Saturday 16th May 2026
Blog Page 324

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.

Bumps, Blades, Boating: Summer Eights explained

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As anyone with rowing friends will know, Wednesday will see the start of one of the biggest events on the University’s Summer sporting calender: Summer Eights.  Celebrated by the rowing community, many of its rules and traditions can be confusing to outsiders. Here is our rundown of everything you need to know ahead of Summer Eights 2022.

The Basics

Summer Eights is held in 5th Week of Trinity Term every year and takes place from Wednesday through Saturday. Competition is done following the Bump-racing format. Boats line up in a predetermined start order with just over twenty metres between them. A cannon shot announces the start of the race, the goal of which is to ‘bump’ the boat in front, whilst avoiding getting ‘bumped’ by the boat behind.  A ‘bump’ is awarded when a chasing boat either overtakes or makes contact with the boat in front. Often, if a bump is imminent, the cox of the boat being chased will choose to concede to the crew behind before actual contact takes place; they do this by raising their arms. Once a bump has taken place, both boats involved exit the race by moving to the side of the river.  On the next day, the two will switch places in the running order and if a team ‘bumps’ every day they are awarded ‘blades’.  Similarly, getting bumped every day will see a boat get ‘spoons’.  A boat which bumps to the top of the division also races with the division in front. There are 14 divisions and each is made up of 13 boats. Races take place every half hour, alternating between men’s and women’s crews.  Colleges aim to be the top boat in the first division, after which they are crowned ‘Head of the River’.

The Contenders

The race hasn’t been run since 2019 as a result of the COVID-19 pandemic and its return has been hotly anticipated.  As a result though, rarely has the event been so hard to predict. Back then, it was Oriel who finished as the Head of the River for the men and Wolfson for the women.  That means that in division one, they will lead out Keble, Pembroke and Christ Church in the men’s race. Keble, a college which has made a rapid rise in the rowing ranks over the past years, will be looking to regain the top spot it held in 2018.  In the women’s first division, Pembroke, Wadham, Univ, and Christ Church will follow Oriel.  As ever, results will be hard to predict but Pembroke are will be looking to rise up division one in both categories.

Rowing-On

Rowing-On is the timed qualifying event for crews outside of the fixed divisions who are assured a spot. It was held on the Saturday before Summer Eights.  This year saw Trinity’s third boat lead the way in the men’s and Keble’s second boat in the women’s.  The full results can be seen below:

Logistics

Racing will take place every day between Wednesday and Saturday with racing taking place between 12:15 and 19:15 (and starting an hour earlier on Sunday).  The course stretches from Iffley Lock to Folly Bridge and there is sure to be a party atmosphere at every boathouse every day, especially on Saturday. Spectators are of course welcomed throughout the event; traditionally the final day sees the boathouses host events throughout the afternoon.

So, big tests await all crews. For the spectators, with over 1500 rowers set to participate across the divisions, get ready for a huge amount of fun and partying come the weekend!

Lord Reginald Moreton of Oxfordshire

Poet’s Note: “One of my favourite things to do whenever I visit new areas with my friends is to come up with ridiculous “histories” for the place we visit. Naturally, when I came to Oxford, this tradition continued, and I’ve made up many stories about Oxford’s under-appreciated, obscure locales. My university accommodation faces Moreton Road, the road which is the border between north Oxford and Summertown. I wanted to come up with a story as to why the road was named Moreton. Lately, I’ve been trying to write poetry in a Restoration-era style, so I decided that Moreton Road was named after the totally real Oxonian rake, Lord Reginald Moreton of Oxfordshire. For this poem, I was specifically inspired by the satirical, whimsical, often saucy writings of the famous Restoration libertine John Wilmot, 2nd Earl of Rochester.”

I
Lord Reginald Moreton of Oxfordshire,
With his white, well-wigg’d tow’ring coiffure,
Liv’d during our Most Merry King’s reign:—
That bygone era of our Youth profane,
When we lov’d most passionately of all,
Ne’er fearing God’s wrath or a downfall,
Submitting to forces of desire,
Surely we damned to some hot Hellfire—
Yet we liv’d like bucolic swains of yore;
This audience I’ll tell no tale before:
Lord Reginald Moreton was a bright boy
Who took upon his studies with most joy;
He matriculated into Oxford
At just sixteen summers; there he explor’d
Fond friendships, thrilling trysts, amorous loves:
Fellow Wadham youths below and above.
Enjoy’d he the company of all sorts,
Among they: Christopher Wren and John Wilmot—
Wadham call’d ‘em Libertine Argonauts;
In those great halls many a word they wrote,
Creating some numerous anecdotes:
Pageboys and maidenheads so licentious,
Priests, pastors—all clergy—desirous
Frustrated they the don with all their woes,
But they knew not yet a single sorrow;
Their markèd effervesence eternal,
Expanded greatly their bonds fraternal,
Reginald soon known all ‘cross Oxfordshire,
With his white, well-wigg’d towering coiffure.

II
Wren, however, soon left his rakish life,
Pursuing knowledge, avoiding foul strife;
Rochester and Moreton yet did remain,
From few vain diversions they would abstain;
Knew deeply they all physical pleasures,
Even each other’s bodies they’d measure,
Soon, they knew also a new ecstasy,
But quickly approach’d graduation day;
Rusticat’d they: village near Marseille;
There they enjoy’d beaches and promenades,
Making each other toast with marmalade,
‘Till news came His Majesty would report,
Most August, Benevolent Charles Stuart,
Soon arriv’d with lovely Catherine, Queen,
To enjoy that Ocean aquamarine;
The two couples met on those French shores;
Charles told them tales of English Civil War;
The Libertines sung Irish limericks,
Alas! Sweet Queen Catherine became sick!
Off she went to some hospital hidden,
While they engag’d in love forbidden;
Charles purchas’d a bathtub with three ends,
So his Hyacinthines could give him
Such joys from those white bubbles did descend;
When exhaust’d, they’d all cuddle in bed;
Though those languid days were limited so,
Labouring in repose, reading Rousseau,
‘Till June when Catherine’s health did improve,
Of their obscenities she did reprove.

III
Charles cared not; sail’d they to England;
The remaining loves tired of French sands,
Return’d they to their homeland, to Oxfordshire,
Sorely missing that European tour,
But onward did continue their studies—
Really, Rochester drank with his buddies;
Meanwhile, Moreton invested in books,
Each to their whims; a friendship forsook,
Pity, soon forgot; degrees they now held,
Through the next decade of life they propelled.
Pleasure, drink: dominated Wilmot,
Literally went out with a bang, that clot!
The world knew not a better hedonist,
Mist’d all eyes his death did; he was missed,
By Moreton and King Charles most of all,
Embracing in those mausoleum halls;
But from that sorrow arose merriment,
Fescennine love reborn, to Cat’s discontent,
Moreton ascended to the King’s fav’rite,
Golden, sunlit bond, none so close-knit.
Moreton with honours Charles did bestow:
Land in Summertown, Oxford; a chateau,
Its view: French shores three Cavaliers once shar’d;
An Oxford road named Moreton, King declar’d,
And lastly: a certain three-headed bathtub;
An old Moreton’d soak, after supper club;
That rake liv’d hap’ly into late years;
At the funeral said the mourners’ cheers:
“Woe! That sinecure gone so premature,
An epicure ‘mpassion’d with such rigour;
May ‘is mem’ry be bless’d, we shall assure:
With his white, well-wigg’d tow’ring coiffure,
Lord Reginald Moreton of Oxfordshire.”

Names preserved in blue and white: Anthony Wood

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Image Description: Merton Street

In modern times, the ‘Blue Plaque’ has become a staple of British culture. Since its launch in London in 1866, it is almost impossible to go to any larger settlement and not see one. Their purpose is simple and clear; to commemorate a location and its link to a notable person or event. It is perhaps unsurprising therefore, that Oxford is richly endowed with over 70 such plaques. They are a physical link to the past, allowing the history of a building to be maintained and acknowledged, and are almost unavoidable when walking around Oxford. I believe that many are not understood properly, and I want to engage with these plaques in a way which will further my own interests and the reader’s; highlighting the intriguing lives of the people commemorated and their contributions to the city that Oxford is today.

Whenever people come to visit during term, I always take them to Merton Street. The cobbled road, strikingly old buildings and Merton’s sizeable chapel give a classically ‘Oxford’ impression. Just opposite Merton’s entrance there is an ancient mediaeval cottage with mullioned windows, known as the Postmaster’s Hall. It was here that Anthony à Wood (1632-1695) was born, lived and died, with his Blue Plaque commemorating him on the wall just to the right of the cottage. He was educated at New College School and Lord William’s grammar school in Thame, where his education was halted by a minor inconvenience known as the English Civil War. Nevertheless, he went on to matriculate at Merton in 1647. Interestingly, he was not considered a talented student, and it took him until 1652 to graduate (I dare say Merton would not be impressed with his lack of Norrington Table contributions). But he soon immersed himself in what he was to become best known for; antiquarian studies (studying the past with the use of evidence such as archaeology, manuscripts or, in Wood’s case, archives). 

“Whenever people come to visit during term, I always take them to Merton Street.”

He began by trawling through the registers of Christ Church until Dr John Wallis allowed him access to the University’s archives in 1660, as he was their Keeper. It was here that he discovered William Burton’s The Description of Leicestershire (1622) and Sir William Dugdale’s Antiquities of Warwickshire (1656). These works had an enormous influence on Wood, so much so that he was determined to pen a similar great work about Oxfordshire. He drew on another project by an earlier antiquary, Brian Twyne, and systematically searched through the legal documents of all the colleges. It’s a shame Wood didn’t have SOLO to use, but as we all know from last minute searches, the college library doesn’t have everything. In the year 1667 he made his first visit to London, meeting with more people who were able to provide him with even more libraries. After consulting more parish and city archives than one could ever imagine, his writings were finally ready to be published. In 1669 Dr Fell, the Dean of Christ Church and an influential figure in the university press, offered to publish Wood’s work. From this Wood would earn £100 (Just over £23,000 today), on one condition; it had to be published in Latin. Wood duly consented, and in 1674 The History and Antiquities of the University of Oxford appeared in two volumes. The first detailed a general history, the second that of specific individuals and colleges. Wood’s book was successful, and established his reputation as an antiquary. 

Dr Fell suggested another project which Wood undertook enthusiastically. Alongside John Aubrey, he compiled another great tome of Oxford history. It took them both the rest of the 1670s and the entire 1680s to finish, but in 1691 the first volume of Athenae Oxonienses was published. It detailed all of the many writers and bishops who had been educated at Oxford since the year 1500. Unfortunately, the book was met with mixed reviews, and in 1693 Wood was even sued by Henry, the Earl of Clarendon, for the portrayal of his late father. One could only assume that accusing someone’s father of corruption was quite bad. Anthony Wood (the à was his own later addition) fell out with Aubrey, blaming him for the book’s questionable reception. He died in 1695 and was buried in Merton’s chapel, where he had once been that supposedly mediocre undergraduate. 

What struck me when researching this first plaque, was his sheer determination to finish his projects and the legacy which he left behind. Aside from his works, he bequeathed 127 manuscripts and 970 books to the Ashmolean Museum, which are now housed in the Bodleian. From these papers his autobiography, The Life and Times of Anthony Wood, was compiled from 1891-1900 by Andrew Clark. It is written in the third person and is an excellent collection of the most minute details of his life. Wood had a reputation for being a rude and disagreeable person. But it is difficult to look at the Postmaster’s Hall on Merton Street and not imagine Wood toiling away long hours within. The fact that his two main works took up so many years of his life is a testament of his commitment to knowledge, and something which a Blue Plaque could never fully convey. When I next return to Merton Street, I will remember that this plaque is not just notifying the viewer of someone interesting, but of a man whose obsessive research led to perhaps two of the most thorough academic works to come out of this city.

Image Credit: Flickr