Wednesday 1st April 2026
Blog Page 1331

Cherwell’s Christmas Cocktail

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Being somewhat of a grinch, I feel I am constantly in need of a drink at Christmas time, to deal with all the stress’n’strain of dealing with forced merriment. I have an extreme hatred of mulled wine, as well as eggnog, which has tended to mean that have missed out on the more traditional aspects of Christmas; mainly, being drunk. However, having been introduced to what is essentially a Canadian Bloody Mary a couple of years ago, I have never looked back and now every Christmas involves a few of these.

The Caesar was invented in 1969 at an Italian restaurant in Calgary and was so-named to pay homage to the creator’s Italian heritage. It is now one of the most popular drinks in Canada and is particularly well known for being a hangover cure– much like the Bloody Mary. Personally, I prefer Caesars because they have a slightly saltier taste which goes better with the tomato juice and hot sauce.

Clamato, the base of the cocktail, is a blend of clam broth (or chowder) and tomato juice which is available in tinned form in Canada. However, failling this, I tend to just heat up some frozen clam chowder, then re-cool it and mix it with tomato juice. Apparently the reason why it’s not popular outside of Canada is because people think it tastes too strongly of fish but, as long as your tomato juice is of decent quality, this shouldn’t be the case. The most important aspect of this drink is, of course, the tomato juice, and I have to say that my favourite is POM juice– it manages to not have that odd ketchup-y flavour that most others do.

Also noteworthy, particularly if you’re having a party, is the fact that you can store Caesar mixture in the fridge for up to a week and it will stay relatively fresh. Merry Christmas!

1 part vodka

1 part clam broth

2 parts tomato juice

Worcestershire sauce

Hot Sauce

Lime to garnish

Celery salt to rim the glass

Celery for garnishing

Many Oxford students do not register to vote

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Hundreds of students across Oxford have yet to register their vote for the next general election in May 2015, following a change to the electoral registration system.

At the end of last summer the responsibility for registering voters changed. Previously the “head of the household” had to register voters but now individual voters have to register themselves. The change to the electoral registration system was initiated by plans bought in under the Labour government, and has now been implemented by the coalition.

Within Oxford University, the college a student attends acted as the “head of the household”. Under the old system, the college would register all first year students who would be 18 and over at the time of the upcoming elections. This typically ensured almost 100% registration of students.

There has been a significant decrease in the number of registered voters in all wards across Oxford since the implementation of the new system, though the fall in the number of registered voters is noticeably higher in those Oxford wards which house a high percentage of students.

The ward with the greatest decline in Oxford was Holywell, with a 59.25% drop in the number of registered voters, according to a comparison of the electoral register between February 2014 and the 2015 register (published in December 2014). Holywell is also the ward with the greatest percentage of students.

A spokesperson from the Oxford City Council told Cherwell, “We have made significant efforts to raise levels of student awareness of the change in the electoral registration system, working with student administration, college bursars and OUSU.

“This has included: a flyer sent by student administration to all students in their joining packs; a stand at Freshers’ Fair; posters across the colleges and University; an individual ‘Invitation to Register’ (ITR) form sent to every student in student accommodation, and reminders to students in residence from many college bursars.”

The spokesperson gave several reasons as to why students have failed to register, remarking, “Students have to make the time and effort to return the form or go online and register.

“Also, there are additional requirements that prospective voters now need to meet. A National Insurance Number (NINO) is now required for registration, and if details provided on the application to register do not match records held by the DWP the application is rejected and we have to ask for additional evidence, usually a copy of [the applicant’s] passport. Overseas students who are eligible to vote in the UK may not have a NINO and so will have to go through the additional evidence route.

“Everyone who is eligible to vote and resident in the UK is required to be on an electoral register. Students can be on the register at their home and term-time addresses, but they don’t have to be on both.

“We are encouraging students to register at both, but cannot require it. By being registered in Oxford and at ‘home’ they can vote in local elections in both places and would have a choice of where to vote in national elections. Some students are returning their ITR on which they are choosing not to register in Oxford.

“The student vote is important in Oxford because there are some wards in Oxford where the majority of electors are students and others where there is a significant minority. If they do not register they are effectively ‘invisible’.”

As Merton College JCR Vice President, Laura Clarke, who has registered her vote, explained, “Despite the short process involved in registering, it is quite a pain as most people don’t know their national insurance number – I had to contact my parents at home so they could find it. If college were to register students then I think many more students would actually vote”. Clarke added that it is important to register to vote, as “a large proportion of the Oxford constituencies consists of students, so it is important that our opinions are heard.”

OUSU has been working with the Oxford City Council to raise awareness about the change in the electoral registration system, following a meeting held in September to co-ordinate council actions. OUSU has included the ‘Register to Vote’ message and link in an email to all students.

Brookes Student Union is making student registration a core campaign for 2014-2015, and is supporting online registration alongside the NUS Extra sign-up.

Undergraduate Brendan Kjellburg-Motten, who has not registered to vote, spoke to Cherwell about the change to the electoral registration system, commenting, “I think it’s a bit dodgy, especially the way it was phrased in the letter – [the new system] ‘means that you can vote in elections’ (as though we couldn’t before), immediately followed by the threat of a fine. However I’m not familiar with what the system was before as I wasn’t old enough [to vote]. I didn’t actually read the letter until long after the deadline.”

The Oxford City Council spokesperson continued, “We hope to encourage more registration next term so that everyone who wants to vote in Oxford in the General Election in May is able to do so.”

Oxford’s evening with John Lydon

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Despite his formidable reputation, John Lydon (aka Johnny Rotten) was far from what his Sex Pistols nickname suggests. In fact, he was thoroughly charming. But then again, having the godfather of Punk speak in the Sheldonian Theatre was a surprising association from the start.

From the moment he entered the room, the audience was treated to Lydon’s wicked and playful sense of humour. Whilst being introduced, he couldn’t resist faux-sneezing into his mic from the eves, or commenting gleefully on the delicious sound his bottle of brandy made when he popped it open with a well-practised hand.

The interviewer couldn’t get a word or sound in edgeways. Lydon even joked at one stage that “‘I digress’ should be my new catchphrase.” But his freedom to speak about what he wanted made the talk. The audience was treated to a wide range of anecdotes. Largely unprompted, Lydon discussed everything from his childhood to his current recording of a new PIL album in the Cotswolds. For those interested, spending time in the Cotswolds apparently affected his stools for the worst. Lovely. Although frustrating for David Freeman, the interviewer, it made for terrific viewing as Lydon teased him with the occasional jibe – “Oh, are you still here?” being one of the most memorable.

Most tales were hilarious. My personal highlight was his description of his Dad’s reaction, Irish accent and all, when he came home with his hair cropped and dyed green; “You look like a fucking brussel spout!” was his Dad’s response. His comment that the Sex Pistols were too fat to reform, describing one as “a pear on matchsticks”, set the crowd into fits of laughter.

My own encounter with Lydon was fittingly entertaining. When I asked him whether he would ever stop touring or writing music, he said, “Let’s give you a mic so that everyone can laugh at you.” When the laughter from my dressing down had finished, he finally replied, “As long as there are human beings in the world, I’m never gonna get bored of it. Come on, we’re fabulous as a species, but we can also be vile. But look on the brightside – we’re all gonna die.”

Lydon proceeded to discuss his ordeal with viral Polio at the age of seven. A nervous laugh broke out in the front row when the topic was introduced. Lydon could have taken offence, but instead he replied with a gentle request for understanding. He wasn’t telling a tale of pity, but a truth of his life, one that had left him with no memory of his parents and in a coma for six months. Lydon discussed everything with a genuine sincerity, emphasising his staunch opinion that it is better to be brutally honest than embellish your life with lies. 

Surprisingly, there was only one heckler in the crowd who attempted to dampen Lydon’s high spirits. When Lydon expressed a lack of faith in any British political party, an elderly gentleman shouted “BALLS!” in the direction of the stage. Some celebrities would have just risen to the challenge. But Lydon made his oration even more entertaining. Instead of telling him where to go, Lydon gave him a festive dressing-down. He told him to go write something himself before he judged the views of others. And in the mean time, Lydon jestingly hoped that “you play with your balls this Christmas, pull your yuletide log and be the first in line for the January sales.”  I’m yet to read Lydon’s autobiography – Anger is an Energy – but if it is anywhere near as witty as his talk in Oxford, it will be a great read. 

Is the printed book in its final chapter?

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Throughout the ages, the printed book has been a symbol of culture, wisdom and the dissemination of learning. After Johannes Gutenberg invented moveable type in the mid-fifteenth century, the book became an essential household object, and its value was often considered in terms of its physical quality as well as in terms of its content. Well-made books are more than just text; they are themselves works of art which many, myself included, would argue improve the experience of reading. Centuries on, books are seemingly everywhere: printed book sales topped £3.4 billion in 2013. Here in Oxford, there are over fifteen different bookshops, including many second-hand traders like Oxfam and St Phillips, while the Bodleian gives students access to over 11 million volumes.

Why, then, do so many articles appear heralding the end for the book as we know it? The undeniable growing trend towards electronic or audio books has no doubt worried many traditionalists. In 2013, printed book sales fell by 5% compared to a 19% rise in digital products. E-book sales on Amazon have been outstripping those of physical books since 2011. The impact on bookshops has been severe, with the number of independent bookshops in the UK falling below 1000 earlier this year, mostly due to a combination of falling sales and competition with online sites. 

The problem is that, in terms of pure practicality, the e-book wins hands down. It can store hundreds of different books and is light and easy to transport. It saves paper, doesn’t tear or stain and is considerably less expensive in the long run. For a younger generation, particularly students, these factors often outweigh sentiment, nostalgia or the pleasure of page-turning. Even more competitive are sites such as Project Gutenberg, which boasts “over 46,000 free e-books”, presenting the reader with the bare bones of the text and nothing more. Not very aesthetically pleasing, but particularly handy when used in conjunction with the ‘Ctrl-F’ function during essay writing. Gutenberg might have been amazed or appalled (possibly both) at what publishing was to become, but he is an apt figurehead of a project which aims to increase the availability of literature.

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Is the decline of the printed book therefore irreversible? And, more importantly, does it matter? Vinyl records, VCRs and cassette tapes all had their time and were superseded, yet the art they recorded has not been diminished. If printed books were also one day to exist only as antique collectibles, their literature would by no means be lost. What would be lost is the romance of reading: the beauty of the illustrations, the almost irrational comfort of feeling a book in your hands and the satisfaction of closing it with a snap when you’re done for the night. But I fully accept that these are sentimental reasons which may find little place or sympathy in the commercial practicality of the digital age.

The future of the physical book may not in fact be as bleak as the doomsayers would have you believe. Speaking at the Oxford Literary Festival earlier this year, Tim Waterstone, the founder of the high-street chain Waterstones, argued that the rise of the e-book is already stalling and that apocalyptic predictions regarding print were “garbage”. Printed book sales still vastly outstrip those of electronic books and, despite the net decline in bookstores, 26 independent retailers opened in the UK last year.

It may be hoped that there will always be readers who cherish a work enough to invest in a physical copy of it. But the most important concern should be that books be made readily accessible to all, and that as many people as possible should have the opportunity to engage with the great wealth of literature in the world. The encouragement of reading is more essential than the preservation of the book, and e-readers should be welcomed as a valuable means of achieving this aim.

Top 20 albums of 2014

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20. Angel Olsen – Burn Your Fire For No Witness
 
19. Wen – Signals
 
18. BONES – Garbage
 
17. Alex G – DSU
 
16. Untold – Black Lights Spiral
 
15. Max Graef – Rivers of the Red Planet  
 
Dusty house beats rattle through the jazz-tinged topography of Graef’s Dilla-channelling debut. 
 
14. Shabazz Palaces – Lese Majesty
 
If Guided By Voices made hip-hop it would sound like this dense ensemble of off-kilter ramblings; cryptic, scattergun, otherworldly.  
 
13. Caribou – Our Love
 
Perhaps a play toward the mainstream (or at least the lucrative deep house festival circuit), but an air of off-kilter melancholy tinges even the poppiest hooks Dan Snaith has produced here.
 
12. Moodymann – Moodymann
 
Pulsating techno basslines underlay cut-up house vocals on this swaggering ramble through the streets of Detroit. 
 
11. Various artists – Bake Haus 2014
 
This compilation, curated by an Aberdeen clubnight, pushes the Boxed-codified instrumental grime genre into even more soulful and skittering territory. 
 
10. Fatima al Qadiri – Asiatisch
 
Asiatisch explores and satirises the repackaging of Asian culture for Western financial gain, without ever falling into the trap of becoming the thing it is parodying. Elevator music from a shopping multiplex in 2050s Taiwan. 
 
 
9. Zola Jesus – Taiga
 
Had Zola Jesus listened to a little less Throbbing Gristle in her youth, she could now be selling records on the level of Mariah Carey, Rihanna or Alicia Keys. Thankfully, she chose to steep herself in Swans, The Residents and Stockhausen instead. On Taiga, the latent pop star within her is swimming to the surface, through murky layers of brassy synths and industrial breakbeats.
 
 
 
8. Sun Kil Moon – Benji
 
How to write about death without being maudlin; how to sing about your mum without being clichéd. Benji is indie-folk guitar plucking by a white, middle-aged American man; yet it was also one of the year’s most innovative and relevant LPs. The bonus live CD is an essential addition, showcasing the spell-binding acoustic story-telling of Mark Kozelek. 
 
 
7. Lee Gamble – KOCH 
 
KOCH is only held together as a whole by the omnipresent post-Burial hiss. Continuously shapeshifting, KOCH could have been overly diffuse, but as you listen through then each moment follows on from the next, as Gamble pursues his own skittish beats into constantly expanding vistas of sound. This is electronica as deep in complexity as a spiralling Mandelbrot set. 
 
 
6. Claude Speeed – My skeleton
 
Like Benji, this is an album inspired by the death of a loved one; like Benji¸ it is uplifting, simply-crafted and shorn of mawkish sentiment. Claude Speeed’s synths, choirs and chimes are all the more majestic for their artificial calmness.
 
 
5. Actress – Ghettoville
 
Equally fixated on the modern metropolis as Moodymann, but for Actress then the party has ended and the factories have shut down. Rattles, clicks and hisses populate his quasi-techno LP. Grey music for grey cities.
 
 
4. The Bug – Angels and Devils
 
The beauty of The Bug’s vision is that there is grime in the beauty, but no beauty in the grime. On the Angels half of his split album, the characteristic dancehall menace of his production is always lurking just around the corner, as organs groan and basslines clatter. By contrast, the Devils tracks are uniformly hellish in their venom and aggression. The balance is off; there is nothing heavenly about Death Grips or Flowdan. It seems The Bug cannot program drums without instilling a sense of impending doom in the listener. Between these two cohorts of supernatural entities, we know where his sympathies lie.
 
 
3. Lawrence English – Wilderness of mirrors 
 
Gorgeous, apocalyptic drone. Like Brian Eno giving up on nature documentaries and airports to soundtrack the collapse of civilization.
 
 
 
2. East India Youth – Total strife forever
 
By turns shimmering and extravagant, Total strife was not just head and shoulders above the other Mercury nominees. It levitated several feet over them, gliding between baroque excesses whilst somewhere back on earth Kate Tempest mumbled shitty poetry to that guy from Bombay Bicycle Club with the hair. There is a justified braggadocio coursing through even the quieter, ambient tracks on the album, bursting into full-on peacocking through acid-house breakdowns, soaring synth stabs and triumphant vocal crescendos. 
 
 
1. Ricky Eat Acid – Three love songs
 
Many of these tracks are little more than sketches, yet Three love songs channels immense emotional heft through iridescent wisps of sound. This is ambient music, as the word is used in phrases like ‘ambient lighting’ and ‘ambient noise’; it is related to the artist’s immediate surroundings and environment. Titles like ‘In rural virginia; watching glowing lights crawl from the dark corners of the room’ contribute to a specificity absent from inferior efforts in the genre, which merely generate a vague sense of sadness or beauty. Each moment on the LP is crystallised from heartfelt experience, turning slowly in suspension and glistening in the dark. 
 
 

“Major improvements” to University’s harassment policy

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Last week Oxford completed its update of university policy and procedures on harassment following work with OUSU and other student organisations.  

OUSU’s Vice-President for Women Anna Bradshaw announced the update on OUSU’s website on Thursday 4 December.

Bradshaw told Cherwell, “It Happens Here and successive Vice-Presidents for Women were absolutely instrumental to lobbying for an updated policy.  After years of work, the update was agreed to about a year ago, and since then we have worked closely with the University on the drafting of the updated Policy.”

She also tweeted, “So proud & happy to see the new Harassment Policy- result of the hard work of many incl @mssarahpine & @YuanfenYang.”

Director of Student Administration and Services Emma Potts confirmed OUSU and other organisations played a role in raising concerns about the need for updates, although the improvements did also come as part of a general policy review.

Potts commented, “The input from students via Oxford University Student Union representation, along with working party membership from other relevant parts of the collegiate university, was instrumental in formulating the new Policy.”

She went on to detail how these “major improvements” seek to clarify processes and resolutions to cases, adding, “The major change is the development of a clear Procedure for student complaints of harassment against other students.

“The office of the director of Student Welfare and Support Services will be a clear point of contact for advice and support, which is particularly important for cases involving students [or staff] from more than one college or department, or where students may feel unsure or uncomfortable about approaching their own college or department.”

The updates to policy also include separate guidance for staff on dealing with cases involving sexual assault or violence raised by students and clarify the level of support available to those students who have been subject to harassment or harassment complaints.

Bradshaw similarly underlined the clarity of the new updated policy, stating, “Some of the most important improvements include how much clearer and easier to use the Policy and Procedures are, a vastly increased focus on welfare, and the new guidance for staff on handling cases of sexual violence.”

Nonetheless, despite a university-wide update to policy, OUSU’s Vice-President for Women was quick to highlight that changes will not be immediately implemented in college and so she urged students to play an active role in encouraging their colleges to respond to the updates and follow suit. 

She said, “Changing the University’s harassment policy does not change colleges’ policies, and if students want to get involved in updating their college’s policy then they should get in touch with me at [email protected].

“Another easy thing that students can do to help is to write to their Head of House, Dean, or other senior members of their college saying how excited they are that the University has updated it’s policy, and how they hope the college will respond to this.”

OUSU confirmed in its online announcement that it will be working hard to ensure the policy is effectively introduced in individual colleges. One of the purposes of the newly-formed Harassment Policy Working group, which includes members of WomCam, It Happens Here, CRAE, the LGBTQ Campaign and Disabled Students Campaign, is to combat this issue.  

Review: Mr Mitch – Parallel Memories

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★★★★☆
Four Stars
 
The UK producer and co-founder of new instrumental grime night ‘Boxed LDN’, has been at the heart of instrumental grime’s shifting landscape, and his latest release, Parallel Memories marks a turning point in this foray into the more dream-like and ambient side of the genre. The title reflects how Mr Mitch feels when listening to each track, which conjure up the same vivid scenes in his head of himself in impossible situations – like memories of his life on another plane. 
 
The album opens with the more ambient of the tracks, ‘Afternoon After’, whose slow digital pitter-patter melody is a far cry from the in-your-face gunshot sounds and dark, guttural basslines which characterised the stuff on pirate radio in the early 2000’s. It’s also a stark contrast from some of Mr Mitch’s earlier stuff, like the more club-friendly ‘The Last Stand’, whose tempo and skippy bass adheres more closely to the genre’s traditional sonic template.
 
But to point to the lack of danceable tracks in Parallel Memories misses the point. It’s an album laden with emotion and heartache, far-removed from grime’s associations with machismo and angry lyrics. The innocent, video game-inspired melodies in ‘Intense Faces’ plink on top of subtle beats like tetris pieces, followed by ‘Don’t Leave’, the standout track from his previous EP release. It fits in seamlessly with the newer stuff – the R&B vocals bursting into a full-blown desperation by the end. ‘Bullion’ with its more thumping, clamorous sound, is the only track that feels slightly jarring amidst the dreamy, floating tracks like ‘Sweet Boy Code’, a collaboration with producer Dark0, and ‘Denial’, a simultaneously beautiful and unsettling palette of disparate electronic glitches and isolated, urgently pleading vocal samples.
 
 
Mr Mitch has mellowed the basic grime aesthetic of square waves and synth-driven beats into fluid, lullaby-like digital melodies – a direction he has been tetnatively moving towards since his string of Peace Dubs. But when the Dark0 Peace Edit first dropped in the summer of this year, it failed to connect with listeners’ understanding of grime and what it should sound like. It seems that now, thanks to the acclaim of the Boxed nights, and the critical success of genre-bending and experimentation seen with the release of Arca’s ‘Xen’ and Aphex Twin’s ‘Syro’, Mr Mitch has finally been able to put out the music he wants to, and challenge our sonic preconceptions in the process. 
 
Parallel Memories, along with Slackk’s Palm Tree Fire and Logos’ Cold Mission is a snapshot of this direction of instrumental grime inspired by chiptune and more experimental electronic sounds, which pushes the boundaries of the grime template in new and exciting ways. 
 
 

Oxford Media Society: Dinner with Lizo Mzimba

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Ah Newsround. Who can forget CBBC’s news channel for children? The show that made all the confusing topics of the world digestible for our younger selves. Moreover, who can forget the man who presented it? Working as both a reporter and an assistant producer for Newsround from 1998 to 2008, the name – or at least the face of – Lizo Mzimba sticks out in childhood memory. Now Entertainment Correspondent for the BBC, I was lucky enough to have dinner with the man himself as part of the Oxford Media Society committee. 

OMS has hosted an excellent array of speakers this term including Amanda Berry (Head of BAFTA) and Nick Mirsky (Head of Channel 4 Documentaries) and, if you aren’t a member already, I would urge you to join. Lizo, the last of our Michaelmas speakers, was no exception: a childhood sweetheart, I was excited to hear what he had to say. 

There is often a misconception that all television presenters are demanding ‘divas’, but Lizo couldn’t have been more funny, warm and down-to-earth if he tried. Walking into the restaurant Bills, he explained how his friend had given him a precursory warning about Oxford: ‘whatever you do, do NOT go to Purple Turtle’. (To this friend – I applaud you). Graduating from Birmingham with a 2:2, Lizo confessed that he put his degree on the back burner, but would have had it no other way. He immersed himself in the world of media, becoming both editor for the student newspaper and a member of the student TV station (even winning awards at the NSTA, the National Student Television Association). He also freelanced for The Guardian whilst at university and is a strong believer that one can make their own luck. 

As for his spare time – well that was spent watching Doctor Who. Yes, Lizo is a massive fan. In fact, he is also a die-hard fan of Harry Potter, the Avengers, Star Wars and The Lord of the Rings. Given that I have barely watched any of these (yes, really) this was a topic of conversation I left for the others. Nevertheless, it didn’t stop Lizo finding out I hadn’t watched all the Harry Potter films or read all the books. (This is talking to a man who stayed up till 2am to read them. You can imagine the reaction, I felt almost sacrilegious).

Lizo was incredibly chatty and personable, showing interest in each one of us. It’s easy to see why he’s such a natural in the television industry, having interviewed the likes of Angelina Jolie and Brad Pitt, One Direction, Adele, George Clooney, Lady Gaga and of course, JK Rowling. When he came to give the main talk, he stressed the importance of passion for those looking for a career in such a competitive industry. He remembers how his friend was shocked that he had stayed up till 4am to write a report. But for Lizo, this was nothing. Why? Because he loves entertainment, the buzz of finding out which films have been nominated for an OSCAR first and then, “being the person who tells that to the rest of the country”. As soon as he wakes up he spends a good half an hour checking his overnight twitter feeds and reading his overnight emails (crucial when dealing with events in America). Put simply, he has a passion for finding stories and telling stories.  

Although he loves his current position as Entertainment Correspondent for the BBC, his former career at Newsround still remains part of his life. He is often approached by complete strangers, being thanked for his part in Newsround, the show that helped inform children what was going on in the world. Lizo expressed how rewarding this recognition is and how even after ten years, he still finds it a privilege to have been involved in such an influential programme. Nevertheless, he explained, “There’s nothing quite like having someone come up to you in the street with just the words ‘IT’S YOU!’ to which one can only reply ‘Yes… it’s me.” Speaking on Radio I, Ed Sheeran mentioned how he loved Lizo, ‘the guy from Newsround’ whilst at the recent Band Aid recording, Harry Styles spoke of his plan to go for ‘miso with Lizo’. (Lizo’s still waiting on the invite). 

After the talk, Lizo stayed behind to chat to those students who had further questions – yet another example of his approachable and friendly personality. He is clearly someone that loves his job and wishes to share that enthusiasm with other budding journalists, drawing upon his own experiences to give the best advice. It was fantastic to meet him. I must confess, my childhood love of Newsround is slowly coming back to me…

 

Postgraduate loans: a case of too much education?

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“Education, education, education”, the mantra that helped to sweep Tony Blair to power in 1997, remains almost as salient today as it did 17 years ago. This idea, that education is the key to both greater prosperity and greater social mobility, has transcended successive governments and has been prominent in British politics for almost half a century. The systematic expansion of higher education has been a significant part of the UK’s dogmatic commitment to endowing ever more young people with higher level academic qualifications. Now George Osborne has embarked on an expansion of this policy, by offering loans of up to £10,000 for postgraduate students undertaking teaching-based, rather than research-focused, degrees.

On the face of it, this seems to be both a fair and politically expedient move. Given the de facto requirement of postgraduate study for an increasing number of jobs, the inability of many poorer students to obtain funding is becoming a substantive barrier to social mobility. Prospective postgraduates have so far found the task of securing loans from the two graduate loans providers, Barclays and The Co-operative, to be an onerous one. Last year for example, fewer than half of all applicants for a government-supported career development loan had their applications approved. The loan scheme proposed by the Chancellor may have some success in addressing this problem. Income-contingent loans operating in a similar fashion to undergraduate loans will enable bright students of all backgrounds to pursue further study.

But can we be sure that providing a loan facility for prospective postgraduates will in fact achieve its ostensible purpose of strengthening the ladders of social mobility? The average cost of a postgraduate degree was £5,680 last year. Factor in living costs and it remains the case that a significant number of potential students will remain incapable of covering the cost of studying for a master’s degree. For students who are unable to access other forms of support, such as scholarships, fee-waivers, or indeed the helping hand of a generous parent, the better, more expensive postgraduate degrees will remain a distant possibility. The benefits of the new loan scheme may accrue to more affluent students, and the problem is likely to be exacerbated by institutions raising tuition fees in response to increased demand. This phenomenon has already been witnessed in the US, where universities have largely captured the benefit of increased financial aid for themselves. The end result is that efforts to promote the affordability of higher education have been somewhat undermined.

The expansion of postgraduate education will not necessarily lead to a better educated and more productive workforce either: superior qualifications on paper should not be conflated with better practical skills. There is concern that postgraduate study will simply become the norm in much the same way that progression to undergraduate study has become the norm for the average school leaver. Nearly 50% go on to university at present, with that proportion increasing virtually year-on-year since the 1960s.

A degree, for many individuals, does not prepare them with the skills that are required in the workplace. Too many bachelor’s degrees have nullified their worth and compromised academic standards, with a significant proportion of graduates still unable to distinguish themselves from their competitors in employment markets. There is a considerable risk that a similar situation will arise with regard to postgraduate degrees; the benchmark for a professional career will simply be raised from a bachelor’s to a master’s degree, with little discernible effect on the skills and productivity of employees.

Offered a loan, many more graduates will undoubtedly leap at the chance to continue their studies for an extra year. Their reasons for doing so may well be spurious in numerous cases, however, with students pursuing postgraduate study because they are yet to decide on a career path, or because they wish to avoid paying off their accumulated student debt for another year. £40,000 in borrowed money will quickly become £50,000, but for students the idea of delaying repayment will hold considerable appeal.

Introduce a postgraduate loan facility, therefore, and you will expand postgraduate education, inevitably leading to a dilution of quality. The focus should be on improving access for poorer students, instead of simply expanding access for everybody. For the brightest students passionate about pursuing further study, the government evidently needs to ensure that it facilitates their engagement with postgraduate study, regardless of their circumstances. But rather than introduce a new loan facility, the government, in collaboration with universities, should review and expand the existing provision of scholarships and fee-waivers, so that more of the best students have access to funding. More needs to be done in order to ensure that there are adequate funding opportunities for less affluent students. Broadening the postgraduate loan system, however, is not the answer.

 

The butcher and the salesman

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Low self esteem, anxiety, poor life quality and discontent with body image plague us all to different extents. These can ruin our ability to enjoy our lives. And, according to the claims of some cosmetic surgery practices, these are easily fixable problems. Reasons a healthy person chooses to undergo cosmetic surgery are complex and highly personal, but problems such as these often are cited as reasons for doing so. Scientific studies can even be trotted out to show that plastic surgery can, at least sometimes, make people happier. Even if we disregard the important evidence which acts as a balance to this, hiding behind a screen of scientific claims does not justify promoting cosmetic surgery as a positive “solution”.

Regardless of whether said surgery does improve body image or self-esteem, it sidesteps the reasons why people do this to themselves in the first place. Because we are consistently told both explicitly and implicitly that appearance is what matters, cosmetic surgery seems like the magic solution. Perhaps people do feel better after surgery, because they feel a little closer to fulfilling an absurd concept that we should value ourselves on our appearance, that we need to be “attractive” to get by, and that we should aspire to the totally unrealistic body expectations fed to us by the media.

Cosmetic surgery bypasses the question of why someone might feel unhappy or anxious because of the way they look, offering an imperfect solution to a deep-seated societal problem. Indeed cosmetic surgery is not just an imperfect solution, it actively worsens the state of affairs by suggesting that beauty is a tangible thing to be achieved.

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Instead of cutting ourselves to look more like an idealized, fictional and destructive concept of beauty, we need to value ourselves on more than how we look. If we learn to value ourselves for more stable and non-relative factors, we can feel good about ourselves without surgery. Also, the idea that a standardized ideal of beauty exists is not only a fallacy, but one which is actively promoted by capitalism. It encourages continued purchase of products and procedures which promise to give an end result that can never be achieved; the perfect product strategy.

It is often forgotten that these procedures do carry risk, often quite serious risk. A world which allows healthy people to endanger their lives by essentially disfiguring their bodies in order to conform to an insidious and oppressive beauty ideal is as worrying as it is saddening.

Finally, cosmetic surgery is, simply put, sexist. Although the number of men undergoing cosmetic surgery is on the rise, the majority of patients are still women. This reflects the extreme pressure put on women to “look good”, and the message that the most important thing about a woman is her appearance.

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It is not surprising that patients report better self esteem after surgery in some cases, given the circumstances. Cosmetic surgery is not an empowering solution to the insistence that beauty should and could be achieved. It undermines the idea that people are of worth whatever they look like. This is the case not only because they look great just as they are (since “beauty” is entirely subjective), but primarily because people are more than just their outer shell.

Instead of appeasing our anxieties by butchering ourselves, we need to think about why we continue to value appearance so highly, and still cling to the myth that “beauty” is absolute. This is not a pointless question to be pondered in the pub. People are hurting and endangering themselves because of it. We must fight against the sentiment encapsulated in that famous French proverb that “one must suffer to be beautiful”. We must fight against the idea that one must look a certain way to matter as a human being.