Saturday 2nd May 2026
Blog Page 1031

Visiting from Baltimore: a tale of two systems

0

Imagine: It’s two o’clock in the morning and I’m somewhere up in Summertown (I don’t know how far) and this fox wanders out from between the houses and stops in the middle of the street and just stares at me. And I’m standing in the middle of the street (because the sidewalk is creepy and full of shadows) and I’m staring, too. And I decide,

“Okay. That’s a sign if I’ve ever seen one. Time to head back.” So I turn around and walk back to College.

Coming home from Oxford was difficult for me. During my last week of Trinity, I started trying to condense a year’s worth of experiences into a few, neutral sentences in preparation for the barrage of obnoxiously simplistic “how was your time abroad?” questions. This article is not the 500-word version of those answers. With five months of reflection to work with, I have something real to say.

My first term at Oxford was incredible. Michaelmas was filled with bopping until we couldn’t bop any more, nighttime jaunts in Port Meadow, and the occasional (read: daily?) pub crawls that would inevitably end at Turf Tavern. But my experience abroad wasn’t all punting and daisy chains. There were times that it was very lonely. No one wants to tell you how difficult it is trying to build a home around something so temporary. No one likes to talk about the weeks of no sun or the breakdowns in Tesco when you realize you can’t make your favorite Christmas dish because the ingredients aren’t sold in England.

For me, the loneliest part was not being able to talk about missing home. How do you speak negatively about this incredible opportunity when everyone around you is saying they never want to leave? I’d dreamt about being at Oxford since I was five years old; even my family couldn’t understand why I was sitting in my room and not running around in the rain soaking up every drop of my Oxford experience. Oxford’s disturbing lack of mental health awareness and resources are topics best covered by a different student at a different time. All I’ll say on the matter is that silence can be a lot harder than speaking out.

It wasn’t as though my entire experience at Oxford was filtered through the lens of this grey cloud of depression. I met some of the greatest people while I was abroad. I made incredible friends. I was fortunate enough to be at St. Anne’s, the absolute best college, in my wholly objective opinion. But when my friend asked me to write about my time in Oxford this is the story I wanted to tell. Because I feel as though it isn’t one that gets told often enough. It’s whispered on drunken walks home from Wahoo or mentioned quickly in a dorm room over a fourth glass of Shy Pig: Oxford is great and wonderful and special; it is also isolating, lonely, and far from home.

Thanksgiving at Standing Rock

0

Across a lonely bridge in rural North Dakota spirals a length of gleaming razor wire. On one side, dozens of police officers stand in riot gear, accompanied by armored personnel carriers, towering lights, and water cannons. On the other end is a disorganized swath of unarmed protesters who, since last summer, have gathered to peacefully oppose the development of an oil pipeline that would connect North Dakota to the rest of the nation’s energy infrastructure.

On Sunday night, mounting tension erupted into chaos. A small provocation by protestors—an attempt to move a burnt-out vehicle which blocked the bridge—unleashed a massive response by police. Videos and photographs show water cannons, tear gas, and rubber bullets fired into a crowd of peaceful demonstrators.

The images are striking. Set against a jet-black night, clouds of tear gas and cascading water jets rise high above protesters waist-deep in wheat. Helmeted police in black uniforms hold bats or cans of pepper spray while large rifles hang between their hips. A tribal elder in traditional dress chants as he stares down police through the sights of their own weapons. Were it not for the Dakota blackness in the background, this could easily be Tahrir Square in Cairo or Taksim Square in Istanbul. Were it not for the color photography, the firework flashes of tear gas launchers, and the Operation Iraqi Freedom vehicles, it could be Birmingham, Alabama, in 1963. Were it not for the wheat and the American Indians, it could be Ferguson, Missouri, in 2014.

On Thursday, November 24, the overwhelming majority of Americans will gather with their families to celebrate Thanksgiving. For the unfamiliar, American Thanksgiving is one of the most important holidays in the United States, alongside Christmas and Independence Day. Its origins trace back to murky accounts of early 17th Century colonists sharing a harvest feast with indigenous Americans. But the “Thanksgiving Story” is rarely given much attention—the focus of the evening is gratitude and family. It’s the kind of celebration for which people open their doors to those who might otherwise be alone.

This Thursday promises to be a surreal experience at Standing Rock. A holiday which embraces warmth and friendship will intrude upon a snowy landscape dotted with canvas teepees and military vehicles still sporting their Middle Eastern camouflage colors. The scene on the bridge may resemble the Christmas Truce of 1914, an eerie testament to the military nature of this miniature ground offensive. Or it may fall quiet as police stay home for the day. Whatever happens, the last four-hundred years of “Indian policy” will be on everyone’s minds. The best-case scenario I can imagine is this: for just a moment the razor wire is moved aside, police take off their helmets and lay down their weapons, and both sides come together, at least to share an evening meal. And who knows? Perhaps, when the law enforcement officers get out of bed the next morning, going to work in the same way they did on Wednesday suddenly won’t feel so appetizing.

Wednesday Weltanschauung: Marijuana Legalisation

1

Marijuana legalisation has become such a popular position in the youthful generation that it has almost become a cliché. To oppose the legalisation of cannabis is to be an antediluvian madman who does not understand anything about modern society. And I do not wish to be antediluvian, or mad. I support the legalisation of marijuana—but not for the reasons most people favour it.

When asked why the favour legalisation, most people, especially young people in wealthy countries like Britain, favour marijuana legalisation, will say something along the lines that’s its harmless. If they’re being honest, they’ll even admit that the sugar in sweets or the alcohol in beer is more harmful than marijuana is. Others, who perhaps are more wonkish than average, might mention the effect the war on drugs has had on prisons, putting nonviolent potheads behind bars and costing the government hundreds of millions every year. A few people might even bring up the fact that in the US, the drug was has been used to criminalise blackness, with African-Americans being disproportionately arrested for the possession and use of marijuana.

All of these are very good reasons. Marijuana is as safe as coffee or tea, mass incarceration costs the governments heaps, and African American communities have been destroyed due to the war on drugs. But those are all relatively minor reasons to support the end of the war on drugs, and specifically the war on marijuana, compared to what this vanity project of the west has done to the third world.

It is easy to forget that the third world exists. In our day to day life, it is simply a source of guilt and vague sense of danger. It is where our cheap clothes and hated refugees come from. And to be frank, if it weren’t for my background, I would be as oblivious to the goings on of the third world as any other bourgeois Oxonian student. To be frank, I am ignorant of much of the goings in much of the third world. But I am familiar with the goings on of my country, which has been particularly affected by the war on drugs: and that country is Colombia.

If you have heard of Columbia, it is likely to be over the failed peace referendum in October, that time the secret service got caught fighting with hookers in Cartagena, that place where Shakira and Sofia Vergara comes from, or where your favourite TV show Narcos takes place. Remember that last one for a moment, and ask yourself, how could a country get to the point where one of the main things it’s known as is as a violent drug capital.

The causes of violence in Colombia have their roots well before the drug war, with the civil wars of the 19th century between liberals and conservatives, and with the rise and suppression of the nascent worker’s movement in the early 20th century. But there is no doubt that the violence in Colombia was exacerbated by the war on drugs.

When the war on drugs began, Colombia was not a peaceful country. It was a country with a long history of civil wars and military interventions in public life, with massive inequality and an almost hereditary political elite. But there were signs of improvement. The Radical Liberal Movement of President Lopez Michaelson showed there was a possibility of a third way between FARC style communism and the old quasi-feudal state of affairs that had governed Colombia since the 16th century. But that was before Nixon and the war on drugs.

The war on drugs gave a shot in the arm to a conflict that was on its way out. Injecting money into the bloodstream of Colombian life, the American decision to go all out on the war on drugs lead to the greatest period of violence that Colombia had ever seen. Local landlords began to hire paramilitary armies to kick peasants of their land, in order to ensure more land for their drug production. Drug cartels sprung up in cooperation with local landlords, until they began to violently overthrow the old landlords, and to violently battle one another. The military began to us extralegal tactics in order to meet targets set for how many tons of drugs were to be destroyed per year, dropping Agent Orange on the Colombian countryside. Some corrupt members of the armed forces cooperated with the cartels, helping them become professional armies. Peasants, displaced and bombed, became desperate. Those who tried to change the situation democratically were killed off by paramilitaries in what the Colombian government today recognises as a political genocide, while more radical peasants swelled the ranks of the FARC, for whom the drugs trade provided both members and money.

The drugs trade also led to the death of civil society. Courts, which in Colombia used to be respected institutions, had their judges murdered by the hundreds, with even the Supreme Court being bombed by a corrupt army. Politicians began to simply buy votes, while the state bureaucracy grew from being a weak but somewhat respected institution to becoming a nest of corruption so great that you needed a bribe to pay your taxes. The leaders of cartels like Pablo Escobar got elected to the House of Representatives, while Senators and cabinet members had personal hit squads to murder voters who dared oppose them.

Things in Colombia have gotten better than they were in the 1980s and 1990s, but the effects of the war of drugs are still there, impoverishing the country and perpetuating violence and corruption. And Colombia isn’t the only country where the people have become stuck in the crossfire between violent drug lords and corrupt governments. The story’s particulars change, but the broad strokes remain unchanged. Guatemala, Mexico, Honduras, El Salvador, Nicaragua—and many other nations have suffered greatly due to the war on drugs.

People die for the west’s vanity projects. By all means, support legalisation of marijuana based on personal inconvenience, or government waste. But remember that they should always be secondary reasons, compared to the untold damage that the herb’s criminalisation has done to my nation, and so many other third world nations like it.

Review: Jealous of Herself

0

This 17th century Spanish drama from Tirso de Molina is brought to new life by NowNow Theatre in its first English language performance at the Keble O’Reilly. With effortless shifts from farcical plot twists and wry innuendo, to sobering reflections on the expectations of gender in society, Jealous of Herself is an enjoyable and thought-provoking production.

Although the twists and turns of the play’s plot create the opportunity for a cavalcade of humour, this production does not ignore that the source of these complications is a projection of male fantasy. While Finlay Stroud’s Melchor may embody the charm and perform the poetic compliments of a traditional romantic male lead, the darker edge to his blithe assumptions of beauty being the “primary concern” and his idealised preference of the imagined ‘Countess’ over the real woman behind the veil is acknowledged in the play’s more sombre moments, especially the incredible ending. The focal point of the comedy, his infatuation with a hand, becomes the cause of several characters’ anguish.

The music, composed by Alice Boyd, helps with the seamless nuances of tone as the interludes of performances by the ensemble (Boyd, Anushka Chakravarti, Cara Pacitti, Ell Potter and James Tibbles) are in turns enchanting, ominous and bittersweet. The choreography, by Emmy Everest-Phillips, is best displayed in a pas de deux between Chakravarti and Tibbles that emphasises both lyricism and aggression, as the two dancers portray power dynamics through energetic contemporary dance.

The rest of the main cast all have their moments to shine as well- all of the actors share an ease with the language and comedy that enchants and thoroughly involves the audience. Joe Peden carries a lot of the comedic dialogue (as well as literally carrying the male lead in one moment of slapstick) as the servant Ventura, who has a baser but more accurate view of the world than Melchor, and dryly comments on the play’s events to the audience directly. Peden appears an entirely modern presence in the play despite the occasionally archaic language, and his fast-paced chemistry with Stroud’s Melchor is outstanding. The heroine’s father (Tobias Sims) is appropriately and comically unaware of the goings-on, her brother (Rory Grant) entirely artless in his admiration for his neighbour’s sister and in any ill-will towards Melchor, and the neighbour Sebastian (Ali Porteous) believably infatuated with the heroine Magdalena. The maid Quinones (Emily Bell) develops from a staid disapproving figure next to Magdalena into a fun innuendo-spouting instigator of chaos herself, and Sebastian’s sister Angela (Kate Weir) is a superbly-acted figure of humour who becomes another Countess in the increasingly complex web of illusion.

There is a reason the play begins and ends with a song to Magdalena, however, and most of the poignancy of the play’s twists stems from Rebecca Hamilton’s heroine, who is by turns self-castigating, calculating, petulant, witty and tragic. Unlike Melchor, Magdalena is conscious of her own actions and the way she has “split herself into two”, both to trick and to fit into the desires of this male character; Hamilton’s performance is ultimately the most complex in the play because of that self-awareness. Unusually for the expectations of 17th century Spain, she is a fully-realised intelligent female character: imbuing Melchor’s reduction of her to a white hand with even more tragic irony.

Even without analysing the gender politics, the simple black-and-white stage design and costumes will evoke the binary conformity that the play addresses (the neon ‘Ladies’ and ‘Gents’ signs also convey this, but invite the audience to categorise themselves). The beautiful, haunting music of the final scene will stay with you long after the play ends- and the hilarious scenarios and dialogue guarantee that even if the play’s more intricate explorations do not resonate with you as they did with me, you will be thoroughly entertained. Open yourself up to the play’s subtleties, however, and you’ll experience far more than merely an excellent comedy.

Review: I, Daniel Blake

1

I am an enormous advocate of the redemptive and transformative power of cinema. If a friend feels trapped in a situation and needs to escape, I sit them in front of The Shawshank Redemption. If someone close to me is suffering after a difficult breakup, they’ll feel a lot better after watching Eternal Sunshine of the Spotless Mind. And I can’t think of a single Oxford student whose life wouldn’t be at least a little changed by watching I, Daniel Blake.

In amongst the cycle of essays and tutorials that take up most of our brains during term time, it can be really difficult to extend our thoughts to the wider world outside of this incredible, mad, wonderful bubble of privilege which we’re so lucky to call ourselves a part of. Like the best cinema, I, Daniel Blake offers an uncompromising and utterly absorbing view of the world, but one that’s much closer to home than many of us would dare to think.

The film follows Daniel Blake, a 59-year-old joiner-carpenter, who is declared medically unfit for work by his doctor after suffering a heart attack. However, according to a faceless medical healthcare professional, in the film’s disarmingly funny opening scene, he hasn’t scored quite enough “points” under the government’s system to qualify for the Disability benefit he so clearly needs. He is then forced to take Jobseeker’s Allowance, searching for jobs he’s unable to take due to his health, to satisfy a system that would rather reduce him to a number on a spreadsheet than view him as a human being.

From that brief synopsis, it’s clear the film’s currency is political ideas. The bedroom tax, food banks and the public’s opinions of those who accept benefits are just some of the key political ideas and plot points running through the film, but to focus on the film as a polemic against the government’s treatment of the poorest in society would, I think, miss the best of what the film has to offer.

This is a film about ordinary, good people coming up against faceless adversities, from the ridiculous bureaucracy seemingly designed “to make us give up and go home” to the faceless computers offering Daniel no compassion as he tries his hardest to do what they’re asking of him.

The storytelling is brimming with warmth and compassion toward its subjects, and celebrates the essential caring nature of human beings and small communities within systems that attempt to stamp that out. Anchored by two terrific lead performances by Dave Johns and Hayley Squires, the film is full of richly drawn characters and situations to pull out the humanity from the politics, to put faces on the issues at stake, and it is incredibly moving. One scene in particular at a food bank is absolutely devastating and reduced almost my entire screening’s audience to tears.

I can’t think of a single person who shouldn’t see I, Daniel Blake. The film is absolutely one of the year’s best, having already won the top prize at the Cannes Film Festival earlier in the year. The main character may be fictional, but his struggles are not—and this film offers an emotional, devastatingly unflinching view of what that looks like. It’s a rallying cry against injustice in its many insidious forms, a howl of righteous fury on behalf of the voiceless, an ode to the tenacity of the human spirit. It made me laugh, and it reduced me to tears. I, Daniel Blake deserves to be seen by as many people as possible.

Beyond anger: an evening with Frank Carter

0

Somehow we have got to a point where modern rock music feels as if it is becoming ever more sanitised and anodyne. The idea of a rockstar who had a dissenting or powerful perspective to offer seems to be a concept from a distant memory. However, one unassuming dreary Sunday evening in Oxford would be enough to prove to anyone that punk rock was still as energetic as ever and that there are still musicians who want to scream their message until their lungs collapse.

When they first emerged in latter half of the noughties, Gallows were a band infamous for their violent and unpredictable live performances: fights were not uncommon and entire shows were performed in the crowd itself. This is something that has clearly not been lost in translation for lead singer Frank Carter in his new band Frank Carter and the Rattlesnakes. The night’s performance sees every feasible type of chaos unfold: Carter strutting along the bar of The Bullingdon, people swinging from the pipes on the ceiling, stage dives galore and guitarist Dean Richardson playing half a song whilst standing upright atop the crowd.

But there is something far more than just a brutal display of violent energy on display tonight. The atmosphere in the room was something between being caught in a prison riot and a cathartic spiritual experience. No moment illustrated this duality more than Carter’s open and raw discussion about loss before singing a stripped down, minimalist version of the song Beautiful Death. There is a palpable sense melancholy in the pin-drop silence that fills the room after he croons the last lyrics: “I want to stay this warm forever. I want to be this close to heaven.”

The theme of loss is one that looms large over the debut album Blossom. “It was all about loss.” he says to me. “And using all of those experiences for self betterment. The leaves have got to fall for the tree for it to get bigger. And this was about all the leaves that had fallen in that period of time.” Given his reputation for being somewhat cantankerous, such levels of raw emotion may seem unusual and out of place to those with only a cursory knowledge of his past – seeing only the pictures of him bloodied and bleeding while playing with Gallows. And this is a misconception that he addresses: “I’m not just aggression, as much as people want me to be. I’m much more complicated and individual than that.”

The upcoming album Modern Ruin is a testament to this: “This album shows all the different layers and depth to me as an artist. It is about how we interact with everyone around us and how you can take two elements and they are able to make something beautiful and at other times they can ruin each other and be corrosive.”

Clearly the power of music as an art form to affect change in people’s lives is something central to every artist. However, when talking about the recent election of Donald Trump in America, Carter is less certain. Given the tradition of punk rock – arising from the oppressive authoritarianism of the 1980s – I ask whether he believes we will see a renaissance in punk rock or even more generally in music with a broad political commentary.

“We live in the most narcissistic age there has ever been.” he says “We’ve kind of been dumbed down and we kind of care less about the things that are important in life and theres a small pocket of people that give a shit and they’re actively trying to push it. And those are the people that will make those records.”

However, this doesn’t necessarily mean that punk will be the chosen medium of the resistance.

“You gotta remember with that whole thing – what punk rock came from – I think you take punk and you move it out and what has now replaced punk rock is grime. Same kids. Same disillusioned youth with a hatred for authority. So what we’ve had is a just a shift in the urban downtrodden youth and what they’re embracing now is grime.”

For Carter both are the sound of a furious and intense dissidence and disaffection. “Punk is grime now. Grime is punk. I want people to understand that, they’re completely different and exactly the same.”

It is this intense and furious that Carter closes the night with, exclaiming from stage before diving into the aptly named I Hate You: “this is a song for that one person that you absolutely cannot stand. Because just know that if you feel that way about someone, then someone else probably feels that way about you too.”

The evening captures the passionate intensity and emotion that Carter spoke of. Though it is possibly one of the most chaotic performances that you may ever see, it is a perfect encapsulation of the variety of anger that fills the room. The evening is an acknowledgement that every single person’s expressions of anger are unique to them: whether they be feelings of dislocation or a sense loss. And yet Carter has managed to uniquely harness this anger and this melancholy and distill into 90 minutes of pure punk rock perfection.

Remembering Laughing Lennie

0

The day before I left home to come to Oxford I found a hidden stash of my parents’ records in a cupboard in the sitting room. In this, amongst the Kate Bush and the New Order was a “The Best of Leonard Cohen” album. One might recognise the cover – it’s a sepia picture of him looking in a circular mirror in Milan, and as he himself described it “I hardly ever look this good, or bad, depending on your politics”. I had known, and liked, Leonard Cohen before spotting this amongst the other vinyl. Just this summer I had been in Montreal, and there I had purchased his first ever novel, ‘The Favourite Game’. We called him ‘Laughing Lennie’ in my family, in homage to the bitter, serious humour that runs consistently through everything he does. This record, however, started something new. When I asked my dad if I could take it with me here, he was overjoyed. As it turns out, it was one of the records my mother brought with her when she first came to Oxford, 38 years ago almost to the day. This was, of course, a cliché, but a significant one. I packed in the back of the car the next morning, and a love affair began.

That record has spun around my record player more times than I can count since being here. Everyone who has come into my room has at some point been subjected to Laughing Lennie. It’s helped me build relationships (the Oriel Chaplain also loves Leonard Cohen), it’s helped me make people laugh (apparently my insistence to call him sexy despite a 64 year age difference is comical), and it has helped me deal with the sadness and insecurity that I’ve felt since being in Oxford. The thing about Leonard Cohen, is that he is (or now was) sincere. He was a man, a Jew from Montreal, who loved music and loved poetry and loved women. He wrote songs about himself, songs that make sense to those that listen to them but weren’t written to be universal. He never thought too highly of himself, but he was never self deprecating either. He was just a man, a beautiful, talented man, who had things to feel and stories to tell. I always admire poets. People who can write what’s inside my head in a way I could never do. Leonard Cohen was the epitome of that – he took the soul, the human condition, and put it to music. For that, I (and many others) will be eternally grateful.

This year we have lost too many heroes. It hurts my heart to think of the minds and the intellects that were here twelve months ago and now are no longer. These deaths can, as a silver lining, reignite our love and passion in those that we lost. So, if you haven’t already, go and listen to Leonard Cohen. Listen to ‘So Long Marianne’ and dance and sing with a friend. Listen to ‘Famous Blue Raincoat’ and share in a vulnerability that not many other grown men have been willing to expose. Listen to ‘I’m Your Man’ and cringe at the creepy sexiness of it all (and try to imagine your parents doing their first dance to it, as my god-sister has to). Listen to ‘You Want it Darker’ and giggle at the cheesy backing singers who seemed to never be more than a verse away from his deep and moving voice. I hope that this death can bring new ears to my hero. I hope that someone who is struggling to find their feet, albeit in Oxford or in life, can listen to a man who loved and who felt and feel that they are not, and will never be alone. Laughing Lennie, you will be missed.

Peter Tatchell on LGBT suffrage, ethical outing, and receiving death threats

0

Peter Tatchell is an unshakable sort. Indeed, he stands so secure in the justness of his convictions that it is easy to imagine him as the earnest young churchgoer of his childhood, raised as he was, a “devout evangelical Christian”, by “prim” working-class parents, in Melbourne, Australia.

Yet, the notable human rights campaigner and LGBT activist has long lost his faith; even in matters of doubt, though, he remains definitive. “I haven’t lost it,” he corrects me, “I abandoned it.” His address to the Theology Society is subtitled, in characteristically unflinching style, “how I made the transition from dogma and superstition to science and rationalism’’. As I enter towards the end, Tatchell is fielding a particularly stodgy question from somewhere in the front rows, accusing him of neglecting the problems that induction poses for empiricism. Tatchell blinks at the question, then pushed it away with his sturdy antipodean insouciance.

His faithlessness and his politics are closely connected. In many ways it seems the one made way for the other. “At the age of 17” he says, “I had realised I was gay. From the first time I had sex with a man I felt emotionally and sexually fulfilled, without any shame at all.” Rather than falling into the ideological conflict that such a discovery might precipitate, then, Tatchell determined “to do [his] bit to help end the persecution of lesbian and gay people”, and soon after shed his religious conviction.

So long estranged from the church which has remained an unregenerate obstacle to so many of the humanist values he now cherishes, I wonder what Tatchell makes of the perceived détente occurring under the current Pope. “Pope Francis is a PR genius”, Tatchell concedes, “he’s changed the tone but not the substance” of catholic dogma. “All the traditional teachings about the rights of women and gay people remain the same. In fact a number of priests have been excommunicated since he became Pope because they supported LGBT equality.”

The desire to secure civil rights, adopted in earnest after breaking from the church, has become a lifelong project. It has led him to prominent positions within the Gay Liberation Front, the Ecology Movement, the campaign opposing the Iraq War, and to several times attempt the citizens arrest of Robert Mugabe. He was famously selected in 1983 as the labour party candidate for the Bermondsey by-election, was decisively denounced by the party leader Michael Foot for employing extra-parliamentary tactics against the Thatcher government, and lost, following a notoriously underhand contest. “If I’d been elected in 1983 there would have been a fair chance that I would have ended up in the Cabinet”, he informs me, soberly.

Looking back, does he put hit loss down to electoral homophobia? “Partly” he admits, but it was also “because I was disowned by the labour leadership …[and] deemed to be a left-winger with extremist policies.” “But!” he asserts steadily, “all the extremist policies I espoused have now come to pass. I advocated political settlement in Northern Ireland, devolution to Scotland and Wales, a national minimum wage, and comprehensive equality laws. All those things… were denounced as extremist – now they’re the mainstream.”

So what does Tatchell – once too radical for Michael Foot – make of the current state of the labour party? “I’m broadly supportive of Jeremy Corbyn’s bid to make the Labour Party a mass membership party… That’s the way it should be: the party belongs to the members, not to the members of parliament.” Although currently a member of the Greens, “I am aware that a defeat for Jeremy Corbyn would be a setback for progressive politics in this country”. There seems something vaguely strained about this endorsement of his old party. “I’m much to the left of Jeremy Corbyn”, he admits “but also more practical with more achievable goals. I’ve synthetised a radicalism with pragmatism.” No wonder, then, the current state of the opposition leaves Tatchell restless.

Still proudly to the left of the left, has Tatchell not made room for the clichéd encroachment of any conservatism into his thought, even as he enters his seventh decade? “No.”, he eyes me. “I’m way more radical than most young people.” This boast seems to have been tested recently, when in 2015 Tatchell was publically attacked as a signatory to a letter warning the NUS to reconsider its policy of No-platforming on university campuses. Surely, if such disagreeable trends are at the vanguard of student activism, it might be time for him to give up chasing after the radicalism of the young? ‘They’re not the vanguard. They’re regressive”, he protests. “It disturbs me that a lot of young people embrace the idea that if something’s offensive it should be banned” he later reflects.

Having said this, “the No-platform and safe-space policies are well-intended… the problem I have is the way in which they’re often interpreted: far more widely than was the original intention.” Underlying the alltoo-frequent deployment of these policies is a fundamental misapprehension. “Censorship and bans don’t defeat bigoted ideas, they simply suppress them; those ideas don’t go away, they remain and fester. That’s not a solution.”

That said, Tatchell himself is no stranger to forms of activism which can raise the onlooking eyebrow. For a while in the 1990s, Tatchell drew attention as a prominent fi gure within the gay-liberation group Outrage! which made a practice of outing closeted homosexuals whom they deemed to be among their political opponents; surely methods such as these are morally dubious? “It was a tiny fragment” of our work, Tatchell responds. But, all the same, “Outrage! practiced ethical outing”, he insists. “We never outed anyone because they were gay and in the closet. It was because they were public figures who were abusing their power and influence to attack and harm other gay people… There was a contradiction between their public homophobia and their private homosexuality.” They were hypocrites, I suggest. “Yeah. It was a clear example of hypocrisy and double-standards. It was ethically and morally right to expose them.”

I suggest that perhaps there is another, more substantive sense, in which Tatchell might be alienated from the first-world social activism of today. In contrast to his own undeniably global concerns, there seems something strangely introverted and self-inspecting about the most contested objects of protest today. Does he sense that activism has become trivialised in this way? Take the issue of cultural appropriation: “It is perfectly reasonable to be critical of cultural appropriation” Tatchell affirms, “but it is outrageous that people are more obsessed with that than the fact that a thousand million people on this planet don’t have safe clean drinkingwater and are hungry or mall-nourished.”

Looking toward Oxford, Tatchell says that he was broadly “sympathetic to the Rhodes Must Fall campaign in the sense that it was a timely reminder of [Rhodes’s] personal role and the role of British imperialism”. “But”, he continues “I actually felt that rather than bring the statue down, the statue should remain but a plaque should be erected to explain the bad things he did and advocated.”

Watching and listening to Tatchell, I think it is evident that he feels compelled most strongly by those whose cause is the direst, whose suffering the most profound. Accompanying this is a barely-veiled frustration with those who fail to feel the full force of this concern, even those who ought to be his ideological bedfellows. “The left and progressive movement is very partial and selective about what issues it embraces” he confides. “They never champion the cause of jailed trade-unionists in Iran, arrested left-activists in Russia, persecuted Shia muslims in Saudi Arabia, or the Indonesian occupation of West Papua”. One feels the list could continue, and probably does.

What, then, is the cause of this dislocation of values amongst western liberals? “The priorities of people in many western countries are completely out of kilter” with the most acute concerns facing “the planet”, he suggests. “Too many people are obsessed with being politically correct and out-doing each other as to who’s the most radical rather than actually addressing the major global problems faced by people, particularly in the developing world”. He points to “the LGBT community in Uganda”, which has long been “appealing for Western solidarity. Most western left and liberals choose to ignore those appeals. They no longer support the principle of international solidarity. They are insular and isolationist, just like Donald Trump.”

It is this last, peculiar equivocation that seems to expose the tension in Tatchell’s ambition and the punishing burden he has claimed as his own: to fight tirelessly in the corner of the downtrodden the world over. His every word tells of his persuasion of the innate value of all people, and their entitlement to an improved life. To him we are all equals, not before god, but in our shared pursuit of recognition and liberation. Yet in the pursuit of this vision of brotherhood and egalitarianism, he seems strangely alone: a single soldier, a solitary figure on a horizon of global concern.

Tatchell seems to enjoy the embattled image. He tells me he still gets death threats. How often now? I ask. “Pretty regularly.” He responds, gruffly. “I’ve had lots of threats from Islamic extremists to kill me because I’ve condemned their misogyny, homophobia, and persecution of liberal progressive Muslims.” Will he ever hang up the protest banners and seek escape from this deathdefying game, I wonder. “No.” he says, and repeats. Why not? “The work I want to do is not finished”. In anyone else’s mouth, these words might come across as distinctly pompous. But with Tatchell, the years in the teeth of the struggle and the front line of the march, seem to give truth to the claim. “So long as there are human rights abuses happening, and I’ve got health and energy, I will carry on.”

Futuristic costumes for Romeo and Juliet

“Everyone knows how it ends”, proclaims the Facebook event page for RxJ, a radical adaptation of Shakespeare’s tragedy showing at the Pegasus Theatre in 7th week. The headline reflects the challenge faced by the student cast and crew who are tackling the work of the world’s most famous playwright: how to gauge the interest and avoid the death-trap clichés of a play that the audience will know, top to tail, by heart?

 
An updated dystopian reimagining rejects traditional ideas, combining a brutalist set with futuristic lighting and subversive costumes. Cherwell spoke to costume designer Hattie Morrison on her take on the concept of a dystopian romance, and the various styles and textures being explored. The main features of her costumes range from fetishised chokers to ripped knitwear. The resulting look promises to shock and engage, but most of all bring a breath of fresh air to a play so enshrined in our culture.

 
The clothes themselves are the cumulative product of conflicting influences. A ‘DIY’ theme underlies the entire costume line, which is rooted in the idea of maintaining a ‘human touch’ as well as adhering to the practicalities of a student budget. Fabrics and clothes are all sourced second-hand, dyed by hand with avocado skins and mascara. The stitching is rough and quick, a further rejection of the idealised perfection of the play’s structure and story.

 
Distressed knitwear, inspired by Zoe Jordan’s knit lab designs, provides a mundane update to one of Shakespeare’s most dramatic plays. This serves to challenge the function of knitwear keeping people warm by destroying the layers. The significance of silhouettes is also addressed, with echoes of Alexander Wang’s Spring 2017 ready-to-wear collection present in deconstructed lines and tracksuits. Currently trending ‘athleisure’ pieces harking to the infamous Yeezy brand are riddled with rips and holes, torn and stained. They stand in stark contrast to the rich Renaissance costumes seen in Franco Zeffirelli’s 1968 film, or the eclectic glamour of Baz Luhrmann’s modern 1996 revamp.

One element of the costume design is sure to shock: evocative red body cages and studded chokers in a controversial S&M style. Why push the costumes to such an extreme? Hattie’s interpretation rests on the premise that while the play has acquired an iconic exalted status as the greatest love story ever told, base sexuality remains one of its major themes. The events that unfold are merely consequences of powerful physical attractions between an objectified Juliet and a testosterone-driven, impetuous Romeo. This destructive side of their relationship is explored through the allusions to fetish gear and bondage. Even Friar (symbolic of a moral Christian presence) wears a spiked rubber choker as a dog collar, marking a provocative assertion that the world of Romeo and Juliet is not the idealised romantic one our culture has imagined.

 
Playing on gender and body stereotypes, underwear is worn as outerwear. The presence of such overt sexuality undermines the purity of Romeo and Juliet’s romance. Colour connotations are also woven into the fabric of gendered costume design: warm and cool colour tone groups are used for the Montague and Capulet rivals respectively. Hattie takes inspiration from the nude palette of Kanye’s designs and the subversion of ‘girl’ and ‘boy’ colours.

 
The famous masquerade ball, an event usually synonymous with luxurious excess, is represented through surgical masks and ultra-violet paint. This clinical look foreshadows the downwards spiral of the narrative and dystopian aura. Hair and makeup complete the look, with a slicked back style accessorised with metallic foil. Make-up reflects the drama in vibrant shades of blue and pink irrespective of role or gender groups.

 
The futurism however does not entirely displace the history of the production. Functional t-shirts are paired with silk slips in jewel tones, using rich texture to toy with the brutalist look. The costumes are yet to be embellished with glittering stars and shiny silver foil, a hint of the opulent drama of Romeo and Juliet productions past.

 
From the star-spangled lovers to the red rubber-caged pair clothed in camis and tracksuits, RxJ takes costume design to the extremes. Tickets have already sold out in only a few hours of going online, and the lucky few who have snagged them can look forward to an exciting show from every artistic front. This production promises to take art to its most intense level and brings Shakespeare out of his conventional cage into the harsh limelight of the 21st century.

Mirror synesthesia

0

Imagine what it would feel like to watch a film and physically experience the emotions and sensations of each and every character that you saw on screen. This could be the salty taste and crunchy texture of a handful of chips being chewed in your mouth, or the excruciating pain from a gunshot to your leg. Far from offering you the glamorous life of a movie star, this rare neurological condition which causes people to hyper-empathise with the people and animals that they observe is both draining and potentially severely dangerous.
Many of us are already familiar with the concept of synesthesia, which literally means “the mixing of the senses”. It is a term used to describe the condition whereby one feels a sensation in one area of the body produced by stimulation in another, often totally unrelated, part (famous sufferers include Vladimir Nabokov and Wassily Kandinsky).

Common examples of this include seeing emotions as colours and smelling sounds.
However, acutely feeling everything that the people around you feel takes this confusion of the senses to a whole new level, and has been given the name of “mirror-touch synesthesia”. It was not until 2005 that scientists began to research this fascinating condition. The first woman upon whom research was conducted explained how as a child her abnormally strong reactions to other people’s pain were dismissed as a sign of social anxiety, but studies have shown that they in fact have a physiological cause. Have you ever flinched at the sight of someone being hit in the face by a football? This reflexive reaction would have been carried out by what is known as your ‘mirror-touch system’. It is precisely the over activity of this system in certain individuals that explains the symptoms of mirror-touch synesthesia. It goes without saying that suffering from this condition can make being in social situations very difficult; being surrounded by such a plethora of feelings and emotions must lead to confusion over which ones are actually your own.

Sometimes the brain’s response to what it sees can be so strong that it causes actual physical harm to the body. Indeed, it was only after the boyfriend of the first woman to have been diagnosed with this condition returned to his car one day to find her unconscious following witnessing a brawl that she decided to seek medical help.

This being said, it isn’t all bad. This unusual kind of synesthesia presents those that have it with the possibility of experiencing feelings that many of us will never experience. One woman explained that she enjoys watching birds fly in the sky because in doing so she receives the vivid impression that she is flying. Another seeks comfort and warmth from observing other people hug one another. Finally, although we might not want to suffer from mirror-touch synesthesia ourselves, we would certainly all benefit from a friend who does, because there are undoubtedly few other people who would have a better understanding of our own feelings.