Friday 18th July 2025
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Conquering the Varsity ski trip

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If you had looked out over Broad Street on the last Friday night of Michaelmas, you would have struggled to miss the hoards of bright eyed, bushy tailed undergraduates, rallying after an exhausting term at the prospect of powdery slopes and mountain air. A mere seven nights later, the same bunch will queue wearily up to get back on the coaches, reduced to shadows of their former selves. Dark circles, hacking coughs, and high fevers dominate the group. What horrifying experience have they undergone? The physical, mental, and emotional endurance test more commonly known as the Varsity Ski trip.

The nightmare begins in the form of a twenty-hour coach journey—no, that wasn’t a typo—twenty hours of upright seat backs, jolting roads, and bad breath. You are inevitably stuck next to a total stranger on whom you will inevitably find yourself drooling during one of your many unsatisfying attempts at sleep. iPhone batteries do not last long when they are taxed with receiving a constant stream of snapchats from your more sane friends, showing off their comfortable beds at home so you are left, friendless and alone, staring out into the drizzly night as you wonder what the hell you’re doing here.

When, a lifetime later, you arrive in Val Thorens, you will almost certainly experience the moment of blind panic as you cannot find your suitcase in the pile dumped unceremoniously at the side of the road. Terrible visions of a week spent in one pair of underwear, while the snow slowly soaks through your jeans, flash through your mind before the driver checks the luggage hold again and is surprised to find that he somehow forgot to remove your case—perhaps he missed its subtle neon orange. The evening is spent in an interminable queue in the rental shop, arms screaming under the weight of skis, boots, and poles. At least it’s a comfort to know that, when you reach the check out desk, they are completely out of change and so you end up paying a €10 insurance premium with a €50 note. Ah, French efficiency.

Stretched to the limit by a term of all night essay crises, unbelievable displays of athleticism on the Park End cheese floor, and the million and one other things that fill term-time, you must be crazy to attempt days on the mountain, afternoons après-ing at 360, and evenings in the club. After only a couple of hours on the slopes, your calves are screaming, your head is throbbing, and your Strepsil intake is reaching new heights. It is more than likely that you are that one person in your friendship group who hasn’t been skiing every year since before they could crawl and so you spend your time in terrified cold sweats, chucking yourself down icy reds and praying that your bones remain intact.

Half way through the week, things come to a head. It’s 11am and you’re still huddled in bed, shivering in three layers of jumpers, coughing up phlegm and downing paracetamol. You gaze out at the snow-dappled mountainside and the lines of small black dots streaking down the slopes. You remember the £600 you paid for the privilege of being here, the joy of physical movement, the fact that everyone else is having so much fun! All you can manage is a groan as you promise yourself you’ll make it out for the afternoon. If not parallel turns, at least you’ve mastered the art of self-delusion.

By the time you return your skis to the rental shop on the final afternoon, your body one hung-over mass of bruises from last night’s mosh pit, the prospect of home cooking and bodily recuperation has never been more inviting. And you cannot help a little smile as the coaches roll back down the mountain. You conquered the Varsity Ski trip. That’s got to be worth more than a degree.

Pantone

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Inspired by PANTONE’s 2016 picks, the editorial for Week 4 Michaelmas 2016 featured swatch-like compositions inspired by our favourite colours of the season.

CREATIVE DIRECTOR / Jasmin Yang- Spooner

ASSISTANT CREATIVE DIRECTOR / William Hosie

PHOTOGRAPHY / Fien Barnett-Neefs

EDITING & DESIGN / Hope Sutherland

MAKE-UP / Phoebe Bradley

HONOUR POLTURAK / LUKA NIKOLIC HEATHER WINSOR / PATRYK WAINAINA SARAH HUGHES / ANDREAS HANSELE

One man in his time plays many parts

Earlier this term Worcester College announced that Sir Ian McKellen had been elected as Distinguished Visiting Fellow for an initial period of three years, set to visit twice a year for workshops and master classes with students. The appointment seems appropriate—the actor world famous for his Shakespearean roles will work alongside Provost Sir Jonathan Bate, who is himself a renowned Shakespearean Scholar, in a college steeped in Shakespearean tradition. Worcester’s annual garden production has traditionally been a Shakespeare play, with an acclaimed performance of Twelfth Night last year as part of Shakespeare’s 400th year anniversary celebrations. In anticipation of Sir Ian’s entrance onto the Oxford drama scene, it seems an appropriate time to reflect on some of his most important Shakespeare roles.

McKellen’s breakout performance came in 1968 in the title role of Richard II. The Prospect Theatre Company production—a low budget but well respected outfit—was directed by Richard Cottrell, whom McKellen had first met at Cambridge and whom he later described as the man “responsible for my becoming a professional actor.” The unbelievable success of the production led to a second tour at the Edinburgh Fringe in 1969, where it was performed alongside Marlowe’s Edward II, with McKellen again playing the title role.

Glowing review succeeded glowing review. Writing in The Sunday Times on 31 August 1969, Harold Hobson gave McKellen what must surely be one of the most pompous compliments in the history of theatre criticism: “The ineffable presence of God himself enters into Mr McKellen’s Richard.”

His Edward was more controversial. Director Tony Robertson, another Cambridge alumnus, took the courageous decision to stage Edward’s gruesome death, involving a red-hot poker thrust into an unspeakable place. The production’s unembarrassed grappling with the play’s homosexual themes provoked outcry but again reviews were excellent. On 19 September 1969 Time Magazine called it “sensuous, unpleasant, funny, guilt-obsessed, and intensely masculine.” After such a season, McKellen was firmly established as a rising star of British theatre.

Eight years later and McKellen was again benefiting from a relationship with another mentor from his student days, Trevor Nunn, now artistic director of the Royal Shakespeare Company. In 1976, Nunn directed McKellen alongside Judi Dench in Macbeth in what Michael Billington (Guardian theatre critic) has described as “a great production that reclaimed the play for the modern era.” Nunn’s concept was to focus on the play as a psychological drama—it ran uninterrupted for 135 minutes with a minimal set in the RSC’s black box theatre The Other Place, making for an intimate and claustrophobic atmosphere.

The success of the production led to a transfer, first to the Donmar Warehouse and then the Young Vic. McKellen once said that “Macbeth was a very lucky play for me.” Thirteen years later, McKellen and Nunn reunited in The Other Place for Othello, with McKellen playing the greatest villain of the English stage. The Jamaican-born American Opera star Willard White made his acting debut in the title role. Again, the black box theatre lent itself to claustrophobia, a domestic drama that spun out of control. Writing in the Times on 26 August 1989, Harry Eyres called it “a production of immense power and grandeur.” These roles are only a snapshot of McKellen’s phenomenal repertoire. If he chooses to get involved, it will be an exciting time for Oxford drama.

OUSU pronoun policy story revealed to be fake

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The Sunday Times yesterday claimed that Oxford University Student Union (OUSU) had released a leaflet that “told” students to use ‘ze’ as a gender neutral pronoun in place of ‘he’ and ‘she’, however OUSU deny that any such leaflet was ever released.

OUSU assert that they would never insist on students using the term and that their policy has only ever been to encourage students to declare their chosen pronoun when they speak at OUSU meetings.

In a statement, OUSU said, “As far as we’re aware, the information which has been published is incorrect. We have not produced a leaflet implying that all students must use ‘ze’ pronouns to refer to others, or indeed to themselves.

“We would also like to clearly state that we would never tell anyone to use ‘ze’ pronouns instead of ‘he’ or ‘she’ if ‘he’ or ‘she’ is the pronoun someone wishes to use. That would be misgendering and would likely have the biggest impact on individuals (ie, some trans students) who may already be struggling to get people to use ‘he’ or ‘she’ for them. It would be totally counterproductive.”

Sunday Times Education Editor Sian Griffiths told Cherwell that the main source was an OUSU policy document published in June of 2016, which merely states that in OUSU meetings one should identify one’s preferred pronoun. The document makes no reference to ‘ze’ at any point.

The story was soon picked up by range of national and international media organisations including The Daily Mail, Russia Today, The Huffington Post, and The Times of India, who themselves provided no sources for the story.

The articles provoked a storm of angry comments bemoaning “special snowflake” students and “PC gone mad”.

One commentator on The Times article wrote of OUSU, “They are a bunch of teenage lefties whom no-one has ever taken seriously,  and that they should be given such publicity for their usual infantilism is bizarre.”

Another on the MailOnline declared, “The lunatics are taking over the asylum.”

This follows weeks of debate about the rise of so called ‘fake news’, stories that are either exaggerated or totally made up in order to attract greater clicks and a corresponding increase in advertising revenue.

Media commentators have expressed their worry that fake news will play into the prejudices of those on both sides of the political spectrum, contributing to polarisation and damaging rational dialogue.

The Sunday Times has been contacted for comment, as well as The Daily Mail, Russia Today, The Huffington Post, and The Times of India.

Giles Coren claims bad teaching ‘makes Oxford special’

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Television presenter, food critic and writer Giles Coren has criticised an Oxford graduate suing his former college for his second-class degree.

Brasenose College alumnus Faiz Siddiqui is suing his alma mater for £1 million because he claims ‘apallingly bad’ teaching for his finals which he claims resulted in him achieving a 2.i  in modern history rather than the first he had hoped for.

He told the High Court that “negligent” teaching the History faculty during his Indian imperial history module prevented him from forging a successful career as an international commercial lawyer.

However, writing in the Times on Saturday, Giles Coren, who obtained a first in English at Keble college, has hit back at Mr Siddiqui, saying that ‘appalling bad’ teaching is what made his degree at Oxford ‘special’.

“One goes to Oxford precisely because the teaching is rubbish, nothing is compulsory, tutorials are optional after first week and nobody ever, ever talks about careers.

“If you want to be taught and pass exams and become a lawyer, don’t you go to a red brick? Or Cambridge? Oxford is for drinking and playing tennis and nicking books out of the Bod under your cricket jumper and lobbing them at punting tourists from Magdalen Bridge.

“If you ask me, Mr Siddiqui got the wrong end of the stick altogether with his tertiary education and is now just embarassing himself.”

Magdalen College JCR Vice President Amanda Turner disagreed, telling Cherwell, “the tutorial system in Oxford means students receive some of the best standards of teaching in the world, and there is a good feedback system for students to use if they aren’t happy with teaching standards. However, remarks like Giles Coren’s prevent students from speaking up if they aren’t satisfied with how they are being taught.”

OxFolk reviews: ‘Here We Go 1, 2, 3’

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Here we go, 1, 2, 3, hold your hands out to me…” so opens this beautifully formed album ‘Here We Go 1, 2, 3’ by Heidi Talbot, a stunning vocalist whose gentle, sensuous voice really brings these songs to life. With a mixture of traditional and self-penned lyrics, Heidi takes the listener through an incredibly diverse range of styles, from folk to pop to American country, and through a broad range of stories and adventures, all set against the stunning music of John McCusker and friends.

Indeed, the sheer amount of musical accompaniment on these tracks reflects the breadth of this album — including cello, banjo, double bass, whistles and harmonium, the rich fullness of the music is expertly held together by the distinctive, soft vocals of Heidi, carrying the song onwards in perfect balance with the instruments.

The title isn’t just taken from the first song’s lyrics by chance: “it’s about that idea of jumping, whether it’s into new musical territories, new bands, a new studio, new label, new family — new everything, really”, Heidi says. Having written and lyrically shaped eight tracks on the album, it’s clear this is a personal project for Heidi: “it’s about taking a chance… it feels like — okay, get ready to jump!” And, as you listen to the songs on the album, it becomes obvious that Heidi’s journey is not only intensely personal but also universal, and something we can all engage with. Whether it be moving place and encountering new challenges as discussed in ‘Chelsea Piers’ (“When the smoke curls gather me / This city tale bewitches”), or the constancy of friendships in the story of ‘A Song for Rose’ (“Will you remember me / When church bells are ringing”), ‘Here We Go 1, 2, 3’ seems not just an accomplished musical creation but also an emotional journey.

However, Heidi Talbot’s playful, gorgeous tones lift this sometimes difficult subject matter up out of the everyday, giving it light and air and making it a real joy to listen to. It is, as Heidi herself describes, designed to express “the comforting, restorative powers of music”, with these various stories sending out an overall joyous, optimistic message of hope and rebirth.

Even the title track is inspired from an old gospel song, reflecting the album’s uplifting tone — despite the lyrics discussing death and moving on, Heidi manages to turn the story round into something beautiful and redemptive. This message of love and movement somehow sums up the album, and leaves the voices of Heidi’s songs echoing on long after the final track has ended. Just as Heidi encourages us to step out and enter new stages, I find myself wanting to return again and again to this beautiful album.

Were the Nazis on drugs?

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The Nazi regime was permeated with drugs, from morphine to heroin, taken by almost everyone in the Reich, from soldiers to housewives. This shocking premise is more than enough enough to make Norman Ohler’s bestselling book Blitzed leap out at you, even without the fascinating biography of the author that sits beneath the image of a man with deep, piercing eyes on the back cover.

Norman has written, amongst other things, scripts for film and the world’s first hypertext novel, and has now plunged into archives in Germany and America to unearth new, ground-breaking sources that reveal a dark secret at the heart of Nazi Germany (if that phrase can be used with as little irony as possible).

Taking the reader swiftly through the murky history of narcotics production through to its use in the Third Reich, Ohler’s subject matter is as gripping and engaging as is his accessible writing style. Claiming that large sections of the German public, the army, high ranking Nazis and even the Fuhrer himself were all engaging in a ‘potentially lethal cocktail of stimulants’, and that these drugs were purposefully used to drive the Nazi war machine on to its utter defeat in April 1945, Ohler argues that the ‘wonder drug’ methamphetamine played a major and hitherto undiscussed part in the everyday lives of millions of Germans.

However, there is a twist in this story. This incredible tale of undiscovered drug use in (as every GCSE and A Level student knows) what must be the most studied portion of German history has been called out as being just that — incredible. Certain readers (here I must reference Richard Evans writing in the Guardian) have claimed that Ohler’s historical results are inconclusive and hyperbolised: that, for example, the 35 million tablets of Pervitin (a high-functioning drug inducing crazed energy) ordered for the Western Campaign of 1940 made little difference to the 2.5 million soldiers, as it levels out as 15 tablets per soldier for the entire period. In a similar vein, some onlookers have accused Ohler of going some way to morally absolving the German people, and even Hitler himself, of the actions of the Nazi state: if everyone, as Ohler claims, was almost constantly drugged then they cannot be held entirely responsible for their actions.

These historical and moral accusations are valid, given the book’s rather sensationalist tone and despite endorsements from historians such as Ian Kershaw — but I must say that this only serves to heighten the reader’s fascination with Ohler’s argument. His consummate skill as a novelist more than makes up for the possible inaccuracies in his work, as shown by the book’s bestseller status in Germany and its choice as Radio 2’s Book Club read. Regardless, and perhaps even partly because of the controversies surrounding ‘Blitzed’, this book is a gripping and exhilarating read. Whether it be the desire to read Ohler’s argument and make your own mind up on this fascinating topic, or even just to be swept away in this rip-roaring adventure that seems to have stepped off a big screen, I would recommend ‘Blitzed’ — it makes for intoxicating reading.

OxFolk reviews: ‘Cold Old Fire’

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There aren’t many folk groups that can claim to have originated in an ‘experimental psychedelic folk punk duo’, but then again Lynched, the self-styled ‘Dublin miscreants’, are in fact no ordinary group. Having grown from the small duo of Ian and Daragh Lynch to a wider, five-piece group, they have absorbed influences from all types musical genres from techno to American country and blues, and have played with various mediums from movie soundtracks to film documentaries. Lynched’s debut album ‘Cold Old Fire’ is a culmination of their many adventures, and has led to the band being nominated for three BBC Radio 2 Folk Awards in 2016, a fantastic achievement that makes this album, in all senses of the word, a big noise on the folk scene.

Lynched’s wonderful sound, made up of arrangements of concertina, Russian accordion, fiddle, guitar and uilleann pipes, is combined with beautiful four-part harmonies that really help to bring their music to life — with the band’s strong Irish accents giving the lyrics a bright, sharp edge for all those Oxford students listening wistfully whilst stuck in central England! Like any good folk music, each song tells a different story and itself has an expansive history, giving new layers of meaning to the lyrics. The expansive sleeve notes in ‘Cold Old Fire’ detail each track’s provenance, making the listening of this album like a journey through history — ‘Daffodil Mulligan’ comes from the variety halls of 20th century Dublin, whilst ‘The Tri-Coloured House’ was recorded from Mary, a settled Traveller from Co. Leitrim in 1973. Each track explores a different aspect of life, be that the mundane or the extraordinary, such as the nonsense lyrics of ‘Father had a Knife’ (“The longer we go on / The merrier we will be / We do belong to a boozin’ family”). The music seems almost infectious, so that by the end of each song the listener finds themselves humming or singing along.

The creativity and sheer joy with which this these tunes are expressed, and the intimacy they manage to create between the music and the listener, is summed up in the tune ‘Lullaby’, written by the group themselves. This haunting, beguiling melody is, they describe, designed to comfort us all in the “overbearing and lonely experiences” we all inevitably encounter in our lives. This track, and indeed the entire album, is an enchanting creation. It seems Lynched’s ‘Cold Old Fire’ is in fact still burning strong and bright.

Oxford University start-up fund becomes largest in the UK

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Oxford Sciences Innovation (OSI) is now the largest private university research fund in the UK after receiving a cash injection of £230 million.

The extra capital, which came mainly from Asia’s leading technology companies and European industrialists, expanded the firm’s budget to £580 million.

Other contributors include Invesco Asset Management Limited, IP Group plc, Lansdowne Partners (UK) LLP, Oxford University Endowment Management, the Wellcome Trust and Woodford Investment Management Limited.

OSI is a firm that provides capital and scaling expertise to businesses driven by intellectual property developed at the University of Oxford. Last year it backed a variety of science and technology start-ups including Oxford Flow, Oxford Nanoimaging, and Vaccitech.

The company went back to the market to raise funds having supported 20 start-ups over the last year, double its annual target.

Peter Davies, the chairperson of Oxford Sciences Innovation, said, “Raising this capital reflects our confidence in the breadth and quality of opportunity available to investors to help the University of Oxford develop a world-class commercial ecosystem around its unmatched intellectual capital and heritage.

“We are also very excited to be working with new shareholders from across the world, notably from Asia and continental Europe, and grateful to our original supporters, the 10 largest of which have participated in this funding round.”

Professor Louise Richardson, Vice-Chancellor of the University of Oxford, said, “We have long operated in a global marketplace, for students, academics and research funding, and know that we have to become altogether more creative in generating new sources of revenue.

“This is an extraordinary global vote of confidence in the quality and potential of the research conducted at Oxford. This initiative will bring benefits to the University, to the researchers, to the investors, and to society at large.”

“We are a cosmopolitan community of students and scholars. We welcomed our first international student in the 12th century, so it is part of our DNA. It should be no surprise, therefore, that we have attracted investment from all over the world.”

However she also described “the disappointing investment by British industry in research and development” to BBC Business.

Although the UK plays host to five of the world’s top ten medical research institutions, investment by British industry in research is below the EU Average. Philip Hammond’s recent Autumn Statement pledged an extra £2 billion a year for UK research and development by 2020.

Prepare for more political despair in 2017

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There are a great number of people, around the world, who will breathe a sigh of relief after Big Ben strikes midnight on 31 December. They are right to be relieved that this long, long year is finally over.

The political landscape has transformed during 2016. It started with the victory of Rodrigo Duterte in early May—a man who has attacked Barack Obama in such explicit terms that it cannot be repeated in this article, and who has launched a drug war in the Philippines that has already killed more than 2500 people. Then, only a month later, came Brexit and the painful campaign and aftermath, which has almost torn the country, and perhaps the wider European political community, apart. After that, came the Tory leadership campaign and the failed Labour coup—events that showed the depths and depravity of the modern British political system. Oh, and before we forget, then came Trump. 2016 has been the year when we had to depend on a sweet-maker to remind us that those who were facing the worst conditions in order to find a better life for themselves were humans and not inanimate objects.

But, and I don’t want to be the bearer of doom here, 2017 may continue in this precedence. Liberals, the world over, may have to face the reality that political decisions will continue to go against us in the immediate, and perhaps long term, future. In 2017 we not only have the inauguration of Trump but we also have an election in France, an election in Germany, a possible election in Italy, and the proposed date for the triggering of article 50. So, in other words, Trump will be given the nuclear codes, the UK will start the process of leaving one of the greatest political projects ever imagined, and the far right will surely continue its rise in the other European nations.

Now, it is true that the French and German elections may not produce the surprise results that we have seen over the last year. It has been accepted, for a long time, that Hollande will not win a second term and he has now confirmed this, by stating that he would not even stand for another term. Similarly, it is thought that Merkel will probably hold onto power and continue her role as the politician at the centre of Europe.

We may be completely wrong about this, as we all have been throughout the past year. But, even if we are not wrong, both elections will still show the continued influence of the populist right over world politics. Marie Le Pen, from the Front National, is sure to do well in the French election and will, most likely, make it through to the final round of the count. Indeed, if this does happen, the only alternative is a conservative candidate—François Fillon—who has consistently voted against civil rights for the LGBTQIA+ community and has taken many illiberal stances on the economy and foreign policy. So, not ideal for the liberal community but better than the prospect of a Le Pen presidency. Similarly, the AfD is surely going to have an electoral improvement in the German election and—although we may end up in the safe hands of the conservative, yet favourable, Merkel—this would be a clear sign that the right is surging across Europe.

I’m sorry to further add to the misery, but we may also see new developments in Italy after the recent referendum result. The populist and Eurosceptic Five Star Movement played an integral part in the winning side of the referendum, and many see this as a move towards a possible in/out referendum on Italy’s membership of the European Union. Results in all of these elections could lead to Europe becoming even weaker in the upcoming year.

Finally, we have the triggering of Article 50, which is scheduled for March 2017. So far the signs are not looking good for liberals, if that ever was a possibility. Theresa May is continuing to make mysterious, yet meaningless, statements about the nature of Brexit. This week it was the nationalistic, or patriotic—depending upon which political tradition you come from—‘red, white and blue‘ Brexit. The wilful blindness of many prominent ‘leave’ politicians, who see only good consequences from the referendum, continues. The Labour Party’s opposition is as shambolic as ever, and there seems to be no check on Theresa May’s control of Brexit. This will be a running theme for the next year and, when it is all finally over, we will have actually left the EU so there will be little chance for celebration.

Basically, liberals all over the world should be worried. Yes, there have been some positives this year, in political terms. The victories of Sadiq Khan, Sarah Olney and the recent Austrian result have brought long overdue calm into the hearts of liberals. But, these moments of relief have been few and far between. We all need to get used to the fact that the future is not going to work for the left or for liberals. We need to get used to being excited by elections where the far right politician comes second, to even the most moderate candidate. We are going to have to get used to celebrating the small victories, here and there, because the trend will almost certainly be against the left.

2017 will continue to be a year of discord, populist conservative victories and general despair. My advice to the left is to get used to this and get ready to work out our strategy, so that 2017 can be the last year where we are constantly in mourning for lost principles of morality and democracy. Happy New Year and good luck to everyone—we may need it.