Sunday, May 18, 2025
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Oxford City Council passes Boycott Divestment and Sanctions motion

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Oxford City Council passed a motion on 24th March in support of the Boycott, Divestment and Sanctions (BDS) movement against Israel. The motion, which cited International Court of Justice (ICJ) rulings, passed with a unanimous vote by councillors across multiple political parties.

The motion called for “strengthening” the Council’s “ethical procurement and investment policies” to “reaffirm” its “commitment to human rights and international law”, as well as diverting funds from companies prolonging the use of fossil fuels.

Councillor Barbara Coyne, who proposed the motion said: “It is vital, in this moment, that Oxford City Council act to uphold international law and end local complicity in colonial genocide”. 

On the evening of the vote, dozens of protestors gathered outside the Town Hall on St Aldate’s to hold a silent vigil in support of the motion, holding signs reading “Divest now” and “Not in our name”.

The BDS movement, founded in 2005, works to “end international support for Israel’s oppression of Palestinians” through non-violently pressuring Israel to comply with its obligations under international law.

The motion cites ICJ rulings which underline UN member states’ obligation to actively avoid complicity in Israel’s illegal occupation of Palestine.The motion further emphasises that international legal norms that apply to states extend to local authorities. 

Councillor Hosnieh Djafari-Marbini, the seconder of the motion, said: “We have put forward this motion as we hear all those Oxford residents who have demonstrated, expressed disgust at the Israeli war crimes and boycotted Israeli goods.”

The decision comes after Oxford City Council’s unanimous vote for an immediate and permanent ceasefire in Gaza in November 2023, and the Council’s decision last year to oppose the Anti-Boycott Bill

The timeline for concrete changes by the council remains uncertain, as do any potential bureaucratic obstacles. However, Councillor Coyne remains optimistic, expressing hope that the motion “will be thoroughly implemented, and that its passage may pave the way for other councils to take decisive action.”

Magdalen Tower to close for repairs over May Day, choir set to move location

Magdalen College’s Tower will undergo urgent repairs after an inspection last week by the Local Building Control Authority (LBCA) uncovered “severe structural instability”. As a result, the centuries-old May Day tradition, in which Magdalen Choir sing from the top of the tower at 6am, will not go ahead for the first time since World War II. 

Several replacement locations are being considered by the college, which has opened a period of student consultation for input. Cherwell has obtained documents that detail three alternatives currently under consideration: the Radcliffe Camera, the Merton Tower, and the Carfax Tower. The college is also consulting with Oxford City Council on which location is most feasible for traffic control.

The Magdalen Tower renovations are set to take place over the next six weeks, during which time the 44-metre-tall structure built in 1509 – also known as ‘The Great Tower’ – will be closed to all human traffic. 

The main risk identified by the LBCA is severe cracking in the limestone caused by unprecedented rainfall over the past five years. This defect, an LBCA spokesperson stated, “poses a significant risk of partial collapse or falling debris. If left unaddressed, falling masonry presents a significant hazard to the public, especially given the tower’s prominent location and foot traffic”.

A tenor in Magdalen Choir told Cherwell: “I was delighted by the news at first because of my fear of heights: over the years I’ve learned to sing at the event despite it, but I’d be much happier singing on the ground. I heard they have plans to move us to a different building, though. Hopefully it’s not as tall”. The singer asked to remain anonymous.

May Day celebrates the Celtic festival of Beltane. Oxford’s tradition – where the Magdalen College choir sings Hymnus Eucharisticus from atop the Tower at 6am – traces back to documents from as early as 1674, according to the Museum of Oxford. Last year, 14,000 people gathered in the area for the May Day celebrations.

The tradition is seldom interrupted. The last time Magdalen Choir did not sing was 1943, after over half of the choir left to join the war effort. Prior to that, the choir refrained from singing in May 1901 to honor the passing of Queen Victoria, a former patron of the college.

An inside source told Cherwell: “We regret the break in such a time-honoured tradition. However, our priority is the safety of the choir and of all personnel involved. We are working hard to draft an alternative plan with input from all stakeholders”.

April Fools! Did we get you?

Character of Mr Hitchens

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It is a cool smoky morning in January outside Taylors deli on St Giles. Peter Hitchens padlocks his bicycle to a lamppost and accompanies me indoors, where we sit down with a Portuguese tart and a pile of his books on the table between us. We begin to talk. He is polite, knowledgeable, and articulate, but having been a journalist for over fifty years and reported from as many countries, the weariness has set in. “I used to think that if you wrote intelligently, you spoke intelligently, you argued intelligently, you came up with sensible ideas, and were civilised in discourse, then people would think, ‘Oh, gosh, here is someone who has something to say’, but actually all I got were insults.” When I comment on this pessimism, he replies, with a good-humoured flutter of the eyelids, “Pessimism is what keeps me cheerful.” 

He was first on the Socialist Worker in 1972 as a student radical, and then, following three years on the Swindon Evening Advertiser, worked briefly for the Coventry Evening Telegraph, from which he was almost fired for refusing to write an article denouncing the activities of former left-wing comrades of his. Having broken with Trotskyism he joined the Daily Express in 1977. Stints followed as an industrial, a parliamentary, and a foreign correspondent. In the latter role he witnessed first-hand the fall of Communism in Eastern Europe and the collapse of the USSR. “They were fascinating, gripping, exhilarating months… My Russian was pitiful, my knowledge of Soviet politics sketchy, I didn’t have any Kremlin contacts, but by an enormous stroke of providence, the day that the KGB mounted its putsch against Gorbachev in 1991, I was in Moscow, and all the brilliant guys from the New York Times, The Washington Post, etc., were on holiday. And I was there!” He chuckles slightly. “Just goes to show how much use all those bloody ‘contacts’ are.”

“I was in Crimea, in Yalta, doing a feature on the small palaces which the Soviet leaders built for themselves down there. I and my brilliant translator Igor Monichev drove out to the coast road where Gorbachev’s dacha was; he was there then, where the putsch would happen just a couple of days later. It was very heavily guarded by the KGB, so we couldn’t stop. When I got back to the hotel I was listening to the BBC World Service – a very useful service for foreign correspondents in those days, when it was good – and they quoted Alexander Yakovlev, Gorbachev’s great friend and ally, saying he thought there was about to be putsch. So, I got on the next plane to Moscow, arrived on the Sunday night, woke up on the Monday morning, and boom, there was a squadron of tanks coming down my street!  

“The putsch was extremely badly organised and many of its progenitors were drunk and it fell apart very quickly. At that point it was clear that the Communist Party was finished. In the streets of Moscow – and I’ve never seen this reported by anyone else – I noticed that there was smoke coming out of the litter-bins. They were full of Communist Party membership cards which people had thrown and set fire to, because all serious people knew that Soviet Communism was finished. 

“The other thing I saw a few months later – Crimea again – was when I went in with a group of other Western journalists to one of the chief places of the old Soviet navy. All the inlets and creeks surrounding it were full of scuttled ships, a lot of them sunk or half-sunk. This was the symbolic end of Soviet global power. It was all over. If everybody in the West had seen this firsthand, they’d understand that Russia is not the Soviet Union; it’s a different place, it doesn’t have a Communist Party, it doesn’t have a global reach, you have to judge it in a different way. But I can’t get people to take it in.” 

Having witnessed the fall of Soviet Communism, one of the key ideas of Hitchens’s corpus is Eurocommunism. I ask him to explain the term: “Two immense things happened in the spring of 1968. Firstly, the great uprising in Paris which toppled Charles de Gaulle and which had no apparent cause; at the time, I was seventeen, I longed to be there, throwing cobblestones at the CRS, but I couldn’t travel there. Secondly, in August, the Warsaw Pact invaded Czechoslovakia. These two events changed the Left – totally. Intelligent people on the Left realised that was impossible to support the Soviet Union after it sent tanks to crush what was actually a socialist movement led by Dubček in Prague. In Paris the old trade-union-led Leninist ideals on the left had been replaced by this strange… cultural revolution. The work of an Italian Communist intellectual called Antonio Gramsci began to be dug out. He had visited the Soviet Union in the early 1920s, and knew that it would never work, that you could never impose this kind of thing on the urbanised, generally Christianised working classes of Western Europe, they would never buy this stuff. Instead, he said, we must achieve hegemony, the cultural and moral transformation of society before we move on to political transformation. That is Eurocommunism. That’s why that year, 1968, still has an extraordinary lit atmosphere to it in my memory.”  

II 

Hitchens’s best books are The Abolition of Liberty (2004), a polemic against legal and constitutional changes; Short Breaks in Mordor (2014), a travel anthology of his foreign reportage; The Phoney Victory (2019), a revisionist account of the Second World War; and A Revolution Betrayed (2022), a spirited defence of the old grammar-school system. Nonetheless his most famous work is The Abolition of Britain (1999), which examines social changes between the 1960s and the 1990s, and argues that the ideals of Eurocommunism, having found their leader in the person of Tony Blair, took root in British institutions. “Since New Labour came to power, we have had a Eurocommunist revolution in this country – a partial one,” he tells me. “When a lot of your revolution is constitutional and legal it takes quite a while for your landmines to drop. When the Supreme Court or judicial appointments were established, nobody had a clue how big a change that would make to the constitution.” 

Admittedly I have never been convinced by this thesis. The weaknesses of The Abolition of Britain, as a polemic, are fundamental ones which can be inferred even from its title. Abolition stresses that such things as the treatment of single parents or the availability of contraception were the result of deliberate campaigns for change; he does not think that these changes might have happened naturally over time. Moreover, the focus specifically on Britain overlooks the fact that such inventions as colour television or the contraceptive pill were worldwide phenomena, by no means exclusive to this country.  

There is, however, a deeper instinct, much more significant than the bogey of Eurocommunism, which underlies Hitchens’s political philosophy and all of his characteristic books. This instinct is conservatism – conservatism in the literal sense of love of the past and suspicion of change. It is not that he is averse to all change, simply that he rejects what he sees as change for the worse. Like Edmund Burke, he possesses an instinctive preference towards ideas and systems which have evolved naturally, over time, from the bottom-up, and he views with suspicion their shiny premanufactured counterparts. Thus, common law, imperial measurements, grammar schools, and the first-past-the-post system are always preferable to civil law, metric measurements, comprehensive schools, and proportional representation. The perfect is the enemy of the good; if it isn’t broken, don’t fix it; “new” does not always mean “better”; “perfect” almost invariably means “dystopian” – that is a fair summary of Burkean conservatism and of Hitchens’s general outlook. 

It is difficult to exaggerate his dislike of anything which is, in the loosest sense, modern. When I ask him if anything in Britain today is better than it was sixty years ago, Eurostar, restaurants, and bicycle brakes are the only things which come to mind. No doubt his conservatism leads him to many conclusions which I would dispute, but on other issues it gives him a valuable insight. In his upcoming book The Madness of Cars (expected 2026), he argues that motor-cars damage our health and environment, and are largely unnecessary given the alternatives of travelling by foot, cycle, train, or tram – “Almost every major British city had a system of electric trams until the early 1950s.” Who else would be sufficiently immersed in the memory of the past to make this unheard-of but completely valid point? By ruling out conventional perspectives and accepting that not all progress is good, Hitchens attains a clear-sightedness which more mainstream commentators have missed. Here are two more examples of what I mean – one is education, the other is policing. 

In A Revolution Betrayed Hitchens argues passionately for the merits of the old grammar-school system, and explains how it was abolished by egalitarians who disliked selection by merit. Before abolition in 1965, he tells me, “You didn’t have to pay to get your children educated, because there were good state schools – like really good state schools. In Oxford there were two direct grant schools, Oxford High School for Girls and Magdalen College School, both open to children from any primary school in Oxford if they passed the 11+. Now they’re both fee-charging schools.” The greatest success of the grammar schools was social mobility: the most striking statistic in the book is that, by 1962, both parents of two-thirds of grammar-school pupils had left school at fourteen. This sort of intergenerational mobility has become almost impossible in state schools today. Selection by merit has given way to selection by mortgage. Affluent, well-educated neighbourhoods contain affluent, well-educating schools. Deprived, crime-ridden neighbourhoods contain deprived, crime-ridden schools. Parents with enough money or knowledge of the system can in any case send their children to privates or to comprehensives in wealthy areas. Who suffers? Families on benefits or low incomes, residents of council estates, ethnic minorities. The system is dysfunctional – “Its main effect is to trap its pupils in whatever social, economic, racial, or cultural place they happen to be at the age of eleven” – but almost nobody in public discourse points out or even acknowledges the disaster. Nobody, that is, except Hitchens. 

His position on policing, outlined in The Abolition of Liberty, is another example of his tendency to base valid arguments on tenets of the past which most people have forgotten. Again, nobody else in politics or the media has the sense to see what he does: that since the change of policing policy under Roy Jenkins in the 1960s our police force has not been a police force at all. The job of the police as first established by Robert Peel was to patrol the streets by foot and prevent crime. The job of the police today is to arrive at a scene and respond after a crime has been committed. If a constable is on foot patrol on a street late at night, a passerby is not likely to be mugged or attacked, nor is a house likely to be burgled. But if there is no patrol, and a mugging or a burglary is committed, the police can do nothing after the fact, any more than a doctor can vaccinate a dead man. Hence, though the number of police officers has nearly doubled since 1961 – both in total and per head of the population – the crime rate in the same time has rocketed up.  

No doubt there are other factors at play, but anyone should be able to grasp that it is the absence of officers on patrol, more than institutional racism or understaffing, which has brought down and invalidated the police force. “Don’t let’s get carried away about it. The old police force had its faults. Police forces inevitably do. The kinds of people who want to be police officers aren’t always the kinds of people who ought to be police officers. But if you run it well with a central organisation that is small, you can have an effective police force.” Who suffers from the decline in policing? Again, those in the most vulnerable pockets of society. And again, almost nobody but Hitchens tries to point this out. Even when he does, he is ignored. “I remember when Theresa May was Home Secretary, I was at a Mail on Sunday lunch with her, and I actually brought with me a copy of The Abolition of Liberty, pressed it on her and begged her to read it. I didn’t get even a postcard saying thanks. I’ve given it to judges, to chief constables, and to a Commissioner of the Metropolitan Police. I’ve never had any response.” 

III 

My admiration for Hitchens consists in agreement with him on a handful of policy points, and in the certainty that his opinions, even the most unusual or offensive of them, are driven by a worldview which is internally coherent and never malicious. This lack of malice is a great strength. Anyone who reads the right-wing tabloids with any kind of regularity will see that, very often, their tendency is to pick out underdogs and kick them down, but Hitchens, a Mail on Sunday columnist, is not in the same category as some of his colleagues. True, some of his views do him no credit: his suspicion of what he sees as the products of the cultural revolution has led to him to controversial opinions on such issues as unmarried couples, working women, gay marriage, the trans debate, multiculturalism, and the contraceptive pill. But these opinions do not represent a veil for minority-bashing as they might do with some of his colleagues. I can see as much even though I strongly disagree with him. He has no truck with isolating or attacking individual people, and he does not speak from malice or hatred but from what he sees as the structural change towards Eurocommunism. It is, if my reading of his philosophy is correct, the same instinct which makes him sceptical of e-scooters, television, pornography, swearing, drug use, rock and roll, postmodern novels, and neoliberal economics namely, that these things have upset the order of society as it existed before about 1960. In no case is he motivated by bigotry. Quite the opposite: if Hitchens’s defining trait is love of the past and suspicion of change, then his great inestimable merit is the moral sense which in The Rage Against God (2010) he attributes to his Christianity. 

“Because I’m conservative about morals and culture, it doesn’t mean I want to grind the faces of the poor.” In too many cases the two things go hand in hand, and this is what marks Hitchens out from the crowd. It also explains why, as well as being a Burkean conservative and an Anglo Gaullist, he is a social democrat, a man who believes, for instance, in a strong welfare state and trade unions, and who in so much of his writing takes care to stick up for the underdog. As one reviewer of The Abolition of Liberty put it, no other commentator of his ilk is “so obviously more interested in the welfare of the common man than in the approbation of his peers.” Morality overrides political affiliation. 

This same moral clarity allows him to take intellectually honest stances on foreign policy. He has opposed the bombing of populations by the West not only in the last quarter-century in Afghanistan, Iraq, Libya, Syria, and Gaza, but in historical cases such as the Allied bombing of German civilians during the Second World War, against which he wrote a book, The Phoney Victory. To deflate a national myth for moral reasons is the kind of thing usually applied to colonialism and usually described as “woke”; for Hitchens to do it is another example of his moral sense overriding his political grouping. In the most recent example of civilian bombing, Israel’s destruction of Gaza and its killing of over 50,000 Palestinians, his opinion is even more noteworthy, because this is a war which the right-wing press in this country has ruthlessly supported, usually by trying to change the subject or by dismissing the casualties as fabrications. Politically Hitchens is a supporter of Israel, but his politics appear to melt away beside disgust at the killing of innocents: 

“I am against the bombardment of populations, it’s just morally indefensible, you cannot under any rules of law justify it. It’s wrong. Just like Putin’s invasion of Ukraine it’s not only morally wrong but stupid.” He jumps up in his chair in emphatic frustration. “Why do we keep doing things which are both wrong and stupid? But in the British media and politics there are only two sides to this: either you’re supposed to be howling for Hamas, or you’re supposed to be cheering on Netanyahu. I do neither. But there’s almost no point in speaking. The right response to the October 7 atrocities is not to respond in kind; if you respond in kind nothing will be gained. I think probably the level of hatred now between Arabs and Israelis is greater than it has ever been. There’s such a river of blood between them. Anyone who goes there ends up liking the people on both sides, and if your concern is for the welfare of the people in the future, then the last thing you want is more war. There is no hiding the fact that the bombardment of Gaza has killed huge numbers of innocent people. Why do we defend it? Why did Biden not put a stop to it? What has happened to conservatives in the West that they allow themselves to be so uncritical of Netanyahu? My stance is what it always has been. It doesn’t put me on the side of the Left, I wouldn’t go on a pro-Palestinian march or anything like that, but it just means that I have no camp.” 

It is astonishing how the retention of a single principle, that the killing of civilians is wrong and must never be allowed to happen, can place one on the right side of history in so many cases. (In the case of the Second World War, he says that though it was necessary for the Allies to fight, we used the wrong tactics and remember the war in the wrong way). Hitchens’s positions on these foreign-policy issues contain enough moral sense in themselves to counter the allegations of malice with which he is often, wrongly, charged. On the one hand there are torture camps, regime change, forced displacement, detentions without charge, the plundering of national oil reserves, the annihilation of defenceless communities from the sky – all of which he regards as inexcusably wrong, although countless observers would defend these things if committed by the “right” side. On the other hand, he has personal, honest but not ill-natured opinions on multiculturalism or divorce which might offend some people. Which is the lesser evil? Which is a better gauge of genuine moral courage? 

IV 

In May 2010, having reached the shortlist twice previously, Hitchens was awarded the Orwell Journalism Prize for his foreign correspondence in The Mail on Sunday. In choosing him as the winner, the panel of judges cited a passage from the end of Orwell’s essay “Charles Dickens” (1940). Orwell reflects that any strongly individual piece of writing gives the impression of a face somewhere behind the page. “It is not necessarily the actual face of the writer… What one sees is the face that the writer ought to have.” In imagining the face that Dickens ought to have had he produces a description which, in the judges’ view, accurately reflects the literary face of Hitchens. The passage concludes: 

“It is the face of a man of about forty, with a small beard and a high colour. He is laughing, with a touch of anger in his laughter, but no triumph, no malignity. It is the face of a man who is always fighting against something, but who fights in the open and is not frightened, the face of a man who is generously angry – in other words, of a nineteenth-century liberal, a free intelligence, a type hated with equal hatred by all the smelly little orthodoxies which are now contending for our souls.” 

Disability and deferral: My unconventional journey to Oxford

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Just over three years ago, I received my Oxford offer. 

Like most sixth formers, my Oxford acceptance email came in the middle of my mock exam season. On the 11th January 2022, I had two A level mock exams to sit: a two-hour history paper in the morning, followed by an English Literature exam in the afternoon. I told myself I wouldn’t check my phone all day because I didn’t want the outcome to affect my exam performance. But to be perfectly honest, I was pretty convinced I wouldn’t receive an offer and I wanted to postpone the inevitable crushing sense of disappointment which would come with the rejection. 

At 4pm, I came out of my English literature exam in high spirits. The paper had been a success and I knew my teachers would be pleased. We all collected outside the exam hall, whispering to one another our responses to the essay questions. In the middle of the conversation, I remember feeling someone brush past my back and squeeze my arm. It was my history teacher. “Congratulations,” she said, before walking along.

In the midst of this post-exam relief, I had completely forgotten about my Oxford application.

I looked at my best friend, dumbfounded, before practically running all the way home. Once back, I frantically searched for my phone, and shaking, opened the email to read I had received an offer…

Fast forward three months from this day, and I didn’t want to come to Oxford anymore.

I was experiencing debilitating stomach pain as a side effect of medication, and had lost all energy and motivation to study. I couldn’t revise for my exams. I spent most days in bed, suffering from excruciating pain and extreme fatigue. Understandably, my parents were very worried. I later learned I was not the sole cause of their concern, though. They had kept it fairly secret, but my dad had also been ill and was undergoing tests as a result of blocked arteries. I would only come to understand the extent of his condition when he suffered a cardiac arrest in the middle of my A-level exams, and was taken by ambulance to hospital for a triple bypass operation. To say the least, the summer of 2022 was particularly traumatic for me and probably one of the worst periods of my life.

So, come August results day, I was shocked to see that I had achieved my offer. My family had been unsure I would get the grades. After all, I had gone into each A-level exam relying solely on my long-term memory, being unable to revise thoroughly.   

You’d think I’d be happy with achieving my offer, but I was still quite ill, and I had not been able to get to the bottom of my abdominal issues. Every day, I would wake up with the same constant ache in my abdomen. This sensation had become so familiar that I worried I would feel like this forever. I couldn’t remember a time where my stomach wasn’t at the forefront of my mind. It was all I could think about. 

This was not how I had imagined I my A-level results day to feel. Although I was somewhat pleased with my grades and went to a party with my friends, I didn’t feel like celebrating. I was extremely anxious about the months ahead in the run-up to starting uni. More than anything, I wanted to get better. I was desperate for the pain to go so I could move on, start uni, and forget about the summer. But I also knew this wasn’t realistic. 

After countless hospital visits, blood tests, and X-rays, I was put on new medication, which only aggravated my symptoms further. Feeling worse than before, towards the end of September 2022, I made the decision to defer my place at Oxford on medical grounds. Deferring my place felt as though a huge weight had been lifted off my shoulders. I had been so worried about starting uni whilst feeling so unwell, and I wasn’t even sure I wanted to come here anymore.

During my impromptu year out, I was still in denial about starting at Oxford. Fundamentally, I didn’t want to study here because I knew how much of a challenge navigating academics with an ongoing illness would be. But I had other concerns too. I wasn’t your typical Oxford applicant. I didn’t achieve a clean sweep of grade 9s at GCSEs, and I hadn’t had aspirations of Oxbridge from age seven. Unlike, seemingly, everyone else, I wasn’t sure Oxford was the place for me. In the time leading up to starting at Oxford, I considered turning down my offer and going to a different university instead. It was only with months of counselling and the encouragement of my family, I realised I should take this opportunity I had been given. I could still remember the excitement I had felt receiving my offer, and I had worked so hard up to that point that it seemed silly to give up now. I had to fulfil my eighteen-year-old self’s dream.

Today, I am still coming to terms with my disability. I have been diagnosed with numerous different conditions which affect my everyday life, and in turn, affect my ability to study. I would be lying if I said I don’t sometimes think about how different my life would be if I were studying somewhere else. But I am trying to take every day at Oxford as it comes, with its opportunities and challenges, because I think I often forget that it is a privilege to study here. Studying at Oxford is a dream which does not materialise for so many people. We are the lucky few. 

Now when I tell people at uni that I took a ‘gap year,’ they always presume I was rejected from Oxbridge, reapplied, and then spent the summer backpacking around Asia. This couldn’t be further from the truth. I spent my gap year processing my diagnosis of a rare immunological condition, MCAS, taking medication to get better, and volunteering at a primary school. It was unconventional, to say the least.

But here I am still. I am now halfway through my degree, and staying in Oxford for my eighteen-year-old self, whose biggest wish came true on the 11th January 2022.

How to Boost Your Instagram Presence as a Student

Instagram has become a crucial platform for students looking to build their personal brand, showcase their work, or stay connected with friends. But with so many accounts flooding the platform, it can be tough to stand out. If you’re hoping to grow your Instagram following, here are some strategies that can help you gain followers and boost your presence.

1. Be Consistent with Your Content

One of the most effective ways to grow your Instagram account is by posting regularly. When you post consistently, you stay visible to your followers, and the algorithm will favor your content. Make sure your posts are high-quality and relevant to your audience’s interests.

2. Engage with Your Audience

It’s not enough to just post content; you also need to interact with your followers. Respond to comments, like and comment on other users’ posts, and participate in conversations. This kind of engagement increases your visibility and encourages others to follow you.

3. Use Hashtags Wisely

Hashtags are one of the easiest ways to expand your reach on Instagram. By using popular or niche hashtags, your posts can appear in front of a wider audience. However, don’t overdo it—stick to a mix of broad and specific hashtags to attract the right followers.

4. Explore Instagram Stories and Reels

Instagram Stories and Reels are great tools for boosting your engagement. These features allow you to post more casual, behind-the-scenes content that makes your account feel more personal. Plus, Instagram’s algorithm loves these features and tends to show them to more people.

5. Growth Services: Are They Worth It?

While organic growth is always the best route, some students opt for growth services to give their accounts a boost. One example is Buzzoid, a service that promises real followers and engagement. However, it’s important to do your research before investing in any growth service. Many services offer quick results but can fail to deliver real, meaningful engagement.

For more on how Buzzoid stacks up, you can check out a detailed review of the service.

6. Be Patient

Finally, remember that building a following takes time. It’s tempting to chase quick results, but growing your Instagram the right way requires consistency, effort, and patience. Don’t be discouraged if the growth feels slow—stick with it, and you’ll see results over time.

Conclusion

Growing your Instagram presence as a student can be a fun and rewarding process. By focusing on creating high-quality content, engaging with your audience, and using tools like hashtags and Stories, you’ll build an authentic following. If you do decide to use growth services, make sure to choose wisely and be cautious about the potential risks.

40 years after the miners’ strike, James Graham’s ‘This House’ still has a lot to offer

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‘Humphrey: ‘If the right people don’t have power, do you know what happens? The wrong people get it. Politicians. Councillors. Ordinary voters.’
Bernard: ‘But aren’t they supposed to, in a democracy?’
Humphrey: ‘This is a British democracy, Bernard!’

Yes, Prime Minister (1988)

A Labour government that doesn’t know where it stands; a populace increasingly wearied from the status quo; a firebrand ready to swoop in from the right and tear up everything we thought we knew. In This House, the Callaghan government of the 1970s faces many of the same uncertainties that characterise British politics 50 years later. However, while the foibles and frailties of Westminster are played out onstage to great effect, James Graham’s real triumph comes in what he leaves unsaid about the last knockings of Old Labour.

The plot is ambitious from the outset. Deputy Chief Whip Walter Harrison (Reece Dinsdale) and his Labour colleagues are tasked with pushing through the government agenda in spite of their parliamentary minority, and the Tory whips have to oppose them. Despite the seemingly simple premise, the arcane, uncodified conventions of British political life generate a remarkable amount of tension. This is helped by Graham’s subversion of the typical perspective on politics. Instead of guiding the course of events, party leaders and Cabinet ministers are no more than pawns for the parliamentary whips, who must maintain cohesion within and between parties at all costs. 

At the very heart of the action is the informal practice of ‘pairing’ – an agreement between the two major parties dictating that ill or absent members from one side are made up for by voluntary absences on the other during any given vote. At the very end of the first act, the Opposition refuses to grant pairs, only relenting when a Labour MP suffers a fatal heart attack mid-speech – the line “Nobody dies in the Palace of Westminster” turning from a hoary politician’s in-joke to a cry of outrage. Even after that, the casualty list nearly lengthens. ‘Doc’ Broughton (Christopher Godwin), dying of bronchitis, has to be talked out of coming down from Yorkshire for the climactic no-confidence vote – and it’s his absence that ultimately forces Labour out of office, after they lose the vote by one.

Perhaps the most incredible thing about this desperation is its basis in fact. John Stonehouse (Andrew Havill) really did fake his own suicide while a sitting MP; Walter Harrison, trapped in the door while entering a committee room, indeed proved decisive in a vote won 22 and ¾ for to 22 against; future Conservative luminary Michael Heseltine (Mathew Pidgeon) did famously swing Parliament’s ceremonial mace at the government benches over a defeat on the Aircraft and Shipbuilding Industries Bill. Integrating all these episodes into one coherent narrative still seems a considerable task for any playwright – but Graham, who has since won two Olivier Awards, is equal to it.

All these individual political skirmishes are set against the backdrop of the collapsing post-war consensus, a period of agreement between the major parties on key social and economic issues. On stage, the growing party divisions are personified by Humphrey Atkins (Julian Wadham), Conservative Chief Whip, and his prophecy that “We are not built for cooperation.”

Of course, it’s not all so smooth. Graham leans heavily into old stereotypes for comedy value: Stuck-up, aristocratic Tories trading barbs with uncouth Labourites, vowel sounds a greater sign of party division than policies. Old hat as it is, though, the script is witty enough to carry the day, in combination with some inventive staging. The warm lighting and sparse set take the audience inside the whips’ offices, and the live band – a pleasant surprise – offers period- and plot-appropriate covers from David Bowie’s Ziggy Stardust album, lending this particular production a slightly surreal element.

The key figure driving this drama, though, is barely even mentioned. Margaret Thatcher’s name only appears at the very end of the play, in a pre-taped radio broadcast; before then, she remains ‘the Lady’, or ‘the Member for Finchley’. After all, she was never supposed to be that close to power – not in the 1975 party leadership contest, where nobody gave her a chance, and “not in her lifetime”, as she said so memorably in a 1973 interview.  In the play as in reality, she begins as a non-entity and ends up an almost totemic figure. 

Her eleven years in power marked the longest tenure of the century. Social conservatism, private industry and a focus on public order replaced the status quo of permissiveness, government spending and workers’ rights – 25 years of convention undone at a stroke. Throughout the play, Harrison and Atkins both prove themselves to be skilled political operators, but even these old stagers are taken by surprise at the new Conservative vision.

Graham’s refusal to identify Thatcher is more than a dramatic conceit, it’s a portent of doom. Her predecessor Ted Heath is referred to by name – Thatcher isn’t, because she doesn’t have to be. For anyone of a similar background to Graham, the scars are still there. A cursory look at male suicide rates in former mining areas, or unemployment figures in those areas left to ‘managed decline’, provides a clear enough picture. It says everything about Thatcherism’s impact on the country that 40 years after the end of the miners’ strike, Graham’s play can build its entire tension around her without saying her name.

James Graham’s This House premiered at the National Theatre from 2012-13, directed by Jeremy Herrin. This performance is available online for a fee.

Protect the organ scholarship, protect Oxford’s traditions

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Should the organ scholarship be abolished? At the time of writing, 23 of the 43 colleges in Oxford offer organ awards. These consist in a mixture of funding, housing privileges, and symbolic perks such as the right to don a scholar’s gown.

It is no secret that those who secure the scholarship are likely to have been educated privately. Partly due to the nature of the instrument, opportunities to learn and master the organ are rare for state-educated pupils in the UK, and the primary use of it in church settings has also meant that students brought up without that background are effectively excluded. Putting these together, it becomes clear that while the award is competitive, it is heavily skewed in the favour of families with wealth and ties to the Christian tradition.

Seen under this light, the organ scholarship predictably attracts the ire of those who preach the gospel of equal opportunity, sincere in their belief that rewards are undeserved until the mechanism for securing them can be reformed to eliminate such biases. If we cannot, for whatever reason, eliminate the biases, then justice requires that we eliminate the award.

One thing to notice about this kind of argument is the way it’s designed to mirror arguments against the more familiar kind of biases that no one would defend, such as biases against people on the basis of their race and gender. The move is rhetorically effective, since no one would think to defend a system that excluded women and ethnic minorities. If the organ scholarship’s exclusion of state-educated pupils is comparable, then nothing short of its abolition would seem to be in order.

Perhaps the most obvious objection to the analogy is the way in which the “bias” in question relates differently to the objective of the relevant contest. Whereas race and gender bear no relation to a person’s ability, those who took advantage of their background to excel at the organ are, by hypothesis, better at playing the organ than others. It is not “bias” for those who are better at the organ to be appointed to the organ scholarship, anymore than it is bias that those who sprint the fastest are given Olympic gold medals for the hundred metre race.

This observation clarifies the nature of the objection raised against organ awards: it is not that those who object to the award are in doubt as to whether organ scholars are indeed good at the organ, but rather that they do not see why being good at the organ should entitle anyone to the benefits associated with the award mentioned at the outset. No doubt hard work goes into acquiring such a skill, it is arbitrary nonetheless that students skilled in this rather random and idiosyncratic way should be able to derive advantages over others because of it.

Once we recognise that this is the sentiment behind the unease some feel towards organ awards, we realise that it is a complaint that no reform can satisfy. This is because there is no principled way of distinguishing between arbitrary and non-arbitrary talents, and not at all clear whether justice will be served when benefits thus derived are redistributed. It is arbitrary that being skilled at kicking balls, for instance, can in our society earn you great money and power and prestige in a footballing career, whereas being skilled at juggling balls — which may have required just as much talent and practice and discipline to develop — condemns you to the fate of a circus clown. It is no less arbitrary, however, to decide therefore to abolish football, or to subsidise jugglers in an effort to mitigate our knee-jerk disquiet.

Perhaps a deeper reason why the organ scholarship in particular is targeted is due to the way it embodies the clerical heritage that gave rise to this university, an awkward reminder of our Christian past that embarrasses those who prefer a secular, cosmopolitan identity for our institutions. Unlike the previous suggestion, reforms in this direction may well succeed, and succeed all too well.

We can well imagine aggressive campaigns to erase those final vestiges of the Christian faith under the guise of progress and fairness. The organ award, which sustains and facilitates the choral tradition, is an obvious target. We may also decide that “Michaelmas” and “Trinity” should really be replaced with “Winter” and “Summer” to keep up with the times. At the far end down this path, we will have succeeded in covering our bases from all charges of cultural bias. We will also, at precisely the moment when this is achieved, have lost the University of Oxford.

Jacinda Ardern to join Oxford’s Blavatnik School of Government

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Former New Zealand Prime Minister Dame Jacinda Ardern will take up a role at Oxford University’s Blavatnik School of Government as a Distinguished Fellow and member of its World Leaders Circle.

The Circle is a global network of former heads of government working to improve governance and pioneer research across the globe. Ardern will join the former UK Prime Minister Rishi Sunak, who announced his involvement with the Blavatnik School in January. 

Ardern was the world’s youngest female head of government when she took office in 2017, aged 37, as New Zealand’s third female Prime Minister. She has focused on various environmental and governance efforts since her resignation in 2023, and was awarded dual fellowships at Harvard’s Kennedy School later that year. 

She has previously worked with the Blavatnik School through the Christchurch Call – a political summit initiated by Ardern alongside French President Emmanuel Macron to eliminate terrorist and violent content online.

Ardern wrote on Instagram this morning: “Really excited to be joining Oxford University’s Blavatnik School of Government World Leaders Circle. Oxford has created this bipartisan network of leaders to share lessons learned, and contribute to thinking around the deep challenges we face as a global community. 

“Joining this group will not only provide an opportunity to strengthen these connections, it will give me a chance to work alongside a new generation of leaders – students from over 60 different countries – interested in enhancing governance through empathetic leadership.”

Dean of the Blavatnik School, Professor Ngaire Woods, added: “We are delighted to welcome Jacinda Ardern to the Blavatnik School as a Distinguished Fellow and member of our World Leaders Circle. Her leadership in times of crisis, commitment to public service, and deep understanding of governance will bring invaluable insights to our global community.”

Ardern will visit Oxford in June of this year to give a talk at the Sheldonian Theatre, in conjunction with the release of her memoir, A Different Kind of Power.

Waterstones to relocate from Broad Street site 

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Waterstones’ Oxford branch on Broad Street is set to close this summer and relocate to new premises on Queen Street. The new store will occupy a space beside Halifax on Queen Street, which has been vacant since Topshop closed its doors in 2021.

The book store’s current site is William Baker House, a Grade II-listed five-storey building on the corner of Broad Street and Cornmarket Street. Scaffolding appeared around Waterstones in February 2025 when, according to staff, roof repairs were being conducted.

A Waterstones spokeswoman told the Oxford Mail: “We are delighted to announce the upcoming opening of an exciting and large new Waterstones shop in the heart of the city on Oxford’s Queen Street, the biggest new Waterstones shop to open for some years. Occupying the former Topshop space, in the busy shopping district near Marks & Spencer, the new shop will be situated across the basement and ground floor of the building. 

“The generous, bright and easy to navigate space will allow for increased space and a larger range of books and gifts for customers to browse. The shop will also have a café, perfect for a break whilst choosing the next perfect read.” 

The news has received a mixed reaction from Oxford students. One undergraduate told Cherwell: “I understand why they [Waterstones] did it [moved the location] but I like the current Waterstones: it is in an historic building, the cafe gives a high view of George Street and the hills in the distance, and it’s convenient having it on the opposite end of the road from Blackwells.” 

Another student told Cherwell: “It’s a bit of a trek to Queen Street from Broad Street so I think this will make Waterstones less accessible for students on the other side of Oxford.” 

Waterstones, a chain which also owns Blackwell’s and Foyles bookshop stores, has 311 outlets across the UK, and in Oxford it has occupied the site at William Baker House since 1998. 

Persuading the public: The play as propaganda

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The play as propaganda has a long history. From the regime-affirming productions of Hieron, tyrant King of Syracuse, to Lucy Prebble’s play The Effect, we can understand that theatre has consistently been used throughout history to promote ideologies and propound beliefs. In the case of Hieron, he was attempting to promote cultural unity over conquered peoples. Prebble, somewhat less tyrannically, aimed to provoke thought over medical ethics. However, from these examples a question immediately arises: What exactly defines a play as a piece of propaganda?

The term propaganda often evokes connotations of tyrannical government, press censorship and blatant political messaging. These ideas are clearly represented in some works focused on specific regimes. For example, after Mao’s revolution many propagandist plays were performed, such as The White-Haired Girl, which criticised exploitative landlord classes, and Dragon Beard Ditch in which communists save the characters from neglectful and corrupt government officials. However, this kind of propaganda was rarely effective. The idealisation of the communist government was immediately recognised as just that, an idealisation, unrelated to and unappreciative of the real problems people faced. 

The actual definition of propaganda according to Oxford Languages is ‘information, especially of a biased or misleading nature, used to promote a political cause or point of view’. This definition complicates matters somewhat. Take Nazi Germany’s emphasis on staging the German ‘greats’. Repeat performances of Kleist’s Prince of Homberg, Beethoven’s Egmont and Mozart’s Don Giovanni filled stages across the Third Reich. However, these plays and operas are not in themselves ‘biased’ or ‘misleading’ nor do they promote the Nazi ‘political cause’. Could the case therefore be made that this was not propaganda? Probably, but perhaps not very well. The key lies in the term ‘repeat’. The constant staging of the classics of German theatre, and only German theatre, meant there was an emphasis being placed on the ‘greatness’ and ‘superiority’ of German culture throughout history. The frequency of these performances was the Nazis’ attempt to prove the truth of their Aryan ideology and consequently it amounted  to propaganda. Similarly, in Fascist Italy plays tended not to be overtly propagandist. Instead, theatre generally emphasised classical Roman themes as a way of demonstrating the greatness of Italian culture and previous Roman imperial ambition. It is noticeable both the Nazi and Fascist regimes did not use overtly propagandist plays to support their message. Rather the careful selection of plays which promoted patriotic sentiments and the context in which they were performed led to a more subtle political manipulation, encouraging citizens to buy into the political ideology of the governments.  

We have seen how plays can be overtly propagandist and contextually propagandist. However, plays can also be shaped and re-interpreted to support certain political messages. In Laurence Olivier’s 1944 adaptation of Henry V, Olivier cut key scenes from the play such as the beheading of Richard of Conisburgh, Henry Scrope and Sir Thomas Grey; Henry’s threat to rape Harfleur; and the massacre of French prisoners at Agincourt. Each of these scenes cast doubt upon Henry’s honour and nobility, which Olivier did not wish his performance, dedicated to ’the Commandos and Airborne Troops of Great Britain’, to reflect. Instead, Olivier stuck to a portrayal of Henry as noble, virtuous and valorous, idealising the warrior and supporting the war effort. Plays, therefore, can be manipulated by interpretation to hint at certain messages, messages which their authors may never have intended.

Returning once more to the original definition of propaganda, it is interesting that there is no reference to government. Could it therefore be argued that individual playwrights produce propaganda plays, supporting their own political beliefs? Arthur Miller’s The Crucible, ostensibly about the 1692 Salem witch hunt, is in fact a stunning indictment of the McCarthy trials. This fits within the definition of the propaganda play. Miller presents his own political views through the allegory of the Salem Witch trials in a biased light, never considering alternative views about the Second Red Scare. But why was this propaganda play successful, when so many other overtly political plays failed? One reason is its allegorical nature. The political messages aren’t being shouted in the audience’s face. For a play to be effective propaganda the audience members cannot be saying “oh another propaganda play”, there needs to be subtlety. However, perhaps the main reason, the reason which makes all successful propaganda plays, is that the play tapped into the ongoing fears and anxieties surrounding the McCarthy trials. It voiced concerns which people felt but were too afraid to express. The play not only allowed audiences to feel connected to the thoughts and ideas of the characters on stage, but also to each other. 

Theatre and propaganda have gone hand in hand for millennia, although with varying degrees of success. The most successful propaganda plays are both subtle and relatable. They must reflect ongoing anxieties and problems faced by their community, creating a shared sense of “yes, I feel that too” across the audience. When used in this way, plays have the power to inspire people, showing them they’re not alone in their beliefs and empowering them to stand up and fight.