Tuesday 8th July 2025
Blog Page 1021

Why we should be angrier about access

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Picture the scene. It’s autumn term 2016, and across the country Year 13s are beginning the process of applying to Oxford. All of a sudden, the University announces something radical. This year, they are going to accept a strictly proportional cohort: 93 per cent of their offers will go to state-educated applicants. Imagine the outrage.

Yet, when faced with an issue of inequality so massive, radical solutions are exactly what is needed. We all know the statistics: just over half of Oxford’s places go to state school students, despite the fact that only seven per cent of the population are privately educated. We’ve heard this all before, and we shake our heads in despair, and then we forget about it. There is an overwhelming sense among students, even those who care deeply about access, that there is a very narrow limit to what can be done.

On the Admissions Statistics section of the Oxford University website, the numbers are
surrounded by obfuscation: more private school students apply, and for less competitive subjects; a disproportionate number of private school students get the necessary grades; “Oxford […] believes that school type is a crude and sometimes misleading indicator of disadvantage”. These points are all relevant, but to suggest that they completely explain away the discrepancy in admissions is plainly ridiculous.

There is a worrying tendency to avoid facing Oxford’s access problem head on. Many people, both employed staff and JCR Access Officers, work extremely hard to improve access, yet are undermined by comments such as those recently made by our own Chancellor, blaming the quality of secondary school education for the inequalities visible in Oxford’s admissions. But an institution as powerful as Oxford has a responsibility too. There is a viciously self-perpetuating cycle in which low state school admissions produce low numbers of state school applications. I personally very nearly decided against applying, because of a belief that it simply wasn’t for me, that I wouldn’t have a chance
against my privately-educated rivals.

Of course, a 93 percent state school intake is a highly ambitious goal. But what about 80
percent? 70 percent? It’s hard not to wonder whether the University’s reluctance to tackle its private school problem directly – through affirmative action – is because of vast pressures against any removal of privilege from a largely Oxbridge-educated elite which runs the country, the media and the University itself. This silent bowing to pressure is something the University, and we as its members, should be ashamed of.

More on this story: Latest admissions data only reinforces stereotypes

To sell your face

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Last summer, as fashion journalists covering the London Emerging Designer Awards, my co-editor and I thought that the halfway drinks reception would be the perfect opportunity to make some interesting connections in the fashion industry. With our champagne flutes constantly being refilled, we flitted around between designers, models, photographers, agents.

Falling into conversation with a group of photographers who worked for a ‘big’ magazine, we were chatting about the commission of some pieces. I was then interrupted by one of the main photographers who told me that he liked my legs and that I should do some modelling for him. Slightly flustered at his comment, I attempted to continue the conversation but was once again interrupted by him when he grabbed my hand and led me to a nearby spiralling set of stairs.

“Pose for me!”, he exclaimed, bringing the camera to his eye. I smiled awkwardly, unable to understand why I suddenly felt so uncomfortable. I had, after all, spent a lot of my teen years in front of a camera, working with pushy photographers and getting attacked by hair and make-up artists. This time it was different though. This time I wasn’t modelling; I was at the runway show to cover it for a magazine. Being asked to pose for the photographer wasn’t flattering, it was insulting. It seemed no one could take me seriously as I struggled to hold professional conversations, receiving only winks and flirtatious grins.

Several years earlier, walking down Oxford Street one afternoon as a 14 year old, I was pulled aside by a tall well-dressed man who told me he worked for Hollister. He asked me whether I was interested in working in their store and I told him with both regret and embarrassment that I was still only 14. Half an hour later I was stopped again, and this time I was offered a card with the number of a modelling agency. I was told that my tall frame, ‘brooding features’ – and most importantly, the fact that I was very slim – were exactly what they were looking for. That was my introduction to the fashion industry as a young teenager.

Yet working as a model was everything that I didn’t think it would be; and not in a remotely positive sense. Not only did people at school give me the ‘she’s not that pretty’ look up-and-down, but I was assigned an agent who treated me as no more than a commodity. I attended studio shoots where a string of 15 photographers would demand I strike the same poses again and again, hour after hour and claim me for an additional two hour shoot in an outdoor location; asking only the consent of my agent. One photographer asked me to smile for him and then immediately grimaced, “ooh, don’t do that again.” I was continuously told which angle of my face looked worst and they would critically comment on the way I looked at every given opportunity. At the end of eight-hour long shoots, my agent would hand me a string of paper work that I had to sign, allowing the photographers to use and sell on my photos. I didn’t really have an option not to sign them.

The issue that people often bring up with modelling is that of weight. The reality is, even if you are the desired weight to model, there will always be something wrong with you. It took me three years to realise that modelling had entirely crushed my self confidence, making it hard for me to engage in conversation in groups, look people properly in the eye or even feel like I could smile freely. Not only do models not have a voice the moment they are photographed, but they are reduced to the status of an object and the lack of respect shown to them behind-the- scenes is shocking. They are no more than a prop for the photographer, the artistic-directors and the agency. Yet so many teenage girls still jump at the opportunity without fully grasping how reducing such a line of work can be. The fashion industry still has a long way to go in reforming the treatment of models, but the most important thing is that the model knows exactly what they’re in for before they start.

Interview: Peter Lilley, Conservative MP and Brexiteer

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When the veteran Conservative MP and former minister, Peter Lilley, matriculated, it was possible to apply to both Oxford and Cambridge. Lilley, though he received an off er at Corpus Christi College, Oxford, chose the rather grander site of Clare College, Cambridge. Though it wasn’t a decision taken on grounds of grandeur or prestige, but rather a simple one based on course, Lilley’s adolescent choice might seem to put him on the opposite side of an ancient divide. After all, in the English Civil War the Tabs’ furious parliamentarianism was only met by the equal support offered to Charles I by Oxford, his wartime capital. Today, however, the two universities appear almost united on the issue that threatens to provoke a civil war in the Conservatives Party: the European Union.

A poll conducted by Cherwell in Hilary showed almost four-fifths of Oxford students support the Remain side in the in-out referendum to be held on June 23rd, whilst the Cambridge University Student Union (CUSU) recently passed a motion in support of the Remain campaign. It might seem, therefore, rather puzzling that prominent Eurosceptics like Lilley continue to visit and talk to this minority of undergraduate Brexiteers.

“I just have to put the arguments forward by speaking at universities. When I spoke at Hertfordshire, they took a poll beforehand that was 75 per cent in favour of remain, and by the end it was 55 per cent in favour of Leave. We can put the arguments forward and then we’ll have no problem. We need to get through the filter of the BBC and the institutions themselves, like universities. Universities feel they have a vested interested in staying in because of the money they get from the European Commission, but that all comes from British taxpayers. We’d be able to cut out the middle man.”

Lilley continued by noting that the central conceit of the Remain campaign, that a vote to leave would be a vote for instability and a vote for Britain to leap into an uncertain future, has come under ferocious attack from the Brexiteers in recent weeks. Roaming fees in particular, which the European Commission will abolish in 2017, have been attacked not in terms of the direct effect, but on the distributional consequences.

“We have to talk about how it’s being financed. I was at the European Parliament when roaming fees came up, and some of the MEPs pointed out that reducing roaming fees means cutting costs for people who travel a lot at the expense of constituents who never leave their council estates. Their tariffs would be higher than they would otherwise be; bully for those who travel a lot, but the money isn’t coming out of the air.”

As much as it is possible to read the sincerity in Lilley’s voice, it does seem a rather strange tune to be played by a Tory MP. Distributional concerns have always been the preserve of Labour and Liberal Democrat members; Lilley’s former boss, Lady Thatcher, once complained in the Commons about her perception of Liberal policies as “preferring the poor were poorer, provided the rich were less rich.” The cynical view would be of an ideologue, prepared to back any and all policies and schemes provided the ultimate ends of Brexit were achieved. This line of attack has been equally ruthlessly exploited by the Remain campaign, particularly by juxtaposing NHS-based arguments for Leave with the desire for NHS privatisation expressed by Arron Banks, leader of the Leave the EU group.

That said, Lilley has no problem working with people expressing ‘barmy’ views; even the appearance of George Galloway at the Grassroots Out launch was not shocking. “The campaign to keep the Union together had Farage and Galloway on their side, and Better Together still won the vote. There are just as many extreme groups, like communists and socialists in favour of Remain. I don’t think you should judge a campaign by smearing its reputation.”

No doubt, however, there are some important conceptual problems with a British exit from the European Union. Though the threat of imminent Scottish independence has receded somewhat with the failure of the Scottish Nationalists to win a second majority in the Scottish Parliament, there are still fears that an English vote to leave accompanied by a Scottish vote to remain would lead to a second independence referendum and, ultimately, Scottish independence. Less publicised, but considered more pressing amongst other EU heads of state, is the threat that Brexit would pose to the Northern Irish peace process. Lilley, however, insisted that the idea that Scotland would leave the British union just to be part of a notably more porous European union is somewhat suspect.

“As a person of Scottish ancestry, it would really upset me emotionally. I don’t believe Scotland will leave, because it’s inconceivable to me, if we leave, that there would be more Scots who would take the real leap in the dark of separating from the UK, having the euro and accepting Schengen and re-erecting Hadrian’s Wall, having no oil money just to re-join the European Union. I don’t believe it will happen.”

Ultimately, as Lilley was aware, many dice have already been cast, in that the ‘firm Remain’ and ‘firm Leave’ vote is already certain; the challenge now for both campaigns is to speak to floating voters. Grand schemes of European integration, and indeed grandiose dreams of British parliamentary sovereignty and an alternative Commonwealth union, will not persuade them in this referendum campaign; perhaps the calm rationale of those like Peter Lilley will.

Unheard Oxford: The Rev’d Dr George Westhaver

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I’ve been at Pusey House for almost three years now. It’s coming to the end of my third academic year. But I was also in Oxford for a period of time before that, and I was chaplain at Lincoln College for a period. Then I was away for a period in between those two times, when I had a parish in Canada.

I was drawn here by what I knew about the way Oxford colleges functioned and the idea of being a part of an intimate community of students and scholars working together, and drawn by the possibility of being a chaplain in that environment.

When I first moved to Oxford to become chaplain at Lincoln College I expected more hostility. Not in general, but I assumed that some students would find the fact you had a chaplain a very weird and strange thing. I know some people do find it a weird and strange thing, yet some of those very students talked to me about how important they thought it was. I remember one student telling me that the chaplain represented the soul of the college. So although I think that for some it would represent a kind of anachronism I think that the presence of ministry in the colleges has been viewed as an attention to wholeness and personal development, and a care for those things.

My favourite aspect of working here is the combination of a life of prayer and worship, alongside serious academic pursuit, in the context of a community. So it’s three elements: the worship, the life of the mind, the community. Those things classically go together. You can talk about love your neighbour but if you live that out over breakfast and in situations with your neighbour, who you spend a lot of time with, that’s very different isn’t it? However, the life of faith is not simply about warm feelings, it can be about that, but there’s also a serious intellectual thought element which has its part in the life of the university. It’s that combination which I find very attractive.

I really enjoy the interaction with the students, who make up most of congregation here. We try to emphasise that the house exists to complement the work of the college chapels, not to replace them. It’s a particular tradition, so we tend to have more elaborate ceremony and liturgical things. We try to emphasise the element of joy in community life and that’s a great context through which to meet students and to interact. I really enjoy that, I think if you didn’t then you’d be in the wrong place.

Danny Dorling: a better politics?

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Professor Dorling’s presentation on his new book, A Better Politics: how government can make us happier, at Blackwell’s bookshop last Monday evening, began with a promising vision of a new politics, only to devolve into a tired rehearsal of Corbynite talking-points.

The talk commenced with a clear and compelling introduction to Professor Dorling’s book, whose primary conclusion was that governments need to move from targeting economic growth and wealth accumulation to focusing on individual happiness. Professor Dorling claimed that surveys showed there were significant gaps between reported happiness levels in different Western European countries: Finland, for instance, was much happier than the UK. Further studies revealed that individuals tended to be happier in societies with better health care and schooling; whilst disease and relationship breakdown were perceived as the most significant impediments to self-reported happiness.

From this, several proposals were formulated: better regulations to improve working conditions and commute times in order to reduce stress (a key cause of a variety of health and relationship problems), coupled with greater spending on health and education. The methodology of many of the studies was questionable; none seemed to account for linguistic or cultural differences in self reported happiness, nor consider whether reflective perceptions of happiness were equivalent to direct happiness over time, but this was a lucid and insightful beginning. Unfortunately, the beginning remained only that.

Ten minutes on the goals of happiness politics were followed by 50 on their means of achievement, means that boiled down to tropes of popular Corbynism. Apparently the media was conspiring against Labour (even to the extent of “the Guardian refusing to print a single one…[of Professor Dorling’s] articles about Corbyn”); Sadiq Khan rode Corbyn’s popular support to power (even though he had repeatedly dissociated himself from Corbyn beforehand); Council elections showed the popularity of the Corbynite programme (despite Labour facing a net loss of seats, and doing far worse than Blair or Miliband when they were opposition leaders); and it was contended that the reason Labour had lost seats in the recent Holyrood elections was because Labour was still seen as Blairite.

Amidst this deluge, a few interesting ideas were mentioned. One was the potential for a Labour/Green alliance similar to that between the Liberals and Labour on the turn of the 20th century. Another was the significance of the first-past-the-post electoral system in encouraging the major parties to both contest over the centre, producing similarities that reduced perceptions of voter agency, and hence encouraging the growing trend of nonvoting.

Whilst I have no doubt that Professor Dorling’s book will make for educated and enlightening reading, it was a pity that his speech did not make good on his promise.

Review: Doctor Faustus

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Cai Jauncey’s directorial vision is – appropriately enough, given the subject of the play – very ambitious. Replete with impressive lighting, a technically adept group of dancers and a soundtrack that would perhaps be best characterised as techno, this is a Faustus that is striking and original. At its best, when these features come together and complement one another– notably in the Helen of Troy scene – the production soars. At other times, however, it faltered. Often the music and dancing were too discordant, and the music failed to set the right mood, as in the parade of the Seven Deadly Sins, when the words of the play were somewhat drowned out by music. The cutting of certain scenes also rendered Faustus’s changes in tone especially abrupt, adding to the sense of disjointedness. For instance, at one point, Faustus suddenly launched forward to deliver a soliloquy in which he voiced doubts about his demonic pact only moments after he had been seen talking amicably with Mephistopheles upstage. The inclusion of the prologue and epilogue unfortunately meant the play began and ended on a dull note in what was an otherwise high-energy Faustus.

There was nonetheless much to be commended in this production. The dynamic between Georgie Murphy’s spirited, over-reaching Faustus and Thea Keller’s engaging and unusually sympathetic Mephistopheles was particularly strong. Keller’s Mephistopheles watched Faustus waste away his talents with, for the most part, carefully adopted poses of casual detachment, which made his passionate outbursts, such as when he lamented being “depriv’d of everlasting bliss,” all the more moving. At the action’s climax, after Murphy had brilliantly ramped up the tension in her final monologue before being dragged away to hell, it was Keller, looking on with a mixture of pity and terror, who arrested my attention. I would, however, have liked to see the sexual tension between the two leads, often hinted at, further explored.

Beyond the central pairing, there were impressive performances from Anusia Battersby and Laura O’Driscoll, as the Good and Evil angels respectively. The decision to situate them to the same platform worked well, as it enabled them to interact with one another more than is usually the case. Battersby offered a very interesting take on the Good Angel; she was increasingly frustrated and angry with Faustus, and took immense pleasure in gloating when Mephistopheles movingly described his torment. Matt Roberts, meanwhile, combined perfect comic timing with impressive physicality, as he extracted every ounce of humour from the text, starring in scenes from the comic subplot that are often cut.

The production also made an interesting use of technology, as Faustus cast away his books in favour of phones and tablets when his demonic experiments began. Mephistopheles revealing the vast array of information contained in one ‘book’ (i.e. tablet) highlighted the wonders of the internet age, when information is more readily accessible than ever, as well as the attendant possibilities and, arguably, dangers. The use of props such as horns and fake limbs deliberately drew attention to the theatricality of the play in a clever and amusing way. Whilst this production may have overreached itself at times, it had many brilliant moments, offering new and insightful interpretations of the text – and a fascinating Mephistopheles in particular – and is certainly worth a watch.

London, books and bears: an interview with Michael Bond

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“The first time I nearly died was on a Wednesday.” Michael Bond, a smiling and well-dressed 90 year old, leaned forward as he talked. “It was during the war and I was in Reading, getting my pay, and we heard low flying aircraft approaching. Someone went to the window and shouted, ‘Christ! It’s a Dornier!’ It dropped a string of bombs that fell almost horizontally.” Bond slowly learnt back in his seat, eyes fixed on the middle distance as if he were somewhere else. “I think I died five times as the five bombs dropped.”

Michael Bond is not your ordinary ‘national treasure’. World famous creator of Paddington Bear, Bond has written series of books for both children and adults, and gives off the air of a man who has lived through many adventures. His front room in London, still only a short walk from Paddington station where it all began, feels warm and homely, lovingly filled with books, magazines and photos – though there are clear signs of Bond’s many creations and achievements. “Yes, he’s one of the original Paddingtons used in the first TV shows”, he smiles, pointing to a recognisable bear in red fedora and blue dufflecoat on a bookshelf behind him. “We had to have a few of them, because the filmmakers kept wearing them out, and he needed to look fresh for the camera.” Bond graciously fails to mention the framed CBE signed by the Queen leaning nonchalantly against the sideboard, or the gold disk in recognition of the 2014 blockbuster film Paddington propped up next to it. He doesn’t seem the sort of person who is overly concerned about accolades – it’s all about the writing, and the characters. “In fact, I’ve just started on a new Paddington book.” He smiles, gesturing to his laptop. “But I have to type it up – if I handwrote it, after about a paragraph no one could read it.”

As with all great creations, Michael Bond found Paddington almost by accident. “I didn’t mean to write him at all”, he tells me, “I wrote my first published story in the army in Egypt in the war. It sold for seven guineas to the London Opinion magazine – I had a job cashing the cheque, it was a lot of money in those days.” Once demobbed and back in England, Bond continued writing stories and pieces about car and motorcycle testing for magazines. “Paddington happened because of the BBC. They rang and asked if I had ideas for a story – I was living in Notting Hill Gate in a one room flat at the time, sitting there with no idea what to do next.” Bond looked around the room for ideas, and spotted a small toy bear which he’d bought for his wife. “I’d called it Paddington because I liked the name and we lived near it.”  Bond wrote down the first line, the BBC were happy with the idea – and the worldwide phenomenon of Paddington Bear was born. “I would have thrown the story away, but it caught my fancy. At the time I had a government surplus duffle coat and bush hat, so I dressed Paddington in them. I found myself talking to him, he simply came alive in my mind.”

Having grown up with Paddington all of my life on the empty, idyllic borders of Wales, I discovered the faraway world of London through Paddington’s various adventures – and when I finally got the visit the capital as a teenager, the friendly and fastidiously polite bear from Darkest Peru was always in my thoughts. When asked if he likes the fact that Paddington and London are now tied inextricably together, Bond nods. Having just published a new book of Paddington adventures and ‘Paddington’s Guide to London’, where visitors can explore the city’s attractions in the company of their favourite bear, Paddington is now deeply embedded in the city – even arriving at Paddington station that morning, I’d seen stickers, statues and posters. Once you think about him, you start seeing him everywhere. “It’s almost hopeless writing a guide to London”, Bond chuckles, “as London’s changing all the time. Even as this new book comes out I should be working on the next one! But I like the changes, and Paddington is at home in London really –he’s part of general life now, people expect to see him around the city.” And the iconic bear has now spread from London, going truly global: “I like the way a ‘Paddington hard stare’ is an accepted phrase. I read in the paper the other day someone had given the Pope a ‘Paddington hard stare’ – it made me rather happy.”

Despite his latest Paddington adventure ‘Paddington’s London Treasury’ being written specifically for children, Bond is pleased that the first books were not specifically for any age group. “Originally the BBC simply asked for a story, and children weren’t mentioned. See, I like to hear that Paddington’s written for everyone. That’s important, as when you’re writing for children you have to be careful as they don’t like being written down to, which I understand.” When asked how children respond to the recent books written specifically for their age range, Michael smiles. “I get a lot of fan letters from whole classes of children writing to me, and you can’t write back to them all. If a child has taken the trouble to write to you, the least you can do is to write back. Though they all write because they love Paddington – I think they’re rather envious of him.” Paddington’s humour – one of the few books that has ever made me laugh out loud – is important to the makeup of the stories. “It’s meant to be humorous. You can say a lot with stories, and if you can make children laugh with them it sticks in their mind more than a serous story would ever do.”

When asked whether Paddington could only have been created in 1958 and whether similar fresh ideas could gain purchase today, Michael’s smile shrank slightly. “The world has changed – not necessarily for the better,” he says. “It’s overcrowded, and harder to get opportunities.” There are certainly certain aspects of Paddington that are distinct to the time it was written in, though this only makes him more endearing. “Paddington’s from Darkest Peru because no one really travelled to South America back then: it seemed ‘a long way away’. In those days, most people only went to the Isle of Wight, I thought no one would get to Peru! Now the world has shrunk, and everywhere has the same shops, people can get anywhere.” Even Michael’s agent for the first book was a ‘bit of a Paddington’: “he was a Jew living in 1940s Germany, and was alerted just in time that he was on a hit list. He left with all his belongings in one suitcase. So yes, a lot of influences went into Paddington – the label round his neck is from my memory of refugees during the war.” When asked if there’s lots of himself in his creation, Michael shakes his head: “there’s more of my father than me in Paddington. He was always wearing a hat – even on the seaside, in case he met someone he knew.”

“I had a nice fan letter from America soon after my first book- they said they were so used to Paddington being a bear, it had become a funny name for a station. That really made me smile.” And this sums up Michael Bond – in the hour I spend in his study chatting about his life and writing, I got to know a wonderfully fascinating, kind, and open person with many stories to tell and who really loved his bear from Darkest Peru, who had become a friend to so many worldwide. In his own words, “Paddington keeps me young!” Those who say never to meet your heroes have clearly never read Paddington Bear and spoken to the man behind him –perhaps they deserve one of his trademark ‘hard stares’.

Portrait of Viceroy replaced with student art at Balliol

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Balliol has replaced the portrait of a controversial alumnus with four smaller portraits of women painted by a current student – the first time student art has been hung in the hall.

The new portraits, painted by Balliol undergraduate Fine Artist Emily Freeman, depict a woman in four different positions and replaced a portrait of George Curzon, 1st Marquess Curzon of Kedleston, who was a Viceroy of India from 1899 to 1905. The original portrait was taken down last term at the height of the decolonisation debate spurred by Rhodes Must Fall.

However, the college claimed at that point the portrait was removed for cleaning and repair. Current JCR President Annie Williamson attributed the new replacement to the regular changing of artwork in college.

The fact that the new work was made by a woman has been seen as greatly important. “Female painters are vastly under-represented throughout history and for a piece of female-made (and student-made!) art to get exhibited inside of an Oxford University Hall, as a piece of institutional improvement toward diversity but also as a wider contribution to the representation of female artists in history is really really encouraging,” Balliol Fine Artist Indigo Wilde said.

Perhaps the biggest change is the symbolism of putting portraits of a woman up in Hall. “For a college which was largely founded by a woman, Balliol doesn’t have the best history in terms of actually embracing us” first-year Balliol historian Beth Cadwalladr said.

“Women weren’t admitted to the college until 1979 and the masters and famous alumni who are openly celebrated in the Hall are overwhelmingly male, and entirely white. To sit in that hall, whether it’s for collections or just for a daily meal, is to be reminded of exactly who the college honours and chooses to commemorate. Women deserve to feel like we can achieve that too. We deserve to be reminded that we are important, that we can create.”

Educated at Eton and Balliol, Marquess Curzon was later heavily criticised as a Viceroy for doing relatively little to combat a famine that killed millions of Indians. An ex-president of the Oxford Union, he argued vociferously against Home Rule in Ireland and was particularly defensive of colonial policy during his time in the House of Commons.

Many members of the Balliol JCR and MCR have expressed support for the change, holding the view that the Hall portrait celebrated and commemorated a man well-known for his greatly harmful actions to groups still marginalised at Oxford.

For some, however, even the possible symbolism of removing the paintings was relatively meaningless. “Taking down a portrait isn’t ever going to be a concrete action to counter racism, right? Plus what are portraits when the whole university has benefitted immensely by colonial rule?” one South Asian Balliol student commented.

JCR anti-pooing motion flushed down the drain

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A recent JCR motion calling for “anti-pooping” in Somerville’s college library was dropped from the JCR meeting’s agenda.

According to Chloe Funnell, the second year who originally proposed the motion, this idea stemmed from the fact that there is currently only one toilet in the Somerville college library.

“Some users spend a long time in there and, as a result, waste other people’s time, not to mention their own,” Funnell told Cherwell.

She added that while she conceded her proposed motion itself was “ridiculous in some aspects”, such as the resolution of “having a stock photo of someone looking angry in the toilet”, she thought that it was reflective of the view among people in the college that “some others don’t really take into consideration other people who use the college’s facilities.

“It’s a small toilet, and when people [defecate] in there, the smell lingers, so it’s almost like an extra smack in the face when you have to wait a good ten minutes to either pee or fill up your water bottle.”

Funnell also went on to clarify that the motion does not at any point forbid anyone from using the library toilet, but that it was purely against what she calls “poopcrastination”.

“It’s more concerned with people spending an unnecessarily long time in the toilet, and leaving it messy [for other users]. People pee on the toilet seat and leave [poo] stains quite often.”

By proposing her motion, Funnell told Cherwell that she was essentially encouraging the users of the toilet to be more “conscientious” hereafter.

“Frankly, I’m sick of people’s s*it – proverbial or otherwise.”

Somerville’s outgoing JCR president Louis Mercier confirmed to Cherwell that the motion was indeed dropped, but did not comment on the reasons behind this change.

Responding to Funnell’s motion, a member of Somerville college library’s staff stated that it “[does] not have any comment, other than that [the] library toilet facilities are due to be upgraded over the summer.”

Britt Tomson, first year CAAH student at Somerville said, “I just kind of laughed it off when I first saw it. I was amused by the prospect of someone having to check and enforce it if the motion had passed”.

First year english undergraduate at Somerville Catrin Haberfield said, “I think motions like that are actually a good way to get people engaged in the JCR – it’s hard to get people to come to meetings and to even care about what we do, but I heard loads of people talk-
ing about it once the motions were sent out. Everyone knew it was kind of a joke, but at the same time a really valid point because the library only has one toilet and people ‘poopcrastinate’ in there.”

Ballin’ for a tenner

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Harris Manchester are running an Oxford ball with tickets set to cost only £10 on Friday of 7th week.

The ball will have three different parts. First, a pre-dinner party will feature a retro mini-golf stall, a retro strong man ‘ring the bell’ stall and a candy floss stall. These will be accompanied by Prosecco and Pimms and a performance from Dots Funk Odyssey. The capacity for this section is over 150 people.

A four course formal dinner will be held for 150 guests with musical entertainment throughout. Finally, the after party will continue in another venue, the 1855 Wine Bar in the Castle Quarter with capacity of 100. The separate after party venue has been chosen to accommodate finalists preparing for exams in college.

The event is being funded by both the MCR and JCR. Harris Manchester College has also agreed to subsidise the cost of the ball by £1000, despite having the smallest fi nancial endowment of any Oxford college, which as of 2012 was at £6 million.

Charlotte Baker, a member of the Harris Manchester Ball Committee said, “The college is subsidising so much because we feel that more things in Oxford, especially classic Oxford events like balls, need to be more accessible to all and as the smallest college in Oxford it is important that we are as inclusive as possible.

“One of the most exciting and special things about Harris Manchester is the huge overlap in the JCR and MCR, mainly because of the lack of difference in ages. This gives Harris Manchester the maturity of an MCR but the vibrant lust for life of a JCR!

“Although previously the two have been officially quite separate, the current committee and college community as a whole felt inspired to combine all college efforts to create a super-massive event (in Harris Manchester terms!) that will hopefully become the beginning of a tradition for years to come.

“The current sense of anticipation and excitement within the college hints it’s going to be a colght to remember!”

Tickets for Oxford Balls are typically very expensive, usually costing over £100. A non-dining ticket for the White Tie New College Commemoration ball, which is to be held on the 25th June, costs £185.

One DPhil student at Harris Manchester told Cherwell, “I went to a ball this year and another last year and was kind of overpriced for what they ended up being and was kind of disappointed. So at least with £10 there won’t be disappointment amongst the students.”