Wednesday, May 14, 2025
Blog Page 58

2024 was for the girls: The rapid success of female artists

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The last nine months of pop can perhaps be summed up in one word: ‘Femininomenon’. The title of Chappell Roan’s 2023 hit, a portmanteau of ‘feminine’ and ‘phenomenon’, embodies a spirit of unapologetic female independence: one that has dominated much of the music of 2024. Sabrina Carpenter’s hit single ‘Espresso’ spent five weeks at the top of the UK Singles Chart, and the release of Taylor Swift’s new album, The Tortured Poets Department, made headlines worldwide. The ‘pop girls’ even infiltrated political campaigns as Kamala Harris famously became the first presidential candidate to be declared a ‘brat’. 

The first of these hits was an album released in 2023, but one that rose to prominence in 2024: Chappell Roan’s debut album, The Rise and Fall of a Midwest Princess. Defined by a thematic interest in queer identity and culture, Roan takes the listener on a journey of love, loss, and self-acceptance. Her most notable release, ‘Good Luck, Babe!’ topped charts worldwide, and was nominated for ‘Song of the Summer’ at the 2024 VMAs. With lyrics exploring the complexities of ‘comphet’ (compulsory heterosexuality), and self-denial – ‘shoot another shot, try to stop the feeling’ – Roan brought the nuances of queer relationships to the forefront of mainstream art. The singer also attracted attention through her homage to drag culture, clear in her eye-catching approach to makeup and staging. In an interview with BBC Radio One, she aligned her appearance with the ‘outrageous spectacle’ of drag queens, citing the ‘humour’ that connects a career in pop music to the experience of performing drag. From nearly giving up on her music career entirely to performing at the VMAs within a year,  Chappell Roan has finally received the success she has always deserved.

April 19th marked the release of the much-anticipated The Tortured Poets Department. Despite being released to a mixed critical reception, Taylor Swift’s eleventh album still attracted a record-breaking 1.8 billion streams in the week following its release. As the most awarded artist in MTV history, Taylor Swift continues to prove her place as one the leads of pop iconography: her Eras Tour was also one of the most anticipated events of 2024 for millions of fans worldwide.

The VMA’s ‘Song of the Year’, however, was claimed by Sabrina Carpenter’s ‘Espresso’, from her pop album Short ‘n Sweet. The star-studded cast of the album’s music videos, most famously Barry Keoghan (‘Please Please Please’) and Jenna Ortega (‘Taste’), further amplified Carpenter’s presence in the public eye. But Carpenter’s success, like Roan and Swift’s, was not achieved overnight. She had a long career in acting before moving into music in 2022. Having ended her summer success via her mashup VMAs performance, it is surely justified to deem Sabrina Carpenter as one of the key pop icons of the 2020s. 

Finally, the 7th of June 2024: the day the world was ‘bratified’. Though a previously well-established artist, Charli xcx relaunched herself into the public consciousness with brat. Her team’s innovative marketing style helped to propel the artist to number one on global charts. Her tribute to hyper-pop legend, Sophie, and discussions of being compared to other female artists also expressed a clear solidarity with women within the music industry.

From the EDM undertones of Charli xcx’s ‘Von Dutch’ to Chappell Roan’s virtuosic pop ballads, it is clear that there is no single way to create a hit. The fact that there is a growing space for new female sounds within the industry can surely provide an incentive for artistic risk taking: it seems that now more than ever, the music industry is rewarding artists who have developed and experimented with their craft over years. If there’s one thing we can learn from the careers of these exceptional female artists, then, it’s the importance of perseverance. Is it that sweet? I guess so.  

The office siren doesn’t exist

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What did you want to be when you grew up? An astronaut maybe, or a rockstar? A life-saving surgeon? You probably didn’t envision yourself working a 9-5 desk job. Do little girls dream in Excel spreadsheets?

When we think 9-5, we often think of gruelling, monotonous work. Answering emails, attending meetings: all to line a man’s pockets. Outside of the office, we’re subject to American Psycho-esque materialism and impersonal LinkedIn connections. In 2024, it seems that fashion has become an essential means of navigating a faceless, consumerist world. 

Enter the ‘office siren’. She’s chic, an undeniable ‘girlboss’, and is never seen without heels in the workplace. She is the latest iteration of womanhood to have her moment of internet fame.

Does the office siren exist in real life? In most cases, the answer is no. Sure, Linda from HR may rock a white YSL blouse and vintage Dior kitten heels, but this cyber-constructed identity is just that: entirely fabricated through the internet. What is most striking is the demographic of those participating in the trend: young women posturing as corporate professionals in a world that still denies them such opportunities. The glass ceiling  remains a material reality, with only 29% of managerial roles worldwide  being occupied by women in 2024. Even where women enter the corporate workplace, sexualisation is rife, and the HR-averse outfits worn in ‘office siren’ lookbooks certainly contribute to the proliferation of the male gaze.

However, it is crucial to note that for the most part, these outfits aren’t branded as work outfits, but rather as casualwear, constructed around an identity as an office siren. Time and time again, it is enough to appear online as the type of girl who would be a CEO, or read Sylvia Plath, or go to raves in Berlin. Perhaps part of the appeal is nostalgia bait – growing up we were presented with images of women in the fictional workplace, sporting high fashion with no regard for codes of conduct. Think The Devil Wears Prada. To me at least, this is what we crave. In a world where graduate employment prospects are plummeting, perhaps pretence is all we have left.

Much can be said about the patterns of consumption that go into becoming the office siren. The Shein micro-glasses and H&M pinstripe trousers that complete the look often rest upon the toil of exploited workers. This corporate façade comes at the expense of real, dehumanising labour. Ironically, in the attempt to survive a heartless, materialist world, the devastating impacts of fast fashion are only exacerbated.

Ultimately, however, a lack of authenticity is the reason the office siren look will never work for most people. If fashion is a mode of self-expression, then there is surely little to be gained from mindlessly mimicking internet trends. Besides, is there anything more stylish than being true to yourself? 

Oxford’s Alternotives take the Fringe

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This August, the Oxford Alternotives joined the ranks of Oxford performers heading to the Edinburgh Fringe. For our twelfth Fringe performance, we brought a BBC-featured acapella show to theSpace Triplex at 16:05, with hits for all ages from a Frozen mashup to Billie Eilish to Queen and much more.

Those were the lines diligently drilled into our heads as part of our ‘elevator pitch’, delivered to those wandering along the Royal Mile this summer – along with the occasional “Roll up! Roll up!” (declared theatrically whilst balancing on a bollard) and “Have you seen Pitch Perfect?” as a last resort. These marketing strategies, on top of some impromptu busking, played a key role in the success of our run. The Fringe website states that selling 33% of tickets should be a ‘benchmark for success’ for performers, so it is fair to say that we were delighted at our final figures: 95% of tickets sold, with 6 of 8 shows sold out (which you might have guessed from the number of #soldoutselfies on our Instagram stories…)

However, creating a show that will “send you on your way humming with a smile on your face” (according to our professional reviewer) is no easy task, and preparation began early on. The executive team put in an incredible amount of work throughout the year; our co-presidents Augustine Luk and Liv Fisher led the project with passion and flair, designing our eye-catching flyer and supporting us throughout the year. Our musical director, Hattie Twigger-Ross, helped to bring all of our arrangements to life, and our welfare officer/secretary (otherwise known as ‘Dad of the Group’), Gianni Tam-McMillan, provided the organisational glue. 

There is no denying that taking a show to the Fringe is an expensive venture. All the proceeds from our concerts this year went towards funding the performance, with college art funds and a GoFundMe helping to ease the financial burden. These initiatives enabled us to make the Fringe a reality, supported by the kindness of all of our family and friends. The final touches for our show were perfected at our Fringe Boot Camp in Oxford just before we headed up to Edinburgh. It was much like the boot camp in Pitch Perfect 2, but without the drama, or the bear traps…

The team worked tirelessly to ensure that everything was ready far ahead of time: accommodation and venue were booked by January, our show was listed by February, and train tickets booked by May. Waking up at 6 a.m. to a Trainline cancellation alert promised to put a spanner in the works, but in true Alts spirit, we merrily boarded the next service and arrived only an hour late to Edinburgh station. 

Highlights from our time in Edinburgh must include when our show’s title became a little more real than expected; ‘Acapella Off the Rails’ became ‘Acapella Onto the Street’ when a city-wide power cut forced the cancellation of our first show. Nonetheless, we performed in our venue’s fire evacuation area to an incredible audience, prompting a headline feature for the Oxford Alternotives in a BBC article! We were also fortunate enough to be able to see all the other shows at our venue for free, enjoying everything from mind-reading lawyers to Elvis impersonators. We loved making connections with the other performers whilst we were there, and even organised an acapella social with another (fantastic) Oxford-based group, Out Of The Blue. 

However, if you asked any member what was most memorable about the Alternotives’ trip to Fringe, they would undoubtedly say the close bonds forged within the group; our sense of cohesion was strengthened immeasurably after two weeks together. On the evening of our last performance we embraced our inner tourists, climbed Arthur’s Seat, and shared a bottle of Prosecco at the summit, recounting our favourite moments of the run. Our experience of the Fringe is something that we will always treasure, and though we have said our goodbyes to departing members of the group, there are already plans underway for a Fringe 2024 reunion. I have no doubt that we will sing our Fringe classics together again soon.  

The art of rowing: In conversation with Emily Craig

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After a formidable finish in the Lightweight Women’s double sculls at the 2024 Paris Olympics in August, Team GB’s Emily Craig and Imogen Grant secured their places as the last Olympic champions in this event. Whilst Grant has now started working at the NHS, Craig is re-paddling into the art world. Cherwell caught up with the Olympic gold medallist Emily Craig just after the closing ceremony, discussing her art history degrees, netsuke, and rowing-life balance…

When did your rowing journey begin, and when did you start thinking of going into the art world?

They were pretty separate. My parents used to go to the British indoor rowing championships. When I was about twelve, they asked me, ‘‘do you want to give it a go?’’ I went along and somehow got a silver medal. So, I thought, maybe I could be good at this. Went down to my local club that summer, got in a boat and was like– I wanted to do this in the Olympics.

But the pragmatic side of me, thankfully, as I got older, thought it was always important for me to not have either one or the other. Passion for art probably came from family holidays, particularly Barcelona. Dalí especially is obviously technical and skilful, but also weird enough to capture your imagination and be interesting when you’re a child.

Apollo magazine has said this about you ‘Do an art degree and you might just end up a sporting hero. Does this ring true for you?

I was quite lucky; the Courtauld is a great place to study, and it was also part of the University of London, so I could join their boat club. I was very determined that one wouldn’t affect the other. I was very, very organised. As soon as lectures finished, and it was the period between March and exams, I had already started revising. So, when I get to these exams and I’m racing, I know I’ll be okay.

What motivated you to do both and achieve excellence in both?

When I was at uni and I was doing both, if one was going badly, I’d throw a lot more time into the other. If rowing was going badly, never mind! I’ll just do well at my degree, and one day I’ll run Tate Britain.  if I wasn’t enjoying uni as much – well, I’ve got the rowing.

Since being on full time on the team since 2015, it’s been more challenging. But certainly, a way for switching off has always been going to an exhibition, going around galleries. I can wear nice clothes. I’m not in tracksuits, like a normal person!

Why have you chosen East Asian Art as a particular sector?

I always knew that I wanted to do something non-Western. In my last year of the Courtauld I got to study contemporary Chinese art, which I found completely fascinating. I ended up picking the Sotheby’s masters, partly because I knew I wanted to go more into the commercial side of things, and partly because their degree covered everything from Neolithic up until modern, from China, Korea, and Japan.

Would you say that the industry has evolved a lot since you first started? 

One good thing with the more ‘classical’ Chinese, Korean, and Japanese art, rather than super modern art is that you’ll always get a stable core market of people who love it. But particularly from the Chinese side of things, a lot younger buyers are coming through who are getting more interested. There’s definitely a way to modernise how auction houses connect with their potential buyers, such as the social media space which would make it relevant and interactive, but without debasing the brand a little bit.

How do you gain enough first-hand experience getting started?

After my break after Tokyo, I had such a long list of auction houses, I just emailed and emailed and emailed. There’s a lot of asking around, and you’ve got to throw quite a wide net to make sure you get something.

You’ve also got to be okay to go with the flow. You might go for a job interview, and they think you’re really great, but they think you’d be a good fit in our furniture department, not Asian Art. Get your foot in the door!  A lot of people whom I’ve spoken to in the art world have taken very winding paths, and it’s all turned out to be the right thing for them.

Do you have any special connection with any artwork or artefact that you have worked with?

I really love netsuke. I did my first work experience in 2017 at Grace Tsumugi’s. I walked in, and I had no idea what was going to happen! She put down a tray of netsuke in front of me, asked me to re-thread the cord and put the beads on all these. I was like – Oh my gosh! That’s going to be my job for the next two weeks. It’s always been that tactile thing and the humorous nature.

 Do you find any kind of artworks inspirational?

There’s a couple of landscapes and a lot of watery based things. They don’t necessarily capture the competitive side of things, but one of the lovely things about rowing was training outside on the water. So, it’s a beautiful, sunny day; flat and calm. You are paddling along, you’ve seen kingfishers and the peaceful English countryside. There are works that encapsulate the feeling of peacefulness at the fresh air, being outside, and the joy that it can bring.

What would you say to Oxford students (quite a number of them rowers!) wishing to pursue all aspects of their passion?

You’ve got to be so organised and keep on top of things. Plan well in advance, but that also means planning on taking time for yourself, and learning when the right time is to say no. It’s definitely a very hard thing to learn to do, but also very beneficial.

You can’t choose your (college) family

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“Good evening. Due to multiple people divorcing and remarrying…”

It’s the end of July, and I’ve just received this email in my inbox. Some friends showed surprise, and some saw it for what it was: the inevitable result of encouraging freshers into a long-term commitment within only a few weeks of knowing each other, only to inherit ‘children’ and a pressure to avoid being part of a broken home’. Welcome to the (college) family.

Not a phenomenon unique to Oxford, ‘academic families’ at St Andrews, where first years are adopted by third years in their first term, existed as early as the 1980s. While traditions can vary, the ethos behind it is clear to see. College parents are there to do some much-needed hand-holding in the time running up to and during their child’s first Michaelmas, answering all kinds of questions (no, you don’t need that wok). And when the time comes, first years find the person or people (we don’t judge polyamory here) they want to ‘marry’ and the cycle continues.

Like many aspects of Oxford life, the college family feels peculiar when examined from the outside – yet makes perfect sense to everyone who participates in it. Coming home after my first term for the Christmas vac, I was faced, inevitably, with an abundance of questions about the system: how are college parents assigned, how do you know who to marry, and from my confused and slightly concerned grandma – “you’re not actually getting married, are you?”. I answered each one with a level of confidence and faith in the system which could be considered slightly strange for someone who had only been attending Oxford for just over a month.

But the similarities between college families and actual families go further. The college family is as dynamic as any blood family. Clashing personalities and sibling rivalry, awkward encounters with your college great-uncle, absent fathers… Oxford students (yes, probably you) are often perfectionists, and my naïve visions of a ‘perfect’ family life, such as meeting parents for coffee, venting about deadlines and so on, soon fizzled out. The saying ‘you can’t choose your family’ had never been more true.

Yet if each unhappy family is unhappy in its own way, Oxford students are alike in their happy approval of the college family system. A snap poll at St John’s College for Cherwell found that the college family system continues to be exceedingly popular, despite the emotional labour involved. While nearly two thirds of freshers surveyed thought the system was “pretty weird”, this did not stop 94% saying it was a good thing, overall.

Just as in real life, ‘families’ are something which you find and form of your own accord, and are not always the people you inherit. A college family can look however you want it to look, and a college marriage is a special kind of friendship which is forged in adversity (read: weeks 5 and 6). This is the beauty of the system.

There are bound to be awkward moments. It could be anything from an ill-advised night out, a joint costume for a bop gone wrong, to a Freudian intra-family crush. In a regular friendship devoid of a faux-marriage contract, these issues, while painful at the time, can often be overcome without too many unwanted consequences. This is not the case with the Oxford college marriage.

It’s all too obvious that the idea places pressure on freshers to cement themselves in committed platonic relationships too soon. There is a concerted effort to find someone ‘before all the good ones are gone’. 46% of 2nd years met their spouse in a non-clubbing freshers week event and 30% of incoming freshers surveyed said they would also be on the lookout for a partner during freshers week. Much like an early marriage, when the initial infatuation (for Oxford, if not for your partner) has worn off, one or both parties realise that they might have made the wrong choice. When you bring children into the equation, the stakes can increase further.

But perhaps it’s exactly this kind of hurried, in-at-the-deep-end way of going about things which is so quintessentially Oxford. After all, it’s an institution known for its lengthy reading lists, scary deadlines, and short but intense terms, after which you often feel like you’ve lived multiple lives rolled into one. The idea of surviving all of that without at least someone to grumble to before an early morning lecture, or over a pint in the college bar, is practically impossible.

What Oxford owes Oxfordshire

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“Where are you living this year?”

For some, this question brings back memories of scrambling to organise tenancies and coordinate renting plans. The panic of finding student accommodation in Oxford parallels a national housing crisis, just as manifest here as anywhere else. Private rentals for students line the streets in Cowley and Iffley (and for unfortunate Univ-ites, in the far reaches of Stavs), placing further stress on the already-boosted prices. 

It’s no secret that the students are one of the driving forces behind this increasing unaffordability of Oxford: Oxford City Council’s 2021 Census found that 36,217 students lived in Oxford full-time, making up more than a quarter of the city’s population. More than half of these live outside of colleges. Student demand has perhaps encouraged landlords and estate agents to increase housing prices: on average, they have increased 4% this past year, compared to the UK average of 2.2%.

This housing crisis also has a disproportionate effect on those with vulnerable residencies. Proportionally, Oxford has one of the highest rates of rough sleeping, although numbers have dropped since pre-COVID years. The dearth of available council housing regularly forces refugees to pursue Section 95, an accommodation scheme that relocates individuals on a no-choice basis to somewhere else in the UK, with little regard for the ties and communities they may have formed in Oxford. 

This issue isn’t unique to Oxford – Durham faces a similar problem with students pricing-out its former residents, and the UK’s housing crisis is far from over. Where Oxford University stands out in particular is through its collegiate system, and the networks of change this allows students to activate. 

Even if we, as students, cannot be directly blamed, to think of Oxford’s housing crisis as not our responsibility is an act of deliberate ignorance. When student accommodation never increases above 6% per annum, yet rough sleeping rates continue to climb, it seems pertinent to ask: who really pays for Oxford?


If you’d like to get more involved in the effort combatting homelessness, Oxfordshire Homeless Movement has a page of resources and opportunities where volunteer help is needed. There are options for donating money, items, and your own time.

Keep missing the Northern Lights? A guide to aurora-chasing in Oxford

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Last night, Oxford was treated to another spectacular display of the Northern Lights. For many students, this marked the second time this year they felt robbed, missing out on this natural wonder due to an untimely “early night”. The good news is that we’re still in a period of heightened solar activity, and you might have a third shot at getting your once-in-a-lifetime night in Oxford this year.

I’ve been privileged to see and photograph the Northern Lights both times they toured our city of dreaming spires, having also chased them in Alaska and Norway. Through this process, I like to think – or, at least my parents do – that I’ve become a (very) amateur heliophysicist. Here’s my crash course on why the Lights are showing up so frequently this year, and my tips for making sure you don’t miss their next visit.

Northern Lights over the Radcliffe Camera in May. Image Credit: David Hays

The aurora borealis (the Northern Lights, cf. the aurora australis or Southern Lights) are a visual phenomenon that occur as a result of charged particles from the sun interacting with gases in our atmosphere. The amount and frequency of these solar particles reaching Earth fluctuates over time, in accordance with a roughly 11-year solar cycle. We’ve seen an increased number of strong auroral events this year because we’re nearing the peak (or “solar maximum”) of our current solar cycle. While it isn’t possible to know when exactly the solar maximum is until afterward, the National Oceanic and Atmospheric Administration (NOAA) predicts that the current solar maximum will be between late 2024 and early 2026.

As we enter this peak period, the sun emits an increased number of coronal mass ejections (CMEs), big masses of magnetised plasma that contain the charged particles we need to see auroras from here on Earth. Being aware of when these CMEs (and solar flares, a similar solar event) are identified is the first step to being ready for an auroral event in Oxford. Solar energy takes time to travel the 150 million kilometres between the sun and the Earth, so we typically have a (roughly) two-day heads up when one might be coming our way. A number of sites (e.g., SpaceWeatherLive.com) allow you to subscribe to news updates on this front for free, so you can have plenty of warning before considering a late night.

Note however that it takes a relatively strong CME or flare for the aurora to be visible as far south as Oxford. Sitting at a latitude of 52 degrees north, it takes a substantially greater amount of solar activity to be in the so-called ‘auroral oval’ (the belt-like region in which aurora may be visible) compared to somewhere like Fairbanks, Alaska (at 65 degrees) or Tromsø, Norway (70 degrees). Predicting the extent of solar activity is very difficult until just before impact, but various online models do provide approximated forecasts that can help you make a decision about how high to keep your hopes. The value to pay attention to here is the planetary K index, or Kp, a number which ranges from 0 to 9 – with 9 being highest, and what we observed in May – which represents the real-time strength of geomagnetic activity worldwide. At higher latitudes, the aurora can be seen with a very low Kp value. In Oxford, I’ve only been able to see the Lights with my eyes when the value reaches 8 (as it did last night). If you see a strong CME or flare event, keep an eye on the Kp forecasts; I’d only consider going out if the Kp forecast shows at least 7.

Lastly, solar activity on its own unfortunately isn’t enough; the north-south direction (represented as Bz on space weather sites) of the interplanetary magnetic field (IMF; this is the part where my parents think I’m Einstein) is also critical. Aurorae are only visible when the Bz value is in the negative, meaning the magnetic field has flipped south. So, if you’re tracking the numbers online and see that the Kp is above 8, watch the IMF and head outside only once you see that the Bz has turned negative. The only consideration at this point is the weather. Given the aurora dance at an altitude of 120–400 kilometres, anything between us and them can obstruct our show. In cities, this means light pollution. Anywhere, this means fog and clouds. On a strong night (Kp ≥ 8), I’ve seen the aurora from the city centre, but if you want to try your luck when the Kp is hovering on the border, you might see a glow from somewhere like Port Meadow.

Once you’re out there chasing, start by scanning the northern horizon with your smartphone camera in night vision mode (or a comparable low-light setting, available on most post-2016 models). Camera lenses are more sensitive to light than our eyes, so your phone will spot the aurora before you do. If you see something decidedly green, purple, pink, or red (the colour depends on what gases the solar particles are interacting with), let your eyes adjust to the dark, which can take up to 30 minutes. It’s also helpful to manage your expectations – unless there’s a particularly strong geomagnetic event, it’s possible that you might only see a faint glow in the sky, akin to a coloured cloud. Or, you won’t even see the show, but your smartphone camera does. These little disappointments hurt, but keeping your hopes relatively calm will help you appreciate any future event significantly more. Finally, do keep warm in the process, and happy chasing!

In terms of prime spots for taking photos in Oxford, look to be on the southern side of iconic landmarks such that you can have the Lights above them in the north-facing sky. The church side of the Radcliffe Camera and the Broad Street side of the Sheldonian Theatre are both great candidates for this kind of set-up, as is any high-up vantage point in a central college. If you’re lucky (and sufficiently convincing), you might also be able to have your college porter escort you to the roof, where you can capture the skyline and easily adjust your angle of capture no matter where the aurorae decide to appear.

Incoming Keble students voice concern over high living costs

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Incoming students at Keble College voiced concerns over the high living costs resulting from a lack of clarity or, in the case of a Foundation Year student, a lack of choice in their application process.

This comes after Keble scrapped fixed-price rent costs in 2022, allowing the college to adjust room costs throughout the duration of students living on-site. The cheapest room, which shares a bathroom with one other person, now costs £30.91 a night compared to £27.24 a night last year.

Such a room charges a total of £5,749.26 for three terms, while the minimum maintenance loan for students living away from home outside of London is £4,767 a year.

Keble students do not have kitchen facilities until their third year, so they must eat in hall or eat out instead of cheaper options such as cooking or meal preparation.

A fresher told Cherwell it is “shocking” that their friend at another college pays about £1,500 less for a room that has a kitchen. They added: “I’ve had to pick up extra shifts to cover the cost of my accommodation so I’m not living on pot noodles my whole time there.”

Keble ranks as the 19th wealthiest undergraduate college out of 31 and is one of the twelve colleges that receive grants from wealthier colleges, according to the SU-supported College Disparities Report published earlier this year. 

This difference is not always apparent to prospective students. Another fresher told Cherwell: “I wish colleges were more open about the massive difference in accommodation cost! When I went to open day it wasn’t mentioned, and I thought it would be the same price at all the colleges.”

In particular, Foundation Year students are assigned to a college at random and have no choice in the matter of their accommodation cost.

An incoming Foundation Year student told Cherwell: “It feels particularly frustrating because we had zero control over which college we got… If I progress to undergraduate, I have to live with the cost of accommodation at Keble even though I’m someone who cooks and would have a much cheaper student experience if I had a job and a stove.”

The student added that they genuinely considered Durham because getting self-catered accommodation is easy there: “If I find this year difficult for finances, I will just go somewhere else for my undergrad like Newcastle, Durham, or York because I know I can live cheaper there with my lifestyle.”

According to Keble’s financial guide, the college determines its predicted rents are determined using the formula “CPI=2.5%”, and that students could receive a refund if the actual inflation for the year turns out to be lower than what had been set using the formula.

A Cherwell investigation earlier this year finds that Oxford University’s website uses ambiguous phrasing and downplays differences between colleges. A video asks: “Does it matter which college you go to? Not Really.”

Yet the College Disparities Report finds a direct correlation between college wealth and high positions in the Norrington Table, which ranks colleges according to their students’ academic performance in exams.

Cherwell has contacted Keble for a reply.

University to revamp critically disrepaired science building deterring faculty recruitment

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Oxford University submitted a proposal to partially demolish and refurbish the Sherrington Building, located in the Science Quarters on Parks Road, as the current infrastructure is deterring senior faculty from being recruited.

According to the planning statement, “the building is currently in a critical state of disrepair, the mechanical and electrical ventilation systems are in a dangerously poor state and there are leaks in the roof. Approximately 25% of the main building is uninhabitable and remains vacant.”

The Department of Physiology, Anatomy, and Genetics have claimed they are “failing to recruit to senior posts” because the accommodation and infrastructure are not up to standards. 

Sherrington Building is a four-storey 1940’s Art Deco structure. The proposed plans include demolishing part of the third floor to construct a new academic hub, which will feature flexible seminar rooms, innovation spaces, open laboratories, support areas, and research offices. Additionally, the University will construct an external terrace with new plant room enclosures, flues and risers.

Construction is broken down into four phases due to difficulties with alternative housing for the whole department. Phase one was completed last year, and phase two – which includes the demolition – has already been approved. The current proposal seeks approval for phase three and phase four, which involve the reconstruction and refurbishment.

As such, the department hopes to revamp the building to a “usable, flexible state that is suitable for modern scientists” – with hopes to combat its current faculty recruitment difficulties.

The charity Oxford Preservation Trust commented that it is “wary” about increasing the size of the building due to “potential harm the proposal would pose on Oxford’s historic skyline”. Its assessment reasoned that effectively adding a storey to the building may obstruct short and long distance views.

Nevertheless, Oxford Preservation Trust is “encouraged” by the plan’s commitment and “[does] not object in principle to the modernisation of the facility”.

The University has been consulting with stakeholders and opening up to public comment as it is “committed to engaging with the local community regarding the development proposals”, according to the statement.

Oxford-Cambridge Arc has ‘failed’, campaign group says

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Campaign group Stop the Arc has described the economic initiative connecting Oxford and Cambridge as having “comprehensively failed”.

The Oxford-Cambridge Arc – spanning Oxfordshire, Bedfordshire, Northamptonshire, and Cambridgeshire – is a region estimated to contribute over £110 billion to the UK economy annually and support over two million jobs.

In a 2017 plan, the National Infrastructure Commission proposed connecting Oxford and Cambridge via East West Rail and a new “Ox-Cam Expressway”, as well as developing 1 million new houses. The government initially supported this prospectus, inviting local authorities to contribute and naming the Arc a key economic priority.

However, Stop the Arc Group has been campaigning against housing development plans and the East West Rail, citing environmental concerns as their reasoning.

The group’s trustee Nick Burton told Cherwell: “East West Rail is damaging to the environment even if electrified due to the construction pollution and its dependency on sprawling rural housing”.   

A similar criticism came from the Berkshire, Buckinghamshire and Oxfordshire Wildlife Trust (BBOWT), which warned against the damaging impact of developing settlements on nature and the climate.

Industry leaders supporting the initiative cited economic gains. A recent report by the Oxford-Cambridge Supercluster Board projected that the region has the potential to add an additional £50 billion to the economy annually by 2030, making the region a “crown jewel” of European science and innovation.

However, Stop the Arc trustee Roger Carey told Cherwell: “The loss of agricultural land, equivalent to as many as 1,100 average size English farms, conflicts with all green agendas and sustainability considerations. [It will] lead to a significant reduction in food production and supply-chain employment.”

As of now, Oxford-Cambridge Arc has not seen much progress. The government transferred the housing development plan jurisdiction to local leaders and cancelled the expressway plan because analysis showed it would not be cost-effective.