Thursday 25th September 2025
Blog Page 258

In between practicality and principle: a partial observer’s advice for the French left

Between “la peste et le cholera” there are no good options. This was the pithy slogan brandished by a protester who felt that the choice between the two candidates in the second tour of the French presidential election was no better than having to choose whether to have the plague or cholera. Forced to decide between two equal evils, in this protestor’s perspective, is really no choice at all. This reflects the prevailing sentiment of the French people toward the second tour – in which the two candidates from the first round with greatest share of the popular vote go through to the final round – of their country’s presidential election. Even those who reluctantly voted Macron in order to faire barrage (blockade) against the far right did so with a heavy heart. In short, the second round became a vote of necessity.

This was certainly the case on the left – the two final candidates in the ring represented the centre-right (despite Macron’s attempt at creating some strange depoliticised ‘neither right nor left’ version of politics) and the far right. But in the first round, left-wing candidate Jean-Luc Mélenchon came third by a hair’s breadth: he had polled at 22%, placing him somewhere between 0.8 and 1.2% behind far-right candidate Marine le Pen, at 23%. His narrow failure to qualify as one of the two most successful candidates, which would have put him through to the second round, is symptomatic of the stagnation of French politics which has been growing over the past five years. Inevitably, the second round of the presidential election  overlooked the issues which tend to concern the left: there was a telling silence around issues of the environment, improving public service, workers’ rights, and France’s abhorrent pattern of femicides.

Why, though, did Mélenchon fail to make the final cut? Not, in fact, because of the strength of the right, or even the centre, but because of disunity among the left. This is the fault both of candidates who failed to withdraw and of the electorate who failed to put aside ultimately minor differences (especially compared to the ideological gulf that separates any of these candidates from Macron, let alone the openly Islamophobic Le Pen). Six candidates stood on the left in the first round, amassing approximately a third of the total vote. Mélenchon was the heavy favourite – the other candidates swept up around 10% of the electoral crumbs. Crumbs though they may be, their agglomeration could have put the left through to the second round, and with some comfortable breathing room. Consider for a moment this entirely fictional scenario: if the entire left-wing electorate had voted for Mélenchon, or if all of  the other left-wing candidates had dropped out, Mélenchon would have amassed a greater slice of the electoral pie than the incumbent Macron himself. Instead, Ecologist Yannick Jadot polled at 4.4%; anticapitalist Philippe Poutou at 0.8%; Workers’ struggle candidate Nathalie Arthaud at 0.6%; Communist Fabien Roussel at 2.4%, and Socialist Mayor of Paris Anne Hidalgo at 1.9%.

This is not to say there are no differences among the candidates (there are), nor that Mélenchon is faultless. Indeed, I am rather resistant to  several aspects of his foreign policy – something Jadot has railed against, particularly with regard to Mélenchon’s ‘non-aligned’ geopolitical position given the divisions cutting at the heart of the world order (I refer specifically to Russia’s horrific war on Ukraine). But the point of this article is not to examine the specific policies of each candidate – in any event, the time to do that has come and gone. Mélenchon’s programme was complete, extensive, had been cross-checked by NGOs – specifically climate NGOs – and declared feasible. He was the only left-wing candidate who was polling at anywhere higher than 15%, and, as I keep insisting (sorry), the differences among the left are minuscule in comparison to those between left and right. And I do believe that everyone on the left was severely disappointed with the options they were presented with during the second round. Had they read the polls, they would have known that voting for other candidates on the left would actively harm the chances of seeing any left-wing candidate making it through to the second round. This, in turn would make it far more likely that centrist/centre-right Macron (who was always going to make it through) would face up against an openly racist, homophobic, climate crisis-denying candidate, thus making the famous ‘presidential debate’ a chance for him to combat these inflammatory ideas with cool reason, rather than facing any serious challenges to his policies. I would venture to say Macron’s wager was precisely this: having refused to participate in the first round of debate, he knew he would not face a serious and face-on political challenge from the left, and counted instead on showing himself as the voice of reason against Le Pen’s divisive, choleric, and indeed unfeasible, ideas.

As for the electorate: in an election, there are two key axes you have to consider: principle and action-potential (which might also be labelled ideological and pragmatic respectively). Anyone who is actively engaged in politics surely believes they are out to improve people’s lives (I have a very, very hard time believing this about the far-right, but I suppose they would say they are trying to make a ‘safer’ world by removing ‘enemies’ from the apocalyptic universe they whip up in some virtual reality lab – in which one risks being beaten up (probably by an immigrant) the second one leaves  home). Let’s, then, use the left as an example. All the candidates ran on a basis of wanting to increase social equality, and reduce environmental catastrophe – they each presented slightly different ways of achieving these aims, but these issues were their meat and potatoes, so to speak. So if you are voting on the left – a core principle of which is solidarity – a desire to improve the lives of those most marginalised members of society. That could be because you are part of this demographic, or because you are ideologically inclined that way.

By way of analogy, permit me a small digression. Imagine I am tasked with designing a car to drive along a desert road from point A to point B as fast as possible. To be successful, the car must a) be fast and b) be able to drive well in a desert. A fast car that doesn’t drive well in a desert will be useless, and a car that drives well in a desert but isn’t fast won’t be much good either. My point is that you have to try and translate your aim into something that achieves what you wish to see implemented within the system you are given. You should of course be making constant effort to change the system – if a desert is not a good environment for a car (it isn’t), then you should be trying, between races, to pave the road. But the time to complain about not having a paved road, and thus refusing to design a desert-appropriate car, is not two minutes before the race. Similarly, the time to complain about Mélenchon being insufficiently revolutionary, as some bemoaned, and thus voting for a candidate who will poll 0.6%, knowing that this effectively amounts to lending your vote to something you abhor (the far right) is, to me, utterly illogical.

I am not an apologist for a purely pragmatic approach to politics. But when faced with unity or annihilation, it is time to put aside minor differences, and think about ultimate aims – if not for ourselves, then for those who will suffer under the opponent’s policies. I am certain that everyone on the left would rather have seen Mélenchon face Macron – even if the former hadn’t won – if only to have two weeks debating issues that have been sidelined by the incumbent’s administration, and metaphorically spat upon by his opponent. 

Going forward, the left in particular needs to think about how it can most effectively see policies implemented that align with its overall vision. For there is, I would hold, an overall vision, but, like an impressionist painting, the whole can be perceived only from afar, rather than within an increasingly fragmenting swirl of similarly coloured mush. Perhaps this ‘afar’ is where we are now – where the far right has amassed an unprecedented 41% of the vote in the second round and the right is once again in power for five years. Hopefully, this dire state of affairs will allow the left to see the common ground they share, now that they’re being confronted with something which they find so alienating. It does seem things are moving in this direction, with a growing left-wing coalition presenting itself for the legislatives in June. We will see how the ballots are cast.

Image credit: Place Au Peuple / CC BY-SA 2.0 via flickr

Faces of Oxford: an afternoon with DJ Cuppy

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DJ Cuppy is a busy woman. “I flew back in from Monaco yesterday” she tells me as we prepare for a photoshoot in her lush North Oxford house. Later that evening, she’s DJing at an Oxford Ball. “And tomorrow, I’m back in London for my show on 1Xtra”. It seems surprising that she finds time for anything else, but along with music she runs the Cuppy Foundation, a charity which last year fed 70,000 Nigerian children a day. On her days off, she rubs shoulders with celebrities like Anthony Joshua, flying across the world on lavish holidays. She says that Jack Dorsey, Twitter’s founder, called her the most influential black woman on the platform.  She also happens to be a graduate student, here in Oxford.

Florence “Cuppy” Otedola, 29, is the daughter of Nigerian oil tycoon Femi Otedola. Born in Lagos, she moved to London at age 13 and is currently undertaking her third degree, following a BA in Economics at King’s College, London, and a Masters in Music at New York University with a MSc in African Studies at Lady Margaret Hall, Oxford.

When I meet her, she’s impossibly charming and – decked out in her trademark all-pink – impossible to miss. At any given question, she launches into a beginning/middle/end monologue so effortless it seems rehearsed, and she pretty much directs her own photoshoot, pointing out the spots with the best lighting and moving at two-poses-a-second (much to our relief, as inexperienced students).

While education has clearly been a big part of Cuppy’s life, it may seem initially at odds with her lavish celebrity lifestyle. However, she makes no effort to hide her student status – recent Instagram posts have seen study sessions interspersed with videos of club appearances and interviews (with, of course, the caveat that the studying was done in her family’s home in Monaco). She told me that sometimes she felt she was living “between two lives”; Cuppy the student and Cuppy the DJ, even doing research and working on essays backstage at shows.

Here, in Oxford, it is Cuppy the student that clearly shines through. She tells me about her thesis, on mobilisation strategies for women in Nigerian politics, and her other academic interests. In fact, she explains that one of the reasons she came to this degree in Oxford was because it involved field research – something she hadn’t done before. 

In every way, Oxford life seems like an escape for her. Her home in Oxford – while undoubtedly an upgrade on standard student digs –  is a far cry from her life in London, a home filled with pink and award cabinets, not to mention an entire recording studio. “Oxford allows me to be a little bit more present. And, you know, yeah, I think it’s really nice that sometimes, what is expected of me as an Oxford student is to just learn, rather than what’s expected of Cuppy which is to perform and deliver.”

DJ Cuppy at the LMH ball – Image credit: Riya Kataria

That being said, with nine million Instagram followers – whom she calls her “Cupcakes” – alongside a host of high-profile roles such as Pepsi’s “DJ Ambassador”, her fame is hard to escape. On Radio 1Xtra, she finds herself “every weekend talking to millions of people, then I’m on stage of festivals, DJing with thousands of people.” With the weight of such an enormous following, does she find it hard to reconcile her public persona with her private one? “What I really struggle with is informal settings” she says. “That mental state of pressure and performance sometimes isn’t needed. And I find it hard to turn it off”.

However, her biggest impact is not in Oxford; in 2017, she founded the Cuppy Foundation. The charity started with her personally sponsoring seven young fans. Then, she excitedly recounts that “we started getting hundreds of applicants…I couldn’t just keep sending people money from my account”. Eventually, the Foundation became more structured and began fundraising from outside, joining with Save the Children to take advantage of their infrastructure.

One major event was the Cuppy Gold Gala, a fundraising event held at the Hilton in Abuja and attended by many of Nigeria’s upper crust, including her billionaire father Femi, vice-president Yemi Osinbajo, and Aliko Dangote, Africa’s richest person. “I kid you not, by chance,” she says, “I happened to raise 14 million pounds.”

Eventually, she partnered with Save the Children, as well as the United Nations, to deliver programs such as malnutrition awareness, breastfeeding sensitivity training for religious leaders, and COVID PPE to disadvantaged communities in Nigeria. The Foundation’s website describes her as “a beacon, a light for those in darkness, a home for those without shelter, a shield for the defenseless.” 

So what’s next for Cuppy? She hasn’t released any music since 2021. While she took a break from DJing over Hillary, she’s still found the balance difficult: ”even just coming in this afternoon, I’ve got to rush back for a gig, then I’ve got to come back tomorrow, then I’ve got to rush back to the BBC…I’m 30 this year, right. So I maybe don’t have that zest that I used to.”

While she has a massive interest in education, she’s not sure that she’ll immediately carry on as a student. She’s been offered a fellowship at a prestigious US university, and Cambridge are using her foundation as a case study for their philanthropic centre. She says she’ll find it very hard to step out of academia, but “you know, Isaac, I need a break. This is my third degree, my second master’s, and I need a break. I’m empowered but exhausted.

Image credit: Daniel Stick

No-confidence motion in SU Vice President passes first reading

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A motion of no confidence in the Student Union’s Welfare and Equal Opportunities Officer has passed its first reading at the Student Council, with 25 votes in favour out of 36. If the motion passes its second reading in Seventh Week, a referendum of students would be called Ninth Week.

The motion argues that Keisha Asare caused “substantial disruption” in the Keble College community and acted “inappropriately” for one representing students at a university level. This comes after a series of essay-writing workshops Asare pledged in her manifesto to set up either did not go ahead, or were disrupted by her failure to send and respond to key emails.

Keble JCR voted to bring a motion of no confidence against Asare with 45 votes in favour, 5 abstentions, and no votes against. The President of Keble JCR, Thomas Morris, stressed to Cherwell that the motion was not intended to be a judgement on Asare specifically, but to make a broader point about expected conduct from Sabbatical Officers towards students. “We want to acknowledge with this motion the importance of the trust we put into Sabbatical Officers to support JCRs and represent them at a University level,” he added.

At the start of Michaelmas Term, Keble JCR accepted Asare’s pitch to trial a series of essay workshops intended to provide students with guidance about the standard of essays expected at Oxford. Four workshops were planned: two for students studying under the Humanities Division, one for medical students, and one for courses under the Medical, Physical, and Life Sciences (MLPS) Division. While Keble JCR booked the rooms and advertised the workshops, Asare was responsible for finding and preparing tutors for the workshops.

The motion says that Asare failed to share crucial information with tutors and the JCR, which disrupted the workshops. One of the humanities workshops was also nearly cancelled, as Asare did not send the necessary information to the required tutor. Asare did not tell the JCR that the tutor arranged to run the MLPS was unavailable, leading to the event not taking place at short notice. The tutor holding the medicine workshop dropped out and the motion says Asare did not send their replacement the slideshow needed to run the session.

Speaking at the Student Council meeting, Asare said that a personal emergency meant that she was taking time off work during this period. Because she had taken emergency leave, she said no arrangements had been made for someone to step in to work on her behalf. 

Asare said that if students voted in favour of a motion of no confidence against her, she would be unable to complete a handover to her successor at the end of her tenure as she would no longer be employed by the SU. She also said that since the intention of the motion was to improve relationships between JCRs and Sabbatical Officers, there were other ways to achieve this than a vote of no confidence in her.

Keisha Asare has been approached for comment.

Love Island goes sustainable?

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The beloved (well, depends who’s asking) show Love Island has announced that, when it returns for its eighth UK season, it will partner with eBay to clothe its contestants. This is quite a change from the previous partner ISawItFirst – a quintessential fast fashion brand where dresses start from under a fiver – and an extremely interesting one coming from a show that is, let’s face it, more or less the spiritual home of fast fashion. With contestants almost never repeating outfits despite the multiple daily costume changes required by island life and one of the most famous ex-Islanders, Molly-Mae, having been appointed ‘Creative Director’ for fast fashion juggernaut PrettyLittleThing, not to mention assorted other former contestants regularly partnering with fast fashion brands on a smaller scale, it’s not a show that has history with slower fashion. It could be a sign of the times – the show’s target demographic, is, after all, the generation who made charity shops fashionable – although I would like to remind you that outside the Oxford fashion bubble, thriftingg is still somewhat outré, with a lot of people still turning to PLT &co. for their shopping needs. It could also be a bit of a PR stunt – as a show, Love Island isn’t exactly known for setting a good example for just about anything, so the sudden decision to eschew fast fashion seems rather out of character – albeit one which, interestingly, received far less attention both online and in the think-piece-y news than you might expect, given what a hot topic our shopping habits continue to be. The eBay partnership could be an attempt to clean up their image as a byword for single-use fashion, a reputation which wasn’t helped by the constant criticism surrounding Molly-Mae’s work for PrettyLittleThing – a brand which has repeatedly attracted controversy for its low-cost, low-quality clothing and even worse working conditions. 

Whatever the motivation, however, the end result is the same – eBay will become as over-populated as Depop and we shall all have to seek refuge at Vinted. Just kidding. Although there is truth in the idea that this deal could help popularise shopping second hand amongst those who (amenable to influencers) have previously been fast fashion loyalists, it seems unlikely that the show will make a big song and dance about sustainability, as it’s not really in keeping with their vibe. This means that we might see a bigger increase in more sustainable shopping as a simple trend, rather than being motivated by ecological concerns. Which isn’t necessarily a bad thing – anything which helps wean people off the fast fashion mentality is obviously good – but it does present an interesting dynamic.

I, for one, will be interested to see where they go with the styling. One thing about having a single brand as your sponsor is that it gives the cast a relatively cohesive look – something that would be a lot harder to pull off from a trawl through eBay’s depths. If the contestants are allowed to wholly style their own outfits on the show, would it be from a big wardrobe stuffed with random finds ? Would they organise them by colour, decade, or style ? The potential for a ‘dressed in the dark’ moment looms large, especially given the current taste for maximalist fashion – a look which, though effective if well thought through, can sadly often end up looking as though you’ve lost a fight with a washing line. But – think positive! – it could also be an excellent chance to crack the homogeneity of the Love Island look – and, much appreciated by a material girl like myself, an opportunity to break the show’s long-running relationship with the flimsy polycottons so beloved of fast fashion retailers – boosting the positive environmental impact even further. Another potential issue is of the look itself – a lot of people use eBay to buy bits and bobs which are hard to find in traditional shops, but the Love Island aesthetic has previously been super of the era and interesting when you think that eBay (though a good refuge from getting absolutely reamed on Depop) isn’t necessarily known as a fashion marketplace. Of course, this whole shebang utterly fails to address the elephant in the room: the way Love Island functions as a twenty-four-hour-catwalk, with contestants refusing to wear even the same pyjamas for more than a few days. Arguably, if they wanted to advocate a truly healthy example of fashion they’d give the contestants some sort of capsule wardrobe and have them make do with that. But part of the show’s appeal is the constantly changing outfits – with the run being the best part of two months, the contestants would probably start to look a little like cartoon characters if confined to a finite wardrobe – and it’s clear that the visual stimulation of seeing conventionally attractive people in shiny new clothes is a not inconsiderable part of the entertainment function of the show.

 But at the end of the day, anything that turns people away from fast fashion is a good thing overall, and if Love Island is what it takes – who am I to question it?

Image credit: TaylorHerring / CC-BY-NC-ND 2.0 via flickr

Beyond the Etonians: Simon Kuper’s Chums in today’s Oxford

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CW: classism, racism, sexual harassment

Simon Kuper of the Financial Times tells me he is an unlikely candidate to draw back the curtain on what he calls “the Oxocracy”. A card-carrying member of the establishment he shines a light on, he knows that the system he condemns also benefits him. Besides, raised in the Netherlands, Kuper came to Oxford equipped with an outsider’s eye. More than just an exposé of an institution he “had a wonderful time at” or a compilation of party gossip, Chums is meant to provide the necessary context to grasp today’s ruling class.

Throughout, he argues that a unique mix of public school arrogance and Oxford frivolity produced a dominant generation of politicians. Its ranks include David Cameron, Boris Johnson, Michael Gove, Jacob Rees-Mogg, and Dominic Cummings. The book speaks of how they were shaped by the University and how Brexit was born. It also deals with life at the University as it was then – a life perhaps all too recognisable for today’s undergraduates.

Arriving in Oxford just as Johnson and Gove left, but in time to catch Rees-Mogg, Kuper notes that these characters were infamous even as students. From his desk at Cherwell, he had an early front row to the antics of many of today’s front bench. Boris Johnson was one of the most prominent undergraduates of his day. Jeremy Hunt was the boring and bureaucratic president of the Oxford University Conservative Association (OUCA). Gove and Rees-Mogg were constantly lampooned by yesteryear’s Cherwell, a publication then characterised by constant irony and an obsession with these big personalities. 

The men who grew up to become these characters were, in some respects, a diverse bunch. Some, like Cameron, were blue-blooded representatives of the hereditary elite. Others, like Gove, were products of the post-war meritocracy. This mix of hereditaries and aspirationals had fuelled the upper classes throughout British history, and through close relationships and favourable institutions kept a stranglehold on much of the establishment.

Yet, as much as there were differences between them, they had more in common. Nearly all were male. All were white. Almost all belonged to the ‘elite’ even before arriving. In the composition of its student body, the Oxford of Chums is a far cry from today’s University. Kuper recalls asking the only Afro-Caribbean undergraduate in his college what the percentage of Afro-Caribbeans at the University was; the student retorted, “Percentage? There are six Afro-Caribbean undergraduates at the entire University”.

The history which the Oxford Tories learned revolved around themselves too. ‘Men like them’ had ruled over nearly a quarter of the earth’s surface for much of the past century. Spoon-fed a diet of imperialist nostalgia and martial glory from birth, the grey mediocrity of the 1970s taunted them.

However, Oxford Tories went to University in a decade of renewed confidence for the upper classes. The dismal 1970s had been replaced by Thatcher’s 1980s British exceptionalism. Here was a group of men and women who had seen Brideshead Revisited on TV and were determined to make Oxford theirs again. Kuper emphasises that even then it was all an anachronism. It was a conscious effort at imitation of their forefathers, not ‘authenticity’. Without the sense of wartime sacrifice and duty that had characterised the upper classes of old, it ended up being a farcical parody. While most students of that time were listening to The Smiths, this small group set out to copy Sebastian Flyte. 

The defining consequence of 1980s Oxford Tories was Brexit. Birthed as an undergraduate project, it gave meaning and justification to the lives of men whose views of England no longer matched reality. Also, as Kuper notes, the ideals behind Brexit assured them personally of a future. They claimed ownership over Westminster; Brussels was hostile to men like them.

 The University provided an easy backdrop. Inseparable from the men that inhabited it, Oxford shaped their way of life. It rewarded style over substance, and rarely asked for much depth. The book explains how the academic standards of Oxford in the 1980s were different. Tutors were often unqualified, alcoholic, and brutally snobbish. One tutor ‘unapologetically preferred tall blond public schoolboys and girls’. A don at Kuper’s college had a reputation both for exposing himself and trying to recruit students into the intelligence services.

And, while providing a golden ticket to the elite, the entrance was rigged against almost everyone else. For some, admission was guaranteed from birth. Even if things went wrong, privilege would save them. An anecdote from the book mentions Toby Young (now a polemic social commentator). Having failed to meet his offer from Brasenose of two Bs and a C, he was at risk of losing his place. A phone call from his father, Baron Young of Dartington, saved his spot. Ironically, Baron Young happens to be the man responsible for writing the 1945 Labour manifesto and coining the term ‘meritocracy’.  For those who did not belong to the narrow upper and upper-middle classes, entrance to Oxford was restricted if not impossible. 

Yet more striking for today’s Oxonian is how little has changed. It is true that the largest personalities of today are no longer Etonians cosplaying Evelyn Waugh. Yes, the student body is, slowly but surely, becoming more representative of the wider population. And, as Kuper mentions, today’s admissions are four times as competitive, fairer, and much more international. But, fundamentally, the institutional structure of the University described in Chums, the incentives Oxford creates, and the undergraduate life it feeds are not all that different.

Kuper’s paragraphs on the ‘essay crisis’, the insignificance of lectures, and emphasis on rhetoric rather than deep academic learning refer to the Oxford of the 1980s. Yet,  they will ring as true for today’s undergraduates as they did then. At the time, Cherwell reported on the notoriety of Simon Stevens (now a former NHS chief executive) as a legendary tutorial faker who once got halfway through reading his essay before his partner revealed to the tutor that he was reading from a blank sheet of paper; the same anecdote was told by a tutor about a contemporary student only a few months ago. 

It goes beyond the structure of the classes and tutorials. PPE, a degree which then was considered to skate too thinly over three subjects in three years, continues to be criticised for the same reasons. With an academic year lasting just 24 weeks, depth is hard to achieve. With face-to-face time limited to just a few hours each week, the emphasis will always be more superficial. For many Oxford students, now as then, the most important parts of University life are those that take place outside the classroom, ranging from drama to rowing or student politics to socialising. A survey from Kuper’s time indicated that the average student worked on their degree for just twenty hours a week. This continues to be the norm for many students today, even if a tutor quoted in the book explains that the expectation is now forty.  

Like Kuper, this article is not meant to insult Oxford. The University is a wonderful place and, by many objective standards, the world’’s premier institute for scientific research. Yet, reading the book must raise questions for Oxonians today. If the structure of undergraduate life then had such adverse outcomes and is so worthy of condemnation – and the structure fundamentally hasn’t changed – what does that imply for Oxford now?

Kuper doesn’t just single out the University itself. He dedicates multiple chapters to the Union, a place that served as a political finishing school for many of the Oxford Tories. Failings in today’s cabinet are traced to habits encouraged then, from electioneering and ‘binning’ to an emphasis on rhetorical flair over substance, Yet those habits continue to be an intrinsic feature of the Union, even if those partaking have changed. I ask him if, now that Etonians no longer run the show, it’s fine that a place like the Union teaches you to ‘hack’ and ‘knife’. Kuper responds by highlighting greater inclusivity at the broader University, where 69% of those admitted are now from state schools. 

One wonders, however, how much this affects the outcome. Indeed, the participants have changed, but the place, once they arrive, hasn’t.  Like the University, the Union highlights its greater inclusivity – but the incentives and politics remain. In many ways it is student politics that has changed the least. This term will see Union members vote once again on whether slates should be banned, as they once were in Johnson’s day. 

Even the inclusivity increase is complex. The book mentions the cost of Union membership in the late 1980s being £65.  Adjusted for inflation, this is equivalent to £146. The current price of the membership is almost twice that, at £286. Even an ‘access’ membership costs £169.95. Meanwhile, the prominence of ‘hacks’ in Oxford life may have grown greater still. Kuper tells me of many of the big names then, “It’s not that I hated them. I just was not very aware of them. They were very far for me. I was very far from them. We had our own lives. I had a very happy life.”

Boris Johnson was exceptional precisely because he was one of the few undergraduates known to the wider student population. Today, social media allows many students to become ‘big names on campus’. Scandals rapidly become common knowledge, even as the permanence of the internet means the stakes are ever higher. To be sure, Cherwell would write pieces like 1988’s ‘Union hacks in five-in-a-bed romp shocker’ about Michael Gove. But its reach and frequency was a fraction of Oxfess’ today. 

Undoubtedly, Kuper is aware that many of the flaws in the University persist. In the final chapter of the book, he deals with “what is to be done”. Radically, he even proposes shuttering the institution and making it graduate or research only. He celebrates the Dutch or German systems while noting that they do not deliver close to the same level of academic excellence.  Nor, as Kuper is aware, are the best universities in these countries immune to similar accusations of elitism. He (rightly) notes that shutting Oxford would see different universities (Imperial, King’s College London, and so on) increase in prestige, as would-be Oxonians seek education elsewhere. 

What remains unclear from the book is if Kuper’s primary criticism of Oxford today is who gets a spot, or what the University does to students once they arrive. Despite arguing against the abolition of private schools, it seems the upper- and upper-middle class grip on Oxford bothers him most. However, as he writes repeatedly throughout, Oxford’s intake is changing. Each cohort is more reflective of wider society. What – broadly – hasn’t changed is the incentives students face upon matriculating and the structures within the institution that will shape them.

“To understand the man you have to know what was happening in the world when he was twenty.” The quote serves as Chums’ epigraph and summary.  In good Oxford fashion (and as Kuper acknowledges), the catchy Napoleonic quote is probably apocryphal. The book that results is entertaining, eminently readable, and very recognisable. Yet, for those of us who are twenty now in Oxford, it raises the question: faced with an all-too-similar environment, will we be different?

Image credit: Cherwell archival image

Let’s get physical: Review – Holding

“What pair of planets orbit around each other just because it’s convenient?” That’s the question that haunts Sarah, the protagonist of Holding, which opened on Tuesday at the Burton Taylor Studio. 

Written and directed by Oxford mainstay Kirsty Miles, Holding stars Erin Malinowski as Sarah, a physicist who appears to be happily married. Her husband Nick (Alex McGovern) – also a physicist – has just received the promotion that Sarah had been striving for, owing in large part to Sarah’s uncredited help with his research. Sarah couldn’t be more pleased (or so she says) but she soon becomes unsettled by recurring dreams of a pixieish figure (Jodie Tyler), who seems to want something from her.

Sarah begins sessions with a therapist (Mariya Sait), who asks Sarah to try something new: why not dance with the figure in her dreams? So she does. As Sarah and her dream counterpart spin and stretch and comfort each other, Sarah realises that something in her psyche is trying to get out – and that her marriage might be the thing holding it in.

The production runs just shy of an hour, which means that every inch of the story is compact: in a play the length of a TV pilot, Miles manages to paint the portrait of a marriage ruled by physical laws. Sarah and Nick move like the stage is a magnet and they are iron filings – they’re dragged about, colliding and separating, helplessly pulled by some larger force.

Miles’ direction takes advantage of the script’s scientific underpinnings. After all, the same laws apply in physics and in love: attraction, repulsion, momentum, entropy. Sarah and Nick move around the stage in ways that seem dictated by physics, whether they are sitting parallel or sliding apart in perfect synchrony. Meanwhile, Sarah and the dream figure mirror each other in more abstract ways, and their dance sequences (choreographed by Gillian Konko with improvised violin by Momo Ueda) bring to mind the softer symmetries of nature – the imperfect symmetry of a shell or a feather. If Sarah’s relationship with Nick is all about maintaining balance, the dream figure knocks that balance askew.

Malinowski and McGovern have remarkable chemistry as the central couple, every touch and glance between them glittering with heat, which is why the show’s conflict plays so convincingly: they both, at some level, want their relationship to hold together. Malinowski, as Sarah, has a childlike perceptiveness that makes her vulnerable to being overwhelmed; the world is too strong for her. She’s so thin-skinned she’s practically transparent. In contrast, McGovern’s Nick is the stereotypical hard-nosed scientist, whose muted anxieties manifest in his lowered brow and obsessive monitoring of his wife. Sarah’s therapist is played in fine form by Sait, with the low voice and slightly tilted head of every therapist you’ve ever met. Yasmin Ziv and Ava Smith (as Nick’s colleagues) appear mid-show to briefly bounce off the walls, much to the audience’s delight. 

The set changes are minimal and performed by the actors. The only furniture in Sarah and Nick’s apartment is a table and two chairs, although the space is cluttered with memorabilia of their life together, which scatters across the stage as their marriage dissolves. Luke Drago’s sharp lighting design lays bare the disorder of Sarah’s waking life, at odds with her dreams, in which moonlight seems to wash the stage clean. It is this contrast – between order and disorder, dark and light, inner and outer worlds – that threatens to pull Sarah apart.

As marriage continues to change as an institution, there is a need for theatre that explores it from a variety of perspectives. Holding takes up the cause – and it isn’t afraid to get physical. 

Holding continues its run in the Burton Taylor Studio until 28th May. Tickets are available here.

Wilde at heart: In Conversation with members of the Lincoln Drama Society

It’s practically a cliché to say that with such short and busy terms, there are more events happening in Oxford than any person could keep track of. Most people, quite sensibly, want a place at the well-known events—the major drama productions, the speakers at the Union who everyone’s heard of, the most opulent and extraordinary balls. But some love deserves to be spared for the events that aren’t as well publicised.

The Lincoln Drama Society’s performance of The Importance of Being Earnest isn’t a huge production—in fact, Ellie McDougal, who co-directs the play alongside Lara Hatwell, tells me that funding issues played an unexpectedly positive role in staging the play. “We experienced some issues with funding the play”, she tells me via email, “but the accommodations we had to make ended up really pulling the production together. With no funding for staging or lighting, we decided to do a naturalistic performance in Lincoln College’s ‘Beckington Room’—a beautiful, seventeenth-century panelled room that used to be the Rector’s lodgings. Complete with candles and a fireplace, the room has acted as a phenomenal set for Earnest – I cannot imagine the play without it now!”

First performed in 1895, this play by Oscar Wilde is a farcical comedy about the double lives of two young Victorian gentlemen, Algernon Moncrieff and Jack Worthing, and how these collide with their standard social obligations. Ellie elaborates on the play’s subtext, stating that “in one word, it is a play about language. Wilde’s genius lies in his ability to utilise linguistic symbols and Earnest is his best demonstration of that genius. The play’s characters use language to argue, to confess love, to tell the truth, to lie”.

She calls the play’s conclusion a display of “language’s emptiness and its power”, arguing that it dramatises Wilde’s philosophy as expressed in the essay “The Decay of Lying”, which argues that art’s purpose is “the telling of beautiful untrue things”. But Wilde’s play isn’t merely concerned with philosophical abstraction; Ellie tells me that while she loves Wilde’s work in general, she particularly likes this work “for how rigorous a social commentary it is… It is a play that reminds us of how our own lives are pure theatre”. She notes how the play is “entirely cynical” about the structures that Victorian society was built on, satirising its preconceptions about class, gender, and marriage. 

This is a point on which Liam Stewart, who plays the roles of the manservant Lane and the butler Merriman, agrees. For him, the play’s brilliance lies in its writing: “Full of paradoxes and often complete nonsense disguised in rhetoric, [the characters’ interactions] are hilarious and infuriating in equal measure. This makes it hard to root for anyone in particular, but also makes it impossible to hate any of the characters either, even though a lot of what they say is highly questionable.”

His roles, which serve as a more serious foil to the follies and eccentricities of the upper-class protagonists, also speak to Wilde’s use of the play as social commentary. They “highlight an important contrast between upper and working-class worlds in the play. Lane, especially, is a sobering juxtaposition to Algernon’s witticisms; pointing, without saying very much, to the triviality and callousness of Wilde’s upper-class characters”. Even though the roles of Lane and Merriman are comparatively minor, the silent shadow they cast over the play’s farcical schemes is part of what makes this work endure.

So what was the process of putting the play into production like? Ellie tells me that the Lincoln Drama Society staged Arthur Miller’s All My Sons last term, a serious drama exploring American society in the aftermath of World War Two, so they wanted to choose something that was dissimilar in tone and content. “Looking to the 1890s felt natural with how well fin de siècle writers handled satire and social commentary together,” she says, noting that Wilde’s play was “hilarious but still held its weight in 2022”, with its famous wit making it an easy choice. From this point on, the production ran smoothly, a fact which she attributes to how a rehearsal schedule was drawn up in advance, allowing everyone to know their roles clearly and prevent the production from interfering with academic work. “My academic interests lay broadly within theatre anyways, so directing a play feels quasi-productive to me”, she adds.

As someone who’s never been involved with Oxford’s drama scene, I find myself curious about how one might become a part of it. Ellie points to the Oxford University Dramatic Society (OUDS) as a starting point, as well as college drama societies, saying “university is a chance to try out new things and see what interests you, so don’t be intimidated if you don’t have a lot of acting experience, loads of people don’t”. Liam gives me a similar answer: “I would say just go for it”, he suggests. “I haven’t done much acting at all in school, but I think while at uni you might as well try new things! The rest of the cast have been very lovely and I’ve thoroughly enjoyed the process so far.”

So what’s the play expected to be like? Liam tells me that viewers should expect “an evening of hilarity, a wonderful cast, and come away with a better understanding of when it is and isn’t appropriate to indulge in the rapid consumption of muffins”. Ellie’s answer, though, is briefer: “Be prepared to laugh so hard you pee yourself a little”.

Photograph by Ellie McDougal

Wimbledon Chaos – What’s going on?

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With the French Open well and truly underway you might expect the tennis world to be firmly focused on Chartier but instead the dominant topic of conversation, even at the early rounds of Rolland Garros itself, has been about Wimbledon.  The noise from all sides can be hard to make sense of so here is our attempt to unpick it all.

What’s happened?

On 20 April this year, the organisers of tennis’ most prestigious tournament, the AELTC, announced that Russian and Belarusian players would be banned from this year’s championships.  The move came in response to Russia’s invasion of Ukraine and followed similar moves from across the sporting world saying, “Given the importance of not allowing sport to be used to promote the Russian regime and our broader concerns for public and player (including family) safety, we do not believe it is viable to proceed on any other basis at The Championships.”

The move was highly controversial from the outset, with Novak Djokovic calling it “crazy”, the ATP saying that it set a “dangerous precedent”, and the WTA stating that it was “very disappointed”.  For over a month after that, the governing bodies continued to ‘evaluate their next steps’.

So, what’s happened now?

Last Friday, the ATP announced that they would no longer be awarding ranking points for the competition so as to not disadvantage those players who couldn’t participate.  Prize money will still be awarded by the organisers but the ranking points are what determine the world rankings and therefore qualification for and seeding at other tournaments.  They said in a statement that, “It is with great regret and reluctance that we see no (other) option.”.  It is this which has brought the issue to the forefront of peoples’ minds yet again with players outspoken over the decision and split in their opinions.

Who thinks what?

Dennis Shapovalov has been the first player to directly relate the move to his playing performance after crashing out in the first round at Rolland Garros.  He said that “I think it’s a little bit added pressure on me, knowing that losing a lot of points and not able to defend.”  The world number 15 will certainly find it harder to hold onto that position now.

On the women’s tour, superstar Naomi Osaka has questioned whether or not she will even play the grand slam, calling it a “glorified exhibition”.  Pliskova was the runner-up at the All England Club last year and says, “I think it’s super tough and unfair and a bad decision” – she will drop out of the top ten in the world if she is awarded no points for this year’s performance.

Back on the men’s side, Benoit Paire has called the decision “absurd”.  Daniel Medvedev, who won’t be able to compete, has avoided joining either side of the debate:  “I’m not saying which decision is right, but at least so far in explaining their decisions, I found [the] ATP just more logical and more consecutive.”  

What next?

As alluded to earlier, the decision from the ATP has the potential to seriously upset the world rankings.  Novak Djokovic is set to lose his spot as world number one, even if he wins the tournament again this year, most likely to Daniel Medvedev despite the Russian not even being able to take part.  The women’s tour will see a number of players who specialise in grass-court tennis fail to qualify for future grand slams.  Overall, the move means that all other tournaments and the other grand slams, in particular, will carry even more importance than ever this season for players at all levels of the game.

Whether either side will budge on their current positions remains to be seen but the expectation is that that is unlikely.  One thing is for sure though, as the tournament creeps ever closer and players decide whether to appear or not, the debate will only grow louder.

Image: I went to Wimbledon, CC BY-SA 4.0, via Wikimedia Commons

‘Not Here, Not Anymore’ holds protest against Oxford Uni’s sexual assault policy

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Trigger warning: sexual assault, sexual harassment, rape 

On Sunday 22nd, crowds of students convened outside the RadCam as part of a protest organised by Not Here, Not Anymore (NHNA).

NHNA is a student campaign aiming to fight against the use of Non-Disclosure Agreements (NDAs) in colleges and push Oxford University towards improved sexual assault policies. It is associated with It Happens Here, a group linked to the Oxford Student Union which has been promoting a safer university environment free from sexual assault since it was founded in 2013.

During the protest, a series of speakers voiced the demands of NHNA and described their personal experiences of the cultures of “silencing and victim blaming” that exist within Oxford University.

The first to speak was Maia Hamilton, the co-chair of Oxford University Labour Club. She read aloud the open letter which NHNA has addressed to Oxford University and published on their Instagram linktree. She said: “Oxford can and must do better to prevent sexual assault amongst students and protect survivors. To take up your place to study at one of the most prestigious institutions in the world should not mean you forfeit your right to learn in a safe environment. Education should not cost an exposure to danger.”

Hamilton voiced concerns that Oxford’s collegiate system makes it particularly difficult to tackle systemic sexual misconduct, since each of the colleges has an independent set of policies and procedures. She said: “You should not be at a higher risk of being assaulted or mistreated in the aftermath of sexual violence based on your college.”

Widespread calls for the universalisation of sexual misconduct policies across Oxford colleges have followed in the wake of high-profile failures by colleges to protect survivors. In 2021, a postgrad at Balliol described how she was treated with “hostility” after making a complaint about sexual assault, and in March, LMH was accused of using NDAs to silence a victim of rape.

In light of this, NHNA’s open letter states that “all colleges should adopt the same sexual misconduct policy so students are not forced to gamble with their safety based on where they are accepted or pooled to”.

Kesaia Toganivalu subsequently addressed the audience, saying that she was “sick of seeing well meaning infographics but no actual change”. She described her own experience of sexual assault, having been attacked by “someone I knew and trusted”, and she stressed that “it is not the job of survivors to beg [for protection]”.

She criticised the University for worsening the trauma of survivors: “How are survivors meant to be able to heal if rusticating has such big stigma?”

“I have the same punishment as the person who assaulted me,” Kesaia continued, referring to the responsibility generally placed on survivors to avoid environments where they might encounter their assaulter. “[Colleges] are rich as hell, they can afford to care, but they just don’t. I’m f***ing sick of this system and it needs to change.”

Hannah Hopkins, women’s rep at St Anne’s, added: “I’m so tired of Oxford not addressing things as they are, and caring more about reputational damage than the safety of students living there.

“Rape in most cases is legal in Oxford colleges… cases are run by professors who aren’t trained.”

Discussing the role of NDAs in Oxford colleges and the urgency of banning them, Ffion Samuels, LGBTQ+ rep of It Happens Here, said: “NDAs are forced onto survivors who are terrified… we need to put pressure on colleges in all directions.”

The NHNA campaign is actively urging JCRs to lobby their colleges to ban the use of NDAs. So far, only LMH and Keble have signed a pledge to stop using them, but Ffion argued that “we can force every other college to change.”

Jeea and Nicola, the two co-chairs of It Happens Here, were the final speakers at the protest. They stated that “sexual violence is one of the biggest threats facing our students today”, but urged students affected to turn to the resource guide circulated by It Happens Here and NHNA for guidance and support.

With a growing Instagram following of 545, the NHNA campaign is gaining traction. Having posted an image of the NHNA sticker covering the O of the Oxford Union sign, it seems that their mission is to not only tackle cultures of abuse in colleges, but also within Oxford’s societies, ultimately pushing for a more coherent and legible approach to sexual violence across the University.

Image Credit: Cecilia Catmur

Preserved in blue and white: Sarah Cooper

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My parents are great fans of marmalade. Most weekends, when I come downstairs in the morning, I will find them eating it with toast. I am not the biggest fan myself, but their favourite brand is Frank Cooper’s ‘Oxford’ marmalade. It is available almost everywhere, with its distinctive, endearing and old-style design of simple bold text upon a white background and the Royal Warrant. My own mum would describe it as ‘a cut above the rest’ with a ‘delicious tang’ and a taste ‘less sweet’ than other brands. What is clear is that this is some quite good marmalade. You may already be wondering how this could be relevant, but trust me here. Believe it or not, there is actually a blue plaque for this confection, or rather its originator, situated on the High Street. Next to the historic Grand Café, on a pastel pink house just before the exams schools, a blue plaque reads “Sarah Cooper 1848-1932 First made Oxford Marmalade here in 1874”.

Though the brand may be known as Frank Cooper’s, it was Sarah who made the first legendary batch years ago in the family kitchen. She was born Sarah Jane Gill, in the village of Beoly in Worcestershire, and had Oxford connections through her father John, who came from a family of iron-mongers, printers and coal merchants. In 1872, while she stayed in Clifton, she married Frank Cooper. He had inherited his father’s grocery business on the High Street in 1867, and expanded it next door into No. 83, where the plaque is today. The premises was operated both as the shop and the family’s home. Originally, the Cooper’s had moved to 31 Kingston Road, just beyond Jericho, but they soon moved into the rooms above the shop. In this building, at the age of 24, Sarah made 34kg of her legendary marmalade for the first time. The Seville oranges she used were from Frank’s shop and due to be thrown away. After following her mother’s recipe, the marmalade was distinctive for its chunky and coarse-cut peel.

“Soon the notoriety had travelled further than Oxford, and there was demand from people all around.”

The custom of lighter breakfasts, including marmalade, had just become fashionable in Oxford, where college breakfasts were previously far more indulgent with items such as cold game pie and fish on the menu. It quickly went on sale in Frank’s shop, in white earthenware jars, and was an immediate success. Soon the notoriety had travelled further than Oxford, and there was demand from people all around. The marmalade gained a Royal Patronage, and in 1903 the Coopers opened a new factory at the end of Park End Street. It was at this point that Sarah apparently retired, but she maintained an interest in the company and was a much respected figure to the mainly female workers. By now Cooper’s were also producing jams, sauces and soups, the latter being popular during the First World War with sugar rationing.

The Coopers moved to Woodstock Road in 1907, and at the creation of a new company, Frank Cooper Ltd, in 1913, their sons took a more active role. The High Street shop remained until 1919, and Frank continued to attend board meetings until he died at the age of 83 in 1927. Sarah lived another five years, but ultimately died in 1932 aged 84. The idea of writing a column about a breakfast condiment may seem fanciful, but this particular marmalade does have a genuine place in British culture. Ian Fleming includes Cooper’s as part of James Bond’s breakfast in From Russia, With Love, and Captain Scott took some with him on the 1912 Terra Nova Expedition. It has become a ubiquitous part of breakfast, all thanks to the first batch that Sarah produced many years ago. When it went on sale, Frank had his name put on the jars, and this mistaken attribution persists today. It is unfair that he should be credited for his wife’s marmalade, but her blue plaque at least does something to recognise her achievement. We may not associate Oxford with culinary innovation, but next time you’re walking through the intimidating Exam Schools, remember that the country’s best loved marmalade was born just a few steps away.