Blog Page 1242

Review: Real Lies – Real Life

0

★★★★☆

 Four Stars

History tends to repeat itself. Such is the case with Real Lies’ promising debut, Real Life, an album teeming with evocative synthpop echoes of the 90s. Yet, whilst unashamedly recalling New Order, The Happy Mondays and The Streets, this London trio manage to repackage that erstwhile 90s sound for the new generation living in the “decade with no name”, as ‘Seven Sisters’ cleverly dubs it. The album’s duality is its true success – derivative but fresh, euphoric but occasionally melancholic, Balearic but eloquently lyrical. From the intensely brooding Mike-Skinner-inspired spoken word of ‘Blackmarket Blues’ and ambient chill of ‘North Circular’, to the Hacienda haziness of ‘Dab Housing’ and anthemic piano house, soaring vocals of ‘World Peace’, the band pays homage to the noisy nights out and the silent mornings after. It is almost an ode to UK dance culture and the nights that you never forget, spent with those you love, best captured in the opening song ‘Blackmarket Blues’: “You are the straight-through crew, not the time-out crowd/ I love my friends more dearly than I’m allowed to say aloud”. Equally as danceable as poetically lyrical, this is a soundtrack for the ecstatic highs of Saturday night, and the refl ective lows of Monday morning. A hugely exciting debut from Real Lies, and who cares if history repeats itself if it’s so enjoyable?

Michaelmas balls

With Michaelmas term firmly trudging on, emails constantly pinging on your phone, and a three week hangover taking its toll, 3rd Week has begun. And we think it’s about time you got some respite. For those of you that are more freshly planted in Oxford, you may not have come across the Oxford ball scene. But if you have a bit of spare cash, then you can shortly heal your blues…

This coming Friday (30th October) is the historic RAG ball. The town hall will be transformed into a dark fairytale forest. The theme? Brothers Grimm. Which is pretty fitting on the eve before Halloween. (Cinderella… Pumpkin? Anyone?).

As with all decent balls, food and drink is unlimited – so you can sip the night away on cocktails, beer and wine, and munch on pizza, hog roast, and curry (and, um, salad. If that interests you). More interestingly there is a themed vodka luge. You don’t know what a vodka luge is? Neither did I. Well, I’ve done the googling, and I can tell you that it is a bad ass ice sculpture. It’s in the shape of a glass slipper to fit the theme, and of course – it’s not just decorative. Otherwise that would be a bit of a waste of vodka.

If you’ve had your fill of the mains, and alcohol isn’t for you, or if you are needing to soak up accidentally getting too drunk too quickly because you inevitably didn’t eat beforehand so that you could take advantage of all the free food, then don’t worry. They seem to have thought about that too. They are serving tea, alongside gingerbread decorations, brownies and Pic N Mix. (We at the Cherwell Ball Team are going for that alone. Pic N Mix? I haven’t had that since Woolworths shut down.)

Alongside consuming your ticket’s worth of food and drink, they have a casino, a funfair shooting stall, and, wait for it…inflatable jousting. I don’t really understand how that is going to work, or whether they made it up themselves, or how it really particularly fits into the theme, and I would love to hear a recording of the committee meeting when this decision got made, but…to be fair, it does sound pretty cool.

When you’re bored of sparring, you can jump in on some funky beats. There are two stages. On the main stage DJ jigsaw is headlining, with other acts include DJ Ibob and DFO. If that doesn’t suit your vibes, with your ballgown/tux and cocktail, then no fear. Head towards the acoustic stage where there will be lighter music, including the ever popular Deep Cover that usually roam Cellar, as well as a jazz trio and MAWRI.

Dress Code: Black Tie

Cons: You may throw up from the excess of food and drink you attempt to consume

Pros: All proceeds go to charity, which are split between four charities: Against Malaria Foundation, Jacari, Oxford Rape and Sexual Violence Prevention Centre, and Student Minds. Not bad.

Ticket Price: £79 a ticket

Now let us turn to the other Michaelmas Ball. Set in a Draconian Lair, also known as the Union, if you’re looking for a place to schmooze this is the place to go. Their Facebook page doesn’t seem to give much away, but we know for sure that this year the Union are hosting a ‘Venetian Masquerade’. Occurring the week after the RAG Ball, on Friday of 4th Week (6th November), they claim you will be transported to the most beautiful city in Italy. I’m afraid I don’t think they mean literally. Indulge on food, bet at the casino, and according to their Facebook page, “get…lost in the revelry of the Carnevale di Venezia”. Sounds cool, but I have no idea what it actually means. They have an open bar which is always excellent news, as well as after-dinner Italian liquer shots and unlimited chocolate fountains. Meanwhile the entertainment is equally fancy, with opera singers, a live band, a juggler, a fire performer and a silent disco.

Dress: Black Tie with Masks

Cons: The proceeds don’t go to charity, and you may be stabbed in the back

Pros: You will probably meet the future prime minister, and you will definitely be immersed in a very strong dose of debauchery. 

Ticket Price: £70 (Member £60)

The scattergun attack on extremism

0

Over the past fortnight, Theresa May and David Cameron have outlined a new counter-extremism plan. Notable features include inspections and reviews of public services to protect against “entryism” (attempts by extremists to infiltrate public services) and powers to close down premises used by extremists. There is also a set of demands to internet providers, asking them to remove more extremist material, and the blueprint for an “extremism community trigger”, a more efficient way to complain about extremism in your neighbourhood. In May’s words, this strategy is (in a slightly Orwellian phrase) a “counter-ideology campaign at pace and scale”. This article makes a case for its inherent weaknesses.  

I should clarify that I do not want to talk about difficulties in execution, the “how” questions: risks of lacking judicial transparency, misidentification and quota-filling, to name just a few. Theresa May has been working on this plan for months, and has faced the criticism of multiple ministers during that time; I would hope that the logistics are sound. I’m interested in the “what” questions: whether this new strategy has a sound mechanism to make the UK, primarily the public sector, safer and happier. Here lie my doubts. 

On first impression, it seems this plan is essentially reliant on fear. A quick glance at David Cameron’s accompanying message heavily suggests so: phrases such as “extremists don’t just threaten our security, they jeopardise all that we’ve built together… we have to confront them wherever we find them” doesn’t ease the nerves. Nor do spot-inspections on public services, promising to identify whether or not extremists have infiltrated your department, promote open relationships in the work-place. If the Prime Minister’s great worry is that extremism “divides our communities”, then creating an ‘us-and-them’ atmosphere where perpetrators of extremism could be lurking unidentified anywhere is unlikely to help.

This fear is a particular problem for Islamic groups, whose members are most likely to be interrogated by investigators or isolated by colleagues. A recent YouGov poll suggested that already only twenty-two percent of UK citizens believe Islamic and British values compatible: whatever David Cameron says about “The incredible power of our liberal, democratic values”, they too frequently don’t extend to Muslims. These new measures thus seem set to enhance divisive fears, and thereby make challenging situations in work-places or the wider community worse.

This increased fear might be acceptable if the plans focused on a tangible threat causing widespread damage; instead, the fear betrays a lack of clarity as to who will be targeted, or how any of the measures will stem radicalisation. There are a very small number of people who illegally spread extremist views (currently under one-hundred imprisoned in the UK); this number is not beyond the scope of MI5 and the police service, nor are many more likely to be uncovered by one-off inspections. There are even fewer individuals who seem intent on infiltrating the public sector: there is no apparent evidence of such a plan beside the ‘Trojan Horse’ incident, and there, even if we reject the Education Select Committee’s finding that no extremist views were actually taught, we have less than ten schools in question and specific preventative measures already in place. This is hardly justification for a national review of public services.

It is also unclear whether trying to uncover extremism in communities or ban suspects from buildings will in any way stop it growing: Lady Warsi describes online radicalisation as an enormous problem, and sees the government’s current response as “an ever-losing battle”. Tackling the presence of known extremists on particular social media or video-sharing sites with more energy would help cut off radicalisation at source; the recently announced strategy is, by comparison, is imprecise. It knows neither whom it is targeting nor where they might be. Such a plan risks both disrupting vital services and intimidating thousands who hold firm but harmless views.

Indeed, because there is no clear target, the language used to describe the strategy will do more to cause rifts than hinder dangerous extremism. Frequently, government statements refer to extremist behaviour as that which endangers “British values”, a rather vague barometer when judging harmful outcomes. If we are to fight against someone, we must be sure whom we are fighting and on what grounds. Yet because this new plan doesn’t focus on specific causes and perpetrators of harm, it attacks an unidentified set of people who don’t believe in “British values”, such as democracy, individual liberty and tolerance. I regard these values as good, but to hunt throughout the nation for those who don’t explicitly support them would be a thankless and indeed intolerant task. To then dress such a strategy as fighting for what is “British” runs an unnecessary risk of stoking xenophobia and alienation.

The plan recently unveiled has at heart a critical weakness: it does not focus on specific causes or individuals, but instead an unknown, ill-defined group, and it therefore promotes fear and division. It is a scattergun attack on extremism, not targeted on the problem at hand. And if this problem is still with us years from now, we might ask ourselves: did these measures prevent the spread of discernible harm, or did they fuel the very intolerance we sought to subdue?

A view from the Cheap Seat- Third Week MT 15

0

Longlisted in the runner up category in the prestigious ‘best supporting chorus member 2008’, Stage Critic – Mark Barclay meditates on lost potential in the beautiful decay of a leafy park. Cherwell stage is delighted to present this most Proustian of podcasts

 

And some acting people rock up to talk for a bit

Citric Acid – Tuesday to Saturday of Third Week, BT, 19:30

https://www.facebook.com/events/1471919476449841/

Pentecost – Wednesday to Saturday Fourth Week, Playhouse, 19:30

https://www.facebook.com/events/522092617939779/

Woman sexually assaulted after leaving Plush

0

A 24 year-old woman was assaulted during the early hours of this morning after leaving Plush nightclub where she had been with friends.

She had walked to a grassed area within the car park of Oxford Railway Station when she was then pushed over by a man and sexually assaulted. 

Plush nightclub, on Park End Street, held its popular student night ‘Sink the Pink’ on Saturday evening.

Det Insp Michael Roddy, from Oxfordshire Force CID, said, “Detectives are currently conducting enquiries to establish the circumstances of this incident which took place prior to 4.40am on [Sunday]. The victim is currently being supported by specially trained officers.

“The area where the incident took place is visible from Becket Street and I would like to speak to anyone who noticed anything out of the ordinary during the early hours of Saturday, or any witnesses, as they may have details which could assist the investigation.

“Incidents of this nature are rare however high visibility patrols are taking place in Oxford city centre. If anyone has any concerns please contact your local neighbourhood team on 101.”

Thames Valley Police have been contacted for further comment.

Queen’s College MCR condemns proposed "anti-homeless" fence

0

Queen’s MCR has voted unanimously to request the removal of a fence which would prevent homeless people from taking shelter in the porch of a Queen’s student accommodation block.

A temporary structure has allegedly been erected by the College. Students resident in Aldates House have in the past made complaints about verbal threats and racial comments while entering and leaving the building. The students understand that the fence is intended to reduce the frequency of these incidents and keep students safe, and that the College plans to install a permanent structure.

The MCR’s online survey on the matter, to which 66 MCR members responded, found that 21 per cent (12 people) had experienced a negative encounter with the homeless people outside the building.

However, Queen’s MCR agreed at the meeting that the current temporary fence has significantly exacerbated the situation, causing homeless people to be pushed in front of the door.

The MCR raised ethical concerns about deliberately restricting homeless people’s access to shelter. The motion stated, “Queen’s College has a duty not only to its students, but also to all of humankind. This fence will have a negative and unfair impact on the lives of homeless persons.”

It also resolved to improve its relations with the homeless community by establishing an outreach project. This will involve making tea for the homeless in the St Aldate’s area and fundraising for the nearby homeless shelter O’Hanlon House, which has endured budget cuts of 25 per cent over the past six years.

Sonja Wiencke, an MCR member and resident of St Aldate’s House, commented, “Forcing the homeless people a couple of metres away is not going to make the area more safe; it could even give rise to hostilities. More importantly, the fence is demeaning and dehumanising towards homeless people, which is why we unanimously called for the provisional construction there to be removed and the plans to be dropped.

“It is disappointing to me that the College is insisting on such ethically unjustifiable measures while brushing away our plans for more proactive engagement with our neighbours.

“We will try to improve relations between residents of St Aldate’s and the homeless shelter across the road, no matter whether the college is supporting or impeding our efforts.”

Freya Turner, chair of OUSU’s homelessness campaign On Your Doorstep, told Cherwell, “On Your Doorstep supports the MCR in its ethical concerns over the use of defensive architecture like fencing. We agree that this is neither a compassionate nor a long-term solution to the problems faced by both the students and the homeless.

“We also support the MCR in its efforts to try to reach out to the homeless community, but would encourage them to get informed about the problem first, by meeting with those who run O’Hanlon House before deciding on how they could best be of help.”

 

Analysis: Harry Gosling argues to not focus on the fence; the real problem is Oxford’s housing crisis

You don’t have to spend long in Oxford in order to recognise that the city has a serious problem with homelessness. The last official count took place just under 12 months ago, when 26 people were found to be sleeping rough on the streets of Oxford. This week, Councillor Bob Price told the BBC that Oxford is the least affordable place to live in the whole of Britain.

Many will argue that punitive measures such as the one being taken by Queen’s College will only worsen the situation. The proposed fence, to be erected around the entrance to St Aldate’s House, will undermine an important source of shelter for a number of Oxford’s homeless population.

The living conditions of these poor, and in some cases desperate people, will be considerably worsened for the sake of making a very marginal difference to the lives of privileged students.

Indeed this incident, some might suggest, is indicative of a broader uncaring culture amongst both colleges and much of the student body in Oxford. With many colleges having endowment funds that run into the hundreds of millions, it seems thoughtless at best and callous at worst for colleges to use their wealth to erect physical barriers against the homeless.

It is important, however, to see the issue from the College’s point of view as well. As students, our list of demands for college action on various issues often appears endless. We want our colleges to divest from fossil fuels, to bring down accommodation rates, to produce better food – the list goes on.

It thus seems a little hypocritical to complain when colleges do on occasion put students’ welfare first. In this case, the primary concern of Queen’s College is with the safety of its students. We should respect this position and, instead of putting our effort into campaigning against the erection of this permanent fence, we should focus our efforts on working to make substantial improvements to the lives of the homeless in Oxford.

The first action we can take is in educating our peers on the real causes of homelessness in Oxford. In a survey of over 1,000 students, it was found that the most common perceived cause of homelessness was addiction.

In actual fact, most find themselves homeless as a result of relationship breakdown. The disparity between perception and reality is dangerous: addressing it should encourage greater concern with the homeless.

Instead of organising to oppose college measures intended to protect them, students should rally around making a positive, substantial difference to the lives of the homeless in Oxford. Donations to charities such as Oxford Homeless Pathways can improve lives and help to remove homelessness from the streets of Oxford.

Punitive college measures are always contentious and are rarely popular. As students, however, we should recognise that colleges have to make difficult decisions. In this case, Queen’s has the interests of its students at heart. Let’s move the focus away from colleges and instead work to get positive change for those who find themselves homeless.

Why so serious?

0
This summer, I watched a lot of TV – most of it from the last 12 months, little of it gripping – and I started to see a trend. Compare the premier drama series of the last couple of years against those from 10 or 15 years ago, and it becomes clear; somewhere along the way, American dramas have lost their sense of humour.

Consider the most well-known late 90s and 00s dramas, all part of the TV Golden Age’s upsurge in quality, and all widely considered Greatest Of All Time material: The Wire, Deadwood, Six Feet Under, The West Wing, Breaking Bad, Buffy the Vampire Slayer, Mad Men and of course the movement’s spearhead: The Sopranos.

One thing linking all of the above shows is that they’re damn funny. And they don’t just have jokes, or comedy characters floating about – that, in fact, is the approach taken by so many dramas nowadays – but rather humour runs through the entire script. Though their approaches to it may be different, wit is key to each series’ rhythm, too deeply engrained to be disentangled from the show’s makeup without losing its basic essence. One of the great pleasures of watching The Sopranos or The Wire, two shows famed for their thematic richness, grim worldviews, and examinations of heavy issues, is in discovering how much they make you laugh, all the time; it comes as a surprise that these most serious of shows are also the funniest.

Now think about Game of Thrones – perhaps not the very best of ongoing dramas, but nonetheless representative in its approach. Thrones’ neutral state is serious, its dialogue tending towards the turgid. When the show jokes, it’s a Joke, complete with extended setup, punchline, and pause for you to bask in the afterglow. When a scene begins, it’s often immediately clear whether it will be ‘funny’ or ‘serious’, and Thrones isn’t the only (or anywhere near the worst) offender in this regard – just look at any of this year’s bumper crop of acclaimed dramas, from Bloodline to Rectify, The Americans to Penny Dreadful, True Detective to The Leftovers. They share a similar set-up, and similar binary divisions of humour and drama.

So, what’s going on? It certainly seems to be true that writing good comedy is harder than writing good drama, but the ubiquity of this tonal shift suggests other factors are at play. Part of it may be the kinds of stories being told – the genre trappings of shows like Penny Dreadful  and Hannibal lend themselves to grand symbolic gestures, and humourless character types.

More and more, though, it seems that credibility is what these shows seek. It took films over half a century to start receiving mainstream recognition of their worth as an art form, and in the era of Netflix bingeing, it’s clear that television is still a medium with its stigma firmly intact, too often portrayed by online media as a guilty pleasure, or method of procrastination. Maybe, in their pursuit of legitimacy, TV writers have left humour by the wayside, deeming it disreputable, or acceptable in moderation. They would be misguided – The Sopranos, and many of its descendents, are respected for the depth of their realness, for the universality of the characters’ plights, and their dialogue.

This is where the sense of humour comes in, and whether favouring awkward naturalism or Whedonian wit, it’s an inseparable part of every one of these shows’ appeal; perhaps, if they really want to be taken seriously,  modern television writers need only remember how to really make us laugh.

 

All Sound and no Fury?

0

Macbeth starts in the same place as it ends: on the battlefield. No “double, double toil and trouble” – this is a serious and violent depiction of Shakespeare’s tragedy, and one that audiences won’t necessarily enjoy.

Australian director Justin Kurzel understands that for a film adaptation to set itself apart from the almost constant stream of stage performances, it must utilise the specific capabilities of modern cinema. He digs out his copy of Tarantino’s rulebook of screen violence – “it must be both unflinching and aesthetic” – which has been gathering dust since his 2011 Snowtown. Fight scenes alternate between silent stills of Fassbender’s deathly visage, slow motion close-ups of bloodshed and the sound and fury of battle.

Sound is crucial. In a manner reminiscent of Jonny Greenwood’s discordant string soundtrack to Paul Thomas Anderson’s There Will be Blood, Jed Kurzel has created a deranged score which evokes the main character’s mad power rush. Nonetheless, Justin knows when to silence his brother and let the actors do the talking.

Superficially, the casting is perfect. Following his stand-out performances in Hunger and 12 Years a Slave, Michael Fassbender is the obvious choice for a complex and serious male lead, whilst Lady Macbeth’s sinister beauty lends itself well to Marion Cotillard, as demonstrated in Inception. However, Kurzel demands forced Scottish accents. It is part of a laudable effort to locate the action in the specific place and time in which it was set. Filmed on location in the highlands and the Isle of Skye, the cold, unforgiving surroundings give a strong visual reminder of the bleak themes.

This is no modern update, set in a Michelin-starred restaurant like Peter Moffat’s 2005 adaptation. This is a medieval Macbeth, with medieval squalor and medieval violence. It is the leaky wooden roof of their rural hut which provides the water with which the Macbeth couple try to “clear themselves of their deed.”

Kurzel appears to be desperately seeking artistic authenticity. Ultimately, this comes at the expense of audience enjoyment. Archaic vocabulary and intricate syntax renders Shakespeare’s dialogue confusing for modern audiences at the best of times. The delivery of the actors goes little way to remedy this. Fassbender’s body and face are frighteningly rigid, which adds to the menace of the character but hinders his ability to communicate.

Also, whereas McKellan and Stewart conveyed Macbeth’s lines clearly in their own voice, Fassbender’s mouth – which, true to character, never approaches anything remotely close to a smile – delivers Shakespeare’s beautiful lines in a gruff, monotonous drawl. But as long as the Palme d’Or committee understand, that is probably enough for Kurzel.

Preview: Singin in the Rain

0

If I had to sum it up in 5 seconds: “A vibrant preview that promises an entertaining run of shows!” Ultimately its because its all about the performances. In this preliminary showing of Singin’ In the Rain, each of the leads distinguished themselves through energetic performances that promise to engage the audience from the get-go.

Based on the 1952 film of the same name, Singin’ In the Rain is a musical about several film makers attempting to save their initially silent, but subsequently talkie film, from becoming a flop. Expect a lot of meta-humour, offering commentary on the trials and tribulations of the business and a self-aware involvement of the audience in its comedy. Lina, the glorious star of the silent era played by Annabel Reed, finds the transition to the talkies a shock to the system, as hilariously shown in the song ‘What’s wrong with me?’ – the answer to which is, to put it nicely, her voice is not quite fit for movies with sound… She finds herself usurped by a young actor named Kathy, played by Kathy Peacock; who though still only an aspiring actor, finds her talents more and more in demand – namely, her voice; a voice which is showcased to great effect throughout the musical. The songwriting is indeed sufficiently up to standard to satisfy any muso in the audience.

Left to save the film from the disaster caused by Lina’s inability to sing are the two male leads; Don and Cosmo (played by James Hyde and Niall Doherty respectively). Don provides the romantic plotline through his developing affection for Kathy (not that Lina, her competitor, is happy about this…) and Cosmo provides a vitality to the musical, acting as a riveting rapport with the other leads. Both are charismatically acted, and with the added tap-dancing and singing abilities, we can expect them to be a huge success come next week.

These leads are well supported in turn by a talented group of backing dancers that all equally provide their share of exuberant enthusiasm to the show. The singing throughout is of a top quality, often funny (as with Lina) and often tender (as with Don and Kathy). Each of the actors combines their talents well into a multi-faceted performance that does not fail to lose the attention of the audience. All of this is brought together successfully by director Naomi Morris, who here manages to hold the energy of all the aspects of the musical into a cohesive and entertaining whole – with the addition of the as-yet-unseen special effects and design, which promises, amongst other things, a live orchestra and real rain.

In short, all that is left to see is how well this preview translates into success on the stage.

 

Mental health slate to run in OUSU elections

0

An OUSU slate focusing primarily on mental health has been announced. The slate will be standing for election in 6th Week.

‘BackJack’ is standing for election later this term on a shared belief that OUSU must engage and mobilise students across the University in order to implement wider change regarding students’ mental health. Its three executive members are Jack Hampton for President, Sandy Downs for Welfare & Equal Opportunities Officer, and Duncan Shepherd for Academic Affairs Officer.

Hampton told Cherwell that mental health is “the most pressing issue among the student  body”. He and Shepherd both agree that in their time as JCR Presidents (at St Catherine’s and Balliol respectively), “A lot of time in those positions was spent on issues involving students’ mental health”.

Hampton said, “There were 13 different cases where mental health was an issue last year in meetings with college”, adding that during processes of rustication, “you’re often seeing people at the point of breaking and asking yourself: how is more not being done for these students?”

The slate will argue that University policy works directly to the detriment of students’ mental health. Hampton told Cherwell, “I’ve seen instances where students have performed disappointingly in collections because of problems at home, for example, and have been met with increased workloads, increased stress, and a kind of punitive hit-them-while-they’re-down approach from the senior tutor.” Despite the University often justifying this approach because it “maintains academic standards”, the members of ‘BackJack’ it cannot, when it comes at the cost of students’ mental well-being.

Shepherd told Cherwell that while “there is a lot of focus on getting people into Oxford, there needs to be more on keeping people here”. He added that although “the counselling service is great”, the allocation of central University resources is often inadequate, with “some colleges having lots of policy on mental health and others with barely any at all”. According to Hampton,

“The problem is we don’t give parity to physical and mental health – why aren’t there counsellors on site in colleges, like there are doctors?”

Hampton asserts that if he were elected he would “take these things to the University for change”, seeking an end to “punitive” in-term collections, “proper” discussion on reading weeks and term lengths and enforced standardised caps on workloads. BackJack will seek to mitigate the “negative elements of Oxford“ such as ‘5th Week blues’ and the problem of unfair workloads, which Shepherd emphasises “can be a huge issue for Joint Honours students, where departments often don’t talk to each other, leaving some students with four essays in the first week, and none in the two weeks following”.

The slate also holds the view that OUSU is “disconnected from the large majority of students because of the collegiate system” and needs to reconnect with the network of JCRs, which “are already great bodies for student mobilisation. We aim to] bring an approach that would be looking at why things have happened – policies that demand structural change – and push that change through bottom-up pressure and JCR mobilisation.”

Hampton, Shepherd and Downs all added, “Every student knows that Oxford has serious problems, but they’re only going to improve if we’re united and determined – we think we know how to do it. Please give us the chance.”