Wednesday 25th June 2025
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Review: Get Loaded in the Park

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The night before Glastonbury started, I sat by a Stone Circle where a 12 foot Wicker Man was being ceremonially burnt. The night before Reading started, I sat around a bonfire with a group of total strangers. The night before Get Loaded in the Park started, I watched Friends and was in bed by 10. Can a one day event ever create the atmosphere which makes music festivals so legendary?

True, Get Loaded isn’t trying to be Glasto or Reading, although the overpriced food would suggest different. It had some of the traditional festival accoutrements: heavy rain, a sea of mud and a stellar line-up. But the atmosphere did feel a little fake. Wearing tinsel round your neck that you inexplicably found in a field is fine, wearing tinsel that you’ve presumably brought from home is not. The proliferation of flowery headpieces just seemed a bit try-hard at a one-day festival. But maybe I’m just bitter.

If you’re not coming to a festival for the atmosphere, the only reason to come is the music. And this is where Get Loaded shone. Highlights of the day included Patrick Wolf, who worked the crowd superbly dressed in an all-green suit, perhaps in homage to his saintly namesake. The Noisettes opened to a sprightly ‘Don’t Upset the Rhythm’, with lead singer Shingai Shoniwa clad in a gold leotard and appearing from huge angel wings centre stage, who later got the crowd singing along to an emotional rendition of ‘Never Forget You’. British Sea Power performed a slightly lacklustre set, whilst full points for effort went to Darwin Deez, whose four members performed immaculate yet incongruous dance routines in between songs.

The other two stages in the tiny area of Clapham Common were host to a selection of up and coming talent, of whom Babeshadow shone with upbeat tunes. Headliner Johnny Flynn got the crowd humming along to his folky songs, although without a backing band his acoustic set wasn’t perhaps the climax one would expect at a festival. Back on the main stage the ever-reliable Cribs produced an outstanding hour of some of their best work, showing that they don’t need Johnny Marr, who left the band this year. Old classics including ‘Hey Scenesters!’ and ‘Men’s Needs’ were greeted with rapture by the boisterous crowd, intermingled with new songs which look set to rocket the Wakefield band to even greater heights.

Love them or hate them, Razorlight’s London Exclusive set was the final cherry on the already Loaded cake. Johnny Borrell led his new, long-haired band through old hits such as ‘America’ and ‘Golden Touch’ which were greeted with delight, although some uninspired new songs received distinctly cooler receptions, suggesting that this is a band which has had its heyday. Borrell performed much of his set from the ground in front of the stage, proclaiming ‘Why should you get wet, and us not get wet, y’know?’ How in touch with his fans he is. Unfortunately this meant that we still got wet, and now couldn’t see him. Get Loaded is all about the music, and there isn’t much else to be there for. But the music was fantastic, and whet many an appetite for the festival season to come. And I’ll admit it, after it was all over I’d choose a warm bed over a damp tent any day.

Teddy Hall imposes blanket smoking ban

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Teddy Hall have imposed a blanket smoking ban on college grounds without students’ consent.

In an email sent to all undergraduates, JCR president Joshua Coulson stated, “ I’ve just come out of a governing body meeting (with all the college fellows), where the decision has been made to ban all smoking in college (at all sites). I don’t know exactly when this will come into practice, but the decision has been made.

“I’d imagine that many people will either be happy or ambivalent about this news, but some of you will be furious, and I can see why. I was involved in the discussion, but this is ultimately something that is not in the JCR’s control.”

The Bursar at Teddy Hall has declined to comment.

The motion against smoking on college ground was passed with 17 in favour of the ban, two against and three abstentions.

The governing body also resolved to place a CCTV camera which will be placed outside the night gate to help protect people smoking there.

Some students registered their fierce opposition to the motion. Second year PPEist Alex Michie sent a letter protesting the legislation to college principal, Dr Keith Gull.

The letter stated, “The only reasons put in favour of the smoking ban are completely irrelevant, as opposed to many sensible arguments against.

“There has been no serious consultation with the relevant bodies – those people who it actually affects, and where there was consultation, it has been ignored.”

A key reason made in favour of the ban in the meeting, according to Coulson, was that the designated smoking area in college had been ignored and smokers had been leaving cigarette butts around the graveyard, a grassy area at Teddy Hall.

Michie slated this argument in his email, stating, “A small bin by the bar and by the library entrance, as repeatedly requested, would solve [the issue of litter] immediately.

“Additionally, as a result of the ban, the mess will just be transferred to the entrance of college, along with a cloud of smoke – ruining the aesthetic of the college far more than at present – even without bins.

“Ironically, Teddy Hall will now, as a result of the ban, be known as the college of smokers.”

Michie also emphasised the welfare issue for students who would have smoke outside college late at night as a result of the ban.

“There is a heightened risk to students, especially female… placing a CCTV camera outside the late gate will be able to record any attacks/rapes that happen. Brilliant.”

Though this piece of legislation has proved controversial at Teddy Hall, proponents of the motion stated that a blanket smoking ban was the norm at most Cambridge colleges.

Michie argued, “So what? Who cares what colleges in Cambridge are doing? This defense amounts to that of the five year old caught smashing windows: ‘all my friends were doing it.’ Besides, surely a more appropriate comparison would be other Oxford colleges, hardly any of which have a blanket ban.

“Policies affecting those that live and work here should have significant input from those who are affected – the JCR, the MCR, and the SCR. I don’t think any of these democratic organisations were consulted in any serious way.’

However, James Black, a student at Corpus Christi Cambridge stated, “Every one here seems in favour [of the ban].

“Besides, there are always people who can dodge the ban if they try hard enough.”

Have you met TED?

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TEDxOxford, one of the University’s newest student organisations, has officially stepped into the public sphere.

Although the group was founded early in Michaelmas, it has been operating largely under the radar. The event’s chief organiser, Keblite Chris Toumazis, seems intentionally to have sought to create a degree of mystery. By crafting an enigmatic yet chic marketing campaign, he has attempted to foster more lasting and genuine student interest.

With the unveiling of TEDxOxford’s promotional video, it has become clear that the new organisation is responsible for a number of recent and puzzling occurrences. Among them is the balloon phenomenon that provoked such discussion late last month. Attached to hundreds of red balloons, which were massed around the Radcliffe Camera and Blackwell’s bookshop, among other locations, were business cards labeled with a large ‘X’. The letter seems to reference TED’s subsidiary organisation, TEDx, which is responsible for its independently organized events.

Then, just over one week ago, thousands of students began to notice nuggets of inspiration left in their pidges. Typed in an art deco font and alternating between black and deep-red ink, these notes contained quotations on one side and a Web address on the other. One such quotation, by Kelly Cutrone, reads: ‘I named my company People’s Revolution not because I’m a Communist – a popular misconception – but because I happen to believe the world will change only when we change ourselves’. Ms. Cutrone, a well-known fashion publicist, is among the ten speakers who have already committed to the TEDxOxford event.

In an attempt to proliferate TED’s message to the country’s students, a demographic that is underrepresented at most TED conferences, all 100 of TEDxOxford’s delegates will be student aged, although not necessarily enrolled in an academic institution. All youth aged 16-25 years are encouraged to apply, and will have an equal chance of being selected for the event; TEDxOxford has announced that it will be choosing its delegates at random from amongst the application pool. The price of the event, held in Merton College’s TS Eliot Theatre on 26 September, is left to each delegate to decide, as they are encouraged to pay whatever they think the event is worth.

Although TEDxOxford must be feverishly anticipating the arrival of its first conference, the group stresses that it is equally committed to living TED’s message on a daily basis. When asked about the organisation’s mission, Chris Toumazis emphasized ‘promoting TED, as well as the messages that it invokes, as a way of life’. He continued: ‘We don’t have to wait for an annual event in order to begin broadening our curiosity, cultivating our passions and learning new things. We can start doing that today’.


Wilderness and Truck Festival Fever

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It starts with a vision. Add in a lot of money, willing friends and family, a location, some bands, years of hard work, and bang, you’ve got a festival. They range from the peace and love haze of Glastonbury to the commercially driven Reading and Leeds, but these big festivals have their drawbacks — after days lost in the crowd, sick (perhaps literally) of overpriced burgers and beer, it would be fair to yearn for something a bit different. Wilderness and Truck festivals, both in Oxfordshire, provide just that viable alternative —small yet ambitious, offering high quality bands alongside a dollop of quirky idiosyncrasy that marks them off from the crowd.

Wilderness Festival, which takes place at Cornbury Park and features Antony and the Johnsons, Laura Marling and Gogol Bordello, was born from a dream. Organiser Tim Harvey explains that the festival, which runs in August for the first time, has been in the pipeline for six years, and showcases a new concept in the festival experience. ‘It amalgamates lots of types of outdoor activities and entertainments, which have all independently happened before, but not all in one place. It’s a Renaissance festival, celebrating time-honoured traditions. There’ll be banquets, parades, it’s a celebration of pursuits that hark back to a Golden Age, recreating the sense of wild abandonment of books such as Swallows and Amazons. It’s not just a music festival, it’s a place you can get away. We’re trying to get away from the model where it’s all about beer and cars and stages. We’re creating a concept that offers more, a place of rejuvenation and relaxation.’

Truck Festival’s origins go further back. Organiser Robin Bennett says, ‘When I was 18, I thought it would be fun to do a festival. In 1998 there didn’t seem to be too many decent festivals in Great Britain, unlike now. It was originally going to be a birthday party, but I had to move it, I only started planning two weeks before and didn’t have a license. Now it’s all planned a year ahead.’ This year Truck features Gruff Rhys, Philip Selway (of Radiohead fame) and Johnny Flynn, but the focus remains on local talent. ‘Our original vision was that there would be bands we liked playing in our local village. Now to secure larger artists you need a lot of money and persuasion. But Oxford has a stream of very good bands, and people move to Oxford as it’s a good place to have a band.’

Tim’s attitude to band selection is similarly fresh: ‘We wanted to create a music line-up that was different, unique, not the same bands that were playing all the other festivals. We weren’t concerned to get the bands with the most recent album in the charts. We’ve been asking bands to collaborate with each other once they’re on site, so we’ve got Antony and the Johnsons performing for the first time with the 30-piece Heritage Orchestra, and the ground breaking Mercury Rev album Deserters, the NME Best Album of the Decade, will be performed in its entirety. There’ll be lots of special happenings.’

Both festivals embrace more than just music, with Wilderness featuring literary debates and fine dining opportunities alongside dramatic collaboration with the Old Vic Tunnels, while Truck have a theatre tent curated by the Oxford Playhouse. Tim says his festival is ‘about creating a journey, and music is a part of it. There’s something very seminal about a festival, and the legacy it can create.’ Robin is proud of the sustainability of his event: ‘It’s more than just a music festival. We have the Truck Store on Cowley Road which represents the wider mission of Truck, beyond the festival. We like treating people individually.’ All the profits used to go to charity, but Robin regrets that this is no longer viable: ‘It became impossible, but we still make large donations. Truck has a Glastonbury-like vibe — no-one knows how much Glastonbury actually donates to charity, but it creates an atmosphere, the feeling that it’s about more than just entertainment.’ Tim agrees: ‘There’s something very seminal about a festival, the legacy it can create. It has to be underpinned as a business case, but when you start you know it will be a journey that will affect your life in different ways. It’s a total joy.’

While Wilderness is run by a team with experience of organising festivals including Lovebox and the Secret Garden Party, Truck is a family affair, spearheaded by Robin and his brother, their wives and parents. Organising a festival is not an easy job, and both have suffered their setbacks. Tim describes the biggest challenge as ‘communicating the concept to the locals, that it’s something they should seek to support.’ For Robin, nothing could go quite as wrong as it did at the 2007 Truck Festival, which had to be moved due to flooding. ‘There’s always something different, from risk assessments to securing artists to getting a license to keeping the residents happy to finding space for tents and getting everything the way you want it.’ Yet Truck is now integrated into the local village. ‘There’s a very friendly community atmosphere. The farmer used to be less keen on the festival, now he’s working on the burger stall.’

While Truck takes place among stables and pastures, Wilderness is located in the middle of a forest. ‘There are landscape gardens, big ornamental lakes, great vistas and lookouts, no other festivals have anything like Cornbury’s majesty.’ Tim and his team have worked to design the space so that all the stages are in their own little amphitheatres: ‘There’s a nice design to the site, a sense of openness so you’re not too crammed in.’ Robin’s festival also has a new layout this year, accommodating new stages including one curated by a label, ‘a good way of varying the programme without making it too random.’

All this work, and the festival is over in a weekend. Will the organisers get to relax and enjoy the fruits of all their labour? In the spirit of community, Robin will be found greeting people and making sure everyone’s having a good time, as well as hopefully performing with his own band, Dreaming Spires. Tim, however, may not even make Wilderness — his wife is due to give birth to their first child during the festival. Either way, it will be a weekend to remember.

Cherwell has teamed up with Wilderness to offer one lucky reader a pair of tickets to the festival! To be in with a chance of winning, send a sentence explaining why you want to go to [email protected] by Friday June 24.

Wilderness runs from 12-14 August, www.wildernessfestival.com

Truck runs from 22-24 July, www.thisistruck.com

The Glories Of Trashing

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Walking down High Street towards the end of Trinity Term, it’s easy to miss the hints of confetti on the sidewalk when there’s sunshine soak up and tourists to dodge. But take a stroll around the corner where Exam Schools sits and chances are, if it’s around half-past noon or five in the afternoon, the clouds of glitter and Silly String will be impossible to dodge.

As finalists finish out their Oxford undergraduate days and first-years sit for their Prelims and Mods, the tradition of trashing commences. The aforementioned confetti is seemingly the most popular choice; when I finished my Prelims it was the most ubiquitous tool of trashing and my friends and I used it ourselves this year when fellow second-year classicists took their Hilary exams. But the variety of possibilities is endless.

Some students use food: flour, eggs, whipped cream, syrup, and occasionally even cooked items, as if they’re serving up breakfast upon the gowns of their finishing friends. Others revert to the childhood methods of party poppers and spray paint. Around this time every year, e-mails are sent from the university and from colleges pleading with undergraduates to think of the environment, of the local population, of the quiet needed by students still revising, and to confine their trashing.

But on a sunny afternoon when you’ve just been liberated, no matter how awfully you’re trashed, the feelings of exuberance and invincibility take over. I never understood trashing until I experienced it myself; there’s really no equivalent in the United States, although I suppose one could compare it to having Gatorade poured over the heads of winners in an athletic competition. Academic achievements just aren’t commemorated in the same way. Caps are tossed in the air at graduation, but trashing is different – it’s something done to you.

In the end, it seems, trashing is a necessity; a quintessential part of the Oxford experience, without which your degree is really not complete. It leaves its mark on the streets and sidewalks of Oxford, creeps up the staircases of student accommodation and seeps into halls. It ingrains itself in each new crop of freshers as they leave their first year at university behind, ideas of what they’ll do when their turn to trash arrives swirling in their minds. And it leaves its mark on the gowns of finalists as they take flight into the world beyond the city.

Rory and Tim’s Friday Frolics – episode 5

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A trip down to the pub and a parody that was topical five years ago.

Review: Are You Having a Laugh?

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The Jam Factory is a pleasant, if a touch over-priced little restaurant cum bar cum arts centre on the station side of Park End, and the Boiler Room there is a nice place for a one-man show, or, indeed, a comic sketch duo. Not too hot, not too loud. Nothing too challenging. Which about sums up the evening, really.

Perhaps I have been spoilt, but it is a little while since I have felt as uncomfortable watching a sketch show as I did with Mullins and Gladwin’s Are You Having a Laugh?. Not that they were offensive. One thing that these cheerful, well-groomed men are not is controversial. Nor did they lack energy; clearly they enjoy working together, and their broad grins and good humour in the face of minor prop malfunctions was endearing. Theirs is a friendly, gentle set.

So gentle, in fact, that I began to get the odd impression that they were deliberately shielding us from the full force of their humour, cushioning their punchlines in such a thick layer of build-up and ex-post facto exposition that any punch the lines might have had dissipated entirely before the blackout. If they were trying to protect us, they probably needn’t have bothered.

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They made the unfortunate mistake of opening with their strongest material. Much of this relied on mime, and both of them, Gladwin especially, display entertaining flexibility and energy of movement. There were indeed some perfectly well-executed, respectable physical gags interspersed throughout the show. But that is what they were; respectable. Belonging to a safe, almost conservative canon of Twentieth Century Humour.

The whole performance seemed to belong to another era, in a way which cannot now be pulled off without a near-lethal injection of irony. I, for one, have never seen a workman in a brown raincoat outside a Guy Ritchie film, and oddly I think even Messrs Mullins and Gladwin must be too young for the phrase ‘She’s a bit of alright’. Their jokes come from an earlier period in the evolution of sketch comedy, but without the abrupt, stylised delivery of the music-hall. This, perhaps, is why their cartoonish physicality plays such an important role. Granted they are not attempting naturalism, but there is something naturalistically flabby about their script. The only time the intellect of the audience is challenged is when a red herring is thrown in, some extraneous, irrelevant piece of information which must be carefully ignored for the sketch to have any meaning. 

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It is telling that at one point the incidental music was the theme to Fawlty Towers. It was, no doubt, a diet of shows like this and The Two Ronnies which inspired their entry into sketch comedy, but unfortunately without the writing of a Cleese or a Corbitt to back it up, this stuff just falls flat in 2011. 

There is a future for these men in children’s television; perhaps when the Chuckle brothers finally leave our screens their hour will come; it’s clean, visual, clearly signposted, daytime stuff. Nothing to frighten the horses, and no jokes younger than that expression. With this in mind, though, they might find their niche audience amongst pensioners. They’ll never give anyone a heart-attack, after all. 

2.5 STARS

Review: Macbeth

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Both the text and this performance of Macbeth are timeless, gritty, and fascinating. Reviewers always want people to see plays with the same sense of wonder and surprise that they experienced it, which makes reviewing a performance with deft twists on this classic difficult.  Any words put on paper cannot possibly live up to this performance, but I will try here. If there is only one play you see this season, if there is only one evening you take of late in Trinity Term, it needs to be this one.

Macbeth is a tragedy par excellence, and Shakespeare at his best. For those unfamiliar with the text, the play revolves around the ambitions and hubris of the titular character. We watch as he vaunts from minor fief to king and then falls from happiness, sanity, love, power, and life.

Director Michael Boyd’s ambitions, at least, are fulfilled in this piece. He left the play un-periodized, which made it feel timeless and cloaked the audience in a blanket of disbelief. The stage itself, brilliant designed by Tim Piper, is reminiscent of a crumbling chapel: blown-out glass-stained windows, crumbling artifice, defaced idols. The play literally envelops the audience, as entrances are made from the back of the stalls, from the ceiling, and the floor. The ambiance of decay and corruption, of the acrid taste of ambition flawed, complements the actors’ performances and the director’s visions.

This production holds nothing back. The blood and gore of war and murder are fully on display. The death scenes are harrowing. Banquo dies fighting; Lady Macduff dies struggling against her captors as her children are killed in front of her. The music selection (a live three-piece cello ensemble and drums) and lighting combine to hold the audience in tense suspense throughout the entire performance. The violence and fear of tyranny is spelled out on the stage.

The most effective device of the play, and perhaps the most innovative, is the casting of the witches. Instead of making them croons or sirens, Boyd instead chooses to display a much more sinister form of evil: he casts the witches as near-dead children.  Their voices echo, their pale and bruised faces leer at the actors and the audience, their shrieks and laughter haunt the theatre. The children are truly terrifying.

On the whole, the acting is superb. There are hiccups, though. Malcolm (Howard Charles) doesn’t justify his character’s transition from faithful son to outlaw to avenger as well as could be done. Macbeth (Jonathan Slinger) takes a while to warm up – the first few scenes of his are wooden and stilted. However, as the play progresses (and Macbeth increasingly becomes insane), Boyd’s faith in Slinger is justified: by the end of the production pity, hatred, and fear simultaneously flood the audience while watching Macbeth struggle against the fate of his own making. The constantly revolving supporting cast is solid (especially the poignant and complex rendition of Lady Macduff by Caroline Martin), allowing Lord and Lady Macbeth to shine in their horrible glory. This play is not to be missed.

Circumcision in Uganda

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