Friday, May 23, 2025
Blog Page 1876

A day in the life

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Blues Rugby:

Wake up at 6.30am, knock down a protein shake and tell the adoring fan who came back from Park End to leave immediately. Not even playing soon but change in to obligatory stash and hit breakfast to get the carbs in and swap lad anecdotes of night before all centring round the “R&B” room.
Go to lecture for my dubious postgraduate course entitled “Drainage; a slippery problem” and wonder just how future generations will address diversified sewage networks in an increasingly globalised, biodiverse, ethically challenged, koala hugging peppermint tea drinking society? Title for the thesis sorted though sure.
Cycle to Iffley in an ever growing amount of stash: hats, scarves, fleeces, mittens ear warmers, ear plugs, stockings, suspenders, braces and of course the standard OURFC long johns. Big game today Blues Vs Senior Brownie troop of Great Britain Old Girls. Somehow lose. I offer my diagnosis to Cherwell reporter: “Rugby’s a simple game, we have just got to do the basics right, quick ball, tackle, stop running in the wrong direction, stop getting distracted by the advertising signs etc”. Still, go back, put on the OURFC tie on (acting as guaranteed queue jump) and have a damn good night in Bridge.

2nd Team College footballer:

Wake up at 2pm (alone), missed all lectures and absolutely hanging. Better go get a Mission to reboot. Am told by fellow second teamer that I refused to leave the Park End “Cheese floor” all night and attempted to inappropriately get with all my close female friends in college. Fail.
Hit the library to do some reading, half an hour in forget I am supposed to be at a Second team game. Manically rush to pitch and in process realise that I have forgotten shin pads! So once again torn up cardboard pizza boxes will have to do. Don’t have my best game: score an own goal in first thirty seconds as I don’t realise which way we are playing so can’t believe my luck as I am in loads of space and smack it past my own keeper, I’m eventually am sent off for making what I thought was ironic satire by criticising the female referee.
Trudge back to college and try to cheer myself up with the prospect of a quality night out in Bridge. Get to Bridge, and despite trying to claim that I know the promoter to the bouncer, am automatically “Anuba’d”. My ticket number inevitably never comes up and I find out that there is a fairly substantial rumour going round college that I got with my Scout in desperation last night. I console myself with a Hasan’s on the way home.

A long journey home

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The distance between Oxford and Edinburgh is 366 miles which, according to Google maps, is a 6 hour 27 minute drive. This is the journey now facing the Edinburgh University hockey team, with only the memory of a thrashing by an Oxford side superior in every department to occupy them as they work their way along the M6. The Blues now move into the last 8 of the BUCS cup, and given their strong recent form they will be confident they can go even further.

Before the game started coach John Shaw admitted that his side were probably favourites, but clearly did not want any complacency to spread into his team. He needn’t have worried however as Oxford began with a great intensity, winning a short corner within the first minute. This was repelled by the Edinburgh keeper, but the Blues were dominant and could not be kept at bay for long and a neat move was finished by the impressive Chris Newman to give his side a deserved lead.

Edinburgh were almost immediately on level terms, but a strong shot was brilliantly kept out by the Oxford custodian Matt Beggs. The Edinburgh attacker shouted his frustration at this save, prompting one of the women’s blues watching from the touchline to blurt out, “Oh my God, he’s Scottish.” Thankfully the Oxford players on the pitch were less distracted by the remarkable occurrence of a Scotsman playing for a Scottish university and soon extended their lead. Good work from Alex Evans set up a chance for Adam Jordan which he dispatched into the corner.

A third goal, this time a Jordan strike from a short corner, soon followed and from that moment the result never seemed in doubt. Despite green cards (like yellow cards but less bad) for Will Devitt and Omar Islam Oxford were still comfortably keeping out any Edinburgh attack and looked dangerous every time they moved forward. Jordan, who was striking fear into the Edinburgh defenders every time he got near the ball, completed a first half hat trick to put his side 4 nil to the good shortly before half time. Edinburgh did pull a goal back just before the interval after a controversially awarded short corner was converted. You could tell from the way that the Edinburgh players celebrated the goal however that they had very little faith in their ability to bring about a stunning comeback.

Unfortunately the process of buying a sausage baguette during the half time interval took a little longer than I anticipated so I missed the start of the second half. When I returned, baguette in hand, I was informed that another Oxford goal had gone in to put them into a surely unassailable 5-1 lead. With the game effectively over the intensity dropped, as did the interesting action. Conversation on the touchline revolved around the headline I should use for this article. One of the waiting female players suggested the crude but effective, ‘Scotland is worse than England.’ It certainly would have got the reader’s attention.

A further reason for the decrease in action was a lengthy stoppage as Paul Walker attempted to stop blood gushing from his head following a collision with an opponent’s stick (an accidental collision, I assure you). Despite ruining a nice looking OUHC t-shirt in stemming the flow of the blood, it thankfully did not seem that serious an injury. I have noticed in my two assignments at the hockey pitch this term however that it is a fairly dangerous sport. During the two games I have witnessed two people get their heads cut open, one get concussed and another break her finger in three places. It truly isn’t a game for the faint hearted.

Oxford began playing some attractive hockey as the game neared its conclusion. The highlight of this was when Newman began a flowing move deep in his own half which he then converted himself to score Oxford’s sixth. A strong run from Tom Scott set up Jordan for another goal, the striker this time blasting the ball into the room of the net from close range. A lapse in concentration in defence allowed Edinburgh a second consolation goal shortly before the final whistle, giving a final score of 7-2, which perhaps did not even do justice to the Blues’ dominance. For Oxford the quarter finals await, for Edinburgh the only highlight on their horizon will be a cheeky Burger King at the motorway services on the way long home.

 

 

Interview: Mark Romanek

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Mark Romanek is a polite soft spoken man from Chicago with only three films to his name so far: Static with Keith Gordan, One Hour Photo starring a dark and twisted Robin Williams and recent release Never Let Me Go with young actors Carey Mulligan, Keira Knightley and Andrew Garfield. Many readers might be familiar with Romanek’s music video history. He has got to work with some of the greatest artists of a generation including Iggy Pop (‘Beside You’), Madonna (‘Rain’) and Jonny Cash (‘Hurt’) to name just a few; of course his most famous music video is ‘Scream’ with Michael and Janet Jackson, which the Guinness Book of World Records has as the most expensive music video ever made. Strangely Romanek is not happy with this achievement and constantly protests that he doesn’t like ‘being known as the guy who makes all the big budget things’, and that in fact this is inaccurate as the most expensive music video of all time is ‘Michael Jackson’s ‘Black and White’, which was $10 million as opposed to the $7 million ‘Scream’. ‘I am waiting for one of these interviews to get back to the Guinness people so they can correct it,’ Romanek adds. No, Romanek, brought up on avant-garde and independent film makers such as John Cassavetes, is much more proud of his less expensive projects: ‘I did a music video for Beck of about $200,000 and it is one of the best things I have ever done.’

After about ten years in the music industry that were ‘a lot of fun’ Romanek has developed enough of a reputation to get on the radar of the studios and get into making films which, as a self-confessed ‘film brat’, was his true calling. He may only have a few films under his belt and it is clear from the way that he talks about them that he holds a soft spot for each one. His first major production was One Hour Photo, which was released in 2002 and starred Robin Williams as mini-lab photo technician who becomes obsessed with the Yorkin family whose pictures he prints for over ten years. The film got overall positive reviews and demonstrated a darker side to Williams that the audience had not seen much of before. Of course Romanek, who comes across as tirelessly modest, takes no credit for William’s transformation in the film, saying that Williams ‘felt a really deep connection with the character and understood him intimately’.

Romanek’s new release certainly has a lot to live up to and has been gaining a substantial amount of hype around it since its first première back in the summer of 2010. Adapting Kazuro Ishiguro’s powerful novel Never Let Me Go for the silver screen is a risky move since many people will have strong opinions about what is left in and what is taken out but Romanek doesn’t seem intimidated by any of this: ‘Alex Garland did a great job with the adaptation … I wept at the end of the script like I did at the end of the book, so he successfully transferred the emotional mechanism of it.’ Romanek certainly has a lot to be confident about: screenwriter Garland has already gained a reputation with his novel The Beach and the screenplays for films Sunshine and 28 Days Later. On top of this, Kazuo Ishiguro himself was on board to help out and visited the set once or twice. Romanek describes how Ishiguro ‘always thought he would just be in the way, but it was a tremendous morale boost.’ The author even gave his seal of approval by having tears in his eyes when he saw the final product. For Romanek this was a huge relief as ‘it would have been horrible if he had hated it.’

As well as a strong team working on the script, Romanek was fortunate enough to get an equally strong cast in front of the camera. Andrew Garfield, who recently made his name in Oscar-nominated The Social Network and has now been cast as the new Spiderman, was Romanek’s first choice to play Tommy. Romanek says ‘I wanted Andrew because I saw his performance in Boy A, which was astonishing but not widely seen which is a shame’. Keira Knightley‘s agent approached them for the part of Ruth which just left the part of Kathy to be filled: ‘We were having trouble finding a Kathy because we just couldn’t get the right person and at the time we knew about Carey [Mulligan], but she couldn’t get a film financed with her as the lead. But then the head of the studio at the time saw the world première of An Education at Sundance and sent a text to all of us saying “Hire the genius Mulligan”.’ All these factors make Romanek sure that his film will be well received here in Britain, saying ‘we have screened the film and it seemed like British audiences were deeply moved by it, even though British people don’t like to admit when they are moved by something.‘ In fact at the time of the interview, Romanek was more nervous about the speech he had to give when the film opened the London Film Festival than how the film will be received. ‘I have to get up and speak in front of 2,000 people, my friends and family are there,’ he complained, ‘I have my little spiel but it is still terrifying. Public speaking is the scariest thing – people are more afraid of it than death, which means they would rather die than give their own eulogy.’

A ‘Jerry Maguire’ Guide to Love

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Jerry Maguire (Tom Cruise) is a man who can never say I love you, or at least can never mean it. From the moment Rod Tidwell (Cuba Gooding Jr.) forces him to yell ‘Show me the Money’ like he means it, we hug our pillows and hope that he will eventually be able to shout ‘I love you’ with as much gusto. How can we be so naïve? The walls of Gooding Jr.’s dressing room are covered with meaningless motivational plaques like ‘A Negative Attitude is a Positive Nothing’ but why does Jerry’s impassioned ‘Shut up, play the game, play it from your heart’ mean something to us? Surely it’s dribble and the script is pure rom-com slush. Why do we invest ourselves so earnestly in this one?

Even fans of the genre suspect that anyone who enjoys romantic comedy too much is, at best, a bit of a sap or, at worst, plain weird. As Tom Cruise sits in first-class describing his action-movie-style marriage proposal, Dorothy Boyd (Renée Zellweger) is back in economy, peering down the centre-aisle and snuffling popcorn. Is this not a pretty cruel reflection of the film’s target audience? The seminal question raised in High Fidelity was ‘Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?’. Substitute music for ‘romantic comedy’ and you might find a hint towards the peculiar depth of this film.

If you’ve seen the film four or five times then you might remember that scene when, elated after managing to keep hold of a client, Jerry is tuning his radio and the riff from ‘Bitch’ by the Rolling Stones doesn’t quite do it for him but Tom Petty’s ‘Free Falling’ touches a nerve. The soundtrack is provided by men who are too man to cry, from Bob Dylan to Bruce Springsteen. More often than not, it is Jerry himself who is choosing the soundtrack to his own life. Even though the tracks sweat machismo, they somehow seem right because they are chosen by and for someone so anxious and self-critical. Again, don’t we see something of our own impulse to cinema-fy our love-life?

It takes a while for Jerry to find his soundtrack; in the same way the film takes a while to get started. For the first hour or so it does not seem to make up its mind about what kind of story it wants to tell. It is a film full of false starts and it knows it. The flawless ten-minute sequence that opens the film feels like a pitch for a different movie. A dissatisfied sports agent finds out he is ‘just another shark in a suit’ and sets out to ‘start his life’ for real. We see Tom Cruise’s mission statement bashed out in an inspiring montage of running in the rain, wiping away tears and tapping on 1990s computers. It surprises us how short this narrative lasts, but, then again, the ‘memo’ wasn’t all that hard to write. For the audience, the pace-y opening was an easy roller-coaster to ride. Jerry Maguire, when it gets going, is a struggle towards a happy ending. The emphasis upon characters’ efforts to face up to reality rather than live in fantasy are strangely brutal for a film that sells itself as a simple romantic tear-jerker. ‘On the surface, everything looks fine’ says Dorothy. It’s a frighteningly honest couple who ask each other, half-an-hour away from what we can only hope is a happy finish, ‘why do you love me?’.

‘We enjoy watching other people invent their own love stories; Jerry Maguire reminds us, gently, what we already know: that it’s all a bit of a fantasy. So the film has to be loud and cheesy and full of crap songs. It’s about hearing clichés: the words of Jerry’s old mentor, or the lovers who tell each other ‘you complete me’ or the lyrics of a Springsteen song.It’s a rom-com that we’ve seen plenty of times before but this one offers us some reflection. It seems to say ‘This is how we love and it is entirely unoriginal’.

Jerry is right, ‘we live in a cynical world’. But the fantasies and the clichés matter: we can’t help replaying and regurgitating them, rattling them back to someone we love. We’ve just got to deal with it, pay attention and take it seriously.’

Come Dine With Oxford Episode 1 – Part 1

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Five Oxford students compete to outdo each other with their culinary elan and hospitality. For the first night our host is mathematician Adam, who has only cooked one of his dishes before. The booze flows and the chaos begins.

 

Will Adam’s ‘butler’ Tristan manage to keep his pants on?

Can Adam spend more than 5 minutes out of the kitchen?

What is Gemma actually saying?

Find out on this week’s episode of Come Dine With Oxford

 

Narrator: Andrew McCormack

Producer: Jake Mellet

Creative Director: Evie Deavall

Directors of Photography: Sophia Gibber and Max Gil

Editor: Declan Clowry

(See pt. 2 for ending)

 

 

 

From America with love

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Having spent many years avoiding the lure of the beautiful game and failing to notice the enormous profitability by investing in the game, American owners have, in recent years, finally wised up to smell the coffee and with it the sweet success of football, none more so than in the Barclays Premier League. American ownership of English football clubs, first pioneered by the Glazers takeover of Manchester United in May 2005, has become a common occurrence ever since, with Aston Villa under Randy Lerner and, most recently, Liverpool under John W. Henry, having followed suit. Nonetheless, whilst the dollar signs may be glowing in their eyes, American owners have received, especially in the case of Manchester United, a cold reception. Yet in Texan businessman Ellis Short, Sunderland have found themselves an American owner who has very much bucked the trend.

Whilst football or soccer is still an emerging game in America, having some way to go to catch up with America’s three main sports: American Football, Baseball and Basketball, American owners however, have come to take a significant interest in the round ball game. With the Glazers acting as the pacesetters, the chasing pack of American owners following behind have, in recent years, come to view expansion into English football as a potential benefit in two simple ways: firstly, to make money for themselves but secondly, to spread the name of their own franchises around the world – factors which potentially played a role in luring Lerner, Henry and Ellis to these shores. Indeed, with Henry now in charge of Liverpool – one yank following another – it now means that a fifth of the Barclays Premier League clubs are under American ownership.  Lest we forget Stan Kroenke, a major shareholder at Arsenal and owner of Major League Soccer side Colorado Rapids, who is currently involved in a tussle for outright ownership of the club with the Russian billionaire of Uzbek origin Alisher Usmanov. There’s no doubt that given the recent hype of activity by American owners in the game, there’s no reason to doubt that we will come to see the last of them any time soon. Whilst it is still early days for the Henry regime at Liverpool, the Glazers and to a certain extent Lerner, have stained their reputation as owners whether it be through not providing sufficient transfer funds or making reckless decisions at boardroom level. The relatively unknown Ellis Short however, has kept a low-profile since taking control of Sunderland in May 2009 and so far it’s working to his and Sunderland’s advantage.

So, I hear you say, what is there to know about this relatively unknown American. He’s an Irish-Texan businessman who first gained notoriety at Lone Star Funds, a private equity firm based in Dallas. Having developed a successful business acumen, Short’s interest in football gradually developed over time. He was not originally a member of the nine-man Drumaville Consortium, led by the former Sunderland and Republic of Ireland striker now chairman Niall Quinn, who purchased the club from former chairman Bob Murray for a mere £10 million back in 2006. Nonetheless, with the recession and Irish shares being hit particularly hard, Drumaville resorted to looking for new investment – this was to come in the form of Short himself. Having assumed full control of the club in May 2009, Short provided Sunderland with the immediate valuable stability which it so craved for as it attempted to consolidate its position in the Premier League. Since buying the club, Short has invested £100,000,000 into Sunderland – £77,000,000 of which has been invested into paying off the clubs debts. Most significantly for Sunderland fans, that £77,000,000 has been converted into shares – essentially meaning that the club owe their backer absolutely nothing. Nonetheless, away from the financial aspect of things, what Ellis has in common with Kroenke and Lerner, is that he is an intensely private individual not someone clamouring for media attention. When confirmation of his takeover emerged, a Sunderland spokesman stated “This is no Abramovich or Shinawatra [former chairman of Manchester City]. He loves the club and he can see that there is a sustainable plan, but he is happy to stay below the radar”. He has and continues to show his financial hand, without overstretching that hand, but more significantly he has a long term vision for the club – a vision most importantly shared by chairman, Niall Quinn.

Since arriving at the Stadium of Light, Short has set about meticulously restructuring Sunderland, beginning with a review of the clubs academy; he has patiently worked his way up through the different echelons of the club. At boardroom level, Short has brought together a mix of football and endeavour – demonstrated by his faith in chairman, Niall Quinn. There’s no denying it – Quinn is the heart and soul of Sunderland and someone, who crucially, the fans can associate themselves with. In his critically acclaimed autobiography, Niall Quinn – The Autobiography, Quinn himself says “I learned my trade at Arsenal, became a footballer at Manchester City, but Sunderland got under my skin. I love Sunderland”. Alongside fellow striker Kevin Phillips, they formed one of the most prolific strike partnerships in the Premiership and Quinn went on to become a club legend, winning the North East Sportswriter’s Player of the Year Award in 1999. His association with the club has continued since then – off the pitch and in the boardroom. His successful takeover of the club in 2006 brought a new sense of optimism to the club – something which has continued under the Short regime.  Both men have a very good understanding of one another and recognize that in order to regenerate the club and surrounding area, investment is needed. Furthermore, unlike some chairmen, Quinn is not hamstrung by Short. The Texan does not interfere with any football decisions made, instead preferring to remain behind the scenes and providing the financial ammunition, leaving Quinn in charge of the day-to-day running of the club and calling the football shots. In that sense, he is the perfect owner – something which Sunderland fans can certainly brag about to their North East rivals.

Just like Short’s entrance into English Football, Sunderland’s rebuilding process has been low key but is slowly starting to pay dividends. As previously stated, Short has brought something which all Sunderland and furthermore English football clubs crave: financial and managerial stability. His charity in writing off loan repayments has put Sunderland on solid financial footing. Moreover, this has meant that the club have had the ability, within reason, to overspend and yet still not be in debt, that is unless Short walked away from the club – a highly unlikely scenario at this moment in time. Indeed, you only need to go back to the financial year to 31st July 2009 to realize just what a precarious situation Sunderland found themselves in. In that year, the club made a loss of £126,000,000 – 78% of their £64,400,000 turnover accounted for by the club’s wages. It was a financial situation akin to that which Portsmouth found themselves in and we all know what happened there. With the club’s financial stability secured, Short gave his full financial backing to Quinn, in the hope that Sunderland would achieve their goal of becoming a top ten Premier League Club. Since his time as a minority shareholder, he hasn’t been afraid to show his financial muscle. Under the Roy Keane era, Short invested more than £30,000,000 on transfers, bringing in the likes of Pascal Chimbonda, Anton Ferdinand and Steed Malbranque – only the latter has so far come close to repaying the transfer fee paid for him. Nonetheless, the very fact that Sunderland are debt-free has meant that the club has been allowed to money pay up front rather than in instalments for players like midfielder Lee Cattermole and defender Michael Turner. He acknowledges that Sunderland is a massive club and he will stop at nothing to ensure that the club gets to where it has to go, and in English manager and Geordie Steve Bruce, a man who knows all about Northern pride, the Black Cats posses a personality who is big enough to handle the pressure of taking the club forward.

As things stand, the club lie in a healthy seventh position in the Barclays Premier League and the prospect of European football looms just around the corner for a club who were, a mere two years ago, staving off relegation. The club has seen a huge turnover of players in recent seasons, however Bruce has moulded a team together which reflects, to a certain extent, his own personality: one with grit, flair and determination. He has had to cope with losses, most recently with Darren Bent’s departure, albeit it for a club record fee of £24,000,000 to Aston Villa, but he has bought wisely with the money acquired, carrying on in the same vein as in his time at Wigan Athletic, and brought through players from the academy. Indeed, Bruce like Short and those around him are determined to get rid of the yo-yo tag which has, much like West Bromwich Albion, been attributed to the club in recent years, and instead focus upon climbing up the Barclays Premier League table. The blueprint for the club is straightforward enough: stay clear off relegation, establish the club within the top ten and consequently build upon that progress, secure itself financially, nurture home-grown talent, look no further than the highly sought after Jordan Henderson, cast its net further afield to try and attract the best talent from abroad, as seen most recently with the clubs record purchase of the Ghanaian striker Asamoah Gyan for around £13,000,000, and increase ticket sales and revenues. In the 49,000 capacity Stadium of Light, Sunderland boast one of the most recognisable landmarks in the North East and a stadium fit for Premier League let alone European football. Whilst the stadium is rarely sold out on a regular basis, despite the club putting forward some innovative pricing strategies, namely selling child tickets for just £1, attendances are strong. There’s no doubt that the infrastructure for the present and more importantly the future is there and underpinned by the unwavering support of the Sunderland faithful, the future looks to be a bright one for the Tyne and Wear outfit.

For Sunderland fans in particular, it is reassuring to know that the manager, chairman and owner are all singing from the very same hymn sheet. The club may still have some way to go if it is to be seen to be constantly challenging for European football but the transparent business model carefully crafted by Short and Quinn is both sensible and potentially profitable in future years to come. Perhaps Sunderland’s sound economic policy aimed at regenerating both the club and the city as one should be considered by more Barclays Premier League clubs so that we avoid witnessing the financial fiascos experienced in recent years by Portsmouth and West Ham United. Progressive, pragmatic and punctilious, Sunderland may have just uncovered another legend and his name is Ellis Short.

 

Relocation, Relocation, Relocation

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After a mere nine months in charge and with a win record of just 24%, the former England manager, Steve McClaren, was shown the door on Monday afternoon by the 2008/2009 Bundesliga Champions VFL Wolfsburg – their fifth manager in the space of eighteen month. Whilst McClaren leaves the German club in a perilous position, lying 12th in the Bundesliga table and just a point above the relegation places, he has gone to manage where only a very few have gone before him: overseas. With a growing influx of revolutionising foreign managers coming into the English game, it is hardly surprising that British managers are looking abroad to gain experience, develop their coaching styles and training methods but ultimately to be considered for the top national and international management positions. What they have come to learn is that the English way is not the only way.

For many managers and players alike, the opportunity to manage or play abroad often presents itself as a daunting prospect. The usual doubts crop up in one’s mind, namely: How quickly will I be able adapt to the culture? How can I possibly bypass the language barrier? How will the supporters and media come to view me? These are all perfectly valid questions, yet it seems that foreign players coming over to these shores, with the exception of often being tempted by a significant increase on their previous wage packet, are, in most circumstances, willing to adapt and learn about the above. The first major wave of English managers to try their hand at managing abroad began in the mid-1980s with Terry Venables successful three year stint at the Camp Nou with Barcelona, winning the Spanish Copa del Rey in the process, Roy Hodgson prospering with Swedish club Malmo, Welshman John Toshack’s spell at Real Sociedad and David Platt’s hapless time in charge of Italian club Sampdoria. Yet, it was under the late Sir Bobby Robson that British managers first made their mark in Europe. Having previously managed in Holland with PSV Eindhoven and Portugal with Sporting Club de Lisboa and Porto, it was the 1996/1997 season with Barcelona which he is most recognized for. Working with the like of Luis Figo, Ronaldo and Romario, Robson guided the Catalan club to the Spanish Cup and European Cup Winners Cup. To this day, he remains the last English manager to have lifted a European trophy. From the heartbreak of the 1990 World Cup semi-final defeat to Germany, going abroad offered Robson the opportunity to both widen his managerial portfolio and further strengthen his already outstanding tactical skills all in a unknown environment – a similar challenge taken up by one Steve McClaren.

At Middlesbrough McClaren guided the club to its first ever piece of silverware with a League Cup final defeat of Bolton Wanderers in 2003/2004 season. His upward trajectory continued. In 2006 Boro reached the 2006 UEFA Cup Final where they were comprehensively defeated by Sevilla. Nonetheless, McClaren had not only secured the club’s Premiership security but in the process he took it to new unseen levels. A dire spell in charge of the England team, namely failure to qualify for the 2008 European Championship, left his reputation – that of clichéd sound-bites, overly defensive tactics and an overreliance upon certain individuals – in disarray. ‘The Wally with the Brolly’ as he came to be known, had to seek redemption and a year later it came somewhat surprisingly in the form of FC Twente – a Dutch Eridivisie team located in a small University town on the German border.  It may not have been the most glamorous job but in his two years in charge McClaren blossomed. Gone were the clichés, the patronising of supporters and most importantly the brolly, and what emerged from the rubble of conservatism was a burst of energy, dynamism and free-flowing football. Such a drastic change in tactics from 4-4-2 to a more attacking 4-3-3 produced instant results. With an attacking trio of Miroslav Stoch, Blaise Nkufo and Brian Ruiz, FC Twente amassed a tally of 63 goals, only to be dwarfed by Ajax’s remarkable 106 goals, in the 2009/2010 season. His adventurism earned praised from the very highest, in the form of Dutch legend Johan Cruyff. By winning the Dutch Eridivisie in that year, McClaren became the first Englishman to manage a team to a top-level domestic title since Bobby Robson in 1996. Ironically it was Robson himself who persuaded McClaren to go to Holland, that after his spell in charge of PSV Eindhoven. In Holland, McClaren excelled and showed an ability to learn and adapt – something all too rare in the current crop of young English managers.

His immense success at FC Twente led to his appointment last summer as manager of VFL Wolfsburg – arguably not one of the traditional German top-flight clubs. However, he faced a difficult battle right from the beginning. Having won the German Bundesliga in 2008/2009 season, an exceptional achievement in itself, it was always going to be hard to equal if not better such an achievement. At Middlesbrough and FC Twente, McClaren was given time to construct his own a team and thus in the process manage expectations and gain the backing of the supporters – something he was simply unable to do at VFL Wolfsburg. Nonetheless, McClaren was given a significant cut of money to strengthen what was an already strong squad which included the likes of the Bosnian pairing of striker Edin Dzeko, now plying his trade at Manchester City following a move in the January Transfer Window, and the creative midfielder, Zvjezdan Misimovic. He brought in two of the most talked about players in European football: Brazilian midfielder Diego from Juventus and the highly rated Danish centre-back Simon Kjaer from Palermo, the latter linked to many Barclays Premier League clubs. Having started off slowly, McClaren’s cause was not helped along the way by a shock exit in the German Cup to Energie Cottbus, accusations a plenty that he had lost the dressing room and reports that decisions over first team affairs were being made above his head by the Director of Football, Dieter Hoeness. Despite leaving the club in a poor league position, he never really had the opportunity to stamp his own authority on the team. Whilst McClaren has, in recent years, been the most high-profile British to try his luck overseas, the reality is that the spread of British managers and coaches around the world is surprisingly large.

From the Northern to the Southern Hemisphere, East to West, British managers have left and continue to leave their football imprint on some part of the world in some form or other. The reality is that the far-flung British managerial ex-pat community has more members than ever before. In 2008, British managers led national teams in four of FIFA’s five football confederations. John Barnes with his brief spell as manager of the Jamaican National team represented the CONCACAF region; Bob Houghton represented the Asian region where he is currently in charge of the Indian national team; the former Kilmarnock striker Bobby Williamson represented the African region where he is presently in charge of the Ugandan national team and Stuart Baxter represented Europe in the form of Finland – a position which he has recently stepped down from. Furthermore, British coaching has been represented coast to coast in the USA. Stevel Nicol, currently the coach of New England Revolution, is the longest-tenured manager in Major League Soccer and was sounded out as a possible successor to the former USA national team manager Bruce Arena, now managing David Beckham at Los Angeles Galaxy. The now Newcastle United assistant manager John Carver, spent a year in charge of Toronto, again in Major League Soccer. Yet, the spread of coaches goes even deeper. Former Northern Ireland boss, Bryan Hamilton, is currently the technical director of the Antigua and Barbuda Football Association whilst the former Scotland goalkeeper Jonathan Gould is now assistant manager to New Zealand manager Ricki Herbert at the New Zealand-based club Wellington Phoenix who are the only team from New Zealand to participate in the Australian A-League. The names and jobs may not be glamorous but such examples highlight that the demand for British coaching is loud and clear for all to see.

It is concerning to see that ever since the Premier League began in 1992 only two British manager, have lifted the trophy: Sir Alex Ferguson, albeit on numerous occasions, and current Liverpool manager Kenny Dalglish during his spell as manager of Blackburn Rovers. Furthermore, Chelsea, for example, has not had a permanent English manager since Glen Hoddle left the club all the way back in 1996. What English managers haven’t done, in particular, is come to dominate and revolutionize the style of football in the Barclays Premier League in the manner of their European counterparts. In recent years, the closest connection English coaches have had to winning a domestic title is in their capacity as assistant managers. Take for example former Chelsea assistant manager, Ray Wilkins, who was seen as a pivotal go between the Chelsea players and manager, Carlo Ancelotti. Having spent three years as a player at AC Milan in the mid-1980s, Wilkins was able to utilize his linguistic strengths, namely Italian, to communicate the opinions of the Chelsea players and provide his own tactical knowledge gathered from his time in Italy. With the FA confirming that current England boss Fabio Capello will step down after the 2012 European Championships, providing England make it to Poland and Ukraine in the first instance, and that Capello’s successor will be English, the search is already on. With only Harry Redknapp garnering top-flight European football experience at Tottenham Hotspur and Portsmouth, Steve Bruce gaining momentum at Sunderland and Ian Holloway at Blackpool, that is about it in terms of English managers in the Barclays Premier League. With limited options, a successor may come in the form of Capello’s understudy Stuart Pearce. Currently manager of the England Under-21s, it appears that he is being lined up by the FA for the position.

Robson, Toshack and most recently McClaren have shown that British managers can develop away from the British media’s constant gaze and intense pressure, broaden their horizons, learn other approaches to management, and crucially discover how to win consistently, which, unfortunately, too many British managers are inexperienced in. British managers may not be landing the most glamorous jobs abroad but these men are evidence that progress is being made. Indeed, we should praise the success of Brits abroad rather than look at their achievements with a tinge of ignorance. The very fact that British managers are willing to leave behind home comforts and step into the unknown, progressing their careers and challenging for honours rather than floundering in mid-table mediocrity or their own plight should be applauded. Who knows, in time, we may yet come to once again see a Brit offered the chance to manage one of Europe’s elite clubs – plus it will keep Kirsty and Phil on their toes!

 

Back to the age of innocence

Take a room, any kind of room, and twins named Presley and Haley. Now take chocolate, lots of it, and sleeping pills, you are officially entering into the gloomy and dreamlike world of Pitchfork Disney. A play written by the artist Philip Ridley (the author behind the award winning The fastest clock in the universe) which is now staged by director Savannah Whaley.

 

You will discover soon enough that Presley and Haley have been living hiding from reality in a small and tatty flat in East London. The twins deny anything that has to do with the outside world as they live secluded in a nonlife inhabited by the shimmering memories of long lost childhood. The  outside universe is this wasteland of destruction were only the claustrophobic flat stands surviving. The room is a shell protecting against barking dogs, blood, and all the violent explosions of the unknown. The sense of uncomfortable closeness becomes stronger as we enter the twin’s nightmarish world. Christopher Adams who plays Presley, skilfully portrays a childish young boy of no precise age ( we will find out later on he is supposed to be twenty-eight). It is clear to see that unlike his sister, he lives hesitatingly between the outside and the inside world. A change to this fragile balance happens as he lets Cosmo Disney (Robert Williams) enters in their flat. Is the nightmare inside the clotted room full of ragged dolls, or will it be Cosmo creeping into the door and onto their lives? Cosmo Disney makes a living of eating cockroaches, he eats all insects, symbolically devouring the darkness of the earth, while the twins fill themselves in an unsuccessful attempt to reach sugary happiness.

 

 

 

In Cosmo’s bleak philosophy the world is the survival of the sickest, provocatively he claims that what we all need is our daily dose of disgusts, a frightful idea which has been explored by many. You might say that those issues of childhood and cruelty have been raised several times before, and they surely have. However if we ask ourselves why they keep on being so uncomfortable we might find out that the reason lies in not finding a definite answer to them.

 

 

As the play unravels Cosmo is mysteriously entranced by Hailey and sends Presley away using his charm and emotional manipulation over him. He then  attempts to molests Haley (Louisa Hollway). Presley returns and defends his sister violently sending away Cosmo. The twins are left in complete distress and loneliness while the audience is left with uneasy questions such as: the importance of reality, the cruelty of adulthood, the violence of everyday life. Although this was only a rehearsal it left me  (and will probably leave you too) with what is very much a universal wish, the impossible drive to go back to the age of innocence.

 

 


The Sublime and the Grotesque

The sublime is tricky to tie down to a visible shape. In Friedrich’s Wanderer above the Sea of Fog(1818), perhaps the most famous treatment of the subject, we have a man staring into the sublime rather than the sublime itself. While the young romantic gazes into the fog, we are forced to gaze at him, to behold the beholder. How does one go about representing that which lies past the language of excellence? The members of the Oxford Art Movement have been set a difficult task.

 

It’s not surprising, then, that there was more grotesque than sublime on offer at the show in Christ Church’s Blue Boar Exhibition Room. An installation of shimmering fabric and raw meat dangling from the ceiling didn’t show the combination of the two as much as the grotesque’s ability to subvert, transforming the cloth into something similarly fleshly. A lot of the display seemed to draw inspiration from the oppressive expressionism of Kirchner’s street scenes, in which the human form becomes a grotesque through the slightest facial expression or bodily distortion. Shadowy bundles of figures, their faces stark white, glare out into the foreground; bodies crawl out of the dusky darkness. Disfigured visages look into the viewer like an internal mirror of emotional torments that lie beneath the skin.

One of the show’s highlights, a Francis Bacon-esque triptych by Kate Lambert of segmented, dissected human bodies, reduces or rather magnifies mankind into a pound of flesh. Lambert comes closest here to expressing Schopenhauer’s conception of the sublime as a pleasure through fear, joying in an awareness of the nothingness of the human self: her pink and grey forms sit on a calm blue background, clearly recognisable and yet strangely horrifying. Her treatment of both the themes was welcome in a display that sometimes isolated one or the other, partitioning aesthetics into ‘ugly’ or ‘pretty’ and leaving it at that. Many of the more successful works escaped this dichotomy through the use of a fantastic realist style, exploring the sublime through dream-like combinations of the bizarre yet beautiful.

One such work was a highlight of the show: a piece of performance art by students from the Ruskin, led by Dan Udy. Four figures in skin-tight nude fabric emerged in the spotlit area outside the exhibition space and kneeled together on a white platform, remaining absolutely still as they were wrapped in transparent film. Their bodies were at once united and trapped by the horrifyinglysuffocatory material. The beautiful symmetry of their poses seemed to invite the spectator to appreciate them as a visual object – yet this aesthetic appeal was undercut by a gradually stronger sense of unease as the breath thickened in their smooth prison.

At last, another performer began to play shrill notes on a violin which ripped through the tension just as the figures suddenly became alive and struggled to break out of their film. At once they were transformed from objects of perfect stillness to irregular, uncoordinated bodies of an overwhelming fleshliness. Their limbs gradually broke through the plastic seal: the embryonic structure that had contained them began to collapse as they writhed to be free and emerged as limp bodies on the cold stone ground. Their previous perfection had been tarnished as they lay dishevelled, now smeared with pig’s blood, and with fragments of the film still sticking to them like a second skin.

Overall, the exhibition was an impressive display, collecting an array of Oxford’s amateur artists with an admirable variety of style. And while the sublime often proved elusive, there was enough of the beautiful and the grotesque to satisfy, gratify and sometimes even delight.

 

[The Oxford Art Movement is held on Saturdays in Christ Church Art Room as an opportunity for students of all abilities to make art in a convivial setting. Entry is £2 and includes all materials as well as tea and aesthetically appealing snacks. Occasional special sessions are also held, which have included life drawing and portrait painting. Contact the Society’s Presidents, [email protected] or [email protected], to be added to the mailing list.]

 

21 Sketchbooks

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Tell us a little bit about the project.

The 21 Sketchbooks project is a collaborative arts project based in Oxford (http://www.facebook.com/group.php?gid=151841541521224). It was born from a combination of two international arts projects: The 1000 Journals project and the Sketchbook project. Each book was given a different theme, and sent out to someone in Oxford, who then sent it on to someone else, who passed to to someone else and so on, until the books were filled and they were returned to us! Each book has around five people’s different interpretations of a single them, using drawing, collage, painting or photography to create a vibrant piece of art.

When and where is the exhibition?

The exhibition will last for the whole of 5th week, and the sketchbooks will be on display in Keble Cafe (Douglas Price room) which is open from 11 to 6 every day. We’re having a launch party too, which is pretty exciting, with jazz and drinks, and it will be an opportunity for people who contributed to come and look at the finished books! We’re hoping that people will be able to contribute a bit more as the week progresses…

Why did you decide to bring the sketchbook idea to Oxford?

The pidge-post system is a brilliant way of passing things around from one college to another, anonymously, freely. Oxford’s also got lots of creative people who have given up their artistic habits to concentrate on academics, and it’s the perfect way to give those people a chance to unleash their talents on a couple of pages, before they have to send the sketchbook on and get back to work! Collaborative projects are also far more personal, and accessible – it’s not one artist producing Art for general admiration, it’s a whole group of individuals combining their efforts for one result, often selflessly because no one gets to keep it.

What are the various themes of the sketchbooks? How did you choose them?

We have a different theme for every sketchbook, so it would be too long to list. Some of our favourites are ‘Ain’t no sunshine’, ‘blue’, ‘of books and beds and sealing wax’, ‘embellished’, ‘lost and found’. We chose them together, with friends from our art group, picking words we liked, lines from songs and poems, or just ideas that seemed like they would generate interesting responses.

What was the strangest spread that you saw?

Someone added a gold foil crown to a cabbage leaf for the theme ‘Of cabbages and kings’. That was pretty peculiar.

Did you both contribute? What did you put in your spreads?

We did contribute! We can’t say what we did because it’s supposed to be anonymous, but we can tell you that our themes were ‘Of books and beds and sealing wax’ and ‘Ain’t no sunshine.’

Did you think it was a success?

The project was meant to bring people from different colleges together on a project that was fun and would generate interesting, unusual, and creative results. In this sense it has been a success – some of the sketchbooks look amazing! They’ve been all over, some may never come back, some have come back inside out, others dripping grass, still more with lists and receipts left inside – it’s all part of the project, you can’t control what happens and that’s why it’s exciting!