Monday, May 26, 2025
Blog Page 1286

Thom Yorke works with Oxford students

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Thom Yorke used the expertise of Oxford MBA students to mastermind the release of his latest album, Tomorrow’s Modern Boxeson BitTorrent. The Oxford native, and Radiohead frontman, consulted with students Ryan Kroening, Phil Barry and Steven Lundy on “user experience, media strategy and financial analysis” when planning the unique release, which aimed to eliminate the need for a record label.

The collaboration began when the three students, all self-professed music fans, were looking for a project to carry out for their Strategic Consulting Project (SCP). Whilst most MBA students at the Said Business School work for designated companies, Kroening, Barry and Lundy decided on a unique approach by helping to assist in the release of Thom Yorke’s latest work.

Phil Barry explained to Cherwell, “We sent a message to Courtyard Management [Radiohead’s management company] entitled ‘MBAs offering brainpower’, which we think piqued their interest a bit”. 

Courtyard Management were full of praise for the students, saying, “It was immensely useful to have the input of the MBA students on data analysis and new marketing strategies. They produced a thorough and insightful document.’’

Likewise, the students were enthused by working with Yorke, with Barry commenting, “Everything is driven by the music for Radiohead — our role was to adapt the business model around the music.”

This is not the first time Yorke has attempted to innovate in the way he releases his music. The 2007 Radiohead album In Rainbows was released using a ‘pay-as-you-want’ method, whereby users could order the album for any amount they wanted, including nothing.

In announcing the latest album, Yorke said that the release was an “effective way of handing some control of internet commerce back to people who are creating the work”.

Said Business School also released a statement praising the innovation of the students, saying, “The MBA students were able to put their learning into practice on the project, analysing fan and market data, and bringing together new technologies to generate new ideas challenging conventional content distribution mechanisms.”

The £3.75 charged for Tomorrow’s Modern Boxes is understood to be split 90%/10% between Yorke and BitTorrent, giving the method a clear advantage over standard label releases.

Yorke’s approach has been met with favourable reviews from the student body, with Alexi Andriopoulos, a PPEist at Univ commenting, ‘‘I think more music should be released like this because it’s the only sure-fire way of ensuring that the artists who create the music get their fair share of the profits. It could encourage more talented musicians to enter the industry who previously were concerned about the ability to make money in music.”

Yorke’s strategy appears to have been a success. Whilst BitTorrent have not released a specific figure, they have disclosed that there have been in excess of one million downloads of Tomorrow’s Modern Boxes.

Although the reaction has been positive, some students noticed the irony that BitTorrent is banned at some Oxford colleges, with one student commenting, “They could have at least chosen a platform all Oxford students have access to.”

Milestones: George Harrison after the Beatles

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Everyone wanks on about the end of The Beatles being the worst thing since the fall of Rome, but it heralded a far more important milestone; the start of George Harrison’s solo career. The most underrated, hyper-talented, technically proficient, and rhythmically and lyrically gifted guitarist of the Twentieth Century produced a run of albums, which, if one is willing to invest oneself, are endlessly gratifying and enlightening. The major musical milestone of 1970 was the release of All Things Must Pass.

George Harrison’s position in The Beatles was as undeserved underdog. His songs were ignored, if not denigrated, and afforded lesser importance than McCartney’s frothy shit like ‘Maxwell’s Silver Hammer’. After the band’s break-up in 1970, Harrison burst onto the scene with an album that easily surpasses much of the output of his old group. Indeed, to compare it to The Beatles is moderately insulting. While McCartney will be a Beatle until his death, Harrison transcended such a description. His work should be judged against the standards of Bob Dylan and Eric Clapton, not granny music like ‘When I’m Sixty Four’ and ‘Ob-La-Di, Ob-La-Da’.

All Things Must Pass, the three-LP album released in 1970 was compared upon its release to the moment when Greta Garbo first spoke on- screen. Harrison’s liberation from the Beatles was both magnificent and triumphant. The songs, which had been wilfully side-lined and excluded for years, were, under the watchful eye of Phil Spector, transformed into the truly uplifting. Thought provoking, lyrically complex, emotionally diverse and spiritually joyous, it set the tone for the rest of George Harrison’s solo career.

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A narrative has emerged which seems to neatly sum up Harrison’s solo output: good first album and a subsequent decline in quality until a brief resurgence in 1987 with Cloud Nine. It’s an easy narrative for those who haven’t listened to the music in question. The man who penned most of the distinctive riffs that so characterise Beatles songs did not lose his virtuoso touch. Searing guitar solos, soaring slide guitar work and innovative chord progressions would be enough for one to find interesting on his albums.

And yet Harrison’s lyrical touch is evident and unique. He may not have always lived up to the standard of Bob Dylan, whom he idolised, but each song is distinctly marked by a spiritual profundity and lyrical innovation. Many of the songs are as overtly religious as anything to be found on the charts. While the word ‘religious’, when used in a chart context, may summon up images of Cliff Richard or, God help us, Tom Jones, these are not accurate comparisons.

Spiritual without being hectoring, enlightening without being enervating, these are difficult lines to tread, but Harrison pulls it off. For those keen to find insight into the Beatles this album is similarly rewarding. ‘Run Of The Mill’ features insight into the inner workings of Apple Corps, but there is nothing as vitriolic as Lennon’s ‘How Do You Sleep’ (which climaxes in the scream of “How do you sleep you cunt”). This is music that encourages thought, while uplifting the listener. The real milestone of 1970, musically speaking, was not The Beatles’ breakup but the birth of a great indidivual solo artist. It is something truly different, unique and sonically magnificent. Listen to it.

Mortality: what will survive of us is art

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For our parents it was Lennon and Cobain, for us it is Michael Jackson, Amy Winehouse or, most recently, Robin Williams.

Chances are, everyone remembers what they were doing when they found out that these major cultural icons had died. The sudden and cutting realisation that such well-loved public figures as these — capable of weaving their individual talents into the world’s cultural fabric — were ultimately just as vulnerable, unpredictable and, importantly, just as human (if not more so) than everyone else, never fails to leave its mark on our memories. And as it does so, it dislodges the sense of their being removed from day-to-day existence; the idea that somehow they were transcending life’s sordid realities through the beauty of their art.

It goes without saying that, even after the initial social media storm has calmed, an unexpected death like those that I have mentioned, particularly if it was by suicide, will have a permanent and inescapable effect on the reception of their living work.

From that moment on, everything they have sung or written or performed is tinged with tragedy — distorted by the filter of hindsight. We suddenly see shreds of sadness in even the most upbeat and celebratory of their creations. But to what extent does this occur to the detriment of what they leave behind? Is it unfair to cast the shadow of death over a life’s work?

In 2008, David Foster Wallace, author of modern American epic Infinite Jest, was discovered to have hanged himself at his Los Angeles home, the unfinished manuscript of his final novel, The Pale King, arranged neatly on his desk waiting to be found. Since then, readings of his magnus opus have either focussed on, or pointedly shied away from, addressing the facts of his passing.

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In turn, this self-conscious response sparks questions as to the potential value of, or problem of, interpretation in the context of personal circumstances; of trying to understand the art through the artist, and vise-versa. Ultimately, it reveals a dangerous tendency on the audience’s part to conflate the two.

This is magnified when a premature death is involved. All at once, we cling with a peculiar kind of panic to the music, literature or films that have been made, aware that their life’s work is now in its entirety, never to be added to again. Just remember how Jackson’s album Number Ones spent a solid six weeks at the top of the charts in the wake of his death in 2009. Is this reaction simply born of wanting what we can’t have or could it be down to a desire to keep alive the voice on the recordings, the face in the photographs, to resist the finality of their demise? Either way, it cannot solely be caused by a surge in media coverage and publicity.

Crucially, the tragedy of a talented life cut short feeds into the glamorised notion of the tortured artist — the myth of the depressive genius, unrecognised in their own lifetime. The long list of famous musical names, including Janis Joplin, Amy Winehouse, and Jimi Hendrix, who died mostly drug-related deaths at the same age, or ’The 27 Club’ as they are popularly known, implies that a crucial aspect of life as a musician is a struggle with that life, or a desire to escape it somehow, a suffering that should be anything but glamorised.

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November 24th of this year will mark 40 years since Nick Drake’s death. Only 26 years old and still relatively unknown, Drake’s overdose in 1974 deprived the world of an infinite number of potentially incredible records in addition to the three we are fortunate that he did produce. But his death also brought with it a mythology that has remained with his music to this day and helped to lift his soft-spoken poetic songs out of obscurity.

The death of any kind of artist is all the more poignant because it lifts them further out of our reach towards the near-deified status that they may or may not deserve. It is painful to acknowledge the irony that some of these famous figures may not have been anywhere near as well known or appreciated had they lived, while most would never know the level of prestige that awaited them after their deaths.

From Whitney Houston to Philip Seymour Hoffman and Robin Williams, it is difficult to reconcile two inseparable images of these individuals. The first being the glorified, cultish and pedestalled idea conjured by their name alone; the second being the relatable and normal person who struggled their way up to the heights of their fame, and often paid the price of their freedom along the way. Their deaths have served as a reminder of the artificiality and toxicity of the culture of fame at the same time as contributing to and redefining that very fame and renown.

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The inextricable relationship between death and art is both too saturated and too complicated a theme to be pinpointed, except in terms of their both being a form of escapism and both enhancing our appreciation of the world around us.

It could be said that artistic preoccupation with mortality is at odds with the timelessness of the art itself, unless you see the art, music and entertainment as the only way to defy death’s inevitability because it will — we at least hope — endure indefinitely, long after its makers have passed away.  

Review: Fat Pig

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★★
Two Stars

There are structures within society that, for better or worse, make it difficult for love between superficially mismatching individuals to survive. It is these structures that Neil Labute examines in Fat Pig, his award-winning play about Tom (Jason Imlach), a stereotypically handsome professional, who falls for Helen (Phosile Mashinkila), an overweight librarian, much to the derision of his friends and colleagues.

Sadly, for all its pretensions to thought-provoking social commentary, the version of Fat Pig currently being performed in the confined space of the Playhouse’s Burton Taylor Studio, is a stuttering, pedestrian exploration of our obsession with appearance that does very little in the way of actual exploring.

There is a distinct lack of theatricality about the piece. An awkward meeting in a cafeteria, a quiet night in with a movie, a casual office discussion – there is nothing remotely dramatic here. The audience intrudes, almost voyeuristically, into the private moments of a burgeoning relationship, and is surprised, one could say disappointed, by the absence of anything tangibly interesting.

Director Phosile Mashinkila, who also plays Helen, has imbued the play with a cinematic realism that, although initially refreshing, quickly descends into tedium, exacerbating the play’s inherent theatrical deficiency. Initially, as Tom and Helen meet, sharing an inauspicious conversation over lunch, this authenticity is extremely effective. Imlach and Mashinkile mumble banal pleasantries to each other, the audience shifts uncomfortably during the conversation’s awkward silences, and an air of expectation builds. There is a growing anticipation of imminent fireworks and scandalous revelations.

Regrettably, none are forthcoming. The play meanders lazily through repetitive sequences with little narrative progress. The closest it comes to profundity is when Carter (Brian Chandrabose), Tom’s ‘asshole’ co-worker, confesses his enduring adolescent fear of nonconformity yet even here the piece’s relentless realism detracts substantially from his confession’s emotional content.

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The play’s premise is undoubtedly thought-provoking. There is a deeply ingrained stigmatising culture towards relationships that bridge social divides in western society; ‘It’s one of the many laws of nature. ‘Run with your own kind’’, asserts Carter. Fat Pig obliquely addresses this issue. Why do we care so much about how we appear to other people? Can love really stand up against a tide of judgemental disparagement? A finger is pointed at the audience, asking them to examine their own prejudices.

Yet in truth, these themes are merely hinted at and never satisfactorily addressed, lost in a mire of dull realism and insubstantial plot. Paradoxically, the drama is too naturalistic, the characters too accurate a reflection of reality for the audience to care about them. A curtain is certainly lifted, and a well-composed picture of ‘real life’ and ‘real relationships’ is certainly revealed underneath. There is one fundamental problem, however: real life is not that interesting.

Social democracy through the prism of Eleanor Marx

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“When I set out to write the book about eight years ago, I think some of my friends said, “Oh god, a Marx, really?’” The latest biography by cultural historian and writer Rachel Holmes has salvaged the life of Eleanor Marx, daughter of Karl Marx and socialist-feminist activist, from oblivion, drawing her into a political climate, which is becoming progressively attuned to her early ideas.

“Quite unintentionally, I found myself writing on a very popular and topical subject,” she tells me. Holmes’ biography on Eleanor Marx has been published amidst a global groundswell of interest in Marxist ideas — particularly amongst people under the age of fifty. But why is this? “Marxism survives because it’s not a dry economic philosophy,” she tell me. “It’s an idea that’s full of all the ideas of human contradiction and culture.”

Eleanor Marx, or “Tussy” to Karl, gave life to the esoteric theories espoused by her father. She played a crucial role in the industrial struggle in late Nineteenth Century Britain, leading dock workers on strike and organizing the activity of their embryonic unions, as well as fighting for women’s rights and manifesting “the personal is political”. Holmes tells me how Eleanor would probably think the notion that you could separate the two rather strange. “I think it’s always useful to have a slogan,” she says. “But for Eleanor Marx there was no distinction between the personal and the political. The question of equality and of social democracy was about how you lived and brought up the family.” Even for the daughter of a revolutionary, these ideas seem forward-thinking in a Britain which had no electoral democracy, where neither working-class men nor women could vote, and where women were disbarred from higher education and serious political work.

On the day that we speak, Holmes is speaking at the Ruskin College, which was founded in 1899 (a year after Marx’s death) with the aim of providing university-standard education to working-class communities and trade unions, as well as host to the first National Women’s Liberation Conference in 1970 — both causes for which Eleanor herself fought unrelentingly. But given Eleanor Marx spent a great deal of her life campaigning for the eight-hour day, and we’re now in an age of “zero hour” contracts and modern slavery, I wonder how far she would approve of society in its current state. “There is much that she would be very heartened by,” Holmes tells me. “She would be fascinated by your student journalism and the fact that your newspaper is online as she was fascinated by new technology, and she would be delighted by the greater opportunity for self-fulfillment for women. But having said that, there are many things that would be familiar to Eleanor Marx.”

On gender equality, Holmes, who co-edited Fifty Shades of Feminism last year, says how she thinks things in Britain have slid back for women in the last forty years. She also believes that without leadership and organisation, this will continue. “It isn’t just an inevitable march forward of progress. We have fewer women in parliament than we did ten, fourteen years ago and fewer women in local governments.”

Holmes goes on to tell me how if Eleanor Marx were around today, she would rally behind Emma Watson’s call for men to take up the fight for gender equality. “Eleanor Marx, time and time again, said that men and women must stand together. Men are as constrained by patriarchy as women are. Yes, they get a lot more of the benefits, but patriarchy is deeply disfiguring for masculinity as well as femininity.” Holmes tells me of a history in Britain of men, both working-class men but also writers, playwrights, and politicians, who were active self-identifying feminists — a history, she feels, that was lost in WWI. “There are a few lone voices now, but somehow I don’t see that active participation in the same way.” Although perhaps this is changing, with a new generation of feminists ridding the term of lingering toxic connotations and bringing men back into the conversation.

Although Holmes builds up this dazzling visage of a fiery young woman, who stood out from other identikit reformers in acting upon every injustice around her, her personal life was clouded by dark family secrets and a foible, that happened to be a very “rotten bloke”. However, as Holmes puts it, this “makes her more human and like us”.

Until now, Eleanor Marx has been as famous for her untimely end as for her political activism. “For me, it’s her work that stands, and the importance of her pamphlet The Woman Question, and the impact she had on the new trade union movement. She is no more overshadowed by her personal life than the greatness of Winston Churchill is overshadowed by the fact that he was an alcoholic and had manic depression.” Perhaps it’s this idea, as Holmes lays out, that we tend to think of women as more three-dimensional, so bring all of their personal baggage into the writing of histories. “But you can read a whole history book on Trotsky,” Holmes tells me, “and only find out that he had a dog.”

Next year, Holmes plans to emulate Eleanor Marx’s agitation tour across America, visiting the same towns and trade union organisations that she went to, and “making a comparison between the economic and social conditions then and now.”

In honouring her as an international figure, an activist in her own right and not just the ghostwriter of her father, Holmes has given Eleanor Marx the end she deserves, and us a source of inspiration and leadership for the future.

Travel: 1st week MT

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This summer, three friends and I said goodbye to the comforts of Wi-Fi, hot showers and The Missing Bean, and set off for Mumbai in search of an adventure.

We wanted to get off the beaten track, pop the Oxford bubble and see what India is really all about. With these typical ‘gap yah’ aspirations in mind, we decided not to book any transport, accommodation or a proper route, but to wait and see where the journey took us. Below, I have compiled some of our stupid mistakes and accidental successes; the places and activities in South India that are excluded from The Lonely Planet for a good reason, as well as some amazing hidden gems that we stumbled upon.

One of our absolute best experiences in India was renting a rice barge in Kerala. This is how Oxford punting would be in heaven; you sit with your feet up like a fat cat, eating delicious freshly-caught fish while floating past villages and coconut trees in the tropical backwaters.

Goa is also a great place for backpackers on a budget, but if you’re in search of golden beaches and crystal waters, you’ll be disappointed. Palolem, the most famous beach, feels like swimming in murky lake water, and we found a dead chicken in the sea. That said, the views and bays were stunningly picturesque; lined with palm trees, traditional fishing boats, and beachside bars. Being the generic students we are, we couldn’t resist renting a motorbike for just £2 a day, and spent an entire day zooming around the crazy Indian roads, taking selfies, and narrowly dodging cows! When I took to the handlebars, however, I skidded round a corner, crashed into the ditch, and we had to be taken to a local hospital by some friendly Indian holiday-makers.

Transport in India is as much part of the adventure as the destination itself, and we got used to leaping on and off moving trains, with tickets and bags of food often being left behind in the panic. Travelling overnight from Mysore to Bangalore for 30p, on the cheapest train possible, was one of the worst but most amazing parts of our trip. I’ll never forget trying to sleep on a bench with my face pressed against my friend’s trainers, three snoring men dangling off the luggage rack above me, and a smell of sewage so strong I felt like I was drinking it.

Finally, you can’t travel to South India without trying the street food. At first I was worried about getting ‘Delhi-belly’, but sticking to touristy restaurants means you miss out on some of the most delicious meals in India, and despite regularly eating from dirty street stalls, we all remained healthy! Gobi manchuri (spicy deep-fried cauliflower) was one of my favourites, along with dosas (thick pancakes filled with spicy curry) and bhel puri (spicy puffed rice and chopped vegetables, served in a newspaper cone). Generally, as long as the food is freshly cooked and steaming it seems to be safe, and a glass of sweet milky tea from a chai-wallah is the perfect way to finish a meal.

India is wild, loud and beautiful, which is precisely what we were seeking when we set off.

Bexistentialism: MT14 Week 2

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With soaking wet hair, twisted straps on my dungarees, and smeared mascara, I head to my morning class. Clutching a fountain pen, and any traces of dignity that I did not lose over the last 12 hours or so, I realise that I am still drunk.

This may not be an unfamiliar image to you: head down and strides long as you try to convince passers-by that your eyeballs are not still slowly crying vodka.

Sadly it is not unfamiliar to me, either.

However, though evidently I drink in excess, it is infrequent that alcohol causes me to do abnormal things. That is, abnormal on the drunk spectrum, where stealing a stranger’s bucket hat, or closing a DJ’s laptop count as ordinary.

But sometimes alcohol likes to surprise you. To pat you on the back and remind you that yes, you really are psychotic. And that’s why I stop, as I’m walking in the street. Because as I pass the Rad Cam and check my Facebook notifications I see a comment in a group, a group consisting
of the nine guys and three other girls I live with.

2.30am. “What is this buzzing and knocking, anyone know?” A comment below: “Bex”. Various other housemates profess the fear of murder — pillage — as the Bexistentialist slammed her hand down on all the rooms’ buzzers before flying through the house, visiting each of the other rooms, knocking and flinging open each door without entering. My stomach sinks. Is this true? So many questions flood my mind, framed by one singular statement: I am a twat.

Later, with chocolate in my hair, my Sorry-For-Being-A-Twat-Cornflake-Cakes are baked. I post in the group that they should help themselves. But with desperate action, comes fear. Nine guys. Nine boxing/ footballing/DJing/sarcasm-slinging men. And I’ve baked cakes. After waking them up in the middle of the night. Have I ever been more stupid?

Later, as I brainstorm ideas for my column, one of the nine appears in my doorway. A ninth who usurps both my resting bitch face, and sarcasm. I remember him in his boxers, in the early hours, with one eye open, grunting about what the fuck was going on.

But now he’s in my doorway. “Those cakes were fantastic. Thank you very much”. On ‘much’ he has already gone slightly pink in the face? Did I imagine it? Is this but a dream? Sincerity. In a house where talk of wanking, pooing and fucking never leaves the air… Sincerity.

Never drinking again? Maybe I should drink more.

Creaming Spires: 2nd week Michaelmas

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The other day I met a Judger. I was at a house party where vodka flowed, music rocked, and hot guys kept on popping up like you-know-whats when Jennifer Lawrence walks into a room. Someone had the great idea to turn a bedroom into a nightclub, so that’s where the cool kids charged, me leading the brigade. As soon as the hipsters got removed from music controls, Rihanna’s sexy beats filled the space. After a while of intense dancing with that night’s love of my life — can anyone dance differently when ‘S&M’ is on? — I whispered an invitation. Naturally, it was accepted (and I wouldn’t tell you if it wasn’t because megalomania). And at that point she pulled me aside and delivered the blow.

“What are you doing? Isn’t that a bit slutty?” Now, as an openly promiscuous lady I’m not surprised by this stuff when it comes from narrow-minded people I don’t care about. Normally I would give her a superior look and get on with my fun. Or I would say something involving “independence”, “feminism”, and “I will beat you with a riding crop”. In my world view, people should have as much or as little sex as they want and it’s nobody’s damn business. If you have consent and condoms, do as you please. But I liked this girl, and she was someone whose good opinion I cared about.

Instantly, I started to re-evaluate the evening. Yes, he’s hot and smart and funny and oh boy doesn’t his ass look good in those jeans. Yes, he’s smiling at me in this sexy, sexy way and I want to see him naked right now and I want him to do things to me that I can’t talk about, even in a public sex column. But what about people? I suddenly realised that if we leave together, we’d be noticed by the entire party. What about reputation? Respect? Gossip? Oh god I hate gossip. No, I want no gossip. Better stay here, sip my wine and let Her see that I am a decent member of society who’s definitely not going to be orgasming tonight.

The existential crisis lasted a full five minutes. I began to doubt my entire life and started considering a convent. What saved me was his worried look and my reverence for my own libido. Do I want him? Yes. Will I lose all respect for myself if I listen to a judgemental bitch instead of my own instincts? Hell yes.

So I left with the man and didn’t regret a thing. Her good opinion no longer matters, because she’s lost mine.

Colleges divided as free education debate marches on

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Several colleges have now passed motions to support student attendance at the national demonstration against tuition fees in London, following a similar move by Balliol JCR last week.

Hertford, Worcester, Regents’ Park, and Harris Manchester have passed the motion to send students to the demonstration, while Exeter, St John’s, Wadham and Somerville, amongst others, will vote on similar motions on Sunday. However, not all colleges have accepted the idea. A motion in Jesus College, which would have granted the JCR’s support to OUSU’s £200 involvement in the Free Education Demo failed, with eleven people voting against.

Alexander Proudfoot, Vice-President of Jesus JCR, said, “we discussed the motion in a fair amount of detail and the prevailing opinion, although some did disagree, was that whilst the JCR supports many sections of the [OUSU] motion and a lot of the sentiment behind it, the wording was too loaded on many issues and the motion had too much bound up in it for us to agree with it in its entirety.”

He added, “we made a note, and voted in support of this note, that although we do not support this OUSU motion we are critical of the current fee system, current government policy towards higher eduction, and are supportive of student activism.”

Hertford, meanwhile, will be donating £150 towards travel costs from its political campaigns fund to take students to the demonstration on November 19th, up one-third from the £100 originally requested in the motion.

The motion, proposed by second-year English student Charlie Jarvis, cites a recent decision abolishing tuition fees in Germany in comparison with speeches by several MPs and Andrew Hamilton, the University Vice Chancellor, calling for uncapped or raised fees, arguing that that, “either our system is going to continue down the road towards an American-style model of private universities with uncapped fees, or we can take it closer to a German model of free, public and accessible education.”

The motion, which is being used in many colleges, characterises the NUS’s policy as “a campaign for a new deal for education, that is free, publicly-funded, accessible, and funded by greater progressive taxation and clamping 

down on tax avoidance”, and claims that, “in order to fund tuition fees, the Government can now expect to loan in excess of £10 billion per year, much of which it will never recover. Fees act as a deterrent to access, making education seem unaffordable to some.” It also points to recent successful campaigns by the NUS, such as last year’s cancelled sale of the student loan book.

Hertford JCR President Josh Platt explained, “We had a brilliant debate in our JCR meeting about free education on Sunday, in which absolutely loads of people were able to express their views. I think this shows how important it is for JCR representatives to have proper consulation with their members before going to OUSU Council; I now have a much clearer idea about the stance Hertford wishes to take, and I’m looking forward to presenting those views to the rest of the student community at the University. Hertford’s JCR is very keen to send a strong message to the government; the status quo is not acceptable, and whether it be through free education or a different funding formula for higher education, there is now a need for major change in higher education policy in this country.”

Charlie Jarvis, who proposed the motion, said, “It is crucial that we join the fight against the marketisation of our education system, and I believe the NUS are the right people to lead us in this. It was fantastic to see such a huge turnout at the meeting, and the debate was really lively and inclusive. A good £150 was pledged to support students attending demo on November 19th, and two of Hertford’s three votes at OUSU will be used to support the policy when it is debated again at Council next week. Despite a difference in opinion on the details of the motion itself, what appeared unanimous was the dissatisfaction with the path down which the current government is heading with regards to higher education.”

OUSU Disability Officer James Elliot, who first put the motion to OUSU, said, “I’m delighted that several more JCRs have joined the fight for free education by pledging support. This is a great time for Oxford students to be discussing how education should be funded, its place in society and how we fight to scrap the current system of fees, privatisation and debt.” 

Cocktails with Cai

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After last week’s appallingly mainstream choice, this week’s cocktail is one shrouded in mystery, and its origins remain unknown. Yet another delightful import from the days of Prohibition, the Jack Rose is said to have come
from a watering-hole in the city of House of Cards itself — Washington
D.C. Despite having appeared in the Hemingway novel called The Sun Also Rises, it has fallen out of fashion and off the menus; hence why you’ll be hard pressed to find it anywhere in Oxford. Its rarity is partly due to the scarcity
of its main ingredient, Applejack, which is basically only found in North America and had its heyday during the American Colonial Period.

Made by concentrating cider to the heady strength of around 40%, this spirit isn’t one you’ll find in your local Co-op next to its own brand dry white wine. There is, in fact, only one company still trading that sells the stuff. Apple Brandy, in this case, is your best bet and I would recommend going for the more expensive stuff. You are just too old for cheap and nasty alcohol. Regular readers of the column (shoutout to my mother and my long-suffering tutor) might recognize my predilection for sour cocktails — indeed, House Bar know to start making a Lemon and Thyme as soon as I walk in — and the Jack Rose is no exception.

You’ll struggle to find this one on even the most sophisticated of cocktail menus, but feel free to give it a go with whatever motley band of ingredients you can cobble together in Tesco, it’s well worth heading back to the ‘20s to sample this concoction.

2 measures applejack / apple brandy

1 measure lemon juice

Half a measure of grenadine