Thursday, May 8, 2025
Blog Page 412

What’s it like getting a Coronavirus test?

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Everyone has heard about the coronavirus test in one vague way or another. We’ve read about it in the news, watched Trump call them ‘overrated’ and seen clips of people in PPE poking around in someone’s nose. The UK managed to go from virtually zero testing capacity to being able to carry out 200,000 tests a day by the end of May and now, when cases are being tracked and traced, testing is going to play an even greater role in reducing the spread of the virus. But what is getting a test actually like? Should we believe that questionable friend of a cousin who swears hands down that the test made him throw up? To get a test do you need to be so ill that you’re in hospital or can you just rock up to a testing centre? Where even are the testing centres?

I had all these questions when I started to feel ill after travelling to London about a month ago. I’d worn a mask on the tube and used hand sanitizer in shops but there was always a chance that the temperature and sore throat I had started to develop was coronavirus, and with a key worker parent, I couldn’t take any risks. And so began the surprisingly short and easy process of getting a coronavirus test.

As I had some of the symptoms, I was able to book a test through the government website. The form I had to submit gave them all the information they would need if my test result was positive and they needed to start the process of track and tracing my contacts, and gave me a QR code and reference number which was used to link my information and test together. While I can’t speak for everywhere in the UK, particularly for places experiencing local outbreaks or in rural areas, finding a slot at a nearby test site was very easy; there were hundreds of slots available each day and I booked a test for that afternoon at a test centre just a couple of miles away from my house.

A couple of hours after booking the test, I arrived at the test site and held up a QR code to my car window, where it was scanned by one of the many workers there who were helping with the tests. Driving through the site, which in normal life is just a car park, was quite the adventure, with people holding up signs with instructions and a phone number so that staff could explain the process without having to yell. I had expected a hive of activity at the site, but it was empty, save for me, one other car and the staff. The test was passed through the car window, along with information of how the process of taking the test works, although you could have asked for assistance and someone would come and poke you in the nose for you.

The test is not something to fear. It’s uncomfortable, but infinitely less painful than the guilt of accidentally spreading coronavirus to your loved ones because you didn’t know you had it. It involves rubbing what looks like a Q-tip for giants on your tonsils and then up a nostril for about 15 seconds, and then sealing that all up in a series of tubes and bags with biohazard written on it in big letters. I was then asked to throw this out the car window and into a box where the tests were stored before being taken off to be processed. In my greatest demonstration of athletic prowess since school sports day, I got it in the box in one and was then free to drive off and wait for the results. The whole process was almost amusing, like I was in a dodgy sci-fi film or spy drama, until the seriousness of the situation hit me and I remembered that I was there because I was potentially infected with a deadly disease.

Luckily for me, the test came back negative. The results can take up to five days to come back, during which time your household has to be in complete lock-down, but mine came back the next morning in the form of a text saying I was in the all-clear. The whole process, from booking the test to getting the results took less than 24 hours and gave me the peace of mind that my family and I were healthy and could safely return to work. Unlike at the start of the pandemic, the UK now has the capacity to test the mildly ill and asymptomatic contacts. We are now in a crucial phase of the pandemic where we could get the virus under control through contact tracing, testing and social distancing. If in doubt, please get tested. I promise it won’t hurt your nose too much.

Currently, anyone who has coronavirus symptoms or lives with someone who does can get a test through the NHS, as well as everyone who lives in areas that are experiencing outbreaks. At the moment, this includes people in Leicester, Luton, Pendle and Blackburn with Darwen, although this will change over time. Tests must be done in the first five days of having symptoms and can either be done with a home kit that is sent to you in the post or at a test centre, the majority of which are drive-in only. For more information, see the NHS or government websites.

Comfort Films – Stand By Me

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Childhood is a slippery concept. One day we’re reading comics with grubby, chocolate-stained fingers at 4 o’clock on a Wednesday, the next day it’s a rush through university, work, marriage and whatever else we take as a synecdoche for adulthood. Sometimes we are ignorant dwellers on the threshold, or else dragged kicking and screaming across this boundary by a stark moment of realization or trauma. Stand By Me (1986) is a gem in the coming-of-age genre, which really could be better thought of as an umbrella of different films, ranging from quasi-autobiographies, adventure, to social melodrama. It blends an introspective exploration of friendship, trauma and childhood aspirations with moments of feel-good comedy and a qualified sense of wonder.

Rob Reiner’s adaptation of Stephen King’s novella The Body is relatively short and simple, as far as epic journeys go.  Although it drips with 1980s Americana, its four protagonists act on irresistible, universal impulses. The chance to locate the body of a boy hit by a train, and the opportunity to become town heroes, prompts a two-day-long journey along railroad tracks and into the woods. There are many memorable, humorous episodes: a scramble in a junkyard to escape the foreman’s infamous dog (‘Chopper, sic balls!’), a pie-eating contest and parable of injustice relayed over campfires, or the matter-of-fact narration (“We talked all into the night, the kind of talk that feels important until you discover girls.”) spanning Vern’s (chubby 12-year old Jerry O’Connell) love for cherry-flavoured Pez, or what exactly Goofy is. However, when bearing in mind the motivation for this journey, there’s a real sense of danger. At one point, for example, the four encounter a train hurtling down a bridge with nowhere else to go, with Gordie (Wil Wheaton) and Vern inches from death.

And indeed, family dysfunction, death and grief haunt this trip. Gordie grapples with the death of his older brother Dennis, while the town’s perception of Teddy Duchamp’s (Corey Feldman) father as a madman is at odds with his own image of himself as a war hero. Death remains a sobering encounter. When buying provisions with the handful of coins the group has left, the storeowner reminds Gordie that “in the midst of life we are in death”. At the climatic encounter with the body of Ray Brower, Gordie bursts into tears, comforted by Chris. They are simultaneously cognizant of their own self-interest – in the thrill of the search, and the promises of fame, not the dignity human beings deserve – as well as the promises their own futures bring; in Gordie’s case his knack for storytelling. Not every question can be resolved in a two-day trip: the issue of parents’ love, getting respect from one’s neighbours, and the possibility of a wasted future all linger.

“I think most good stories about boys are about journeys”, King muses in a featurette. In hindsight, there’s as much that the film excludes about childhood as it encapsulates – lamentably the experiences of girls and women. There are references to characters’ mothers, who serve as much as figures to disappoint as much as they are of discipline or respect. Yet, my own adolescence developed in largely male spaces, namely three different boys’ schools in Singapore, and if national narratives are to be believed, came to a crushing halt in the hypermasculine institution that was military conscription. As for the prism of the journey? It is useful to some extent: Joseph Campbell’s framework of mythmaking and discussion of journey posits a ‘hero with a thousand faces’, where a heroic sequence of actions sees the protagonist achieving and completing something supernormal, undergoing a ritual of initiation and growth. However, Stand By Me carefully navigates this idea of heroism. Immature boyishness and naivety are never glamorised, even as there is a distinct transition which the four have experienced by the end of the film.

I did not encounter this film at my favourite cinema, or through family tradition. Rather, it was screened in secondary school, a class I think was called Character and Leadership Education. Some enterprising schoolteacher might’ve written up a brief summary of the film, or its themes, to get it cleared for classes: puberty, entering the next stage of school, interpretations of adulthood and death. I might’ve done a worksheet on it: what struck you most about Gordie and Chris’ relationship, et cetera. But years later the film still evokes a sense of sentimentality, especially given its conscious treatment of the passage of time. The journey to see a dead body represents a brief moment where the lives of four boys were briefly intertwined: in the aftermath of the journey they unravel again, to the point where close companions come to just be passing faces in a school corridor. “It happens sometimes, friends come in and out of your life like busboys in a restaurant”, Gordie reflects. Chris, who successfully became a lawyer, meets an untimely death intervening in a fight. As for me: I’m still close friends with some people I sat with in that classroom; others have indeed drifted apart.

The film ends on a melancholic and wistful note, even as it celebrates a period of life irrevocably past. It is a reminder to treasure wide-eyed innocence and wonder, but not to sidestep growing pains; a call to appreciate companionship even as it comes and goes. “…I never had any friends on like the ones I had when I was twelve. Jesus, does anyone?”

Of bops and bargains

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Artwork by Liv Fugger

“I mean we are doing something to slow it down, but this fashion is still going very fast.” With this statement hanging in the air, we stared at the table covered in clothes in front of us. We had just organised our first clothing swap in Oxford and were very happy with our turn-up of over a hundred students throughout the day. Yet, we couldn’t help but notice that the clothes people had brought in were almost exclusively from fast fashion labels.

A common argument brought forward in discussions about fast fashion is that being able to afford slow fashion is a huge privilege. Fast fashion brands like Boohoo, Fashion Nova and Primark are credited with making fashionable clothes accessible for everyone, creating a democracy in fashion that has never been possible before. With dresses being sold at £10 and T-shirts going for £3, in 2020, lack of money is no longer a reason not to participate in fashion trends. But fashionable clothes come at a high price, though it isn’t paid by the consumer. Our rapid fashion consumption has created a waste problem of immense dimensions. In the UK over two tonnes of clothing are bought each minute which is the highest consumption rate in all of Europe. The amount of clothes that go into landfill each year is estimated to be around 350,000 tonnes in the UK alone. Recycling clothes is possible but rarely profitable on a commercial scale. The majority of modern clothing is made from fibre blends, for example a mix of cotton, polyester and elastane, which makes recycling it more difficult as well.

The massive waste issue created by our fast fashion addiction does not just spoil landscapes in England or Wales, it is actually a problem of international relations (and international proportions). Around half of Europe’s unsold second-hand clothes end up being shipped to African countries, primarily Kenya, Rwanda, Tanzania and Uganda. There, these massive imports of low-quality clothes are credited with destroying the local fashion market and are often part of the political discussion of the international treatment of African countries. The states of the East-African Community (EAC) had already planned a ban of textile imports in 2015 but internal differences and immense pressure from the US-government stopped them from putting the resolution into practice. With Covid-19 the Kenyan government banned the import of used clothes with immediate effect in the name of disease control. While second hand fashion is disinfected before entering the country which makes its role in spreading disease unlikely, the pandemic has allowed the government to follow its neighbour Rwanda and prohibit the practice. It is unlikely that they will start imports again when the pandemic has ended, and this means that Europe and North America will have to find new ways to rid themselves of their ever-growing textile waste problem.

So, while demanding that everyone stops buying fast fashion is often based on assumption of financial privilege that not everyone possesses, cheap fashion does come at a high cost – to workers, to the environment and to this planet’s resources. And with these devastating effects at the back of our minds, maybe it is time to ask ourselves about the immense privilege of having an overflowing wardrobe, new clothes every season and a new dress for every social media post? Do we truly “deserve” fashionable clothes? And can we really call ourselves fashion lovers when we value our apparel so little?

It might seem contradictory at first that university students would be so heavily involved in the buying of fast fashion. Most students are highly involved with social or political issues, whether that be animal rights, environmentalism, global race relations or feminism, care about social class and its meaning or theorise on the moral value of consumption. Yet, when it comes to their actual fashion buying habits, these concerns are not reflected in the boohoo and Asos parcels piling up inside porter’s lodges and being squeezed into pidges.

Throughout the past weeks and especially the official lockdown fast fashion advertising to students has been constant and relentless. It is a running joke on Twitter that Fashion Nova continued advertising through the pandemic in the US with some users suggesting the discount code “unemployed”. And in my own inbox the MyUnidays emails advertising discounts on fashion and makeup appeared with the same consistency as reminders about library updates during the vacation and Trinity term. For many students, the maintenance loan hitting their bank accounts marks the first time they have so much money at their own disposal. And in a world where one can buy a simple T-shirt for less than £5 from one brand and a very similar item for over £500 from another, how is one supposed to know what fashion should cost. With evermore individuals participating in fashion, buying and wearing trendy pieces, the value that we see in clothes has changed and accordingly how we treat them has too.

The value of an outfit has shifted to depending on the act of wearing it and is no longer related to the quality of material, the accuracy of stitching or originality of design. The value we see in a dress is measured in the number of likes a ball photo can get or the amount of compliments a new bop look will achieve. In that sense, clothes lose their value as soon as they are taken off. And since they have little to no inherent value, we don’t feel the need to take care of them, repair them or just keep them in our possession. When a fellow student asked me if I could hem her new ballgown (for an event that same day no less) and I pointed her in the direction of a good tailor, she told me that the dress itself had only cost her £40, the same amount the tailor had asked for the changes she had in mind. This instance suggests that she didn’t understand that a dress as a physical item cost resources, time and skill to create. To her its only significance lay in the look she was trying to achieve for her social event. Here, we also see another reason for the popularity of fast fashion amongst Oxford students. At least usually, being at university means a never-ending flow of social events that require new outfits. If you take your bop themes seriously and enjoy your college and Union balls as much as your nights out, participating in student life can motivate a lot of clothes shopping.

Review: Haim’s ‘Women in Music Pt. III’

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As with other albums scheduled for 2020, the release date for Women in Music Pt. III experienced an upheaval. Having moved from its original April date to late summer, before being brought forward again to the end of June, its ultimate release date was “just in time for summer”, the band noted. It almost seems strange to think that this wasn’t the original plan. If there’s any season with which Haim (and this album) would be associated, it would be summer – the three Haim sisters have been the embodiment of sun-kissed Los Angeles and its breezy, cool girl aesthetic in both style and sound since their 2013 debut Days Are Gone. However, this glossy Californian veneer appears peeled back for the first time on Women in Music Pt. III.

“We named our album that because we didn’t want to get asked any dumb questions,” frontwoman Danielle told The Independent. This suitably exemplifies the new degree of directness and openness that Haim embrace on their third LP, as they consider loneliness, weariness, and depression in their lyrics. The sisters have been open about their personal struggles in the last few years: Danielle found herself dealing with depression; Alana was grieving the death of her best friend; Este was having difficulties with her type 1 diabetes. These themes are given worthy attention, while Haim simultaneously build upon their 70s Californian rock foundations in compelling ways.

The opening track of Women in Music Pt. III, ‘Los Angeles’, begins with a brief cacophony of saxophone, already suggestive of the novel directions Haim have chosen to explore on this album. It’s an airy song with a somewhat Caribbean twist, which almost masks the inherent sadness in the words: “These days I can’t win / These days I can’t see no visions / I’m breaking, losing faith”, Danielle sings about falling out of love with her home.

While unhappiness is an undertone in ‘Los Angeles’, it comes to the forefront as the record progresses. ‘I Know Alone’, a deceptively catchy electropop track, laments the endless passing of time and feeling detached from the world; ‘I’ve Been Down’ is an acknowledgement of melancholia and the need for help, as Danielle almost speaks the verses; ‘Now I’m in It’, initially released last summer as a taste of things to come and now offered here as a bonus track, details life in the midst of depression. Songs like these, with their penetrating lyrics, are representative of Haim’s growth with this album.

The most pointed reference to the album title is ‘Man from the Magazine’, a quietly scathing acoustic song that recounts the band’s experiences with sexism in music and their refusal to let it go (“I don’t want to hear / It is what it is / It was what it was”). Its biting last line rounds off what is a definite highlight of the album.

Haim’s sonic exploration and forays into other musical styles to augment their pop rock roots are also laudable. The saxophone is a welcome, unwavering presence from its first appearance in opener ‘Los Angeles’, to the tenth track ‘I’ve Been Down’, and the final track ‘Summer Girl’. ‘Another Try’ is an easy-going, reggae-tinged affair, littered with precise details that keep it sharp. A distorted scream underlies ‘All That Ever Mattered’, but its true defining feature is the searing guitar that kicks in during the bridge. Haim engage in more theatrics than ever with the lively rock song ‘Up From a Dream’, opening with a dramatic yawn and ending with blaring alarms, while the R&B-infused ‘3AM’ begins with a voicemail parody of a booty call. Flourishes like these could seem kitschy in some circumstances, but in Haim’s well-crafted ambience they make entertaining additions to the tracks’ textures.

While there are no real missteps or disappointments on the album, there are a handful of songs that don’t quite live up to the heights of the others. ‘The Steps’, ‘Gasoline’, and ‘Don’t Wanna’, while solid, are more conventional Haim tracks that perhaps would not seem out of place on their 2017 outing Something to Tell You. This is by no means a slight, but rather an indicator of how well Haim’s more daring ventures on Women in Music Pt. III have paid off.

Women in Music Pt. III expertly walks the balance of encompassing a wide range of sounds, while still coming together to form a cohesive album overall. This is the most interesting and personal album that Haim have released to date, and this development is truly welcome.

   

Image: Original image of HAIM by Raph_PH

Turning twenty in my bedroom: the illusion of being older

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I guess twenty-one is supposed to be the big birthday of your youth. But, for me, turning twenty is a marker that seems particularly significant. My years of teen angst and confusion are behind me, supposedly, and now I should do things that people in their twenties do: wear heels even when nobody’s forcing me to, pretend that I somehow ‘just can’t drink as much as I used to’, and laugh at the immaturity of hopeful and naïve eighteen-year-olds as I sip the red wine that I swore I hated before I was introduced to Oxford formals.

Yet as I sit as I have done for four months within the confines of my room at home, I can’t shake the feeling that I’m still, I don’t know, seventeen?

I can’t remember what was going through my head as I neared my birthday at the peak of the pandemic in April; it almost feels as if it didn’t happen. I don’t like making a fuss on my birthday, anyway: the past two years featured a simple trip to Spoons with my school friends, the day always falling in the Easter holidays, and I’m content with nothing more than a cheeky drink and a good catch-up while my friends hand me homemade birthday cards and we share pitchers. Obviously, this year, this was off the table.

As I floated through the first day of my twenties, not being able to visit what is far from Britain’s finest drinking establishment, did not seem to be a great tragedy. I sat around and did what I wanted to, I hosted a birthday video call with my friends, and my parents ordered Pizza Hut for dinner. It wasn’t a particularly exciting day, and yet everything I did felt imbued with some personal significance.

I don’t think I’m alone in not enjoying making a huge occasion out of my birthday. We all like a bit of attention, but forcing yourself to have a good time can lead to the day ending with a tinge of disappointment. You either don’t have as much fun as you envisioned you would, or your plans are weighed down by a reminder of the unrelenting passage of time, or some other existential reality that hits you in the face every time you celebrate an essentially made-up occasion. And still we pretend the things we do on our birthdays are important. Perhaps, on a fundamental level, we need things to look forward to. We need times where we can let go of our responsibilities without any guilt, and we all want to believe that our ordinary lives are special – in the words of girls on TikTok, we all want to be the main character.

For a lot of university students in lockdown, the past four months have seemed like a time warp. Having grown used to independence and acting more and more like adults, we’ve been thrust back into our pre-eighteen-year-old lives. I feel like I’m seventeen, my life revolving around what my parents do, as I sit in my room which reflects my interests three years ago, and occasionally venture into the park with my friends. Maybe it’s because I never had the stereotypical coming-of-age experiences associated with being a teenager, but I can’t help but think that I’m missing out on a defining moment of my youth.

Turning twenty in lockdown has exposed even more just how performative the rituals we take for granted are. For me, there’s a tension between the sense that I’m supposed to celebrate another year of life with an exciting celebration, and yet being perfectly content having a takeaway and hosting a group video call. A tension between the sense that I’m finally supposed to be growing up, and the reality of my independence being out of reach. Maybe returning to uni for my final year will mark the moment when I feel a little older. Though, Oxford’s eight-week terms also have their own essence of unreality to them.

Coming down from Eden: the darkening sounds of Sly and the Family Stone

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No band – on record or off – better encapsulated the demise of the sixties and that era’s spirit of excited possibility than Sly and the Family Stone. Formed in San Francisco in 1966, the group’s mixed-race membership reflected their sound: a spirited fusion of soul and psychedelia. Sonically and socially, Sly and Co. initially encapsulated a vision for an egalitarian and multicultural America. Yet by the turn of the decade, the dream had disintegrated. Torn apart by politics, cocaine, and PCP, the Family’s sound darkened and splintered as the optimism that had birthed them evaporated.

Though their first two albums sketched out Sly and the Family Stone’s template, it was on Stand (1969) that the group’s sound truly crystallised. The interplay between the funk-infused rhythms and the druggy-chug of guitars and keys on ‘Sing a Simple Song’ married Southern Soul to The Byrds. The epic ‘Sex Machine’, which dominates the album’s second half – capturing on record the spontaneity of a band jam – builds and builds layers of wah-guitar on a foundation of bass and drums à la Curtis Mayfield into a towering, ever-ascending epic. Indeed, ‘I Want to Take You Higher’ seems a more fitting title for an album whose tracks seem to compete in the heights to which they saw. Yet while Stand’s debts to LSD and Cannabis are self-evident, its prevalent mood of optimism was anything but a hallucination. Just three months on from the album’s release, Sly and the Family Stone joined the cream of Trans-Atlantic rock at Woodstock Festival, and in 2015 a copy of Stand was interred in the American National Recording Registry.

Two long years would pass before Slyreturned to record a follow-up. In between, the band’s spirit and sound were broken down. Caught between escalating pressure from Epic Records to return to the studio and from the Black Panthers to make his music more militant and replace band members, frontman Sly Stone retreated into himself. Escorted by gangsters, and with the band’s cocaine habit spiraling dangerously out of hand, Sly began to see enemies – both real and imagined – around him. The band themselves were now regarded as a ferment of anarchy. When a planned concert in Chicago in July 1970 descended into a riot before the performance had even begun, the band were held responsible.

Sly and the Family Stone’s sole new release from this period was the double A-side single ‘Thank You (Falettinme Be Mice Elf Agin)’/’Everybody is a Star’. Whilst ‘Star’ recalled the exuberance of Stand, ‘Thank You’ was a far darker affair. A stark and relentless funk bass hook propels the track, over which Sly sings of running from the Devil and his alienation from the band’s previous work. Far more than ‘Star’, it set the tone for what was to come.

Originally titled after the track ‘Africa Talks to You’, the title for the band’s next album was subsequently changed to There’s A Riot Goin’ On: a biting reply to Marvin Gaye’s luscious What’s Going On, released six months earlier. Though both represented responses to the darkening mood of the 70s, the albums could not be farther apart. Sly’s riposte to Gaye’s intricately arranged choirs was stripped back tracks, driven into overdrive by drums and bass muddied by layers of overdubbing. Largely recorded alone by Sly in a self-built home studio with the aid of outside musicians such as Ike Turner and Bobby Womack, along with a primitive drum machine, the music on Riot reflects the isolation and paranoia of the group. Where Stand soared above the ground, Riot plunged into the asphyxiated asphalt of the band’s new LA home.

Yet while undeniably dark, Riot never fails to compel. The manic drive of opener ‘Love N’ Haight’ is just as engrossing as the unhappy groove of following track ‘Just Like a Baby’. Ultimately, though, the record collapses from sheer exhaustion: closing song ‘Thank You for Talkin’ to Me, Africa’ drags out and slows down ‘Thank You’ to the point of a funereal dirge. It was an apt finish: within 6 months the band’s original line-up collapsed backstage, as fears that bass guitarist Larry Graham had planned a hit on Sly Stone descended into a brawl.

Stand and There’s A Riot Goin’ On did not merely mark the pinnacle of Sly and the Family Stone’s output – they also reflected a fleeting moment when the group, disorientated by narcotics and rivalries as they were, succeeded in capturing the dying light of an era of unprecedented activism and cross-cultural fusion in the West. Fifty years on, Sly and the Family Stone not only remain historically relevant, but also musically engaging.

CherWell News – July

University’s Royal Praise

As one of the first Malaysian women to become a professor at Oxford University, Dr Masliza Mahmod has been praised by several significant figures in Malaysia. Malaysia’s Director-General of Health (Datuk Dr Noor Hisham Abdullah) praised Mahmod’s brilliance, saying: “She is indeed a brilliant cardiologist and despite difficulties and challenges, her perseverance and deep passion in clinical research made her an outstanding academic cardiologist.” Malaysia’s monarch, Abdullah of Pahang, congratulated Mahmod: she “has made the nation proud… His Majesty hopes that Dr Masliza’s achievements and perseverance will be a source of inspiration for all Malaysians.”

New Black History Prize

Oxford has set up a new £250 prize for the best Final Honours School thesis on Black History. It will be named after Barbara D. Savage, previously a visiting professor in American History at the University during the 2018-19 academic year. Savage welcomed the prize, saying “I am excited that the prize will encourage Oxford students to explore black history with the creativity and commitment I saw during my time there as Harmsworth Professor in 2018-2019. It honours the field in which I work and am humbled that it bears my name.” This prize comes as students from various subjects have called to diversify the curriculum and amplify the voices of marginalised groups.

In the Pink: Beyon-slay

All female Oxford a capella group In the Pink have released a Beyoncé medley, rehearsed and recorded remotely during lockdown. The group said: “We’re very much about girls empowering girls. We thought releasing a Beyoncé medley (arranged and produced by Priya Radhakrishnan) would be a great way to spread some joy and keep spirits high during lockdown! It’s lovely to know that our Beyoncé video put smiles on some faces as we’ve always had a blast getting to perform so many girl power anthems in one!”

New College Choir Lockdown Film

Singers from New College Choir have joined with Positive Note, a production company, in a new film – apart / together. The film features shots of deserted chapels as the choir sings Bach’s Letzte Stunde. Robert Quinney, the Director of the Choir, writes: “This is the point where authoritative national research is needed to enable informed decisions about the viability of choral singing – which contributes so much to the nation’s spiritual cultural life, and to the education of so many people.”

Giant David Attenborough Mural in Cowley

A huge mural of Sir David Attenborough has been painted in Cowley on the side of the East Oxford Games Hall by local artist Andrew Mani Manson, also known as The Big Orange M. Designed to honour the Cowley Road Carnival’s theme of ‘Mother Nature’ amidst its virtual celebrations, the documentary maker is depicted gazing at a brightly coloured butterfly resting on his finger. In the image’s corner, a quote from Attenborough is visible: “The future of humanity and indeed all life on earth now depends on us.”

Song Raises Funds for Covid Research

A new song – written by Alexander McCall Smith, the creator of The No. 1 Ladies’ Detective Agency series, and performed by Tenebrae – has been released to raise funds for Oxford’s Covid-19 research fund. Hands of Hope thanks key workers and scientists, while commemorating lost lives and referencing the gradual easing of lockdown. The song will be re-recorded professionally when UK guidelines allow for this – then a final version will be released for download. Helen McShane, Professor of Vaccinology, said: “The Hand of Hope team has made an incredibly moving and fitting tribute to the frontline medical staff working to save lives and the scientists who are working around the clock to understand COVID-19 and find equitable solutions.”

Modern Art Oxford to Reopen

Modern Art Oxford has announced that it will reopen on 11 August. Their exhibition Johanna Unzueta: Tools for Life has been extended. Online exhibitions have also been scheduled until early 2021, including Kiki Smith: I am a Wanderer and Lubaina Himid: Invisible Strategies.

Oxford Half Marathon in October

The Oxford Half Marathon will return on Sunday 11 October 2020. Restore, a local mental health charity, is currently looking for runners to participate. Basma El Doukhi, a Community Fundraiser, said “You may not recognise how much your actions impact others on a daily basis. You may think that what you do doesn’t make a difference or inspire others to do things with a greater impact… When others see you challenge yourself, they might follow your lead and start running, perhaps they’ll even join you in running the Oxford Half, or face a different fear or challenge in life. Be inspiring, create a difference, support a mental charity that is helping so many people affected by COVID-19, and run for Restore.” Last year, Restore set a personal record of 61 runners raising £14,800 between them.

First Rapid Electric Charger in Oxford

Also in local news, Oxford’s first 50kW rapid electric charger was installed in Cowley’s Marsh Road as part of the Electric Superhub Oxford (ESO) project, aiming to make Oxford a zero carbon city. ESO aims to save 10,000 tonnes of CO2 per year by 2021, rising to 25,000 tonnes per year by 2032. Tim Rose, ESO Programme Manager, Pivot Power explained: “These chargers, the vehicles that will use them and the information they deliver, will allow us to demonstrate how through research and real life actions, electric vehicles can form part of a smart, local energy system that accelerates Oxford’s journey to zero carbon and benefits the whole community.”


IB results day: a broken algorithm which decided students’ futures

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Students in the International Baccalaureate programme received their final grades on the 5th of July this year and many of them were disappointed. Although the IB had promised a fair method of determining these grades to replace the cancelled IB exams, students’ final grades generally fell well below their predicted grades, causing them to miss their university offers and leaving them with no higher education plans for the next year.

In the days following the release of IB results, significant evidence emerged that an unusually high number of students suffered significant reductions in their final score relative to their predicted grades. A petition calling for the IB to take remedial action regarding the results has gained over 23,000 signatures and claims that grades were lowered by up to 12 points in many cases. Wired and The Financial Times have also featured statements from students and teachers who confirmed these sharp declines in grades and explained that the results have prevented many students from gaining places at universities.

Looking at the statistical report released by the IB, it appears that little has actually changed from previous years. In fact, the IB reported higher pass rates and average scores this year than the May 2019 exam session: 79.10% in 2020 versus 77.83% in 2019, and 29.92 in 2020 versus 29.65 in 2019 respectively. The grade distribution curve is also in line with previous years’. Yet, although the IB is satisfied that their methodology seems to have yielded the expected results on paper, an obvious issue with these overall statistics is that they reveal nothing about how individual students performed relative to their predicted grades, which is what students have taken issue with.

The reason why students are reporting such sharp declines is quite simply down to the marking methodology used by the IB this year: the algorithm. When the exams were cancelled in March, the IB promised to award diplomas based on the following criteria: student coursework, predicted grades and historical data from schools. They delegated the design of an algorithm taking into account these criteria to an unnamed educational organisation. Each of these criteria on their own are problematic, and all together are inadequate at determining final scores.

This year, exceptionally, every piece of coursework has been graded externally by the IB, thus making it the key determinant of a student’s individual performance. However, considering that for many subjects, notably the sciences, coursework accounts for merely 20% of the total grade, this simply does not accurately reflect the grade a student should receive in the entire subject. In normal years, a student who submitted sub-par coursework could greatly increase their final grade by performing well in exams. The excessive reliance on coursework resulting from the cancellation of the exams has denied many students this opportunity, meaning students’ grades are defined largely by coursework they did not know would be so significant at the time it was submitted.

Predicted grades are estimated by teachers prior to students applying to universities and are notoriously unreliable. Schools are under scrutiny to ensure that students receive accurate predictions, but this does not remove the fact that a teacher’s estimate based on a year of work is not a reliable determinant that should form a significant part of a student’s final result.

The most jarring of the criteria is the use of historical data of a school’s performance. The IB has explained that it generated a unique factor for each subject in a school, which models both “predicted grade accuracy as well as the record of the school to do better or worse on examinations compared with coursework”. This criterion indicates nothing about the potential of an individual student to achieve a top grade and effectively punishes students for attending schools which perform poorly according to the IB’s model. Furthermore, many schools have very small cohorts taking the IB, which results in grades (and the accuracy of predicted grades) varying greatly year by year, thus harming the reliability of the historical data. Schools where students traditionally receive unconditional offers (for example, schools with many applicants to the United States) would also suffer due to more students falling below their predicted grades in previous years. This results in less accurate predictions, albeit not attributable to teachers’ calculations. The unfortunate result of this criterion is that although most schools can happily report that their average scores remained roughly the same due to the algorithm taking into account their past results, individual students have been prevented by factors entirely outside of their control from achieving the grades they deserve.

Using an algorithm to determine IB scores certainly has its advantages. It ensures that all students are subject to the same methodology of determining final scores. Though this seemingly promotes the fairest possible method, this is only true insofar as the algorithm deduces the fairest result every time. In the majority of real-life situations where an algorithm is used, anomalous results are taken into account and manually modified to more accurately reflect the actual result. Yet, the IB has released no information suggesting that anything of the sort was done. In this case, the IB’s policy should have been to find out individual cases where a student’s final score fell well below their predicted grades. Then, a panel should have been employed to look at each of these individuals’ coursework and other relevant data a second time, before awarding a final score that most accurately reflects the student’s achievements. Instead, the IB has accepted all the results of the algorithm as gospel, stating that they “awarded grades in the fairest and most robust way possible in the absence of examinations.” The confusion resulting from these sharp declines from predicted grades has been compounded by the IB’s lack of transparency regarding the algorithm, as they refuse to disclose the full details of the methodology and how it was designed.

I am personally of the view that an algorithm should never have been considered in the first place. Other educational programmes, such as the French Baccalaureate, even though they also cancelled their exams, awarded diplomas without relying on an algorithm, and were not met with outrage on results day. The College Board’s Advanced Placement (AP) programme, though suffering from technical problems of its own, was able to carry out its exams online. The relative success of other educational programmes in fairly awarding grades exposes the IB’s failure at all stages to adapt to the current extraordinary times. Although moving all IB papers online in just a few months would have been a difficult task, no adequate solution will be easy. Holding every paper online may not have been possible, but the IB could have designed shorter open-book examinations mainly testing students on the skills they developed over the last two years. Whereas the current methodology is frustratingly opaque and outside of the students’ control, an online exam arrangement would have made the methodology significantly fairer and far less speculative, and would have given students a sense of control over their outcomes. Instead, the easiest solution that satisfied both the IB and the majority of schools was chosen, leaving the students behind.

Students unhappy with their marks have been left with few options. As in other years, students may request remarks of individual papers for a fee. However, the IB’s remarking process, much like the algorithm, lacks transparency; the petition claims that students requesting remarks (which are usually expected to take at least several days to be completed) have received responses from the IB within a day, reporting no grade increase and providing no explanation as to how the final decision was reached. Students further have the option to sit formal exams during the November session, but this will incur a fee of 119 USD per subject retaken, of which there are six in total, plus 147 USD in core fees. For many students, this is simply not a realistic option. The IB must take responsibility for forcing students to strongly consider costly retakes as their last chance to receive a fair grade and heed the demands of these students to lower or outright remove excessive fees for the next examination session.

The fallout from IB results day will certainly leave A-levels students worried about the outcome of their own results day on the 13th of August. Ofqual set out guidelines for the new marking system that sound eerily similarly to the IB’s own methodology. This year, schools and colleges sent centre assessment grades (essentially predicted grades), as well as a ranking of students within each grade and subject. The centre assessment grades are then to be standardised using a model designed by Ofqual, taking into account a range of factors including, worryingly, the results of the school or college in recent years. This criterion has already drawn outrage from parents and students alike who fear that students attending schools with historically low results will suffer due to no regard being given to an individual student’s ability to thrive in a difficult learning environment.

If the A-levels exam board shows a level of disregard similar to that which the IB has demonstrated to its students in the last few weeks, we can definitively say that educational programmes have failed this year’s cohort of graduating students, preferring to take the easiest way out from a complex issue at the expense of their own students’ futures.

Oxford may accept students from disadvantaged backgrounds who miss A-level grades

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The University of Oxford may accept applicants from disadvantaged backgrounds who miss their A-Level grades this year.

The University told Cherwell that it will use its existing clemency policy to account for “educational disruption” caused by the COVID-19 pandemic. It adds that students from underperforming schools may be “unfairly affected” by the grading of A-levels.

Director of undergraduate admissions Samina Khan told the Times that Oxford will use contextual information for students who miss their offer by one or two grades. This will include the school they attended and where they live.

This comes after concern over the awarding of A-level results, which will be based on teacher assessments and schools’ past exam performances.

A report from the Equality Act Review found that teacher assessment could negatively impact BAME pupils and those from disadvantaged backgrounds.

A University spokesperson told Cherwell: “Like all universities, Oxford is very concerned about the long term effects of the coronavirus pandemic, including the impact on offer holders and applicants from disadvantaged backgrounds, and those who have experienced educational disruption.

“We have stressed that educational disruption would have severe knock-on effects for young people from under-represented backgrounds, and have offered advice to Ofqual, DfE [Department for Education] and OfS [Office for Students] on how to best support these students.”

“We will not have exact information about our offer holders until A-level results day, and will therefore not know to what extent we need to use our existing clemency policy – which allows us to reconsider applications where there are clear mitigating circumstances.

“If the results show young people experiencing disadvantage were unfairly affected by the mechanism used to issue A Level grades, Oxford will do everything possible within the boundaries of the OfS conditions and the imposed DfE student number controls to help these students. We are fortunate that we hold a wealth of information on the students who have been made offers by Oxford, including admissions test and interview scores.

“This information, alongside if a student comes from a disadvantaged background, or a poor performing school, will help us assess if clemency needs to be exercised, because despite narrowly missing their A levels, this student is likely to flourish at Oxford and the University’s academic standards will be maintained.” 

The University will make decisions on students who failed to achieve their offer in the weeks before results day and applicants will be informed on 13th August.

In the most recent Oxford admission cycle, 69.1% of offers went to state school students and the number of students admitted from disadvantaged backgrounds increased.

Joe Seddon, CEO of mentoring platform Zero Gravity, said: “The new Ofqual grading system – which calibrates students’ A-Level grades by the historic performance of their school – threatens to lock talented students from underperforming state schools out of top universities through no fault of their own.

“Critics will condemn Oxford’s move as social engineering. But there are few better examples of social engineering than a grading system which gives affluent offer holders an advantage due to the historic performance of their school.

“Attention must now turn to preventing the impending social mobility disaster facing students applying to university this year. Oxford undergrads are already leading by example through organisations like Zero Gravity, but more still needs to be done to ensure that the brightest minds reach the best universities in these unprecedented times.”

However, Oxford’s approach has faced criticism. Chris McGovern, chairman of the Campaign for Real Education, told The Times: “The results this year will be fake grades but what Oxford is doing is social engineering. It is not fair to admit a teenager who has missed their offer because they come from a poor background and a poorly performing state school.”

Ofqual, the exam regulator, said: “Most students will receive grades this summer to enable them to move on with their lives, despite the cancellation of exams, and we expect the majority of grades students receive will be the same as the centre assessment grades submitted by their school or college.

“Standardisation will draw on the historical outcomes of a centre as well as the prior performance of students in this year’s cohort.

“From the data we have reviewed, centre assessment grades are higher than predicted – by on average 12 percentage points at A-level grade A, when compared with 2019 — and the standard applied by different schools and colleges varies significantly.

“That is not surprising, as teachers were not given an opportunity to develop a common approach to grading and naturally want the best for their students. Some centres that have been optimistic about their students’ performance would have been correct and others incorrect, but in the absence of exams, there is no fair way to identify which.

“So that students can compete on a level playing field with their peers in this, previous and future years, it is essential that centre assessment grades are standardised using the model we have developed with input from experts across the sector.”

Image credit: HAM/ Wikimedia

Lockdown Eats: Shakshouka, five ways

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Shakshouka is the ultimate comfort food. It is indulgent, filling and satisfying all in one!

It is uncertain where the dish originated; some food historians argue it was Yemen while others claim it was borne out of the Ottoman Empire.

A hearty, affordable dish it is a family favourite, especially as it only needs one pan.

Shakshouka is traditionally made up of eggs cooked in tomato sauce and peppers, sometimes with herbs, cheese and other flavours, and often with bread meant for dipping.

The dish, with a name meaning ‘all mixed up’ in the Tunisian Arabic dialect, is perfect for experimenting. You really can’t go wrong!

My go-to recipe is at downshiftology.com as it’s super simple, only involves one pan and needs pretty standard ingredients.

In basic terms, you cook a diced onion, a sliced pepper and four garlic cloves until aromatic and soft; then add in the spices (cumin, paprika, chilli powder). Next, pour in a can of crushed tomatoes, season, and bring to a simmer; and finally, making small wells in the sauce, crack six eggs into your mix and cook to your liking.

Here are five ways you can spice up the dish:

  • Cheese! My favourite addition is cubes of feta stirred into the sauce before the eggs and then crumbled on top. Another option is frying up some halloumi in crispy sticks that you can dip into the tomato sauce.
  • Make it vegan… Swap out the eggs and feta for aubergine (add it in with the pepper), tofu and peas; stir in frozen peas and tofu seasoned with salt, pepper and cumin when you would’ve introduced the eggs. Cook until the tofu is heated, and peas have defrosted, then serve with toasted bread.
  • Go green! This puts a healthy spin on the original recipe, packing it with micronutrients. Instead of pepper, add in shaved brussels sprouts and chopped courgette, and then baby spinach after 4-5 minutes. Crack in your eggs and garnish with fresh cilantro and sliced avocado.
  • Hot hot hot! A sure-fire way to make this dish interesting is to increase the spice intake; you can do this with adding more paprika or chilli powder, or if you’re feeling brave add in freshly chopped green or red chillies. Be prepared with some yogurt or rice for this one!
  • Ultimate comfort… for this we’re adding in extra carbs for good measure. Either replace or supplement the pepper with rice or potatoes (or both!) adding them in at the same time as the seasonings. Heat up some garlic bread and you’re ready to go!

Images by Tara Mewawalla