Tuesday, May 13, 2025
Blog Page 1496

Univ freshers tan for charity

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A septet of University College female freshers have completed a charity tan-a-thon, applying spray tan to themselves in an effort to raise money for The Life Foundation, an organisation that supports orphaned and abandoned children and those with mental disabilities in the Oltania region of Romania. 

The decision to raise for Romania was inspired by the work of Abi Karas, one of the tanners, who is headed back there this summer for further volunteer work in Oltania. The group’s Facebook event boasts, “We’ve rounded up our pastiest and most self-conscious friends to embark on a journey of humiliation all in the name of The Life Foundation which, if you’ve ever spoken to Abi (ever), you will have heard about.” 

The group’s page on Charity Giving promises, “The more you raise the darker we go,” with additional goals including “If we get to £500, Abi will stop talking about Romania for a week,” and “if we get to £600, Sybil will get the darkest tan again for Univ Ball.” The first round of tanning took place on Tuesday, with an effervescent, ersatz orange glow emanating from the tanners. 

The tanners have additionally promised that if they reach £1000, they will shoot a nude calendar. As of Wednesday, £789.50 has been raised. The nude calendar has been a popular charity raising method in Oxford recently, with many college sports teams making their own. 

Tan-a-thon participant Sybil Devlin explained the impetus behind the group’s decision to spray tan. She stated, “We always joked about one of the girls being akin to a vampire in her paleness but then realised that we were all, unfortunately in the same boat, so it seemed like a natural progression from forcing her to get one to cheer everyone up during Prelims to actually doing something worthwhile with the humiliating idea.”

Fire at Gloucester Green Falafal House

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Fire fighters were called to tackle a small blaze in Gloucester Green on Saturday evening.

The fire was at the Falafal House in Gloucester Green. It was started by cleaning cloths being left on a hotplate, where they ignited.

Called at half past six in the evening, the fire service attending included two fire engines and roughly twelve fire fighters. They came from the depot at Rewley Road, which is situated close to the Falafal House.

No-one was hurt in the incident.

First year PPEist Emma Alexander expressed her relief on hearing this, saying, “It’s a good sign that no one was hurt, especially since incidents such as leaving materials on hot surfaces are not uncommon amongst negligent students.”

David Harris, a Keble College physicist, had some cautionary words about the incident, saying, “This is a burning issue which won’t just extinguish itself. Still, there’s no need to fuel the fires of popular opinion by making it the latest hot topic, and we should let the smoke die down before drawing opinions as to the disregard of safety measures that may or may not have occurred.”

It is not thought that the incident will damage the Falafal House’s business, however, which has on-line reviews praising its falafel wraps and the politeness of its owner.

Oxford Scientists take to the pubs

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Scientists from Oxford University have been explaining their research to the public over a pint in a series of talks in pubs across the city this week. The events were part of the first national ‘Pint of Science’ festival, aimed at raising public awareness about current scientific discoveries.

The talks were aimed to make science accessible to the general public. “We are bringing science out of labs, seminars, lecture halls and classrooms to a place where everyone feels comfortable voicing their opinion over a pint,” said festival organisers. They focused on the categories of brain, body, and biotechnology, with nine events in three different pubs. They were organised by the cortex club, and the Oxford branch of the British Science association, and are synchronised with similar talks in Cambridge and London.

Speakers at the the cutting-edge of research, and explained their latest discoveries to the audience. The festival was free to attend and the format of the nights was varied, ranging from myth-busting games, to musical performances, to open debates. It attracted big name speakers, such as Professor Marcus du Satoy, who spoke on ‘The Hunt for Artificial Intelligence’ in the upstairs room at the St Aldate’s tavern on Wednesday. The events were well attended, with places for every single one being fully booked up.

The Oxford organiser, Thaddeus Aid, said that the talks would demonstrate “how technology will help us in the future, from predicting how the heart functions when new medicines are introduced to the circulatory system, to how artificial intelligence will change our lives, to how robots will drive us in the future.”

Aid added that “It seems that at the moment public understanding and trust of science and scientists, from evolution to global warming there is a disconnect between what is generally accepted in science and what is generally accepted in the general public.” 

When asked how scientists would make the talk accessible to normal, slightly inebriated people, he explained, “We have requested the speakers remove the maths from their talks and to target it at a level that the general public would find engaging. What this means in reality is that the speakers will be speaking more at a concept level than at an implementation level.”

The speakers taking part in the event were enthusiastic about bringing their subject area to the masses. David Gavaghan, Professor of Computational Biology observed that many of the challenges that society will face in the future are of a scientific nature, and so he said, “To tackle these issues will require widespread support from the public either to support or to put pressure on politicians to fund the necessary research, and to translate that research into practical solutions and technologies.

To get this support we’ll need more people to understand the issues, and the only way to do this is to try really hard to explain what we (as scientists) are trying to do in our research.”

He added “I hope that events like this will make a small contribution to the wider understanding of the importance of science in our everyday (and future) lives.”

Professor Paul Bolam, who gave a talk on aging and diseased brains, added, “It is the responsibility of all scientist to engage the public in science.  The public fund science, they need to know what we do with the money.”

Oxford MP and Oxfam CEO launch Oxfam’s Syria Crisis Appeal

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Oxfam Chief Executive Mark Goldring and local MP Nicola Blackwood briefed Oxford residents on the Syria refugee crisis at Oxfam House in Cowley on Thursday. The event was the launch of Oxfam’s Syria Crisis Appeal in Oxford.

Goldring recently visited the crowded refugee camps on the Syria/Jordan border and Blackwood travelled with Oxfam to work with refugees in Lebanon.

He stated, “The people I met arrived in the refugee camp with virtually nothing, having fled terrible violence in Syria. Often their homes have been destroyed and they have no idea when, or if, they will be able to return.”

Goldring continued, “Oxfam is doing everything we can, but we urgently need to raise funds so we can continue our life-saving work.”

Currently, nearly seven million are in need of humanitarian help in Syria. Local supporters of the Appeal include Oxford Oxfam Student’s Group and the 02 Academy. Oxfam hopes to receive further support from other businesses and individuals over Oxford.

A major street collection will take place over Oxford on Saturday 8th June among other fundraising events.

MP for Oxford West and Abingdon, Nicola Blackwood, said, “Having seen the desperate situation that thousands of Syrian refugees are experiencing in Lebanon for myself, I feel very strongly that this is a humanitarian emergency the people of Oxford simply cannot ignore.

“I know the Oxford community is extremely caring and I hope local people will be moved to get behind Oxfam’s emergency appeal.”

Spotlight On… Some Funny

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There’s a new sketch show in town, promising to provide the audience with, at the very least, Some Funny and maybe, if you’re lucky, a little more. The troupe of five actors, made up of Will Hislop, Barney Fishwick, Barney Iley, Phoebe Hames and Kieran Ahern, who go by the name “The Buttless Chaps”, tell me about their comedy and the experience of putting together their first ever show.

Barnaby Fishwick and Will Hislop multi-task as performers, writers and directors of Some Funny and their collaborative relationship is passionate. They’ve spent many hours together writing and rewriting, laughing and not laughing. “It has strained our relationship,” admits Hislop, “this will be our first and final collaboration”.  He is tired of having to drag Fishwick’s sketches up from their “seedy depths”; he says they simply possess “inferior levels of Funny”. Fishwick retorts that he is “hurt and disappointed” by Hislop’s remarks. When I ask about their expectations for the show, Fishwick tells me plainly that “if the audience get more than Some Funny they should be fucking grateful really.”

Despite some creative disagreements at the top, the five-person troupe works well together. Barney Iley, who moonlights as the director of the Oxford Revue, assures me he enjoys the rehearsals saying “Barney and Will constantly encourage us, and we get to put any suggestions in a suggestion box”. I ask if I can see the suggestion box, and he points to the JCR dustbin.

In terms of comedic style, it’s difficult to pigeonhole Some Funny. Hislop’s previous experience with musical stand-up sets him up well to include certain musical numbers in the production – “It has been alleged that there may be maracas involved”, he says. Of the style, Hislop says modestly “We’re creating a whole new brand of comedy. It’s a melting-pot”. “There are five cooks and lots of broth,” adds Fishwick enigmatically. The stylistic diversity seems tactical; Iley explains the aim was to “maximise the frontiers of comedy, in order to maximise the funny.”

“Tarantino Classics” was a first taster of the fresh, creative comedy offered by Some Funny: a series of fast, sharp, hilarious mini-sketches presenting familiar children’s stories in the style of Tarantino. Despite the excessive violence of these sketches Barney and Will assured me that the show is only 12A rated. Their comedy is “mature, but not gratuitous.”

The Chaps are also not afraid of grappling with intellectual content in their work. ‘Freud’, a “subtle exploration of Freudian theory in sketch form”, proves the Chaps are not afraid of challenging their audience. “We’re aware it’s quite high-brow but we aim to push intellectual boundaries first, and to entertain second”, Hislop muses, tongue firmly in cheek.

Other sketches include ‘Downton Abbey in ADHD’ and ‘Snooker Commentator’, social commentaries more accessible to the average Oxford viewer. Elements of the absurd inject some sketches with a Pythonesque feeling, but their sketches also incorporate darker humour, physical comedy and of course musical interludes. A professional jazz pianist will feature. The selection of props is equally eclectic: watch out for an AK-47, a severed arm, and a cosmonaut suit.

When asked about corpsing – laughing while on stage – the Chaps admit this is a danger, particularly given the likelihood that they will be “enjoying the sketches more than the audience”. They quickly add that they’re “self-deprecating because [they’re] just so hugely confident.”

And the Chaps have reason to be. Expect music, expect parodies, expect gender-bending, and definitely expect much more than “Some Funny”.

Ferguson homophobia row continues

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Professor Niall Ferguson, a Senior Research Fellow at Jesus College, has penned an open letter to the Harvard Crimson newspaper repudiating accusations of homophobia which arose after he criticised the economist John Maynard Keynes because he was gay and childless.

Last week Professor Ferguson found himself censured after he appeared on stage at a Strategic Investment conference in California and suggested that the economic theories of Keynes were flawed because he was a homosexual with no interest in the long-term future of society. Ferfuson later issued a full apology for the comments on his personal blog.

In this latest letter Professor Ferguson said that, “Not for one moment did I mean to suggest that Keynesian economics as a body of thought was simply a function of Keynes’ sexuality.” However, he did add that “Keynes’ sexual orientation did have historical significance.” He also attacked the “self-appointed speech police of the blogosphere,” who he accused of making no “effort to understand the nature and dire consequences of prejudice.”

 Whilst Professor Ferguson maintained that his original comments were “stupid,” he also said, “The historian, unlike the economist, is concerned with biography as well as with statistics…Keynes’ sexual orientation did have historical significance. The strong attraction he felt for the German banker Carl Melchior undoubtedly played a part in shaping Keynes’ views on the Treaty of Versailles and its aftermath.”

Ferguson also directed an attack towards his many critics, saying, “The charge of homophobia is equally easy to refute. If I really were a ‘gay-basher’, as some headline writers so crassly suggested, why would I have asked Andrew Sullivan, of all people, to be the godfather of one of my sons, or to give one of the readings at my wedding?…What the self-appointed speech police of the blogosphere forget is that to err occasionally is an integral part of the learning process. And one of the things I learnt from my stupidity last week is that those who seek to demonize error, rather than forgive it, are among the most insidious enemies of academic freedom.”

Whilst criticism of Ferguson has been intense, some journalists have come to his defence over the past week. Writing for the Spectator, Douglas Murray said “I don’t think Niall Ferguson needed to apologise for making this comment. The attempt to shut down debate to such an extent that a glib off-thecuff comment such as this can be subjected to such souped-up outrage is another reminder that the left-wing search for what it thinks of as ‘equality’ has become little more than an attempt to ignore any and all differences that exist in the world.”

Opposition to Ferguson from Oxford students, however, has continued unabated. Tom Rutland, OUSU President-Elect, spoke to Cherwell saying, “Ferguson’s original apology was unreserved. This second statement on the matter stinks of ‘sorry, not sorry’ and completely undermines his previous apology.”

“As for his comments questioning the attempts of his critics to ‘understand the nature and dire consequences of prejudice’, I simply say this to him: I’ve experienced such prejudice without having to undertake any academic research into it, and he should be grateful that he doesn’t have to experience  it. He shouldn’t patronise victims of prejudice by playing the white, straight male hero who has academically researched what it must be like to be on the receiving end of hate – discriminated against groups know what it feels like all too well, and much better than he does.”

Corpus Christi "stress relieving" dog has fit

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As part of the ‘Corpus Cares’ week, Welfare Reps Hannah Murphy and James Wells arranged a visit from a local dog. The visit was intended to encourage a relaxed atmosphere for finalists, but the event took a turn for the worse when the dog had a fit. 

It has been reported that the fit was short-lived and the dog “returned to full health within minutes and continued playing.”

Hannah Murphy commented, “The owner said that the dog had a great time and enjoyed playing fetch. We later found out from the owner that the dog has a history of small fits and is absolutely nothing to be concerned about. The owner commented that we did exactly the right thing by providing the dog with some water whilst it recovered.” 

Murphy also stated that “Corpus Cares week was a fantastic success and people commented on how they enjoyed the week’s events. Good Luck to all Corpus Christi finalists.”

Review: Ashurbanipal

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★★★☆☆
Three Stars

I approached Ashurbanipal with not-a-little trepidation, duly warned that it wouldn’t in any way pander to tastes for gritty realism, being a medley of Classically-inspired tragedy about the eponymous Assyrian king, dance-like movement drawing from Japanese Noh Theatre and soundtrack splicing soporific sections with blasts of heavy metal. I have to say I came from the experience rather excited, even if the puzzle of why combine these particular disparate elements hadn’t been quite resolved.

Perhaps, “why” is unimportant; the play seems to ask implicitly to suspend questioning around those buzz-words “justification” and “relevance”. At its best, the stage becomes dreamscape which engages us intuitively. During a divining sequence where actors represent astrological motions and arcane powers, under flickering lights and a murmur of music, they seem to be transformed by their fluid yet mechanical movement, going at different speeds and in different shapes. Not an area of skin showed on stage, all covered by paint or clothing, contributing to this transformative effect.

Vocal tone was similarly transformed: the king (Timothy Foot) resonant dominance, the queen (Abigail Adams) intoned emotionalism. Indeed, these two deserve particular credit for entering especially effectively into the symbolist qualities of gesture and movement. Such heavy artifice and choreography meant, however, that even the slightest line hiccup or step out of rhythm became accentuated. I was also not entirely sure about the transitions in the play; lights would suddenly make blinding changes, aggressive heavy metal shake you out of all comfort. I’m all for being shaken out of comfort, but it sometimes felt gratuitous. I hasten to add, though, that the heavy metal tended to complement what passed on stage: with the choreography, it suggested, at once, controlling divinity and dark, grotesque human nature being its own downfall.

Despite the emphasis I’ve placed on the abstract qualities, there was certainly a narrative to follow, one of Ancient Assyria, that most rare of theatrical subjects. Nevertheless, the old familiar, indeed timeless, themes crop up: fate and free will, order and chaos, trust and betrayal… In fact, these big ideas seem gendered alongside the male/female conflicts the play centres on, not perhaps in a particularly original or progressive way – it ends up being, of course, feminine wiles that attempt to destabilise male order – but I suppose it gives unity.  As script-writer, Selena Wisnom’s language ought to be praised for its lyricism and was really complemented by expressive choreography.

My suggestion: see Ashurbanipal, indeed as much for the potential it demonstrates for wider diversity in theatre. You may share my “not a little trepidation” – but is that not symptomatic of all the best drama?

Review: Arcadia

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★★★★☆
Four Stars

In the open air of Magdalen’s exquisite gardens, Tom Stoppard’s Arcadia flourishes. The intertwining plots share an English stately home, and the pastoral idyll allows afternoon sunshine to segue into twilight, which, in the second, tortured act, yields to nightfall. Minimal staging permits fluid transition from one strand, set in 1809, to the other, in the modern day. A strong cast for the most part capture the vulnerability and discord at the heart of the play.

Stoppard’s wit starts the performance on a strong footing, as Septimus (Ben Goldstein) and Thomasina (Julia Gibbon) enjoy full control of the stage. The dialogue is swift and delivery fresh, crisp and candid. Both actors sustain creditable and appealing performances throughout. With glances and twitches, Goldstein reveals the chinks in Septimus’ swashbuckling confidence and Gibbon conveys Thomasina’s intellect and naïveté admirably. 

The events set in 1989 were dominated by Mary Clapp’s Hannah Jarvis and Tom Dowling’s Bernard Nightingale. Dowling’s enthusiasm and energy were commendable, but his weak command of the lines meant that coherence was lost in quick-paced dialogue. Several stumbles meant that scenes were interrupted. His performance was good, and at times engaging, but not as consistent or impressive as some of those with whom he shared the stage, with occasional lapses into overacting.

Clapp, by contrast, was a delight to watch. From her first pained conversations with Nightingale, through to her teasing conversation and final dancing scene, the impression is given that far more simmers beneath the surface than we are permitted to see. A dedicated performance where her face and physicality never slacken, she manages to balance commitment with credibility gracefully. Her comic lines, of which there are many, were offered almost always as natural and her forced composure at moments of vulnerability was arresting.

Hannah’s foil, Chloe Coverly, was embraced by Susannah Cohen, whose faultless comic timing leavened scenes of intensity. Ellie Page made many bids from the sidelines for star of the show through her impeccably dry and well-timed delivery of Lady Croom’s wittiest lines. Valentine Coverly (Nathan Ellis) was sensitive and cogent, his subtleties of feeling expressed elegantly. Despite a slightly forced drunken epiphany, it was a touching and commendable performance. Andrew Wynn Owen was fair as Ezra Chater and supporting characters varied in quality, with the general effect strong and moving. The final waltz shows characters from both eras dancing in unending circles and it supplied an affective denouement.

This play, heavy with dramatic irony, searches for human connection in an apathetic world. Stoppard’s writing swings from sharp to sensitive and the cast excel at both. Even in Arcadia there is death, and under Mimi Goodall’s superb direction, transience and loss flicker in the wings of Arcadia.