Tuesday, May 13, 2025
Blog Page 1060

Students can keep Britain in Europe

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As the renegotiation comes to a close, Britain is preparing for a once in a lifetime choice. The choice has always been clear: do we remain engaged the world’s most successful union, or do we choose the path of the loner. To leave the European Union would be to sacrifice Britain’s national interest for its national pride; the world won’t stop spinning, but it will be a much darker place for British exit.

The European referendum will have dramatic consequences – be it for global security, economic stability or even the continued existence of the United Kingdom. All segments of society will be affected by a British exit, but the poor and the vulnerable will suffer the most. European funding for deprived regions like Northern Ireland and the North-East of England would dry up, while essential European regulation like the Working Time Directive could be scrapped at a whim. Britain would be left to form its own trade pacts, and would probably fare quite badly without the clout of the world’s largest single market. The imposition of a border between Northern Ireland and the Republic – an inevitable consequence of the divergence of immigration policy likely to follow a Brexit – could reignite the Troubles, and the Union itself could be broken up by the Scottish Nationalists.

Yet the group which will suffer the most from a British exit will be students and young adults. People who have their whole lives ahead of them, for whom Europe is as much as home as Britain. With an optimistically predicted contraction of 2.2 per cent expected after Brexit, the tough jobs market of a few years ago would come back with a bite. Academics would suffer too, as €8.8 billion of funding from Brussels dried up. With funding for research still scarce in Britain, future researchers and inventors could vote with their feet. Britain’s reputation as a global place of learning would be shattered, just as British influence in global affairs would wane.

On Friday of first week, the Oxford Students for Europe campaign launched in Christ Church. With over a hundred students from both universities in attendance, it is clear that students will play a pivotal role in the campaign to keep Britain in Europe. Young people on the doorstep, canvassing and getting out the vote will transform the campaign from a shoddy re-run of ‘Project Fear’ to a hopeful and optimistic campaign about whether we hope to be ‘Great Britain’ or ‘Little England.’ Furthermore, students will be living proof of the quiet moderation of the British voter; for too long, Eurosceptics have pushed the UK away from Europe through their loud rhetoric. The Remain campaign, always likely to be more diverse than Leave, will be bolstered by the fresh faces of tomorrow; the campaign will give Nigel Farage yet another reason to be grumpy.

Unlike the Scottish referendum, the government almost certainly wants the status quo. To some extent, so long as the Leave campaign doesn’t capture the hearts of the youth like the Yes campaign did in Scotland, it’s unlikely that the referendum could lead to a ‘neverendum.’ In stark contrast to UKIP, the SNP present themselves as socially liberal progressives, even if their policies don’t reflect their rhetoric; UKIP is a party of the middle aged, hence the lack of a serious Oxford UKIP Society. The size of the Eurosceptic core vote in ten years’ time will be dwarfed by Europhilic vote, provided students across the country can be engaged by the arguments for staying in.

It’s always difficult to get non-voters to start voting. Ultimately, it’s this political fact which makes a Corbyn victory in 2020 so implausible, and it poses a major problem for the Remain campaign. If the youth vote can be successfully engaged, Britain’s majority for staying in can deliver a sensible and final answer to the biggest constitutional question of our lifetimes. Oxford Students for Europe is affiliated with the national Students for Europe campaign and will undoubtedly play a massive role in the campaign to come. Given just how close student interests align with remaining in the EU, the youth vote will be critical to a successful campaign to stay in. The launch event showed promise, but Oxford Students for Europe will have to work much more broadly to spread their message over the Eurosceptic rhetoric. 

We live in exciting if frightening times. Britain could sleepwalk out of the EU. Here in the country’s intellectual heart, we have a special vantage point for the campaign. As a city dominated by a ‘metropolitan elite,’ the campaign must reach out across class and social divisions to engage young voters. If it can’t do so, the minority of Britons who want to leave the European Union could force a dramatic and damaging exit that would change the world profoundly.

Yes, I’m a Facebook activist

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The problem with Cuntry Living isn’t the admins, or the banning scandals, or even the cries of ‘shut up white people!’ on every post. It’s the members. Not the internally famous ones, nor the ones that stimulate debate, educate or get angry at injustices. It’s the silent majority, the bulk of the 12,000-plus members that simply don’t speak at all. Reading this right now, you are very possibly one of them. I know I am. The internet allows us to do wonderful things, and gives the impression of long-distance connection. With its 1.39 billion users, Facebook would be the largest nation on earth, creating a channel to the obscenely famous, to obscure aunts in foreign countries, and to your cousin’s new boyfriend’s best friend’s sister. If you aren’t on Facebook, you basically don’t exist. But where does the individual fi t into this mass? As it turns out, the answer is nowhere. The individual simply does not fit into these online masses, I am the Facebook slacktivist. For a politically active person, I am the worst. It has become a nearly acknowledged fact that Facebook is an almighty drain on productivity, energy, and a student’s ability to fi nish an essay. I am that student. I epitomise political laziness. 

Sure, I share posts about why Rhodes should or shouldn’t fall, I gave the ‘Jeremy Corbyn for PM’ page a big, fat like and said that I was interested in seeing Yanis Varoufakis at the Oxfrd Union (I didn’t even bother to turn up, incidentally). I do have opinions, and I do enjoy a good debate. My normative view of the world is clearly defined and often enraged. But those capitalist and Tory forces of evil don’t quake in their boots by looking at my Facebook comments. Let’s be honest, if they ever bothered to look at them they’d probably just roll their eyes. I’m not so much the change I want to see in the world, and more “I wish I could change the world, but not right now, because I should be in the library or, even better, asleep.”

I’m not alone; our absence is everywhere. The lacklustre turnout at protest marches, the abandoned, empty ballot sheets, the Facebook event with 2,000 people ‘interested’ but with 30 actual attendees. We sit back in our chairs, satisfi ed that by sharing a ‘Sassy Socialist’ meme we did something today: we’ve ticked the Facebook politics box. We return to our essays, our problem sheets, and throw more time away on (you guessed it) Facebook. Unlike our status on Messenger, we are not ‘active.’ It’s fashionable to change one’s profile picture to the ubiquitous tricolore, and it’s fashionably subversive and just about provocative to change your profile picture to all of the world’s flags: there’s violence everywhere, don’t you know. 

Discussion spaces intended to open up conversations about racism, classism, and homophobia have become forums for trolling and tone policing, a form of theatre for those who enjoy watching other people making more articulate points than they could ever make. Even amongst those that are active within these groups, problems remain. Debating amongst one another, educating and correcting people’s pronouns use are helpful things, and if one reads with an open mind and refrains from declaiming it all as being ‘far too PC’, one can even learn. But debating amongst a limited group of active intellectuals is far too niche to have wider ranging impacts. Those in power and those set to continue to hold power for a long while had no qualms about burning money in front of homeless people when they stood in the hallowed halls where we stand, and they certainly don’t care that you shared a harshly-worded Guardian article about them.

Some Facebook groups aim to raise awareness. Awareness is important, and is the first step to actually changing things. A profile picture won’t stop ISIS or tear down the Rhodes statue, and a Facebook group will certainly not destroy the patriarchy. However, from what I can observe, Facebook is seldom the chosen route for actual politics. The fight that matters is in the real world.

Returning to Cuntry Living, would I ever post something? Probably never. Would I ever attempt to mobilise people to do something? Perhaps. I’ve been active before, but it’s been easy to let university prioritise other things, like £1.50 VKs at Plush on Friday nights, and the perennial essay crisis. I put forth the motion that we the fakers give up and surrender to the status quo that we were never going to change anyway and go back to bed. Let’s not lie to ourselves, fellow internet ‘activists.’ There’s no point bothering really, is there? 

The Newmenous: religion’s decline and replacement

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The last census recorded that one in four Brits no longer identify with a religion, one of the most quantitative measures of our transition to a more secular society. Fewer of us follow a faith than ever before, and we are one of several industrial nations at this juncture.  We now have two choices: either replace a religious world view with a scientific perspective or an uninspired apathy.  I hope to show that losing our religion does not mean losing our sense of purpose, awe, morality or indeed anything at all.  I hope that in the future we will neither lapse into apathy or back into faith, but will endeavour to see the true beauty and mystery of our lives through the clear lens of science.

Perhaps the main reason for worshiping god(s) is to thank them for creating such an amazing world.  Looking at the complexity of life, the distant stars and the nurturing light of the sun, we find ourselves in a justified state of wonder.  Taking this country’s largest religion; Christianity, as an example we find a god only willing to take credit for and describe one very small corner of creation.  No hints are given as to how the universe began, whether or not there are other solar systems, other intelligent beings, and we are kept in the dark about such magnificent things as galaxies, black holes, supernovae, nebulae, quasars and all the other beautiful and strange forms that other planets, solar systems and stars can take.  There is no suggestion of the existence of a multiverse and we are led to believe we are alone.  The small aperture through which religion shows us the world leads us to believe in a poorer, smaller and less diverse universe than we actually inhabit. 

But at least religion is poetic in its descriptions of its small world.  The notion of us as divine created beings, made in the image of a god is surely preferable to science’s description of a heap of chemicals in a messy self-replicating dance.  However, as I’ll further explain later, science can inspire more poetic descriptions of Humans and the world than religion could ever manage, because it knows more and is in some ways more open to interpretation than holy texts.  Instead of being made from dust (as was Adam) we can look further back to where the atoms of the Earth came from.  The young stars of our universe only contained hydrogen and helium, which have to be fused together to create the larger atoms like carbon and oxygen which are essential for life.  So from a scientific perspective, the dust God made Adam from was either stardust or nuclear waste.  Both are true.  Regardless, the image of the atoms now in your body, being born in bursts of light at thousands of degrees within a star is, in my view, more exciting and more aggrandising than for us to believe we have come from simple dust.

And then there is the numinous: moments of non-rational awe and complete bafflement at what we experience of external reality – the experience of a power higher and separate from Human power.  Historically, the numinous has lived in religion’s territory, but I see no reason it should remain there today.  We can’t deny when looking at art, listening to powerful music or viewing a landscape that we feel something which seems to transcend material existence and Human inspiration.  I couldn’t tell you why or even be sure if we evolved to find beauty in landscapes.  At times it does feel as if there is something more, something beyond explanation.

The mistake our civilisations have made so far is attributing these phenomena to something divine or mystical, when there is as much reason to do this as there is to praise your next-door neighbour for the sunset.  While there may be parts of experience which will always be beyond the reach of science, this is no excuse to jump to religious conclusions.  Many agnostic scientists actually do believe in other realms of reality beyond our familiar physical.  For example, Max Tegmark believes that physical reality is an illusion and that we live in one of an infinite number of mathematical structures, while Edward Frenkel believes in a “wholly other realm” in which exist some of the unphysical phenomena which appear to interact with physical reality.  In fact, Wadham College’s Roger Penrose also believes there is something mysterious about the relationships between our perceived mathematical, physical and mental realities – each of which present themselves as if they have emerged from one of the others.  Penrose believes that mathematics has its own platonic existence. 

So it isn’t unscientific to speculate about the mysteries of reality yet, and neither must it be mystical.  Science isn’t merely the facts on the table and the best theories of today, but a guided imagining to be tested by tomorrow’s experiments.  However, there are times at which not even the most mysterious and beautiful things, physical or not, fail to move us.  At these times, even today, science with all its predictive power would seem incapable of helping us.

The times at which we most need religion are death and grief.  I’ll admit that as a boy I would often pray to God for things to turn out fine.  I’m sure most of us have pleaded in such selfish ways to whatever supernatural guardian we thought was listening.  But selfless belief is most often resurrected by the most difficult Human phenomenon to understand: death.  When a person we are close to dies we will be found, most likely, in a church singing hymns and praying at a funeral.  Our sadness that the person we were so happy to have known now no longer exists can only be consoled by the promise that they are still alive and with us, but in a different form.  Most religions do this by promising an afterlife, while assuring us that we should not fear death because we will join our loved ones when we die.

You may wonder how science could offer any greater comfort than eternal afterlife, regardless of its believability.  You may be surprised to find that, supplanting holy books, an alternative comfort can be found in reading Relativity, by Albert Einstein. 

One of the most interesting ideas from Einstein’s studies was a novel way of thinking about space and time.  In our experience they are distinct phenomena, but are in reality part of one fabric: space-time.  In Einstein’s universe, time doesn’t flow but we feel as if we flow through it.  Time is a fourth dimension different to the three spatial ones but just as unchanging.  This means that while your brain only experiences around three seconds of time at once, you exist at all times from when you became conscious in your mother’s womb until your death.  Max Tegmark likens Human beings to four dimensional trees in space-time.  This is easy to explain if we first think about a simpler system than a whole Human and instead look at the earth and the moon.  If we make them two dimensional and view them as time flows, then we see the moon circling the Earth, however if we treat time as the third dimension we see the moon as a twisting cylinder and the Earth as a straight cylinder in 3D space-time.  This is how the Earth and moon really are, but in four dimensions.  A Human looks like a tree in this perspective, with atoms flowing into your body before birth like roots, twisting together in a complex dance during your lifetime before spreading out into the world again after you die, like branches and leaves. 

Science doesn’t define a Human as an object, but as a process.  The atoms in your body are completely replaced every eight years so that not a single atom from your birth is part of you today.  A wave on a pond seems to move across the water over time, but in reality the atoms at each point on the wave’s path are just bobbing up and down.  The atoms in the wave at its beginning stay where they are and none of them move with the wave to its resting place.  Just like us, the wave isn’t matter, it is the interaction of matter.  The dropping of the stone into the pond is the wave’s birth, and its dissipation is its death. 

Personally, I find it more interesting and comforting to see people as ever changing processes – processes which are never born and never die, but always exist as a beautiful tree like structure in space-time.  When someone we know dies it means we have found the end of the section of time in which our lives overlapped.  We should be happy that they overlapped at all and take comfort in the fact that we will always be together somewhere in time.  This new perspective means that every good, bad and indifferent event in your life will always exist and is not erased by the illusion of flowing time.  This is perhaps an incentive to make as many moments of your life ones you’ll be happy to record.  While God may forgive you for an empty life as long as you submit to him before death, Einstein’s time neither forgives nor forgets. 

Perhaps the last preserve of religion is moral teaching.  You will certainly never hear a scientist commenting on morals in a professional capacity will you?  Yes.  In the early 1980s, embarrassed that his book The Selfish Gene had been so widely misread that it had helped Thatcher win the election, New College’s Richard Dawkins made a programme called Nice Guys Finish First.  In the program, morality was explained by evolution, as most behaviours can be.  Computer simulations were run in which groups of nice, nasty, revengeful and random ‘animals’ interacted.  The animals which survived best in the simulations were those which were altruistic and so did favours for others, but which would resent other animals who cheated.  These animals would then pass their ‘genes’ onto the next generation.  In fact, we don’t need a computer to see that altruism and an ingrained moral code must have helped Humans to survive and indeed have continued to help us thrive as a cooperative civilisation.  Science shows that in most groups, it pays to be altruistic and to act morally – not from fear of hell, but from the knowledge that we were made this way because it helped us succeed.  Interestingly, aside from small variations, religions carry the same moral message and almost all have anthropomorphic gods.  This has been more succinctly put by Balliol’s Christopher Hitchens that ‘man made God in his image’.  I would add that we also taught God his morals. 

I should close by reassuring those of a religious disposition that I don’t intend to interfere with your perspectives.  This is an article for those who have left religion and are looking, as we all do, for meaning.  As I hope you’ll agree, leaving a religion is not a reason to live a more cynical or empty life.  In fact, if a scientific view of life is taken, a much richer one can be lived.  Science offers more.  More explanations, deeper insight and the most precious of all things to the Human mind: a sprawling future of new questions. 

Il faut souffrir pour être belle

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The saying ‘one must suffer to be beautiful’ is one that many girls learn growing up. Mothers strapping feet into precariously high heels, sisters squeezing into tight skirts, peering into mirrors as they do so. It is a statement given with the authority of a truth. It glamourises any kind of distortion of bodies, especially women’s’ bodies. Even the statement’s origins in French add an extra sparkle to what is, in reality, a barbaric concept. We are taught that there is some kind of correlation between beauty and pain. The reiteration of this statement – it is something repeated as girls learn the ‘secrets’ of conventional femininity – ingrains the idea that artificial distortions achieve a natural way of looking.

The idea of suffering for beauty has historical precedent, and is found in a multitude of cultures. Until the twentieth century, Chinese women achieved incredibly small feet through the process of foot binding. Young girls’ toes were folded under their feet and bound there. In Europe, women of all sizes were stitched into corsets to create an idealised hourglass figure. Higher class women wore lead paint to achieve pale complexions, and fervently avoided exposure to sunlight so as not to look as if they were outdoor labourers. These distortions were used to create the illusion of an ideal women – each of these manipulations would make women appear beautiful, in the way their specific culture expected them to be.

Today these practices are not so overt, yet they still exist, encouraged by the ideal beauty standards which are disseminate throughout society. Even measures which are seen as common often serve little purpose than creating cosmetic appeal. For instance, many teenagers endure metal contraptions being screwed into their mouths for several years – braces – just to straighten the off snaggletooth and create a uniform smile. Wearing high heels serves no purpose than to make an individual’s legs look help people through what is the painful progress of restricting how much energy you take in. Blisters are an almost anticipated result of wearing towering high heels, and most people can’t keep them on for an entire night out. But this suffering seems to make the final product of attractiveness somehow earnt, or justified.

Suffering to create physical perfection is not only limited to the fashion and beauty industries. Certain art forms prescribe a certain amount of suffering to create award-winning results. In ballet, female dancers wear pointe shoes. These are shoes with hard shanks inside them, designed to take the dancers’ entire body weight onto their toes. The final effect is that of a dancer appearing weightless, as if she is floating. Yet wearing pointe shoes can distort the shape of feet and increase a risk of osteoarthritis. When asked why they go through such pain, many dancers will simply answer that it looks beautiful.

Even concepts of attractivenessoutside of societal ideals correlate suffering and beauty. Tattoos and piercings, which have mixed reception in society – some find them attractive whilst others do not – are created through pain and physical manipulation. Injecting ink under a layer of skin or punching holes into various body parts as decoration does not sound beautiful, yet it creates a desirable effect for many.

Il faut souffrir pour être belle is found in all aspects of history, culture, and society. But that doesn’t explain why we are prepared to suffer to look a certain way.

Interview: Brendan O’Neill

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Editor of the online magazine, Spiked, and regular columnist with publications as varied as the Big Issue and The Spectator, Brendan O’Neill is no stranger to controversy. With a ‘telling-it-like-it-is’ attitude, he speaks his mind freely, and without pretense. Nothing is off-limits, nothing is sugarcoated and rather than “a right to offend”, in his latest appearance at the Oxford Union, O’Neill went a step farther – arguing for a “duty to offend”, and be offended. Freshly primed, always ready to pounce on the latest ‘student activist’ preaching in “posh cut-glass tones”, O’Neill was very forthcoming about his views. And, with Oriel’s recent decision concerning the statue of Cecil Rhodes, our exchange could neither have been livelier, nor could it have come at a more pivotal time.  

Commenting on the ‘safe space’ trend that has been sweeping across campuses up-and-down the country, O’Neill observes how it has been “growing for quite a while now; perhaps for twenty years or more.” The telltale signs were evident, but only now has it reached a fever pitch. The situation has “weirdly intensified over the last couple of years” he explains, “we seem to have a new intake of students on campus who arrogantly, narcissistically believe that they have the right to go through their three or four years of university life without ever hearing a word or an idea that challenges their belief system.

“There’s been a lot of [media] coverage over the last year in particular about the censoriousness of student leaders and the insanity of student unions who want to ban hats and newspapers and songs and everything else.” 

Picking up on this theme of “backwardness”, we quickly moved into a discussion about media presentation, and whether or not the press really had ‘the full scoop.’ In other words – to what extent were such depictions misunderstandings, or even willful misrepresentations.

“The media is now giving a skewed impression that all students are like this” says O’Neill, “Perhaps they’ve pushed the boat out too far because, to my mind, when I go to campuses – as I do quite a lot – I’m always struck that most students are still very normal. Most think that freedom of speech is still a pretty good idea. They either dislike their unions or just have nothing to do with them.” With a 14.2 per cent turnout in the most recent OUSU election back in November, some would argue that such claims are not too far wrong. Those other students, the four-fifths or more that chose not to cast a vote, are what O’Neill term “the silent majority”; the ones who “are not offered opinion pieces in the Guardian.”

Keen to disparage against “tarring all students with the same brush” O’Neill warned against two things: one, the media, who “always on the lookout for something scandalous and sexy” and two, “neo-colonialist” student activists; “shameless self-promoters” and spin-merchants in their own right. Neither of these groups do justice by students, argues O’Neill.

Likening student activists to Mary Whitehouse, “an old social conservative from the 60s and 70s who wanted to ban everything”, O’Neill writes off the ‘countercultural left’ as being “deeply conservative, deeply Victorian [and] deeply regressive.” To this end, he does not recognise any of these activities as “being left wing.” Rather, they stultifying and authoritarian.

Posing the question of an ‘educative’ intent behind these campaigns, of their self-professed desire to enlighten and raise awareness, O’Neill is broadly dismissive. “I think it’s about elitist campaigners cutting themselves off from the rest of society and distancing themselves from the average person”, he responds.

“And so, that’s why I think they’ve developed their own language, which makes absolutely no sense to the man or woman on the street. That’s why they’re constantly fretting about the impact of tabloid newspapers on peoples’ mushy minds; why they are suspicious of mainstream pop music – which they think is sexist – and why they hate big corporations and McDonalds, and all these other things. They’re constantly thinking: ‘how can I demonstrate my moral, ethical superiority to everyday society?’ It’s not about educating the public; it’s about expressing contempt for the public. They really fear and loathe ordinary people – and that’s normally the case with people who want to censor things.” 

Yet, for every action, there is an equal and opposite reaction; or at least, so the saying goes. To hang the ‘student left’ out to dry would not only be unfair, but underhand, too. The rise of the ‘safe space’ has been matched, if not in scale, then in character and scope, by contiguous ‘right-wing spaces.’ Of course, I am referring to the likes of Open Oxford, and what it has, as of late, devolved into – a suitable counterpoint to the excesses of ‘the Stepford Student.’ O’Neill expresses a worry that those who are against safe spaces, “which is a very reasonable position to hold, are effectively creating their own safe spaces where you can be as knowingly offensive, as knowingly disgusting and as knowingly misogynistic, as you want.” This is “an infantile response” scoffs O’Neill, “it brings to mind Frankie Boyle, and those ridiculous, offensive, unfunny jokes of his.” But it all comes back to the same motif: the need to try and “wriggle free of the politically correct straitjacket of modern times.” 

Unfortunately, there are now “two firmly entrenched camps; one which says we don’t like offensive material and we’re going to ban it, and the other which says, ‘because you’re banning offensive material, we are going to be as offensive as possible just for the hell of it.’ And, it’s just completely vacuous and empty and nonsensical.”  That is the negative side to all of this.

As a solution to the problem, O’Neill argues, “the whole of university just needs to be an open, free arena, where anything can be said and anything can be discussed. Creating special zones in which things can be debated is divisive and actually reproduces the idea that there are some ideas that are so dangerous that they need, and must, be kept in their own little space.” Newly founded organisations then, like the ‘LSE Speakeasy’ – a clever play on words of Prohibition-era liquor stores – has the right idea, but the wrong end of the stick in practice.

To the point of discrimination and inequality, again O’Neill proposes a clear and simple programme: free speech. No censorship. No privileging of voices. No advocacy work. Only individuals, treated equally. Let those who wish to speak, speak. And for those who do not speak, that is their decision – one cannot, and should not, assume their voices. “There should just be an open sphere… there’s nothing stopping you from speaking, that’s the whole idea of free speech.”

There exists “this horribly paternalistic approach of putting a soapbox in front of ‘the poor little people’ and helping them stand on it and speak to the world,” adds O’Neill. “I mean, get over yourselves. I think it’s a horrible argument. The aim for radical politics in the past was for those sorts of people – particularly women and working-class people – to force their own way into public life; that’s what Second Wave Feminism was about in the 60s and 70s. It was about saying, ‘Actually! Women are perfectly capable of negotiating independent, public lives without needing chaperons or without needing police guarding them from wolf whistles and everything else, so we’re going to do it.’” Now, what we have instead contends O’Neill, is “a complete flip-reversal…a new type of radical feminist, who say that women aren’t really cut out for public life because it’s scary and society is full of lads who listen to Robin Thicke and want to touch your ass.”

The final part of our interview dealt with Rhodes Must Fall. When asked about what progress has or has not been made with a view to BME movements, O’Neill brushed off this terminology – “Aw man, I hate the term BME.” It’s too contrived, too unnatural – and actually inverts the original intent. O’Neill coins it “an inhumane turn of phrase to describe someone.” Rather, “the people that are doing the most damage to black students” are of that aforementioned ‘altruistic’ variety – the white middle-class, well-to-do and educated, who “infantilise” black students, ascribing to them “a lesser form of moral agency than white students.” With specific regard to Rhodes Must Fall, O’Neill commented on how “they are essentially saying that [black students] are psychically vulnerable that they cannot walk past a statue without feeling harmed by it.”

Such activities sooner hinder the cause of anti-racism, than help it, urges O’Neill. These activists are the ones promoting racial division, by “arguing that because of their culture or their heritage, [black students] are less prepared for robust public debate than others. I find that a repulsive idea, and the problem that I have with Rhodes Must Fall is not that I think Cecil Rhodes was a great guy; of course he wasn’t – it’s because it is so paternalistic to minority students, and it gives this impression that they are simply objects shaped by the forces of history, harmed by statues, whose everyday lives are impacted upon by historical events. It’s all very deterministic. And, in the past, old racists argued that black people were weak or stupid or fickle on the basis of their biological heritage.

“I don’t think it’s much of a step forward from that for campus activists to say that black students are fickle and weak and easily harmed, on the basis of their cultural heritage,” points out O’Neill. “It’s the same argument, it’s just been given a bit more spit and polish to make it politically correct to a contemporary audience.”

Hypothesising, putting himself “in the position of a black student” O’Neill decries “so-called anti-racist activists who are basically patronising, paternalistic white kids who’ve read too much Noam Chomsky and should be given a slap.” 

Review: The Fusion Project

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★★★★★

As the audience quieted and nine young men and women got on to the traditionally (Indian) decorated stage, trying to fix a minor technical glitch with the complex setup of myriad instruments, the St Johns auditorium had already become the scene of anticipation. Would the 150 people strong audience have their Saturday evening made worth? Would The Fusion Project, an interesting new Indo-Classical cum Western fusion initiative simply remain ‘interesting’ or would it show the promise of a potential hit?

I must confess my slight embarrassment in even raising this slim doubt about them after their first performance- a mix of the classic Indian bhajan (prayer) “Ishwar allah tero naam” and “I see fire” (by Ed Sheeran). The wildly talented Dhruv Sarma and Krishnaprasad K.V. could vocalize extremely complex swaras (notes) whilst simultaneously striking a chord in the audience’s heart. Rushil Ranjan, the (informal) leader of this Project did equal justice to ‘I see fire’ with his deep, mesmerizing voice and insane guitar skills, accompanied by talented bassist Joshua Rigal. Another very notable combination was between a Carnatic song and Imagine (by Lennon, who I suspect would have been greatly pleased after hearing this). Rushil dedicated this song to his mother (also present) without whom he wouldn’t have become a musician. Special mention to Amanda Coleman, the first female vocalist that evening, for the harmony with Dhruv whilst playing the Keyboard and with the Veena providing background music; it was a treat. The team then announced they would like to perform the next one, a song written by Dhruv, just as if they were “jamming in their bedroom”. Few things can make one truly happy especially at the brink of 4th week in Oxford and I must admit that the infectious smiles on each member’s face whilst performing this one was surely one of those. Flutist Praveen Prathapan, Ben Patel on the clarinet and Janan Sathiendran on the tabla get all the credit for their flawless performance for this one. The credits of course aren’t complete without acknowledging Chris Howland on the Cello and Vivekka Nagendran with the keyboard. Among several others, Hello (Adele) and Halleluiah were super hits with the audience.

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As an engineer, I often hear about incredibly potent startups/spin-offs from Oxford but rarely about initiatives like The Fusion Project which combine creativity, talent and courage to create something amazing. In a brief chat with Rushil Ranjan, I learnt that The Fusion Project will hopefully soon begin gigs in London. Already with a 10,000 plus following on the internet this incredibly talented group has pointed its trajectory towards the stars. For those aspiring to learn Indian classical music during term time, consider joining The Oxford Indian Classical Arts Society and those who wish to be a part of The Fusion Project story, good news-they are looking for fresh talent. Attending their gig also means you can download some of their music with a code you will be given. The Fusion Project is going to be big-watch out for them.

Noam Chomsky expresses support for RMFO

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Rhodes Must Fall in Oxford (RMFO) posted a message of support from linguist and philosopher Noam Chomsky Monday morning.

Chomsky rose to public prominence through displays of public activism, has previously expressed critiques of imperialism.

His statement concerning RMFO said, “In his history of the early stages of Britain’s empire, Richard Gott writes that some day ‘the rulers of the British Empire will … be perceived to rank with the dictators of the twentieth century as the authors of crimes against humanity on an infamous scale.’ Reviewing his work, historian of Empire Bernard Porter concludes that ‘With the evidence piled up like this – and Gott stops in 1858, so missing the chance of much more – it looks almost plausible.’

“And there is much more, including the hideous Victorian famines in India and the shocking World War II famine, the atrocities in Kenya in the 1950s, and much more. The beneficiaries and admirers of empire were hardly unaware of the facts. Winston Churchill, for example, instructed his cabinet colleagues that ‘We are not a young people with an innocent record and a scanty inheritance. We have engrossed to ourselves…an altogether disproportionate share of the wealth and traffic of the world. We have got all we want in territory, and our claim to be left in the unmolested enjoyment of vast and splendid possessions, mainly acquired by violence, largely maintained by force, often seems less reasonable to others than to us’ – the italicized phrases expunged when he allowed the passage to reach print.

“It is long past time for the actual record to be unearthed and faced honestly, not overlooking the consequences to the present day.”

RMFO told Cherwell, “We think Prof. Chomsky’s support is testament to the importance of the conversation we have started at Oxford. It is sad that Prof. Chomsky has spoken up before many Oxford academics. Our work has only just begun, and we won’t rest until Rhodes, in all his manifestations, falls.”

Interview: Amadeus

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First things first, what’s this play about?

 Amadeus is effectively the story of Mozart’s life. A highly fictionalised account of his life. I say fictionalised, as over the past couple of weeks when I’ve been chatting to other music students about it, you get a lot of:

 “oooooo, Amadeus.”

People, especially those who know a lot about music, can be quite snobby about it because of historical inaccuracies. For example, I recently asked someone to help Chris, who is playing Mozart himself, learn how to conduct. They then responded:

“But you know Mozart probably never conducted?” 

 The story is told via an account given by Antonio Salieri of his encounters with Mozart and how he plots to murder him. Salieri was a composer and one of Mozart’s contemporaries, and there are historical rumours surrounding his alleged plot to kill Mozart. 

Why does Salieri want to kill Mozart?

He does it out of envy, as he was never as successful as Mozart, nor did he possess Mozart’s incredible gift for composing classical music. It is primarily a play about jealousy, so I thought it was very interesting to do in an Oxford setting, as it’s just an extreme version of what we see in tutorials. 

Why is the play called Amadeus as opposed to Wolfgang, or even, Mozart?

 It is called Amadeus, as it means lover of God in Latin. In the play, Salieri is presented as a very pious and good man, although that is debatable, he gives to charity and is celibate. However, despite all of these supposed virtues, he can’t compose. Well, in comparison to the child prodigy, Mozart. Salieri sees Mozart as a vile and vulgar man, ruled by base desires and physical pleasures, yet he has this genius musical skill. He sees this skill as God speaking through him. This causes Salieri to turn against God and try to kill Mozart.

What attracted you to this play as an aspiring director?

 In first year a tutor described Amadeus, in particular the film version, as an initiation into the world of classical music, despite the historical inaccuracies.

At the time I wanted to get involved in drama either acting or directing and was trying to think of something to do, so two years ago I was going to direct this play but it turned out the rights weren’t available at the time. So it’s gone from being what would have been the first, to what is going to be my final production in Oxford. 

Do you agree that this play is a good initiation into the world of music?

 It is about music and the experiences it’s possible to have so the historical inaccuracies don’t matter very much. For example, we see the way Salieri responds to music; it’s such an emotional response. He is able to talk about the feelings of heavenliness and the deep longing that music stirs in him. 

Have you adapted the original play or added any personal touches of your own? 

 Well since me and the producer are both music students, we felt that some of the pieces used in play were rather obvious examples, and we have changed quite a lot. In some cases we thought: ‘we don’t want to use this piece, we’d rather use this piece’ and in this way we can pick on we really like and one that’s far more emotional than the original.

Is the actor playing Mozart also a genius musician, if not, did he have to learn the piano?

As it happened, we managed to get round this issue actually quite well. The actor who plays Salieri, Stan, is a music student and a very talented pianist. Chris, the actor playing Mozart, learnt basic conducting and a basic sequence of the notes of the piano for a scene where he hears a certain piece of music then instantly plays it back. However, in one scene, where Salieri and Mozart first meet, one of my favourite scenes in fact, Salieri plays a march and when Mozart hears it, he is very obnoxious about it and wants to change things. Rather than sit at the piano and play how he thinks it should go, he grabs the manuscripts and re-writes it, which is something we know Mozart actually did. He then puts the score in front of Stan, so it’s actually Stan who plays it. This actually works very well, as Salieri finds himself playing a piece of music that he believes to have been influenced by God, who is speaking through Mozart.

How did you find working in the BT studio?

Since the play was originally performed on the enormous Olivier stage at the National Theatre, our production has to be done very differently due to the very small venue. If anyone has seen the film or play, then they’ll be expecting a big spectacle, but our performance is far more intimate. Stan, the actor playing Salieri was also in a play called Not About Heroes, about the war poets Owen and Sasson, which I also directed, and he is very good at narrating a story and communicating with the audience. Something that is very good about our version is that the audience will get very involved in the action, in the BT studio, it will get to the point where Stan can recognise the face of every audience member. We want to bring out the extreme darkness that Salieri’s character reaches in the play, which gets to the point of discomfort.

Finally, give me the best reason why people should come and see this play?

People should come to see our fantastic cast perform. They’re all brilliant and have been such a fun group to work with, despite being difficult to control at times during rehearsals, as they’re so giggly and playful. They often end up doing improv and they’re all hilarious people. But this energy comes out on stage and it’s a small cast doing everything, so you should come and see it for them.

Amadeus is on at the BT studio Tuesday 9th – Saturday 13th February.

Space Odyssey

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Photography: Jasmine Blanshard-Whitton

Hair and Makeup: Brothers Oxford

Creatives: Kim Darrah – Ella Harding – Harry Sampson

Models: Natasha Chick – Sam Joyce – Angelina Eddington

 

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