Thursday 25th September 2025
Blog Page 261

The things we’ve scene- A satirical review on Oxford’s social schleppings

Image Description: A high heel stepping on a disco ball

Hello and welcome to Nia and Anna’s bid for next year’s top 40 BNOC list. This week was tough. We agonised over what to name this, our weekly round of nonsense (tragically rejecting ‘Two Girls, One Column’). We sent networking emails to people who would spit at us in the street. We launched ourselves into gonzo journalism, a genre we are well suited to as we are ourselves cunts. Having worked ourselves to the point of minor bother, we are now happy to present our intensive investigations into various Oxford scenes. 

Our week started off as all good weeks do: working at the Mansfield Ball, which included being accused of stealing people’s silent disco headphones (yes, you caught me, I was jealous of how cool you looked singing Maroon 5’s Payphone to no music) and being stared at in utter dismayed disgust at having the audacity to check someone’s ticket. A short shift and a couple of failed collections later, we were ready to spend our weekend socialising – or at least, hiding in the corner with our feet turned inwards and our fringes over our eyes.

We started our research on Oxford’s political scene at the great, iconic bastion of Oxford debate; one often criticised for its saturation with the nation’s elites, the OULC (Oxford University Labour Club). The room was decked out in Ed Balls decor; a man who, given the time he spent at Oxford setting up his own elite dining society, was a natural choice for the Labour club’s favourite man of the people. Upon entry, the speakers in the welcome drinks were blasting ‘Common People’ – a song which is meaningful to many members, who could relate to it because they too study sculpture. As we ourselves spend our time studying the linguistic turn and Plato’s Republic, we can always respect anything without direct practical use. After having a bit of fun the Labour club way – dancing and drinking Stella with the label facing outwards – we make the oft-travelled journey from Labour Club to the Union (and quickly realise that the Labour club wasn’t so bad). To be fair to the Labour club, at least they have a basic respect for human rights and dignity – tune in next week for our encounter at the Conservative Association’s weekly Port and Policy, if we aren’t too scared of lawyer fathers. 

Upon entering the Union, we realise that we missed the message in the group chat telling everyone to come in beige chinos. Still, the night isn’t lost – they reassure us with the message that drinks only cost £2.50, which is a relief for an audience who just barely scraped together £300 to attend this great institution. We are told about this term’s lineup; you can alternate your celebrations of Indian and Pakistani independence with an appearance by Capital FM’s Roman Kemp. We are also told that the monarchy will be debated, exciting news for royal correspondents, who might actually find something to do with their time aside from the important business of discussing whether Kate inherited her tights from Diana. They also tell us about their upcoming ‘how to get involved in the Union’ event, which we are sure will include helpful advice on how to be born wealthy and make attending private school on a bursary sound like a burden. 

” A short shift and a couple of failed collections later, we were ready to spend our weekend socialising – or at least, hiding in the corner with our feet turned inwards and our fringes over our eyes.”

The Union’s debate of the week was ‘This house believes Stormzy is more relevant than Boris’. For now, let’s set aside the worries we had going in, like ‘how do you define relevance?’, and ‘houses don’t believe they’re inanimate objects’?! The Union affectionately refers to the PM as ‘Boris’, as if he were their port-filled uncle they see every other Christmas, gifting them a shotgun and the fruitless promise to take them out on a hunting trip, much like the experience of his own children. The speeches were largely thoughtful, thought-provoking, and thought-based. There were, however, a few ‘points of interest’. The first speaker argued that Stormzy was relevant to more people than Johnson, stating eloquently that Stormzy had appeal in marginalised communities. She went on to claim that her mum writes fan mail to Dave. Her mum put her head in her hands, hiding her grin. She had successfully convinced her 20 year old daughter that the Dave that keeps popping up on her phone is ‘Dave’, not just a Dave. Things took a turn for the worse when she tried to end her case that Stormzy was managing to tackle elitism in politics on a triumphant note – by using a Winston Churchill quote, whom we can’t imagine is Stormzy’s idea of a voice for the disenfranchised.

Though the Union’s choice to invite a criminality professor and gang expert to criticise grime was an interesting choice, to say the least, both made compelling cases, and are worth watching when they’re uploaded. 

Another speaker outlines the sheer extent of Stormzy’s influence and praises his success. A boy stands up hand raised, ready to launch into a stream of prissy piss. The speaker turns: ‘You’re not Kanye West, sit down’. He blushingly lowers himself, like he’d received a stern talking to from his nanny after misjudging what should have been one of his safer danger wanks given the many many flights of stairs between him and her. The debate was then opened to speakers from the floor – the floodgates opened and the raw sewage gushed out. A claim is thrown into the room that ‘we can all name works by Rembrandt- can’t we? A game of Tory never have I ever had commenced; instead of hiding that we hadn’t taken coke or had anal sex, we tried to hide our poor knowledge of art history. With a Union term card in hand and a weakened sense of self-confidence, we headed home. 

“…they reassure us with the message that drinks only cost £2.50, which is a relief for an audience who just barely scraped together £300 to attend this great institution.”

Still to come was Wadstock, which was like its namesake but with less drugs, less sex and less rock n’ roll. If you remember it, you probably were there, but you also probably had a nice time. People took strategic wee breaks as the bands alternated between originals and covers. As midnight approached we were reminded this was not supposed to be fun, but instead a Bear Grylls-esque challenge, only instead of drinking your own piss you’re expected to consume caffeine, coke, or both dissolved in the sweat that drops into your mouth from the Plush ceiling. This was the pres for the great Oxford tradition when every 1st of May the whole of Oxford reduces themselves to the thirteen year old at a sleepover who asks into the darkness every ten minutes if anyone else is asleep yet. For those who don’t know, May Day consists of being awake for longer than usual. It’s as good as it sounds. 

If you’re wondering why we celebrate May Day, for the Romans it was to honour the Roman goddess of flowers, for Christians it was the Virgin Mary, and for modern Oxford students, if Cherwell had their way, it’s to crowd outside Magdalen hoping for a glimpse of University sweetheart Daniel Dipper. We were flagging and the plush ceiling called so that was our next destination while we waited for 6am. We left Plush with blistered feet and soggy hair and made our way to the bridge. Struck by delirium we listened to the voice of god echoing from Magdalen tower. 

Thus ends our tales. See you next week readers, we hope you both have a good one. 

Image Credit: cottonbro via Pexels

Music for the end of the world: a Plastic Beach retrospective

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It’s summer. Exams are done, there are no deadlines to worry about. You have all the time in the world. You jet off to a secluded tropical island, and life is good. Between the afternoon cocktails and the dodgy-sounding nightclub you’re visiting tonight, you find a few hours to relax on the beach. The sand is warm, the water cool, and the gentle soothing sounds of drums fill the air. Suddenly, UK grime artists Bashy and Kano appear from nowhere and start aggressively rapping about environmentalism. Welcome to the world of Plastic Beach.

Plastic Beach is brought to us by Gorillaz, a UK virtual band created by Blur frontman Damon Albarn and artist Jamie Hewlett. For those unfamiliar with the concept of virtual bands, this means that the ‘band’ is fictitious, consisting of animated characters given voices by real life performers. Each member – Murdoc, 2-D, Noodle and Russel – has their own elaborate backstory that would take me more time than I have left in my degree to explain, but it’s a wild story if you’re interested in reading up on it.

After rising to fame with their first two albums, Gorillaz and Demon Days, the band blessed us with the album Plastic Beach. This third outing would release March 3rd, 2010, to commercial success and justified critical acclaim. It’s one I really missed the boat on (I didn’t listen to anything particularly good when I was 9, other than Number 1 by Tinchy Stryder) and only heard recently, but oh my god you guys this album slaps. So, I’m going to put off revision for my rapidly approaching finals to talk about a 12-year-old album. Now that sounds like a great plan. 

Gorillaz albums often have a huge number of collaborators, with Humanz and Song Machine: Season 1 featuring a guest artist on almost every track – the most impressive of which probably being Sir Elton John. Plastic Beach is no different, boasting one of the most eclectic casts I have ever seen. Put the album on shuffle, and you won’t know whether you’re going to be hearing Snoop Dogg, Lou Reed or the Syrian National Orchestra for Arabic Music. With such a massive range of artists and genres on display, you’d be forgiven for expecting the album to be a hodge-podge of half-baked ideas, but the final product is as cohesive as you can hope. The rarer, slower tracks like the beautiful Empire Ants certainly stick out from the more upbeat like Rhinestone Eyes, but this isn’t to say they sound out of place. Balancing so many styles, tempos, and moods is no easy feat, but Albarn and co. have pulled it off spectacularly. 

If someone told me they were going to write a song that starts and ends with the aforementioned Saudi Orchestra, but features Bashy and Kano shouting at each other over instrumentals that occasionally resemble a chain-smoking duck, I’d assume I had awoken in Alice’s Wonderland. And yet, the track White Flag does just that and somehow manages to sound really rather good. And then there’s the wacky Superfast Jellyfish, a hip-hop bop spliced with samples from a breakfast pastry commercial or something? When I close my eyes, I can see the worried looks Albarn almost certainly received from his collaborators when he came up with that one, and yet it just works in the most bizarre possible way.

This makes the songs, for the most part, incredibly versatile, able to induce a wide range of emotions. For me, this is perfectly encapsulated in the marvellous On Melancholy Hill. With a simultaneously cheery and serene electro-beat overlaid with restrained but beautiful vocals and lyrics of loneliness, it’s able to invoke everything from joy, to gloom, to existential dread. It has quickly become one of my all-time favourite songs, and yet I truly lack the words to properly describe the feeling it gives me; whether that’s up to the song itself or my failings as a writer I’ll let you decide. Just know that it’s snuck its way onto almost all of my playlists for one reason or another. 

So, the album sounds outstanding and is musically innovative, but what makes it so pertinent to this day is its environmental message. Plastic Beach discusses issues of pollution and climate change, but (surprisingly, given its name), isn’t quite so preachy as some other recent albums have been (Solar Power by Lorde, I’m looking at you). Starting with more orchestral influences in the introductory Welcome to the World of the Plastic Beach, the album quickly gives way to synth-pop and distorted, occasionally glitchy, vocals on tracks like Stylo and the addictive Some Kind of Nature – another personal favourite. All this tells the story of a world that is becoming more plastic and artificial, reminding us that we really do need to change our habits on a global scale. Of course, if you aren’t in the mood for a crisis, you can largely ignore these themes and just enjoy some bloody good music, but the message is there if you’re willing to look for it. Albarn once likened albums to a “snapshot”, showing “only one moment in time”. Sadly, he seems to have been wrong on this one, because Plastic Beach is still just as relevant now as it was in 2010.

Perfectly demonstrating this is the fact that Albarn stated in 2020 that he has “loads and loads of songs” for a direct sequel. On the one hand, that’s great because if it’s anything like the original then a sequel will sound fantastic. On the other (and much more depressing) hand, it’s a worrying reflection that things haven’t gotten any better. As Albarn said in a 2020 interview with Radio.com: “I’d like to just have an album called Clean Beach, but at the moment it’s still Plastic Beach“. The change that the world so desperately needed even back in 2010 hasn’t come yet, and as a result, the album’s message is, unfortunately, still very relevant. For now though, Plastic Beach serves as a poetic, wonderfully produced and musically brilliant reminder that the world is slowly ending, everything is artificial and no one seems to be doing very much about it at all.

But at least we have a sequel album to look forward to. Every cloud has a silver lining, right?

Image credit: Drew de F Fawkes / CC BY 2.0 via Wikimedia Commons

Bad language: the value of non-standard English

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In many classrooms, slang is something forbidden, a recent example being  a London secondary school’s decision to ban words such as ‘bare’, and fillers including ‘basically’ and ‘like’. The idea behind this is that pupils should always use and speak Standard English, as would be expected in formal situations such as interviews. Concerns about slang appearing in pupils’ work, however, cannot be solved by a ban on ‘bad’ English – arguably,  a person’s decision to only use Standard English must be a conscious choice. ‘Code-switching’ is the ability to alternate between language varieties and could be positively encouraged in schools, as suggested by Michael Rosen, the author and professor of children’s literature, who believes that teachers should study the use of everyday language with pupils whenever possible, and questions why different words are used in different situations.

He gives the example of discussing Shakespeare’s use of the slang word ‘coz’ in Romeo and Juliet, a contemporary contraction of “cousin,” to initiate an interesting discussion about how dramatists use language. Rosen also states that we are all capable of being ‘bidialectal’, i.e., speaking more than one kind of language, and there is no evidence that speaking one dialect prevents you from speaking another. It is therefore far-fetched to assume that young people are incapable of communicating differently in different situations. As with our behaviour, we adapt our language according to the situation and the way a person speaks outside of formal settings is not substandard simply because it is nonstandard: for instance, it is considered perfectly normal to speak to your boss in a different way than you would speak to a fellow employee. 

Slang usually refers to spoken rather than written language and is considered informal. Anything that falls outside of Standard English can be interpreted as slang, and it comes in many different forms: street slang; slang associated with different dialects; internet slang to form a unique online culture of communication; political catchphrases such as ‘Brexit’, a type of slang, have even become sensationalised. Standard English also suggests that that there is a superior culture that needs to be defended against incursions from non-white and lower-class speakers, which stands in opposition to ideas of diversity. It is therefore worth questioning if slang should be seen as ‘bad English’, or whether we are simply experiencing a shift in our mode of communication to shape everyday language. 

Teaching slang as part of standard language teaching is controversial. Whilst it may be considered to be an inferior use of language, it can also be seen as an essential part of everyday communication and therefore necessary to learn. As a modern languages student studying German, I would appreciate a greater emphasis on the importance and usage of everyday language: Denglisch (Deutsch and Englisch, i.e. Germans using English in everyday speech) is a lot trendier than I thought! Of course, language-learning requires standardisation and regulation, but grammar and vocabulary learnt in a classroom are often very different to the way people communicate on the streets (someone once told me I sounded like their grandmother because the language I had learnt was stilted and outdated). In the same way that it can be useful to learn the slang of other languages, it is also beneficial to acknowledge pupils’ use of slang in the classroom and to discuss how language evolves and can be used appropriately, instead of dismissing it as bad communication. 

Alongside the development of internet jargon, political buzzwords are equally used to talk about important issues quickly and easily, which become ingrained into daily language. Slang is one of the ways through which languages develop new vocabularies and acquire new meanings to define and embody important world events. In Germany, a Word and ‘Un-word’ of the Year (Unwort des Jahres) are selected annually by linguists, taking words suggested by the public to encapsulate significant events. Language is constantly evolving to reflect reality and an analysis of it reveals how people think, interact with each other, and how words – regardless of whether they appear in official dictionaries – reflect and define contemporary history. 

Modern Standard English, or the Queen’s English, is considered to be a prestige dialect and is therefore associated with power and class. The Queen’s English Society defines itself as ‘a guardian of proper English’ to defend against a linguistic decline, suggesting that knowledge of a language and its grammar is associated with reason and intelligence. But is a ‘linguistic decline’ possible, and is it reasonable to assume that one particular form of English is superior? Such a vast number of different dialects did not exist until recently, given the rise of social media and the fact that people often write online in the same way that they speak. But concerns about a crisis of language seem far-fetched given the lack of evidence that we will one day, according to John Humphrys, ‘communicate with a series of grunts’.

English is constantly evolving, perhaps more so in recent years, and older generations can see these changes taking place, but slang does not reduce a person’s expressive capacity, and can be seen as an opportunity for diversity. Some forms of language are valued more than others in certain contexts, an example being at university, where a student from a working class background may feel compelled to adopt a certain tone, possibly contrasting with how they would usually talk. Thus, (classist) assumptions are often made about a student’s ability depending on their dialect. English has also become an international language, used both online and in politics, which suggests the opposite of a decline. 

In many ways, a limitation on people’s choice of expression through speech seems illogical and rash. The UK is increasingly divided by class and cultural differences, and rather than reinforcing assumptions that anything other than Standard English is inferior, awareness and discussion around different forms of dialect are an opportunity for unity and to seek to understand the value of different language forms.

Artwork by Wang Sum Luk

P.S. I still love writing letters

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Apart from the formulaic thank-you letters following primary school birthday parties, the first ten years of my life did not feature much letter writing. My initiation to this world was not especially out of choice. It was in writing letters home to my family to be posted across the Channel in the summer of 2014 that I first properly engaged with this rather formal mode of correspondence.

Perhaps part of what appealed to me was the time for consideration that you get with writing. For someone who has always struggled with social anxiety, the idea that I could take as much time as I wanted to carefully contemplate what I wanted to say was incredibly appealing. I think the therapeutic nature of the activity was something I appreciated back then, even if I didn’t acknowledge that explicitly. Reflecting on what has happened in the recent past and laying out thoughts and opinions is undoubtedly one of the biggest perks of the process. 

After letter writing stopped being a necessity, my writing pads and envelopes were discarded in the bottom drawer of a dresser for a few years. However, in searching for an activity to keep away the boredom, or rather an excuse to hide from my siblings, it was during lockdown that my love for letter writing was reignited. Being older, the contents of my letters had evolved to become ever so slightly more sophisticated. 

Of course this was also related to the context of lockdown. When you haven’t done anything of interest all week, you have to find something to fill the pages with, and you find yourself getting profound faster than ever with the backdrop of a global pandemic and nothing much else to distract you. My letters at that time weren’t just comparisons of my experiences of COVID with those of my friends. Lockdown also stretched over quite a few significant life events: I entered adulthood, finished school, and started making decisions about what to do next with my life. There’s definitely a parallel between journalling and letter writing, with each having its own set of different advantages. I think what letters provide are a more obvious objective, even though this becomes sort of superficial once you start writing. Journalling can be more authentic and raw, but equally doesn’t have the appeal of external validation… 

The other long-form version of communication that seemed to take off during lockdown and since is voice messages. These are probably the closest thing to letters, of course with a little 21st century twist. Don’t get me wrong, I love receiving a twenty-minute-long personal podcast (even if I have to switch to 1.5x speed during double deadline weeks), but the ping of a WhatsApp notification isn’t quite the same thing as an envelope arriving on your doorstep or peeking out of your pidge.

Of course, something must also be said for the aesthetic value of writing itself. The freshness of the paper and the comfort of writing with a lovely pen are unquestionably part of the attraction. Although naturally the materials you use don’t really matter, and the value of the letters you write aren’t impacted by whether you’re using posh writing paper or the back of an old worksheet. Funnily enough, I can’t remember a single instance where I’ve bought my own writing materials – they seem to sort of appear in my life when necessary and float out again after they’ve served their time. In a time when almost the entirety of school or university work is online, the physicality of letter writing can’t be overlooked. Having a material piece of evidence for productivity is something I’ve missed since work shifted into the virtual realm. Plus, the childlike joy you get from posting a letter is a pretty satisfying feeling.

For some time during the first lockdown in 2020, there were postal processing issues in Hong Kong and the letters I was writing to my friends there were arriving as late as two months after posting. With one particular friend, we resorted to writing out letters with pen and paper and then scanning and sending them over WhatsApp. I’m not sure exactly what this demonstrates, apart from perhaps the fact that we’d forgotten how to communicate with anyone outside of our immediate families… but I feel like there should be some deeper message about technology hidden within that anecdote.

Maybe it’s not just the medium that creates a contrast between communicating via social media compared to pen and ink. With the rise of so-called ‘casual Instagram’ social media seems to be concerned with the idea that coolness should be effortless. The necessity of curation in your online presences seems as dominant as ever but this performance is now supposed to result in a casual appearance. With this context, what I love perhaps the most about letter writing is the amount of effort that the process requires. Hear me out, I promise I’m not saying that I usually have the time to write pages upon pages every day! It’s just that there’s something rewarding and refreshing about unabashedly putting a significant amount of time and energy into something for someone else. Who knows how long we’ll be around for, why not be unapologetic about your affections?

So, when you find the time, why not try penning a few messages – I promise it’s worth it. Besides, on top of all these many positives, the greatest bit about writing letters is that sometimes people write them back!

Image credit: Darkmoon_Art / Pixabay License via Pixabay

Living an exam-‘free’ Trinity

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The Biology faculty decided finals in first week made sense, so now I am a free bird without many fellow free finalists to fly with. Big sad. While I am still catching up on hugely needed and well-deserved sleep from finals, there are many times where I wonder how to fill my days when so many of my friends are locked in the dungeon that is Pembroke library. For everyone else in my situation, here are a few ways I’ve realised I can fill my days and (most importantly) thrive in my exam-free Trinity. Enjoy!

An obvious way to survive an exam-free Trinity is helping out your exam-riddled friends who are undoubtedly stressed and need some serious TLC. Bake brownies, cook them dinner, or make some kind of pidge-love, and and you will feel like the kindest, loveliest, best friend ever.

I have found that my finalist friends are reluctant to do anything that takes up a lot of time or requires getting over a hangover, but even they will be likely to spare an hour or so for coffee. A coffee break is a great way to break free from the Rad Cam and talk about something other than your subject, and you still get to see and check in on your friends. Everyone is a winner!

However, if your existing friends are library-locked, this does not mean you have to be stranded. Shockingly, there are many more people in Oxford that are not in your immediate friendship group! Go find them! Now is a great time to invest into friendships with other people who you may not see very often or to meet new people all together. For those of you who may be terrified of the thought of chatting to new people, I have found Jericho Coffee Traders (loved by all) to be one of the friendliest places in Oxford, and I can guarantee you will find at least one new person to chat to there. Also, if your friends have replaced you with exam revision (the audacity!), then why not replace them with a cheeky link and a date or two? Oxford is massive and filled with so many interesting, diverse, (potentially sexy) people, so stop wasting time waiting for your friends to leave the library and go meet people.

When so many people are investing massively in exams, it can easily feel like you are wasting your Oxford time and falling behind on some imaginary time scale because of how much other people are working. While you have no massive deadlines to work towards, it is a great opportunity to set yourself smaller, personal goals to work towards throughout term. My main goal this term is to do as many things to get myself out of my comfort zone as possible, and to recognise how I feel in this situation and learn more about what I enjoy and dislike. For example, I have learnt I can feel super confident when I ask a man out on a date (we love active feminism) but going on a run around the city centre during rush hour is a big fat no from me. Setting yourself new goals doesn’t have to be completely random or drastic.

I think there is too much of a focus on always having to be doing super interesting things with groups of people to be perceived as having fun and enjoying Oxford. You very much deserve to indulge in your own company and there is no shame in spending selfish, solo time. Take yourself on a picnic with your favourite foods (which obviously you don’t have to share with friends because they are in the library wishing they were you), go get yourself a coffee, spend time writing a new article (like me), or go exercise. There are so many opportunities for self-love and self-investment.

The aim is not only to survive an exam-free Trinity but to thrive! Reframe the idea. This is not “oh no, all my friends are stuck in gross Pembroke library and I have nothing to do”. This is “wow, I have so much time to do whatever I want with, so I will happily use this time to be so selfish, and invest in myself, and love myself, and live my best life!” Go enjoy Oxford in your own exam-free way, and if anyone needs a coffee friend then heeeyyyyyy.

Image credit: Jessica Ticozzelli.

The World According to Rusty… Week 3

This mildly comedic column has been written by a drag queen agony aunt. It is not for the faint hearted and contains sensitive topics which may cause distress to some readers. Be prepared for themes of carefully orchestrated murder, porn addiction, and pimping out twinks for a bit of spare cash.


Are you waking up in the middle of the night, dripping in sweat from night terrors about your father? Are you having repeated visions of him on all fours, with the limbs of a horse and the cock of a marginally smaller horse? Are you longing for the sweet release of top-tier Australian ketamine to forget about these nightmares? If so, get some help – I’m not a clinical psychologist and you sound like you might be a bit fucked up.

Rusty Kate is Oxford’s premier cum-filled crossdresser, known for delivering incredible shows all across the city (even if she doesn’t remember them the next day). She’s taken time out of her busy schedule being the country’s leading expert on intrusive prostate examination in men over 70 and wanking over the bullying scenes in Heartstopper to write this column. Seriously, she’s running out of ideas for this.

Remember to submit your questions through linktr.ee/rustykatedrag – there you can also buy mugs with her face on. It’s the closest you’ll ever get to having your lips around her.

My boyfriend snores and it makes it really hard to sleep at night. It frustrates me to no end, but every time I bring it up with him, he (rightly) says he can’t help it – what can I do to sort it out? I need some sleep!


This will require some carefully considered, level-headed actions which benefit the both of you. Smother him. Not in kisses, not in love, not in the affection your mother never provided (which is why you’re with him in the first place), but with the cold, sweet release of asphyxiation. He won’t even feel it – especially with the amount of ketamine you’ll have pumped through his system.
Yes, funerals are always hard and emotionally draining, but start dropping hints to his close friends and family that he has a bit of a drinking problem. Play the part of the remarkably well-adjusted mourning widow – it’s your only choice. The sweet, night-time melodies of your traumatised sub-conscious, begging for forgiveness for this heinous act, will be much easier to cope with once the snoring has finally ceased.


I think my partner is addicted to porn. They’ve told me before that they watch it on a daily basis, and they consistently struggle to climax when we’re getting intimate – how do I address this with them without making them feel even worse?


You don’t. It’s a dog-eat-dog world, and my OnlyFans can’t take the hit right now. It’s the only thing standing between me and the bailiffs. Don’t make me start filming the videos myself – it’s much more convenient to drug twinks in G-A-Y Late, pump them with speed and make them shag until dawn than it is to try and film yourself topping. It’s remarkably expensive to start a GHB-based twink drugging scheme, especially post-Brexit (my imports are down 30%). Support queer business, and use discount code LUSTY KATE to receive 5 videos for the price of 6.

A love letter to Marseille

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450 miles south of Paris and the same distance across the Mediterranean from Algiers, a mere afternoon’s drive to the Spanish and Italian borders, at the beginning of the Côte d’Azur, trapped between the mountains and the sea, lies France’s second largest city. Marseille, my home for the last nine months.

Marseille is a theatrical city, a city that has never failed to conjure strong opinions from our neighbours across the channel. One of my favourites is that of 18th century revolutionary Louis-Marie Stanislas Fréron who proclaimed it to be “beyond cure, save for a massive deportation of all its inhabitants and a transfusion of men from the north.”  Another favourite is a more loving description from Marseillais playwright, poet and novelist Jean-Claude Izzo, who writes of “its eternity, a utopia. The only utopia in the world. A place where anyone, of whatever colour, could get off a boat or a train, his case in his hand, without any money in his pocket, and melt into the wave of other people. A city where as soon as he put his foot on the ground, this man could say ‘Here it is: I’m home’.”

So why has this beautiful and chaotic city been dividing, baffling, enticing, angering and fascinating people for centuries?

France’s oldest city, often donned the Phocaean city, was colonised by Greeks from Phocaea in what is now Turkey, as Massalia, in 600 BC. There is, however, strong evidence of an earlier Gaulish society here. From its first days, it has been impossible to pinpoint who makes up Marseille. Over the next 2600 years the city would see various waves of immigrants from rural France, Catalonia and Spain, Italy, the south and eastern Mediterranean, North Africa, West Africa. Rough statistics (in France it is illegal to collect data about ethnicity) tell us that around 200,000 of Marseille’s almost 900,000 inhabitants have Maghbrebian heritage.

In many respects, it is a Mediterranean city before it is a French one. It is also not uncommon to feel as though allegiance is to city rather than to country, with many of its inhabitants feeling ‘Marseillais’ rather than ‘French’.  People in bars are quick to tell you that their grandmother is Spanish or Moroccan or Napolese, that they love Marseille and that they have nothing to do with Paris.

I have found it to be an exceptionally welcoming place, something I don’t think can be said for a lot of France, typically speaking at least. Some Parisiens might still mutter or snigger disdain about Marseille. But let there be no mistake – the laughter is louder on the other side. The anti-Paris, anti-Macron, anti-establishment feeling is palpable.

Marseille is halfway between Paris and Algiers, literally and in spirit. Generally, the immigrant communities are remarkably harmonious, compared to some of its other European rivals, but the situation must not be over romanticised. Heralded as the ‘gateway to the empire’ by the French colonial enterprise, Marseille benefited enormously from imperial trade. Yet it was also often seen from the north as just as exotic as the African and Asian colonies the boats departed to from its famous port. The huge, grand steps of St Charles train station are still adorned with sculptures depicting the exotic riches of French colonies. Today, poorer areas of the city are disproportionately populated by immigrant communities and unemployment rates are high.

France is plagued by right-wing press and politicians who talk about Marseille losing its European identity. These kinds of articles, in magazines such as Le Causeur, often make the error of insinuating that immigration and cultural diversity is a recent phenomenon for the city… There is documentation about trade between Marseille and North Africa long before the invasion of Algeria in 1830. There are records of language courses in Arabic attended by French merchants since 1670. This kind of negative press also suggests division in the city. However, in Marseille there are no outlying segregated banlieues circling the city as in many French metropoles, but different communities are found dotted all across the city, mingling.

In the city’s 16 arrondissements there is an astounding diversity of atmosphere. A mere 30-minute walk from one neighbourhood to another might entirely transport you.

Noailles, generally known as the Arabic quarter, home to the daily market on the Rue du Marché-des-Capucins, nicknamed ‘le ventre de Marseille’ (‘the stomach of Marseille’), is located a stone’s throw from the tourist hub of the Vieux Port and the chain shopping streets. People from every corner of Marseille’s immigrant community gather in Noailles’ labyrinthine streets to sell and buy spices, tea, meat, ceramics, fabrics, duty free cigarettes for 75 cents and anything and everything else in the souk-like daily market. The area traverses Marseille’s historic thoroughfare, La Canebiere, and continues up to the Porte d’Aix, the slightly bizarre miniature Arc de Triomphe, by way of the Cours Belsunce, lined with the best falafel, kebab, couscous and mint tea shops on the continent and the beautiful Bibliotheque Alcazar, jazz age music hall turned public library.

Wandering slightly beyond Noailles, you’ll find yourself in Cours Julien and La Plaine – the arty, on-its-way-to-being-gentrified, liveliest neighbourhood in Marseille. In any three nights here you might watch a play in the tiny Théâtre Carré Rond, see a live jazz musician in Soma, and pry a glass from one of the sticky tables of Au Petit Nice to drink your €1 tequila or €1.60 rosé. On a Wednesday morning you’ll be greeted by the farmers market and a flurry of young people with piercings handing you leaflets for music events.

There is a restaurant from probably every country on the planet, clothes, and antiques to buy from every decade and not a blank patch of wall thanks to the endless colourful graffiti. For those that want to dance, La Friche(translated as ‘wasteland or ‘wilderness’) is a former tobacco factory a few neighbourhoods on, in Belle de Mai, converted into a veritable cultural jungle. Boules and pastis (Marseille’s famous yellow aniseed liquor), indie cinemas, author panels, exhibitions, skate-boarding and street dancing by day precede DJs at the revered warehouse-clubs Le Chapiteauand Cabaret Aléatoire, showcasing some of Marseille’s freshest music collectives. Art, literature and music are part of the fabric of Marseille, and always have been; its title as European City of Culture in 2013 bears testament.

Les quartiers nords, ‘the northern districts’, are the poorest and most stigmatised areas of Marseille, and often the only areas people have heard of or that make the national or international press, hence the dangerous and troubled image of the city. They are the areas we are told never to go to, the areas that make people nervous. The sensationalist media representation, as well as films, recently Bac Nord and Shéhérazade (beautiful films nonetheless) are what generally paint the image of the city. I do not seek to deny the difficulties faced by these neighbourhoods – Marseille’s 3rd Arrondissement is the poorest in Europe – but the vilifying, fearful or patronising approach is no way of combating them.

Le Panier, Marseille’s oldest district, located on the north bank of the port, now a touristy area filled with too-smart graffiti and oil painting or jewellery ateliers, was once known for its Italian and Corsican mafia. It is rumoured that much of the property in the area is still owned by a few families. These immigrant groups settled in the area and saw a rise in organised crime, inspiring the film The French Connection, which depicts a million-dollar heroin smuggling incident.

Ever a place of contrast, Marseille is also home to some of the most idyllic and increasingly desired places to live in the country, being located on the sea and boasting the top spot as the sunniest place in France. Malmousque and the rest of the 7th and 8th arrondissements to the south of the city, on the rocky, sparkling blue coastline, without the polished expense of the Côte d’Azur, have seen their house prices gradually rising for the last few years. The tiny fishing villages that used to constitute the outskirts of the city have retained their rural feeling and the rest of the metropolis has simply sprung up around them. These neighbourhoods are quiet, picturesque, yet less than 30 minutes from the city centre.

Marseille has a unique energy and a buzz; maybe the negative image doesn’t matter because ‘at least it will be free of tourists and Parisiens’, a local, jokingly ironic dream. People have spent their lives writing books or, more characteristically, deep in discussion on terasses in the sunshine, pastis and a cigarette in hand, trying to figure out Marseille, so I’m certainly not going to in just a year. But I feel very lucky to have been granted the time to explore it and become somewhat enamoured of it in the process.

Image credit: Siân Lawrence.

“Sorrow and birthday cake” – Review: Mojo

CW: drugs.

50s rock ‘n’ roll, seedy clubs, pill-popping gangsters – Jez Butterworth’s Mojo has it all. Nocturne Productions’ staging of this 1995 play, directed by Max Morgan at the Michael Pilch Studio in third week, lives up to the sleek grittiness of the nightclub scene in 1950s Soho, where gang strife, self-interest, and drugs collide to disastrous effect.

As the audience came into the Pilch, we were transported from the streets of Oxford into the chic and sinister interior of the Atlantic Club. A couple of whiskey bottles and playing cards, and a sickly-sweet cake, lie on a table in the centre of Teagan Riches’ set, and the walls were decorated with silver tinsel fringe banners, capturing the glitzy sheen which disguised the reality of club corruption in the 50s. For opening night, guests were encouraged by a Facebook post from Nocturne Productions to come in an outfit as part of the dress code of “50s-Soho-Kit-Kat-Club”. A marketing power move, for sure – the Pilch was buzzing with an audience ready to be immersed in the thrill of the evening. And what a thrill it would be.

Mojo tells of two gang leaders from different nightclubs bound in bloody discord over Silver Johnny (Izzy Lever), a sensation on the rock ‘n’ roll scene who is destined for stardom. Caught in the centre of this fight between the big-dogs are Potts (Leah Aspden), Sweets (Emma Pollock), and Skinny (Sam Thomas), who, following the brutal murder of their leader Ezra, are driven witless with fear for their lives in a world which is anything but gentle. With the addition of Ezra’s menacing son Baby (Noah Radcliffe-Adams), as well as Mickey (Stepan Mysko von Schultze), Ezra’s second-in-command who is burdened with trying to figure out their next move, the gang’s unity against their common foe is compromised by internal conflicts.

Butterworth’s script is bursting with opportunities to portray scenes of high tension, and the production takes on each one with a riveting conviction. To say that Mojo is suspenseful would be an understatement – the audience was gripped for the duration of the play. Particularly tense dialogues are punctuated by a beat played by drummer Will Wilson, heightening the chilling crescendo of scenes like the delivery of an ominous silver box which may or may not contain the confirmation of their worst fears.

The cast is fantastic. Although it would have been easy to fall into a caricaturesque portrayal of Butterworth’s larger-than-life characters, each actor embodies their role with a nuance never verging on the farcical. In the play’s most explosive moments, their emotions collide and coalesce to heart-stopping effect, reflecting the disturbing inevitability of the chaos caused when drugs and fear mingle.

Thomas is wholly believable as Skinny, one of the more timid members of the group who shrinks under Baby’s psychotic dominance. Indeed, the clashing dynamic between Skinny and Baby is one of the most entertaining to follow, with Skinny’s indignant gutlessness evoking sympathy in the face of Baby’s brutish bullying (and in the face of his cutlass).  

Having seen Radcliffe-Adams in A² Productions’ staging of Harold Pinter’s The Dumb Waiter in Hilary term, I had high expectations for his portrayal of Baby in Mojo. Eerily composed throughout the play, and delivering his lines in calm, steady tones, Baby’s nonchalance resounds unsettlingly against the others’ paranoia. Aspden and Pollock make a hilarious pair as Potts and Sweets, their quarrels over baked goods underscoring the greater turmoil that is at hand. Mysko von Schultze’s Mickey is by turns domineering and meek, trying to conceal how shaken up he is by the threat posed to the gang, and, especially, to him.

The cast handles the dark humour of Mojo with a master’s stroke. The line “my piss is black” (from the new-fangled pills they have been taking) has as much oomph by the time it has been said for the umpteenth time by the umpteenth character as it does the first time.

Allegiances are shaken and questioned, betrayal occurs to the worst degree, and there is blood, blood, blood. Potts laments that he’s had “nothing but sorrow and birthday cake since sun up”, which fittingly encapsulates the essence of Mojo.

You would not guess that this is Nocturne Productions’ first show. Mojo has set the bar high for their upcoming productions, and has proved that they are a vibrant new student theatre company to look out for.

Image credit: Biba Jones (@bibasketches)

University 2021 admissions report: smaller cohort, more diversity

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The University of Oxford published its fifth annual admissions report in May 2022, providing a summary of undergraduate admissions data ranging from overall numbers and domicile to nationality, disadvantage, school type, gender, ethnicity and disability. 

The University admitted 3,298 undergraduates in 2021, returning to a smaller cohort after exceptional arrangements for awarding qualifications in response to the pandemic led to a much larger class (3,695 students) being admitted in 2020. These 3,298 admitted students were whittled down from a pool of 24,338 total applications in 2021, of which 3,555 received offers from the University for an offer rate of 14.6%.

The report took care to highlight the changing profile of Oxford’s undergraduate student body. Over the past five years, the proportion of students admitted from state schools rose from 58.0% in 2017 to 68.2% in 2021 — although the proportion was 68.6% in 2020. Students from the most socio-economically disadvantaged areas increased from 11% of 2017 admits to 17% in 2021 (compared to 15.9% in 2020). The percentage of students identifying as Black and Minority Ethnic increased from 18% five years ago to 23.6% in 2020 and 25% in 2021. Students declaring a disability increased from 8% in 2017 to 12% in 2021. And the proportion of women rose from 50% in 2017 to 55% in 2021. Overall application numbers have increased every year and by a total of 22% since 2017.

In her foreword, Vice-Chancellor Professor Louise Richardson attributed these changes in part to the expansion of Oxford’s flagship UNIQ access programme for state school students, as well as the bridging program Opportunity Oxford. In 2022, the University will also launch the Astrophoria Foundation Year, for “those with high potential whose education has been severely disrupted,” according to the report.

However, Richardson also noted concern about the steep decline in students admitted from the European Union (EU), even though the University expected a decline due to the changing fee regime brought about by Brexit. (Oliver Hall reports in more detail below.)

Computer Science was the course with the highest number of applicants per place for the period 2019-2021, at 18.6, with Economics & Management close behind at 18.1 applicants per place. Mathematics & Computer Science, Medicine, and Biomedical Sciences followed not far behind at 12.5, 11.8, and 10.9 respectively. 

Using the ACORN and POLAR demographic systems to assess UK population by level of socio-economic advantage, the report found that History & Politics and Law were the courses to admit the highest proportion of students from the two most disadvantaged areas (26.8% and 25.0% respectively). Materials Science and Theology & Religion were the two courses with the lowest proportion of admits from the most disadvantaged areas (9.1% and 10.0% respectively). These data were aggregated from 2019-2021.

The same measure revealed that Mansfield College (23.2%) and Worcester College (22.0%) had the highest proportions of UK students admitted from the two most socio-economically disadvantaged areas, and Lincoln College (7.2%) and Merton College (11.1%) had the lowest among 29 of the undergraduate-admitting colleges at Oxford that were included in the assessment. 

In terms of the proportion of UK state school students admitted, Mathematics & Computer Science had the highest (83.6%) and Classics the lowest (40.9%). The report notes that some courses attract more applications per available place than others, and UK state students apply disproportionately for the most oversubscribed subjects. On average, 38.2% of state applications from 2019-2021 were for five of the most oversubscribed subjects at Oxford (Economics & Management, Medicine, PPE, Law, and Mathematics), compared to 31.4% of independent applications. Only 12.3% of state applications went towards five of the least oversubscribed subjects (Classics, Music, Modern Languages, Chemistry, and English). 

Likewise, individual colleges receive differing proportions of applicants from state versus independent schools. The proportion of UK state school students admitted was highest at Mansfield College (94.8%) and lowest at St. Peter’s College (55.6%) from 2019-2021.  

The admissions report can be read in full here.

Image credit: Estelle Atkinson

In Conversation with Dr Luke Evans MP

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CW: eating disorders, body image issues, dysmorphia

I interviewed Dr Luke Evans, the Member of Parliament for Bosworth, on a cold London morning via Zoom. As a pro-Brexit MP from the 2019 intake, he has consistently voted with the party whip on issues ranging from immigration to the Owen Paterson affair. However, he stands out in one particular respect: in his short time as an MP, he has championed campaigns surrounding body image, anorexia, and self-esteem, particularly among young people. As a result, he has as a private member of the commons introduced the Digitally Altered Images Bill, which if passed into law would require advertisers, broadcasters, and publishers to display a disclaimer in cases where an image of a human body or body part has been digitally altered in its proportions for commercial purposes. I was curious to know more about what caused him to pursue this noble, if somewhat under-discussed, cause.

As his title suggests, Evans’ background is in the medical industry; he worked as a doctor for over a decade before becoming an MP, and discusses how in his practice he saw the extent of young people’s discomfort with their physical appearance. He cites a 2017 study, which showed that just 16% of girls between 11-16 felt ‘very happy’ with their appearance. Among young men, 35% aged between 13 and 19 reported “often” or “always” being worried about their physical appearance, and at least 1 in 3 teenagers felt “shame” about their body. 

While some insecurity about physical appearance can be a natural part of growing up, Evans tells me that he attributes the steep rise in body dysmorphia, particularly among teens, to the omnipresence of social media, and particularly the rise of digitally altered images. As a result, during his time as a GP, Evans witnessed a growing number of young people who sought consultations on plastic surgery or other cosmetic procedures to change their appearance to conform better with conventional standards of attractiveness. 

Evans’ bill, if passed, would not ban the alteration of such images. Rather, it would mandate in law that such images display a disclaimer that states that they have been changed. Evans cites that in the same 2017 study, 88% of girls aged between 11-21 supported his proposal. 

I ask if mandating such a disclaimer conflicts with traditional free-market and anti-regulation conservative principles. Evans responds by saying that while he supports the principle of limited regulation, consumers must be informed about the content of what they see online. “You’ve got corporates spending millions of pounds on retouching these images; how can individuals be protected or informed in such an environment?” he says. He also notes that a similar proposal has already been successfully enacted into law in Norway, and in 2017 France passed a similar measure pertaining to images that were altered to make their subjects look thinner.

As Evans is not a member of the government, his proposal takes the form of a Private Member’s Bill, which is notoriously slow to pass the three Commons readings and then move to the Lords. While it passed first reading in September of 2020, it has not since then progressed further. I ask him whether he is concerned that it may stall during the remainder of this parliament, which is unlikely to last much longer than another two years. Evans tells me that the government has been highly supportive of his initiative, and is looking to include it as part of the Online Harms Bill. This bill has already been introduced to the House as part of government business, and is therefore much more likely to be passed expeditiously. Evans has found support across political parties for the initiative; it was seconded by the Chair of the Parliamentary Labour Party John Cryer and the Liberal Democrat MP Wera Hobhouse. I can’t help but think that in an age of hugely increased polarisation and partisan rancour, this is an impressive achievement. 

Just before the world shut down in March 2020, Evans stated in the House of Commons that “we are creating a digitally warped reality, striving for bodies that can never be achieved”. His words continue to ring true today, and it was a pleasure to discuss his initiative with him. 

Image credit: David Woolfall/CC BY 3.0 via Wikimedia Commons – image background removed 

Beat provides information and support for anyone affected by an eating disorder. You can call their student helpline at 0808 801 0811, or visit them at beateatingdisorders.org.uk.