Monday 13th April 2026
Blog Page 1287

The difficulties of love online

“But this isn’t chocolate boxes and roses. It’s dirtier than that, like some small animal that only comes out at night.” When Pulp’s Jarvis Cocker wrote these lyrics back in 1995, he eerily predicted the future. His lyrics brilliantly capture, in a Nostradamus-like fashion, the reality of mobile dating.

Welcome to a world where a plethora of faceless individuals thrust phalluses onto your screen as a greeting. And even when the penises are not forthcoming, smokescreens of requestable content mean they are never really far off. Don’t get me wrong, if a hot guy messages you with an attractive dick pic, it’s hard (no pun intended) to say no. But call me old fashioned: I quite like at least to see someone’s face and know their age before they drop their trousers before me, either in person or through a mobile screen.

The worst thing is when someone you have no attraction to or interest in continues to harass you. Even if you clearly say no, yet more unclothed pictures of their minute weapon they list as ‘XXL’ in their profile description flood in. Apparently, not responding to a message requesting “fun?”, is an invitation to be asked if you’d like to have group-sex outdoors, be offered £40 to kick someone in the balls or simply “bend over”.

What I find most unnerving, as a younger member of the non-heteronormative community, is that there’s no protection from unwanted attention. I’ve not yet found any gay dating app that follows the Tinder swipe-and-match feature, allowing you to filter the people who can talk to you. Create a profile on any such gay site or app and you put yourself into the lion’s den. Even if you clearly state your interested age-group, this doesn’t stop people who could be your great grandfather messaging you – repeatedly.

You open yourself up not only to the kind of people you wish to attract, but the ‘man-grid’ feature allows you to converse with anyone and everyone. This is not necessarily an entirely negative feature. Whatever your aim of using these apps, the man-grid does increase your chances of finding a date. I’ve dated plenty of weird people from these apps, but also some pretty sweet ones to whom I wouldn’t have necessarily have spoken first.

But then there are the frankly creepy old men who seem to prey on the young fresh meat. Fair enough, some guys are, in fact, looking for ‘daddies’ (older men to pamper them) and the app Scruff caters for all your daddy issues. But when a 75 year old repeatedly messages you, signing his name off like your Gran does, you can’t help but feel uncomfortable that someone nearly four times your age would like to meet up with you. Some of the chat-up lines and usernames can be hilarious. ‘BubbleButt1948’ makes me titter every time he tries to get me to send him dick pics. But you can’t help but feel disconcerted that these elderly men think it’s okay to repeatedly harass younger and more vulnerable men in a sphere that is already so daunting to navigate.

Much like Jarvis said 20 years ago, it’s definitely not a box of chocolates.

Oxford helped me tackle anorexia

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TW: anorexia, depression, anxiety

Often these pages are filled with criticism of our institution’s effect upon mental health. I want to share my positive experience of Oxford and thank its students, for helping me battle anorexia. My experiences won’t be universal by any means, but sharing them is important to me.

During the summer between finishing my A-levels and starting Oxford, I’d slipped through the cracks in the National Health Service. Simply put, you have to fit certain criteria to be deemed ‘anorexic’. Without this label, it’s hard to get the help you need. Even with it, it’s still a struggle. I’d completely inverted. Where once I’d been outgoing and enthusiastic about life, I was planning meal plans instead in a state of utter apathy. I lived only in the future, obsessively planning exercise and meal routines. In the present, I merely existed.

Countless medical appointments culminated in a psychiatric assessment. I was given a form to tick a few boxes, which concluded that I suffered from anxiety, not depression, and EDNOS (Eating Disorder Not Otherwise Specified), not anorexia. The boxes I’d ticked didn’t align neatly enough with the ones crossed out on their paper; I didn’t satisfy the ‘right criteria’, apparently.

Armed with an optional prescription for anti-depressants, I was given a golden ticket to anorexia. I didn’t take the anti-depressants because I didn’t want to increase my appetite. I was told to eat more and exercise less, but I didn’t want to. My GP prescribed me “a bit of cake every now and then”. But guess what? I didn’t want any fucking cake. It was always assumed that I genuinely wanted to get better. However, when it was nearly time to go down to Oxford, I had a rude awakening. I received a phone call from the GP affiliated to my college who informed me that I would have to gain weight to study at the university. I was distraught and furious but, at last, determined. But determined to gain weight, not to get better. A measly kilo wasn’t going to get in the way of everything I worked so hard for. So, with the same iron will used to drive my deprivation, I now turned it to ensure I was going to Oxford.

With that I gained just enough weight. According to medical dictionaries, I was no longer suffering from anorexia, but of course I was in reality. So I trundled down to Oxford, set in my ways as ever. But the snag was that there had been a plan devised for me at Oxford. It had been determined by the cooperative work of my GP at home, my college, and its affiliated GP service. The clinic told me that despite what I’d been told elsewhere, specific criteria didn’t matter; I was still suffering from anorexia.

They’d seen through my lying and made it clear that health came first and work second. I was going to have to keep gaining weight, or rusticate. I just returned to my Freshers’ Week and thought, “I’ll deal with it later.” What was clear was that Oxford was a complete whirlwind, and that there wasn’t going to be much time for dealing with ‘it’.

Somewhere between the cheese floor, the library and the Freshers’ Week Bop, I lost my ability to try to slot in meal plans and exercise routines. These social scenes involved unhealthy foods and alcohol, two things which might not feature on an anorexic’s wish list. FOMO, however, was rising as a force to battle my anorexia. For the first time since getting ill, I found myself in the position of actually preferring to surrender a run than a lunch in the covered market. Now I actually wanted to get better. We need to keep having these discussions about mental health because I really feel the onus is on us to keep challenging our institutions. Those in charge haven’t grown up in our generation.

At the clinic I’d visited, the specialists weren’t clued up enough on the lure of toxic social media. Removing my rose-tinted spectacles, I accept that I am not totally OK, I struggle every now and then. But, I am now a healthy weight, I am comfortable in my own skin,and I am aware of my issues and do actually want to work through them – though I know this will take time.

Although I’d had a rather bumpy encounter with the medical profession at the start, I couldn’t have got where I am now without their help and counselling. What I would recommend is that we focus on working together. We need to talk amongst ourselves and then transmit our collective thoughts to the institutional services; to help them help us. Oxford students, it is because of the culture you fostered that I felt able to say this, and I know, together, we can act on it.

So, thank you.

Bexistentialism HT15 Week 7

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As I write this, the run of a play I was in has just ended, and I am in trouble. It seems that despite my tutor’s love for Renaissance literature, being in a Renaissance play wins me no sympathy. And so I have some essays to write, and some grovelling to do. But, sadly, my tutor is not the only person to whom I must apologise. The day before the show starts, we began our dress rehearsal. The props weren’t there and our lighting person had the flu.

Halfway through a dwindling scene littered with forgotten lines, we were kicked out of the Burton Taylor. Time was up. We all headed to the pub, and we sat down. And we looked at each other. And each face had the same word on it: Fuck.

The next day came, and with it the promise of the impending evening. The first show is not something I will address with full, excruciating detail in this column. Which handily implies the terrible reality so I don’t have to.

I am usually generous in my tales of woeful embarrassment in order to indulge my columnist urges. But even in the face of such masterful and unquestionable art, some things are just too much. It was when a character who had just died slunk back onto stage to do a multirole (we hadn’t realised that by cutting a scene, we had cut all the time she had to get changed) that the cast bubbled over. Hysterics ensued backstage.

The dreaded final act approached. I clicked the gun. Where a reverberating gun shot was anticipated, silence. No sound effect. This was the last straw. Blurs of humiliation reconciled me with the darkest demons inside of me. I stood onstage, and internally prepared myself for the sleepless nights to come. I burst out of the stage door apologising profusely to my friends. But apparently that is not allowed. “It was really enjoyable,” said Actor Friend, who had come down especially to watch it.

Oh dear God what have I done? The ceremonial post-show pint was difficult to swallow through the hysterical choking sounds the cast make. But once it was swallowed down, it did aid in some swift masterminding. An act was cut, and a day later the play was fine.

I just hope the audience of our one-off parody don’t have the memory soldered in front of their eyes. Because if they do, any dignity this Bexisten-
tialist once had, is lost for good.

Ghostpoet: Ghosting away from hip hop

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It may come as a shock to fans of Ghostpoet’s experimental self-production and sparse trip-hop beats that he’s had something of a musical makeover since his brief hiatus. Ghostpoet’s new album, Shedding Skin, whilst still holding onto his distinctly languorous baritone vocals, has stripped away the electronic production for the bare acoustic bones of a live setup, sandpapering down the bleeps and glitchy metallic sounds from his second album, Some Say I So I Say Light. I ask Ghostpoet, also known as Obaro Ejimiwe, whether this decision to record purely with his touring band is part of a conscious move away from the alternative hip hop and electronic mash up that launched his career, and with which he quickly became identified in the industry. “I guess I’ve been flirting with the idea of this kind of live setup with the last two records, and it just sort of seemed like the right time to do it,” he tells me. “Before, I was using my crappy iMac to produce, but I never saw myself as a hip hop artist. And now the band’s grown and I’ve really enjoyed experimenting with that.”

On the first track from his new album, Off Peak Dreams, Ghostpoet waxes lyrical about the trials and tribulations of the low-paid wage worker, whilst the video for the single was filmed on a budget equivalent to the average UK monthly wage. His knack for turning sharp observations of daily minutia into intelligent lyricism has not been lost, only gaining a more political edge compared with previous songs. “I didn’t really think I was being political until doing these interviews,” he laughs. “I don’t see myself as a preacher or a spokesperson for any particular group. I just like to write about things of the moment, and on that particular track, I guess it was social issues and the issue of high unemployment. These are things that everyone sees going on and the nine-to-five kind of cycle is what everyone goes through.”

Ghostpoet’s modest nature towards his success reflects his own humble beginnings, having held a nine-to-five job in insurance before releasing his first single aged 28, ‘Cash & Carry Me Home’, followed by his debut album Peanut Butter Blues and Melancholy Jam, which was shortlisted for the 2011 Mercury Prize, and gained widespread acclaim in the industry. “I’m very lucky to be making music,” he tells me. “I never envisioned doing one album, let alone three; it was just a hobby. I love listening to music first and foremost.”

But with three albums under his belt, surely Ghostpoet can see himself as a bit of a star now. “I’m not strong enough to be a star. That would require not getting drunk in public all the time,” he chuckles. Asking him what the inspiration was behind his first single, he tells me it was about “drinking a lot” and “using drink as a kind of crutch I guess”. Drink crops up a few times in our conversation. “I’m still drinking a lot, but I’m not an alcoholic or anything,” he reassures me. The drink may have lent him some Dutch courage when he first started out, which he tells me was “quite tricky at the beginning, and took a bit of time getting used to”. But no longer does he get the urge to disappear into thin air and realise his alias. “I can’t wait to go on the UK tour in April. I love touring now.”

Ghostpoet tells me that, music aside, he’s really into photography. “I think it’s good to go out and get some inspiration, but also do something aside from music, so that it’s not all I do and talk about. I think more artists could do with going out, and having an aid for their music, and just another focus really.”

For anyone concerned about Ghostpoet falling under the radar in the last couple of years, his latest album forcefully announces his return, complete with more of his gritty storytelling. I ask him what he hopes for from 2015, with the new album finished. “Well the UK tour, and hopefully some European gigs and festivals,” he says. “Dribs and drabs,” he concludes, his dulcet delivery entrancing me into a lull, before I realise my time is up and Ghostpoet disappears.

Review: The Cribs – For All My Sisters

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★★★☆☆

Three Stars

The Cribs have been going strong for some ten years now – no small feat for a British indie band. In contrast to some of their more highly-rated contemporaries (Bloc Party, anyone?), the brothers have exhibited remarkable consistency, arguably improving since their self-titled debut in 2004, perhaps due to their undeniable ability to come up with appealing hooks and riffs.

Their last record, In the Belly of the Brazen Bull, coming after the departure of Johnny Marr, exhibited a slightly darker aesthetic, but things have evidently lightened up for the band in the time since. For All My Sisters, the first Cribs album in three years, does not shirk when it comes to the hooks.

In fact, it contains some of The Cribs’ catchiest and poppiest moments yet, particularly in the use of layered harmonies in the first half of the album. Ryan Jarman is not afraid to break into the falsetto range with vocals, and it works well, especially on the chorus of opener ‘Finally Free’.

The crooning, high-pitched hook in the introduction of second track ‘Different Angle’ would fit in nicely on a Peace album. Lo-fi ballad ‘Simple Story’ is also impressive, featuring Jarman’s musing, “It’s only my heart that’s bleeding,” over mostly acoustic accompaniment. The catchiness of the chorus is offset nicely by the fuzzy guitar tone and bass-heavy sound, meaning that the album, while accessible, maintains a garage rock edge, and there are some classic punchy Cribs riffs here (listen to ‘City Storms’).

The second half of the album, though, lacks some of the energy of earlier tracks, and there are definitely fewer striking moments as the record moves onward, with things becoming a little too formulaic. The Jarmans use the trick of having the vocals match the guitar riff one too many times (it appears to some degree on each of tracks nine to 11), meaning it’s hard to distinguish between the verses of a couple of these later numbers. That said, the last and longest track, ‘Pink Snow’, is very good indeed, exhibiting a well-executed transition from a stripped back verse into its frenzied chorus and a final cathartic moment, making for a fi tting end to the album.

All in all, For All My Sisters succeeds in what it tries to do – it’s definitely melodically potent and catchy, but thankfully never sugary. The album definitely tires, though – rather running out of ideas – before the excellent final track, and perhaps cutting out a few minutes would have made the record a little leaner and less repetitive. But, overall, this is a satisfying effort from The Cribs – and certainly among their most listenable. 

Review: Future Brown – Future Brown

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★☆☆☆☆

One star

With a paper shredder, complete texts go in and incoherent fragments come out. That’s the best way to think about Future Brown’s self-titled album. With Future Brown, the laziest, most tired remnants of mid-2000s hip hop go in and an incoherent mangle comes out.

The ‘super’ group is comprised of Fatima Al-Qadiri, J-Cush, Asma Maroof, and Daniel Pineda. I can’t say for sure what their respective credentials were to warrant their claim to super group(dom). But from the sounds of the album it’s probably a semi-stoned recollection of Jay Z’s albums from ten years ago.

‘Room 302’ opens the album with a semi-rhythmic drone of auto-tuned vocal jabbering and ringtones. Hopes of the resourcefulness we were promised are swiftly dashed. ‘Talkin Bandz’ has our imaginative vocalists resort to the lyric, “She sells sea shells on the sea shore.” The album continues as an inane mass of endlessly looped vocals. After 20 repetitions of the same line, I’m unsure of what they’re actually singing about, but, frankly, I don’t care.

As the album progresses, negligible variation is introduced by bringing in rappers who sing in different languages. This makes for a welcome change from the usual drone and is indeed one of the few highlights of the album. In fact, this addition might be the only saving grace in an otherwise boring, derivative, and pointless album.

Review: Romare – Projections

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★★★★☆

Four stars
 
Romare Bearden was one of the most significant collage artists of the last century, creating a visual documentation of Arab-American life. Projections, the debut album from Romare, follows in the vein of his namesake, picking up a multitude of samples, hooks, and auras from decades of music, and combining them in a sound that is unmistakably modern. From the catchy chords of ‘Roots’, to the slick clicks of ‘Work Song’, it is an album firmly grounded in a deep and considered musical heritage.
 
To see what makes this album so remarkable, one has to look beyond individual tracks. LPs from dance music producers tend to run along one of two lines. They are either experimental forays into the deepest and murkiest textures – albums that would never be let near club turntables (think Pearson Sound’s upcoming LP), or disjointed collections of club bangers which end up sounding more like compilations. Yet in Projections, a middle path between the two is successfully strutted. Tracks quite happily stand alone: ‘Roots’, released last year, was near the top of nearly every Top Tracks of 2014 list. But such tracks sit completely congruously next to the mellower tones of ‘Jimmy’s Lament’. In any case, this is a clever and considered effort, and should secure Romare’s name on the circuit. Expect him in a Cellar near you soon; or at least blaring out of Rad Cam headphones.
 

OUSU to hold university-wide referendum on sub-fusc

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OUSU Council has voted to hold a referendum in Trinity Term 2015 on the future of subfusc.

Council agreed to ask students whether subfusc should be worn for exams. The motion passed with 58 votes for, 10 against and 1 abstention.

An amendment was passed that there be two questions; one on the wearing of gowns and one on the clothing underneath.

In a 2006 referendum on this issue, 81 per cent of students voted to keep the tradition of wearing sub fusc to university examinations. ‘Sub fusc’ refers to the formal clothing worn under gowns, primarily to matriculation, university examinations, and graduation.

The Proctors’ statutes define sub fusc as “a dark suit with dark socks, or a dark skirt with black stockings or trousers with dark socks and an optional dark coat; black shoes; plain white collared shirt; a black tie or white bow tie.”

The proposer of the OUSU motion and Vice President for Access & Academic Affairs, James Blythe, told Cherwell, “While the last referendum was clear, it was also nearly ten years ago – I want to make sure I can effectively represent the current student view on this issue. I don’t want students to think that this motion has been brought because anyone in OUSU is proactively seeking to abolish sub fusc.

“I plan to remain neutral in the debate: all I want is a clear and recent steer from the student body on what to say when the University asks for the student view.”

Lindsay Lee, OUSU’s Disabled Students Officer and seconder of this week’s sub fusc motion, told Cherwell, “The mandate the referendum gave is now outdated. Much has changed at Oxford since then, for the better: campaigning and awareness around liberation group issues has increased and improved, and there is reason to believe that today’s students may have a different opinion about sub fusc than students had a decade ago.

“Our OUSU Council motion simply says that it’s time again that students weigh pros and cons and speak for themselves about the way forward.”

Merton College Academic Affairs rep, Andrew Macarthur, commented, “A referendum on the wearing of subfusc in exams sounds like a very sensible idea. The question was last put to the student population quite some time ago and it’s something that’s relevant to all of us. I think a strong case could be made to the University that the rules should be relaxed.

“I feel affection towards much of the tradition of Oxford, but I wouldn’t want my fondness for fancy dress to make other people’s exams more uncomfortable than they need to be.

“On the other hand, the end of exams would feel quite different if we abandon sub fusc: the romantic image of a celebratory punting trip (begowned, with Pimm’s and strawberries; a gentle breeze…) is a little bit Brideshead Regurgitated, but it will keep me going when I’m feeling tied to the library in Trinity Term.”

The University declined to comment on the OUSU motion.

Analysis: James Blythe argues why it’s time for a referendum on sub fusc

When I ran to be OUSU Vice-President (Access & Academic Affairs), I really didn’t expect to spend much time on, or in, that most peculiar aspect of Oxford life, academic dress. I certainly didn’t expect to be calling a referendum on the continued wearing of sub fusc, and I definitely have no vendetta against it. I’ve never knowingly opposed a fancy dress code in my life, and my personal experience of sub fusc was largely positive. I enjoyed having something to take my mind off the exam in the final moments alone in my room.

Nonetheless, I can also see plenty of arguments against sub fusc. In the days since my motion became public, I have heard students passionately argue that it is bad for access, that it worsens exam stress, and that it is more appropriate for ceremonies, not for the hard work of exams. Hearing strong and clear arguments from students on both sides, I plan to stay neutral in the debate.

I’m bringing this issue to a referendum because the University has signalled an intention to discuss the issue of sub fusc in exams (not ceremonies) in the next term or two. A group of examiners asked the Exams Panel to remove the requirement to wear full sub fusc. They argued that sub fusc was very different from their normal clothes, that it made them uncomfortable, and that it seemed anachronistic and put them off being examiners.

I thought those were reasonable points, but suggested that they might easily also apply to students. At this point I was told that students wanted to keep sub fusc – every academic on the panel was thinking of the 2006 referendum.

That referendum has sunk into the collective consciousness of the University in a really remarkable way: offered the choice by a progressive Vice-Chancellor, students opted by a huge majority to keep sub fusc. Possibly because it came as a surprise to people, that view has become ossified as the permanent student opinion, and I don’t think that a single vote, representing the view of students who are no longer here, should be regarded as the view of all current students.

It is clear to me that for many in the University, nothing except a new referendum could ever shift their view of what students think. That’s why, if OUSU is to engage in the debate in University committees on this question, we must hold another vote. I have no idea what the eventual outcome will be. What is clear is that we need to hear from Oxford students here today, not just those who were here in 2006.

I’ve already seen people who are actually arguing for a vote to keep sub fusc disagree with holding a referendum: my plea at the beginning of this debate is not to confuse the process with the outcome. I am confident that this process is just and necessary.

If you’re passionate on either side, please don’t get angry about the idea of a referendum. It’s got to happen. Get involved. Lead one of the campaigns, persuade your fellow students. It could be the most niche Oxford political debate in a long time, but it’s an important one. I won’t be shaping this debate – but you could

 

Motion to open up discussion of reading weeks passes

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OUSU Council has passed a motion to mandate the VP for Access & Academic Affairs to include support for a reading week in the OUSU Education Vision, when the full proposals are brought to Council for approval at the start of Trinity.

The Education Vision will be a document setting out long-term goals for OUSU and aspirations of students with respect to all aspects of how learning happens at Oxford.

There is an ongoing debate in the student body both at Oxford and at Cambridge about the possibility of adding a reading week in the middle of term, creating two four week half terms.

The motion, proposed by James Blythe, OUSU VP for Access & Academic Affairs, and seconded by Nick Cooper, OUSU VP for Grads-elect, stated, “A reading week would be one way to mitigate the impact on student mental health of an Oxford degree”. It continued, “Such a week would enable students to read more diverse and enriching texts to support their academic development.”

The motion passed with four amendments, including to define reading weeks, to insert a clause demanding such a change would be cost neutral and to make clear that the Oxford workload more generally also affects mental wellbeing.

There were 41 votes for the motion and 14 against it, with five abstaining. Only 60 people voted; 70 people fewer than the number who voted on the anti-BDS motion.

Cooper commented, “James [Blythe] and I brought the motion to Council given the discussions that had taken place around reading weeks among students. A reading week could be a good way to allow students a chance to recuperate during the intensity of term time – this could be through catching up with reading, or if the student finds it more helpful for their wellbeing, as a chance to rest before a new 5th Week.

“Reading weeks are, though, a long term vision and are not a perfect solution: we hope bringing this motion will highlight the effects of Oxford life more generally, and encourage the University to pay closer attention to student welfare and workload.”

OUSU’s Disabled Students Officer, Lindsay Lee, commented, “The Oxford academic calendar currently is extremely demanding and very unorthodox. Oxford is demanding, as it should be, but it’s important to consider the health ramifications of this academic calendar for students, especially those with mental health issues.

“A reading week would reduce stress for everyone, but it could mean the difference between graduation and rustication for a student with a mental disability. For that reason, I’m very supportive of the motion.”

Louis Trup told Cherwell, “There is clearly a lot of interest in the issue of a reading week. It is something I mentioned when I was running for my job, but the increased debate on this now certainly merits a discussion in OUSU Council, where policy can be set. OUSU is probably the best place for us to make change in our university and I hope this change is something which students and the University seriously consider.”

Students organise Queer kiss-in in Cellar

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The Oxford queer community has organised a kiss-in at The Cellar nightclub on Thursday 5th March, in response to homophobic abuse experienced by two gay students at last week’s hip hop night.

The two students, who have requested to be identified only by their first names, Sacha and Josh, were reportedly asked to leave by a bouncer, after they were seen kissing on the dancefloor. A man attending the club on the same night head-butted Josh, after yelling homophobic insults at the couple.

However, Tim Hopkins, the Venue Manager at The Cellar, denied allegations that a bouncer had asked the students to leave, telling Cherwell, “We are sorry this happened and disgusted at the homophobic man’s verbal abuse and alleged physical actions. We won’t tolerate this sort of attack. The great thing about The Cellar is [that] it’s for everyone.

“I would also like to make it clear the security didn’t ask them to leave. They did get the other man to leave. The homophobic incident was from a member of the public and not involving any Cellar staff. Yes, the security had to deal with the incident the best they could, and maybe mistakes were made.”

The Queer kiss-in was organised by the Oxford University LGBTQ Society Committee. Rowan Davis, the society’s Trans rep and member of its committee, explained, “Kiss-ins have a long and proud history in queer activism, allowing LGBTQIA people to occupy and control spaces otherwise denied to them. Clubs are a political space for marginalised groups and this event will allow us to stand in solidarity with those affected by anti-queer violence in Oxford.”

Davis continued in support of the kiss-in, “This is exactly the sort of participatory, non-violent direct action we should be encouraging, and I hope it sends a message loud and queer that the actions of those that oppress us are not going to stop us from being who we are and where we want to be.”

Sacha also spoke in support of the organised kiss-in, saying, “It’s a fun event, which will bring together many different people. It’s also a forceful response, but framed in a very friendly, gentle way. It’s quite ostentatious – but the point is not to hide. ”

He continued to praise the wider LGBTQ community’s reaction to the abuse he faced on Thursday 26th February, saying, “The people who responded to my Facebook post [on the LGBTQ reps Facebook group, recounting the homophobia in Cellar] have been extremely supportive. I always felt that my welfare was their priority. The LGBTQ community is made up of very different people, but it really felt very united in that moment.”

The incident has been reported to the police, who have documented it as a homophobic crime. They are conducting an investigations into Cellar’s policy, as well as the alleged assaulter. Cellar’s management has also met with the victims, and has stated its commitment to ensuring that both staff and clubbers are aware that The Cellar should be an inclusive space for all.

The Cellar has informed Cherwell that “the changes we are making to hopefully make The Cellar feel safe again for gay people” are to “reiterate our policy to all our Bar staff and security team” and to “install a better camera in the side bar”.

The Venue Manager further commented, “People are allowed to kiss in The Cellar no matter what sex they are. If anyone is homophobic, they should leave or keep their views to themselves. Staff should keep an eye and an ear out for this sort of abuse.”

The kiss-in was held on the same evening as student night Supermarket, co-run by Lu Williams and Annie Teriba. Teriba told Cherwell, “Being somebody who organises club nights at Cellar, I was saddened to hear what happened that evening. The rest of the team share the sentiment. We immediately contacted the manager at Cellar to talk about our future there, and had a meeting with him on Monday. We weren’t happy with the club’s response and stressed that Cellar have a duty to protect LGBTQ+ people from queerphobic abuse.

“He had barred the man who attacked the students and is speaking to security staff to make sure that there isn’t a repeat. We will push for Cellar to take up the Good Night Out pilot being put together by the LGBTQ Campaign and WomCam.

“Knowing what it feels like to be harassed and attacked for daring to defy what is expected by cis-heteropatriarchal norms, I’m really glad that the LGBTQ Society has organised a kiss-in which we will support in any way we can. [I] think this is a reminder that, while queer clubs are incredibly important for our community, we must continue to fight to make all clubs queer friendly. We will not accept being tucked away in a corner and we will not let our queerness be policed.”

The Oxford University LGBTQ Society President, Otamere Guobadia, commeted, “When we came up with this Queer kiss-in we envisioned it as romance meets resistance: a disruption of heteronormative status quo. I think that when we queer spaces like this we reframe the narrative about the presumed normality of straightness.

“I think that the incident speaks not only to the necessity of queering straight spaces and opening them up to difference, but to the necessity of queer spaces in general.

“We are not in a post-patriarchal world. Minorities are still very much prone to violence, and even in the most liberal of spaces, patriarchy pervades, and masquerades itself as inclusivity and neutrality. Yes, it is a powerful thing to disrupt and challenge heteronormativity in this way, but it is a wonderful thing to feel that ones love and expressions of romance can be depoliticised, that expressions of romance can just be. Queer spaces provide for normalisation of experience, an elimination of the violence and finger pointing, that queer people are not afforded in straight spaces.”