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Eggs of butterfly thought to be almost extinct found in Oxfordshire

Image Credits: Anurag Bindal via Wikimedia Commons

On 16 January, staff and volunteers from the Berkshire, Buckinghamshire & Oxfordshire Wildlife Trust (BBOWT) discovered approximately two hundred brown hairstreak butterfly eggs. The brown hairstreak butterfly is considered to be critically endangered by ongoing habitat destruction in the United Kingdom.

Members of the BBOWT have been working to cultivate blackthorn hedges, the brown hairstreak’s preferred egg laying spot, in and around the Oxfordshire countryside. The majority of the eggs were found at Leaches Farm. The team checks the hedges for eggs at the beginning of each year. The last time they searched this location was in 2016, where they found only 32 eggs.

The discovery of the eggs can be seen as a great success for the BBOWT and a positive sign for the state of British wildlife.

Following the discovery, Senior Ecology Officer at BBOWT, Colin Williams, released a statement on the BBOWT website: “This is a really brilliant result, especially for the members of our team who spent four hours hunting for eggs in the freezing cold this week…[and also given that] we are currently living through a nature and climate crisis, and the numbers of so many of our beloved species are declining across the UK.”

Williams was keen to attribute the discovery of the eggs to the hard work of the BBOWT staff and volunteers who have been committed to the upkeep of potential butterfly habitats in the Oxfordshire area all year round.

In September, the BBOWT launched The Nature Recovery fund, which is a means of funding their ongoing commitment to protecting biodiversity in the local area. They aim to raise three million pounds in three years which, they hope, will lead to more successes. This is the trust’s biggest-ever appeal to date.

This is not the first time there have been important wildlife developments under the watch of the BBOWT. Last summer, a group of volunteers discovered 303 glow worms at Whitecross Green Wood reserve, near Bicester. At the same site, the volunteers also found a rare group of breeding southern migrant hawker dragonflies – this was the first time the species was spotted in Oxfordshire. The work of the BBOWT appears to be an effective force for good in the protection of Oxfordshire’s wilderness. 

Oxfordshire County Council to decide on expansion of Zero Emission Zone

Image Credits: Hugh Chevallier via Wikimedia Commons

A decision on the expansion of the Zero Emission Zone (ZEZ) is expected in the Spring at a meeting of the county council’s cabinet. Emissions charges are set to double under the proposed changes, and the zone would be expanded to include the wider city centre. 

The expansion is likely to go ahead – having been in the council’s plans for a few years – and follows the introduction of a pilot ZEZ in February 2022 covering a few streets in the centre of Oxford. 

According to a recent city council report, transport is the second largest contributor to carbon emissions in Oxford, responsible for 17% of total emissions. By expanding the ZEZ, the council hopes that expanding the ZEZ will reduce this factor.

Consultation has been ongoing with local communities, businesses, and the public to shape the changes, and Councillor Judy Roberts, Cabinet Member for Infrastructure and Development Strategy, will hold a key role when the final decision is made. 

Under the current pilot scheme, charges – which apply from 7 am to 7 pm – vary between £2 and £10 depending on the type of vehicle. These are set to double under the proposed changes: vehicles that produce zero emissions or have special permission would remain exempt from charges. Automatic number plate recognition cameras would be used to enforce the charges.

Money raised from fines would be used to fund further infrastructure (e.g. Electric Vehicle (EV) charging points) and to improve the public transport network, aimed at helping the city progress closer towards its upcoming emissions targets.

The policy has received backlash from local residents. There are concerns that the ZEZ might increase journey lengths for citizens who can’t afford the fines and would therefore disproportionately affect poorer citizens. Taxi drivers have noted that the disruption to their routes due to the ZEZ is causing them to increase their charges. 

These proposed measures are part of a wider Oxford Electric Vehicle Infrastructure Strategy (OxEVIS) in response to the government’s “Taking Charge” guidance under which local authorities have been encouraged to “develop local EV chargepoint strategies as an immediate priority.”

The vision for the council’s strategy is to “Progress Oxford’s leadership in the transition to a sustainable, decarbonised transport system through the delivery of a fair, sustainable, accessible and equitable network of EV charging infrastructure.”

The strategy centres on reducing car ownership; other parts of the plan include the new fleet of battery-powered buses to be introduced this year. If the ZEZ is introduced, it is intended to play a key part in this reduction. Oxfordshire is also a leading council in terms of EV uptake with one in five new cars fully electric. 

If the plan goes forward, the council would offer up to 100 day passes each year which would allow local residents to pass through the traffic filters. Yet, the Oxford Business Action Group is concerned that “without extensive exemptions provided, the ZEZ charges essentially amount to a business tax” and that “the roll out will surely have a huge, negative impact on the economic activities of the city at a time when [local businesses] are already struggling.” Particular concerns from local businesses include disruption to deliveries and reduced customer footfall.

While other cities like London, Birmingham, and Bristol have already introduced low emission zones, Oxford is the first city in Britain to introduce a ZEZ. Back in August last year, plans to introduce a ZEZ in London were scrapped, with central London instead instituting an Ultra Low Emission Zone (which has fewer restrictions).

Oxford Literary Festival returns as it launches 2024 programme

Sheldonian Theatre, Oxford, Gregory Doran
Image Credit: Tristan Surtel / CC BY-SA 4.0 via Wikimedia Commons

The Oxford Literary Festival is returning this year with events aimed at attracting younger festival goers and addressing the global issue of food insecurity. The event will run from 16 to 18 March and is in partnership with Oxford University, Bodleian Libraries, and Netflix. 

The festival has been running for 27 years, and it continues to host speakers and events in Oxford’s historic locations like the Sheldonian Theatre, the Weston Library, and a variety of Oxford’s colleges. The festival invites speakers of varying backgrounds and cultures to offer insight into the festival themes and debate topics – which this year are centred on issues concerning access to nutritious and affordable food.

Notable programmes fulfilling the festival’s theme include Dr. Amir Khan’s talk titled “Compassion in World Farming” and an animal rights activist Gary Fracione’s panel on the future of our food sources. 

As a literary festival, the event will also feature a wide range of authors. The Bodleian Libraries’ highest award, the Bodley medal, is set to be awarded to Ali Smith at the festival. Ann Cleeves and Val McDermid will lead a panel on crime writing, and children’s author Jacqueline Wilson will give a talk in the Sheldonian Theatre on her career.

Non-fiction authors are equally represented with Angela Saini delivering a talk on her book The Patriarchs: How Men Came to Rule. Amin Ghaziani will also be interviewed about his new non-fiction book Queer Nightlife – How the Closing of Gay Bars Sparked a Revolution.

Debate panels will be held, some engaging with guests and taking audience questions. These will be hosted by journalist and author Yasin Alibai-Brown with panellists Dr Liam Fox MP and journalist Hardeep Matharu. 

As well as talks and debates, the festival will offer literary tours of Oxford and special tours aimed toward families. 

Netflix is running workshops for local schools to develop their own festivals with pupils having the opportunity to meet authors and scientists. The goal in the long run will be to encourage festival attendance in a younger generation. 

The Modern Corset

Image Credit: CharmaineZoe's Marvelous Melange/ CC BY 2.0 via Flickr

Corsets boast a captivating history spanning centuries, originally worn to sculpt the female silhouette.While the popular image often conjures a Victorian woman encased in layers, this practice predates the Victorian era by over two centuries. Beyond their practical function, corsets were revered as symbols of femininity and social status, contributing to the coveted hourglass figure and gorgeous aesthetic. 

Beneath the allure, however, lies the dreaded patriarchal lens. Corsets were intricately tied to societal expectations, urging women to adhere to idealised beauty standards. The pursuit of a miniscule waist reflected the influence of the male gaze, perpetuating perceptions of attractiveness. The tight lacing not only moulded the physical form but symbolised discipline and restraint – a manifestation of the broader patriarchal structures policing women’s roles and appearances according to societal norms. 

In recent years, the corset has experienced a remarkable resurgence, undergoing a modern twist. No longer confined to the role of shapewear, it has evolved into a statement piece, adorning outfits rather than dictating silhouettes. The revival extends beyond aesthetics, challenging conventional beauty standards and empowering individuals to reclaim their bodies on their own terms. This revival is not just a fashion trend; it’s a celebration of diversity and self-expression. 

As someone who has embraced this recent resurgence, my wardrobe now boasts an array of tight-fitting and charming pieces, perfect for nights out or sunny days. Wearing corset tops makes me feel self-assured in my body and provides a stellar excuse to show off my belly button piercing at any given point. Of course, sometimes I accidentally purchase a corset that cuts off my blood circulation, but unlike their historic counterparts, the adaptability of modern corsets – from basic whites to vibrant hues – ensures a style for everyone.

As well as the great confidence boost, another appeal of the modern corsets lies in their contemporary twist, offering a means for individuals to express their identity and break free from conventional norms. This revival serves as a testament to the growing appreciation for diverse forms of beauty, with vintage styles making a noteworthy comeback. Social media platforms play a pivotal role, creating spaces for individuals to showcase unique styles, fostering a sense of community and acceptance.

The evolution of corsets from restrictive garments to symbols of empowerment is a fascinating journey. While their historical origins may not have prioritised individual expression, modern corsets have become a fabulous tool for self-expression, particularly on those memorable nights out. 

“To know how somebody really feels about you, ignore everything they say. Look at how they touch you.”

Image of Robin Dunbar
Image courtesy of Professor Robin Dunbar

Robin Dunbar is Emeritus Professor of Evolutionary Psychology at the University of Oxford, famous for his research on social networks and friendships. He is responsible for ‘Dunbar’s number’, the finding that we can only maintain 150 stable social relationships because of cognitive limits.

How many friends do you have? Perhaps a circle of close friends, followed by people you talk to on a regular basis, to people you recognise and say hello to. Then there are the relationships we maintain online, both followers and the people we follow. 

Professor Robin Dunbar’s research looks at what primate behaviour can tell us about how we form and maintain these friendships. 

“I spent the first 25 years of my research career studying monkeys and ungulates mainly in East Africa and in Scotland, so I was very attuned to animals and animal behaviour.” This sensitivity to behaviour was helped by a multicultural upbringing – “I grew up embedded in five different cultures and being bilingual in one of them and somewhat conversational in a couple of others. Those got me interested much more in humans.” What brought the two together – primate behaviour and human interaction – was the social brain hypothesis, “an explanation for why primates have very big brains” based on the complex social interactions they have.

Professor Dunbar produced evidence that there was a relationship between individual brain size and the group size of primates, and used the data to see whether this also applied to human groups. “I made a prediction off the back of the equation for primate data and then went away and looked in small scale societies to see whether this number came up.” From the data, Professor Dunbar found that the brain size of humans means that we can maintain up to 150 social relationships. In other words, human groups have a cognitive limit of 150 people.

This number, now known as ‘Dunbar’s number’, then appeared in all sorts of different contexts. “We began to become aware that this number just keeps coming up all over the place. Not just in small scale ethnographic tribal societies, but even in the modern world in all sorts of likely contexts, like in the number of people you phone, even the size of German residential campsites, that was just bizarre.” The idea that there is a fundamental mathematics and logic underpinning how we socialise is a compelling one. 

But what do these findings tell us about how we form friendships, and the way that we socialise? The recurrence of 150 suggests something special about social groups of that size, and a related result finds that the optimal number of close friendships is 5. “That got us interested in why these groupings particularly stick together – what it is about these numbers that makes them particularly stable, and what is used to create that sense of community and that’s really what got me into friendships. In the next 25 years or so, my research career was spent trying to figure out what on earth friends are.”

Many of the research findings make intuitive sense, and the scientific evidence explains universal experiences, including why we make social faux pas. The truth is, it takes years of training for our brains to easily process social cues, including non-verbal communication used in everyday social interactions. Professor Dunbar’s work on the first neuroimaging paper looked at where in the brain processed the emotional cues of facial expressions. Only in adult brains was this emotional processing automatic, which in younger ages occurs in the frontal lobes requiring more cognitive effort. 

“It takes 25 years to figure out what’s going on before you can automate all this stuff, which probably explains why teenagers struggle so much with their relationships because they are still trying to figure out what’s going on. Eventually you get some intuitive grasp of how this very, very complex world works. [Social interactions are] unbelievably complex, probably the most complex thing in the universe.”

An obvious question is how technology has impacted the way we relate to one another, and whether technology has helped or hindered our social connections. Dunbar reminds us that “these things have happened before.” Take the invention of letter-writing, for example. “I have come across cases where sisters working in different big houses in the same village as domestic servants are writing to each other by the first post saying, I’ll meet you at lunch at the cafe in the village. And by the second post, the reply comes back saying, right, I’ll see you there. These were clearly mostly the younger people because this was the new technology.” Technology has always created generational differences: “they’ve been very similar in [how] they’ve been adopted and [in] the differences they’ve created between generations, but they’ve not completely destroyed society.”

Despite the pervasiveness of FaceTime, Instagram, or texting, the importance of face-to-face interaction was most obvious after the experience of the Pandemic. Yet the significance of in-person interactions is felt even in less extreme circumstances: whether returning home for the vac, or seeing old friends and family, being in the same place as someone is not something that can be replaced by technology, even if it does help us keep in (virtual) contact.

Professor Dunbar explains the science behind this – the truth is tactile. “Notwithstanding digital media, it seems to me the pull of face-to-face interactions is still so much stronger. And that’s what all the research says, because there’s something engaging [in] being able to stare into somebody else’s eyeballs across the table in the bar, or restaurant or whatever. When we are engaged in conversation with each other, in the normal course of life and face-to-face, we do a huge amount of physical touch constantly.” Whether it’s a handshake or a hug, these make a huge difference to our interactions, not least because of the biological response this triggers in our brains. “We have all over our skin these highly specialised receptors […] that are a one-way track to the brain that triggers the endorphin system which is the principal chemical that underpins a sense of bonding. Touch becomes very important, and we do it casually as a pat on the shoulder and a stroke on the arm, or a fiddle with the hair, all these kinds of things you just do with our close friends and family really without thinking about it. It’s this constant, ongoing physical contact that reinforces and builds up this sense of a close relationship.

“It’s clearly because it creates a sense of intimacy. But it also highlights, I think, the fact that touching is very, very important in how we mediate our relationships. I’ve said for a long time that if you really want to know how somebody feels about you, ignore everything they say. Look at how they touch you. Because a touch is worth 1000 words, any day, if you really want to know how they feel about you. You can’t lie with touch. You can lie with words. That’s the bottom line.” 

In different group settings, understanding how the endorphin system functions highlights the importance of activities like eating together, and spending time with one another in person. “We’ve found things that allow us to step back from that physical contact, and that means you can then group several people simultaneously [and] therefore increase the size of the group. These include things like laughter and singing and dancing and stuff, but interestingly, they also include eating together. Drinking alcohol together is a really big trigger for the endorphin system. It’s not the alcohol, but the endorphins you get addicted to.”

We just don’t get the same response from online interactions, and Professor Dunbar suggests there are limits to sustaining friendships that don’t have the same in-person interactions. “There’s something weird that goes on in the dynamics of relationships, the chemistry of relationships, when you’re in a face-to-face context, and part of that is being able to see the emotional expressions in full size.” Even if technology is able to solve the tactile elements of social interaction, Professor Dunbar thinks “there are some limits beyond which there’s a mystery. In the chemistry of how this works, that is simply not translatable via the internet, sadly.” This certainly helps explain the knee-jerk negative reaction at the prospect of transferring our real-life interactions into a technological metaverse.

Although messaging and seeing our friends’ stories are ways of keeping up with what they’re up to, Professor Dunbar thinks that friendships have a built-in ‘decay function’, where people naturally drift further and further apart. “My conclusion, having worked on this and talked about it a lot, is that what the technology does is act as a good sticking plaster. It slows down the rate at which friendships would naturally decay if you don’t see people.”

The research suggests that it takes about three years of not seeing a good friend for them to become an acquaintance, “somebody you once knew but kind of lost track of. […] They’ve changed and you’ve changed and your interests have changed so that you would no longer have as much in common as you had when you were seeing each other regularly. […] My sense is what digital media does, and what social media does in particular, is slow down that rate [of decay]. They hold it there, but nothing is going to stop that friendship becoming an acquaintance-ship if you don’t see them in person long enough. So, at some point, you have to keep meeting up to reboot things.”

UCAS data reveals Oxbridge to have fewest applicants among UK Russell Group

Image Credit: Daniel Stick

The publication of UCAS’s 2023 end-of-cycle data showed that Oxford and Cambridge are the least popular among the UK’s 24 Russell Group universities. 

Cambridge had the fewest applications at 21,940, followed closely by Oxford with a low figure of 24,230. In contrast, the University of Manchester’s popularity surged, receiving nearly 100,000 applications. This constitutes a 31.6% increase from 2020 and places the University at the top of the Russell Groups in terms of application volume.   

There has been some fluctuation in Oxford’s numbers over the years – for example a drastic increase from around 20,000 applications in 2018. Yet, the number of Oxford applicants has mostly remained low in comparison to other Russell Group universities.

However, the ratio of places to applications seems to explain this trend. The Oxford University News Office told Cherwell: “This year, over 23,000 candidates applied for a total of only 3,300 undergraduate places.” The overall prestige and academic rigour of the University means that the chances of earning a place are lower than for the majority of Russell Group universities. 

Another explanation for this pattern could be increasing mental health problems. Taking into account the prevalence of illnesses, such as anxiety and depression among adolescents, especially since the COVID-19 pandemic of 2020, many have adopted a new attitude toward mental health concerns. The World Health Organization notes that these conditions increased 25% in 2020, and recent polling conducted by Priory Group revealed that 32% of those between the ages of 18 and 34 accessed mental health services of some kind for the first time during the pandemic. 

Recent years have also seen students encounter frequent disruptions to their education, resulting in a consequential series of unprecedented examination periods. A particularly difficult period for GCSE and A-Level students combined with low acceptance rates which invariably sit between 15% and 17.5% make earning a place at Oxford as a veritable challenge. 

The University told Cherwell the ratio of places to applicants “reflects the University’s demanding academic entry requirements and the number of undergraduate places on offer which is smaller than many other Russell Group universities.”

There is also a general waning interest in undergraduate studies, as shown by 10,000 fewer UCAS applications in 2023 compared to 2022. This is likely in part attributable to financial concerns faced by prospective students. 

The government recently announced plans to alter student loans, including lowering the repayment threshold from £27,295 to £25,000 and prolonging the repayment period from 30 to 40 years. Student loans create issues for countless young people, particularly amidst cost-of-living difficulties.

Oxford University News Office told Cherwell: “The University of Oxford’s admissions priorities are to attract the best candidates with the greatest academic potential, and to widen access for young people who are underrepresented at Oxford.”

Forget Her Not: Rediscovering Women in Music- Week 1

At fifteen, I was fully and completely obsessed with the Californian soul/alternative R&B/jazz/funk band The Internet. It is for this reason that I can (attempt to) claim to have known Steve Lacy before everyone else. But alas, he is now a huge music sensation (as he should be, to be fair. I could not gate keep him forever).

But Lacy is not the only great talent to come out of that band. The Internet’s lead vocalist and R&B, Soul and Hip Hop master Syd, AKA Syd tha Kid (short for Sydney Loren Bennett) first started making music at 15. She learnt how to record, engineer, and produce music from home, which also quickly became the hub for the hip hop collective Odd Future. In 2011, she started the band The Internet, who went on to produce four critically acclaimed albums. My personal favourite is groovy, avant-garde and grammy-winning Ego Death (best songs on there: Gabby (feat. Janelle Monáe), Penthouse Cloud, Just Sayin/I Tried, and criminally underrated Palace/Curse, featuring the one and only Tyler the Creator).

Since the band split up (following their fourth studio album, Hive Mind, in 2018) to focus on individual projects, Syd has produced two albums. The first, Fin, is a triumph of romance, soul and sensuality, combining stylistic syncopation with Syd’s trademark pensive, sultry lyricism. Got Her Own playfully subverts gender stereotyping, an ode to an independent, ambitious woman. Here, she characteristically directs lyrics of love and desire to a woman, as usual open, bold and honest in matters of sexuality – “I’m not going to sing about men when I don’t date men – and I’m also not not gonna sing about love” she told The Guardian in 2019, maintaining “I don’t feel like a part of the gay community… I’m the only person like me that I know”. 

Syd’s second album, Broken Hearts Club meditates upon infatuation and heartbreak, slipping between rapture, optimism and insecurity. She handles both sides with delicacy and warmth, yet her honesty still shines through, the opening track CYBAH a “quiet storm”, dreamlike, rhetorically questioning “could you break a heart?” By the end of the album, of course we have our sure answer: Missing Out confirms “it wasn’t always perfect/but now it’s nothing”. 

Syd’s voice spellbinds, her storytelling enchants and intrigues. Fingers crossed for another album soon!

#oxfess29033: Who runs Oxfess?!

Image credits: Rasheedhrasheed/CC BY-SA 4.0 DEED via Wikimedia Commons

Who runs Oxfess? That’s the simple question that no one in this university seems to have an answer to. Oxfess is the heart and soul of student communication at Oxford. It’s where we can be our truest, most unfiltered Oxselves. And yet, we have no idea who manages this platform at all. Who is the Rupert Murdoch that controls us all?

A quick search on the current Oxfess page shows that the first post was made on the 14th December, 2020. For an institution that feels so firmly embedded in everyday life at Oxford, this is surprisingly recent. In these three years, nearly 30,000 posts have been made. From Oxsh*gger to Oxsh*tter, relentless complaints about workload to desperate, grasping Oxloves – it is all present on the Oxfess hivemind. Anything and everything that an Oxford student can think of has been put out on Oxfess. 

That’s what really makes Oxfess so special to this university – it is incredibly accessible. The veil of anonymity exposes the deepest, most depraved desires of an Oxford student for all to see, our unchecked horniness and our unfettered groupthink. I would even go so far to say that it is the most authentic voice of Oxford students, more than any of the big, institutionalised student forums. The SU, any of the JCRs, even student newspapers – they can’t compete with how well Oxfess brings to the light our most unhinged selves.

Then, if it is so vital to student life, if it is Oxford’s bubbling subconscious, why do we know barely anything about how it’s run? All the other student platforms are largely democratic and transparent. The SU and the JCRs are elected, and their inner workings are (somewhat) open to scrutiny. Similarly, student newspapers are always open to complaints and suggestions, and their entire machinery is student-run. Even the Union, for all its vices, is of the students, by the students, for the students. 

But Oxfess remains a mystery. Certainly, it is meant for Oxford students. Is it of and by the students? Even I, a certified Oxfess Top Fan™, don’t know, and I’d bet most of you lot don’t either. If I could hazard a guess, it was probably set up by some enterprising student (Hamish Nash or Shu Huang?), and given that four years have passed, they’re probably not at Oxford anymore. Maybe they still manage it in their spare time elsewhere, or maybe they’ve handed it down to someone else who’s still at Oxford. Yet, it’s equally likely that it was set up by some shady Rupert Murdoch-esque opportunist that now controls their media empire with an iron fist. How dare we abide by such ignominy!

I’d like to clarify that I’m not encouraging or asking anyone to doxx or harass the Oxfess admins (please, I don’t want to be sued for libel). They clearly don’t want to make their identity public, and it’s completely fair to respect that. Oxfess is a Facebook page that they own, and it’s their choice how they want to manage it. None of us have a ‘right’ to it.

Nevertheless, I think it’s worth asking the student community how we think student communication should be managed. We strive to make our forums democratic and transparent because free and fair discussion is important to us. Then, do we want our favourite gossip page to remain in the grip of Big Brother?

The opacity of Oxfess makes the admin a virtual despot. Which posts will be approved and which ones won’t? They alone decide, and we cannot challenge them. Surely the OxDespot has biases, like all of us do – how are we certain that the posts we see don’t reflect them? When controversy breaks out, and they believe one side over the other, can we be sure they aren’t flooding Oxfess with only posts supporting their side? When transphobic, classist, racist, sexist posts are submitted, it’s their definition of what ‘crosses the line’ that decides which get approved. Big Oxfess has total control over the platform; they shape the content of our thoughts with their subliminal propaganda. 

In truth, Oxfess seems to be moderated reasonably well. I think the variety of posts are (more or less) unbiased and representative of us students; I know I’d much rather complain about my flatmates’ disgusting habits to strangers than talk the problem out. And when troublesome topics do come up, there’s usually a decent job done at handling them. But I don’t really know that for sure. And I have no assurances as to how long this quality of moderation can last. For the moment, we’re relying on the benevolence of an unknown Oxtyrant to get by; like Kim Jong-Un, their hand may drift over to the big red button anytime. I don’t think Oxford’s subconscious should be like that – no, we as students simply cannot abide such a thing. We have bent all the other student platforms to our will; now we must seize the means of communication!

But I’m not entitled to demand that Oxfess open itself up to scrutiny; none of us are. At the same time, we need to be aware that, as long as we continue to consume content on Oxfess, we will be subjected to the yoke of media tyranny. Only we can emancipate ourselves. 

The clearest solution is to return to democratic and transparent student forums – student newspapers and the like. Fat chance of that. Who’d be arrogant enough to imagine that a ghastly echo-chamber like Cherwell genuinely represents Oxford students? Oxfess has the anonymity and convenience that lets us be as deranged as we want. That isn’t unique to Oxfess, however – any anonymous confessions page can do that too. So maybe the answer is a competitor to Oxfess, one that’s of, by, and for the students. But problems here arise too. Oxfess simply has the first-mover advantage, the name recognition, the prestige that takes years to build; like Murdoch’s media monopoly, it is too big to fail. It is too entrenched to be seriously challenged, let alone displaced, by some new page. The only chance for such a thing to succeed would be for the SU to fund it, and that means SU oversight. Who wants them in charge of anything that’s actually important? At least our current despot has some sense of humour. I shudder to imagine a regime run by the SU – they’d probably ban Oxhates.

As far as solutions go, nothing seems immediately visible. Unless some new idea can come up that can displace Oxfess, we will continue to be mind-controlled by this murky despot, the Rupert Murdoch of Oxford. How long do we want to continue like this?

Grammys 2024: Reflection of Profitability or Recognition of Artistry?

The 2024 Grammys were everything they should be: glamorous, monumental, and of course, controversial.

Taylor Swift has made history by becoming the first artist to win Album of the Year four times, this year for her tenth studio album Midnights. She additionally took home the prize for Best Pop Vocal Album, her acceptance of which she took as an opportunity to announce her upcoming album – The Tortured Poets Department. In an attempt to recreate the mid-award show frenzy of the 2022 VMAs (when she announced Midnights), Swift further proved her love for dramatics, and shock-factor. Her wins may come as a surprise in such competitive categories, beating out the still Grammy-less Lana Del Ray; but what should not come as a surprise is that she is not coming down from her current state of success anytime soon.

Miley Cyrus took home Record of the Year, and Best Solo Pop Performance – for her astronomically popular Flowers, while Billie Eilish and Finneas O’Connell took home Best Song – for their Barbie Movie theme What Was I Made For? Completing the ‘big four’ was Victoria Monét, who bagged Best New Artist, alongside Best R&B Album for Jaguar II.

SZA, despite missing out on the ‘big four’, had a successful night: Snooze won Best R&B Song, and her collaboration with Phoebe Bridgers Ghost in the Machine won Best Pop Duo/Group Performance. Phoebe Bridgers, Lucy Dacus, and Julien Baker, or Boygenius as they are collectively known, swept the pre-show – winning Best Alternative Album for The Record, and Best Rock Song and Best Rock Performance for their album’s lead single – Not Strong Enough. Paramore bagged Best Alternative Music Performance, and Best Rock Album for This is Why.

Tyla won Best African Music Performance for Water, and Kylie Minogue bagged Best Pop Dance Recording for Padam Padam. Best R&B Performance went to Coco Jones for ICU, and Best Rap Song was awarded to Killer Mike for Michael.

Jack Antonoff went for a personal hattrick, winning Producer of the Year (non-classical), for the third year in a row. He is working at an unprecedented pace and is solidifying himself as a tenet of the industry: producing both Lana Del Ray’s Did You Know That There’s a Tunnel Under Ocean Blvd, and Taylor Swift’s Midnights. Speaking of these two artists, a cringeworthy – (or endearing) – moment arose when Taylor dragged Lana onto the stage when she went to accept the award for Album of the Year (despite the fact Lana Del Ray lost to Swift): she proceeded to call Lana Del Ray a ‘trailblazer’, and ‘legacy artist’, praising her for the impact she has had on Taylor personally and on the music industry. Fans across the internet are furiously disappointed by Del Ray’s not picking up an award – for any of her seven nominations. As one of the few artists who has a cult following similar to that of Taylor Swift, the persistent lack of recognition that Del Ray has faced raises questions concerning the Grammys’ position in working to support the commercialisation of music.

Taylor Swift is a publicity machine, becoming a billionaire during her immensely successful Eras Tour, and so her wins do not come as a surprise considering her popularity and marketability. Fairness and awards for creative arts are intrinsically antithetical; yet the role a Grammy plays in solidifying a musician’s career is undeniable. Even if the academy considered Midnights as warranting recognition over Lana Del Rey’s album, does the work of Lana Del Rey as a ‘trailblazer’ (in her opponent’s words no less), not deserve to culminate in a Grammy? I use the word ‘opponent’ ironically, as this kind of debate is a symptom of the way ‘stan culture’, strengthened through social media, has exacerbated the pre-existing narrative of female artists as enemies.

The 2024 Grammys were an excellent year for women – especially queer women. Phoebe Bridgers, when interviewed backstage with her bandmates Lucy Dacus and Julien Baker, celebrated this success: in response to the former Grammys CEO Neil Portnow telling reporters in 2018 that women needed ‘to step up’ to win more Grammys, Bridgers said when he dies, to ‘rot in piss’.  Baker chimed in calling her ‘pretty rock-and-roll’ – a fitting description considering the band’s sweeping success that night of the rock category.

This ceremony saw artists of colour, queer artists, and female artists come to the forefront, recognising the fundamental importance and power that these individuals have in the music industry. It felt unpredictable and dynamic, providing satisfaction and disappointment, and begged questions about the music industry going forward: do the Grammys merely reflect what is popular and profitable, or does it recognise artistry and originality? It seems it does both simultaneously.

“Riotously Funny and Highly Enjoyable”: Blackadder Review

Image Credit: Metropolitan Museum of Art/ PDM 1.0 Deed via PICYRL

I can confess that when I first heard Blackadder was being performed as a play at the Pilch, my immediate reaction was scepticism. How, I wondered, were they going to be able to condense four seasons of comedy television into a single evening? Not to mention that these four seasons themselves covered four separate and distinct historical eras, providing a veritable nightmare for stage design in the close confines of the Pilch. The biggest catch, of course, is that the original television Blackadder remains hilariously funny due to a series of excellent comic performances, which it would require a skilled cast of actors to replicate. It seemed a highly ambitious project, potentially exceeding the capabilities of university theatre.

It came as a pleasant surprise, therefore, that I found the production riotously funny and highly enjoyable. The secret to its success was a degree of prudent reserve. Rather than attempting, and inevitably failing, to cover the entirety of all of the series, Blackadder wisely limited itself to the plots of a single episode from each of the final three seasons. The decision to leave out the medieval section, which differs significantly in style from its successors, also seemed like a smart decision. The formidable challenge of set design was solved skillfully with a stripped-back set consisting only of the basic furniture required for the action, plain as to not decidedly be from any period, and augmented with small props to convey the particularities of each scene. These various clever solutions provided a solid backdrop on which the action could properly take place, and it did so splendidly.

The imposing final task, of being sufficiently funny, was met by a brilliant cast of actors, who proceeded to go above and beyond my expectations. Particular favourites were Leah Aspell as a consistently hilarious Baldrick, and Lucas Angell who stole the show as both Prince George and Lady Whiteadder. But Blackadder, is, as the name suggests, a show very much dominated by its lead character – and I could hardly have laughed harder at Susie Wridmann’s excellent performance, carrying all the cynical ‘cunning’ of Rowan Atkinson and giving it her own sharp twist to boot. These were just a few of the many fantastic performances which made this show one of the highlights of my week. There were, on occasion, slips – such as the sniggers from the cast at the sight of Tom Pavey as Melchett wearing fake eyebrows and a moustache – but these were expertly rescued by a moment of apparent improvisation from Alex Still as Captain Darling. After all, Blackadder  is meant to be a comedy, and this only made it funnier.


I approached Blackadder with apprehension,. but I was wrong to. The cast delivered a pacy and sparking performance which had my chest aching with laughter by the end, and seemed to make the hour and a half it lasted fly by in no time at all. But, whilst the actors were impressive in their own right, they relied on a foundation of solid lighting and music, and particularly intuitive stage design. This was all completed, of course, by witty writing and undoubtedly skilled direction. Overall, it was certainly a very cleverly-composed play, and had cast my doubts aside within the first few minutes of performance. Most importantly, I had a great time.