Thursday 26th June 2025
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Interview: Iain Dale

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Iain Dale is affable and easy to talk to. He seems to have the ability, which every good radio talk show host needs, of appearing knowledgeable about any subject. Dale made his name with the blog Iain Dale’s Diary, started in 2002. As a political commentator he has written for almost every publication you can imagine, including The Daily Telegraph, The Guardian, The Independent, The Spectator and The New Statesman — not to mention founding the magazine Total Politics. Now, amongst other things, he presents Drive on LBC 97.3 radio, which involves him broadcasting every weekday for four hours.

Having spent so much time writing and talking about Westminster, I begin by asking him his view on our current set of politicians. “I think my view has changed since I’ve become a radio broadcaster because although I can be opinionated in what I do, I’ve started to see politics how other people see politics. Certainly, when I listen to what a load of my listeners say, they think that all politicians are the same.”

It quickly becomes clear Dale sees this as a pressing issue and is particularly concerned by the increasing lack of real life experience in Parliament. “For whatever reason the parties keep picking apparatchik candidates and then promoting them very quickly through the ranks to become ministers and shadow ministers. Now, that’s easily solvable in some ways, but none of the parties actually show any inclination of wanting to solve it.” Instead, what he insists Parliament needs is people with a record of achievement.

Dale is intimately aware of these problems, having tried running for Parliament himself. He unsuccessfully contested the seat of Norfolk North for the Conservatives, at the 2005 general election. Interestingly, Dale was the first Conservative Candidate to have told the selection committee he was gay before he was selected. Reflecting on this, Dale says, “I remember after I got selected, in the autumn of 2003. I was at the Conservative conference and this young guy came up to me, it turned out he was from Oxford actually, and he said, ‘I want to thank you’ and I looked at him rather quizzically and said, ‘Well, why? I don’t know you.’ And he said, ‘What you’ve just done has made it easier for the rest of us.’ I thought, well, if I don’t actually achieve anything in politics in my life, I can think that this is something I did do, which probably paved the way for other people.” In 2010, however, Dale decided to resign from the Conservative Party candidates list and not to stand in any future elections.

Dale is an outsider to the Oxbridge elite in a profession dominated by it. He obtained a degree in German, Linguistics, and Teaching English as a Foreign Language from the University of East Anglia in 1985. When I ask whether he ever wanted to go to Oxford, his answer is a swift “no”. He says that part of the reason was he felt he would be out of place at the time.

Talking about his interaction with graduates of Oxford, he says, “People who have been to Oxford or Cambridge have a certain confidence about them — a certain element. It’s indefinable — you can almost always tell when someone’s been to Oxford or Cambridge.”

He recounts attending an interview for a job to work at the BBC’s translation unit in Caversham. “I thought I’d done absolutely fantastically and I got turned down. There may have been other reasons, but it seemed to me then I didn’t have the right background to be there. I still think it’s a little bit the same now at organisations like the BBC. If you’ve been to Oxford or Cambridge you still have an advantage over everyone else.”

Despite these setbacks Dale has ended up having a successful career as a political commentator. His interview style is quite different from many others in the media. He manages to ask pertinent questions without being aggressive and, even more unusually, allows politicians to develop their ideas at length. “I don’t believe that by shouting at politicians, that you get any answers out of them. Jeremy Paxman is a fantastic journalist, but he is only sometimes a great interviewer. There are too many interviewers who go into interviews with the intention of having a row. I can honestly say, I don’t think I’ve ever done. I believe if you treat an interview at least in part as a conversation, you’re more likely to get something out of them.” This is an approach, which has so far proved quite successful for Dale, although he concedes that he does think he should press politicians more.

For a man whose life has been so dominated by Westminster, Dale’s interests are moving beyond politics. His show focuses on many topics other than parliamentary politics, with callers phoning in to talk about issues from mental health to male attitudes to rape. He explains his shift in style since he started working at LBC in 2010. “I thought all I’d be doing was politics, but now I find I actually really enjoy these sort of emotional phone-ins. If you had told me that three years ago, I would have laughed. It wasn’t something I knew anything about, it wasn’t even something I was interested in.” Nevertheless, he notes that the shift has been successful. “Now we’ve been nominated for awards for what we do. So I often get more enjoyment out of that than I do the politics.”

Review: American Hustle

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★★★★☆

Four Stars

Christian Bale’s orb-like belly and elaborate comb-over have become an iconic part of American Hustle. Bale’s commitment to modifying his body for screen rolesis well known and in this film he stands out in a story that places huge emphasis on the physicality of its characters. Through the eyes of Bale’s simian con-man Irving Rosenfeld, we watch an FBI operation to sting New Jersey’s benevolent mayor Carmine Polito (Jeremy Renner) veer from one disaster to another.

The film is studded with performances that remind us that we’re really watching a comedy. Bradley Cooper’s Richie DiMaso, the FBI agent who brings in Rosenfeld to take down Polito, is a character that gloriously pricks Hollywood’s ‘rookie’ cliché. His swaggering often tips into neurosis, joining Rosenfeld’s partner and mistress Sydney Prosser (Amy Adams) in a rollercoaster of building and spent tensions.

Jennifer Lawrence gives an Oscar-worthy performance as Irving’s wife Rosalyn, breathing new life into a potentially tired role as a con-man’s hair-in-rollers spouse. Roselyn’s conceit is a real strength of the film, and Lawrence drives it home with panache. Louis C.K. plays DiMaso’s befuddled mentor, and meetings between the two should be taken as lessons in deadpan.

American Hustle takes place in late ’70s New Jersey. It’s about con men, but devoid of any Oceans glamour and pumped full of the burger-vendor grime that defined the era. Depicting the 1970s can preoccupy directors telling a story set at that time: Tomas Alfredson claimed it was his mission to infuse the smell of damp tweed into Tinker Tailor Soldier Spy, set in Edward Heath’s Britain.

Tinker Tailor was almost too sweaty, though; there were only so many times I could watch Gary Oldman discuss national security through steamed-up glasses whilst sipping murky whiskies. Russell vividly paints us the garish, post-Vietnam Garden State, full of melting snow and faulty electrical goods.

Director David O. Russell subverts this genre well because his cast depict the stress of being on both sides of the law so vividly. It’s a subversion of the ‘American hustle’ genre that makes American Hustle, the film’s title, seems so deviously self-conscious after viewing — a successful comedy. Imagining how complex and stressful conning congressmen must be is funny, particularly when watching a film billed as a glitzy look at Carter-era fraudstering.

A recent Guardian article claimed that Sean Connery’s James Bond drank something like ninety units a day in From Russia with Love, but Russell might claim that you’d need at least that to get through the business of taking on the KGB. American Hustle should be commended for taking a step back to contemplate the paranoia, despair and monumental highs of being a con artist. This makes the film not only an effective satire of Catch Me If You Can and the like, but really any film featuring unrealistically smooth protagonists. Smooth is one thing the characters ain’t in this film, and quite rightly so.

Review: The Curious Incident of the Dog in the Night-time

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The Curious Incident of the Apollo roof tumbling down at the end of December brought media attention to Marianne Elliot’s production of Mark Haddon’s best-seller for all the wrong reasons. Fortunate enough to experience this slick West-end production a week before the disaster, I was struck by the incredible attention to detail which saw the seats with prime numbers (the protagonist’s mathematical love) accentuated with white seat-covers and his outfits consistent with his colour preferences (red, never brown.) Shame, then, that the £1-a-head ‘restoration’ levy for the theatre was not put to better use.

 It is undoubtedly challenging to stage a novel which provides a touching insight into an autistic boy’s confusion as he investigates a murdered dog, but this production allows the audience to appreciate Christopher’s misunderstanding without losing sympathy. Tackled by Luke Treadaway, who never leaves the stage, with impressive stamina, the performance is convincing and the humour frequent.The decision to use Christopher’s teacher as the narrator verges on the patronising at times, although also allows the adaption to be pleasingly loyal to the novel.

From deafening white noise when characters accidentally touch Christopher, to coloured stage blocks which multi-role as ovens, seats and even suitcases, the technologies and staging used are bold and relentlessly different. Although regular black-outs and bright lights create the assault on the senses that the protagonist faces, some of these innovations feel dramatic for their own sake. This is a shame, when so much of the production is praiseworthy.

Nothing detracted from the phenomenal quality of acting. Christopher’s parents were particularly commendable, providing moving and believable portrayals of the frustrations and complications of raising any child. The supporting cast, too, were impressive, remaining anonymous when being props for Christopher but bursting into life during snippets of dialogue. Treadaway is a strong lead throughout, although seems to ease into the character more in the second half: by his triumphant final explanation of his A Level Maths question as an unconventional encore, Treadaway is positively vibrant.

Lucky enough to get 4 front row seats on the day for only £12 apiece, the experience was certainly excellent value for money. Largely deserving of its 7 Olivier Awards in 2013, including Best Play, this production is undoubtedly worth a visit. I hope to see the Apollo theatre reopening this month to continue to treat audiences to this hilarious yet poignant production.

Interview: Toby Huelin

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Toby Huelin has genius hair and a musical laugh; deep, infectious, with an accompanying shoulder shake. Originally from the Isle of Jersey, Toby emmanates up-and-coming musician in his appearance. His pre-Oxford years were filled writing songs and incidental music for other theatre projects (including a rock opera version of Orwell’s Animal Farm) alongside musical directing and keyboard performances in various local theatre productions.

Now a third year music student at St Anne’s, Toby is best known around Oxford for co-writing A Theory of Justice: The Musical. The show centers around the philosopher John Rawls, who, during a search for writing material, journeys back in time to court Fairness, dodge Robert Nozick’s evil plans and converse with a canonical selection of philosophers from Plato to Mill. This production, which ostensibly presented philosophical theory in an accessible form was hugely successful in Oxford and at the Edinburgh Fringe last year. Its success has resulted in attention from acting troupes internationally who are interested in taking A Theory of Justice abroad.

Toby listens to “so much music” that his compositional pieces are an indistinguishable milieu of them all. He’s not fussy about genre and would be happy to spend his future career writing anything, as long as it’s “composition in some form”, from musical theatre to popsongs, or music for television or the concert hall. However, his favorite figures from musical theatre include Jason Robert Brown, Andrew Lloyd Webber (he’s a particular fan of Jesus Christ Superstar) and Richard Taylor to a range of modern music, One Direction included.

However, Toby mentions this “pop” taste features little in his new production. Putting aside his array of musical talent and interest, I sat down to delve into something more specific, Toby’s next theatrical project, In Her Eyes. Rather than building on the success of Theory of Justice, this new production is going in the opposite direction: “I love challenging myself to write something different”, Toby explains. In Her Eyes, or IHE, is a story about “Isolation and truth, rumors and gossip”. In terms of subject matter at least, IHE stands out from the current musical scene, as “not a “jazz-hands” musical” but something “much more thoughtprovoking”. Not your conventional musical,the composition of In Her Eyes followed on from a discussion with Huelin’s family about “a similar situation”. Written in just two weeks, Huelin composes ‘very intensely for a short period of time, rather than writing a little bit of music each day’.

I want to know if he he prioritises plot, lyrics or music. For In Her Eyes, Toby explains, “Lucy Fielding [his co-writer and girlfriend] and I figured out the plot together, and then I wrote both music and lyrics in tandem, rather than writing one then the other, which seems to be a more standard way of working. I always write on the computer with a piano nearby!” But it’s different everytime, Toby explains; he isn’t one of those writers with an established creative process. Oxford will host the second performance of IHE, which was originally performed last summer in Toby’s home town, Jersey. Nevertheless, Toby is looking forward to performing to a larger audience.

The plot of In Her Eyes is a modern love story that explores the destructive dynamics of obsessive love; Freddie, a seventeen year-old girl, falls for an older boy, Jamie. Jamie is never seen by the audience, which means we will have to glean his actions and characteristics from other characters’ reportage. This allows an intentional ambiguity within the script that, as Toby informs me, will allow us to form our own opinion of their relationship. Take one of your more laid-back friends along to see In Her Eyes with you, or be preparared for the heated debates that scuch a production must surely result in.

If you were interested in developing a taste in musical theatre, this term seems to be the term for it. Toby adds that Hilary 2014 “is very exciting for musical theatre in Oxford, with at least one show every fortnight. In Her Eyes is the first, and is something very different.” In Her Eyes will be performed at the Burton Taylor Studio in 2nd week at 9:30pm (running time 60 mins). Tickets are available from www. oxfordplayhouse.com or www.IHEmusical.com.

Treasury debates scrapping student fund

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Speculation that the Treasury plans to scrapthe £327 million Student Opportunities Fundhas been met with condemnation by Oxford students.

Although no decision has been reached as to whether or not the fund will be cut, it is expected that David Cameron, George Osborne, Nick Clegg and Danny Alexander will push forsubstantial reductions or even cutting thefund altogether, after the Treasury and the Department for Business, Innovation and Skills (BIS) failed to come to an agreement earlier thisweek. The fund is currently used by universities across the country to improve access and success rates for students from disadvantaged backgrounds.

Andrew Smith, MP for Oxford East, was one ofthe first to speak out against the possibility of cuts in Parliament on Wednesday. He said,“This torpedoes the government’s claimed commitment to social mobility throughhigher education,” he said. “Many universities run fantastic outreach programmes, but these cuts to the Student Opportunity Fundwill mean universities will not be able to afford the staff and other costs to make these aseffective as they need to be. 

A number of students also expressed their anger at the Treasury’s potential plans. OULC chair Dan Turner condemned the proposed cuts: “It’s difficult to see how these cuts will do anything other than damage university efforts to encourage those from worse-off backgrounds to apply for university.

Worse, it will disproportionately affect those collegeswhich make the most effort to recruit disadvantaged students. The whole policy creates perverse incentives and will set back social mobility in higher education across thecountry.”

Jane Cahill, former Queen’s JCR President, also condemned the move. She commented, “Student-led access work is drastically under-funded and under-resourced, despite being the most effective.”

“The students working at Target Schools need better support so they can get away from spreadsheets and emails and engage with students. I don’t see how the student union could fight for that if the university as a whole experiences a cut. Raising tuition fees at the same time as cutting access budgets is just about as regressive an HE strategy as you could hope for.”

As the coalition partners began their debate, OUSU launched a Twitter campaign to garner support for the action against the proposed cuts, calling on Nicola Blackwood to“#SaveStudentOpportunities and protect access funding!”

OUSU President Tom Rutland told Cherwell, “The government must not renege on its promise to ensure fair access to universities by further cutting the money dedicated to this area.”

He went on to point out that Oxford’s allocation of the Student Opportunities Fund is significant. “Here in Oxford, the £600,000 ofStudent Opportunities Fund money goes towards the widening participation work that the University does in the local community to encourage application to universities, as well as supporting disabled students.”

Oxford University is waiting for a government decision to confirm their position on the matter and clarify what action they might take if the fund is cut. A spokesperson said, “We cannot speculate on any effects this may have on the University before details are confirmed. We are naturally concerned about the impact of any cuts that may affect our ability to support students and encourag ewidening participation, and we will be following the issue closely.”

Missing Bean needs major hygiene improvements, says FSA

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The Missing Bean, the popular coffee shop on Turl Street, has received a food hygiene rating calling for “major improvements” from the Food Standards Agency.

The food hygiene rating is a system managed by the Food Standards Agency (FSA), a government body which awards ratings out of five for “standards of food hygiene found on the date of inspection”. It indicates that any organisations receiving a rating of two or fewer require improvement: The Missing Bean received one out of five. The inspection took place in November 2013.

When asked by Cherwell, the FSA commented that a rating of one out of five would be awarded for a wide range of problems, from “evidence of widespread pest infestation” to “inadequate temperature control for high-risk foods. ”

However, The Missing Bean stressed that its problems were of a different nature. According to the owner, “the rating of one star is because of the state of the building and doesn’t concern the food side.” 

The coffee shop also noted that improvements, such as fixing the walls in the basement, have been made since the inspection, and claims that the FSA, “has said that once [they]have made the changes it can guarantee a four or five star rating.”

The FSA is a non-ministerial government body which was established in 2001 to protect public health. It rates every company selling food in England, Wales and Northern Ireland.

Student reaction to the FSA’s report on The Missing Bean has been mixed. One frequenter of The Bean expressed disapproval, commenting, “Frankly I’m disturbed – I visit The Bean regularly and I’ve always thought that it was clean and hygienic, but I don’t think I’ll be going as often until it improves.”

Yet despite some concerns, many students were less worried. Unfazed by the FSA’s verdict, one Pembroke third year observed that, “the best coffee comes from digested animal waste… so long as their coffee continues to be delicious, I wouldn’t care if they were cycling it through their own digestive tracts.”

Thomas Cranshaw, a Lincoln medic, expressed his surprise at the rating. He said, “I’ve always found the Bean to be clean and hygienic. I’ve never had any problems with any of my food from there, nor heard of anyone else getting ill… It’d be good if they improved it but this won’t be altering my Beaning habits.”

Oxford has a large number of institutions that score poorly with the FSA. According to its website,132 businesses in Oxford City have a rating of two or less, meaning that over one in ten food vendors have been told to improve hygiene standards.

In the last year, other organisations given a rating of one out of five included Oxford Rendezvous, the Organic Deli, and Freud’s in Jericho.

Arzoo was given a rating of zero, meaning “urgent improvement necessary” in a report from October 2012.

Student banned from college after flamethrower incident

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**See a video interview with Inigo**

Christ Church second-year Inigo Lapwood has been banned from entering Christ Church until the beginning of the next academic year – except when attending tutorials. The ban was issued after he used a home-made flamethrower at a college party at the end of Michaelmas.

The second year also made headlines this year for choosing to live in a houseboat. Due to his unconventional living circumstances, the ban will present a challenge to Lapwood, as it will remove access to the sanitation available in college that he had been reliant on. Despite this, he remained upbeat about the potential consequences of his punishment.

He told Cherwell, “I feel this ban may actually help my degree. It is an important and popularfact that all the best philosophers have bitching beards. I currently have neither a shower norworking sink in my accommodation, and was relying on college for basic hygiene. I now lack the ability to either shower or shave, and can onlyassume this will lead to a marked improvement in my collections results.”

Lapwood seemed remarkably grateful to have got off so lightly for his pyrotechnic mischief. Early reactions from the police suggested that he could face criminal charges, but Lapwood said the authorities need not worry. He commented, “I don’t think I pose a continued safety risk to other members of college, but the ban is more punitive than protective. I don’t really mind this: I’ve since been informed that if it is classified as a flamethrower then it’s illegal under the Geneva Convention. Given that I’m not currently standing trial for war crimes (simply for the sake of a pun), pretty much any punishment seems contextually lenient.”

Lapwood had built the weapon using parts from a nail gun, a diesel engine glow plug and a canister of butane gas in what a Univ third year called “Blue Peter-grade arms manufacturing.” The flamethrower was complemented by a similarly handcrafted cardboard cut-out of a space invader, which completed his ‘Arcade Fire’ costume.

Otamere Guobadia, a second-year and self-described “inappropriate fancy dress enthusiast” said, “I think we should be celebrating Lapwood’s dedication to extreme, guerrilla physical comedy. As far as costumes go, he’s set the bar for college parties and bops all across Oxford, and has revived a fancy-dress scene that is otherwise plagued by Primark onesies and half-hearted face paint. He is so committed to levity that he was willing to endanger people’s lives, not least his own. I think such determination is laudable in any field, and I will be attempting to trend the hashtag #prayforInigo. you should do the same.”

Review: The Curious Incident of the Dog in the Night-Time

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The Curious Incident of the Apollo roof tumbling down in December brought media attention to Marianne Elliot’s production of Mark Haddon’s best-seller, but for all the wrong reasons. Fortunate enough to experience this slick West-end production a week before the disaster, I was struck by the incredible attention to detail which saw the seats with prime numbers (the protagonist’s mathematical love) accentuated with white seat-covers. Shame, then, that the £1-a-head ‘restoration’ levy for the theatre was not put to better use.

It is undoubtedly challenging to stage a novel which provides a touching insight into an autistic boy’s confusion as he investigates a murdered dog, but this production allows the audience to appreciate Christopher’s misunderstanding with sympathy. Tackled by Luke Treadaway, who never leaves the stage in an impressive display of stamina, the performance is convincing and the humour frequent.

From deafening white noise when characters accidentally touch Christopher, to coloured stage blocks which function variously as ovens, seats and suitcases, the technologies and staging are bold and relentlessly different. Regular black-outs and bright lights recreate the assault on the senses that the protagonist faces, though some of these innovations feel dramatic for their own sake.

However, none of the pyrotechnics or potential gimmicks detracted from the phenomenal quality of acting. Christopher’s parents were commendable, providing moving portrayals of the frustrations and complications of raising any child, but in particular one with autism. The supporting cast were also impressive. Treadaway is a strong lead throughout, although eases into character more in the second half: by his triumphant explanation of a Maths question as an unconventional encore, Treadaway is positively vibrant. Deserving of its seven Olivier Awards, I hope to see the Apollo theatre reopening this month to continue this hilarious yet poignant production.

Tom Mendelsohn on drinking societies and the media

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It isn’t about the drinking, you know; lord knows we’re all entitled to drink what we like. It isn’t about societies, either, and it isn’t even that drinking societies are bad, in themselves. I was in one myself, and it was daft and fun and harmless.

The problem, really, comes when they’re not harmless, when some bright spark floats the notion of spiking women’s drinks on a crew date, or when Conservative society decides dressing its women up as animals for a “fox hunt” social.

I just can’t help but feel that anger with the press for shining a light on, say, rugby players dressed as savages for an off-colour bop, or white folks in blackface in general, or people dressed as the exploding Twin Towers, for fuck’s sake, is particularly well placed. Blacking up, it should not need to be said, is not banterous, it’s a hurtful, overtly racist means of belittling a whole group of people for the colour of their skin. Describing women as “FREE PUSSY” and seeing them as nothing more than quarry to be hunted is equally unacceptable, and when this stuff happens, you can be damn sure it counts as news.

To be clear, I do not report on every last speck of ill behaviour I hear about; “shitfaced lax team projectile vomits across curryhouse toilet” is not news. You are vastly welcome, as far as I’m concerned, to get as battered as you like and indulge in as much naked windmilling as you physically can without the thing falling off, and you’ll never see me publish so much as a frowny-faced emoticon on the matter. But if you’ve gotten arseholed and disrupted A&E en masse in Cambridge, people are going to want to hear about it.

I admit that Oxford does get more than its fair share of press. I’ll tell you why: you are the elite, socially and academically, and people care about you and your misdemeanours. Why do you think the boat race has a viewership in the tens of millions? I guarantee it is not because Britain at large harbours a secret love of rowing. So if you misbehave on an egregious level – which of course practically none of you ever do – it will be read about.

There’s this feeling that Oxbridge somehow gets a negative rap in a media totally stuffed with alumni. If anything, I would contend that it gets a positive ride verging on the hagiographic, and that truly negative articles are noteworthy entirely by their rarity.

But it isn’t just you guys up to no good. There are drinking societies acting the twat up and down the land, from Stirling to Aberystwyth. Hell, when the Cambridge Wyverns were told they could no longer invite (intelligent, autonomous) women to jelly-wrestle in their pants, they invited them instead to ride a big pink bucking penis.

On a personal level I always found the whiff of class that pervaded most Oxford drinking societies to be more obnoxious, with their black ties and their black-balling. But my distaste for the likes of Grid and Piers Gav is better understood through a prism of economics, and the way Oxford’s posh boy boozing jamborees illustrate Oxford’s posh boy problem in general. That, though, isn’t news.

Drinking societies: a class distinction

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Unless you’ve spent most of your undergraduate life so far in a state of eremitism, someone will have presented you with an account of an all-male Oxford drinking society sexually objectifying, or even preying upon, a group of women. Drawing up fit lists; assuming guests to their events will end up ‘in bed with’ them; inviting female students to be ‘hunted’. That behaviour so belittling, entitled, and sometimes sinisterly predatory has not been suffered gladly and has in the last few years brought under fire such societies as the Black Cygnets of St Hugh’s, the Syndicate at Teddy Hall, and Hertford’s Penguin Club bodes well for Oxford’s development towards a less intimidating social landscape. What bodes less well, however, is that the criticism levelled at these institutions and others of their ilk is largely limited in scope to their treatment of women, occasionally extending to their proclivity to smash up restaurants, leave trails of glass in their wake, and decorate second quads with vomit. Of course, with their readily identifiable victims and their palpable consequences, these are the transgressions of Oxford’s drinking societies which make the easiest, and in some ways the most urgent, matters of discussion. However, if we are committed to confronting the quietly pervasive feelings of inadequacy and isolation that haunt so many of the university’s less privileged students as well as dealing with the ubiquitous spectre of misogyny, the discussion can’t end there. We have to address a number of other problems with Oxford’s drinking society culture.

Foremost amongst these is the way that drinking societies promote, by the very fact of their existence, the idea that some people’s company is so undesirable that barriers must be erected in order to ward it off and an association with them so objectionable that it must be denied. I know that sounds like a very ungenerous interpretation of drinking society culture and I don’t believe that many (if any) of its participants consciously set out to deliver to other students the message that they are ‘undesirables’ but considering the facts for a moment, I think it is clear that it is something they absolutely do. Now, there are some contexts in which our social interaction with others must be in some way circumscribed and formalised. A football competition is one such context. A boozy meal or night in Bridge is not. The nature of your activity is not emptied of its meaning if one or two more people decide to join you, as would be the case if two more players took to one side of the football pitch. The activity you are engaged in does not depend on all participants remaining recognisable as members of a named social constellation, as is the case in a football tournament. Alcohol-fuelled inter-year or inter-collegiate bonding is not enabled only by the formalisation of a social grouping and the close controlling of its boundaries. Thus where such formalisation has occurred, it is difficult to understand what the motivation behind it could be if not a deep disinclination to mix with, or even to be categorised alongside, anyone outside the select coterie in question. Even in the many cases where those who are excluded have no real desire to mix with the members of the self-proclaimed society, these clear, public signs that they would not be welcome to do so can still prove hurtful.

But it is not only over this essential fault that most of our drinking societies should be challenged: a high proportion of Oxford’ effective private members’ clubs must be called out for their gleeful flaunting of privilege. What makes that longstanding rumour about Bullingdon boys burning fifties in front of the homeless so believable is the fact that they, alongside members of most of the city’s other drinking clubs, can be seen burning their money on so many other occasions. Sometimes through excessive consumption (apparently the raison d’être of the Piers Gaveston society), sometimes through wanton destruction. Always in very bad taste. Because while it is easy to see, when you think about it rationally, that it is the individuals who put on these displays of luxury who are further out of step with most of Oxford, that does not stop those of us from working class backgrounds feeling, when another tale of their excesses hits the rumour mill, that old fear that Oxford is a place for the rich: a playground of privilege in which we are quite alone. And the fear is coupled with an increasingly strong sense of dissatisfaction with your own lot. Both this dissatisfaction and the sense of not belonging are reinforced, of course, by the way that a number of drinking societies not only flaunt them but treat those inherited comforts of wealth and social prominence as the ultimate indices of a person’s worth, indulging in a practice (unprovable but very real) of shortlisting candidates for each new intake based primarily, if not exclusively, on the schools they went to and the people they holiday with. Such a modus operandi, when it is observed in action enough times, goes a step further than making working-class students aware of their relative position on a socio-economic spectrum: it leaves them embarrassed by it. If you are shown repeatedly that only being rich and well-connected makes you socially desirable, eventually you start to believe it. Because their ways reinforce, and sometimes even inculcate, this sense of embarrassment, alongside feelings of dissatisfaction, isolation and rejection, Oxford’s drinking societies – even when they seem to be on their best behaviour – represent a dark blot on the university’s social landscape.