Saturday 4th April 2026
Blog Page 483

Society Spotlight: The 93% Club

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In 2020, the University of Oxford admitted a record-high number of state-educated students. Statistics were updated, articles were written about Oxford’s commitment to access, and things were finally looking up for those looking to break into an institution notorious for elitism. Two thirds of the University’s population are now state-educated – a win that feels a little hollow with the knowledge that a staggering 93% of the UK population went to state school. Decades of underrepresentation within tertiary education can be seen reflected in society today, as the state educated make up only 33% of judges, 49% of journalists, 39% of doctors and 8 out of 26 cabinet members in the UK*.

Education has long been hailed as ‘the great equaliser’. I believe this to be true in theory, which is why it’s imperfect application to reality is so frustrating. Never have the inequalities within education in the UK been felt quite so keenly as in the year 2020. In a remote Trinity term where students were forced to digitally stream lectures and communicate virtually with professors due to the COVID-19 pandemic, the disparities between each individual student’s learning conditions widened from a gap to a gulf. In a normal term, all students were receiving the same time and quality of teaching from the same professors; however, once they are removed from the university amenities that they were paying £9000 for, and made to learn from home, students can find themselves in vastly different studying environments. The lucky ones – who have fast internet speed, a quiet place to study, a big desk, a well-stocked home library, disposable income to buy the obscure reading list, university-educated parents and free time to study instead of work – will surely come out better than their peers.

A virtual Trinity accentuated the problems that many low-income students face every Oxford vacation. This isn’t the only educational inequality that’s been magnified this year; 2020 was also witness to the huge exam results fiasco. High school students were unable to take their exams, and instead given results allegedly based on the exam performance of their school in previous years. Already flawed to begin with, the system cracked entirely when straight-A students from the most deprived schools in the country received C grades and Fails, while private school students – miraculously – were relatively unaffected. After media backlash and protests, the problem was eventually rectified by giving students their predicted grades. Despite the grade changes, the ordeal highlighted the uncomfortable truth that all of us are far too aware of – if private schools didn’t give you an advantage, why would you pay for them?

This is why we need the 93% Club, a student-run society dedicated to improving the experience of state-educated students at university. The club was first set up in 2016 by state-schooled student Sophie Pender, who felt estranged from the ultra-privileged culture that she found herself surrounded by at Bristol University. Sophie’s story resonated with students across the country, and now, at time of writing, there are twenty 93% Clubs working in different universities across the UK.

As to the place of the 93% Club at Oxford, one only needs to look at the experience of applying to Oxbridge from a state school. Many schools like my own don’t offer the Oxbridge admissions tests. This meant that the hopeful applicants from our school (there were six of us that year – the biggest cohort they’d ever had) had to troop down to the local private school, to sit the test amongst the blazered shoulders of our private school peers, who had been doing practice tests with their teachers all week. The imposter syndrome has set in before you’ve even arrived. Once accepted into Oxford, the feeling intensifies as you prepare for your second Oxbridge entrance exam, this one posed by fellow students in Fresher’s week: “What school did you go to?” I remember feeling very surprised that Londoners would be intimately familiar with the inner-city state comprehensives of Glasgow, until I began to realise that they weren’t asking me where I was from and were instead assessing wealth, status and connections.

Now, most privately educated students at Oxford are lovely people who aren’t concerned with your background or education. But it’s hard not to develop a chip on your shoulder when you remember the embarrassment you felt when someone in a velvet suit, with a disgusted curl of their lip, tells you that you’re using the wrong cutlery at a formal dinner. Someone else at the table next to you is talking about caviar, to a jubilant chorus of ‘Rahhh!’. And you’re left sitting there thinking – how the fuck am I somewhere where everyone has an opinion on caviar?

There is a legitimate confidence that develops at private school that carries through to Oxford. Students who have come from elite private schools transition seamlessly into the high-falutin Oxford lifestyle, intimate with wining, dining, schmoozing, boozing, networking, white tie, black tie and ball gowns… Some of them will even go on to accept invites into secret private-school-only drinking societies, where they can socialise among an exclusive elite. Even the average private schooler from a more ordinary background tends to arrive at Oxford with a comfortable network of people that they know from school. The typical state schooler is not guaranteed this automatic network and is left to navigate the alien Oxford world on their own. This is what The 93% Club is for – we’re forming our own network so that we can decode the world around us together.

As well as social imposter syndrome, a state schooler is likely to face academic imposter syndrome whilst at Oxford. Many courses at Oxford, particularly the humanities, are still actively catered towards a student who has come through the private school system. For example, it is an institutional expectation for humanities students to arrive with some knowledge in Latin and French, and to have sound Biblical and classical literacy. State students who have come from schools that don’t have art libraries or specialist books or museums, or schools that simply didn’t offer Latin or Classics, cannot hope to pick up textual subtleties with ease in the way that tutors have become accustomed to expect. This is before we even get into the advantages that tiny class sizes, individualized learning approaches and specialist teachers can give you… our offer letters may look the same, but we have not arrived at Oxford on an equal playing field.

It’s not a coincidence that state school students always struggle in their first term compared to their private school peers. In my first hellish Michaelmas at Oxford, a peer who I did French with once asked me why it mattered that they went to private school. It mattered because they were taught French in a Francophone boarding school. It mattered because I was taught French by a weary Irishman, who as head of the languages department, was more often than not forced to run out of class to discipline kids trying to tip the vending machines over, or who were taking pingers in the school alleyways. He was a brilliant teacher who wanted us to do well – but the school was underfunded and understaffed, like so many other state schools up and down the country. Underfunding and understaffing issues at state schools can also mean that academic students who are guaranteed a solid pass in their exams are often overlooked by their school in order to prioritise struggling students. Although a good allocation of school resources, B-grade students are not pushed into getting A’s, students are not taught to expand beyond the set curriculum, and learning disabilities often go undiagnosed.

The 93% Club of course, in its essence, cannot fix a deeply segregated system of prejudice and bias, or decades of educational inequalities. But it can provide a space to reach out to other students who operate the same limbo as you. One foot in Oxford, one foot back home, not quite belonging in either. This is why this network is so important. COVID-19 permitting, maybe we’ll all go for drinks together soon to swap stories. Or maybe, we’ll do it state-school style, and drink some cans in the park.

In the academic year 2020-2021, as well as providing a network, The 93% Club Oxford will be providing soft-skill workshops, panel discussions and application workshops for state-educated students, to help them learn skills and make contacts that they may not have picked up at school.

*(statistics sourced from The 93% Club Edinburgh)

The return of live music: Nick Cave’s ‘Idiot Prayer’

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Of the many cultural events 2020 has cruelly snatched away from us, the loss of live music is perhaps the one that has hit the hardest. To add to the emotional gut-punch of cancelled concerts and festivals, financial losses across the music industry running into the billions have wiped out sources of income for many acts and pushed smaller venues to the brink.

There have so far been many attempts to fill the void, from pre-recorded stage shows by the likes of Megan thee Stallion to artists such as Waxahatchee livestreaming casual performances on a regular basis, and even the first ‘socially-distanced’ gigs trialled at Newcastle’s Gosforth Park, opened by Sam Fender in August. The majority of these ‘live’ gigs have attempted to recreate the experience and sensation of attending a concert as best they can, with varying degrees of success.

This makes Idiot Prayer, a performance by venerable Australian artist Nick Cave, recorded in June at London’s Alexandra Palace and streamed to fans worldwide in late July, a striking exception. Rather than attempting to recreate any sense of physical connection or intimacy, Cave instead embraces the feelings of loneliness and isolation that have become universal during the pandemic – something that becomes immediately apparent from the first few frames of the livestream, as he walks through an empty, cavernous Ally Pally and the title card appears on the screen: “Nick Cave, Alone at Alexandra Palace”.

Everything about the film and performance is designed to reinforce this sense of aloneness. Other than reciting a short poem at the start, Cave says nothing throughout the entire show, and does away with his usually-elaborate staging in favour of the minimalist direction and lighting of Oscar-nominated cinematographer Robbie Ryan. All the songs are announced by title card, without preamble or fanfare, and the camera focuses exclusively on close-ups of Cave’s face or wide shots of the piano in the middle of the disconcertingly vast concert hall. Apart from the music, the only sounds are his footsteps, echoing throughout the eerie silence as he walks away from the piano once it’s all over.

The songs themselves reflect the almost oppressive isolation of the surroundings. The 21-song setlist spans the full length of Cave’s career, including tracks from his albums with supporting band The Bad Seeds and his side-projects, but it draws especially from 1997’s The Boatman’s Call, an album made in the shadow of his break-up with PJ Harvey that is rich with the senses of absence and catastrophic loss, emotions all too familiar in a year that has been at times a seemingly unending stream of tragedies and setbacks.

Moreover, each song is given a particularly stripped-back, minimalist rendition. Most were developed over the course of Cave’s recent Conversations tour, where he juxtaposed piano arrangements of his songs with audience Q&As and remarkably candid discussions of the passing of his son Arthur in 2015. The sense of intimacy and vulnerability which defined that tour is ever-present here, especially through Cave’s voice, which, uniquely for an artist of his age, seems to get richer as he grows older, moving between astonishing tenderness on ‘Man in the Moon’ (from 2007’s Grinderman) and new track ‘Euthanasia’ to a barely-contained snarl on iconic Bad Seeds cut ‘The Mercy Seat.’

Cave makes it all seem effortless, which is impressive considering that at first glance there seems no way that these songs, taken from across a 40-year career and ranging dramatically in style and subject, should work alongside each other. ‘Palaces of Montezuma’, an upbeat and faintly satirical love song in which Cave makes increasingly extravagant and ridiculous declarations of love, is immediately followed by ‘Girl in Amber’, a song so drenched in grief and heartbreak it sounds in danger of collapsing in on itself; the intensity and skill of Cave’s performance is such that they flow together with ease.       

The livestream itself was impressively smooth, whilst the one-off nature of the performance (and the fact that you couldn’t pause it) gave a sense of exclusivity that made the entire thing feel more like an actual concert. Despite the success of Idiot Prayer, however, it’s hard to see this particular format really providing a replacement for live in-person concerts in the age of Covid. Idiot Prayer works so well because it doesn’t try to recreate or replace what has been lost, but instead leans into the oppressive silence and pervasive grief of the current environment and creates something that is uniquely of its time. It’s difficult to see an artist other than Nick Cave even attempting to pull something like this off, and there are certainly few others who could summon the aura of strangeness and sense of distance that makes this performance so affecting.

In a year when everyone seems to be grieving for something, there is no one who understands that and gives voice to it better than Cave. Equally, however, there are few others with a better understanding of the power of the universality of grief and the inevitability of hope. It’s not surprising that the final song Cave chooses to play, before he gets up from the piano and walks out of shot, is ‘Galleon Ship’, a song from his most recent album, Ghosteen, which is about exactly that. ‘For we are not alone, it seems/So many riders in the sky’, Cave sings, and, amidst the horrors and tragedies of 2020, it serves as a welcome reminder that we are truly not alone in this, and that there is light at the end of the tunnel.       

2020: A Year of Success for Oxford Chess

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The Oxford University Chess Club has won the 2019-20 ‘Club of the Year’ award from the English Chess Federation (ECF). Presented by the national governing body for chess and open to all clubs across the country, it is the first time that Oxford University has won the award, capping off a year filled with success on and off the board.

The chess club is one of the oldest societies at the university, founded in 1869. Several Grandmasters have been members, including the four-time Women’s World Chess Champion, Hou Yifan, in 2018-19. The club fields teams in local, national, and international competitions, holds popular social events, and teaches chess for all abilities. Pre-lockdown, you might have spotted the first team playing a Thursday evening home match at Balliol, a beginners’ lesson taking place in Christ Church on Friday afternoon, or players packed into the Kings Arms for casual games in eighth week. During the lockdown, chess has thrived online. The club held tournaments over the web, conducted lessons on Zoom, and faced teams in competitive matches from Dundee to Hawaii.

Much of this year’s success has come in competitive chess. Chess matches range from a few minutes long (think of the old Red Bull advert) to several hours – marathons of concentration. Strengthened by the arrivals of master-level freshers Victor Vasiesiu (Hertford) and Akshaya Kalaiyalahan (Regent’s Park), a seasoned first team became formidable. The club’s first accolades came in autumn 2019, when a strong line-up of Daniel Abbas (Magdalen), Filip Mihov (Balliol), and Jessica Wen (Queen’s) finished in the top 10 at an invitational universities’ tournament held in Nankai, China. Its biggest triumph, came in 2020, when the first team won the British Universities Chess Association (BUCA) Championships for the first time since 2011 to become national champions, achieving a perfect score. The first, second and third teams each placed top in their respective divisions in the Oxfordshire league – the first team had an unbeaten record, pipping arch-rivals Witney to the title. Stalwart former president Joris Gerlagh (Univ) was voted best player in the league. While some university sports clubs have glamorous summer tours and play in front of packed crowds, some of the chess club’s hardest-fought victories came on a cold Monday night at a church hall in Cowley and in the conference rooms at the Birmingham Airport Holiday Inn.

The ECF’s recognition also cited all the other initiatives the club has put on throughout the year. Pioneered by this year’s president, Aloysius Lip (Christ Church), the club arranged simultaneous exhibitions with Grandmasters Hou Yifan and Keith Arkell, drawing players from all over Oxfordshire. Its social events frequently attracted large crowds of 40-50 – at one pub night, former president Andrew Rogozinski accepted a challenge from a passer-by, played blindfolded, and won. The club also started new annual matches with Imperial, LSE, and Warwick, and set up new teaching partnerships with local schools. Its efforts have continued throughout the lockdown. Victor Vasiesiu’s lessons continued over Zoom, and were broadcasted on YouTube. Only last week, the club held a “Chess Week” of fun chess variants, organised in collaboration with the Invariants, Oxford’s maths society. The author thought he’d try his hand at ‘Atomic Chess’, but came third-bottom. In all, there are more opportunities than ever before to play chess in Oxford.

Reflecting on the last year, Aloysius Lip commented, “The whole committee and I have put in a tremendous effort over the past twelve months, so it really is gratifying to be recognised by our national organisation – basically the highest we can go. We’ll keep maintaining standards to make chess – the most inclusive sport – fun for the uni.”

It was not all success this year – Oxford lost the 2020 Varsity Match to Cambridge, relinquishing the title won in 2017 and defended the following two years. And unlike their Cambridge counterparts, who receive a half-blue for their efforts, Oxford’s best chess players are still unrecognised by the Blues Committee. But it has been a historic year for chess players at Oxford University, and for now, the nation’s highest award for a chess club will have to do.

Hope in the Dark: The ‘New World’ Playlist

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2020 has not lived up to the Roaring Twenties revival we all hoped for. It has been rough. And the theatre industry has been hit significantly, with many closures and redundancies threatened. In a situation in which things will likely get worse before they get better, we could all do with a bit of escape and a bit of hope. This is what I’ve aimed to curate in this “New World” playlist. And no, sorry, Aladdin’s “A Whole New World” won’t make an appearance. These theatre tunes are more than romantic longing; they’re about the dream of a better world on the other side of tragedy, oppression, and even war. They show that even in the darkest of times, something better is waiting – somehow, someday, somewhere – on the other side.

“Somewhere”, West Side Story

West Side Story transplants the well-known tragedy of Romeo and Juliet into 20th century New York City, replacing family feuds with the racial tensions between the Puerto Rican “Sharks” and the WASP “Jets”. The song’s message of love, forgiveness, and hope transgresses the immediate racial context, and has struck a chord with all those longing for an accepting and harmonious future. For these reasons, “Somewhere” has found itself a poignant home in the LGTBQ+ community, featuring regularly at Pride events, and an interesting account of the queer history behind West Side Story can be found in David Speakman’s genremag.com article. Quite simply, “Somewhere” is beautiful. Just beautiful. Both in its lyrics and its music. Cynthia Erivo gives the best vocal performance of it I’ve come across (and a sweeping orchestral accompaniment) but for a real punch to the tear-ducts check out Titus Burgess’ rendition in tribute to the Pulse, Orlando victims. West Side Story will make its cinematic revival later this year, adapted by Steven Spielberg and Tony Kushner.

“I Know Where I’ve Been”, Hairspray

With the struggles faced in Hairspray’s 1960s Baltimore repeating in the 21st century, it is easy to sink into the feeling that we have made too few steps far too slowly. Where my generation has George Floyd, my mother’s had Stephen Lawrence – it has happened before and will happen again. “I Know Where I’ve Been” takes this pain, and the feeling of unending struggle, and creates a passionate rally for the new generation to not give up and to not lose hope. It’s a perfect listen for this Black History Month. Jennifer Hudson’s version washes clean all the stains left from Cats (and is that the little girl from Us??).

“The Last Night of the World”, Miss Saigon

Set at the end of the Vietnam war, Miss Saigon is full of characters dreaming of escape into a new world. Whilst “The Movie in My Mind” and “The American Dream” are both 10/10 pieces, “The Last Night of the World” takes its place on this list for its optimism. It is a song that makes you feel in love. Just like West Side Story’s “Tonight”, it captures the overwhelming romance of one perfect, unending night; we know it is set for tragedy but we’re happy to indulge in it until then. It features one of the best saxophone solos you’ll hear in a musical: best enjoyed at night, staring out your bedroom window at the moon. When the world’s falling apart in front of you… have a (socially distanced) snog and a dance. The best version is the 2014 cast recording with Eva Noblezada and Alistair Brammer but, in all seriousness, treat yourself to an evening in and watch the full 25th anniversary recording. It’s epic and intense and a flawless production. (Better than Les Mis. Just saying). 

“I’m Still Here”, Follies

Set in the ruins of a closing theatre, the National Theatre’s sold-out Follies revival in 2017 now seems tragically ahead of its time. Ok, not quite a “New World” here, but “I’m Still Here” is perfect for this moment. It’s a song about living; seeing everything come and go; about struggling and surviving, and staying standing throughout it all. Though many of the references may be lost to our generation, its message of perseverance and enjoying the whole wild ride of it translates effortlessly. 

These songs give just a slither of the power theatre has for providing escapism, entertainment, and hope. Whilst the likes of these large-scale musical theatre pieces may be some of the last to return to our stages, there is plenty of new and adaptive creativity emerging to fill the void. Theatre is currently in a dire situation, and it needs all our support: donations, bums in seats, box office sales. Things will get better, but for now we must all do what we can.

Check out Sam’s playlist on Cherwell Spotify (@cherwellmusic)

University testing service reports 61 Covid-19 cases in Freshers’ Week

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Oxford University’s testing service has confirmed 61 positive tests for Covid-19 in Freshers’ Week (3-9 October). This brings the total number of positive tests since August 20 to 91. In total, there have been 1631 tests since the introduction of the service by the University.

In August, the University launched its COVID-19 testing service for all staff and students. A whitepaper published by the University states that after a booking is made, “the individual gets a timed appointment and is swabbed by a healthcare worker in the pod.” However, several students have told Cherwell that they had to self-swab when getting tested. One anonymous student said: “The person working there does their best to explain it to you but especially with the nasal swab everyone has a natural reaction not to do the swab properly because it is quite unpleasant.”

While the University’s whitepaper notes that “[testing] may also be conducted via self-swabbing or supervised self-swabbing”, it reports a false negative rate (the probability that a test shows negative when a patient has the virus) “possibly of the order of 20%” due to incorrect technique used for swabbing and low viral load in asymptomatic patients. It is therefore likely that the numbers reported by the University’s testing service are underestimated.

The University’s testing Status and Response website also states that the figures released do not include positive test results received outside of the University testing service. It notes further that “due to the time interval between a test being done and the result becoming available, it is expected that there will be a mismatch between actual results and those confirmed to us on any given day”.

Current University guidance is that students and staff should not get tested unless they have been asked to or they display symptoms of Covid-19. The University’s whitepaper states that “one of the challenges the University faces is staff and students with no COVID-19 symptoms asking for tests unnecessarily”. The University of Cambridge, whose collegiate system mirrors that of Oxford, have set up a testing pod in the city for symptomatic cases, but have recently announced they will test all asymptomatic students in colleges.

The numbers this week follow Oxford Brookes University, which has been back since September, confirming 98 positive tests in the week leading up to October 2. Oxford Brookes University said “the majority” of those cases had been “traced back to social gatherings”. In a statement sent to councillors seen by the BBC, the University said it had issued about 150 fixed penalties to students “for breaches within halls of residences” since 12 September.

This week, several colleges have reported social gatherings of students that violated government and university guidance. St. Catherine’s College recently announced it would introduce body cameras for Junior Deans and porters to wear in order to record criminal behaviour. Several other colleges have cancelled events or closed JCRs.

On Thursday, Balliol College’s JCR committee cancelled events in the JCR during Freshers’ Week. In a post to the JCR’s Facebook group, Balliol’s JCR Vice President said: “It is impossible for us to enforce the regulations as we have been told we have to by certain members of college staff.” On the same day, Keble College’s Decanal team sent an email to all students, reminding them of “the absolute necessity of following the simple rules on social distancing and Covid policy in College”.

An email that was sent out to all Magdalen College students, stressed “just how lenient Magdalen are currently being relative to other colleges,” but also noted that “there is significant pressure from the central University to tighten our regulations, and limit interaction far more”. Magdalen and Brasenose are currently the only colleges to allow guests into College.

The University has implemented a four-stage emergency response, depending on how wide the spread of Covid-19 is. The current status is Stage 2, which allows the University to operate “in line with social distancing restrictions with as full a student cohort as possible on site”, with teaching and assessment taking place “with the optimum combination of in-person teaching and online learning”. A Stage 3 response would imply “no public access to the University or College buildings” and “gatherings for staff and students only permitted where essential for teaching and assessment to take place”.

Six of the best: live albums

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With the absence of ordinary gigs from our venues seeming certain to continue, our focus this week is on finding other ways to get your fix of live music: if you’re looking for instant access to the auditory sensations of an in-person concert, turning the lights down low in your bedroom and sticking a live album on your headphones is a decent alternative to the real thing. What’s more, this way you might get the live experience of favourite artists, past and present, who you just wouldn’t get the chance to see otherwise:

  1. Portishead – Roseland NYC Live (1998)

The eerie atmospherics, weird instrumentation, and stunning arrangement skills of trip-hop greats Portishead (backed by a full orchestra) are all on display in this live recording from New York’s Roseland Ballroom. Geoff Barrow’s impulsive DJing is exquisite and Beth Gibbons’ voice is as chilling as ever. All together now: “give me a reaaaason to love you…”

  1. Beyoncé – Homecoming (2019)

Released alongside the Netflix concert film of the same title, this live album only serves as further proof of Queen B’s status as the outstanding modern pop artist. Homecoming is a testament to and celebration of black culture, channelling RnB and hip-hop tropes, a brass band arrangement, and a lyrical focus on female empowerment into a sensational two-hour set.

  1. Tony Allen – Live (2004)

Perhaps the greatest drummer of all time, Tony Allen was performing at the peak of his powers right up until his death earlier this year. While the Nigerian featured heavily on Fela Kuti and Ginger Baker’s legendary 1971 live album, released at the peak of the afrobeat movement, this compilation of more recent live cuts is delightful. ‘Black Voices’ is a funky, swaggering, and pertinent highlight.

  1. IDLES – A Beautiful Thing: Idles Live at le Bataclan (2019)

Bristol punks IDLES truly do offer the best live show available right now. While, for the moment, we are unable to experience the pure joy of their sweaty, giddy moshpit, this 2019 recording faithfully exhibits the band’s double threat of visceral sound and heartfelt message. Joe Talbot’s ever-earnest between-song chat deserves a mention too.

  1. Aretha Franklin – Amazing Grace (1972)

Still the best selling Aretha album of all time, Amazing Grace was recorded with choral accompaniment at the New Temple Missionary Baptist Church in Los Angeles. The subject of a 2018 documentary/concert film (which Ms Franklin herself opposed in a legal battle), this legendary live performance remains best experienced through the 1999 remaster, which showcases the soul icon’s rousing, spellbinding voice. Beyoncé’s Homecoming is unlikely to have existed had Aretha not set such a precedent 47 years earlier.

  1. The Smiths – Hatful of Hollow (1984)

Although technically a compilation, rather than a live album, this release brings together 16 of the best live takes ever recorded by Johnny Marr and Co.. John Peel’s Radio 1 sessions tended to result in studio magic, and this is no exception: the renditions of ‘This Charming Man’ and ‘Still Ill’ included on Hatful of Hollow are up there with the classic originals.

Listen to selected songs from Fred’s chosen live albums below:

Freshers’ Flu – Why My Mum Invented COVID

I got the talk today. You know the one. The birds and the bees. Or, in this case, the singular bird who did not interact with any bees in any other than a friendly manner until the said bird and a very well educated, hard-working, thoroughly cultured, preferably Sri Lankan, highly ambitious, respectful-to-their-elders bee were united in eternal matrimony. I admit, the metaphor got away from me a little. 

Coconut oil being massaged into my hair, coriander boiling on the hob, the announcement caught me a bit off guard. Imagine a slight Sri Lankan accent and a stern motherly voice. “Better not to be doing the adult things.” But maybe this would be better with a little context. 

Two cultures, both alike in dignity

In times of (un)fair Corona, where we lay our scene

From ancient tradition one plans to be set free

where alcohol makes the liver unclean

From forth the fatal minds of these two foes

Parents worry they’ll lose the apple of their eye;

with misadventures and revealing clothes

Do with Fresher’s Week, her dignity will die.


All caught up? Okay, so in terms of clarity and good exposition, it wasn’t the best way to go, but come on, 10 points for style right? Thank you Mr Shakespeare. 

Anyway, in brief:

Parents live in Sri Lanka.

Move to England in 2002, armed, already with 2 kids.

Parents have a third child – me. The only one to be born in Britain so they aptly call me Brittany, thrusting that western birth on me like a tattoo. 

They’re living the dream: 3 girls, all hard-working, kind and all that jazz (I’ll stop tooting my horn now don’t worry). They send all 3 to an all-girls Grammar School.

Oldest daughter makes it through school, no major drama and woohoo the family has a pharmacist!

Middle daughter races through, acing it, no major drama again and whoop whoop Oxford Medic, hello!

Final daughter.

Aces GCSEs, and somewhere between the summer of year 11 and 12, hello hormones, teen angst and the sudden desire to live a little. I don’t want to bore you so I’ll whiz you through the details, crash-course-style. And don’t think I’m proud of any of this – it was all 100% sneaky, 100% immature and 10000% stupid. So brace yourself.

Goes on a residential, meet some boys (gasp!), makes friends, realises she likes one of them as a little more than a friend and ‘Trick or Treat!’ it’s Halloween. Halloween party with the boys? Yes Please! Parents would never allow it, so of course, I lie, say I’m at a friend’s sleepover miles away to where I actually am, get myself some alcohol (Smirnoff big up), but not before discussing the transaction loudly in a cafe, and go to the middle of nowhere for the night of a lifetime. 


After being overheard by my parents’ friend – a policeman, no less – discussing Vodka – my parents are on the prowl, finding me at a boy’s house, drunk, and dressed like a spooky Halloween skeleton. Fast-forward past the secret boyfriend and a ‘suggested’ break-up by the parents, 2 years of being as good as gold, honest and true and here we are. 


Freshers. 

Artwork by Rachel Jung.


Anti-lockdown protest takes place in Oxford

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Anti-lockdown protests took place in Oxford’s Bonn Square at 12pm today, organised by Piers Corbyn’s group Stop New Normal.

The event, called the Oxford Peaceful Political Rally, aimed to protest the extension of the Coronavirus Act and the presence of police at their events.

Signs protesters held included lines such as “This is now tyranny”, urging the government to “copy Sweden”, and “Covid-19 equals control”, leading to “Covid1984”. One sign compared current restrictions to the Nazi government.

At the event, one speaker referred to the country’s current coronavirus restrictions as “arbitrary” and “disproportionate”, continuing: “My forefathers died in the First and Second World War, so I can enjoy the very freedoms I have today. I will not give away my freedoms.”

Organised speakers included Piers Corbyn, Jeremy Corbyn’s brother who has previously described coronavirus as a “hoax” and referred to climate change as “nonsense”, and Geza Tarjanyi, an anti-fracking protestor.

The event was advertised by Stop New Normal on their website. It said: “Join Piers Corbyn in a peaceful political rally protesting about the extension of the Coronavirus act and ‘Special Powers’ police attacks on peaceful protests.”

Stop New Normal describes itself on its website as: “A political movement campaigning to stop parliament renewing the Covid-19 oppressive legislation. We are fighting against the government’s Covid policies which cause illness and death – and fighting for action to cut claimed virus illness and save lives”.

Their aims include stopping social distancing, test and trace, and the obligatory wearing of masks. Additionally, the group wish to end investigations into a potential coronavirus vaccination and to “take down 5G”. There were anti-vaccination placards at the protest.

Their website also includes a plea to donate to Piers Corbyn as he appeals a £10,000 fine – given as a result of the anti-lockdown protest held at Trafalgar Square on 29th August 2020.

Image Credit: Millie Wood.

Professors accused of transphobia lead women’s equality programme

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The Oxford Martin School has appointed the Professor of Modern History Selina Todd to lead the new programme ‘Women’s Equality and Inequality’. Along with co-lead Professor Senia Paseta, she will “identify drivers of individual upward mobility and of generational uplift that can help to eradicate educational and economic inequality for women around the world”, according to a statement from St Hilda’s College.

Professor Todd, whose writing includes research on working-class history, feminism, and inequality, has previously been accused of transphobia due to her self-described ‘gender-critical’ beliefs and is a “strong supporter” of Women’s Place UK, an organisation criticised by trans-rights groups. 

Professor Todd and Professor Paseta both co-signed a 2018 letter to the Labour Party regarding the Party’s inclusion of transgender women within their all-women shortlists. The letter claimed that this stance was “asserting gender identity over sex-based exemptions” and did not uphold women’s rights to “sex-segregated spaces”. The letter continued that “we will not tolerate women being slurred with the misogynist insult TERF [Trans-Exclusionary Radical Feminist] or being called ‘cis’ against their will”.

An open letter to the University, signed by 400 students in its first 48 hours, speaks out against “two professors with a history of transphobia” leading the Oxford Martin School programme. It asks Todd and Paseta to “publicly commit to including trans women in their research.”

The open letter states: “We also fear the beliefs of these professors will negatively affect the scope and quality of research with which they are associated, resulting in the minimisation or neglecting of trans related issues.”

It further states that the appointment of Todd and Paseta “reinforce the feeling amongst trans students that the University does not care about their wellbeing”.

A spokesperson for the Oxford SU LGBTQ Campaign told Cherwell: “Oxford SU LGBTQ+ Campaign of course welcomes the foundation of this programme, but finds the involvement of Selina Todd, whose anti-trans beliefs and activism is well-known, to a project that aims to help ‘eradicate educational and economic inequality for women around the world’ very troubling.

“When trans women of colour and those in the global south experience vastly higher levels of unemployment and poverty, this raises serious questions about the project’s commitment to uplifting all women rather than a select few.”

Selina Todd was disinvited from the Oxford International Women’s Festival in March on the basis of her views of gender identity. The Oxford University History Faculty criticised the decision, saying they could not “accepted the exclusion” of Selina Todd and that “it is not always straightforward to balance the rights of women with the rights of trans people”. Prior to Todd’s invitation being withdrawn, feminist writer Lola Olufemi dropped out of the event, mentioning Todd’s views on transgender women as a reason.

Todd has also supported Woman’s Place UK, an organisation which campaigns for sex-segregated spaces and promotes discussion about the impact of the Gender Recognition Act on cis women. The group has been criticised by the Labour Campaign for Trans Rights, who called the group a “trans-exclusionary hate group”. The campaign’s pledges labelling WPUK as such were signed by politicians including Lisa Nandy, Rebecca Long-Bailey, Dawn Butler, and Emily Thornberry.

The Oxford LGBTQ Student Union Campaign have previously described Woman’s Place UK  as “transphobic”, arguing that they are “threatening trans people’s rights and safety”.

In a statement published by St Hilda’s College, Professor Todd said about the Oxford Martin School research: “We’re very proud that Oxford will be home to this new research programme on women’s equality and inequality. The idea for this initiative grew in part from a St Hilda’s research initiative called ‘Mind the Gap’, which brought together academics at all levels, including students, to discuss shared concerns in the research of inequality. That cross-disciplinary focus will also characterise this new research programme in Oxford’s Martin School.”

Professor Paseta said: “We are delighted to launch the Oxford Martin Programme on Women’s Equality and Inequality. We agree with Hilary Rodham Clinton that ‘women’s rights is the unfinished business of the 21st century’. Our research on women’s social mobility aims to contribute to the eradication of educational and economic inequality for women around the world.”

Neither Professor Todd or Professor Paseta responded to requests for comment. 

Image Credit: David Levene and Eyevine.

‘Crash Map’ reveals Oxford’s most dangerous cycling roads

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According to the Crash Map, an online tool for tracking road accidents, there were 111 ‘serious’ pedal-cycle accidents in Oxford between 2015-2019, two of which resulted in fatalities. 

The Plain roundabout, situated at the junction of Magdalen Bridge, Cowley Road and Iffley Road, saw the highest concentration of bicycle accidents, with 55 collisions over the last five years.

This suggests that roundabout’s safety has worsened since 2017, when the Plain roundabout was ranked the second most dangerous junction for cyclists in the UK. The 2017 ranking was based on data from 2009-2015, a period which saw 45 collisions at the roundabout – ten fewer than the period between 2015-2019.

Following closely behind, Iffley Road and Cowley Road emerged as the riskiest cycle routes, with 52 and 47 bicycle accidents, respectively. The route spanning Magdalen bridge and the High Street came in fourth, with 44 total accidents, four of which were ‘serious’. Headington Road and Abingdon Road were the site of over 30 accidents each.

Richard Owen, Director of Road Safety Analysis Limited, first developed Crash Map in 2010 with the intention of making road safety data from the DfT more accessible to the public.

When asked about how Oxford’s roads could be made safer for cyclists, Owen told Cherwell: “The biggest one is 20mph [speed limits] in urban areas… But then also there is compliance – you need to make sure that roads are designed so that cars can’t exceed those speed limits. Beyond that, if you’re looking at longer distance, fast roads, then there needs to be a segregated cycleway. Restrict mixed-use traffic on these types of roads.” 

Image credit: Tejvan Pettinger/ Flickr.