Monday 13th April 2026
Blog Page 418

WATCH3WORDS: Palm Springs – Exuberant.Poolside.Mayhem.


Welcome to WATCH3WORDS, the fortnightly column where I will be reviewing the good, the bad, and the ugly of the box office. Taking the method of the life-saving app What3Words (which allocates every 3 metre square of the world a unique combination of three words for the purpose of locating those in need) and shamelessly applying it to a non-life-saving cause, I will be assigning recent releases three random words which sum up that particular film. Whilst eagerly awaiting the reopening of cinemas in May, I look to Amazon Prime’s premiere of Max Barbakow’s Palm Springs.

Over the past few years the romantic comedy has been attempting a slow, and often painful, comeback. Various reincarnations of the once-beloved genre have earnestly tried to break away from its now tiresome template but almost always end up sacrificing the ‘comedy’ requirement in the process. Part of the déjà-vu feel of these revivals is down to setting. Harkening back to the rom-com’s golden age where, almost always, a vibrant cityscape provided the perfect framework for two soulmates to beat the odds of finding one another in a sea of people, recent releases aren’t deviating from this tried and tested method to their own peril: Holidate (2020) is set in Chicago while Set it Up (2018) and Isn’t it Romantic (2019) both take place in New York. Palm Springs refreshingly breaks the mould by taking the romantic comedy poolside. But far from simply showing us casual flirtation between lovers who float around on inflatables, it spices things up by taking a dive into the realm of the surreal. Ironically, by taking the well-known Groundhog Day storyline and injecting it with a healthy dose of sun, fun, and drug-fuelled nihilism, Palm Springs makes one of the dullest formats in the book suddenly enjoyable. With reality put to one side, exuberant excess and mayhem ensue.

Set in the eponymous desert resort city in the Golden State, the beginning of the film sees Nyles (Andy Samberg, in perfect casting) stuck in an infinite time loop and forced to relive, over and over, what can only be described as a typically ‘Californian’ wedding: bridal flower-crown, fairy lights, and quaint hay-bales. Having ditched what was on his first rodeo presumably formal dress, he prances around the party in yellow swimming trunks and a dashing Hawaiian-print shirt. He is your typical unfulfilled 30-year-old – admittedly through no fault of his own – but we get the feeling that even if reality was restored, he wouldn’t know quite what to do with himself. Fortunately for us, Nyles is well past the pity party stage which must inevitably accompany the infinite time loop experience. This allows for many humorous displays of his light-hearted indifference to his fate. Everything changes, however, when one night  Nyles locks eyes with sister of the bride and family black sheep Sarah (Cristin Milioti). Both are listless. Both are totally alone. But just as Palm Springs seems to enter typical rom-com territory with the goofy-guy meets troubled-girl routine, the chaotic temporal paradox which provides its backdrop jumps in to save it from cliché. It is not spoiling anything to say that Sarah’s night of romance with Nyles gets her stuck in the loop with him – this happens very early on. Left with nothing to do and nowhere to go, together they must navigate their new shared reality and try to offset the ennui that grips them both, allowing for a wildly entertaining string of mischief and mishaps. 

The result is a charming reinvigoration of the genre and all its trappings. Amazingly, all of the things which in a real-time rom-com would be borderline vomit-inducing are actually endearing in the time loop universe. Matching tattoos, matching outfits, and choreographed dances are surprisingly palatable when you know that these two people only have one another in the whole world. Then again, if it wasn’t for Samburg and Milioti’s effortless chemistry and the added spark they bring to their already likeable underdog characters, this love story might not have been so convincing.

At times deeply philosophical, and at others darkly playful, Palm Springs asks us to consider the big questions: what would we do if the world simply stopped? This is apt given the current state of affairs, but, perhaps more poignantly, it also asks: what would we do if the world simply stopped but we were with the person we love? Would we then, finally, be content?

Palm Springs is currently streaming on Amazon Prime.

Art by Sasha LaCômbe.

The Map to Happiness: Hilary Term and The Atlas of Happiness

At the start of Hilary Term, I thought surely this won’t be too bad? The idea of spending the next eight weeks studying from home was hardly exciting, but lots of people had it much worse. Just stay organised and keep it in perspective I told myself, you’ve got this!

Cut to me four weeks later, sat in bed with an empty bottle of wine and the gloomy prospect of a hangover in the morning. A zoom call with friends had left me feeling flat and deflated – I was desperate to see them all in person, not just as blurry, pixelated faces on a screen. Perhaps, I thought, with the slowly dawning clarity only large amounts of alcohol can bring, I wasn’t handling lockdown 3.0 very well after all. 

I realised I had developed a strange sort of Stockholm syndrome. As the weeks dragged by, I had begun to think longingly of late night sessions in the library and what it would be like to be working at my desk in college. Up until that point, I had missed many things about Oxford but this was a new low. 

The only logical solution, I decided, was to try and distract myself – I would use this time to become an all round better person, and do all of the things I kept putting off. I would start exercising, maybe read some classics, become cultured and interesting. I might even learn how to do winged eyeliner. This was ambitious, particularly given my many failed past attempts at self-improvement. 

The most recent of these had been a short-lived effort to embrace the Danish idea of hygge. It might sound like an obscure martial art, or the noise you make when something gets stuck in your throat, but hygge is actually something far more comfortable. Described by Meik Wiking, the CEO of the Happiness Research Institute, as “a feeling of home”, hygge is the sense of cosiness and contentment that comes from simple things, like spending time with loved ones or curling up with a good book by the fire. 

It’s a concept that Danes apply to many different aspects of life, and over the summer I tried to do the same. I made more time for the things I enjoyed. I kept my room cosy, lit candles and went on long walks in the woods. I even tried meditating. But when university rolled around there were suddenly a hundred and one other things to do, and all thoughts of self-improvement quietly slipped away. 

This time, I was determined not to let that happen. I began by reading countless articles about personal growth and “maximising” your time in quarantine, and immediately felt guilty. It seemed like I should be emerging from lockdown as a master chef or a marathon runner, when in reality I was spending most of my time just trying to stay on top of my uni work. Looking back, that in itself was an achievement, but at the time I felt frustrated that I wasn’t doing more. Even when I read articles that questioned the culture of toxic productivity and the idea that we should all “make the most” of lockdown, I couldn’t shake the feeling that I wasn’t achieving enough. 

Then, thankfully, I picked up The Atlas of Happiness by Helen Russell. It’s a book about all the weird and wonderful ways people around the world stay happy. Each chapter is dedicated to a different country and it’s customs, such as the Italian idea of “Dolce far niente” (the sweetness of doing nothing) or the Finnish practise of “Kalsarikännit” (getting drunk, alone, in your pants). I realised I slipped slowly into equating “productivity and achievement” with “happiness”, but in actual fact, there was so much more to it than that. As soon as I had finished the book, I wanted to give all these ideas a go. 

And now, with this column, I have the chance to do exactly that. Each week I’m going to be trying out a different “happiness habit” from around the world and writing about what happens. The aim is simple: to figure out the best ways to stay happy as a student. I’m not sure what to expect, but, hopefully, unlike hygge, this time some of it will stick. 

Artwork by Rachel Jung

Hertford College commits to net-zero carbon emissions by 2030

0

Hertford College has announced that they will be setting a new aim to reach net-zero emissions and net biodiversity gain by 2030 as “a matter of urgency.” The college will be committing to a set of changes to reach this goal, including an audit of their current emissions, ensuring that Hertford’s investment policies “sustainable and climate-conscious investment standards,” and setting up a Sustainability Board consisting of the Principal alongside students and academics. 

This comes after the Oxford Climate Justice Campaign released a report calling on the University to “make a concerted effort to square its financial connections with its ambitious sustainability goals.” Earlier this year, the University launched its new Sustainability Strategy, setting out aims to “achieve net zero carbon and biodiversity net gain by 2035” through ten priority areas. Oxford City Council set an aim last year to reach net-zero emissions by the end of 2020 and was able to reach its target of a 40% reduction in carbon emissions based on a 2005 baseline.

Tom Fletcher CMG, Hertford College Principal, said: “Getting Hertford to net-zero is an ambition that both unites our community and can only be delivered by the community as a whole. But it is just part of our wider ambition on confronting the climate crisis. Alongside the Sustainability Action Plan, we will continue to champion teaching and research on environmental change – from understanding climate events like floods and droughts to thinking about corporate climate risk management, the impacts of nature conservation, and sustainable models for food and agriculture. We will also support the personal and academic development of our students who will lead the local, national and global response to the climate crisis in the future.“

David Rom, the JCR Environment and Ethics representative, said: “The Sustainability Board is anything but a top-down hierarchy – everybody is enthusiastic about involving the whole Hertford community in reaching the ambitious goals of net-zero carbon emissions and a biodiversity net gain by 2030. I strongly believe that our college can pioneer an Oxford-wide effort in tackling the climate crisis.”

Alex Clark, DPhil researcher at Hertford College and Oxford’s Smith School of Enterprise and the Environment said: “It’s great to see Hertford embrace the urgency of environmental challenges and take responsibility for them by committing itself to this ambitious programme. Minimising the footprint of the college itself is of course important and commendable, but it is particularly encouraging to see an ambition for wider systemic change, where our actions and research can influence the behaviour of those beyond the college.”

Image Credit: CameliaTWU / CC BY-NC-ND 2.0

The Last Bookshop: Giving old books a new life

0

Oxford is a booklover’s paradise. As well as housing world renowned book chains such as Blackwell’s and Waterstones, the city is home to a variety of smaller businesses that offer a unique buying experience. Jake Pumphrey and Nick Walsh, untraditional booksellers and owners of Pumpkin Wholesale, are leading the way in providing this experience, and doing it cheaply.

After working as a buyer in London, Pumphrey returned home to Oxford in 1994, found an empty shop and with his business partner, established Pumpkin Books in Gloucester Green: ‘My idea was to have a remainder shop which sold classy remainders like a proper bookshop would, but cheaper.’ Since then, alongside running their wholesale business, the pair have opened The Last Bookshop in Jericho, a bookshop in Bristol, and in November 2019, The Book Stop on Magdalen Street in Oxford.

‘Publishing is extremely wasteful,’ Pumphrey told me when I interviewed him shortly before the lockdown restrictions on non-essential businesses lifted. ‘So many books are printed and only a fraction of them are bought, and read.’ In 2009, the UK Publishers Association estimated that there were around 61 million unsold books returned to publishers. The industry creates a huge amount of waste every year and thousands more books are printed than sold. That’s where this pair steps in.

‘Remainders are a brilliant way of recycling the unsold books,’ he said, most of which are brand new, not just ‘cheap and nasty’.  Recycling books is one option. Another is pulping, whereby books are crushed into a soft, wet, shapeless material which is converted into paper. Even the most popular reads can ultimately face being pulped but Pumphrey set out to save books from this undignified end since the very beginning.

He explained to me that publishers give to booksellers on a sale or return basis, meaning whatever they don’t sell can go back to the publisher or distributor. ‘They don’t know what to do with [returned books] because sometimes they’re not in mint condition or they’re in a mixed palette,’ he said. ‘It’s enormously labour-intensive to unpack it all and return them to stock so they just sell them and people like me buy them.’

In 1997, the publishing industry underwent a big shift when the Net Book Agreement came to an end. The arrangement in the UK and Ireland allowed publishers to set a fixed retail price, meaning if a bookseller sold a new book at less than the agreed price, the publisher would no longer supply them. ‘In the old days publishers could keep books for years and not really care but the need for moving these unsold books on became more acute over the years. … The market opened up under economic pressure due to publishers having to control their costs.’

In the Aladdin’s cave that is The Last Bookshop, there’s an eclectic mix of rare and popular treasures. You might stumble across a new release, a hardback edition of a beloved classic or a dog-eared copy of something you’ve never even heard of before. As well stocking remainder books, The Last Bookshop also has a wide selection of second hand reads.

‘I didn’t really set out to be a second hand bookseller,’ Pumphrey said. ‘What happened was that when I arrived in Oxford in the 90s, there were loads of secondhand bookshops and so the market was well operated, people knew who to go. But they slowly all closed down.’

When The Last Bookshop came on the scene, secondhand retailers were already an endangered species but in a city overpopulated by bookworms a complete demise wasn’t in the cards. ‘When professors die and they’ve got a house full of books, what happens to them? People started to call me because I had shops in Oxford and I can’t help myself, I just have to buy them.’

Throughout our conversation, I imagine their warehouse in Abingdon, where Pumphrey talked to me from, to be so cluttered with books that it would send Marie Kondo into retirement — and I might not be wrong. ‘I can’t help myself. That’s why Walton Street exists because we’ve got this ever expanding second-hand book mountain which we’ve had to try and start selling somewhere.’

The shop closed in the early 2000s before reopening in 2009 and finding its permanent home on Jericho’s Walton Street. ‘When we started again, bookshops had been closing,’ Pumphrey explains. ‘It was before the recent renaissance of independent bookselling, which I’m very happy about. It seemed like soon there might be no bookshops. And then the Kindle came along and everyone thought, “Well that’s the end of books,” and we obviously didn’t think it was the end of books.’ The shop’s name is a kind of joke about the state of bookselling, but Pumphrey and Walsh were the ones still laughing as they prepared to reopen after yet another lockdown.

When first lockdown hit, the two main facets of the pair’s business disappeared, leaving them with only online retail and the time to launch a new online bookshop, billandbenbooks.co.uk: ‘I’ve been meaning for a long time to have a website, well basically a bookshop that was on the internet rather than in a physical setting and there was never enough time in the day. Lockdown seemed like a good time, when the business was a bit quieter and when two thirds of it was not happening.’ As of last Monday, we can browse and buy in store once again, and if you’re not in Oxford, then a scroll through their virtual bookshop might just do the trick.

The company’s online business fluctuated in success during the periods of lockdown but for the most part, Pumphrey says, ‘it has been really busy because people have been stuck at home. The internet is something they can still use and reading is something they can still do, something they can always do.’

The book retail industry boomed last year with 202 million books sold across the UK. Despite this welcomed boost for the industry, ‘books aren’t really a massive money spinner,’ Pumphrey said with a laugh. ‘None of us are here to make a million pounds. It’s a relatively marginal business and we do it because we like it.’ And as an Oxford book-lover, I’m glad they do.

Out of the Frame: Praxiteles’ Aphrodite of Knidos

As long as humanity has existed, art has followed in its wake. Whether to tell a story, send a political message, decorate an environment or simply depict what we can see; art has documented society’s development through the ages. Today, we have ascribed unwarranted elitist connotations to art and its formal study, strengthened by the fact that our curriculum perhaps places more value on STEM subjects. By implementing this distance, it is often difficult to realise that many of the themes addressed in this way remain just as relevant today. Our modern age is obsessed with image in so many different contexts, from social media to marketing. Given this, it is actually surprising that more attention is not given to the way that our ancestors used the visual to comment upon their own times. The best thing about art is that it is predominantly created to be seen, and we are so lucky to live in a world which invites us to look on the work of the past through galleries and museums. The wonderful fact is that you do not need a particular level of understanding to enjoy a work; it invites the viewer to draw their own conclusions, which may be separate from those intended by the artist. The experience of art can be a highly personal one, one which will never fall out of style, constantly renewing the relevance of sometimes ancient work. It brings us in touch with our humanity in a way like no other.

This week I am looking at the ancient Greek sculptor Praxiteles’ best-known work, the Knidian Aphrodite (shown as a plaster cast above in the Museum of Classical Archaeology at the University of Cambridge). She invites plenty of conversation about the inherent sexualisation and objectification of the female body, a topic which resonates particularly loudly with the news of recent weeks. Praxiteles had produced one of the very first full-scale female sculptural nudes in history, setting a precedent for almost every other subsequent depiction of the goddess as well as other female nudes. A story circulated about the statue being rejected by the people of Kos, who considered the naked goddess to be gravely inappropriate and were in favour of another clothed version which the sculptor had to offer. This raises a couple of problems for me: firstly, the Greeks were more than used to seeing depictions of naked men, with phallus clearly on display, and muscles large enough to poke someone’s eye out. The nude was therefore by no means inherently sexual. Even in the case of Aphrodite, she is here depicted at her bath, a small water jar is placed next to her bent leg. At first glance, her pose does not seem to invite any sort of sexual response. She stands upright, clutching her clothing in her right hand and covers her genital region with her left. This is a private moment which we, as the viewer, seem to be intruding upon, immediately promoting any who gaze upon her as an intrusive voyeur. Already, we have seen that the people of Kos could not bear such a seemingly ‘offensive’ sight as a naked woman. How could they possibly expect the goddess of sex not to be fully clothed? Another story tells of a sailor who snuck into her sanctuary in Knidos at nighttime, commemorating his nocturnal adventure by leaving an ‘amorous stain’ on the goddess’ thigh. The goddess seems only to have caused feelings of disgust or acts of transgressive and unwanted passion. The male gaze seems to have imposed connotations which in turn are not reciprocated on a male subject. Her seemingly innocent pose has been further corrupted by subsequent male scholarship, who have emphasised the suggestiveness of the piece, arguing that Aphrodite is in fact dropping her robe in some kind of divine strip tease and pointing flirtatiously to her genitals.

The story of the sailor reveals the reality of attitudes towards the female body; because she is naked, she is automatically viewed in a sexual way. Praxiteles’ statue makes for the perfect victim: she is motionless, she cannot prevent her aggressor from inflicting himself upon her. But the harsher reality is that women face such abuse for the simple reason that they are women. When confronted by a nude male, society has never reacted so drastically. While the nude male represents manly perfection, athletic potential and virility, a woman provokes lust, disgust, and unwarranted sexual behaviour.

It is time to come up with a new way of looking at Aphrodite, one which may not fit the traditional context of the statue, but rather one befitting of women today. As the patron of sex, she herself should stand as a beacon of sexual freedom and liberation, instead of promoting a culture of shaming female sexuality. Aphrodite has the right to choose to drop her clothing or cover herself up, without provoking anger, disgust or lechery in the viewer. The different readings available to us should encourage equal validity of what a woman may choose to do to her body and how she may choose to present it. When I look at this statue, I decide to see it as an empowering symbol, to overturn how she is traditionally seen as nothing more than a sexual object.

A modern-day Aphrodite would certainly be an advocate for today’s more liberal attitudes towards female sexuality and the increasing control which women have over their personal image. However, she also exemplifies how the female form has always been tainted by male entitlement. This issue has become significantly better over the years, but the current news suggests that we are by no means clear of this problem.  I hope we reimagine Aphrodite as a strong, confident woman and adopt a new way of looking at her Knidian depiction as a symbol of power rather than one of oppression. By viewing art in this manner, we pave the way for interpreting the naked female body as a symbol of power.

Image Credit: Museum of Classical Archaeology, University of Cambridge. Photographer: Alice Boagey. Aphrodite of Knidos, plaster cast, no.232. (Original: Munich, Glyptotek)

Haute Kosher: meditations on chicken soup

Ask a Jewish person what food they turn to when they feel down or ill or homesick or for a comforting family meal, and there’s a decent chance they’ll reply “Chicken soup,” with little hesitation.

The soup is a rich broth of chicken and often some vegetables, sometimes topped with matzah balls or “kneidlach” – dumplings made from ground-up Jewish flatbread. These can be either dense (“sinkers”), or light and fluffy (“floaters”), depending on your preference. This, like many other things, is a hotly debated topic in Jewish families. There are few things we – Jews in general and the four behind this column – love more than hearty debate and food, so the combination is irresistible.

Chicken soup is a mainstay of Shabbat meals, held on a Friday night, and many Jewish festivals. For example, it is traditional to have as the last meal before Yom Kippur, the Day of Atonement and the holiest day of the Jewish calendar, as it fills, warms, and fortifies before the 25-hour fast. At this point Leah, our resident vegetarian who naturally likes to talk about vegetarianism, would like to add that in her opinion ‘chicken soup’ as a nostalgic icon of Jewish culture need not involve chicken. Instead, flavourful vegetable soup – miso is essential for that hit of umami – with matzah balls ticks the boxes just as nicely. Chicken is not an essential ingredient; comfort and community are.

The soup is considered by Jewish mothers and grandmothers everywhere to hold great restorative power – to the extent that it is widely referred to as “Jewish penicillin”. As far back as the 12th century, the Sephardic Jewish philosopher Maimonides wrote that chicken soup had medicinal properties and could even cure leprosy and asthma. Interestingly, studies have suggested that the amino acids released from chicken when cooked may be useful in fighting infections and reducing inflammation – so perhaps Jewish mothers do know best after all, though please don’t tell ours that. 

We may take some of Maimonides’ claims with the pinch of salt stirred into our broth, but chicken soup is nonetheless a soothing balm for a troubled soul; even the smell of it simmering in the kitchen carries a certain calming power. It also has a long and noble history in Jewish culture; the venerable food writer and cultural anthropologist Claudia Roden has suggested that a version of it with egg and lemon originated from the Sephardic Jews of Spain and Portugal. They reportedly brought it to Greece after fleeing the Spanish Inquisition. 

Closer to home, Jews and their chicken soup seem to have been around in Oxford for a long time. In medieval Oxford, despite Jews being forbidden from attending the University, there was a thriving Jewish population up until  all the Jews of England were expelled by King Edward I in 1290. The medieval Jewish community in Oxford had such a significant presence that St Aldate’s actually used to be called Great Jewry Street. Archaeologists who performed a dig on the site of the old Jewish quarter in Oxford in 2016 found evidence from the rubbish tips and latrines that these Jews strictly observed kashrut, or kosher, and out of the 171 animal bones found on the site, 136 were from poultry. So, there is a good chance that Jews were eating chicken soup in Oxford nearly 1000 years ago. 

Therefore, throughout history and to this day chicken soup has served as the rich, steaming, fragrant glue that binds Jewish communities together. It is served at JSoc and Chabad meals across the world, and has its place on thousands of Shabbat tables every Friday night. Making and eating chicken soup is for many a comforting routine, even a ritual, which can alleviate homesickness for Jewish students when they move away to university. The experience of walking into a JSoc Friday Night Dinner is something which can almost feel magical; there are a hundred people in the room, all joined together to form a community, with each bowl of soup feeling like home.

For Jews who have a non-Jewish parent, this chicken soup is often one of the essential, simple recipes taught by the Jewish side of the family to the non-Jewish side. Therefore, it can have even more meaning as a symbol of the cultural sharing involved in an interfaith identity. Recipes for the soup are often handed down within families, and everyone will tell you that their grandmother’s version really is the best. This is because each family’s recipe is distinct, infused with treasured memories, traces of stories, little additions and secret ingredients passed down from great grandparents we never knew. Tamzin remembers her mother teaching her how to make it for the first time, how it is often left simmering overnight, how each week her pride and joy would be the weight and density of her kneidlach. These memories and moments are sacred.

During the pandemic, some of us have come to measure out our lives in Friday night dinners and matzah balls. Every Friday, the house is once again filled with the warmth and the aromas of challah and chicken soup, as we are seated around a dinner table with the people we have been stuck with for over a year. Surrounded by the people that we love, chicken soup sits at the heart of the little sanctuary in the week that Friday night dinner represents.

The chicken soup tradition encapsulates Jewishness at its best; it is inviting, full of love, infused with rich history. Ultimately, whichever recipe is used, precise ingredients and proportions are mere pedantry; the important thing is that chicken soup is warm and delicious and eaten in the company of others and their conversation. We hope that this column can be your metaphorical chicken soup. We hope that it can be a source of visible community for our fellow Jewish students, and something which our non-Jewish friends also enjoy and benefit from. We may have disagreements over the density of our matzah balls, but when we tuck into our soup with mutual sighs of appreciation, we are united far more than divided. L’chaim to that.

Image credit: Sailko.

Jesus College announces Michael Sheen Bursary for Welsh students

0

Jesus College has announced a new bursary scheme that will provide financial support for Welsh students. The bursary has been developed with actor and activist Michael Sheen, who is also financially supporting the bursary. The college has said that the bursary will be “based primarily on household income criteria”. It is described as an attempt to overcome the barrier of economic inequality faced by many Welsh students.

The college is already engaged in access activities for Welsh students. Together with St Catherine’s College and New College, Jesus College takes part in Oxford Cymru, a consortium that seeks to improve university accessibility for Welsh students and works with the Welsh Government. Jesus College also offers the Seren Summer School which is open to Welsh school pupils. As a result of these outreach efforts, the college has found “a 55% increase in admissions from 2016-2020” of Welsh students.

Jesus College Principal, Professor Sir Nigel Shadbolt, believes “the Michael Sheen Bursary will drive this work forward and demonstrates a continued commitment to providing access and equity for all. We are hugely grateful to Michael for this generous support, which will positively impact the lives and futures of some of our more disadvantaged Welsh students.”    

Michael Sheen said: “it gives me great pleasure to use what resources I have to help young Welsh students of real potential get the opportunities for learning there that they deserve as much as anyone else.”

“I hope that these bursaries not only make it possible for Welsh students to take advantage of the educational possibilities at Jesus but also help to encourage a sense of what is possible for young Welsh people generally.”

Will Rumble, Jesus College JCR’s Access Representative, told Cherwell: “The Michael Sheen Bursary will provide much-needed support to Welsh students at Jesus. It will decrease the financial burden faced by far too many Welsh students at Oxford and will complement the wide range of access work organised by Jesus for Welsh secondary school students. The bursary will allow Welsh students to enjoy their student experience with fewer financial concerns than currently possible.”

Applications for the first Michael Sheen bursaries will open in Michaelmas term 2021.

Image Credit: Simon Q / CC BY-NC 2.0

20/4/21, 18:34 – Updated to include JCR comment. 

OCJC report claims that the University’s ties to fossil fuel companies aid industry greenwashing

0

The Oxford Climate Justice Campaign has released a report outlining the University of Oxford’s links to the fossil fuel industry, arguing that “Oxford must make a concerted effort to square its financial connections with its ambitious sustainability goals.” The report found that between 2015-2020, at least £8.2M in research grants from fossil fuel companies were accepted by the University and associated departments and colleges, and £3.7M in donations, excluding the £100M donation from INEOS in 2020. The Saïd Business School is the biggest specified recipient of such funding and donations.

The report argues that students do not want this level of engagement with the fossil fuels industry, and suggests that “money from fossil fuel companies arguably influences the direction of research carried out, which limits academic freedom.” The report goes on to highlight departments and projects receiving the funding, including the Mathematics department’s training for Industrially Focused Mathematical Modelling, the Shell Geoscience Laboratory, and the Centre for Doctoral Training in Autonomous Intelligent Machines and Systems amongst others. 

The report suggests that the University’s relationship with the fossil fuel industry aids industry greenwashing. “By funding work on the science and technology of sustainability and other positive ethical projects at Oxford, the fossil fuel industry acquires a coat of greenwash.” The report also suggests that “By paying for prestigious events, sponsoring scholarships and achievement prizes, engaging in the cultural life of the University, and funding academic projects in the field of sustainable development and other ethical research, the fossil fuel industry builds up an image of itself as a beneficial, philanthropic, and necessary sector – an image which it can paste over the horrific scenes of damage and destitution.”

The OCJC has set up a petition asking the University to take no further donations or grants from the fossil fuels sector, and for the Careers Service to stop advertising positions within the fossil fuels industry. The petition also outlines long-term demands, including prohibiting individuals “from holding positions of authority simultaneously at the University or colleges and in a fossil fuel company, where there is a demonstrable conflict of interest” and ensuring that all colleges and halls fully divest from fossil fuel companies.

A spokesperson for OCJC said: “‘The fossil fuel industry perpetuates the climate crisis and upholds global injustice. It contributes to the death and destitution of people worldwide, particularly the marginalised and disenfranchised. The University of Oxford must cut all its ties to this extractive industry.”

“We acknowledge that cutting ties with the fossil fuel industry will require great effort. This makes it all the more important to start this process as soon as possible. We will not stop campaigning until the University of Oxford stands free from these ties.”

A spokesperson for the University said: “The University of Oxford safeguards the independence of its teaching and research programmes, regardless of the nature of their funding. Those donating money or sponsoring programmes at the University have no influence over how academics carry out their research or what conclusions they reach. Researchers publish the results of their work whether the results are seen to be critical or favourable by industry or governments.”

“Partnerships with industry allow the University to apply its knowledge to real challenges of pressing global concern, with funding often going directly into research into climate-related issues and renewables.”

Image Credit: Marcin Jozwiak via Unsplash

28/4/21, 16:37 – amended to remove references to colleges who have since been removed from the report.

Tingewick launch raffle to fund Oxford Hospitals charity and Calon Hearts charity

0

Tingewick, a charity group run by Oxford University medical students, has created a virtual “Oxford Unlocked” charity raffle, with over 70 prizes on offer. The prizes are collectively worth over £2000 and each ticket costs £2. All funds raised will be donated to Oxford Hospitals Charity and Calon Hearts charity, which are the charities Tingewick has chosen to support this year. Winners will be announced on the 17th May. 

The society hosts a range of fundraising events across the calendar year, which lead up to an annual Christmas pantomime performed in front of hospital patients. Prizes included in the latest raffle hopes to promote local businesses, with prizes including a bag of coffee beans from The Missing Bean and Jericho Coffee Traders, a pair of tickets for an event at The Bullingdon and an £849 touring bike donated by Cycloanalysts. 

The charities chosen by Tingewick, Oxford Hospitals Charity and Calon Hearts, are also particularly close to the Oxford community. Oxford hospitals Charity supports NHS staff in Oxford working on the pandemic frontline through funding extra psychological support. The charity also funds specialist equipment for patients. Calon Hearts is a charity chosen in memory of Issie Mogg, a “much-loved and greatly missed friend and medical student of Oxford University” who passed away of an undiagnosed heart condition in 2018. Calon Hearts is a charity which works to tackle heart disease in Wales by placing defibrillators in communities and delivering the training of CPR and defibrillation as well. 

Meirian Evans, Producer of the society and 4th-year medical student, said: “As medical students, supporting our hospitals however we can is always incredibly important to us, and in the current climate it is more important than ever, that’s why we’ve chosen to fundraise for Oxford Hospitals Charity this year. We’re supporting Calon Hearts, to improve defibrillator access across Wales; this is hugely personal to all of us, and we hope that our fundraising efforts this year will be a fitting tribute to our friend Issie.”

A link to the raffle can be found here

Image courtesy of Tingewick. 

How to register to vote in the local elections before the 19th April deadline

0

Which elections are taking place on the 6th of May?

On the 6th of May, local elections will be taking place across the UK. In Oxford, you can cast your vote for the Oxford City Council, for Oxfordshire County Council, and for the Police and Crime Commissioner for Thames Valley.

Why does it matter?

Voter turnout is often lower amongst young people, but issues in local elections also affect young people. Oxford City Council can regulate housing policy and prices, make decisions regarding parks and leisure facilities, and take environmental action.

How do I register?

You can register online in under 5 minutes. The deadline for registration is Monday 19 April. 

Can I vote in elections at home and in Oxford?

If you live at a different UK address during the holidays than during term, you are allowed to vote in elections in both council areas, as long as you are registered at both. This rule applies only to local elections, and not to national ones. 

I won’t be in Oxford on May 6th. How can I vote?

You can apply for a postal vote, and have the voting papers sent to a different address to that of your Oxford residence. The deadline for applying for postal vote is 19 April. 

You can also apply for a proxy vote, allowing someone else to vote on your behalf. The deadline for applying for proxy votes is 29 April 27.

I’m not a UK citizen. Can I vote in these elections?

If you are a qualifying Commonwealth, Irish or EU citizen you are also eligible to vote, given you are not excluded from voting for legal reasons.

I don’t have a national insurance number. What do I do?

You will be asked for your national insurance number for registration. If you can’t remember it, you can look at past payslips or fill out a form requesting it. Alternatively, you can also register without entering a national insurance number. In this case, you will be sent an email asking to provide alternative documentation, such as a picture of a passport, ID card or residence permit.

Photo by Element5 Digital on Unsplash