Saturday, May 3, 2025
Blog Page 223

First students facing £150 trashing fines

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As the finalists start finishing and prelims approach, Cherwell can report that University staff working for the Proctor’s Office are actively attempting to catch students trashing in University parks, and issuing them fines. In a comment to Cherwell, the University confirmed that three students had received such fines. A student who spoke to Cherwell was fined £150 from University Proctors in the parks of infringing regulation 3.3(1), despite the student claiming that they did not partake in any trashing. 

The incident took place on the 6th May, when the Medicine students were celebrating the end of their examinations by trashing. Employees of the University tasked with maintaining discipline were spotted roaming the parks, looking for students to catch red-handed. Students engaged in a game of cat-and-mouse, attempting to follow a University tradition whilst avoiding the hefty fines now attached.  

The student who spoke to Cherwell claimed that they were merely caught up in the chase, and were not even participating in trashing. Speaking to the publication, they said that they ‘poured roughly a tablespoon of lubricant on a friend’s head as we were leaving the park. I then put the packet of lubricant back in my pocket, before I was confronted by five proctor officers. One officer asked me to show him the packer, so retrieving it from my pocket, I handed it to him. He then proceeded to throw it on the ground behind him, and issue me the £150 fine’. 

The proctors issued the fine in accordance to regulation 3.3(1), that states that ‘no student member shall, in any place or thoroughfare to which members of the general public have access within six miles of Carfax, throw, pour, spray, apply or use any thing or substance in a way which is intended, or is likely, (a) to cause injury to any person, or (b) to cause damage to, or defacement or destruction of, any property, or to cause litter’. 

The student paid the fine on the 19 May along with a request to appeal the fine stating, ‘I did not however, as I explained to him, cause injury to anyone, damage any property (as the water-based lube was on his hair and washes out instantly), or litter’. The student claims that their actions did ‘not satisfy’ any of the criteria listed above. Therefore, the student believes that they should ‘not face a punishment’ and that the ‘fine should be reimbursed’ to them. 

The student fined for trashing was in University Parks where many other students were being trashed as it was the day on which many medical students finished their exams. The student notes that many of these students avoided fines by ‘sprinting past’ officers who ‘seemed aggravated’ at their actions. 

Whilst the student requested an appeal as they claimed that they were not intending to do any actions listed in the clause, the appeal was refused. The student claimed that ‘the officer had littered in front of me’. However, in the rejection of the appeal the University told the student that the behaviour was ‘likely to cause litter’.  

Exam season brings the return of the tradition dating back to the 1980s. Senior Proctor Professor Jane Mellor previously said to Cherwell that ‘throwing food and other materials in exam celebrations is wasteful and disrespectful. We know that our students are committed to sustainability and urge them to extend this to their exam celebrations this year’.

Whilst the practice has been officially banned for a few years already, it was reported by Cherwell earlier this year of the University’s now planned to enforce fines for students engaged in ‘trashing’, considering the action ‘antisocial behaviour’. This message has been reinforced on the university website with a page dedicated to ‘Exams: Celebrate Sustainably’. 

The website states that fines will be ‘strictly enforced this year, as a breach of the University’s Code of Discipline’. Failure to pay the fine will result in ‘further disciplinary action’.

The University has instead compiled suggestions for students looking to commemorate the end of their exams. One suggestion is that students should ‘have a night out’ and ‘make the most of this opportunity to celebrate with your friends’. Another that students should ‘enjoy Oxford’s outdoor spaces’ but make sure to take any ‘rubbish home with you’. 

Many JCRs still provide students with biodegradable ‘trashing’ equipment, despite University policy now meaning students run financial risk when ‘trashing’.  All money collected from the ‘trashing’ fines goes to the student hardship fund, which aims to assist students at the University who are struggling with financial difficulties during their course. 

Image credit: Richard Nias via Creative Commons

Special report: Students in disarray as St Benet’s set to close

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St Benet’s Hall announced on the 16th of May via its official mailing list that the University Council has decided not to renew the Hall’s license as a Permanent Private Hall (PPH), raising the possibility of permanent closure for the Hall.

The email expressed hope that the Hall might continue to operate but said that “as and when this is no longer the case” the Hall would work to place current students at other PPHs or colleges to complete their studies. St Benet’s Hall was originally founded in 1897 as a place for the monks of Ampleforth Abbey and elsewhere to study at Oxford, having since welcomed students from all backgrounds.

Cherwell spoke to the Hall’s JCR President, Julian Danker, who said the Hall’s students had been “hit hard” – for the younger years by uncertainty and for finalists by “the news that their home for the past three or four years might cease to exist soon”. 

The JCR has been taking an active role, running additional welfare events and staying “constantly in touch” with Hall and University officials. Julian said he expected “certainty about students’ futures by the end of this academic year”. 

In the meantime, the Hall’s students had the opportunity to speak with the University’s Pro-Vice-Chancellor for Education, and steps are being taken to ensure students can claim mitigating circumstances for their exams. Julian felt confident that the “community spirit that has always existed at Benet’s is as strong as ever” but expressed sadness at the possibility that the Hall’s unique traditions, such as “the lack of a high table and the personal introduction of each guest at formals”, might be lost. He added that there “is also great concern about the future [of the Hall’s tutors and non-academic staff]”.

Cherwell also spoke to Mikyle Ossman, a first-year student who was quick to say he had enjoyed his time at the Hall and mentioned the active work of the Hall’s JCR. Ossman said his year group only found out about the financial issues over the Christmas break, triggering “panic on group chats”. 

He also expressed confusion with the Hall’s decision to accept students in 2021 if financial problems were already evident and criticised a lack of communication, saying “we were more or less in the dark over whether they would rectify the problems outlined in the Christmas email. […] Therefore when the [most recent] news came it hit us quite hard.” Ossman is anxious not to face a ‘phasing out scheme’ which would see his cohort remaining in the Hall as the final year group in a shrinking community. He indicated he thought most of St Benet’s first-years shared his preference to be moved to alternative colleges, if this becomes necessary, in time for Michaelmas 2022, giving them the best chance to integrate.

The University of Oxford’s governing body opted not to renew St Benet’s license at a meeting on the 9th of May in light of the Hall’s continuing financial insecurity, confirming that the Hall will not take on any new students in October 2022. The decision to suspend St Benet’s undergraduate intake was initially announced in mid-December 2021 in a joint statement issued by the University and St Benet’s that said the Hall’s “financial prospects are so uncertain that the University cannot be confident that the Hall can support a new undergraduate cohort”.

The Hall’s financial troubles seem to stem from its efforts to legally separate from Ampleforth Abbey Trust (AAT), the owner of the Hall’s premises. It is unclear how much progress was made on this initiative, as according to the Hall’s website its governing body, St Benet’s Trust, is still a wholly-owned subsidiary of AAT. The planned separation was apparently meant to help the Hall become a fully-fledged college, but it also meant the Hall needed to prove it was financially viable on its own. Acquiring ownership of its premises was a key part of this mission, and failure to convince the University that it would be able to do so was important in influencing the December decision to suspend admissions.

Late in December 2021, Cherwell reported on the Hall’s apparent success in securing financial support in the form of an “agreement in progress” with Westminster College Trust to acquire the Hall’s premises from AAT and lease them to the Hall for £1 per year (with a view to later acquisition by the Hall). Westminster College Trust also “pledged” to underwrite the Hall’s losses up to £300,000 per year for at least three years. This agreement, however, was apparently not finalised before the University decided to pause the Hall’s undergraduate admissions. Westminster College Trust has not responded to Cherwell’s request for comment.

The email from 16th May also informed students that AAT has now placed the Hall’s premises on the market. A spokesperson from the Trust told the Tablet that the University’s decision not to renew the Hall’s license placed the AAT at “an unacceptable level of risk”, and that while they had always hoped the Hall would be able to purchase the buildings, the Hall had not “produced the desired [funding] results within the necessary timescale”.

It seems the Trust has been aiming to sell the properties at least since December 2021, when the Hall’s Senior Tutor, Dr Gower, told the Oxford Student that AAT had taken an “independent” decision to sell the properties, unrelated to the planned legal separation and rather motivated by “not having sufficient resources”. 

The Hall’s August 2019 financial report stated that while it needed to increase its own fundraising income, it had “received a guarantee of support from … [AAT]”. The Trust’s financial report from August 2019, however, said their “overall level of free reserves”, excluding fixed assets, was a “£3.4 [million] deficit”. The report noted that “if it became necessary the Trust could potentially seek to realise some of the land and buildings not essential to the ongoing core activities and hence raise some funds through their sale”. 

A spokesperson for Ampleforth Abbey’s Trust told Cherwell: “In order for St Benet’s Trust to remain a going concern Ampleforth Abbey Trust has in the past provided sufficient funds to allow the Trust to continue its charitable objects. Financial support was provided with a view to St Benet’s reaching a position where it would be capable of generating its own reserves.

”In recent years St Benet’s Trust has been moving towards independence from the Abbey Trust initially as part of a plan to gain collegiate status within the University of Oxford. In order to do so the Hall would need to own its own buildings and be financially sustainable. The Abbey Trust took out a loan in 2018 to enable St Benet’s Hall to expand into a second building in Norham Gardens with clear timescales for that loan to be re-paid by St Benet’s Trust. It was always the preference of the Abbey Trust to sell both the property in Norham Gardens and that in St Giles to St Benet’s Trust if it could afford to buy them, but St Benet’s fundraising campaigns and funding options have not produced the desired results within the necessary timescales.”

The spokesperson insisted that “The University and the Hall are committed to ensuring that current students can complete their degrees at Oxford University with the same quality of education.”

The recent developments at St Benet’s Hall coincide with those at another institution linked to AAT. Ampleforth College, the boarding school founded by and built next to Ampleforth Abbey (which AAT represents), might also be facing a ban on taking in new students after it was rated “inadequate” by Ofsted following an independent investigation in 2018 that said it was “difficult to describe the appalling sexual abuse inflicted over decades [on the pupils]”. While Ampleforth College is now run by the St Laurence Education Trust, at least 5 out the 10 current trustees of AAT (as named on their website) have previously held roles in Ampleforth College. Between developments at Ampleforth College and St Benet’s Hall, the Sunday Times has speculated that the “network of leading Catholic institutions” established by the Ampleforth monks is “breaking up”. The AAT told Cherwell: “The situation of St Benet’s is unrelated to Ampleforth College.”

St Benet’s Hall was the last single-sex college in the University of Oxford, only admitting women in 2016. Until 2012, the master of the hall was always a Benedictine monk.  In 2013, the student barometer survey showed that St Benet’s had the highest overall student satisfaction out of all 44 constituent colleges and permanent private halls of the university. However, without renewing their license as a PPH, it is likely that the college will be unable to host students after the end of this academic year.

Image Credit: Janet McKnight/CC BY 2.0

Why the latest BBC cuts are the most dramatic yet

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Nadine Dorries, the Secretary of State for Digital, Culture, Media and Sport, has made no secret of her dislike for free and independent media – her bizarre insistence on the privatisation of Channel 4 says all you need to know about that. When not rapping about online safety on TikTok it could even be said to be her favourite pastime. The recent cuts to the BBC, forced by Dorries’ freezing of the licensing fee for the next two years, will see the closure of BBC World News, the moving online and cutting of CBBC and BBC 4 programming, and the slashing of regional programming in numerous areas, including Oxfordshire.  The ramifications may not be obvious at first but they could prove catastrophic for children in this country and people all around the world.

In January this year, just as BBC boss Tim Davie was crying out for more investment in order to keep the BBC relevant, Nadine Dorries announced that the licencing fee would be frozen at £159 for the next two years. With no more government investment offered to make up the deficit, Davie warned at the time that the organisation would be left with “tough choices to make” as it tried to deal with the resulting £500 million budget cut – but few could have foreseen how widespread and dramatic these changes would turn out to be.

Let’s start with CBBC. Founded in 2006 and serving all children over the age of six, the channel has been described as a “lifeline for parents” throughout its time in service.  Never was this clearer than during the COVID-19 pandemic. With schools closed and countless families cut off from education completely by woeful home learning provision, expensive internet bills, and a lack of technology, CBBC’s ‘Bitesize’ service picked up the slack and delivered lessons to millions across the country. CBBC’s Newsround television programme, founded as a BBC One programme in 1972, is a unique daily news bulletin that provides informative and neutral news to children that is suitable for all ages and has won awards around the world for its coverage of global affairs since its foundation. Again all-important during the pandemic, parents have increasingly become reliant on the service to help their children become informed on global affairs safely in the age of fake news and the polarisation of the media.  Newsround is now set to be cut completely. Horrible Histories, the vehicle that has taught millions valuable lessons about history with its trademark catchy songs and hilarious sketches, is also facing the axe.

But the children’s channel doesn’t only serve to inform; it also provides a safety blanket that all parents know offers high-quality entertainment programming backed by positive moral messaging and free of any of the controversy or swearing found on online streaming services such as Netflix and YouTube. These latest cuts will only drive young people to those services that Dorries herself has lamented are slowly taking over the industry.

Another major change is the closure of BBC World News and the dedicated BBC News channel, with the two set to merge into one single service. In a world with increasingly regulated media outlets, from Afghanistan to Russia, the World News service has been hailed as a shining light by those who have emerged from war zones and oppressive regimes worldwide. Often, in areas where the internet and satellite television are near-impossible to access, it is the only trustworthy source of news in the face of government propaganda. It reaches 364 million people every week, broadcasts in more than 40 languages, and even offers free English teaching resources to millions around the world. According to its website, “It is one of the UK’s most important cultural exports – inspiring and illuminating the lives of people across the globe, helping them make sense of the world we live in.” Its merger with the increasingly UK-centric BBC News Channel and subsequent cuts to programming focused on the rest of the world will be devastating to people across the more than 200 countries it broadcasts in. What is more, as the government constantly provides us with warnings about the rise in the power of Russia and China and the risks of information wars from their governments, the move will see Britain throwing away the most valuable vehicle it has for ‘soft power’ in defence of democracy and liberal values.

The cuts don’t end there. In fact, they seem somewhat never-ending…. Next on the chopping block and at the opposite end of the spectrum to World News is further slashing of regional programming. Numerous areas around the country, including Oxfordshire and Cambridgeshire, will see the complete closure of their regional news services, merging with those based in Southampton and Norwich. Local radio programmes will be hugely cut back with programming to be ‘shared’ among areas. Yet again, the most vulnerable will be the most severely hit, with pensioners and those who can’t leave the house by far the most reliant on these channels for information relevant to them.

BBC Four has long been touted for closure but this move to iPlayer is another decision that flies in the face of logic. Its primary audience of older people are those most likely to be without access to the internet and will therefore be left without the service altogether. The educational documentaries that it offers will also be restricted to those with reliable internet access and devices to consume that content on. It should also be noted that the channel still attracts far larger audiences than the youth-targeted BBC Three channel that only moved back onto terrestrial television a few months ago.

And then come cuts to BBC radio.  Radio 5 Live will see its ‘5 Live Sports Extra’ station axed completely and all of the station’s services will move entirely off medium-range radio as part of further cuts to free sports coverage from the national broadcaster. Most significant though is of course the closure of long-wave Radio 4. Routinely listened to by hundreds of thousands, it is a valuable resource for news and shipping forecasts across the country; tuning into the programme is even the official routine protocol for the UK’s submarine fleet to check that the nation is still functioning normally. After losing all of its dedicated programming, from radio dramas to Desert Island Discs, the station will eventually be cut completely.

All in all, these moves will see well over a thousand jobs cut in the next few years alone. Davie says that “This is our moment to build a digital-first BBC. Something genuinely new, a Reithian organisation for the digital age,” and that “we need to evolve faster and embrace the huge shifts in the market around us.” In reality, the idea that the national broadcaster can compete with the internet and streaming giants is the stuff of fantasy – that much is demonstrated by the fact the BBC Three moved online in 2019 before returning to terrestrial television earlier this year. Nonetheless, the BBC occupies a valuable and unique place in British culture; Davie must have seen this himself when,  before he took over as CEO, heled the closure of the 6Music and Asian Network radio stations in 2010 but then was forced to make a  U-turn in the face of public opposition.

The media landscape is changing and there is no doubt that the BBC needs to change with it. It has reaped the rewards of the continued improvement of its iPlayer service in recent years with programmes proving successful all around the world.  In the end though, it must not forget why it exists as a public service broadcaster. What has made it different from the rest of the media and kept it so special and relevant since its foundation is its focus not on profits but on providing a high-quality and valuable service to the country and the world. Make no mistake, these cuts change that.  They risk marking the beginning of the end for the service altogether as it fades from relevance, unable to compete without advertising income and so with a comparatively measly budget, and leaving millions in the lurch as it chases unattainable profits.

Image credit: Tim Regan / CC BY-SA 2.0 via Flickr

Work is hell: the brutal beauty of corporate aesthetics

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Jean-Paul Sartre wrote that hell is other people, but he was wrong: hell is an office job. The stereotypical image summoned by nine-to-five drudgery is cheesy inspirational posters, fabric-lined cubicles, and shared kitchens with cupboards stuffed full of chipped coffee mugs. Its more bougie counterpart, the corporate aesthetic, is straight lines, suits, chrome, and grey carpet, perhaps more upscale but similarly dull and impersonal. Two television shows capture this office aesthetic best, deploying it to different ends but motivated by the same desire to play with the idea of the office as hell.

The Office, in both its American and British iterations, capitalised on the familiarity of middle-management mundanity to create a backdrop for its humour. The workspace populated by Jim, Pam, Michael, and Dwight became the site for its characters to fall in love, make friends, fight and pull pranks. For sitcoms like The Office, recognisable locations are important to establish the relatability of its characters; Friends has its coffeehouse, How I Met Your Mother its bar, Brooklyn Nine-Nine the bullpen of a police station. The titular office establishes the relationships between characters spatially – Pam behind the reception desk, accessible to Jim but also out of reach, Michael in his office, separate from the open plan cubicles and their workers despite his desperate desire to belong with them. The characters overcome the dull nature of their office jobs through their relationships, and any happiness and fulfilment the characters find are generally despite the day-to-day bleakness of their jobs.

In Severance, a newer show by Apple TV directed by Ben Stiller and Aoife McArdle, the corporate imagery takes a darker turn. These workers are Severed, meaning their brains are surgically split between their work and home life, neither remembering the experiences of the other, thus becoming two separate people in one body. Despite its more ominous tone, the show uses similar aesthetic nods to office life to The Office – the four workers in the Macrodata Refinement Department sit in cubicles covered in dark green felt, gather around a vending machine, and walk down bland hallways. What it is precisely the workers are doing is mysterious – they themselves don’t know what the encoded numbers they receive relate to, a jab at the meaninglessness of much office work.

The visuals of Severance brilliantly enhance this uncanny plot – the physical workplace in Severance is designed to resemble an office in a dream. The piles of papers and long hallways look almost true to life, but look closer and you’ll find they’re slightly off. Despite being set in the near future, the computers look like something Jobs and Wozniak might have dreamt up in the ’70s. Fluorescent lights beam down on the workers in repeating squares, yet the lighting is always pleasantly warm. One of the workers, Dylan, proudly collects prizes like finger traps and Waffle Parties for efficiency. Everything about the office reinforces the characters’ lack of free will: there are no windows to the outside world, just doors that lead to a warren of seemingly endless hallways hiding more departments of an unknown quantity.

Of course, there’s a strong real-world basis to this surreal aesthetic. A 2017 study by the American Working Conditions Survey found that 20% of Americans faced hostile, threatening environments at work. A recent poll by Metro easily summoned a list of fifty things people hate about going to the office. Whether enlivening the office space through comedy or skewing capitalism through satire and horror motifs, both The Office and Severance point to the ubiquity of working in soul-sucking locations with little regard for individuality and expression. With a huge number of former office-dwellers working from home either part or all their workweek post-pandemic, maybe it’s time we finally let go of the office. Would anyone, except TV set designers, miss it if it died?

Image credit: Tumisu / Pixabay License via Pixabay, Nathanel Love / Pixabay License via Pixabay, arezkichek33 / Pixabay License via Pixabay

Love Without Words: The Quiet Storytelling of Heartstopper

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CW: abuse, racism

Among the many interesting moments in Netflix’s latest big hit Heartstopper, the one I found particularly revelatory about the show’s texture is in the last episode, when the two protagonists Nick (Kit Conner) and Charlie (Joe Locke) are sat next to Alice Oseman – creator of the comic as well as the TV series – who sketches the two boys as comic characters on her tablet. The scene communicates to us a relationship between the screen and the page that is at once fascinating and slightly disturbing: what has just been adapted for the screen could so easily return to the pages.

Such a page-screen dynamic functions as Heartstopper’s very premise. The panels from the original comic series, which is currently in its seventh season on the webcomic platform Tapas, are more than enough for serving as quasi-storyboards for the TV adaptation. To ensure there is no doubt about the series being born from the comics, director Euros Lyn diligently chucks all the grown-up framing and editing from BBC’s Sherlock and Doctor Who out the window, and instead settles for doodle-level filmmaking: square frames, slide transitions between scenes, not to mention the multiple-character shots that have Nick, Charlie, and their friends framed in literal panels to indicate the synchronicity of their group chat texting. What we see on screen ends up not being just the same story from the pages, but also the pages themselves. 

And this on-screen adoption of the comic format does help the series achieve what’s best for Netflix, or at least its budget. With merely eight episodes, each approximately 30 minutes in length, the first season covers three whole seasons of content from the original comics. In the Tapas/Webtoon timeframe (one episode per 10 days, also counting Oseman’s hiatuses), we are talking about two years’ worth of updates. The reason why this could happen is the same reason why many of us finished the season in one go: rare for the teen drama genre, the show, much like its sketched source material, is taciturn like an actual shy teenager. There is no “I am feeling butterflies in my heart” inner monologue when Tao and Elle have their moment in the art room, but real doodled butterflies flying around. There is no “I feel really attracted to you” whenever Nick and Charlie almost touch hands, but animated sparks sizzling between their fingers. Even in the climatic moment of the two boys’ first kissing scene, little was said beyond a few lines and the “can I kiss you”. Instead of big confessions that everyone has been holding their breath for, there were only the tiny hand-drawn flowers forming a circle around the pair and coming into full bloom. While the comic format forbids any lengthy dialogues to avoid tiring the reader and to leave more space for pictures – the show has inherited this speechlessness to achieve the same. As graphic elements replace words, and “Hi” in the school corridors replace love confessions, Heartstopper becomes light as a feather that tickles more than some elaborate tearjerker. 

The lightness of comic aesthetics works in Heartstopper’s favour in many ways, with one in particular that might have accidentally transformed the landscape of the YA TV genre, and in particular LGBTQ+ films and series. From Breadwinner (2017) to this year’s Oscar nominee Flee (2021), both of which animated films that tell real-life stories, with the latter being an actual documentary, animation’s power to represent reality and produce authenticity should now be familiar to us. By seeing the world through drawings and colours, parts of reality that tend to be invisible are revealed in plain sight, which is why Heartstopper has redefined the phrase ‘show, don’t tell’. 

By cutting down spoken words and leaving space largely to visuals, the series vividly conveys that feeling particular to being teenagers – of knowing something deep down without having the words for it. Charlie and Nick might not be good at explaining and defining their relationship in words, but their mutual attraction is clear as day to themselves – and to the audience – through the doodled sparks and flower petals, imaginary things that anyone in love knows is there without having to see them. The pair might find it hard to pin down their connection, but it’s made all-so-obvious by the recurring colour combination of blue and yellow, on books scattered across classroom desks, and on their umbrella as they share a kiss in the rain – that feeling that when you’re falling in love, it’s as if reality’s very palette is dropping you hints and being the matchmaker. 

The wordless but meaningful colours also work particularly well for portraying the experience of discovering one’s sexuality. Although Nick has only typed or voiced the word ‘bisexual’ on a few occasions, and uncertain about it being applicable to him for most of season 1, the bisexual flag colours pink, blue, and purple, follow him from the bowling alley to his friend Harry’s party, where he eventually kisses Charlie for the first time. My personal favourite graphic detail remains the abundance of backscatter in the show. The little rainbow orbs are often considered undesired accidents in photography and filmmaking, but just like Nick and Charlie’s friendship-turned-love, some accidents are cute and lovely, which is perhaps why Heartstopper’s cinematography deliberately leaves the orbs as they are in the final cut. 

As much as there is to praise about Heartstopper’s wordless approach to TV, the disappearance of spoken lines also comes with compromises. Even though Heartstopper isn’t set on depicting a high school utopia (which would be the biggest oxymoron ever), it is inevitably selective about the events it curates. Because hardly anyone in the show speaks more than ten words in one line, little is explored and resolved about the bullying experienced by many characters from ethnic minority backgrounds. Charlie’s best friend Tao is the perfect sidekick, but we never get to hear why he is constantly picked on by white rugby boys, or why he is afraid of being isolated at school. Tara’s Instagram is inundated with unfriendly DMs after announcing her lesbian relationship, while her white girlfriend Darcy does not seem to experience the same amount of aggression. Elle transfers from a boys’ to a girls’ school, and is relieved about no longer being bullied by cis male peers, but we don’t see her having any friends at the new school other than Tara and Darcy. Since the comics series more than just touches on the topic of teenage struggles and mental health issues, the show should not omit the unique problems encountered by ethnic minority young people. 

Sometimes, silence can be poetic and meaningful, an art which Heartstopper’s first season has clearly mastered. But other times, things demand words and actions. In the final episode, Charlie confronts his abusive ex Ben in an out-of-character but cathartically long dressing-down speech. As much as I love flowers, fireworks, and gentle rainbow glows, I hope to see more of the same spoken anger in the next season when it’s needed.

Artwork by Wang Sum Luk

‘Irishness existing in England’: the brilliance of Skinty Fia

I first came across Irish post-punk band Fontaines D.C. when my brother brought me their debut album on vinyl for Christmas, back in 2019. The Guardian hailed ‘Dogrel’ as ‘brilliant, top to bottom’, and the album twinkled with a five-star review from NME. Only eighteen months later the Dublin boys were releasing their second studio album, ‘A Hero’s Death’ (2020), which, sure enough, received a similar level of acclaim. The sound on both records was exciting and boisterous, where lead singer Grian Chatten’s unforgivingly gritty vocals captured a state of rebellious nihilism and refusenik tendencies – songs like ‘I Don’t Belong’ and ‘Too Real’ spring to mind as early instances of the bands’ sneering sincerity .

As is often the question when gifted with a jewel of an album, fans are quick to wonder – what will come next? A successful third record requires something intricate from the artist – the ability to maintain the careful identity that fans have come to love, whilst marking out a new pathway; experimenting without taking things too far. Fontaines D.C., however, seemed to have managed just that, with their recently released third album ‘Skinty Fia’ reaching the top of both UK and Irish album charts in just the first week of its release.

The album’s title roughly translates from Gaelic into ‘the damnation of the deer’, with the cover featuring the jarring blur of a deer in the unearthly red glow of a domestic hallway. The record seems to stand for a certain sense of doom and inevitability, with the darkly humorous ‘Jackie Down the Line’ exploring the allure of being bad in a world obsessed with trying to be good, and ‘I Love You’ weighing up the obsession and pain of relationships. In an interview with Rolling Stone, the band explained how the record explores ‘Irishness existing in England’, and the creation of what frontman Grian Chatten labels ‘a new kind of culture in general’. Just as Ireland flows through the veins of the band, where D.C. stands for Dublin City, the track list has distinct concerns with the notion of Irish identity, with Gaelic opening track ‘In ár gCroíthe go deo’, the Joyce echoes of ‘Bloomsday’, and the stripped back accordion of ‘The Couple Across the Way’.

But it’s the title track of the album, ‘Skinty Fia’, that merits special attention. The same recognisably unapologetic lyrics, but this time you have to wait a little while for them to kick in; instead, the song builds up with synth-like bass and electric melodies, an alluring and striking combination that perfectly resonates with the dark and brutal truth-telling of the words which it accompanies – ‘a set of manners and a smile is all they want from you’. The music video is equally dark and enchanting, as Chatten wanders through a crowd in a dimly lit party hall, unwavering in his eye contact, with intermittent flashes of straw men, snakes and deer amongst successive flashes of neon pinks and blues, creating a tense sense of voo-doo allure and hallucination.

Overall, the sound of the third album feels more carefully crafted and deliberate, especially in comparison to the boys’ earlier singles such as ‘Liberty Belle’, which, unarguably enchanting in its own right, seems somewhat more boisterous and mouthy than tracks from the new album. The poetry of the lyrics, however, remains just as distinctively catchy and intelligent as ever  – a reassuring sign that Fontaines D.C. are far from losing their unique post-punk spark.

It’s easy to say that an album is praise-worthy, but harder to prove it. Perhaps in telling you to give ‘Skinty Fia’ a listen all I am doing is making you more determined not to do so, in an act of moody and rebellious defiance. If that does turn out to be the case, all that I can say is this: I think that the Dublin boys would be extremely proud. 

Image credit: Paul Hudson / CC BY 2.0 via Wikimedia Commons

Oxford’s rock and roll: a very short introduction

The Rolling Stones’ guitarist Keith Richards called rock and roll “music from the neck downwards”. Oxford, as probably the most ‘neck upwards’ university in Britain, has had an unsurprisingly small impact on the genre. The university website’s ‘Famous Alumni’ page lists 120 Olympic Medal Winners, over 50 international leaders, 55 Nobel Prize winners, but only one musician (a jazz artist). A more comprehensive list of famous Oxonians names 43 composers, 13 conductors, seven musicologists, even a didgeridoo player. And yet while pop and rock music dominate the charts, only seven Oxford alumni have ‘made it’ in these fields: three ‘pop’ artists and four rock and roll musicians. 

Of the three ‘pop’ artists, two managed to graduate. Mylo MacInnes received a first from Brasenose in PPP and now makes electronic music. Bulgarian-Liverpudlian Mira Aroyo didn’t graduate. She chose singing over her DPhil in biochemistry because she “was young and it seemed a lot more fun at the time to travel the world playing music.” 

Benjamin Hudson McIldowie graduated from St Anne’s with a degree in English literature, and is probably the most successful of the three. Under the alias Mr Hudson, he helped produce Kanye West’s 808’s and Heartbreaks, even providing the vocals for “Paranoid”, “Say You Will”, and “Amazing”. Kanye more than returned the favour in 2009: he worked as executive producer for Hudson’s album Straight No Chaser, sang a verse on his hit single “Supernova”, and proclaimed that “Mr Hudson has the potential to be bigger than [him].” Unfortunately for St Anne’s street cred – and for Mr Hudson – this hasn’t turned out to be the case. 

Oxford’s singular rock and roll graduate never achieved such success, or received such praise. The lonely alumnus is Michael Ratledge, who read psychology and philosophy at University College. He went on to play the piano and the flute for Soft Machine – a relatively small prog-rock band that was active in the 60s and 70s. 

Inspiration for chart-topping hits doesn’t seem to be found in exam schools, 16th century libraries, or Bridge Thursday dancefloors. Tellingly, Oxford’s three rock and roll dropouts were far more successful than Ratledge.  

In 1991, Guthrie Govan dropped out of St Catz after his English literature prelims; heavy-metal proved a more attractive prospect. Two years later, while his former cohort was sitting finals, he was winning Guitarist magazine’s Guitarist of the Year award. He has been touring worldwide for the last 30 years. Most recently, he worked with Hans Zimmer as a guitarist on the soundtracks of The Lion King (2019) and Dune (2021). 

The most famous rockers to survive any amount of time at Oxford University were the singer and the pianist of Foals. The group was formed in 2005, while all four founding members were scattered between Magdalen College School and Abingdon School. Lead singer Yannis Philippakis went on to read English literature at St John’s, but quickly dropped out to form the band. Instead of learning Middle English, he “wanted to form a band to play house parties, rile the people who didn’t like dancing, steal their girlfriends and play music.”

Edwin Congreave – Foals pianist – read English literature at St Hugh’s. He told Cherwell in 2010 that he dropped out because he “didn’t yet know what direction my life was headed… I needed some time to figure it all out… and Indie Soc was shit.” The society has since chosen to rebrand itself as the Oxford Alternative Music society. The Foals started off around 2006 playing at the Zodiac – the O2’s predecessor – and the now-closed ‘Cellar’ that lived opposite Plush on Frewin Court. 

Oxford University’s lack of substantial rock and roll output is contrasted by the creative success of the city’s non-student population: most notably, of Radiohead listed by Rolling Stone magazine as one of the greatest bands of all time. 

Its members, Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O’Brien, and Philip Selway met during their time at Abingdon School – a private school five miles south of Oxford. In 1985, the five high-schoolers formed a band, On a Friday. Two years later, they performed their first gig at the Jericho Tavern. That same year, most of On A Friday left for university. Frontman Thom Yorke had wanted to study English literature at St John’s but was told by Abingdon that he “couldn’t even apply”: “I was too thick. Oxford University would have eaten me up and spat me out. It’s too rigorous.”

Instead, Yorke went to Exeter University, and On a Friday dispersed across the country. Upon returning to Oxford in 1991, he shared a house with his old schoolmates on Magdalen Road in Cowley. On a Friday got back to regularly performing at the Jericho Tavern. By their eighth gig they were picked up by the record label EMI – on condition that they would change their name to Radiohead. A few weeks later, they were commuting daily to Chipping Norton Studios to record Pablo Honey and the single “Creep”. Since then, Radiohead has sold over 30 million albums, won 6 Grammys, and has been inducted into the Rock and Roll Hall of Fame. 

In 1998, at the height of Radiohead’s fame, Thom Yorke complained about Oxford. He called the city “too crowned and oppressive.” In particular, he blamed the university for ruining Oxford “because most of those historic, beautiful buildings are surrounded by barbed wire and spiked walls.” Despite this, he still lives here, and is said to hang about the botanic garden once in a while. 

Another successful rock group to emerge from Oxford’s other half is Glass Animals. Lead singer Dave Bayley moved from America to Oxford at age 13. He met his future bandmates at St Edmund’s, a private boarding school on Woodstock Road. Back in the early 2010s, drummer Joe Seaward recounts that he “and Dave saw Foals in [the Cellar] literally playing to about seven people and a dog.” In 2013, Glass Animals performed their first gig at the Jericho Tavern – a 9 minute set that they are glad their producer didn’t see. “He would have left after about 25 seconds… Maybe less.” They soon signed with XL Recordings. A few albums later, their 2020 single ‘Heat Waves’ had over a billion streams on Spotify. They won Best New Artist at the 2022 Grammy Awards, and are now living in East London. 

Rock and roll and academia has never been the most compatible pairing. Since Chuck Berry, rock has overwhelmingly positioned itself against the ‘institution’. Pink Floyd didn’t “need no education”, The Clash “fought the law”, and The Sex Pistols rallied against England’s “fascist regime”. Meanwhile, Oxford provides one of the best educations in Europe, has taught the most lawyers in Britain, and has instructed over half of the country’s prime ministers.

Oxford University’s rock and roll output may be poor, but our music scene thrives in other genres. Our choirs have bred some of the most popular singers of the last millennia. Our colleges are host to everything from funk bands to jazz groups to musical theatre performances. We even have the UK’s best a cappella group. Yet rock and roll stubbornly lives on outside our “barbed wires and spiked walls.” On this front, our locals have us beat.

Image credits: Marcin Pieluzek / Public Domain via Flickr, Pexels / Pixabay License via Pixabay

New restaurant cooks up Keralan cuisine in Cowley

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What the team at Tribe have managed to create in the space of three months is unique in absolutely every sense.  Amongst the countless Indian restaurants that dominate Oxford and Cowley in particular, they have managed to differentiate themselves in every way.  The unique Keralan spin and fine dining touch on every dish combines with reasonable pricing and carefully crafted flavours to create an atmosphere worth returning to time and time again.

When speaking to owner Rohit Shet, the first thing that he is keen to stress is that this is not your standard curry house and that much is noticeable from the moment you walk through the door.  The walls of the restaurant were hand-painted by Rohit himself in the traditional style of the Warli tribe, from which the restaurant also takes its name.  Straight after being seated every guest is greeted with a refreshing apple juice and rose water drink and a glass of ice water, an Indian tradition of hospitality that Shet wanted to bring across to the English market.

The menu is a carefully crafted affair.  It is wide-ranging enough to offer significant choice but concise since absolutely every dish is prepared fresh to order.  This is the thinking behind the pre-starter too, intended to bridge the gap between ordering and the time it takes to prepare the food.  The potato dumpling we had resembled a croquette and was delicately spiced to contrast perfectly its mint raita accompaniment.  

To start we were able to try the fan-favourite chicken lollypop and the Kali Jingalala.  The latter consisted of king prawns stir-fried with black pepper and deep aromas of cumin that paired perfectly with spring onions.  It also wasn’t hard to see why the lollipop is so popular. Served with a mild chilli sauce and coated in a uniquely blended red dusting of flour it was an interesting take on fried chicken that will certainly appeal to the English consumer.  

Before being presented with our mains came another surprise treat – a mini palette cleanser of a light lentil soup.  Flavoured with coriander, mustard seeds, and cumin it was a welcome reset for the tastebuds.

The main courses certainly didn’t disappoint. The fish curry was the star here – a south Indian speciality, the cod arrives in a simple coconut milk sauce that is punctuated by the flavour of white tamarind, a truly unique spice that is almost impossible to find in the UK and is brought over especially by chef Gils from his home in Kerala.  The coriander on top only adds to the subtlety of flavour and it is almost impossible to not go back for more.  Alongside it, we sampled a Chettinad with green beans and broccoli.  The mix of roasted spices here was much simpler and more standard but provided a very approachable option for anyone looking for a more traditional south Indian curry, or for a vegetarian or vegan option (although Rohit does stress that any of the dishes can be adapted to fit different dietary requirements).  The Paneer Makhani jumps out as another adventurous choice, served with a lovely mix of stir-fried vegetables – the only drawback of ours was that it was potentially slightly overpowered by the sauce it came with.

To accompany the main courses, Tribe maintains its Keralan tradition by not serving naan breads or samosas.  Instead, they opt to offer simple steamed rice and a much lighter traditional south Indian bread dish, Parotta.  The flour is a special blend and the resulting bread is a very light, layered, and crispy flatbread that has just enough flavour to be tasty in its own right but also pair perfectly with any of the curries without dominating.  The Saag Aloo fits into this mould too.  Different from what you might find in most Indian takeaways, Tribe’s version is dominated by the spinach, with just enough potatoes to round the dish and create the perfect combination.

Desert is another lesson in light and flavourful Indian cuisine.  Preceded by a homemade raspberry sorbet pre-dessert (delightfully topped with popping candy for another surprising twist), the Kheer is a North Indian style vermicelli rice pudding.  Made by the owner, it consists of just three ingredients, milk, sugar, and rice before dry dates and saffron are added for texture and flavour.  

There is no doubt then that Tribe is a more than welcome addition to Cowley Road, as a unique reinvention of Indian cuisine that looks to add class to a tried and tested formula. This is not fine dining though, main courses all come in at around £10 and the starters at £6 or under.  As I leave Shet puts the emphasis on this: he wants to democratise the dining experience and make it accessible to all.  He concedes that students won’t be popping in for lunch every day but hopes that the price, delicious food, and outstanding service will see customers return time and again for their weekly treat.

Image credit: Oliver Hall.

Catz-tastrophe: St Catz proposes 11.8% increase in rent

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St Catherine’s College has proposed a 11.8% increase in rent and hall prices for the next academic year (2022-3). College accommodation rent would increase from around £1480 to around £1654 per term. 

Each year the college reviews its domestic spending to estimate living costs for the following year. The 11.8% inflation in college living prices is an estimated figure for next year’s domestic costs which does not include any profit for the college.  

This proposal is in line with the current high inflation rates. The UK annual inflation rate increased to 7% in March 2022, the highest since March 1992. Currently, prices are rising by 9% a year in the UK.  

Other factors are also contributing to this figure. The Covid-19 pandemic meant the normal cost model for accommodation could not be used to predict this year’s costs. In Hilary Term 2021, the college received no rent.  

The college has found that the amount they increased rent by was lower than the costs increased by. The fees this year received from students were not substantial enough to cover all accommodation and domestic costs.  

Another aspect which has led to this increase in student living costs is St Catz’s recent commitment to paying all of their staff the Oxford living wage. This increase in staff wages will result in a greater cost to the college, which is expected to be covered by an increased price for student rent and hall.   

Rebecca Powell, a current JCR access rep at St Catz, found the news “disappointing”. She said: “While I appreciate that the college has financial needs and restrictions, I have serious concerns with regards to how this will impact the student body. The cost of living in Oxford is notoriously high and, in combination with restriction to work during term time, I feel that this will be another blow to students from lower-income backgrounds.”  

On being asked whether she was aware of the possibility of college accommodation prices increasing prior to accepting her offer, Rebecca commented: “I knew that it was possible for rent rates to fluctuate slightly but an increase of 11% was certainly not expected… [I am] completely sympathetic to the reasons that college have outlined [but] these factors should not be at the expense of those already in financially precarious situations.” 

Discussions between the college student body, and its staff and finance administrators, have begun. The JCR is running a survey to assess the financial standing of its student body. It hopes to use this information to inform the college about the likely impacts of this rent increase upon its students. This will inform further decision making. 

Rebecca does find it “reassuring” to know that negotiations between the college and JCR representatives are taking place, and she hopes the collection of data about students’ finances will provide “significant evidence that these rent increases are unacceptable”. Nonetheless, she does still have “considerable reservations about whether these negotiations will have a significant impact”. 

An 11.8% increase is, at this stage, a suggested figure. The college has not yet committed to increasing rent and hall prices by this amount. However, with colleges across the University facing financial pressures, St Catz is likely to be one of many to increase prices for its students. 

When asked to comment, St Catherine’s college told Cherwell: “St Catherine’s is committed to ensuring that the experience of students living in College is the best it can be. 

“The College is still working in collaboration with the JCR and the MCR on proposals for accommodation rates for the 2022-23 academic year.

“The current rates for undergraduate accommodation at St Catherine’s are the fifth lowest when compared to all other Oxford colleges. The College will continue to do everything it can to ensure that accommodation rates reflect only the actual cost to the College of the room and utilities, and will work with student representatives when doing so. When calculating these rates, St Catherine’s uses the actual predicted costs for specific services used, rather than an averaged estimate, which tends to be higher. 

“Our students are our first priority and we appreciate that the current financial climate may be challenging for them and their families. We will continue to support each of our students in any way that we can, including through initiatives such as the Student Support Fund.” 

Image credit: Munkfishmonger via Wikimedia

Lincoln College chapel vandalised

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The Lincoln College chapel was vandalised in what the college chaplain has called an act of “abuse and damage”. 

A group of individuals, whose identities have not yet been released, entered the chapel sometime between 1pm and 9pm on Friday 13th May. The chaplain revealed in an email sent to students and staff following the incident that various acts of vandalism were committed.

The damage included the rearranging of furniture and furnishings, burning of Easter candles, writing of strange symbols on hymnals and service books with black makeup pens, defacement of the embroidered cross on linen used in Holy Communion, grinding of charcoal into the cloth covering the altar’s side table, and crumbling of charcoal (intended for use in burning incense) across the linen altar cloth. Many of the objects which were defaced were blessed for use in Christian worship.

Disturbingly, these actions took place during an unplanned power cut. Internal emails reassuring students that maintenance and IT staff were hurrying to solve the problem also reveal that their own battery backups went down for a time as well. 

Everything destroyed can be replaced, but Lincoln chaplain, Revd Dr Andrew Shamel, says it constitutes a “direct attack on God or at the least Christian faith itself” for some believers. Desecration of aspects of the Christian altar are offensive and hurtful to Christians. For example, the Paschal candle symbolizes a special form of Christ’s presence in the Church after the Resurrection at Easter and the destruction of this holy object is highly disrespectful. Destruction of any sacred object is akin to “a precious heirloom, a work of art, or a memento resonant of a loved one”, Revd Dr Shamel explained.

The college chapel was originally built in the early seventeenth century in a late Gothic, perpendicular style and consecrated in 1631. Statues on the front pews and ornate ceilings were added in the 1680s. Apart from restoration work that took place in the 1990s, the Chapel has remained mostly unchanged since the late seventeenth century. Notable features include enamelled windows by the master painter Abraham van Linge which depict various Biblical figures and scenes and a large organ in a pine ante-chapel.

Revd Dr Shamel raised particular concerns over the treatment of the objects on the altar table: the Paschal candle, linen corporal cloth, and the table itself. These objects are used in the rite of the Eucharist, which symbolises the last supper Jesus ate with his disciples, and a “mysterious recapitulation of the sacrifice of the Crucifixion”. Each object on the table is loaded with symbolism. The white tablecloth symbolises the special role of the altar table in the ceremony, while the smaller corporal cloth is used to delineate the focus of the blessing of the bread and wine and collect crumbs from the consecrated bread. “Many Christians regard each crumb of the bread of the Eucharist as precious and so it much not be lost or trod upon,” he said, adding “I hope it is clear how the scattered charcoal and deep marking marring these fabrics and surfaces set aside for the Eucharist would be so problematic”.

A similar instance of chapel vandalism in Central Oxford was reported on by Cherwell in 1984. Two Brasenose College students ransacked that college’s chapel and left behind a number of offensive images, included pentagrams and inverted crosses. The two students, who also had a history of disciplinary infractions, confessed the same morning to their “drunken prank”. They were each fined £50, plus an additional £15 for a separate incident in which they danced on the roof of the Principal’s lodgings. The JCR President at the time denied that the College was a “place for Devil worshippers”, and said “the incident has left Christians in the college very perturbed, very upset. The fact that these people infringed on spiritual beliefs is appalling.” 

Image credit: Remi Mathis