Monday 7th July 2025
Blog Page 436

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

Pandemic Perspectives: Texas

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When the mayor of Austin declared a “local disaster” on 6th March and cancelled the Texan film festival “South by Southwest”, the rapidly developing COVID-19 crisis still did not seem real to many Texans. It was one of the first major events to be cancelled, and a startling indication that what was happening globally was not going to just pass us by with ease. 

Citizens, particularly in a predominately conservative state like Texas, looked to the President for guidance. Trump was at that point downplaying the virus to the public, making statements like: “Just stay calm. It will go away,” and “It’s going to disappear. One day, it’s like a miracle, it will disappear.”

On 11th March the World Health Organisation declared a global pandemic, and the White House suspended travel from most European countries, not including the United Kingdom. I had been advised the day before to stay in the country for Oxford’s six-week break in order to avoid being unable to return for Trinity term. However, once the travel ban was implemented, I had to make immediate plans to return home to Dallas. 

A friend of mine happened to be on the same flight back. Without thinking, we went to hug each other hello before remembering why we were taking a last-minute flight home and stopped ourselves. While we were in the air, the White House banned travel to the UK. The pilot told us we would have to wait on board for a team of medics. However, after about 40 minutes, they let us disembark without any medics arriving. It was clear that no one knew quite what was going on. 

I quarantined in my childhood bedroom for the next 14 days. At this point, many young Americans were celebrating their spring break with parties and trips to beaches. Some of my friends and acquaintances were confused when I explained that I was self isolating and could not see them for the time being. Given the polarising opinions and advice being presented to Americans at the time from the President and media outlets, it is unsurprising that people were unsure of the gravity of the situation. 

The first Texan citizen died of COVID-19 on 17th March. An outbreak traced to a spring break trip soon followed. At first, American colleges and universities announced that students would return home temporarily. One by one over the next few weeks, universities confirmed that there would be no in-person spring semester and asked students to prepare for online courses and online graduation. 

On 25th March, President Trump declared a state of emergency for Texas. Governor Greg Abbott issued a social distancing order, telling Texans to only leave the house for essentials tasks. Though Governor Abbott refused to term the order a “stay at home” order, he acknowledged that the order was functioning like a shelter in place order. His aversion to this terminology was likely to avoid upsetting his constituents, a good deal of whom are anti-mask and anti-social distancing. Despite his efforts, people gathered in large groups to protest the order. At this point, wearing masks was encouraged but not enforced.

In early April, the CDC began officially encouraging Americans to wear masks when leaving the house. By 4th April, there were over 100 confirmed fatalities due to coronavirus in Texas. 

Governor Abbott began publicly discussing his desire to re-open the state soon after the shut down. On 8th May, hairdressers and nail salons were permitted to open with social distancing regulations. Bars, restaurants, and gyms soon followed. On 3rd June, Texas entered a new phase of reopening. Most businesses were permitted to operate at 50 percent of their maximum occupancy. On 21st June, restaurants were permitted to operate at 75 percent capacity and outdoor sports resumed. In the following week, Texas experienced three days in a row of record high numbers of new cases. Governor Abbott began rolling back some facets of the latest reopening, closing bars and rafting businesses, and requiring government approval for gatherings of 100 or more people. However, numbers continued to rise. It was not until 2nd July that Abbott mandated wearing masks in public through an executive order. Even now, the state’s new cases and daily fatalities continue to increase. 

National leadership has been disorganized and vastly unhelpful. The President has made confusing and out of touch statements to the media about the virus, like promoting untested medications and suggesting people should ingest disinfectant. President Trump refused to be photographed in a mask until 11th July because he did not like the way it looked. His rejection of the mask fuels conspiracy theories and a dangerous culture war. In many conservative areas, people are challenged by others for wearing masks while in public. The mask is seen as a political statement instead of a necessary safety measure. 

Depending on what media a person chooses to consume, a person’s opinion on the validity of masks and the pandemic itself can vary greatly. I know people who refuse to go to the grocery store, even with a mask, and I know of people who have been throwing pool parties every other weekend. Recently, I ran into a maskless neighbor while out on a walk, and she attempted to hug me hello. When I declined and remained six feet away, she seemed genuinely confused. 

We of course have a responsibility to wear masks and follow social distancing protocols. Those who ignore these measures entirely are endangering themselves and others. However, the existence of such a large group of anti-mask protesters is an indication of federal failure rather than simply individual failure. The President has encouraged conspiracy theories from the start, calling the virus the Democrat’s “new hoax” in February. His inability to acknowledge the reality and severity of the virus has culminated in states filled with his followers facing staggering death tolls and overwhelmed medical facilities. The current state of COVID-19 in Texas is ultimately a failure of federal and local leadership. 

Illustration by Francesca Nava

Football’s hyperinflation: Is it robbing us of a generation of players?

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Gareth Bale makes quite a lot of money. Scratch that – Gareth Bale makes a ridiculous amount of money. His most recent contract is estimated to be costing his employers, Real Madrid, £30 million a year. Since November 2016, Bale has been reportedly been sitting on a gross salary of around £600,000 a week, and will continue to do so until June 2022.

The fact that there’s money to be made at the top levels of football isn’t surprising, and complaining about how much money Gareth Bale is earning isn’t particularly insightful. At the same time, there is an undeniable upwards trend in the values of the contracts mega-star footballers are signing, and this is starting to create a novel problem for players, clubs and fans alike. As pay packets swell, the number of clubs who can afford these superstars is shrinking. Top clubs are getting caught holding long, expensive contracts they don’t want anymore, and they’re struggling to find anyone with the cash to take on their dodgy deals.

The upshot? A set of uber-talented athletes trapped at clubs that don’t want them, while few other clubs have the money to sign them. Some of the flashiest, most talented players of their generation are wasting away on the benches, all because they’ve been put on overly-lucrative contracts that no-one wants to break.

Gareth Bale played 1,209 minutes of football last season. There will be avid college footballers who have played as much Cuppers football in the same time frame. In the 49 weeks it has taken him to rack up his 1,209 minutes, he’ll have earned around 29 million quid. This season, for every minute of football Madrid have gotten out of Bale, they’ve spent somewhere in the region of 24 grand. Gareth Bale could pay off an entire undergraduate’s degree worth of student loans with just two minutes of playing time. It’s worth noting that these figures probably aren’t exact– clubs are understandably reticent to tell us how they compensate their star players. They do however, give us a sense of which ballpark they’re working in.

There is no denying that Bale is talented. He’s a four-time Champions League winner, three-time World Club Cup winner, and has racked up 105 goals and 68 assists in 251 games since his arrival in the Spanish capital. He was a central figure in Madrid’s winning of back-to-back-to-back Champions Leagues, scoring twice in the 2018 final, the first time the trophy has ever been won three times in a row by the same club. When Bale signed on for his bumper new deal, few took issue with him being at the top of the wage bill, nor did many object to putting him on a six-year contract that would take him into the twilight of his career. This contract would serve to ‘protect the value of the asset’ and prevent clubs from poaching one of the most effective and marketable players on the planet.

The issue is that he’s now 31, seemingly on the decline, and has become even more injury-prone than he used to be; a player renowned for his electric pace who seems to tear a muscle every time he reaches his top speed. What’s more, Real Madrid have re-hired Zinedine Zidane as manager, a coach with seemingly so much contempt for Bale that the club’s inability to sell him was reportedly part of the reason he quit the job the first-time round. Bale’s time in Madrid is now more frequently marked by his disputes with his boss and touchline petulance than any eye-catching performances on the pitch. This is a problem not only for the distracting media attention the alienation of a figure as prominent as Bale brings, but also because Gareth Bale simply costs too much money not to use.

In most cases, if a player fell out of favour with their club, they would simply move on. This is where the issue lies. Top contracts have become so inflated that when a superstar falls out of favour, there is nowhere for them to go. The list of clubs who can afford to take Bale on at his current salary is very short, and the few that can afford it won’t particularly want an aging star whom their rivals have deemed to be not fit for the top tiers of European football anymore.

Bale, if he were desperate to play football, could take a hefty pay cut, but he is under no obligation to: he has signed a contract to be paid for six years, and as long as he continues to make himself available for selection, has every right to remain at the club and collect what he is due. Choosing to put football on the backburner is an option he is free to choose, and there is only so much sympathy to be had for a footballer who is given extra time off to enjoy the sight of his fortune swelling by £350,000 every week. There’s a quote from another former Galatico, Claude Makelele, who, when he was having a tough time at Chelsea, would say “I just look at my bank account and smile”. Gareth Bale has apparently chosen this option.

The inflation in the value and length of the contracts top players are being handed has made this an easier choice to make. There is a growing contingent of talented, mercurial stars who have earned contracts so long and lucrative that falling out with their club, teammates, and supporters is simply easier than playing their football elsewhere. The most prominent example of this is Mesut Özil who, since being handed a panic-driven contract the size of Bale’s by Arsenal, has seemingly fallen off the face of the Earth. Whatever happens to his sporting career now, Özil’s bank balance will grow healthier by the week, so long as he commits to sitting through every day of the three-year contract extension, and not a day less.

Alexis Sanchez, one of the most exciting and watchable players English football has seen for years, has a Manchester United contract that borders on the stuff of legend, the figure seeming to get bigger every time it is reported. On the pitch, his time there has been a disaster, and his employers have been keen to get rid of his astronomical wages. He seems to have finally found a club that suits him while on loan to Inter Milan. He is enjoying his football there, Milan want him, and his parent club do not. And yet he probably won’t be staying at the San Siro next season – the gap between what the Italians can pay him and whatever absurd contact United have handed him seems too vast.

A new route out of the dark for players like Özil, Bale and Sanchez has emerged: the contract in China or Qatar. In recent years, transfers to these massively lucrative leagues have become an out for overpaid stars who don’t want to take a pay cut when their contract starts to run out. Some big names have taken that option, notably the Brazilian duo Oscar and Hulk (who easily wins the best footballer name award). Both reportedly came close to quadrupling their salaries. The Bale to China transfer very nearly happened last summer, but never quite came to fruition.

Gareth Bale’s situation at Real Madrid isn’t sad for Gareth Bale – he’ll be fine. The tales of Mesut Özil’s and Alexis Sanchez’s embarrassingly short-sighted long-term contracts aren’t exactly tearjerkers. The swathes of other players on similarly ill-conceived deals, be it Philippe Coutinho, Henrik Mkhitaryan or even Danny Drinkwater, don’t deserve too much of our sympathy. But the big loser in all of this is the football fan. Not being able to watch the best players at the top of their game is a genuine shame, and it is undeniably frustrating to watch your club’s finances be crippled by the contracts of one or two players who everyone knows would be better off elsewhere. A generation of top footballers have, with many productive years left in the careers, worked their way into a position where their sporting performances no longer seem to matter, and the impact is so clearly visible.

I won’t be shedding any tears for Gareth Bale, but I’d dare anyone to watch his YouTube highlight reel and tell me that football isn’t a little worse off for what’s happened to him.

Image Credit: Football.ua / CC BY-SA 3.0 GFDL

An Apology to my Rapist

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I’m sorry for having a bottle of wine,
Who knew red with dinner was crossing a line,
And for drinking vodka whilst sat in the bar,
Was it what I drank that made you go too far?

I’m sorry for skipping my way down the street,
I should’ve been sombre and far more discrete,
‘Coz you could see my bra straight through my lace top,
I’m sure that’s why you decided not to stop.

For singing along on the Fever dancefloor,
In that skirt I must have looked just like a whore.
For VKs I’m sorry- they’re only a pound!
But clearly an invite for you to come ‘round.

Did one-night stands give me a reputation?
You must have seen friendship as a flirtation.
And as I was drunk- I couldn’t think clearly,
Words became hard and my head felt all dreary.

Drooping head and yawns as the afters raged on,
I’m sorry it still wasn’t clear I was gone.
I’m sorry it wasn’t enough to be tired,
To explain that sleep was all that I desired.

I already had someone walking me back,
But we all know in the dark strangers attack,
So thank you for joining the walk down the road,
Such heroic sacrifice you clearly showed.

I’m sorry if it made you seek a reward,
Clearly friendship is something I can’t afford,
‘Coz a two-minute walk does not quite deserve,
What you did to me- but I gave you the nerve!

I must have, I blame me, I’m filled with regret,
A nice guy like you could never be a threat!
So when you came back having left with my key,
I’m sorry you felt that you could attack me.

‘Coz that’s what it was, let’s call it by its name,
I’m done always giving myself all the blame.
It wasn’t the drunkest I have ever been,
But sorry for letting you think you were in.

Sorry that I let you climb onto my bed,
Sorry if my silence meant you were misled.
Yes, first I kissed back, I was dazed and confused,
But you never stopped and that can’t be excused.

Even as I went into shock and I froze,
Sorry you still thought this was something I chose,
Confusedly going along with a kiss?
Not once did that give you the right to do this

Don’t think that my silence was ever a yes,
My consent was not something that you should guess.
A drunk girl alone in the dead of the night?
Sorry, quite what made you think this was right?

Sorry that you were once classed as a ‘nice guy’,
But all you have ever done is to deny
The trauma and pain and the tears and the hurt,
From five minutes of you lifting up my skirt.

The blood stains have faded, but none of the pain.
My trauma’s still here so how do I explain:
I hope you read this and feel guilt take its shape,
I hope you feel sorry: it was fucking rape.

Football Commentary Must Address Its Skin Colour Bias

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Who do you picture if I ask you to think of a footballer who might be described as ‘athletic’ and ‘strong’? And who do you picture if I ask you to think of a player that might be described as ‘intelligent’? The chances are that you would have thought of players of a darker skin colour for the first question, and players of a lighter skin colour for the second. If you avoided this then you’ve done better than the mass of English-speaking football commentators according to the data of Danish research firm RunRepeat.

Sachin Nakrani’s Guardian article on June 29th published RunRepeat’s data which illustrated that, among many disappointing stats, “63.33% of criticism from commentators in regards to the intelligence of a player is aimed at those with darker skin, while the figure for quality is 67.57%”. The figures clearly show that commentators largely praise darker-skinned players for their power and pace, their lighter-skinned counterparts for intelligence and work-rate. This will come as no surprise to even the casual football watcher. Popular online games, such as Fifa Ultimate Team, serve to reinforce this fetishisation of pace and power – both being essential to success in the match engine. This isn’t to critique a necessarily fast-paced video game, but it exemplifies how difficult it can seem to some to acknowledge that reducing certain players to physical attributes based on their skin colour isn’t in fact a compliment, but at best ignorant, at worst sinister, implying that players with darker skin are less likely to be ‘intelligent’. It has been a long time coming: football commentary needs to be addressed to prevent the harmful effects of skin colour bias.

‘But how can anyone be offended by being praised for their pace or their strength when that’s a fundamental part of the game?’ So goes the common argument defending the use of these stereotypes as ‘compliments’; and the inability to accept these ‘compliments’ as examples of people being ‘obsessed with race’. When I see or hear such arguments my mind always floats back to a quote from The Secret Footballer’s Access All Areas, which homes in on the commonly used description of “Speedboat, no driver” to refer to “young black footballers coming through generally seen as being quick, but seemingly clueless about where to run”. He also tells a ‘dirty secret’ that there is a “fundamental distrust among managers and white players over the ability of black players to dictate the tempo of football matches”. The multitude of mindless attitudes that uncritically refer to the pace and power they see in darker-skinned players, don’t, I trust, understand the ramifications of their comments. But these mask the more insidious notions at play that intelligence is a skill that only lighter-skinned players possess, and which darker-skinned players complement with their athleticism. What a ridiculous line to draw. It is this wild mythology that influences managers to build the ‘brains’ of their team around lighter-skinned players. From a selfish and less important angle: it is hardly surprising that the English national team has been so disappointing if academy setups and the media are filled with dinosaurs perpetuating this old, unproven notion.

This seems to directly lead to one of the biggest eyesores in the English game: the lack of management opportunities for members of the BAME community. PFA equalities executive Jason Lee, when talking to BBC Sport, expands on this point: “I think it’s damaging in the long term because when players leave their playing career and they go into coaching or managing, or want to be seen in a more positive light, people will have already built up this perception because for 10 or 20 years all you’ve heard of is that person is quick, powerful and aggressive, and you’ve not heard they are actually intellectual, articulate and [have] a quite different set of skills.”

Speaking of his findings, the lead researcher in the RunRepeat study, Danny McLoughlin, told Cherwell: “In football, it was an open secret among supporters that black players were talked about in terms of their physical abilities first and foremost. However, whenever it was raised, we were told that it was in our heads or we were being too sensitive. This project will hopefully cause the football community to recognise the issue, accept there is a problem and put steps in place to look at players on their individual merits going forward.”

Now, I’d like to underline that commentating is by no means an easy job and often provides little time to think through what one wants to say. On such occasions poor commentators may fall back upon football clichés. That happens and I know that in teasing friends about their teams in the past I’ve unthinkingly been part of the problem, spouting these inane clichés. But here is where my sympathy ends. The cliché of dark-skinned players being ‘athletic’ and light-skinned players being ‘intelligent’ needs to be driven out of commentary if we wish to see this racial stereotyping eradicated from football parlance and grassroots mindsets.

In a recent high-profile Premier League match between Chelsea and Manchester City, BT Sport’s lead commentator Darren Fletcher devoted a notable segment to Benjamin Mendy being a physical specimen, justifying this on the grounds that the full back is quick and strong. Less than himself being the problem, Fletcher is the product of the issue. Others may disagree, but he is a poor commentator and it’s baffling that him and Steve McManaman are so often on commentary duty together. As a poor commentator regularly inclined to parroting and echoing fatuous points it is hardly surprising that he finds himself voicing the biases which have long been in the culture of the game. It may sound harsh and perhaps besides the point, but a poor commentator obviously has an effect on their listeners. After all, if we actually think critically about Benjamin Mendy and his lengthy injuries, is he really that quick anymore, is he really that strong? I think not. It’s bizarre that a commentator would pick out these attributes over Mendy’s more defining talent in vision and whipping in inviting crosses at an almost unparalleled velocity. The excitement of watching Mendy getting down the wing is less in his ability to outpace a man than in the anticipation of him drilling in a pinpoint delivery – this poor standard of commentary gives airtime to clichés: some of which are harmless, whereas others are clearly more sinister.

The overall point is this. Of course, there are times where no other adjective than ‘athletic’ or ‘intelligent’ will appositely describe a player pithily to the viewing public or amongst friends – but we must be aware now that these stereotypes have been so mined by football parlance as to have very little meaning, and potentially harmful effects because of the skin colour bias behind them. Commentators have a difficult but hugely privileged job: we should expect more from them and their research into the players they are commenting on. Additionally, an increase in the number of people of colour in lead commentary roles would improve diversity of background in a currently largely white-dominated field.

The full details and findings of the RunRepeat study can be found at https://runrepeat.com/racial-bias-study-soccer

Image Credit: Hilton1949 at English Wikipedia / CC BY-SA

Reading the Room

Plays are meant to be performed; there is no doubt that that is their primary function and fully realised state. To have a play performed means it has been successful, and that the lifeless and static direction has been imagined through someone and transmitted to the stage. Plays are a tool for performers – a detailed guide on how to present a narrative to an audience – and stage directions give the essentials in terms of movement and space. We could consider reading a play as like reading an instruction manual but never getting round to putting the item together.

I’m a fervent supporter of the theatre, but as lockdown deepened live performances had to skulk back into the shadows and out of the limelight. But live theatre taking a back seat does not mean that people’s love of drama has dimmed in any way. Indeed, this pause in proceedings has for many people, myself included, provided a rare moment of breath to explore something new. For me, it was finally deciding to get round to reading all those books that had been on my list but never ticked off. And so, spurred on by my sister’s A Level reading, I picked up her battered and annotated copy of Tennessee Williams’ A Streetcar Named Desire and began to flick through. I thumbed through it, reading it lightly and not getting too enthralled before I suddenly realised I was properly and wholeheartedly reading it, utterly absorbed into the world of Blanche and Elysian Fields.

Reading a play is a shorter time commitment than watching one, taking only an hour or two since they lack the lengthy descriptions more common to novels. Shakespeare, for example, has very few stage directions at all, his most iconic being ‘Exit, pursued by a bear’. Despite the short time commitment, it is nonetheless an intense activity. Without a physical representation of the narrative in front of you, you are left with minimal written direction and dialogue to aid in the construction of another world. It is a greater intellectual process than reading a novel because so much of the imaginative leg work is left to you, the reader. That being said, it stands in the shadow of watching a fully formed, live play.

There is nothing more glorious than settling down in the dim of a theatre on the well-worn seats, next to a perfect stranger who, just like you, has come to share in the spectacle and magic. There is something intensely intimate about a theatre space which is shared between yourself and the actors. There is an unspoken contract between audience and performer, who agree to share with each other the joy and appreciation of the stage, of the story, and to totally inhabit that moment, free from the baggage of the outside world. In seeing a play fleshed out, you are presented with 3D characters; they have voices, accents, identities, and ways of moving that you could not have considered as you read the same play. An individual and private reading of a play, by the very nature of its solitariness and existence only in your mind, is confined to the parameters of your imagination and your experiences. Your imagining of it can only exist within what you already know, whereas seeing a play performed exposes you to the mental gymnastics of another. 

Having read A Streetcar Named Desire quite quickly, I felt a little out of sorts. I had plunged myself headlong into the kitchen sink domestic struggles of Stanley and Stella and then quite quickly came back up to the surface, gasping for air. The shock of the end led me to take full advantage of experiencing the drama again with the National Theatre Live’s screening of the mighty Gillian Anderson performance on YouTube. I was enthralled once more. Seeing the play live, so to speak, and performed by people unconnected to me and my own imagining exposed a new layer of meaning that I was not fully able to grasp before, relying on just the measured text on the page. I wasn’t able to understand the physical nature of Stanley, for example, or the confused and unwanted sexual attraction which was so skilfully communicated through tone and movement. You are static when reading a play and as much as you try, your imagination is relatively static as well.

It is essential to watch a play because reading it simply does not explore all options. Sitting down in the garden with the warmth of the sun and a cold drink (complete with melting ice block) did not allow me to experience the exhilaration of sitting in the theatre as the lights fade, a hush falls, and the curtain rises. Reading drama deprives you both of the pleasure of watching masters at their craft and of the deepest understanding, since plays are most essentially meant to be performed and not simply read. They are tools to be used and not kept in neat condition on our bookshelves.