Blog Page 1367

Guardian editor to become LMH Principal

Elliot Burns
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Guardian editor to become LMH Principal

Guardian editor Alan Rusbridger has been announced as the new Principal of Lady Margaret Hall after a meeting of the Governing Body on December 17th. Rusbridger, who last week announced his decision to stand down from his position at the Guardian after 20 years, is expected to take up the post in October 2015.

In response to his election, Rusbridger, who is replacing the outgoing Principal Frances Lannnon, commented, “I am honoured that the Fellows of Lady Margaret Hall have elected me to be their next Principal.

“LMH is a pioneering college, beginning with its roots as the first to admit women to study at Oxford.  Its history is an inspiring one of intellectual distinction and of opening up equal educational and career possibilities.

“I am looking forward very much to joining the College next autumn and to building on the tremendous achievements of Frances Lannon, who has led LMH with such distinction over the past 13 years.”

The College is equally positive about the new relationship, with a spokesperson declaring that LMH was “delighted” to unveil Rusbridger as the incoming Principal. The University was also enthusiastic about the appointment on Twitter.

Rusbridger will take on his role at LMH in addition to his new responsibilities as Chair of the Scott Trust, the body that owns the Guardian and seeks to ensure its editorial freedom. Rusbridger addressed concerns about sharing his workload between the two, saying, “[I] look forward to combining Scott Trust & LMH.”

Lady Margaret Hall student Alice King supported the announcement, commenting, “It’s a really exciting time for the college. LMH has been home to a number of prominent journalists, including war journalist Tim Hetherigton, who was killed while investigating filming in Libya in 2011. I hope Mr Rusbridger feels well at home in our college. Dr Francis Lannon has presided over periods of serious development, so it’s interesting to see what happens next.”

However Lewis Hedges disagreed, saying, “I can’t help but feel that the last thing that LMH needs is another leftie. Besides, LMH is all the way over in OX2, that’s practically the moon, you couldn’t appoint anyone who would put them on the map.”

Review: Charli XCX – Sucker

Sam Joyce
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Review: Charli XCX – Sucker
★★★☆☆
Three Stars
 
It’s been a busy year-and-a-half for Charli XCX. After penning global smash ‘I Love It’ for Icona Pop, she released her debut album, True Romance to critical raves, recorded an unreleased punk album, and then followed it up with lending her commanding presence to Iggy Azalea’s summer smash ‘Fancy’. Then, in between writing for Britney Spears, Gwen Stefani and Rihanna, she gained her first solo UK and US top 10 hit with ‘Boom Clap’, and still found time to record another solo effort Sucker, which having been already released in America, comes to the UK next January. Yet despite these huge successes Charli XCX still seemed as if she was on the perpetual come-up, never quite landing that elusive home-run. All that should change with this massive, crowd-pleasing sophomore album, which sees Charli obliterate any lingering doubt that she can’t hang with today’s top-tier pop stars.
 
Abandoning the fascinating but alienating alt pop stylings of her debut, Sucker instead sees Charli appropriating from pop punk and new wave, which she combines with a sugar-coated 90s nostalgia trip. Yet for all its derivativeness, the record still feels immediate and current, partly due to the incongruity of these musical stylings in present-day pop, but also thanks to the anachronisms snuck in here and there – an 8 bit sample on ‘Gold Coins’, the synths on ‘Boom Clap’. The record has few of her previous lyrical abstractions, instead favouring crowd-pleasing chant along choruses. On its own, Sucker is a fun, silly pop record with expertly crafted but shallow hooks. Yet, within the context of its mastermind’s oeuvre, so chock full of diverse influences and disparate styles, it becomes a masterclass in selling a personal identity distinct from a musical sensibility.
 
Where True Romance gave us Charli as pop’s alternative “it” girl, here, she styles herself as the ultimate teen queen. Songs like ‘London Queen’ and ‘Gold Coins’ rely on deliberately opaque references, defining her persona in terms of cultural signifiers and commercial iconography. Yet her cynical transformation into a globe-conquering pop product is offset by the joyousness of the songs, and her ability to sell the simple, ridiculous choruses she’s written for herself. She makes the most of every confident seduction or cocky put down, alternating between a melancholic lower register and a high, bratty whine. It’s a commanding, tour-de-force vocal performance. Sucker is self consciously commercial, serving up obvious cultural touchstones and accessible nostalgia, all helmed by a singer styling herself as the quintessential post-Britney pop star. Sucker therefore becomes a witty and thorough examination of what pop music means to us in 2014.
 
 
Like many recent big pop albums, Sucker at first plays as somewhat top-heavy. The opening six tracks, chock full of pre-release singles, are the most bombastic and distinct on the album. Right from the off, as the titular opening track screeches “Fuck you, Sucker!” we’re hurtled through a parade of kiss-offs and come-ons, from ‘Boom Clap’, to ‘Breaking Up’, via ‘Break the Rules’. Yet as the album reaches its centrepiece – the glorious roller-disco anthem ‘Doing It’ – the vulnerability behind the angst and bravado comes to the fore. To say tracks like album closer ‘Need Ur Love’ are emotionally perceptive is to stretch the bounds of credibility given the album’s admirable determination to never let up its relentless chase of hits. Yet, the songwriting gradually reveals the insecurity and confusion at the heart of her bluster, making the album a surprisingly compelling re-listen. 
 
Sucker is a love letter to the mainstream, to generational touchstones and to pop music. It’s entirely, gloriously derivative, and yet sonically interesting and somehow refreshing. Like the lolly-pop Charli XCX brandishes on the album cover, Sucker is obvious, sugary and delightful. But it’s almost entirely empty calories.
 

Petition asks The Sun to apologise for "transphobic" remark

Suzie Marshall
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Petition asks The Sun to apologise for "transphobic" remark

A petition has been set up by Wadham undergraduate Rowan Davis, which demands that The Sun publically apologises for a purportedly “dehumanising” and “transphobic” comment made in an article published by the newspaper last week. It has so far reached over 25,000 signatories.

The Sun columnist Rod Liddle wrote of Emily Brothers, a blind, transgender Labour MP candidate, “Thing is though… being blind, how did she know she was the wrong sex?”

In response to this, Davis, a Trans Rep for the Oxford University LGBTQ Society, started a petition calling for The Sun’s Editor, David Dinsmore, to issue a public apology.

 Davis told Cherwell, “I have been overwhelmed at the hugely positive response to the despicable comment posted in The Sun by Rod Liddle concerning Emily Brothers. His article demonstrated completely the hatred that comes at the intersections of transphobia and ableism, ridiculing experiences of oppression for a quick laugh. I hope that this petition to ask for a direct and full apology from The Sun‘s editorial team will continue to grow, and that from it we can start to see changes in the way that trans people and those with disabilities are treated in the media.”

The petition argues that, “By reducing [Emily Brothers] down to her blindness and transness, Liddle has contributed to the dehumanisation and oppression of trans people and those with disabilities, and has helped uphold ableist and transphobic norms in politics.

“We deserve better, and as such The Sun should publically apologise.”

Brothers is standing to be MP for the constituency of Sutton & Cheam in the next General Election, and is the first openly transgender Labour candidate to run for parliament.

Liddle released a statement on Friday apologising for what he described as a “poor joke”, saying, “I wish Emily the very best and I’d definitely vote for her if I lived in Sutton and Cheam.”

Responding to this apology, Brothers wrote that she had “wondered aloud how he [Rod Liddell] knows he’s a man when he turns the light out. I believe strongly in press freedom. But it should hold the rich and powerful to account, not mock and undermine the vulnerable and disadvantaged.”

In reaction to Brothers’ response to Liddell’s apology, and due to the attention the petition received, Davis added an update on December 16th, which stated that “It is vital that we keep pressure up on the editors of The Sun to issue a full apology without reservations.” Having reached 25,000 signatures in just five days, the goal for the petition has been shifted to 35,000 signatures.

Davis launched the petition after Wadham student Tim Cannon posted a link to the original article in The Sun on the Facebook group NoHeterOx**.

The Sun has not responded to Cherwell’s request for comment. 

Hertford becomes accredited Living Wage employer

Alex Stronell
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Hertford becomes accredited Living Wage employer

Hertford College has become the first college at Oxford University to pay all staff the Living Wage, according to the Living Wage Foundation.

Former JCR President Josh Platt, who campaigned during his tenure for the College to adopt the wage, told Cherwell, “I’m absolutely over the moon that Hertford is accrediting as a Living Wage Employer. This is fanastic news for all the staff at this College, who now know that Hertford will always prioritise fair wages for its employees. Accreditation is testament to the hard work of our students; it was their passion for this cause and their determination to see it through that has got Hertford to this point.”

A spokesperson for the Living Wage Foundation confirmed that the College was the first of Oxford’s colleges to officially accredit to the scheme.

Hertford student Harry Coath, who campaigned for the adoption of the Living Wage, commented, “Hertford’s accreditation is great news for staff and we hope that other colleges will follow its example. This change only happened because Hertford students expressed their dissatisfaction and lobbied college on low pay. Students in every college should do the same.”

Likewise, Fergal O’Dwyer, Oxford Living Wage Campaign co-chair, told Cherwell, “Hertford’s accrediting as a Living Wage Employer is a hugely significant moment in our University’s progress towards fair pay, security, and respect for it’s lowest paid workers. It proves that there is no reason that an Oxford college committed to these basic principles should choose not to accredit as a Living Wage employer.”

He added, “We hope that Hertford proves to be an example for other colleges, and that this news will contribute to the growing conversation about the importance of accreditation in Oxford.”

Ruth Meredith, OUSU Vice-President for Charities and Community, told Cherwell, “I am incredibly pleased that Hertford have made the decision to listen to the voices of staff and students calling for them to become an accredited Living Wage employer.
 
“This term, OUSU’s Living Wage Campaign heard from scouts at Hertford what accreditation would mean to them. The responses mentioned being able to give up second jobs, not worrying so much about switching on the heating at night, and showing that staff are fully respected for the work they do. We applaud Hertford for listening to their staff, and would encourage other colleges to do the same.”

She added, “Hertford’s accreditation is recognition that paying a Living Wage to all members of our community at Oxford is vitally important, and completely possible.”
 
The College, which accredited to the scheme in November, had asked staff not to speak to the press about it. But a note leaked to Cherwell, addressed to the Governing Body from housekeeping staff, read “we would like to say how much we appreciate the hard work that has gone into getting the college staff onto the Living Wage. This is an issue very close to our hearts and we are very relieved to finally be awarded this increase.”
 
It went on, “We are very proud to hear that Hertford is the leading college to move forward in awarding the Living Wage to its lower paid staff and hope that all the other colleges will follow Hertford’s example.”
 
In Trinity term, 200 Hertford students signed an open letter to Hertford’s Principal, Will Hutton, calling for the College to become an accredited employer.
 
Commenting on the letter, outgoing JCR President Josh Platt remarked, “I would like to thank all who signed our open letter, or spoke to your tutors about this issue before it went to Governing Body, or helped with the campaign in any way. I would like to thank the fellows who, when presented with the possibility of accreditation, grabbed it with both hands, and worked tirelessly behind the scenes to iron out all of the finer details. Most of all, I’d like to thank all the staff at Hertford College, who make it such a wonderful place to live and work.
 
“Accreditation to the Living Wage is something for the entire college community to celebrate.”
 
Incoming JCR President Holly Redford Jones told Cherwell, “This is really great news.”
 
Queen’s College, Cambridge was the first Oxbridge College to become an accredited employer, earlier this year. OUSU also announced earlier this year that all its staff would be paid the Living Wage.
 
In order for an employer to become a Living Wage accredited employer, all staff and contracted staff must be paid the wage, and must then obtain an accreditation licence from the Living Wage Foundation. The Centre for Research in Social Policy at Loughborough University calculates the UK Living Wage, which is currently set at £7.85 per hour.
 
But campaigner Harry Coath pointed out, “This victory should be the first step in building a closer campaigning relationship with staff. The City Council calculates the ‘Oxford Living Wage’ at £8.36, whereas accreditation only guarantees £7.85. It is important that we continue to support staff where they have grievances, and to involve them in the campaigning process. I would like to see more permanent staff solidarity groups in colleges, perhaps existing as part of the JCR structure.”

Should music fans put their trust in Trust Fund?

Ben Wilkinson-Turnbull
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Should music fans put their trust in Trust Fund?

Two Stars

★★☆☆☆

Despite the security suggested by their name, Trust Fund’s entry onto the stage was disturbing. In the midst of the lead singer‘s oscillating vocal range, the drummers gurns were fear inspiring.

It was not, however, just the audience’s eyes that were affronted. The lyrics cringed our ears until they bled. One of the songs featuring earlier in the set, ‘Scared’, is made purely of the two words ‘I’m’ and ‘scared’ shrieked over and over again. Their bands unified voices clashed and it was simply uncomfortable listening. Another deliciously bad titbit was the line ‘After our exams… If it still feels weird we can just break up’. Like the two characters of that relationship, I found myself at this questioning- what is the point in all of this? Their lyrics sounded like the angsty pages of teenage diary, but with all the juicy gossip left out.

I will admit I was quick to judge Trust Fund. Once the initial cringing was overcome, the guitar riffs weren’t bad. As a whole, Trust Fund sound like a collaborative effort. Johnny Foreigner has written their music, Slow Club have written the lyrics, which have in turn been sung by the lead singer from Bombay Bicycle Club. A musical lovechild birthed by NME favourites. They sounded their best when they employed their voices in harmony, as the evidenced in the almost-delightful performance of ‘No Pressure’. Onstage, the band were seething with enthusiasm. Sure, they sound like a pastiche of Slow Club, but that band have done okay for themselves. Trust Fund just need to channel that enthusiasm away from the discordant shrieks and towards a better collection of lyrics.  

Police brutality is not a new problem

Sian Meaney
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Police brutality is not a new problem

Our police force prides itself on being an agent that works for the good of the people, keeping civil order, and protecting property and rights from those who would seek to undermine or remove them. This positive impression of those entrusted to maintain our law and order is largely correct. However, recent demonstrations might suggest that our police force is slipping out of working for the public good and into the practice of police brutality.

Nevertheless, whilst there is a clear need for greater training and transparency, it is not necessarily true that recent instances of police brutality mark a new trend within policing. 

According to Section 117 of the Police and Criminal Evidence Act of 1984, police are empowered to employ “reasonable force” if necessary. The phrase “reasonable force” is ambiguous; it is broadly defined as the correct amount of force police may use if they feel that they are in serious danger. Behaviour is labelled as “police brutality” when excessive force is used intentionally to carry out a lawful police purpose. I feel that our police force ought to be better trained to differentiate between the two, especially in high-pressure situations, so as to prevent the deterioration of the relationship between the police and the public that we are beginning to witness.

Students at Warwick University appear to have become victims of police brutality during their sit-in protest, which occurred as part of a national day of action against student fees. According to Nigel Thrift, the Vice-Chancellor of Warwick, the police were called in after reports of an assault on a member of staff, with events escalating as the guilty individual refused to identify themselves. However, the use of CS spray on students (as caught on video) and the emergence of a taser to combat fewer than 30 peaceful students, as well as the level of intimidation evident in footage posted online, seem to show a greater level of force being used than may be deemed “reasonable”.

This is not the first time that unreasonable force has been used by police around student protests. In a 2013 University of London protest, in which students occupied the University’s Senate Headquarters, police used, as labelled by Taylor, Rawlinson and Harris in their Guardian headline, “excessive force”. Video footage of the incident shows one officer striking a hooded protestor in the face, in a move that is certainly excessive considering that the officer was not under attack by the protester in question. Were a protester to do the same to a policeman, it would be labelled as “police assault” and would carry a punishment of up to six months in prison. Commenting on the event, Michael Chessum, president of the University of London Union, said that “[T]he level of police force that we have seen in the last couple of days is totally unprecedented on university campuses. It appears pre-planned. It is as if they are reacting to a riot situation – taking the level of force – and using it against students protesting on a university campus.”

Yet another incident concerned Jody McIntyre, a disabled student who was dragged from his chair along the ground by officers during a protest. In a statement about the event released in August 2011 the Independent Police Complaints Commission (IPCC) concluded that “this did amount to excessive force.” There needs to be more clearly defined guidelines as to what police officers may and may not do in protest-situations. Clearly, dragging a defenceless person across the ground is unacceptable. 

The risk of police brutality occurs not only in student protests. Another point of contention is the use of batons– especially long-handled batons. It is these weapons, which officers are permitted to carry, which caused the brain damage and eventual death of Brian Douglas in 1995. Following Douglas’ death, Coroner Sir Montague Levine questioned the level of training given to officers, stating that “[T]here is a need for all officers who have been trained to use a baton to be taught the specific dangers, the after-effects and potential symptoms that can follow a baton blow to the head.”

Not only is more training needed for officers in the limitations of “reasonable force”, but greater transparency is needed. After the Douglas and similar incidents, Henry Cohen wrote to the Home Secretary expressing concern at the “excessive, disproportionate and unnecessary damage” that a baton can cause, and asking for a full public inquiry. There was no response.

Perhaps most clearly illustrating the need for greater training was the Ian Tomlinson incident in 2009. During the G20 protests in London at this time, the civilian was struck by a police officer with a baton and pushed from behind, despite not engaging with protestors. Shortly after this police attack, he collapsed and died, which led to an IPCC investigation into his death. This investigation followed a review by an inquest jury that ruled “excessive and unreasonable force” was used, and that he was unlawfully killed. The police officer involved, PC Harwood, was later found guilty of gross misconduct by a Metropolitan Police disciplinary panel.

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However, despite the recent press surrounding the issues of police brutality, especially regarding protests, I do not believe that our police force is slipping into this action. The issue has been continually latent in our police’s history, and has been continually ignored in an attempt to focus on the (undeniable) good done by the police. As far back as the 1936 Battle of Cable Street we can see unreasonable force being deployed, while the 1985 Battle of the Beanfield acts as an extreme example of what may happen when events and our police force escalate out of control. Their conduct was so bad during the 1985 incident that the Court judgement six years later found police involved guilty not only of wrongful arrest and criminal damage, but also of assault against the new-age travellers attempting to reach Stonehenge. 

This said, I do acknowledge that the existence of a broadly transparent police force is something we ought to be grateful for, and that we are fortunate to have an excellent public relationship with officers. We are privileged to live in a country where selfies with law enforcers are permissible, and talk of police brutality still shocks us. However, in order to maintain this trusting relationship, I believe that greater stress needs to be placed on the level of force permissible in high-pressure (especially protest) situations, with greater transparency and honesty between officers and members of the public when mistakes are made. 

Review: Netsky Live!

Henry Hodson
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Review: Netsky Live!

It’s only a quarter to ten on a Wednesday night, but the keen crop have been here for nearly three hours now, and the O2 is really hotting up. Literally, I swear the ceiling is dripping – I presume a mixture of the jettisoned pints, the sweat and the spit of hundreds of chanting fans. What they want is Netsky; or ‘Netskee’, as opinions seem to differ. Either way, Boris Daenen has a lot to live up to.

The hype is no less real after both drum n bass veterans Chase and Status and Pendulum successfully made the switch, establishing themselves as epic and elaborate live acts in their own right, with cheeky upstarts Disclosure following hot on their heels. Netsky LIVE! however quickly reveals itself as an altogether more simple formula: Daenen is flanked only by his drummer and his keyboardist, with long-time collaborator Script MC fronting the outfit. Indeed at first the word formula seems appropriate, as they plough through a handful of songs with scarcely a pause for breath. No sooner has one song finished, and the crowd quietened down, than the drums work up to yet another numbing climax.

Netsky’s set list contains a much lesser proportion of the liquid funk style of his self-titled debut, and when at last the keyboard makes the transition from screeching synth high notes to the lilting pianos of ‘Anticipate’, and Daenen turns to the microphone to deliver the lyrics with vocoded finesse (and the slight hint of a Belgian accent) it becomes obvious what we have been missing all along. Aside from the odd drumstep remix or hip hop breakdown, Netsky rarely deviates from the drum n bass tempo, and when featuring artist Billie sings live on his house hit ‘Puppy’, it is the change in pace that the crowd seems to appreciate most of all.

However, for all Netsky LIVE! may lack in variety or even ambition, it makes up in focus. Now over two years into a string of worldwide tour dates, the ensemble is tight, at times almost clinical. Whilst it is easy to lose yourself in the crowd, more mesmerising still is the sight of the keyboardist’s psychedelic flair and the drummer’s metal levels of intensity racing together, neither missing a single beat. The energy of the room is pooled and recycled from one banger to the next, old favourites ‘Iron Heart’ and ‘Secret Agent’ are greeted like Chelsea Dagger at a football match, and mosh pits form of their own accord in anticipation of almost every devastating drop. Script MC, if anything, seems to bring order to the chaos with some well-placed call-and-response. Netsky, too, has always been quietly confident. The 25 year old stands before us in a plain white t shirt, his unassuming charm more reminiscent of a house party tastemaker than the self-indulgent frontman, and it is this sense of equality, of community under one roof, that Daenen builds from the opening notes to the final encore.

As the crowd disperses, only debris remains to tell the true cost of such a ceremony. While a friend of mine, mourning his newly chipped tooth, scrambles in search of a lost phone among trampled sunglasses, shoe soles and the tatters of hair extensions, I instead am inclined to reflect on the reciprocity of the whole affair. Because for every second of energy that Netsky gives to the performance, another young fan gives up their mosh pit innocence. I should really have helped him find that phone.

Oxford’s film scene to benefit from kickstarter project

Tom Calver
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Oxford’s film scene to benefit from kickstarter project

A kickstarter funding project is now running for Waterbird and Catkins, two short films supported by the Oxford Broadcasting Association (OBA), with a view to sending the Oxford-made films to festivals around the world.

It is hoped that the films, shot over five days during the summer, will follow the success of The Wishing Horse, which received ‘Best London Film’ at the Portobello film festival in September. The achievement of The Wishing Horse signified the meteoric rise of Oxford’s film scene over the past year and a half. 

Having raised £700 already since the start of the program two weeks ago, the project’s founders — director Alex Darby and producer Ksenia Harwood — are well on their way to their target of £800. They hope that this money will enable them to submit Waterbird and Catkins to various film festivals around the world.

While production costs were covered by arts funding bodies, the cost of submitting each film to a festival is between £20 and £30, paid through either submission fees or the cost of making and posting DVDs, depending on the festival.

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Inspired by a short story by Russian author Turgenev, Catkins follows Mark — played by British actor Mark Tandy (Howards End, Bridget Jones: The Edge of Reason) — who escapes from London to reflect on his rocky marriage. Waterbird, meanwhile, tells the story of Tom (James Corrigan, soon to join the RSC), a former student whose conscience has been marred by a tragic accident.

Speaking to Cherwell, writer/director Alex Darby explained that, after The Wishing Horse showed what could be achieved, the OBA was happy to invest into making Waterbird and Catkins as good as they can possibly be, with the team even travelling abroad to Paris for the films’ sound mixes. 

He said, “We want to be consistently making films of a good level for students, and that’s why we’ve put a lot of effort into post production.

“It’s exciting to see that more and more films are doing the same, which makes for really good and impressive work, as was evident in November’s OBA screening.”

He added, “Unfortunately, money is a problem with what we’re trying to achieve. It makes so much difference having access to £500-£1000 funding when you’re starting on a film.”

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Darby, who received acclaim for the success of The Wishing Horse and wrote four plays before turning to short films, explained, “I think a lot of people don’t realise the difference between acting on stage and on film. There’s sadly far less rehearsal time, and, for instance, there’s a very different kind of humour required for film compared to on stage. It’s really useful for student actors to try film!”

Darby and Ksenia Harwood, producer of the two films, want to ensure that the OBA builds on its early success once they and other students involved with the recent projects finish studying at Oxford. Harwood explained, “We definitely want alumni to stay involved with these projects. It’s important to maintain a sense of  community between current students and alumni, ensuring that the future generations have advice whenever they need it. 

“We want to make sure that filmmakers can still use some of the Oxford resources when they leave — there are no JCRs to give grants to alumni and it makes things so much harder!”

Harwood also hoped that OBA would provide a framework for filmmakers to be able to share scripts and give one another feedback, ensuring that the hard work and achievement put into their latest films is passed on to future generations of Oxford students.

The kickstarter project will be funded if at least £800 is pledged by Tuesday 23 December. 

 

Cherwell’s Christmas Cocktail

Cocktail Lover
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Cherwell’s Christmas Cocktail

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

Suzie Marshall
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Many Oxford students do not register to vote

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.”

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