Thursday, May 22, 2025
Blog Page 114

Forget her not: Rediscovering women in music: Week 0

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With each edition of Cherwell this term, Keziah will be bringing you a new female artist who she believes should not be forgotten. This week: Fiona Apple.

Stumbling upon Fiona Apple’s 1999 album When The Pawn… actually inspired the concept of this column. I had heard of the American singer/songwriter before, but actually listening to her music was something entirely different. 

I discovered that many others are unaware of Fiona Apple and her discography, and are thus also missing out. So, my mission is to enlighten, one underrated female artist at a time.

It’s not just Apple’s inimitable voice that captivated me over the winter vac, but the Joni Mitchell-esque emotional intensity and unique musicality of her lyrics. Fiona Apple defies genre typecasting, with each album containing a plethora: at once alt rock, blues and jazz, even infusing classical. 

Fiona Apple McAfee-Maggart was born and raised in New York City with her mother and sister (though spent summers with her father in Los Angeles) and composed jazz pieces growing up. From the age of 12, she suffered from OCD, anxiety and depression, PTSD and an eating disorder following a traumatic event in her young life. 

The powerful poignancy of her music cannot therefore be separated from the artist’s experiences. Apple’s debut album Tidal addresses and explores her trauma, isolation and woes. Its lyrics deal deftly with her personal life through oceanic metaphors, and we see her pain ebb and flow and rage below the surface, herself an emptied shell, helpless victim of “he” who “took my pearl” (from the album’s second song, Sullen Girl). It is no surprise, then, that this young lyrical mastermind’s debut album went triple-Platinum. But the album didn’t achieve great fame until Apple’s controversial, overtly sexual music video for the single Criminal earned her a Grammy Award for Best Female Rock Vocal Performance, and the album a spot in the Top Ten. 

Since then, each of Apple’s albums offer something unique and deeply personal, her lyricism plaintive, apt and soulful. Both album titles The Idler Wheel… and When the Pawn… derive from longer poems written by Apple herself, showcasing her great expressive ambition. Apple has earned herself a cult following over the years, spellbinding listeners with her poetry and stunning, rare contralto voice. 

My personal favourite songs of hers? I Know, Paper Bag, Slow Like Honey and Extraordinary Machine

Rebel Moon – Review

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Call me cynical, but I always find reviewing bad movies far more enjoyable than good ones. Dissecting Tommy Wiseau’s ‘so-bad-its-good’ reverse masterpiece The Room, for example, is a joyous caper due to its unending stream of foibles. The chance to review Zack Snyder’s new Netflix blockbuster, Rebel Moon, was therefore not something I could pass up, having seen the torrent of dreadful reviews and the poor scores from Rotten Tomatoes (22%) and Metacritic (31%). The problem with this anti-genre is to do with intent. The Room is funny because it wasn’t meant to be; the damnable dialogue written earnestly for what Wiseau hoped was a good film. Rebel Moon is another; the enjoyment I got from its crap-ness does not detract from the blunt truth that the film is not good.

One phrase summed up my thoughts after watching-slash-trudging through this film: why? What was the point of it? Synder’s pet project defied cliché in how cliché it was. Often my dad and I, with stunning success, found ourselves predicting character’s lines before they actually said them. The plot was staid, its story beats hitting with clockwork timing. The simple village folk of the rebel moon in question, Veldt, have their innocence shattered as the Evil Empire threatens to blow them to smithereens. The film quickly becomes The Magnificent Seven in space, as Sofia Boutella’s anti-heroine protagonist Kora assembles a ragtag crew of reluctant adventurers to foil the comically wicked Space Fascist commander, played by a scene-chewing Ed Skrein. Kora, along with Michiel Huisman’s lunar bumpkin Gunnar, resolve to gather a team to fight back, leading to a brain-melting slog consisting of meeting each character and convincing them to move the plot along. This culminates in a final showdown between Kora and Skrein’s Atticus Noble. The only unexpected part about the ‘twists’ is how foreseeable they are; Charlie Hunnam’s roguish cad Kai turns out to be a roguish cad and betrays our heroes, Atticus Noble survives the final fight and is revealed to be a pawn of the next film’s antagonist, who himself raised Kora as an imperial soldier before she defected to become a farmer on Veldt. 

The characters are non-existent, with Synder pulling the old trick of substituting meaningful character development with a tragic backstory. The obvious romantic subplot between Kora and Gunnar, for example, has no impact when they are both so forgettable. Rebel Moon is left with pallid etch-a-sketches of characters from other, better films. If I seem uncharitable, it is because there really is vanishingly little that can be enjoyed in this film if not through the lens of irony. Even the fight scenes, often what many look forward to in space opera after wading through clunky exposition-laden dialogue, were just dull. Slow-mo, used to great effect in films such as X-Men: Days of Future Past, was used here as a crutch rendering all the fights uniform and uninteresting. 

I hear your cries of protest: you’re not meant to take it seriously! This kind of film is a fun, brainless romp à la Marvel! Sadly not. Snyder’s DCEU offerings were notably lighter than its rival on humour, and this film takes that lack of levity even further. I can’t remember one joke throughout its hefty 2 hour and 14 minute runtime. Don’t get me wrong; like everyone else in my generation, I am tired of the lazy millennial-esque quips that prevail in blockbusters. Serious films given space to be serious, like Oppenheimer or Joker, have proven they can achieve stellar success with audiences and critics alike. But Rebel Moon is not a serious film. While Snyder clearly tried hard to uprate the movie to a more adult version of Star Wars, with the supposedly morally muddled protagonists and implications of sexual violence in an early scene, it cannot escape its absurd premise. The film’s “heaviness” weighs it down rather than giving it an added punch. Watching it feels like a chore with no reward.

‘I have never courted popularity’, intones John Cleese in a Monty Python’s Flying Circus sketch about a homicidal stockbroker. If Netflix viewing figures are anything to go by, my scathing acid for Snyder’s movie will not resonate with public opinion. Rebel Moon topped the charts for Netflix in the coveted post-Christmas week, and its audience scores have far exceeded the consensus from critics. Some fans even took to social media to demand an extended edition. Rebel Moon is basically enjoyable if you switch your brain off, but we deserve better blockbuster movies. While not every sci-fi has to be the strange, uncomfortable and masterful 2001: A Space Odyssey, for example, light entertainment should bring something new and original to the table.  If you want a rubbish film to while away a few hours, and some chuckles at inept dialogue, then Rebel Moon is worth a watch. But I’ve had my fill.

Flapping wings: taking the chicken scene by storm

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There are two KFCs in central Oxford – one on Cowley Road and the other on Cornmarket – and until a few years ago their hegemony over the fried-chicken market seemed secure. Since then, the kebab vans have upped their game, and the little independent shops have also improved the general standard. By the time Popeyes arrived here in 2023, KFC was already in its twilight.

Popeyes has revolutionised the Oxford fried-chicken scene. It only arrived in the UK three years ago but has rapidly established itself as a force to be reckoned with. I can say without exaggeration that, in eighteen years of eating fried chicken far and wide, I have never – never – had anything better than Popeyes; and that, by the end of this decade, Popeyes will have overtaken KFC as the largest chicken dealer in both Oxford and the whole country. 

Now, the spicy chicken burger is the highlight of the menu. Generally speaking, there are two kinds of chicken burger: there is the flat, plasticky “steak” burger that you find in the kinds of shacks which, the next time you go there, have been closed down by the Food Standards Agency; and there is chunkier, better-quality “fillet” sold by KFC and others. Popeyes’ burgers are in the latter category. Twelve hours before serving, the fillet is marinated in a crisp, darkish batter of aromatic herbs which sprawls out in fat ridges; then is lathered with spicy mayo and topped off with gherkins (only if you’re keen on gherkins); before being slapped in between two hot brioche buns. 

When funds are running low, of course, and a big burger is out of the question, Popeyes’ Saver Meals provide, for £2.99, a light yet agreeable stomach-filler. There are four types of Saver Meals to choose from. I usually go for the spicy chicken strips with fries. (Their fries, by the way, are fresh, slender and as good as can be expected, but aren’t in the same league as the chicken). 

The other Saver items involve wings. Wings are usually the standard unit of measurement when discussing chicken shops – like pints for pubs – though the ones from Popeyes have, historically, made quite a poor showing. They all used to be stiff and tasteless, as the chicken pieces still are. But this problem was later solved by the introduction of the Ghost Pepper Wings (£5.25 for five). These are dusted with a zingy seasoning which rubs off on your fingers like Pringle powder, but which is punchier than any of the other things and lingers for longer on the tongue. If your tolerance for spice is low, they come with your choice of Popeyes sauce (Ranch Sauce is the best, though they are all good in their way, and all come in attractive-looking pots) which cools the flavour quite well.

There are also a range of vegetarian options, and various sides, drinks, and desserts. And, if you’re a regular, it all works out as more cost effective, because, whenever you buy something, you get a barcode from which you’re guaranteed to win anything from a free ice-cream to a free year’s worth of chicken sandwiches (or most often something in between, like a burger meal). 

Now, I’ll finish with a warning that Popeyes may have unaccountable effects on your health and mind. You may well find yourself under the grip of violent cravings in the middle of the night – or, worse, in the middle of a tutorial – which send you marching suddenly off to 36-37 Queen Street. You might end up having to mortgage your bed and your laptop in exchange for more spicy chicken burger meals. Moderation is the word. I would try my best to restrain these fatal attractions…as much as humanly possible once that batter has passed the lips and that sauce has touched the tongue.

Bands to Watch Out For in 2024

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As the new year unfolds there is no better time to expand your music taste and explore genres and artists that you may not otherwise have chosen to listen to- or even have heard of. January is the time to put well-deserved emphasis on smaller artists; to connect with live music and local DIY scenes. So if you want to get going on this new year’s resolution, the list below is an opening into new listening-territory; as it were: an amalgamation of artists who are on the up in 2024.

  1. HotWax

This Hastings-based grunge alternative/ punk rock trio has been rapidly rising in popularity in the last year, with ablaze live performances reminiscent of the roughness and energy of Riot Grrrl. Endorsed by the likes of Elton John, Hole’s Courtney Love, and Wolf Alice, the HotWax band have gone on to release their flaming second EP: Invite me, kindly, which you can catch live on their 2024 tour with DIY Magazine.

  1.  Dream Wife

Brighton’s Dream Wife have crafted a dreamy discography displaying a punchy concoction of indie rock, dream-pop, and pop-punk. The female-fronted band’s hits, call upon themes that a surprising number of us can relate to, with catchy, playful lyricism: Such as Hey Heartbreaker, and Hot (Don’t Date a Musician), the titular (and my favourite) track off their 2023 album. 

  1. Vision Video 

For those inclined to music on the darker side, Vision Video are an accessible and exceptionally slippery slope into an obsession with post-punk and goth music. The American band replicates nostalgic sounds from traditional bands including The Cure (check their cover of Pictures Of You) as well as introducing modern melodies for baby bats. The release of their 2023 single Normalized bodes well for an incoming album, as does their gig supporting Skeleton Family I caught in London last winter.

  1. She’s in Parties

Despite paying homage to the gothic in their name, the quartet She’s In Parties produce an exquisite mix of shoegaze and dream pop harmonies which make the listener feel as if they’re floating in layers of hazy noise. Reminiscent of the classic Cocteau Twins, and the vocals of contemporary Pale Waves, we can excitedly anticipate the Essex based band’s debut album End Scene, due for release in 2024.

  1. Bob Vylan

Bob Vylan’s discography incorporates punk rock, with influences from the UK grime and rap scenes; a perhaps unexpectedly felicitous mix. However, where these genres differ in sound, they ideologically align: grime participates in punk ideology. So, they implement the style and cadence of people of colour in grime within this subculture, boasting titles such as We Live Here and Hunger Games. Catch their 2024 album: Humble As The Sun.

5. The Last Dinner Party

After catching them by chance on an enclosed stage at a rural philosophy festival this summer, the The Last Dinner Party’s capacity to draw energy from such a small crowd impressed me. The female-fronted five-person band’s banquet of indie rock tunes have landed them supporting spots with Florence and the Machine and the Lana Del Rey. Hence there’s no doubt that we’re likely to eat up their debut album Prelude To Ecstasy later this year.

6. SNAYX

Last but by no means least, playing Oxford’s notorious Bullingdon this February, this English punk rock trio have also incorporated more danceable genres from indie rock to ska, with their live shows demonstrating noise-rock in the most positively conative sense of the word. Their 2024 single release featuring Sink Or Swim and Better Days include intense bass riffs and experimentation not to be missed. 

In conclusion, rather than an exhaustive list, this selection of artists can serve as a platform from which to explore new musical-ground. Other ways to find new artists can be from gigs themselves- in Oxford, for example in venues such as: the Bullingdon, the Library, Common Ground, and the O2 Academy.

Leo Buckley election appeal to be heard by tribunal

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An election appeal launched by Leo Buckley is set to be heard by an Oxford Union tribunal this term. 

On the Union’s Hilary term card, the position of President-Elect is absent from the Hilary Committee page. According to the Union Press Office, the position’s powers and duties are currently devolved upon the President since “disciplinary proceedings related to last term’s election are ongoing.”

This development in the Union elections for Trinity term comes seven weeks after Buckley, found guilty of electoral malpractice, was disqualified from the presidential race. His margin of victory before his disqualification was narrow – he received only a few votes more than #Challenge-slate candidate Julia Maranhao-Wong.

The two sides – one representing Buckley and one representing Maranhao-Wong – will have the opportunity to present their cases before the tribunal. It is unclear exactly what the composition of the tribunal will be, but Union members who have long since graduated might be asked to join to avoid any potential conflict of interest. 

Buckley appeared to make oblique reference to the ongoing appeal in a social media post Monday night. His Facebook account showed him standing in front of the Roman Colosseum with the Latin phrase “Sic Semper Tyrannis” displayed in the image’s background. (The phrase means “Thus always to tyrants” and is used in contemporary parlance to say that tyrants will inevitably be overthrown.)

University severs ties with TCS following admissions test debacle

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Due to issues in test administration during last year’s admission cycle, Oxford University has decided to sever ties with Tata Consultancy Services (TCS). The University explained: “Following the technical problems experienced by some candidates during the delivery of this year’s online admissions tests by a new provider, TCS will not be involved in the delivery of Oxford admissions tests going forward.”

Oxford’s admissions tests were previously managed by Cambridge Assessment Admissions Testing (CAAT) until it withdrew last year, citing problems with affordability and increasing complexity of the exams. In response, the University partnered with TCS to replace CAAT and modernise test delivery through digitisation. 

TCS was criticised by students and teachers for the technical errors that plagued last year’s admissions tests. Examples include the Mathematics Admissions Test (MAT) taking more than two hours longer for some students due to recurring glitches, and the English Literature Admissions Test (ELAT) accidentally giving students last year’s rubric with the wrong themes listed for the passages.

In response, the Mathematics department decided to offer a supplementary test for students that wished to be re-examined, while the English and Geography departments annulled their respective exams entirely. 

The University told Cherwell: “This decision has been made following careful consideration of the issues, as well as feedback from candidates, teachers and test centres.  Our priority is to ensure a high-quality experience for all candidates and those involved in supporting them, and we are grateful to the students and their teachers for their patience during this process. Details of the new arrangements will be communicated in the Spring, at the start of the next admissions round.”

The webpage for admissions tests currently states: “We are now working on alternative options for 2024 and beyond and will communicate the new arrangements as soon as possible and no later than the start of the new admissions cycle in early Spring.” 

Stop me if you’ve heard this one before- Week 0

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Rufus’ first column of the term reviews All-Purpose Poem for State Occasions by Wendy Cope. He will be introducing a different poem to readers alongside each edition of Cherwell.

Known predominantly for The Orange, a heart-warming poem that celebrates life’s simple pleasures, Wendy Cope’s warmth and wit shine throughout her first collection, Making Cocoa for Kingsley Amis, though especially in this week’s poem All-Purpose Poem for State Occasions.

The nation rejoices or mourns

As this happy or sombre day dawns.

Our eyes will be wet

As we sit round the set,

Neglecting our flowerbeds and lawns.

As Her Majesty rides past the crowd

They’ll be silent or cheer very loud

But whatever they do

It’s undoubtedly true

That they’ll feel patriotic and proud.

In Dundee and Penzance and Ealing

We’re imbued with appropriate feeling:

We’re British and loyal

And love every royal

And tonight we shall drink till we’re reeling.

This poem’s brilliance lies in how it has succinctly captured how a good majority of the British public feel about the monarchy. While it isn’t perfect and it does have a lot of fusty traditions, they’re uniquely British ones which unite us all (usually at the pub). 

The poem’s message isn’t that simple, though, and I doubt Cope herself holds such a rosy view. The necessity of an ‘all-purpose’ poem is hardly a compliment: what’s unspoken is that we’d be drowning in (probably quite dull) poems if every minor royal holiday, gala or celebration warranted an ode. Why do you think it is the Poet Laureate only unholsters their pen at suitably momentous events like a birth or death? I’m sure even the monarchy’s staunchest defenders could admit that ‘Ode on His Majesty’s Visit to the Clockmaker’s Guild of Plymouth’ would hardly incite the nation’s royal fervour.

Not adoration, not denunciation… Cope’s poem is warmly nestled in-between. Along with its clean rhyme-scheme and deceptive simplicity, it’s the poem’s abundance of good-humour that makes it so good.

What Trump tells us about modern American evangelicalism

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The infamous image of Donald Trump standing, with a Bible, in front of St John’s Episcopal Church in Washington DC in June 2020, was the perfect embodiment of the 45th President’s commitment to reactionary politics in the midst of nationwide racial justice protests. Yet it also pointed to the importance of an often-overlooked component of Trump’s 2016 victory and the modern Republican party– white evangelicals – whose ultra-right-wing social policies have found an enthusiastic home in the GOP. 

Crucially, while other constituent groups of Republican voters are motivated by a desire to ‘react’ against modernity or globalisation, the relationship between Trump and evangelicals demonstrates the extent to which the latter group has been transformed. That is, a modern American evangelical movement now seemingly prepared to put right-wing politics above all else, including, it seems, religious integrity. 

In the man of Trump this trade-off becomes clear: as a twice-divorced, casino tycoon, his Christian credentials are severly lacking. But crucially, this was also the man who elevated Supreme Court justices in pursuit of an end to federal abortions, among other pro-Christian priorities. Evangelicals’ support for Trump has unsurprisingly been described as ‘largely transactional’. For both sides the opportunity provides a means to an end that involves shunning traditional Christian morality in the name of getting what they want. 

But what is this end? It is the political opposition to what evangelicals perceive as a government persecuting them. Governor of California Gavin Newsom’s decision to shut down houses of worship during the Covid pandemic, for them represented the fulfilment of a government-led anti-church prophecy. This is the very idea that Trump invoked at a recent primary rally in Waterloo, Iowa, in which he cast Christians as a group persecuted by an administration “weaponized against them”.  

This is but one strand of the ‘Make America Great Again’ philosophy; framed within the context of secular Democrats leading an anti-Christian inquisition, it assumes a particular potency for religious evangelicals. In this sense the GOP has quite literally been preaching to the choir. Yet in Trump seeking to link himself to evangelicals, it’s the so-called ‘nominal’ evangelicals who form the crucial contingent. The nomination of Trump as the 2016 GOP presidential candidate was in large part due to a new sort of evangelical voter; one for whom it is a political and cultural identity, rather than a reason to attend church or promote salvation. 

It is in this discrepancy – where according to a 2023 HarrisX poll, Trump is seen as a ‘person of faith’ by more than half of Republicans despite his highly dubious moral record – that encapsulates the ‘politicisation’ of American evangelicalism. Non-attendance at church doesn’t stop evangelicals being guided in their voting by a deep sense of religious imperative. But, the motivation is more likely to come from the political doomsday predictions of David Barton, leader of the ‘American Restoration Tour’, rather than the moral lessons of the Bible. 

Evangelicalism has historically emphasised the power of the individual to connect with God, without needing the church. But the correlation between irregular or non-churchgoers and support for Trump in the Republican primaries corresponds with Trump’s national ‘silent majority’. Those of which are  formed of voters disconnected from and losing trust in civic institutions, which includes the local church. 

Increasingly removed from churches, evangelicalism has become somewhat of a political identity which is synonymous with Trump and Trumpism. Studies such as the 2021 investigation by the Pew Research Centre demonstrates just how powerful this association has become. The study claims that those who were ‘warm’ to Trump were much more likely to convert to  ‘evangelicalism’ during Trump’s presidency compared to those who did ‘not [feel] warm’ to him. Evangelicisms part in Reublican politics doesn’t simply lie in terms of voters, but we’re also increasingly witnessing evangelicals and Republican’s identity becoming more and more inseparable. It’s the most extreme believers who would put Christians in charge of the media and education system. And to achieve their goals, they’ve had to dance with the devil (figuratively and literally) to have any chance at political power. 

Prominent figures in the evangelical movement have long sought to influence American politics and bring conservative social and religious policies into the mainstream: the 1950s saw the emergence of a ‘fundamentalist’ branch of political evangelicalism, embodied by men such as Jerry Falwell, who sought to oppose racial desegregation and ‘reclaim the nation’. By the 1970s this had evolved into the ‘New Christian Right’, which embraced Nixon’s call for ‘law and order’ and was central to Reagan’s 1980 election victory. 

It was during this process, when the evangelicals came to dominate the Republican party, that its candidates were forced to sing from their conservative social and religious hymn sheet, that bound evangelical political fortunes so tightly with those of the GOP. Crucially, Trump has been able to mobilise the same fears of secularism that produced the fundamentalist movement, tying it to a prophecy of secular Democrat apocalypse, in an evangelical movement increasingly likely to prioritise political goals over religious tradition. 

There isn’t a better indication of the future of evangelical Republicans aims to re-establish Christianity as the main driver of politics than that of a mid-seventeeth century England. The year 1653 saw the ‘Parliament of Saints’, an assembly of ‘godly men’ designed to accelerate the coming of Christ’s kingdom, which was the shortest political experiment after the civil war and led to Oliver Cromwell’s Protectorate. 

It was an experiment in theocracy that failed miserably. In that case, the religious radicalism espoused by millenarian groups was sidelined, as Cromwell was forced to adapt to the political exigencies of ruling post-civil war England. Providing that America doesn’t just fall into a civil war, the danger with Trump is that he has proven himself to be bound by few, if any, such political or moral constraints. And, American evangelicalism is much the worse for it. 

The NYT, AI, and how the internet could change in 2024

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2023 was very much the year of AI. After the birth of ChatGPT, Google Bard, and countless other large-language model (LLM) chatbots, artificial intelligence entered the public consciousness meaningfully for the first time. This year, though, things are set to turn up a notch. As The New York Times kicks off the year with a landmark copyright lawsuit, 2024 could very much be the year that the internet landscape and journalism change forever.

Firstly, it’s worth outlining just what aspects of artificial intelligence are having the most significant impact. For years, machine learning has been a huge part of how the internet works, with everything from advertising to concert tickets learning from user behaviours to improve and personalise online experiences. Last year, though, all of that changed. The release of ChatGPT to the public on the 30th November 2022 revolutionised how the public and businesses saw the technology. All of a sudden, LLMs went from being ‘helpful add-ons’ to potential job stealers and doomsday causers. Microsoft quickly acquired large stakes in OpenAI and Alphabet CEO Sundar Pichai vowed to “make the competition dance” with the release of its competitor, Google Bard.

These LLMs are a significant change from what went before. Their transformer models have the capability to learn from far larger data sets than was previously the case, ‘tokenise’ that data, and respond to queries in increasingly human-like ways. Without going into too much technical detail, these models rake huge amounts of data from millions of websites, train themselves on that data, and use it to respond to user queries and questions.

Inevitably, after an initial surge in popularity and excitement, publishers, content creators, and basically anyone producing content on the internet became quickly concerned with how copyright might be jeopardised in this scenario. The billions of dollars so far invested in the industry have been almost entirely predicated on the argument of OpenAI’s CEO Sam Altman and others that the use of this data falls under ‘fair use’ exemptions from copyright law. In the United States, though, outcomes in cases like these are famously hard to predict, and almost identical cases often have inconsistent results depending on judges and states.

The ‘fair use’ argument that AI bosses use is based on a series of factors. Primarily, the idea is that although these models are trained off millions of websites and articles written by others and covered by copyright law, they are not directly reproducing it. OpenAI and others argue that their use is ‘transformative’, much like a parody of a song or a book review.

A common case referenced here is when Google Books was sued by The Authors Guild in September 2005. In that case, the judges sided with Google. The decision was based on the idea that the company was not building a ‘book substitute’ but instead a search engine and database for different publications.

As you might have guessed by now, many publishers wholly disagree with OpenAI’s reading of the law and on the 27th of December, The New York Times made the first legal move after months of attempted negotiations. The NYT said that those negotiations “had not produced a resolution”, whilst OpenAI said that it was “surprised and disappointed”.

It’s almost impossible to predict an outcome in this specific case. OpenAI and Microsoft are, by all accounts, extremely reluctant to settle with The New York Times for fear of thousands of different publishers following suit and queuing up for pay-outs. More likely, it seems, is the eventual establishment of some long-term model to repay writers and publishers.  

Already, times are tougher than they have ever been for news sites and journalists. The New York Times is one of the few organisations that has managed to establish a sustainable subscription model in the industry, and other newspapers from around the world have experimented with different models to try to survive. Some, such as The Independent, went online only as early as 2016, but most established similar online subscription models.

Clearly, then, a world in which users can ask chatbots for a summary of the news or even to reproduce entire articles that would otherwise be behind a paywall is extremely problematic for the industry. In this sense, ChatGPT and others are producing clear alternatives to news products and not falling under ‘fair use’ exemptions. 

This is just one way in which natural language models are set to transform the internet as we know it in the coming months and years.  An entire industry that has been built on search engine optimisation and referral links is about to be shaken up more than could have been imagined just 18 months ago. If users are simply interacting with chatbots, they will no longer have to use search engines such as Google to find information.  

It is also true that there are still more questions than answers. If those language models continue to produce the same amount of content for websites as they are at the moment, will their training data be compromised? How will advertising adapt? How are these chatbots even monetisable?

So, the outcome of this particular lawsuit is up in the air and is likely to remain so for months. What is sure, though, is that 2024 will see the internet change in the most significant way since the advent of social media. 

A survey a day keeps ignorance away

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It is very easy to extrapolate from the ‘bubbles’ that we live in and assume that most of society thinks just like the people around you. We can mislead ourselves into believing we are witnessing objective reality from our subjective points of view. I have often thought about how I form my understanding of public opinion and sentiment in the two countries I have called home: the UK and Bahrain. Often, my understanding conforms with that of my friends and network. For example, my impression for a long time was that Rishi Sunak’s persona appeals less to the British public than the dry wit and humour of Boris Johnson. That may be stemming from the views of some of my British peers. Some of my other ‘international’ friends disagree, as they think the British public may respond better to the coherent and slick nature of Mr. Sunak. Still, all of us are basing our opinions on our impressions of our differing British friends.

Similarly, back in Bahrain, I have often thought that the public responds well to cosmopolitan parliamentarians, but other friends believe that the politicians that are divisive are actually more popular. Again, we are basing our conceptions off our own individual social circles, and perhaps the comments and engagement we witness on our social media feeds. 

This habit is clearly flawed, given one of the best ways of exploring public opinion is through science. Surveys and polls that ground themselves in the scientific method paint a different picture of society that is often overlooked by the general public. However, it is much easier to form our perspective from the experiences and opinions of our network, than it is to research the findings of surveys that we deem credible. 

Perhaps that is the problem: is trust in surveys low? Does the criticism of survey sampling methods and analytical models confuse us to think they are less credible than anecdotal evidence? I am not sure, but Pew Research Center asked that very same question: can we still trust polls? For good reason, they concluded yes, but they did acknowledge that polls have rightly come under scrutiny for having failed to predict the results of the consequential in the 2016 US Presidential Election and ‘Brexit’ Referendum.

With that said, the onus of popularizing surveys does not fall only on us, the consumers; it also falls on the producers of these surveys. Apart from a few well-known companies, such as YouGov, most polling organizations do not regularly release the results of their surveys to the general public. They are hidden behind pay walls and are often only accessed through contracts with those with heavy pockets.

It is about time for open survey results to become the norm. At the very least, if detailed analysis is deemed too valuable and time-consuming to share for free, then high-level summaries of the findings would be a step in the right direction.

Data points have social value, and though comparisons have been made between data with other valuable materials such gold and oil, the latter should not be treated as a commodity. Just like the landowners above oil wells received their share of the profits globally, the owners of datums should be able to extract value from the information gathered about them. That value could lie in the social good produced from data analysis. If shared appropriately, the ‘bubbles’ we find ourselves constrained within may well burst.

Moreover, given their social value, why are governments not doing more to improve access to survey data? Through financing via grants, and marketing via government open data portals, governments can play an integral part in providing clarity over the sentiments and opinions of the population on various issues. Furthermore, International organizations, could use their immense leverage over governments on matters of credibility and governance, to incentivize survey provision by ranking countries based on the availability of public opinion survey results. 

Perhaps the easiest solution to implement is for media organizations, the most accessible distributors of information, to commission surveys more regularly, and to purchase distribution rights from scientific papers and polling organizations. Understandably, the media tends to ‘self-censor’ when it comes to technical readings, as graphs or numbers may scare away readers, or bore them to another subscription. That is understandable, but if these media companies do not take a bet on even trying to pierce the bubbles each and every one of us exists within, then the future of surveys is insecure and our ability to garner more represnative data will remain limited. 

Individuals, governments, and companies can play their part to ensure our societies understand the distribution of opinions across the communities they care about and are part of. It is essential we are aware of the of the diversity around us; surveys help us do just that.