the team behind its restoration include numerous people from the original project, including Peter Bogdanovich and Frank Marshall. This surely bodes well for the upcoming finished version.

Netflix’s acquisition of a film, that has remained until now a ‘lost masterpiece’, is a milestone in the company’s effort to increase their output of feature films, and draws them first blood in a long running battle against competing streaming services. As yet, the entertainment company has given no precise date for the film’s release. However, for those who would prefer watching The Other Side of the Wind on the big screen (and I am one of them), Netflix has announced a 35 mm version for cinema release.

Chuck Berry – “One of the greats”

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In one of his most famous songs, Berry told Beethoven to ‘roll over’ in his grave at the shocking new sound he was spearheading— and you might wonder whether he would have done. After all, if alien life-forms ever intercept the Voyager spacecraft and are somehow able to play the “golden record” which is contained onboard, they’ll be surprised to find one song which provides a rather jarring stylistic break from the classical music on the rest of the disc: Berry’s ‘Johnny B. Goode’ was selected in 1977 to represent rock music on behalf of the world.

The influence of Berry’s sound is proven by the fact that so many of his songs have been famously covered: ‘Roll Over Beethoven’ was even considered as a potential name of a band made up of four Liverpudlian lads, and while it wasn’t chosen the Beatles went on to cover Berry extensively, especially in their early career.

Indeed, for an artist who was so often covered himself, it is perhaps ironic that his only number one song in America was itself a cover: ‘My Ding-A-Ling’, a song whose double-entendre subject matter caused so much scandal and was the centre of a censorship battle. For a man whose liberating music marked the age of the teenager, Berry was certainly rebellious in spirit.

All this might seem remarkable in any case, but crucial to Berry’s legacy is his racial identity—a black man growing up under Jim Crow laws, he was sent to prison three times over his career, and under dubious circumstances—on one occasion he was jailed after being sighted kissing a white girl (and subsequently a mob formed) in 1959. Despite the system being rigged against him, Berry managed not only to break through to great success, but in doing so defied the racial politics a step forward. It’s worth noting that the teenage years of a generation of white Americans were soundtracked by a black man—an icon and an idol.

For the ages, apart from the inclusion of the Voyager, Berry’s longstanding legacy is best seen in his crucial role in two of the most iconic films of the late 20th century. In Back to the Future, Martin J. Fox’s Marty McFly plays what is surely the guitar riff, from ‘Johnny B. Goode’ for anyone learning guitar. In Pulp Fiction, as Vincent Vega and Mia Wallace take to the floor at Jack Rabbit Slim’s, it’s ‘Nobody Can Tell’ which plays as they start to boogie.

Clearly, Berry was one of the greats.

“When a film depends on siamese stories in the way this one does, it is often hard to keep the whole thing alive”

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Nocturnal Animals is the second film directed by fashion tycoon Tom Ford, and his second set in LA.

Amy Adams plays Susan, a gallery curator with enough money to live in a big house, full of edges and reflective surfaces, and enough insight to realize that this doesn’t make her happy. The film starts, and we are at the opening of her latest show. Upon podiums are quite naked, and quite uncommonly fat women, gyrating in glossy slow-motion and giving the camera the best view of it, enjoying our trapped eyes – exploiting us, exploiting them. The next moment, the show’s over and they lie unmoving on their platforms, like slabs of meat or cadavers, exhausted in the empty showroom. We know this place, L.A., and what it does to people. Its permissiveness is stifling, its gaudy opulence is actually a kind of poverty.

Susan is clearly unmoved by her work, her husband is jetting around in predictable ways, having affairs, and she is plagued by regrets. Yet, it’s hard to suppress the feeling that there isn’t something conflicted about Tom Ford’s, so to speak, dressing down of L.A.’s meretricious way of life. For the most distinctive thing about Ford’s style is his pursuit of artfully arranged moments, as well as a fascination with surface beauty that demands that all his actors, even the extras, are implausibly attractive. His first film, A Single Man, was meticulous and stylized and shot like a perfume commercial, and very well suited to it as well. Here, one cannot help but notice how openly appealing he makes everything look, while also seeming to suggest its trickery. Visions of paradise don’t survive scrutiny; they always rupture, revealing something sinister.

Then, something unexpectedly intrudes on Susan’s analgesic lifestyle; the manuscript of her first husband’s debut novel arrives. His writing is full of retribution and aggression, and Susan seems to feel every word of it. She gives herself a paper cut while trying to unwrap the manuscript, then gets one of her implausibly handsome assistants to finish the job for her, her physical activity seemingly at an end for the day.

The story of novel now runs parallel to Susan’s. A couple (Jake Gyllenhaal, and Isla Fisher) and their teenage daughter are crossing Texas by car. It’s dark and they’ve been driving for hours. Suddenly they are forced off the highway by a gang of hillbillies. The interaction is full of the promise of violence, slowly delivered. Ford puts this all together expertly. The father survives, but fails to save his family from rape and murder. The story becomes a revenge thriller: an absorbing one. Aaron Taylor-Johnson received a handful of nominations for his role as the gang leader, but it is surely Michael Shannon – as the county detective who joins the father in pursuing the criminals – who deserves special praise for his expressive, gruff charm.

When a film depends on siamese stories in the way this one does, it is often hard to keep the whole thing alive, and in that respect Tom Ford proves himself assuredly skillful. It is clear, though, that the two stories are intended to talk to one another – to comment on one another. This is the point at which the audience is forced off the highway and things start to run less smoothly.

Susan feels deeply affected by the novel, so much so that at times she drops the book under the sheer strain, peers at it suspiciously from behind her huge-rimmed, Tom Ford reading glasses, and even hallucinates its characters into her own experience. The film clatters along with clumsy juxtapositions: at one moment there is a shoot-out in the desert, the next moment Susan is staring at an artwork in her gallery depicting the very same thing. Crunch – two scenes jammed together like jigsaw pieces that shouldn’t fit.

Of course, patterns are pretty, but they aren’t a substitute for meaning or message. A choice worth mentioning is that Jake Gyllenhaal plays both Susan’s ex and the protagonist within his own novel. Now, clearly Susan is meant to have betrayed her first husband: she failed to support him in his creative development and was too easily influenced by the bad advice of others. But this hardly seems to make sense of the strange moral equivalencies drawn between Gyllenhaal’s suffering in the two stories. Thinking about this film for too long gives rise to some untidiness – and if there’s one thing Tom Ford can’t have intended, it’s untidiness. Of course, not every film aspires to ‘say’ anything, but what’s disconcerting about this film is that it gives the impression that it thinks it has said something – lots of things – and then at the end it sits there, looking at you, expectant, waiting for its message to take hold like non-existent medicine.

 

 

 

Details emerge of George Osborne’s Isis editorship

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George Osborne, who was announced yesterday as the editor of the London Evening Standard newspaper, had his most recent editing experience producing a “hemp edition” of the Oxford magazine the Isis.

According to the University’s SOLO library system, the copy of the Trinity 1992 magazine, which is archived in the Oxford Union library, has been “reported missing”.

However, a surviving copy has since been unearthed.

The former chancellor, who studied History at Magdalen between 1990 and 1993, edited the Isis in 1992, producing the first-ever “hemp edition” of the magazine. The front cover displayed two large cannabis leaves with the words “read it and reap”. It was completed with a “government health warning” not to smoke it.

Osborne’s editorial, Trinity 1992. Credit: BuzzFeed

The magazine’s editorial claims “For the first time in the history of the magazine, The ISIS has been printed on hemp paper.” This, however, turned out to be two pages in the middle of one Trinity term edition of the magazine.

Osborne co-edited the magazine alongside fellow Bullingdon Club member Chris Coleridge. The features editors of the same edition included Jo Johnson, the current Universities Minister and brother of Boris.

In the edition, Osborne wrote an essay investigating “the secret world of Britain’s security services”.

“MI5 can decide to tap your telephone, open your mail, record intimate details of your private life in its computers (which have the capacity to hold 20 million files), and even scupper your prospects of ever being employed by a major company, if, in its judgement, you might constitute a threat to that wonderfully nebulous concept of our ‘national security’,” he wrote.

Credit: BuzzFeed

He lamented the apparent public apathy about being “under the watchful eyes of Big Brother.”

After leaving Oxford, Osborne was rejected from graduate journalism schemes at the Times and the Economist.

The Isis, which was first established in 1892, is the sister publication to Cherwell, and is published under the same publishing house, Oxford Student Publications limited.

Osborne will take up his position at the Evening Standard in May.

 

The article was amended on 22/03/17. It had stated: “According to the University’s SOLO library system, all remaining copies of the Trinity 1992 magazine, which are archived in the Oxford Union library, have been “reported missing” – Osborne’s year is the only to have been lost.” However, the Bodleian Libraries never received a copy of this edition of Isis (Trinity term 1992).

“Injections of humour amidst the Beckettian existential angst”

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It’s been fifty years since Tom Stoppard’s Rosencrantz and Guildenstern Are Dead was first performed in Edinburgh by the Oxford Theatre group to an audience of six critics and one lone punter.  But Ronald Bryden’s stellar review in the Observer caught the eye of Kenneth Tynan, the director of the National Theatre at the time, and the play opened at its base at the Old Vic later that year.  But despite the play’s age, David Leveaux’s current production, back in the Old Vic once more, makes the play feel just as fresh as it would have back in the heyday of post-modernist drama.

A lot of the audience members seemed younger than could be expected, probably due to the presence of Daniel Radcliffe in the role of Rosencrantz.  Radcliffe is very good in the role: his boyish anxiousness and bafflement at the absurdist world into which they have been thrust is charming, and he works well as a sidekick to Joshua McGuire’s more confident and cerebral Guildenstern.  The two have a good chemistry as they shift between the Shakespearean language of the Denmark court and their own more modern speech, and they help the play avoid seeming tiresome or self-congratulatory with its intellectual in-jokes.  David Haig is excellent as the Player, both amusingly bawdy and eerily knowing while Rosencrantz and Guildenstern remain in the dark as to their role in the tragedy in which they are but minor characters. The group of tragedians that the Player commands are all dressed like Pierrot and every scene with them was a delight to watch.

The set, designed by Anna Fleische, is fantastic. Pink and blue clouds, idyllic yet unnerving, painted on the walls seem to resemble the sets of 50s Hollywood productions or poor amateur stage backcloths, a witty and self-consciously meta-theatrical reference, like the red “EXEUNT” sign at the back of the stage. The physical movement and timing of all the actors is superb, and not once did the play feel tedious or over-long, due to the constant injections of humour amidst the Beckettian existential angst.

Luke Mullins and Helena Wilson (who left Oxford this summer) are strong as Hamlet and Ophelia, and Mullins is especially funny as he pronounces Hamlet’s more self-indulgently miserable lines.  However, such emphasis is given to caricaturing Shakespeare’s prince of Denmark that the Hamlet figure we are offered is not one the audience can recognize or sympathise with – giving Stoppard’s commentary on Hamlet less of a meaning.

Overall, it’s a brilliant production of a play that blends philosophical commentary on the theatre and human existence with frequent moments of wit and hilarity.  I look forward to seeing the play in fifty years’ time, and I doubt it will feel any more dated than it does today.

It’s Fashion, But is it Art?

Last week, the Louvre opened its sculpture gallery to house Louis Vuitton’s AW17 collection, which is the first time a gallery has hosted a runway show. Nicolas Ghesquière’s collection was certainly impressive; the combination of broad shouldered outerwear and tightly-belted waists created angular, yet feminine silhouettes. There were also some next-level bias cut slip dresses with lace insets, beading and fur. What was perhaps most interesting, however, was the interaction between the clothes and the art. The experience was clearly immersive and aimed to combine the elements of both the neoclassical sculptures in the Louvre and the new figures in Louis Vuitton. However from some people’s coverage of the show, it almost felt like the clothes overshadowed the art. The Louvre’s hosting does spark the interesting debate: is fashion art? If so, why is it rarely taken seriously by anyone outside of the industry?

It is easy to say “a jumper is a jumper”, and there are people for whom fashion has a purely utilitarian role. However, to say the concept of utility excludes fashion from the world of art would be absurd; it would completely ignore the spectrum of expression already seen from artists. Are we to ignore Grayson Perry’s classically styled vases purely because a vase is also a vessel for water and flowers? Surely, the argument against the potential for functionality in art was settled after the rise of reverence for Duchamp’s Fountain. Just as much creative genius goes into the design for a runway show, or a Manolo Blahnik sandal, as it does a piece of ‘fine art’. And in terms of the layman’s lack of interest, there is no area of art that doesn’t bring forth yawns or derision from some sectors of society. The fact that fashion is something that everyone has to actively appreciate should make it less dismissible, rather than more so.

One reason for this layer of derision around fashion is the uncomfortable issue of internalised misogyny. It has long been painfully clear that the areas of culture and industry which are deprecated in school and society for being feminine and unimportant are dominated by men when transferred to the real world of business. This is perhaps most clearly seen in the traditional female ‘housewife’ stereotype. It is seen as a woman’s duty to cook for the family, and equally baking is seen as an old lady’s occupation, or perhaps taught to young girls in ‘Domestic Science’, but definitely not something for growing boys to concern themselves with. There’s a whole story line focusing on just that in everyone’s favourite infamous Disney movie, High school musical—who remembers crème brulee Zeke, who wasn’t sticking to the status quo? Yet, almost every famous chef, be that on or off our TV screens, is a man. The two main exceptions fill depressingly archetypal roles – Delia the ‘Mother’ teaches us how to poach an egg and Nigella the ‘whore’ seductively piles chocolate and cream into a bowl and then licks the spoon. This trend can be seen across the board—an interest in art and drawing at school is often thought of as girly but as we know from campaigns like ‘Gorilla Girls’, all of our museums are full of pictures of naked women, drawn by dead white men.

In terms of fashion, what could be more girly than caring about clothes and shoes and makeup and handbags? Women are constantly slated for being too into their looks, or too vain and shallow. It’s even ingrained within our language on gender, we are told not to be a ‘big girl’s blouse’ when acting too fussy or weak, and in the north, men who cares about their looks are ‘tarts’. One might hope then, that as a kind of recompense for this degradation, women would have pride of place within the fashion industry. Unfortunately however, women only make up a third of the top jobs in fashion. That’s not to say it isn’t a female-dominated industry, but the fashion houses are still predominately being run by men; think of Alexander McQueen, Valentino, Ralph Lauren, Yves Saint Laurent, Alexander Wang, Tom Ford, Gucci and Chanel, which started out as styles from Coco for the modern woman, but is now run by Karl Lagerfeld. This sends the unfortunate message that when something is associated with women, it is not to be taken seriously, until it is taken over and made into a money-making reality by the strongmen of this world. Why is it that Nicolas Ghesquière can be invited to the largest and arguably most prestigious art gallery in the world, yet young girls reading fashion magazines and picking out beautiful shoes are still told to stop wasting their time, to focus on something actually worthwhile?

This is not to say that I’m not thrilled that Ghesquière was invited to the Louvre for his show or that it was his gender that got him the invite. This is about the wider issue of fashion not being recognized as an art form—because to quote the great Stanley Tucci from the famous ‘The Devils Wears Prada’, fashion is “greater than art, because you live your life in it”.