Saturday, May 24, 2025
Blog Page 1258

Great Books, Good Looks

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Earlier this week, I got hit with a bill to replace library books I have lost this term. One item was for £87. Fortunately, I have just been lazy and left it gathering dust in the corner of my room for 6 weeks so instead of forking out nearly a ton, I just have to make the short walk to the library, hand it over, and face the consequences of my book-stealing antics with a steely-eyed resolve — I’d take the cold disapproval of a librarian over a substantial hit on my bank balance any day.

But it was a reminder of a problem that an enormous number of students face on a regular basis: academic books are extortionately expensive. On an unsupported student budget, it is virtually impossible to buy, rather than borrow, and in cases where necessity provokes a purchase, the prices of Blackwell’s and Waterstones are almost enough to make you question how much you value your degree.

Despair not, for The Oxford Book Club may be able to help. Set up this term, and quickly gaining recognition within the student body, the Club hosts fortnightly second-hand book sales above Java and Co. on New Inn Hall Street, and the books sold are tailored towards the needs of students. I chatted to founder Rich O’Grady in his book-strewn bedroom ahead of the Club’s final sale this Saturday to ask him about the origins of the Club.

“I had the idea for the Club over the summer”, he tells me, mug of black tea in hand, “after I went to a friend of mine’s second-hand bookshop and saw all the great books he had at such low prices. I realised how useful it would be for students to have such a resource, and then thought, ‘Where better to sell a load of books than Oxford?’”

“I hand select pretty much every book we sell and make sure they’re geared towards people’s courses.” He digs into a box full of books and pulls out Edmund Gosse’s Father And Son. “I know, for example, that next term, loads of Modernist English freshers will be reading Gosse because I’ve seen it on their reading list.”

He pulls out another: Germaine Greer’s Sex and Destiny. “I know that not only will a lot of people be interested in reading that for the sake of it, but anyone doing a gender course in history, or in classics, will want to read it as well.”

A key facet of the Club’s functionality is the online catalogue, maintained through O’Grady’s enthusiasm and dedication.

“I catalogue every single book and put them on an online document so people can people can see what books are available and can even reserve some. It’s the price and charm of a second-hand book store with the accessibility of a high-street chain shop. I try to make it really, really easy for people to get the books they need.”

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“People who come and find us really enjoy it. I had someone up to me in Bridge at 1:30 in the morning, ask me if I was the person behind the Oxford Book Club, and tell me how much he loved it, which was nice.”

But The Oxford Book Club is not just about providing cheap alternatives to the eye-popping prices of first-hand books, or the strict regulations of the library, it also has a burgeoning social scene. At the heart of these are the fortnightly sales above Java and Co., which O’Grady tries to imbue with a relaxed, sociable vibe.

“We completely transform the upstairs room of Java and Co. We just inundate it with books, hang posters and postcards on the wall, and put on a really chilled-out playlist. I want people come and have a coffee, have a chat, bring their friends, browse the books, and just have a good time really.”

“I’d like to push the social side of things a lot more. We had an event at Freud’s earlier in the term that couldn’t have gone any better. There might be another one of them next term, and I’m thinking about establishing some kind of book group as well.”

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The Club is also heavily involved with charity work. Half of the money from every sale is donated to The Gatehouse, a charity providing food, shelter and company for Oxford’s homeless.

“The Gatehouse is a fantastic charity to be involved with”, O’Grady enthuses, “and I really want to forge strong bonds with them. I think they have a fantastic attitude towards helping the homeless.”

“What we do benefits everyone involved, because students get good quality books a lot cheaper than they would elsewhere, they are simultaneously donating to charity, and they get to enjoy some great coffee and some great company. Everyone leaves with a smile on their face, even if they don’t buy a book.”

So, if you need a particular set text to read over the Christmas vac, or if you just feel like indulging your cultural appetite, The Oxford Book Club may well be the answer to your prayers.

Now, where’s that fucking library book gone?

John’s forced to change XXXmas-themed bop

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A JCR bop at St John’s which was originally given an ‘XXXmas’ theme has caused substantial controversy within the College.

The bop, held on Saturday 22 November 22, is reportedly an annual tradition at the College, with costumes usually “scantily-clad” but “festive themed”, as described by students. The theme was changed to ‘Xmas Bop’ just a few hours beforehand, after the College’s Junior Dean was forced to step in.

The controversy began when one student posted on the JCR Facebook page on Friday expressing dissatisfaction that the title unnecessarily endorsed an overtly sexual theme, which “would make some students feel uncomfortable”. Many of the student comments on the Facebook post expressed opposition to the said student’s suggestion of a name change. 

In response to the suggestion, the college’s Junior Dean sent out an email on Saturday evening — the day of the bop — to announce that the bop title was to be changed to ‘Xmas Bop’, in light of the existing bop theme making people feel uncomfortable.

In the hours leading up to the bop, many St John’s students expressed dissatisfaction with the decision by posting on the JCR’s Facebook page, with some students sharing photos of themselves in “scantily clad” costumes in protest.

Mike Jennings, a second year medic, told Cherwell, “While I wish bops to be as inclusive as possible, it is also desirable that they be fun. Bops are usually given names that are designed to capture the imagination of the students, be it ‘hilarious’ puns or something a little bit provocative that’s designed to make people laugh or just smile and think, ‘Well done Entz, that’s a funny theme.’ Otherwise you’re just boozing tragically in a slightly awkward sweaty room.”

Jennings expressed “disappointment” with the decision to change the bop theme, saying, “I like to think that students particularly might be able to see the funny side of a so-titled event and I think it is unfortunate that some individuals took offence.

“I have never seen a more scantily clad bop. It seems the students voted with their bodies, in favour of bops being a laugh – as I think they should be.”

He addded, “It was a very funny night.”

A JCR meeting was called after the bop, which first year PPEist Zoe Carmichael described as “literally jam packed with people”.

Discussions in the meeting ranged from the hard-core pornographic implications of ‘XXX’ to the possibility of a committee to approve bop themes. Several St John’s students declined to comment on the issue, while the college could not be reached.

St John’s is not the only college JCR to have caused offence with its choice of bop themes. For many years, Jesus’ JCR held a ‘Slag and Drag’ themed Christmas event, which involved a similar style of costumes to the St John’s bop. Despite the name being dropped from the official term card last year, the bop was still colloquially known as ‘Slag and Drag’ throughout the college.

Jesus JCR Social Secretary Catriona Thomson insisted, “At our last JCR meeting, a discussion was facilitated over concerns that the colloquial name of the event is both degrading and puts pressure on people to dress-up in a certain way.

“The outcome of the discussion was to make it clear that the JCR has identified the problems with the previous theme, and to make it clear that although people are welcome to wear whatever they choose to the bar party, they are in no way obligated to dress in ‘slag and drag’.”

As Social Secretary, Thomson vowed to working with the rest of the JCR committee to create an officially themed event with a completely different Christmas theme. 

Interview: Louise Chantal

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Oxford University drama owes a lot to Louise Chantal. As a student at Lincoln in the late ‘80s, she helped create the Professorship of Contemporary Theatre at St Catz, and was influential in the conversion of the Burton Rooms, a rehearsal space on Gloucester Street, into the BT Studio of today. Having been president of OUDS, she became its first Drama Officer in 1990 and established the annual tour to Japan, before leaving to forge a career in professional theatre.

In September, Chantal was appointed Chief Executive of the Oxford Playhouse. I meet her in the theatre’s circle bar to ask about her triumphant return. She has a smile on her face as I ask her how it feels to be back in Oxford, over two decades after she graduated.

“It’s fantastic to be involved with Oxford’s cultural scene again,” she tells me. “I’ve always joked that Oxford would be a lovely place to return to, as long as everyone I knew had either died or left. Funnily enough, that’s almost exactly how it’s turned out.”

In 1987, financial difficulties forced the Playhouse’s doors to close. It was eventually reopened in 1991, but only after Chantal had flown the nest. I ask how this impacted on her experience of drama at Oxford.

“We were very aware that we didn’t have a big space to use for shows. We did a wonderful production of Thunderbirds at the Catholic Chapel on St Aldate’s because we had to do those big productions somewhere else.”

“Of course, that means I understand how important the Playhouse is from a student point of view, because it provides that opportunity to work in a large, professional space.”

The playhouse offers the main stage up to two student productions a term. This term it was the highly-acclaimed The Pillowman and Oxford University Classical Drama Society’s The Furies. In Hilary, it will be Sondheim’s West Side Story and Michael Frayn’s Noises Off. Enthusiastic about these productions though Chantal undeniably is, it is the prospect of staging a piece of new student writing on the main stage that especially excites her.

“People see the playhouse as this daunting 600-seat theatre, and they feel obligated to play it safe. I would love to open up the main stage to a new, original student production; we just don’t get any applications. Of course, you would have to convince the panel that it would sell tickets, and would bring in an audience that wasn’t just students, but if you did that…”

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Finding ways to draw in new audiences is an integral part of Chantal’s role as Chief Executive — it is evidently a chief concern with student productions — but she is unwilling to compromise the Playhouse’s niche in Oxford’s cultural scene to do so.

“We do, for want of a better phrase, ‘serious theatre’,” she tells me. “It’s a slight misnomer, this ‘theatre for everyone’ label, because it doesn’t mean every show is for everyone, and nor does it mean we produce end-of-the-pier, lowest-common-denominator stuff. But it behoves us, financially and culturally, to get more people through the door.”

“So we are concerned with bringing as many people in as possible, but at the same time, I’m really not interested in competing with other theatres in putting on musicals with people off the telly.”

I ask Chantal about her plans for the future. The coming season is the last assembled by her predecessors, so audiences will have to wait until the summer to appreciate Chantal’s vision.

“The programming team here are so brilliant and diligent that pretty much the whole of 2015 is already sorted. I want to do more of our own shows, but I won’t be able to until 2016, and that’s driving me mad. I want to do more international work as well; we’re getting involved with a lot of international co-productions.”

“Theatre was my life when I was an undergrad. It’s lovely to get involved again.”

Students respond to Wilson verdict

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Oxford students have reacted to news that policeman Darren Wilson who shot Michael Brown in Ferguson, Missouri, will not be charged.

OUSU’s WomCam Women of Colour Group released a statement online early on Wednesday stating that they stand “in solidarity” with the parents of Michael Brown and the protestors in Ferguson.

Riots have broken out across America after a grand jury voted not to hold criminal charges against Wilson, who, as put by WomCam, “shot the unarmed teenager six times and left him in a pool of his own blood for four hours”.

The Women of Colour Group’s statement began, “The criminal injustice system in America systematically fails black people. The system repeatedly allows white police officers to murder with impunity. It denies black people employment, decent housing and education, and criminalises and marginalises black lives. It is a system built on the back of black slavery that pushes black people into poverty and prisons. It is a system under which you will serve more time in jail for protesting than you will for the murder of a black person.

“Michael Brown’s murder is not an exceptional case. Police brutality against black bodies happens every day — to people of colour of all genders, of all ages, of all intersecting op- pressions. Time and time again, justice is denied. The criminal injustice system in America is founded on white supremacy.”

The statement was also used to promote a protest on Saturday at noon on Cornmarket with the title, ‘Oxford in Solidarity with Ferguson: Black Lives Matter’. The event currently has around 700 attendees on its Facebook page, which describes itself as a “symbolic gesture of allyship and solidarity with the activists and protesters in Ferguson and across the U.S.”

Protestors are standing “as allies, activists, and supporters of wider radical anti-racism movements and struggles for the rights of people of colour around the world against violence, injustice, and systemic oppression.”

WomCam’s statement added, “We will not be silent. We will not allow this injustice to continue. Our solidarity is with the protestors of Ferguson and elsewhere — people all over the world who are subject to America’s racist imperial violence — when they refuse to be bowed.”

Merton’s Georgiana Jackson-Callen, of The Women of Colour Group, told Cherwell, “It’s not even the fact that there were no criminal charges: that would entail that a trial had actually taken place. Centuries of injustice leaves the Black community expecting the worst in a trial situation, but there won’t even be one. ‘Justice’.

“I am sick at the hashtags and articles co-opting and derailing Black pain. I am wondering how many so-called “colourblind” deniers I will have to interact with who cannot and will not see where the injustice is, or where it comes from, and will think this an overreaction.”

She added, “I am unable to get the thought of the same thing happening to the Black men and women I know and love out of my head. I am exhausted from living at the painful junction of two oppressions; I am longing for a lasting peace and justice that no earthly power can provide.” 

Jesus celebrates 40 years of women

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Jesus is celebrating 40 years since it first admitted women to the College in what was known as the “Jesus experiment”, with three events for current students and alumni having been planned for this weekend.

Women from the JCR and MCR hosted a drinks reception to celebrate a donation of portraits of the college’s first female fellows on Thursday, while a bar party is planned for Friday and a panel discussion on Saturday.

Although the first women-only colleges, LMH and Somerville, opened in 1879, there were no co-ed colleges until Jesus, Brasenose, Wadham, Hertford and St Catherine’s opened their doors to women in 1974.

Organiser Ellie Armstrong told Cherwell, “Celebrating steps towards equality is always important, and this milestone allows us to look back at the advances that have been made through women’s admission and to look forward to see what we still have to do to get diversity and equality in the University.

“So many of us are grateful for the opportunity to study at Jesus College, Oxford University and the women of the community wanted to give something back. We also wanted to make sure that Jesus did something to commemorate the opportunity in the college, as Hertford and Keble have also done.”

The drinks reception on Thursday celebrated the donation of portraits of some of the first female fellows to the College. Taken by a female undergraduate photographer, Liberty King, in Jesus Fellows’ Library, it is hoped that the portraits will be hung in the Porters’ Lodge.

Armstrong explained, “Getting in touch with these fellows has been really inspiring as it’s shown how important their positions in Jesus were to their academic careers.”

The fellows had interesting stories to tell. One explained how, after dining at high table with the other fellows, she was initially expected not to join the men when they went for coffee in a separate room, much to her dismay. Meanwhile, Susan Ballard, who joined the college’s GCR in 1977, commented, “It was a shock to the college that we wanted irons and ironing boards and sewing machines!”

Friday’s bar party will involve creating a college-collage with memories and photographs about experiences of co-education for current Jesus students. With regard to costume theme, organisers have told students, “Take a great woman as your inspiration and get creative.”

The panel discussion, meanwhile, sees Ruth Saunders, a member of the 1974 matriculation class, and Susan Ward, one of the two fellows admitted in 1974, sitting on a panel with current fellow Patricia Daley, post-grad Rohini Giles, and undergrad Kathy Page. Armstrong explained, “We hope to discuss how College has changed over the intervening 40 years, how attitudes and expectations have been influenced by the presence of women at Jesus and how their memories and experiences have been shaped by attending Jesus.”

JCR President Leo Gebbie told Cherwell, “It’s fantastic to see Jesus students celebrating the contributions that women have made, both within and beyond our college, over the last 40 years. The events which have been organised are encouraging people to think of those women who have inspired them, and it’s great to see so many JCR members coming together to celebrate the achievements of our alumnae.” 

Banerjee U-turn on resignation

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Oxford Union President Mayank Banerjee appears to have backed down from threatening to resign his position after deciding that new electoral rules are in place for today’s (Friday) elections.

At the meeting of the Consultative Committee on Monday, Banerjee announced his intention to resign if the recently passed electoral changes were not in place.

The changes involved the introduction of a ‘Re-Open Nominations’ (RON) option, and the legalising of campaigning, including slates. The changes were approved by 92 per cent of member voters on Thursday November 13th, although the validity of that poll was questioned when Returning Officer (RO) Thomas Reynolds issued a rule interpretation on Saturday, declaring the electoral changes invalid.

The ballot papers for Friday were printed earlier this week without a RON option.

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However, after consulting an advisory board on Tuesday, and after the majority of election candidates signed a declaration saying they are standing by the rule change, the President declared that he would be ignoring the Returning Officer and running the election under the new rules. This, in his view, seems to have removed the need for his resignation — despite the fact that there is no RON option on the ballot paper.

Furthermore, when Cherwell requested the minutes of Monday’s Consultative Committee meeting in which Banerjee reportedly threatened to resign, the Chair of the Committee refused to hand them over — despite the rules stating that the minutes have to be available at least 72 hours after the meeting.

Banerjee told Cherwell on Wednes- day that, “On Monday, I considered resigning if the new electoral rules were not in place by Friday’s elections. This was because I believed they were being blocked undemocratically. 

“Yesterday, an advisory board asserted that the new electoral rules were in place, and as such, Friday’s elections would be run as per the wishes of 92 per cent of the members who voted in the poll. I am glad that all of the candidates in this election have expressly recognised that the new set of rules is in place, and that they will campaign accordingly.

“I would like to thank the Returning Officer for all his hard work so far, and look forward to his administration of the new set of rules on Friday. I will do everything I can to help him to that end.”

If Banerjee is to resign, he would become only the fourth Oxford Union President ever to resign, and the first since 1972.

Banerjee also issued a ruling at the Union on Wednesday, stating, “On Sunday 23 November 2014, the RO issued a series of interpretations and a ruling reguarding the validity of the poll which occured on Thursday 13 November 2014.

“After consulting with an advisory board made up of the Senior Officers and a member of OLDUT (the Oxford Literary and Debating Union Trust, which owns the Union’s buildings), which has strongly asserted that the interpretations and ruling were outside of the RO’s jurisdiction, I rule that the interpretations and ruling were outside of the RO’s jurisdiction.

“This is the final ruling or interpretation on this matter until a Senior Disciplinary Committee rules otherwise.”

Hours later, though, Reynolds responded with another ruling; in its Preamble, he insisted, “I unambiguously have interpretative power over Rule 32(e), which describes my duty.

“In the same way that an SDC or a Tribunal has the power to over-rule both the President and me, I have the power to over-rule the President in matters pertaining to the conduct of the Election.

“The President is appealing to the authority of a so-called advisory board, comprised of a Member of OLDUT and the Senior Officers. This is clearly problematic for a variety of reasons. The most important of which is that this has no basis in the Rules.

“I am ultimately accountable for the conduct of the elections according to the Rules; I must run the election in accordance with my conscience and the Rules as they actually stand. I am accountable for my decisions to the Membership through the Electoral Tribunal and any Member who disagrees with my decision is entitled to bring a claim of Innocent Interference.”

The ruling itself was written “regarding the President’s ruling of Wednesday 26 November, my own previous interpretations and ruling, and, in general, this term’s Elections.” It reads, “On Sunday 23 November 2014, I issued a series of four interpretations and a ruling regarding the validity of the ‘poll’ that occured on Thursday 13 November 2014 and associated matters.

“The so-called advisory board that President has consulted has no authority under the Rules. In my judgment, which is authoritative under [the Rules], the interpretations and ruling were not outside of my jurisdiction. I therefore set aside the President’s Ruling, as my ruling and interpretations evidently have greater authority — this is clearly within the course of my duty.

“Therefore, I hereby rule that on the Election on Friday 28 November will indeed be run as per my previous Ruling on this matter, namely that the electoral Rules have not changed.”

It is understood that Reynolds is backed by the several ex-ROs. Meanwhile, the majority of the election candidates have signed a declaration backing the rule change. Describing themselves as the “people who seemingly benefit the most from the Returning Officer’s blocking of electoral reform,” as they wouldn’t have to face RON and are automatically elected, the candidates’ statement asserts, “We are still arguing that change is the right thing.

“Not only do the reforms make the elections much more open and transparent, it is ridiculous that the decision of 92 per cent of those who voted has been undemocratically overturned by one person.”

If candidates are caught breaking the rules against campaigning, as prescribed by the old rules, they may face a tribunal after the election. It is thought that the tribunal would ultimately decide whether or not the new rules were in place for the election.

The candidates’ statement continues, “The reason you have never seen a statement like this, written by candidates for an election, is that the old rules forbid it. The committee has worked extremely hard to introduce long-overdue reform to these outdated rules.

“We nominated for the election in the belief that we had finally succeeded in achieving this, but the recent undemocratic ruling makes it clear this is not the case. Nonetheless, we are committed to these reforms to make sure that this election, and all elections in the future, are run in the right way.” 

Review: Carousel

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★★☆☆☆

Two Stars

Carousel — also known as “that one show ‘You’ll Never Walk Alone’ is from” — is an odd musical. The costume and set design is elegant, the singing is wonderful, the acting (minus a few questionable American accents) is largely very good, but the question of whether this is enough to render a musical that pretty much endorses domestic violence as quality entertainment is a rather more dicey one.

The musical, with the music of Richard Rodgers and the lyrics of Oscar Hammerstein, was first performed in 1945, and tells the story of the doomed marriage between mill-worker Julie Jordan and carousel barker Billy Bigelow. Along the way we encounter outdated values, a totally unforeshadowed foray into the afterlife, and one of the more random incarnations of plot-twist suicide. Half the time the play seems so wholesome you feel defiled just for existing in the Twenty First Century, and the rest of the time you’re either disgusted with the whole institution of marriage or just overwhelmingly thankful you’re not obliged to farm out your uterus to the first guy who looks at you twice.

To say Carousel has aged badly would be an understatement. The idea that domestic violence is an expression of love isn’t so much implicit as half the point of the plot. There’s a particularly unbelievable moment when a girl asks her mother if a punch can ever feel like a kiss, which receives the reply, “It is possible dear, for someone to hit you, hit you hard, and it not hurt at all.”

Sexual assault is not only laughed off as hilarious, but being subjected to it is considered grounds enough for your fiancé break up with you. If this wasn’t enough, “What’s the use of wond’rin’?” — a paean to staying with your man in spite of ‘common sense,’ has been covered by Amanda Palmer as a character study in Battered Person Syndrome without needing to change a single one of the words, or any of the music. “You’re his girl, and he’s your fella, and all the rest is talk,” apparently, and if he’s hitting you, better suck it up and maintain that hollow façade of domestic bliss.

I do feel unkind for being so critical of what is ultimately a very well produced and acted amateur production, but at the same time, there are some huge question marks over the choice of this musical. Carousel is outdated, but its value system isn’t yet so far from our own to make it a mere historical curiosity; the attitudes expressed so overtly in the musical still lurk under the surface of our society.

The show finishes with the song it’s best known for — the aforementioned ‘You’ll Never Walk Alone’. Even a song I have largely positive association with (an entire family of Liverpool fans, in case you were wondering) is, in its original context, rather unpleasant as it’s used to endorse the tired rhetoric of the American Dream. No matter how high the production values, I don’t think Carousel is a musical I would ever, or could ever, get on board with, and the association of ‘You’ll Never Walk Alone’ with half-time at Anfield Road is still an infinitely better one.

Debate: Does ‘no platform’ threaten free speech?

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YES

Tom Posa

If free speech is to have any possible relevance today, it must be applied without regard for the viewpoint being expressed. What is the purpose of free speech if we grant it only to those whom we agree with, or only those whose views we find ‘acceptable’, whatever that means? ‘No Platform’ policies actively threaten the existence of free speech in this University and beyond. 

The arguments for and against free speech, as a principle, have been rehashed in these pages and in others in the past weeks, given the controversy over the cancellation of the recent OSFL debate at Christ Church, so I will not go into them here. Instead, I will look at ‘no platform’ as a policy and discuss its practical success.

The fundamental problem with the ‘no platform’ policy is that it produces adverse consequences. The ‘no platform’ policy was originally created by the anti-fascist movement as a response to far-right anti-immigration groups like the BNP and EDL. By denying these groups a platform, it was argued, students would be protected from racist, pernicious views. It would also avoid propagation of their ideas to a wider audience. But this argument ignores three key points.

First, it is only through the airing of such views in a scrutinising intellectual environment that their absurdity can be seen. A good example of this is the Holocaust denier David Irving’s appearance at the Union in 2007. Afterwards the then-President said, “At the end of that David Irving came out looking pathetic.” Sarah Ditum points to Nick Griffin’s appearance on Question Time in 2009 as the beginning of the end for the BNP. So, despite protestations from those looking to stifle debate that allowing them to air their views in public forums like the Union and BBC is dangerous, it actually ends in them being discredited in the eyes of the public.

Second, whilst Holocaust denial is evidently offensive to a huge number of people, the logic of a ‘no platform’ argument is that we should begin to censor Wikipedia, Google, books in our libraries, and any other circumstance in which people might happen upon mentions of Holocaust denial. This is clearly absurd, because we credit Oxford students with more robust intellectual capacities to think dispassionately and rationally about these issues. Having these resources available is valuable to the progression of human understanding.

When I searched David Irving on SOLO earlier, I found on the first page two books by the author, and eight critical responses to his work. This is the value of having these views aired in public: the academic debate moves in response and makes the counter arguments public, hopefully resulting in the loss of public support for the likes of David Irving.

A third and final reason why ‘no platform’ is an ineffective policy is because of the nature of ‘platform’ in the modern era. With the proliferation of social media, particularly YouTube and Twitter, anyone and everyone has the ability to access a platform — a platform free from scrutiny. By marginalising people with popular support (like the BNP in 2008-09), it actually plays into the narrative of the BNP and UKIP, parties which attract much support from those who feel alienated from the political mainstream. When UKIP rails against Westminster, and the ‘urban liberal elite’, the way to respond is not to continue their exclusion, which just perpetuates this argument, but to allow them participation and the inevitable failure that will result from their views being subject to scrutiny and debate.

As a final thought, I ask this. Which other controversial figures would we have denied a platform to in the past? Marx? Socrates? Galileo? These are all people who defied public opinion at the time of publication of their works, and yet have all contributed to the advancement of human understanding. I’m not suggesting that David Irving is any Copernicus, but for all we know we could be missing out on the next great thinker by undermining free speech through the adaption of ‘no platform’ policies. We should be wary of that fact.

 

NO

James Elliott 

Allow me to indulge in a little thought experiment. You’re organising a panel discussion on the politics of immigration. You’ve agreed your line-up, booked the room, sorted advertising, then the phone rings. It’s the voice of well-meaning liberalism, and he (for it’s rarely anyone but a he) wants you to invite a few more speakers in the name of free speech, including Tommy Robinson, David Irving, the Ku Klux Klan and the Devil. Assuming you decline the request, you’re then blasted as a totalitarian, a “Stepford Student”, and an enemy of the open society.

Whatever happened to the principle that not everyone deserves each and every platform on which to promote their views?

As the President of the Cambridge Union, Tim Squirrell, put it so eloquently this week: free speech doesn’t mean you get every platform you want. Unfortunately for Oxford’s students, our own Union President Mayank Banerjee thinks there is something of worth that the knuckle-dragging, racist thug Tommy Robinson has to say to Oxford students. I don’t. Despite his ostensible public abandonment of the English Defence League, he nonetheless tweeted last month, “Happy to hear the EDL gave a round of applause for me before their demo. The EDL will always hold a place in my heart.”

Robinson’s airtime gives credence to racist and fascist views, and perpetuates a culture where people of colour are put at risk of violent attack, as well as contributing to their ongoing oppression. On the night Nick Griffin was lampooned by liberals on Question Time, 3,000 people joined the BNP, making a mockery of countering fascism via “exposing its ideas’’.

Given Robinson’s continued, if muted support, for the EDL and given that I believe he still holds racist views, it should have been clear to the Union that they should not privilege their desire to have a (probably very boring) speech ahead of the safety of our society’s people of colour.

Much of this also applies to the “abortion culture” debate last week. Brendan O’Neill is obviously not a fascist, although his cover piece in The Spectator this week confirms he is an intellectual and political turd. In fact, he was the allegedly pro-choice speaker in the debate.

The issue at hand was that the oppression of women, by a society and state that is yet to grant fully legalised abortions, was trivialized and reduced into a debate between two people without uteri. In Britain, after a woman has decided that she wants to end her pregnancy, she has to persuade two doctors to agree to her decision on the basis of restrictive legalcriteria.

Christ Church had the choice, either to stand with the victims of such oppression, or contribute to that oppression. Remarkably, one of Oxford’s most conservative colleges got it right: we don’t need to platform oppressive views about “abortion culture” in our communities.

Going further, Edinburgh University Students’ Association are now opening investigations into the Delta Kappa Epsilon fraternity on campus. A close friend of mine helped to expose this vile group. Their Facebook page showed members talking about feminists in disgusting ways, with one asking, “How are we going to rape them?” whilst another said, “Let’s go to Montenegro, for a raping trip.” Fraternities like this are a threat to women’s safety and should be driven from campuses.

In all these cases, language is used to oppress, not merely to offend. The proliferation of these oppressive ideas contributes to human suffering and oppression. If it means anything to be on the political Left, and advocates of ‘no platform’ are almost solely of the Left, then it means standing unreservedly and unconditionally with the oppressed.

Those who would give a platform to the Tommy Robinsons of this world are knowingly and willfully contributing to the oppression of those less privileged than them for the sake of a liberal debating fetish. I condemn them. 

Review: The Crucible

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★★★★☆

Four Stars

The Crucible is one of my favourite plays. It was written with courage in a time of fear. Miller parallels McCarthyism with the Salem witch trials remarkably, if not particularly subtly. Writing such a play had serious consequences for Miller, as he was brought before the House of Representatives’ Committee on Un-American Activities in 1956. This only adds to the gravitas with which the play ought to be treated, and I think this production recognized that well.

I was very impressed with the aesthetics of the play. The setting of St Hilda’s JDP worked well, as they did not attempt to cover the bare bricks and wood. The sparse props and stage settings, with tables and chairs serving only functional purposes, further accentuated this puritan simplicity. The costumes (Sarah Trolley and Sanjana Shah) work perfectly in the context of puritan 17th century America: everyone is clad in monochrome, apart from Abigail (Mary Higgins), who wears a dress of deep burgundy. She also sports blood red lipstick, which works particularly well.

My first impressions concerned me, however. The loud beat that begun the play sounded a little too much like house music for a 17th century setting, but the strangeness of the first scene was well conveyed. Sadly, they also chose to play the same music at the end of the play. It drowned out Elizabeth’s (Alice Gray) last, poignant line, and left the end of the play feeling entirely flat. One of my only other concerns was the use of accents. It was inconsistent, with some trying and succeeding, others failing, and some not trying at all. I think the play would have not suffered if the accents were lost altogether.

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This was truly a shame, because the acting was, on the whole, superb.  Higgins’ Abigail was complex; she played her forcefully, with a conviction that conveyed power, but didn’t allow this to overcome the fact she was playing a young girl, who felt betrayed and hurt.

David Meijers’ John Proctor was also excellent. The audience started with no sympathy for him, but slowly and very deliberately, Meijers turned Proctor into a symbol of courage, even if it was not enough to redeem him. His interactions with Gray were heartfelt, and appropriately moving. In particular, his delivery of the famous line “You bring down heaven and raise up a whore!” was perfectly delivered. Gray herself presented well a meek and humble Elizabeth, who was by no means pathetic. The Putnams (Kristztina Rakoczy and Richard Grummitt) were suitably irritating, and Bee Liese’s (Betty Parris) scream was bone-chilling; it truly changed the tone of the play.

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The scenes with the girls crying out in the courtroom, and pretending to be bewitched, were well staged and very convincing. Marshall Herrick (Soham Bandyopadhyay) perhaps shouted a little too much, which meant that some of the emphasis was lost on a few lines; however, his convincing portrayal of a man stuck between wanting to do his job and convict witches, and seeing the flaws exposed by Proctor more than readily made up for this.

Overall, it was a good, straight production of an excellent play. The beginning and ending may have been let down by a poor choice of music, but the impressive talent of the actors allowed this play to shine as an example of how well-directed student drama should be performed.

The insensitivity of the Sainsbury’s Christmas advert

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It’s that time of year when corporate businesses jostle to pull our heartstrings and tap into our purses so that they can push up the Christmas bonuses. What a wonderful time of year it is.

For the last couple of weeks, social media has been beguiled by Sainsbury’s new Christmas advert, which teamed up with the Royal British Legion in commemoration of the centenary of the First World War. The advert sent a shiver down my spine, not because it was emotionally engaging (which it was), but because it reinforced how we have become the emotional puppets of a cold and calculating corporate sector.

On one level, the advert is beautifully crafted and emotionally touching. But, despite its sentimentality, it is important to remember Sainsbury’s are not trying to change the world with this advert: they are trying to sell turkeys at Christmas.

Using a war that killed 40 million people in order to trump John Lewis’ sale of Christmas paraphernalia is almost as insensitive as Tesco’s’ “Poppy Pepperoni Pizzas”. One of the worst things about the advert is its attempt to be ‘subtle’ by weaving in the theme of food (and consumerism) as a sort of saviour of the situation. I almost expected to see a “Taste the Difference” label on it — luckily they didn’t push it that far.

The advert encapsulates one of the biggest problems of the whole Poppy Appeal. While the campaign claims to honour the lives lost in past wars, it also legitimises the wars of the present. The cloak of remembrance disguises a multitude of sins. It is hardly surprising that the Royal British Legion derives a great deal of its funding and sponsorship from arms companies, including BAE Systems, Lockheed Martin, and Thales, all of which have provided arms to dictatorships the world over.

The irony of our “remembrance” is that, despite our sentimentality, we are forgetting the major driver of the First World War: the arms market. The British arms company Vickers-Armstrong, later to become BAE, sold arms to the Ottoman Empire that were used later against British troops. Remembrance by donating to the Royal British Legion is not, therefore, a statement of nationalism or solidarity. It is a statement of complicity in a system that acknowledges capitalist profit as the ultimate good and thus facilitates the exploitation of the bottom 99% by the top 1%.

We are crafting how we choose to remember the horrors of previous wars according to a narrative that is created and sustained by this corporate elite. A series of elitist networks of businessmen, media moguls, and politicians ensure the dominance of this narrative. All too often, the media manipulates two of our most powerful human emotions: desire and fear. We are constantly manipulated into desiring products and lifestyles; this ensnares us into consumerism and cycles of debt, which in turn benefit financial institutions and corporate businesses. Meanwhile, we are encouraged to fear the Other, whether defined as immigrants or benefit recipients, and thereby encouraged to vote for parties that strip away provision for these groups while maintaining the incomes of the rich. This fatal combination of desire and fear is a case of “divide and rule” that gives the controllers of popular media — the elite — enormous power.

In What Money Can’t Buy, Michael Sandel argues that we are en-route from being a market economy to being a market society. From buying the right to healthcare to traders betting on people’s life insurance in the viaticals market, commodification dominates every aspect of our society. With the increasing dominance of big business in politics through the funding of political parties, it is inevitable that corporate interests will shape the political agenda. As Sandel puts it, “Our politics is overheated because it is mostly vacant, empty of moral and spiritual content. It fails to engage with the big questions that people care about.”

How can we escape the pernicious influence of corporate business in our lives? We can protest at the disgusting use of war as an emotional marketing tool to manipulate us into consumerism and support of the arms trade. Whatever it is that we do, we must do something. If we do not, we will progress inexorably towards a society in which we know the price of everything, and the value of nothing.