Sunday, May 11, 2025
Blog Page 457

Reading Around the Lines: the Need for Data Literacy

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“Flatten the curve!” is the oft-quoted justification for social distancing. It’s a good one, and made more appealing because the graph is one we can easily understand. By changing the rate of infection we can prevent hospitals from being overwhelmed and making hard decisions about whom to save.

It is comforting in a crisis to trace curves, to track data, to feel like you’re on top of day-to-day changes in the situation. But this crisis has revealed a lack of true numerical literacy, among both the media and the general population.

On April 16, UK cases passed 100,000. It was a major milestone, yes. However, something that neither those reporting on it nor Public Health England mentioned was that finally cases had reached something of a linear growth rate: about the same number of cases were being reported per day, rather than that number steadily increasing.

More frustratingly, nowhere on the PHE site are “rates of change” mentioned. But they are crucial; it’s how you can understand whether the situation is, you know, changing. Our news sources do not report on it, partially because it’s less ‘click-baity’, and partially because neither the journalists nor the readers understand the concept properly.

Everyone—everyone—should know basic calculus. Calculus is derivatives and integrals–what happens if you look not at the curve, but how the curve is changing? This can be done for simple lines, for complicated polynomials, for exponential and linear functions. Less important than knowing the derivative of tan(x) though is that through calculus, you gain an intuitive apprehension of key concepts. If we understand the maths, we understand the process.

I am sure many of you have seen the option on COVID-19 graphs to switch to a logarithmic view. Logarithmic (log) functions are useful because exponential functions (that crazy wild curve up) are hard to eyeball. Log functions make them linear, something our brains can grasp. When the log function is a sloped line, you have a constant exponential increase. When it plateaus off, you have a linear increase. Knowing a decent amount of maths, I understand the relationship between a log and exponential function. But for people who do not, a log function does not actually make things easier to interpret, when that’s what it should be doing.

That interpretation matters. “100,000 cases” sounds terrifying. “Cases hold steady at 5000 per day” is reassuring, because that is a situation under control. Our hospitals can target their capacity to manage 5000 cases and reopen the nation in such a way that we remain at that level.

There are a dozen other important factors in this pandemic that maths is essential for understanding. What analyses are used to define at-risk populations? What is the time lag between exposures and cases and deaths? How important are the dangers of false positives in widespread antibody testing?  

The data we do not understand makes us more uncertain. Unless we can look at a graph and interpret it ourselves, we will fall prey to people trying to spin the situation, whether it is ‘this is the disease of the century’ or ‘this is no worse than a flu.’ 

More than questioning the media’s representation, we must critically examine the data itself. The more scientific terms exist in the title of a study (“serological tests”, “heparin dysfunction”, “qPCR” when I scanned through PubMed), the more likely we are to trust it, or perhaps to avoid thinking critically. Yet data, especially data published in a rush, is quite unlikely to be reliable. Science is constantly disproving itself, and that’s its greatest strength…when everyone is well-versed in the area of study and can pick apart flaws. But to most people, for whom science only emerges as headlines during a crisis, this is brushed aside.

Looking back at the H1N1, or swine flu, outbreak in 2009, three different studies ranged from 30% to 70% in their estimates of how many people had ultimately been infected by the strain. So how can we expect to have any reasonable amount of certainty on COVID-19? Sometimes, it is best to stop overanalysing the science and focus on delivering care to people who need it. 

There is also not always a “single answer”. Infection fatality rates, the ratio of infections to deaths, will not be the same worldwide even if every country had perfect screening. Infection rates depend on social distancing and population demographics. Fatality rates depend on quality of medical care. For example, in the Middle Ages the risk of death from the bubonic plague was 70%. Today, with modern antibiotics, the risk is only 5%. Diseases are context dependent. Parallels cannot be easily drawn between different situations, and for COVID-19, in a developing situation, we should be suspicious of not only the data but also heavy-handed attempts to contextualize it.

This means being wary of comparisons to the swine flu/Spanish flu/SARS/MERS/[insert plague of choice]. The virus shares features with all of them to a greater or lesser extent, but it is a separate emerging disease with an individual pathology.

This also means challenging the bodies publishing statistics. China avoided alerting the international community when COVID-19 first broke out; North Korea denies infection entirely. Though these are extreme examples, every governing body will have its own small biases. Bias and misrepresentation will become important again as pharmaceutical companies and universities (yes, even our own beloved institution) compete to bring a vaccine to the market.  

Statistics matter. Mathematical relationships matter. If you want to brush up, Khan Academy is a good place to start. We cannot all be epidemiologists, but we can know our maths and question data. Our ability to understand the world depends on it.

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Some helpful videos about the maths of COVID-19

https://www.youtube.com/watch?v=Kas0tIxDvrg one of the best videos for an overview

Logarithms specifically the videos on the log/exponential relationship

Logistic growth or the curve you see with COVID-19, and one of the most common models of growth in nature

Bayes’ theorem of conditional probability (video) which helpfully uses a flu metaphor, and will become important because of the likelihood of false positives in antibody testing

Oxford’s community: life beyond the spires

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Students from disadvantaged socio-economic backgrounds are twice as likely to be low performers. Think about that for a moment. Sometimes at Oxford it’s easy to forget that educational inequality is a problem that stretches far beyond access to our own university. In fact, it stretches right across our education system and deep down into our schools. So much so that 40% of disadvantaged pupils in schools in England fail to reach a GCSE standard pass mark of a grade 4 in Maths. It shouldn’t be this way. Moreover, as Oxford students, we have real power to change this, beginning on our own doorstep.

The City of Oxford is known to people across the globe as a centre of world-class learning. Even when thinking about schools, the city appears to be a hub of renowned independent institutions. It’s only when you travel just beyond the cobbled streets that you begin to realise that there are also schools in areas of Oxford with high levels of socio-economic deprivation. In these schools, there are students with huge educational potential which too often is not unlocked. To many, the dreaming spires of our university indicate a different, unattainable world just down the road from their own lives and community. Look beyond these spires, beyond our colleges and suddenly, and a deep educational divide reveals itself in our beloved city.

Oxford Hub – a registered charity specialising in community-led change tackling a range of social and environmental issues­–have looked beyond the college walls for nearly 14 years, creating opportunities for people to participate and develop meaningful relationships in the Oxford community through volunteering or taking part in development programmes.

Schools Plus is an Oxford Hub project which aims to challenge educational inequality. It places university students as tutors in schools across Oxford city with indicators of disadvantage, such as a high proportion of students on Pupil Premium, in a bid to tackle educational inequality. The projects run across a range of subjects from KS1 Reading and Writing to A Level Psychology, and tutors volunteer for one hour a week to support pupils in their learning. But much more than this, tutors offer passion, enthusiasm and knowledge of their subjects beyond the narrow confines of an exam syllabus. To work with an Oxford student as a positive role model has real power to raise pupils’ aspirations about learning and higher education.

Now, more than ever, pupils need our support. With schools closed, the current coronavirus crisis has intensified existing educational inequality. Some pupils are fortunate enough to receive plenty of support with their studies at home, but many are not so lucky. This is an environment which, we can all agree, is challenging to work in, but this pandemic does not affect us all equally. According to the LSE, ‘in the first week of home schooling, pupils from middle class homes were twice as likely to be taking part in daily live or recorded lessons as those from working class households.’ 

Over the vacation, Schools Plus swiftly adapted to coordinate a digital version of our services. Imogen Runswick-Cole, Projects Officer at Oxford Hub and the staff member in charge of the project explains that “Our aim was that no child in Oxford City should have to miss out on their education during school closures due to Covid-19. The response we had from students was amazing, and volunteers have been busy creating and sharing online teaching content, educational games for young children and providing 1-1 online tutoring support.  Schools Plus Online is part of Oxford Hub’s ‘Oxford Together’ programme, a volunteer programme to help those in need during Covid-19. Oxford Hub is delivering Oxford Together in collaboration with Oxford City Council and other local aid groups.”

Getting involved with Schools Plus or other projects with the Oxford Hub immediately bursts that Oxford bubble and can help students become more engaged with their local community. Stepping over that boundary between ‘town and gown’ through social action is, in the words of volunteer Verity, ‘a great way to feel more integrated and at home within the city.’ But the impact of giving your time to help others is not restricted to those receiving the support. Tutoring is a real privilege and it’s so rewarding in just a few weeks to see students gain confidence in their own ideas and talk about their ambitions for the future. Volunteer Nadia, who was lucky enough to receive similar tutoring herself during her GCSEs, says that ‘sometimes the pupil knows what to do but has trouble understanding the wording of the question, which makes them feel anxious or stressed. Being able to help them resolve their worries and see their great progress is heart-warming.’

Being a student at Oxford means you are a member of more than just the university; you are a member of a diverse community in an amazing city. Yet within that community, we students undoubtedly occupy a privileged position thanks to the educational opportunities we receive. So, during these anxious times, when you’re struggling to find that elusive online resource or sneakily trying to google the answer during your virtual tutorial, remember that there are pupils who want to learn and may not get a chance to.  If you can, give something back to your Oxford community this Trinity.

To support Schools Plus and Oxford Hub you can:

– Volunteer your time by completing this form to support secondary schools or this form to support primary schools. 
– Donate to Oxford Together, and help us support more people across Oxford: bit.ly/oxtogether

-Follow Oxford Hub and Schools Plus Oxford on Facebook and Instagram to like and share the word.

Face to Face // Screen to Screen

If there’s one thing a national lockdown has given me, it’s time. Weekly screen-time reports never fail to astound me – minding my business, hours deep in another unintentional TikTok binge, I am alerted by a notification that my phone usage has increased by 26% from last week: 7 hours 35 minutes a day. Oh joy. I cannot help but feel annoyed at what feels like a smug report from my iPhone about how many of these precious, productive lockdown hours I am spending on Facebook. Amidst a minor personality crisis that ensued from these reports, I started leaving my phone on a different floor to stop the temptation of hourly scrolls through Instagram (which last for 59 minutes). Yet my report still came back with rather disheartening statistics. I began to realise that the main culprit for my screen time was in fact video calls – that usually my screen time is less because I spend a large proportion of my day gabbing with friends in the material world: now I chatter through the medium of virtual platforms. 

A pre-lockdown world saw screen time as essentially anti-social, unproductive – a way to disconnect from the real world. Now it becomes a tether to a sense of normality, an expansion of my isolation confines where the only people to talk to are my family, my dog, and occasionally myself. I am so grateful that I live in an age where I can see and hear my friends without their immediate, corporeal presence. I am grateful that with a few taps on my screen, four girls in dressing gowns and spot cream can collide in a virtual space, and for a while it feels almost as if things are normal again. With so much time – screentime – I have had the chance to consider my favourite platforms for virtual meetings. They all have a slightly different feel to them; a distinct virtual feng shui if you will. Microsoft teams has an entirely different ~vibe~ than Houseparty, for example, and Facetime is no Zoom call. I’ve tried and tested them all – here are my experiences:

Zoom is a very versatile platform. I had never heard of it before lockdown, but its existence has become a prominent part of my isolation experience. It seems to span the capabilities and needs of a wide range of ages. It’s user-friendly and graciously avoids the appellation ‘party’, which might alarm the Gen X among us. ‘Zoom’ has quickly been turned into a verb; when I ask where mum is I am frequently told she is ‘zooming’ with her yoga friends in the garden, doing a downward dog for all of the neighbours to see as well as her fellow ‘zoomers’. I’ve had zoom calls with my aunts and uncles, the family all gathered presentably around the dining room table while we discuss current affairs and recipe ideas. I’ve had Zoom calls with my college friends, virtual pub quizzes and replacement bops with costumes made hastily from the nearest thing on our bedside. The screenshare option means homemade PowerPoints featuring round after round of guessing the baby photo or ‘who wrote this hideously embarrassing facebook status in 2012?’ I would recommend using alongside your call the app ‘Psych’ – which I was originally very sceptical of but which I now shamelessly endorse: there’s not much new that is happening in lockdown, and this is a good way to get everyone laughing and reminiscing as you answer open-ended questions (with varying degrees of savagery) about each player respectively.

I should now mention that I am a sucker for a Facebook Messenger group call. It’s simple, unostentatious, but it gets the job done. There’s no need for a cumbersome laptop, no need to send out an email with a link – simply call whenever you feel lockdown tantrum number six brewing (or even when you’re emotionally stable but just want to see some familiar faces). As long as you remain on the actual messenger app, you can send photos on the group chat and still see everyone’s faces. This makes it perfect for sending accompanying visual aids to your line of conversation – be these homemade TikToks or a proposed Instagram post that apparently needs a two hour workshop for its accompanying caption (which is usually still unsatisfactory but you have to post in prime hours babes xx). This feature makes it a very productive space for figuring out which depop items you want to spend your student loan on (the answer is everything and all of it) or for sharing those adorable micropig videos you just have to show someone, without having to temporarily leave the virtual room to send them (I’m looking at you, FaceTime).

Next we have Houseparty. Like seemingly everyone, I was initially amazed by this app, but the novelty wore off pretty quickly. It has some pros, some cons. Firstly, it’s very easy to connect with people; there doesn’t need to be an existing group chat, you can simply join any open ‘room’ full of people as long as at least one of the participants is a contact. This informality means it’s easier to talk with people you wouldn’t usually call, but still enjoy catching up with. You can also play games once you’re in a room with everyone, but these are quite simply bad – not so bad that they’re good; just nonsensical and boring. These games also have a tendency to crash your whole phone. Another feature of Houseparty is its compulsion to send out a notification every time you or one of your contacts ‘is in the house’. This is, I feel, a very double edged sword. It means every time you go on the app, all your contacts are implicitly invited to recognise that you have friends you must be calling and how bully for you to be so popular. It also means that you are notified every time someone else is on a call with their friends, and there is a momentary flicker of crushing inadequacy and envy. Of course, with the way Houseparty works you could very easily invite yourself into any conversation you like … but sometimes I just want to be alone and selfishly not know that anyone else is having more fun than I am.

A nice juxtaposition to Houseparty in terms of ethos and ~vibe~ is Microsoft Teams. My only experience thus far has been a start of term meeting with my class. Unsure of the platform’s etiquette, I was hoping to join fuss free around a minute after the link went live – mildly supposing I didn’t want to be the first or last one to (virtually) arrive. My laptop ended up needing to download several updates and then found it difficult to open the actual software. This is not Teams’ fault, but I proceeded to direct my frustration at it nevertheless. I also couldn’t figure out how to zoom the frame out, so all anyone could see when I eventually (virtually) arrived was an intense close up of my face. Again, this was definitely a ‘me problem’ but I shall continue to blame Microsoft for my incompetence. Apart from that I only have one other minor complaint; you can only see four participants at any time. This not only reduces a sense of solidarity and togetherness, but it means I can only scrutinise four backgrounds at once. Virtual learning gives classes another dimension that can be rather satisfying for the curious (prying, nosey and prone to procrastinating) among us: each participant brings a little part of their contextual existence into the frame with them; you see a snapshot of their reality beyond Oxford. One positive of my own camera being so inappropriately zoomed in was that my fellow classmates couldn’t see all the parcels scattered behind me, and my ugly curtains were out of sight.

Admittedly, some of this screentime is spent ordering things online. But a lot of it is spent connecting, even if I’m just listening to my friends breathe as we communally view ‘Too Hot to Handle’ (trash TV at its not-so-finest). My screentime now represents less of a retreat from everyday life and more of a route back to old normality. If I were a pretentious and snobbish English student, I might now quote E. M Forster’s advice: ‘Only connect’. Instead, I will just say I hope you are looking after yourselves in this strange new normal.

Explained: Oxford SU ‘Academic Hate Speech’ motion sparks free speech controversy

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The Oxford University Student Union (SU) has condemned “hateful material in mandatory teaching”, after a motion on ‘Academic Hate Speech’ passed in Student Council last week. The motion has been widely reported on and has sparked debate about free speech in universities. The University of Oxford has responded with its free speech policy, used since 2016, which states that “free speech is the lifeblood of the university”. It has not responded to the specific recommendations of the motion.


WHAT DOES THE STUDENT UNION MOTION MEAN?

The motion recommends expanding the University’s free speech policy so that hate speech on the grounds of gender identity, disability, and socio economic status is treated equally to groups protected by criminal law. It recommends trigger warnings on reading lists and guidance to faculties on what constitutes hate speech. 

The motion passed, which means that some SU officers were mandated to issue a statement condemning “the use of hateful material in mandatory teaching”. This is now reflected in a statement on the SU website from the Vice-President (Access & Academic Affairs) and the Vice-President (Welfare & Equal Opportunities). It states: “We must fight to uphold academic freedom whilst protecting our students from abusive sentiment. There is a difference between debate and abuse and the two should not be confused.”

A new SU Policy is also created by the motion: ‘Protection of Transgender, Non-binary, Disabled, Working-class, and Women* Students from Hatred in University Contexts’. The new SU policy recommends that the University publish guidance on the mental health impacts of prejudicial articles, with trigger warnings on reading lists as “a bare minimum”. 

It recommends that texts which, under the Council’s recommendation, would have trigger warnings, are not made compulsory to learn or be examined on. It states that the University’s free speech policy is “inapplicable” when the University requires students to listen, because attendance is taken and material is subject to examination. 

The motion specifically highlights that the University’s free speech policy currently “uses the criminal law as a benchmark for academic free speech protection”. It states that the Public Order Act 1986 mentions criminalised hate speech as against race, religion, or sexual orientation, but does not specifically criminalise “ableist, misogynistic, classist or transphobic hate speech.”

The SU therefore considers that current protection offered to students in these groups from academic hate speech is “defective”. The new SU policy states that the University should go beyond legal definitions of hateful material to offer adequate protection to students in these groups. 

The Student Council gives instances of hateful material currently used in academic teaching: an article advocating for “a moral duty not to have disabled children” and an article “advocating for the murder of disabled children after they have been born,” both on the FHS Medical Law and Ethics reading list. 

Under the motion’s recommendations, the minimum acceptable action would be for this reading list to have a trigger warning and for it not to be compulsory to learn or be examined on. The full recommendation would be that it not be included on the reading list at all. The Council considers that if ableism were specifically prohibited by the Public Order Act 1986, this would constitute “hate speech”. The Council refers to the definition of “hate speech” as to “stir up hatred against a particular protected group”. 

The motion was passed in the first meeting of Student Council in Trinity term. It passed with 28 votes For, 11 votes Against, and 10 Abstentions. The motion was proposed by Alex Illsley, Co-Chair of LGBTQ+ Campaign, and seconded by Leo Gillard, Secretary of Disabilities Campaign. 


HOW HAS THE MOTION BEEN RECEIVED? 

Oxford University told Cherwell that “the University has no plans to censor reading materials assigned by our academics.” The University did not respond to whether it may reconsider its free speech policy to include groups stated in the motion, whether it would encourage guidance to be published on “hateful materials”, or whether trigger warnings would be used on reading lists.

It referred to the free speech policy in University guidance, which states that “free speech is the lifeblood of a university”. This statement has been on the university website and referred to in free speech controversies since 2016.  

After the story was broken by The Oxford Student, many national newspapers, academics, and notable figures picked up on the motion. Coverage has focused on backlash from academics – especially regarding the ableist material condemned in the motion – and the apparent dismissal of the policy by the University. There has been less focus on the proposal to expand the disadvantaged groups named in the 1986 Public Order Act, and to reflect this in the University’s free speech policy. 

This motion comes as one in a line of free speech controversies that events in Oxford have sparked. In March, Amber Rudd was ‘no-platformed’ by the UN Women Oxford UK society. This received major national coverage coverage. The University responded similarly to the incident, with an emphasis on the importance of free speech. In the same week a talk at Exeter College schedule to be given by Selina Todd, a professor of modern history at the University, was cancelled at short notice. 


WHAT IS THE STUDENT UNION AND WHO ARE THE STUDENT COUNCIL?

Student Council is the decision-making body of the Student Union. Student Council is made up of elected students from every ‘constituent organisation’: representatives from common rooms, academic divisions and campaigns, and sabbatical officers. It proposes and votes on motions four times a term.

All matriculated students are members of the Student Union. All students can put forward motions, ask questions, participate in debates, and stand for election. When motions pass, they mandate the Union to act upon them. Motions most frequently recommend and/or condemn official university practices and policy, and inform how the SU works. 

A statement from the SU on the Academic Hate Speech Motion says: “The student voice of the University of Oxford is often ignored. This body seeks to change that. Those who engage in it, and all members are encouraged to do so, can bring motions, amendments, counter-motions, bid for funding for projects, and much, much more.

“[The] motion received no comments and therefore no debate and the members of Student Council voted to pass it. Sabbatical Officers are now mandated by Student Council to release a statement based on the resolves of that motion; their statement is now available on the SU website for members and social media channels.”

The statement from the VP Access & Academic Affairs and the VP Welfare & Equal Opportunities also stated: “If you feel that some of the nuances of this debate may have been lost due to the restrictions of the online format, please feed this back. We also encourage you to participate in the democratic structures of Council – all Student Members can attend, speak, and propose motions or amendments at Council meetings.”

The full motion can be accessed here and the statement made by the SU can be seen here.

Image credit to Abhi Sharma/ Wikimedia Commons

On the misuse of Orwell

The habit of thoughtlessly quoting or referencing George Orwell in political debate has become, like so many bad habits, so common that it is rarely questioned. Using his name as an adjective is an unrepented cliché, and pulling lines from his work is often the first resort of someone short of real-life evidence to back their claims. Partisans on both left and right use him in a similar way to that in which they use the coronavirus; carefully selecting strands of information to fit their political prejudices and presenting these as a fair representation of the whole picture. Ridiculous claims such as ‘the coronavirus threatens to upend the conservative worldview’, and on the opposite side, ‘Coronavirus Vindicates Capitalism’, are a nice demonstration of the kind of thinking often used when writers quote Orwell; ‘How Nineteen Eighty-Four warned us about Brexit’ and ‘George Orwell would have been a Brexiteer’. One added benefit to using Orwell is that it suggests that you have read him, presenting yourself as an encyclopedia of literature with quotations at your immediate command. 

An irony of his overuse, but perhaps one cause of his misuse, is that Orwell is a writer difficult for any political group to ‘claim’ as their own. He was clearly a man of the left: ‘Every line of serious work that I have written since 1936 has been written, directly or indirectly…. for democratic socialism’. However, he was no member of the British mainstream or ‘official’ left. He was highly suspicious of the communist elements, who displayed sympathy to the Soviet regime, yet he also said ‘what socialists nearly all schools believe is ….true happiness of man lies in a society of pure communism’. A socialist, he nevertheless advises : ‘I think we ought to guard against assuming that as a system to live under, [socialism] will be greatly preferable to democratic capitalism’, and he criticized scathingly the ‘intelligentsia’ who would ‘feel more ashamed of standing to attention during ‘God Save The King’ than of stealing from a poor box’. In passages such as these he offers ample material for those on the right, who have adopted Orwell to their causes as much as, if not more than in recent years, the various factions of the left have done. Yet the above quotes illustrate the complexity and subtlety of his beliefs, not to mention the political shifts he underwent throughout his life; up until his experiences in Catalonia, he described himself as a ‘tory anarchist’.

Quoting someone is of course not the same as claiming political ownership of them, nor does it require that you both agree on everything. But you would think that many on the right would be more hesitant to idolise, and use so many quotes from, a man who said such things as: ‘Patriotism….is actually the opposite of conservatism’ and ‘It is only by revolution that the native genius of the English people can be set free’. Furthermore, he is often used to argue against increased state ownership and control, yet he supported socialism which, in his words, means that ‘the State, representing everyone, owns everything, and everyone is a state employee’. As for the buzz-word ‘orwellian’, I think it is a shame to use his name as a term for totalitarianism and oppression, like the naming of biological diseases after their discoverers. Orwell would likely resent the way his name is used to paint the government’s coronavirus lockdown measures as despotic or ‘1984’-like; Orwell thought that ‘we cannot win the war (WW2) without introducing socialism’, and although we are not at war, this comment suggests that he would not object to increased state power in times of crisis. Conversely, similar misuses come from those on the left, with lines such as: ‘Brexit has turned our government into an Orwellian ministry of Truth’, which come from journalists who seem to think it appropriate to use the term ‘Orwellian’ for anything political that one considers ‘bad’. 

Lines from his work are not the findings from some kind of rigorous scientific experiment, yet people use them to add a thin veneer of sophistication or truth to weak arguments. The way they are used often implies that because he said it, it must be true, yet of course, he was fallible like all of us; he could at times drift into vagueness, and display errors in foresight, highlighted by his false predictions of an oncoming ‘English Revolution’, or his claim in 1942 that Churchill did not have many months of power left. Quoting Orwell, or particularly the set of terms associated with him, is too easy a tool to use when attempting to add weight to one’s statements, and instead using more precise examples from real life as evidence, which are more directly related to the topic at hand, would likely add to the quality of debate. Orwell himself said: ‘Never use a metaphor, simile or other figure of speech which you are used to seeing in print’, and ‘Never use…. a jargon word if you can think of an everyday English equivalent’. 

Referencing writers can be a great way to illustrate a point more succinctly than one might otherwise be able to, or the writer may have had experiences which gave them insight worth mentioning; Orwell is the perfect example of this, in that his experiences as an imperial policeman in Burma and as a fighter in the Spanish civil war provided him with a still unmatched understanding of the unholy trinity of the early 20th century; imperialism, fascism and totalitarianism. However, this does not mean that one should flippantly reference him on any 21st century topic of choice to suit one’s political viewpoints, in a way which wrenches the quotes from their original context and in doing so twists them into an altogether different meaning. 

I certainly do not hope that Orwell will be discussed or referred to less, but that he is used not lazily, without regard to his either views and experiencesm nor to support ideas which he would have despised. The terms associated with him, such as ‘1984 or ‘Big Brother’, can be helpful when used in an honest manner, and as he wrote so vividly it is understandable that they have become (as Christopher Hitchens put it): ‘virtual hieroglyphics which almost immediately summon a universe of images and associations.’ However, these mental packets should not stand in the way of critical thought about the delicate and complex issues facing us today, which require a sceptical but reasonable approach, nor should his works be used dishonestly in debate between left and right. I will finish with Orwell, if I may:

‘This invasion of one’s mind by ready-made phrases can only be prevented if one is constantly on guard against them, and every such phrase anaesthetises a portion of one’s brain.’ 

Review: Fiona Apple’s ‘Fetch The Bolt Cutters’

“All my particles disband and disperse/And I’ll be back in the pulse.”

Music, to Fiona Apple, seems like a Schrodinger’s Cat kind of paradox; it relies on the prospect of her own destruction, containing with it the danger that by peering in, the listener is fundamentally altering the experience. It is a blur of probability, every moment encapsulating gain and loss, life and death.

Moreover, its existence is threateningly self-justifying, as she states on the opening track of her latest record: “I know a sound is still a sound around no one”.

The title of her latest record offers an interesting antecedent to this idea. “Fetch the bolt cutters/I’ve been in here too long” she asks despondently on the title track, and by performing this task it becomes clear that only on opening the box do we see a single definite state.

Over the course of her twenty-five-year career, it is unclear when Fiona Apple transformed from the husky babysitter of classic hits ‘Criminal’ and ‘Shadowboxer’, into the enigmatic auteur of albums such as When the Pawn and The Idler Wheel(…). However, her latest record manages to encapsulate all that allowed her to morph from mainstream darling into cult favourite. Fetch the Bolt Cutters manages to be her most blistering and defiant statement yet.

Apple delivers an updated take on her classic dense piano rock sensibilities, keying into the sparse, raw, and poetic sensibilities of protest music, laced with the hypnotic triumph of old Jazz standards. The unhurried artist’s first album in eight years manages to be an intimate yet enthused affair.

‘I Want You to Love Me’ is a fantastic opener, as Apple bellows over contrary motion scales, detailing the viscosity of unrequited love. Towards the middle section the track is shifted on its head, as Apple incorporates gun-shot drum kicks and frantic bowing on a double bass, whilst her sustained vocal melodies evoke the raspy fumbling of blowing up of a balloon.

The crisp andante of the opener is followed by the bluesy flurry of ‘Shameika’, one of the more upbeat songs on the track-list. It runs along unperturbed, relaying a story from Apple’s childhood days. The combination of the floundering bass piano notes and the gargled noise layers peppered throughout the track create a sense of winding terror. Album closer ‘On I Go’ delivers a similarly striking tone, a menacing concoction of percussive slams, demented chants, and spiralling guitar tones. The spliced vocals that spool in between the cracks of the creaking bass tones exhibit Apple at her most experimental.

Instrumentally, the album rolls between Apple’s common litany of chants and handclaps, and more daring timbral variation. The disquieting burlesque of ‘Newspaper’, the hop-scotch rhythms of ‘For Her’, and the dusty clatter of ‘Heavy Balloon’ are all moments of breath-taking hardihood. The light tumble of the plucked orchestra on ‘Rack of His’ further accentuates Apple’s outstanding instrumental choices.

The possible influences that could be attributed to this record feel pale and under the thumb, whilst still remaining surface enough to push her tense idiosyncrasies in new sonic directions; Apple will take your Pet Sounds and your Astral Weeks and raise you one higher. The works of Tom Waits, Kate Bush and Gil Scott-Heron are all slowly submerged in the rising tide of the record.

Indeed, one of its best qualities is how it takes the established form and rigour of blues and Jazz music, and creates a topsy-turvy, upended hybrid of sound. Apple locates the originality inherent in tradition and uses this to jolt its looser moments of experimentation into place.

This unwavering rigidity is further unpacked in Apple’s wit, providing some of her most biting lyrical work yet. This acts as a counterbalance to the moments of rage and venom, as Apple works through real emotional trauma. The jumble of stress fractures, emotional wounds, and contusions are all felt in Apple’s hearty poetics. On tracks like ‘Under the Table’ it is made clear that this is a female voice that will not be silenced.

Aside from on ‘Shameika’, there are a lack of pronouns here, and Apple is left to wage war on the ‘he’s’, and the ‘hims’ of the world, the lack of specificity amplifying her cries. In some ways there is no need for detail, as the economy of Apple’s imagery works wonders. On ‘Rack of His’, the embedded references to “Rockettes” and “Fillies” provide a seething comment on the male gaze in two words. ‘For Her’ provides some of the most scathing social commentary on the entire album, all pointing towards a moment of catharsis and defiance in its final line. On ‘Ladies’, Apple takes a more formalist approach to lyricism, and slowly spills over from the anecdotal into the aphoristic. It functions as a hymn to “good women like you”, whilst also lamenting how unreachable female companionship can feel in times of crisis: “yet another woman to whom I won’t get through”.

In many ways, Fetch the Bolt Cutters flirts unknowingly with the current Zeitgeist, exploring issues of entrapment, confinement and isolation. The album was recorded entirely in and with her Venice Beach Home, utilising a makeshift orchestra of kitchen implements and foot stomps to deliver a DIY aesthetic.

This is music rooted in its surroundings, and the quarantine has no doubt accentuated certain aspects of its musical blueprint. As Apple’s trademark alto locks in with the howls and yelps of her five dogs on the title track, amidst the crunches and jangles of homemade appliances you can feel the twisted matte of the carpet, the ripe hum of the plugs, the clenching stains on the coffee table. Apple constructs a symphony of the domestic realm, taking cues from the worlds of field recordings and music concrète. The detail is astonishing, and Apple’s artful approach only makes the material stronger.

Fiona Apple astonishes on her fifth full-length outing, a record that will likely be talked about for years. She weaves a rich musical tapestry of sounds and images. What is patently clear from this record is how intuitive Apple’s music can feel; in the same way as it works itself beneath your skin, Apple herself works from the ground up, raising rhythm from every sonic crack and gulf. It is perhaps through this vertical movement that Apple manages to escape her confines and float forever upwards. This reminds the listener that Fetch the Bolt Cutters is a work with the refined knowledge of the escape artist, the wire-walker, the trapeze artist: that winning elixir of muscle memory and self-knowledge. You can’t knock her off-balance. “Kick me under the table all you want,” she says, “I won’t shut up.”

The Future of ‘That Party Bernie Crashed’

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When Bernie Sanders announced to his political allies, in 2015, that he was going to launch a long-shot run for the Presidency, he reassured them that, while he knew he was unlikely to win, he hoped that his campaign could build a movement. While that movement fell short of bringing him to the White House twice, it has nevertheless begun to reshape the Democratic Party and the Overton window of American politics. And, crucially, to the difference of most progressive insurgent campaigns, this movement has created a backbench of devoted lawmakers and political organisations to carry out the movement and its vision.

So, at the end of his second run for office, with a Trump-Biden general election looming, understanding the role Bernie has played in reshaping the Democratic Party and how his legacy will continue to push the Party to the left remains crucial. The movement has had some success conquering the establishment, popularizing a $15 minimum wage, electing members in the House, and bringing in a new generation of young people into politics. As it seeks to continue to wage this ideological battle, while Bernie approaches his 79th birthday, a new generation of progressives seems ready to take over and further Bernie’s ideas and legacy.

Now more than ever, the future of the Democratic Party belongs to Bernie Sanders and the movement he created.

A New Progressive Backbench: The Left Beyond Bernie

The crowning achievement of the Bernie Sanders-led movement is undoubtedly elevating a group of people and groups that will incarnate progressivism for the foreseeable future.

After Bernie’s 2016 campaign, two groups formed seeking to elect left-wing insurgents to Congress: Justice Democrats and Brand New Congress, both of which were formed by Bernie staffers. They seek to carry the Bernie-esque mantra of bringing working-class people into politics to promote more left-wing agendas against establishment Democrats. Challenging the Democratic establishment by primarying high-level Democrats (Joe Crowley, AOC’s opponent was the 4th highest-ranking Democrat in the House) has remained a crucial part of the Bernie legacy. These political groups have also been accompanied by issue-based groups that were inspired by Bernie’s 2016 run, the most prominent of which is the Sunrise Movement, which promotes the Green New Deal and climate advocacy by organising protests, awareness, and backing climate-friendly candidates.

These groups have carried the legacy and ideas of Bernie Sanders by seeking to organise and durably alter politics. In doing so, they have brought new, progressives into the fold to carry on this message from the inside. The Squad, and The Progressive Caucus’ Chairwoman, Pramila Jayapal, have spearheaded this movement by introducing the Green New Deal and Medicare for All bills on the floor of Congress, and by pushing the congressional Overton window to the left. From banning billionaires to abolishing ICE, progressive members of Congress have durably changed the congressional political debate.

Through outside pressure in the forms of these political groups, and inside the halls of Congress, Bernie-inspired progressives have adopted the ultimate outsider-insider theory of change. In that vein, they have not limited their projects to changing the Overton window. This year alone they successfully primaried Dan Lipinski (a pro-life Congressman from Illinois who voted against Obamacare and declined to endorse Obama’s reelection campaign in 2012) with progressive insurgent Marie Newman, and got close to defeating a few other centrist barons of the House like Henry Cuellar.

Therefore, while the next generation of progressives already has a superstar leader in AOC, it also has an increasingly growing number of high-profile leaders like Ayanna Pressley and Pramila Jayapal. These ranks keep growing, and the movement is not a single-person movement: it is constituted of an increasingly large number of members of Congress and political group leaders.

The Bernie-wing of the Party is attempting a hostile takeover of the Democratic Party’s personnel and ideas, and has been making (slow, but sure) progress. It is hard to deny them an even bigger place in the Party for the foreseeable future.

A Long-Term Progressive Playbook: Redefining the Electorate

To win this political battle, the left has had to rewrite the election playbook for insurgent candidates. The mantra of ‘expanding the electorate’ has been omnipresent in progressive politics since Bernie’s campaign. Stacey Abrams emerged as the most visible advocate for this strategy in 2018, which seeks to rewrite the playbook for winning elections, and has split the Democratic Party.

Progressives argue that candidates for elected office, in order to win against moderates and Republicans, need to expand the electorate to younger and low-income voters, minorities, and infrequent voters to build a new governing majority coalition. In every insurgent campaign, from Abrams’ in Georgia, to AOC’s in NY-14, this has been a crucial feature. This model has not yet proven to be workable on the national level however – while Bernie inspired an undeniable uptick in youth turnout, a large reason he lost to Joe Biden was that the wave of ‘new voters’ he would bring into the political process never emerged.

The project of redefining the electorate to include the marginalised in the political process is a cornerstone of the progressive election playbook and is set to create a majority for them in the future. Inspired by Bernie’s efforts to do so on a national level, it remains an ongoing project that will likely to a long-term goal. It is also an idea that has begun to take over the Democratic Party, with a renewed focus on combatting voter suppression, especially in the context of coronavirus, through organisations like Abrams’ Fair Fight and through the increasing attention paid to this issue in the Democratic mainstream.

A Progressive Agenda for Generations: Crafting a Governing Plan

In addition to fighting the political and ideological battle, the Left has been building a governing plan to legislate once it does reach power. Bernie’s theory of change has been crucial in reorienting how progressives and the Party at large see politics. Creating a progressive movement to apply pressure on lawmakers has been a central concern of the post-Bernie progressive movement.

The issues that have become central to the progressive movement, thanks to Bernie, have become issues that are central to the inner-party debates that have animated the Democrats since 2016. Policies like the Green New Deal, Medicare for All, abolishing ICE, and universal and free college have become staples of the debate in the Party. While these issues have become more popular, extensive polling has shown that, while these are popular by name, they poll better as concepts than as policy specifics.

A key failure of Bernie’s has been a failure to consolidate support on the Hill for these policies, instead choosing to wage war on the establishment. This has made issues like Medicare for All a litmus test for progressives, and any politician moderating their stance on Medicare for All (see Kamala Harris and Elizabeth Warren during the Democratic Primaries) are seen as opponents. Nevertheless, newer members of the movement, like AOC and Elizabeth Warren, have managed to walk a line between being anti-establishment and working with the establishment to advance causes progressives care about.

This progress has meant an incremental shift in the Democratic Mainstream: the $15 minimum wage is a prime example of an issue Bernie has popularised. As the movement progresses, issues like breaking up monopolies, the Green New Deal, free education, and universal healthcare will be the next fronts in the battle for progressives to win public opinion.

Luckily enough, in all these projects, Bernie gave them a head-start. The future of the Bernie Sanders wing is bright: with new leaders, ideas, and strategies to carry the movement forward, progressives should be able to keep making progress in electoral politics in public opinion and continue Bernie’s project for America.

Sense and Sexibility: A definitive ranking of Austen’s leading men

Welcome to my definitive ranking of Austen’s romantic heroes and, as an auxiliary ranking that I was not actually asked to add, my favourite actors.

AUTHOR’S DISCLAIMER: This is a sensitive and controversial topic which I will attempt to treat with all due diligence. Please feel free to disagree. However, I am right. Let us begin.

8. Edmund Bertram, Mansfield Park:

Wit: Too bored to care. 

Charm: Too bored to care.

Fine Eyes: Too bored to care. 

Percentage of Derbyshire Owned: The man is a priest. I am very happy that he got his cottagecore fantasy. But is it a mansion with an obsequious housekeeper who practically raised you? I think not. Move along.

Gross Factor: Cousins?! No! He’s not the type of cousin Mr Collins is either i.e. nicely undefined so that I can happily imagine for my own peace of mind that he is six generations removed and the product of an affair. Sadly, he is definitely Fanny’s cousin. He should have married Mary Crawford and neatly sidestepped the possibility of web-footed offspring.

Favourite Actor: I wasn’t about to subject myself to actually watching cousins kissing, so I haven’t watched it. I’m giving this one to Jonny Lee Miller as consolation for losing both best Knightley and best Jo(h)nny-as-Knightley.

7. Colonel Brandon, Sense and Sensibility:

Wit: Silent. Brooding. He’s like Darcy if he never proposed to Elizabeth.

Charm: None at first, but points for his dedicated care and love for Marianne at the end.

Fine Eyes: Was he hot? I neither know nor care. He was old, this I know for sure.

Percentage of Derbyshire Owned: Very rich, which is something we love to see from an Austen hero.

Gross Factor: The bit of me that would excuse his dullness because of his kindness has been viciously trodden on by the fact that he is old enough to be her father. Austen, stop! Get some therapy!

Favourite Actor: I’ve only seen Alan Rickman and I love him lots so let’s go with that.

6. Edward Ferrars, Sense and Sensibility:

Wit: Not dazzling, but not stupid.

Charm: Bumbling, shy, generally Richard Curtis-eque.

Fine Eyes: ‘Not handsome.’ Whoever cast Hugh Grant didn’t listen to this.

Percentage of Derbyshire Owned: It was very attractive of him to give everything up for the sake of Lucy’s reputation, although perhaps he knew she was a fortune-seeker and played the long game. I imagine at the end Elinor turned to him and said ‘I love you; however, given I am a woman who cannot work, how do you plan to finance our future lives and the many children we are sure to have due to 19th century superstitions being our only family planning method?’ to which I think he would have responded with some stammering Grantian reply.

Gross Factor: None, I am pleased/shocked to report!

Favourite Actor: Hugh Grant. I will provide no other justification than this.

5. Charles Bingley, Pride and Prejudice:

Wit: He’s good-humoured but malleable and gullible.

Charm: A sweetheart!

Fine Eyes: Very handsome! Good for you, Jane Bennet.

Percentage of Derbyshire Owned: £5000 a year!

Gross Factor: None! Well done, Austen!

Favourite Actor: Christopher Sean as Bing Lee in The Lizzie Bennet Diaries, an online web series adaptation in which Lizzie has a vlog. He really earnestly works for Jane’s forgiveness in this one.

4. Henry Tilney, Northanger Abbey:

Wit: When you say you want a funny guy, he’s the one you mean. He somehow manages to make fun of Catherine to her face and yet also be very sweet. He’s also very clever and well-read (Henry is, in fact, the only Austen man I could actually see myself being with because he is – get this – a normal human being. Maybe he just reminds me of Gilbert Blythe).

Charm: Major points for being very kind to Catherine, a loving brother, having a moral compass and coming all that way to apologise. Minus points for mocking her but also, she deserved it.

Fine Eyes: He’s pretty good-looking, I think. His big pull is actually having a brain, though.

Percentage of Derbyshire Owned: He’s got that whole cosy priest vibe going for him too, but I love him, unlike Edmund, so this time I won’t pretend I’d prefer a mansion to a sweet little parsonage. He is also willing to give it up for Catherine. Aw.

Gross Factor: None, again! Keep restraining yourself, Austen!

Favourite Actor: JJ Feild. Watch Austenland – it’s a masterpiece.

3. George Knightley, Emma

Wit: Supreme, biting, cutting. It’s like if Mr Bennet was young(ish) and attractive. He has excellent judgment. It’s very good of him, for the sake of my sanity, to actually be able to see what’s happening. It gives me hope.

Charm: Kind, considerate – to everyone but Emma. I love that he is the only one who doesn’t coddle her. Definitely top-notch flirting tactics.

Fine Eyes: Older but rugged. 

Percentage of Derbyshire Owned: Rich, but willing to give up his independence to live with Emma and her father!

Gross Factor: He says he’s been in love with her since she was a child. I would like to brush this off as a joke and think instead that he only realised because of his jealousy of Frank. That had better be true, because he’s 16 years older than her. 

Favourite Actor: Johnny Flynn, you can move in with me and my weird dad Bill Nighy any day of the week (okay, for real, the 2020 Emma is a fever dream of brilliance which builds their relationship beautifully and the way he looks at her is impeccable).

2. Fitzwilliam Darcy, Pride and Prejudice:

Wit: Extremely clever with zero self-awareness. Very mean, and then suddenly the nicest man on earth. Mr Personality Transplant 1813.

Charm: 0-100 in less than a year. Desperately in love with Lizzie, Miss Reader Surrogate 1813, so we feel loved too.

Fine Eyes: Canonically fit.

Percentage of Derbyshire Owned: Canonically 50%.

Gross Factor: It says a lot about what Austen has done to me that I look at an age-gap of eight years where the woman is so young and say ‘that’s fine.’

Favourite Actor: Matthew McFadyen, I love you so much. That is the problem. It’s called Pride and Prejudice, not Pride and Crippling Social Awkwardness with a Light Sprinkling of Internalised Snobbery. Colin Firth makes me hate him, sympathise with him, and love him. Also, Matthew, this is 2005’s fault in general, but he has better hair. So, it goes to Colin. Just.

1. Frederick Wentworth, Persuasion:

Wit: Clever, competent, succeeds professionally against all the odds. Pretty cutting to Anne, but she deserves it! 

Charm: ‘You pierce my soul. I am half agony, half hope.’ Persuasion is my favourite book of all time for a reason, and it’s because he loves Anne Elliott so much it allows her to feel joy again.

Fine Eyes: Very handsome.

Percentage of Derbyshire Owned: We love a self-made man! Get that coin, Frederick!

Gross Factor: A very small age difference? No close or quasi- familial relationship? Jane, this is your best work!

Favourite Actor: Nothing beats Rupert Penry-Jones and his longing looks.

Oxford SU fights for renter protection amid student rent strikes

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Oxford University Student Union and Oxford Brookes Union has written a letter to major lettings agents in Oxford reminding them of their duties under the law and asking for greater protections of students who have been badly impacted by the coronavirus pandemic.

The letter was sent by Róisín McCallion, VP Welfare and Equal Opportunities at Oxford SU, and Daisy Hopkins, Vice-President of Student Wellbeing at Oxford Brookes SU. It argued that the impacts of the coronavirus pandemic, including job losses and caring responsibilities, made it “increasingly difficult” for some students to make rent payments.

The letter went on to remind landlords of Government advice on evictions, which encouraged landlords to “work together to put in place a rent payment scheme where people are struggling to pay their rent”. The advice also reminded landlords that they must give tenants three months’ notice before they seek the termination of a tenancy.

All landlords have been granted a three month mortgage holiday by the Government, meaning that private landlords may stop paying towards their mortgage without impacting their credit scores. While renters have been granted an extended three-month notice period before the termination of a tenancy, tenants will still be liable for their rent.

Given the exceptional circumstances presented by the pandemic, the welfare officers went on to propose a number of additional measures designed to protect those students who had been made most vulnerable by the pandemic. The additional measures are as follows:

  • For students who are unable to return home for whatever reason, an extension of their tenancy should be granted in incidence that Covid-19 isolation measures continue past the end of the fixed term period of their tenancy. This will prevent the individual from being made homeless.
  • Students that have been financially impacted as a result of the situation and cannot move out receive a significant rent reduction or a rent holiday where no rent payments are required throughout the current crisis.
  • Partners should be lobbied to follow the advice of the National Residential Landlords Association to suspend rent increases for the next 12 months, including reversal of planned rent increases for upcoming tenancies.
  • Consider a no-penalty contract release for students who are no longer living at the tenancy address, without transferring any costs to other, remaining tenants. If students have already paid for the next period, this should be refunded along with their deposit.

The letter encouraged lettings agents to forward the letter on to landlords, and support the requests, assisting landlords where necessary.

Speaking to Cherwell, Róisín McCallion emphasised the importance of students being allowed to remain in privately rented accommodation for the duration of the pandemic, noting that students who were estranged from their families or who lived in abusive households would need to be able to continue their tenancies in Oxford regardless of the length of their tenancy contracts. Without additional protection these students could be made homeless by the crisis.

McCallion also highlighted the fourth recommendation to landlords, that no costs should not be transferred to remaining tenants if one tenant chooses to leave the contract early. Tenancy contracts typically make tenants collectively responsible for rent and other payments, but the SU has requested that other students should not be held liable for the financial situation of co-tenants.

The Student Union offers advice to any students who are facing financial or residential difficulties, but due to the significant increase in the number of students who were making requests for residential advice, the Union decided to send the letter to all lettings agents letting to students in Oxford.

So far, McCallion says that while some agencies have responded positively to the letter, so far none have made concrete commitments to the measures outlined in the letter.

A spokesperson for College and County told Cherwell that they have “shared [the letter] with some of the relevant landlords.

“Some of the ideas are in line with government proposals, but some of the ideas in the letter are unrealistic for many clients (especially those with business loans and not mortgages)

“Where we have students who are in genuine difficulty, I am sure we can help them negotiate a solution with our clients. One of the problems is that there are a number of students who really do not have any “hardship” who are asking for “relief” from their landlord and making Landlords sceptical about the genuine ones.”

Cherwell also reached out to Allen & Harris, Andrews, Chancellors, Connells, Scott Fraser and Oxford Lettings for comment. None have replied.

All Oxford colleges have waived tenancy fees for students who are not returning for Trinity term.

In the meantime, students across the country have initiated rent strikes, demanding that students in private halls and university-managed accommodation should be granted relief from their third-term rent.

Cherwell spoke to ‘Liberate the University’, a movement which is coordinating rent strikes at Universities in London, including University College London. The group has demanded that students in all forms of accommodation should be allowed to leave their lettings contracts early, that belongings left in rooms should be stored from collection when it is safe to do so, that students remaining in halls should be granted a 20% rent reduction, and that all halls should enforce a uniform policy in regard to rent payments.

The group currently believes that between one hundred and two hundred students are currently on rent strike at London universities, although many are worried about legal or disciplinary action being taken against them.

The movement saw early success, with UCL operated halls and University of London intercollegiate halls agreeing to three of their demands. However, most private halls have still not agreed to any of the demands.

UCL had initially asked students leaving their contracts early to vacate all possessions from their room in contravention of lockdown regulations, however this policy was quickly reversed.

UCL did not reply to a request for comment.

A spokesperson for Sanctuary Students, which operates a number of halls of residence across London, told Cherwell: “While we understand that some students and parents are disappointed, the decision was made with the wider interests of our customers and communities at the forefront of our minds.

“We continue to house a significant number of national and international students in our properties in various locations and for many of these, our accommodation is their primary home. All our sites remain open and without our accommodation these students may become homeless. It is essential we continue to provide them with support staff and access to a safe, secure, managed place to live.

“We are aware that student loan payments will continue through this period and the government is encouraging tenants living in rented accommodation to pay their rent as normal. We have also been encouraging any students with financial concerns to contact us to discuss their situation and will be happy to offer them flexible payment options through an agreed payment plan.”

Cherwell also reached out to Urbanest, another student accommodation provider which has not agreed to the demands made by LtU. Urbanest did not reply to the request for comment.

Students at the University of Surrey also threatened a rent strike over payments of third term rent. The University later announced that no students would be required to pay fees for rent in University-managed accommodation for their third term.

A spokesperson for ‘Surrey, Cut the Rent’, the organisers of the rent strike, told Cherwell that they “know that university management keeps a close eye on student campaigning, and… know for a fact they were aware of the size of the potential strike and we do believe that the threat of a rent strike impacted their decision with the partial fulfilment of demands.”

The group encouraged all students to email their concerns to accommodation managers.

The University of Surrey did not respond to a request for comment.

Image by Isabella Lill

Review: Jerskin Fendrix’s ‘Winterreise’

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Weird things are happening in the world of pop music. Charli XCX and Carly Rae Jepsen have bounced back from ‘Boom Clap’ and ‘Call Me Maybe’ to spearhead a new wave of daring experimental songwriting. Kanye released a swear-free gospel album. Grimes is pregnant with Elon Musk’s baby and giving us regular updates on how she is nourishing her child by eating vegan ‘sludge’. Who or what, then, might emerge from this bizarre period in musical history as the latest unstable pop genius, the artist to define the 2020s?

Enter Jerskin Fendrix, a poorly shaven, upper-middle-class millennial armed with Ableton Live and a classical music degree from Cambridge (fortunately he’s talented enough that we can forgive him that). Fendrix’s achievements to date include writing the score for a V&A remake of Alfred Jarry’s absurdist play Ubu Roi and releasing a Christmas single with London math-rockers Black Midi, but his debut album Winterreise has to be considered the outstanding moment of his career so far.

The album’s title, translating as ‘winter’s journey’ in German, is a name fit for an opera. And an opera it is – Winterreise is meticulously arranged, its songs flowing into each other in congruent movements, despite the fact that most of them have had single releases at some point over the last few years. The precocious Fendrix (real name Joscelin Dent-Pooley) is at centre stage, a natural performer who embodies personas with ease; what else do you expect from someone whose stage name is itself rockstar material, equal parts legendary guitarist reference and bizarre sexual innuendo?

Winterreise’s opening track, the 7-minute ‘Manhattan’, is a prime example of Fendrix’s classical sensibilities. It opens with a delicate piano riff that wouldn’t seem out of place in the opening titles of a 90s family movie, but which quickly escalates into frustrated hammering. A bassoon enters, reminiscent of the ‘Grandfather’ part from Prokofiev’s Peter and the Wolf. Pitched down vocals and synthetic strings add to a simmering orchestral crescendo which, no sooner than it reaches a climax, is sliced apart by trap-inspired hi-hats and a rock-opera melody. Fendrix’s lyrics seem to document a frenetic and somewhat psychotic love affair, set (where else?) in a snowy New York City. The track reaches the only logical conclusion it could, in the form of a coda pairing an overdriven guitar solo with the sound of rattling cutlery. In short, it’s about as diverse as pop music gets.

The disparate influences keep coming on ‘Onigri’, a PC Music-inspired banger with lyrics about Japanese rice balls and stalking. “I wanna wake up when you wake up/I wanna die when you die”, sings Fendrix in high-pitched autotune; the deranged narrative combines with a naive vocal style and YouTube-football-compilation-style synths to humorous effect. ‘Last Night in New York’ is an unnerving industrial soundscape of revving motor engines, thunderclaps and factory mechanisms. Fendrix’s voice lurks beneath the surface in a murmur; only right at the end of the track does it burst out into a hypermasculine, faux emo cry.

A trio of warped pop songs constitute Winterreise’scentral movement. On ‘Black Hair’, the album’s lead single, Fendrix crafts an ominous loop from an 808 kick drum and a cabasa, before ripping off Ke$ha’s ‘Tik Tok’; the perplexing opening line “Wake up in the morning feeling like Constance Wu” is the first of the track’s countless references to modern culture, which also include Stabilo highlighters, Awkwafina and the Met Office. Fendrix again assumes a stalker/serial killer persona which, paired with a recurring sub-bass/spasming synth interlude, is genuinely fear-inducing. CBS could easily use the narrator as inspiration for the next season of Criminal Minds, such does he mutter “black hair, black hair” to himself as he goes through his victim’s belongings.

‘Swamp’ is another psychological study, this time of a disturbingly one-sided e-relationship; “I’ve known you for one year now/and I wanna know what you look like”, growls Fendrix. The neglected male lover lists his mundane character flaws (“I overseason my food/I text girls when I’m drinking”) and partakes in an imaginary dinner date, seemingly oblivious to just how maniacal he sounds, and still proclaiming to be his e-girlfriend’s “raison d’être”  as the synth-pop chorus builds to a crescendo. Great songwriters tend to enjoy flirting with irony, and Fendrix is no different: when he sings “I wanna be Ezra Koenig”, it is impossible to tell if the Vampire Weekend frontman is being revered or ridiculed. This style of writing reflects that ubiquitous Internet-age fear of judgment which causes us to hide behind online personas at all costs rather than publicly reveal our own opinions.

Fendrix parodies this online role-playing to the extreme on ‘A Star is Born’, the final member of Winterreise’s core triptych, and the album’s best song. His brash, self-aggrandising lyrics perfectly and hilariously channel the nauseating cockiness of Gen Z ‘influencers’ such as Jake Paul; “Call the fire service/cos I’m on fire/Call me Icarus/I’m getting higher and higher” is surely the funniest couplet of 2020. The synth hook might sound like a litter of seal pups has been passed through a vocoder, but this is sing-along EDM magic, and the irony makes it all the more fun. Tracks such as ‘I’ll Clean Your Sheets’ and ‘Depecc’ offer a little more sincerity towards the back end of the album, but Winterreise is at its best when Fendrix puts himself in the shoes of someone even more unhinged than himself. Throughout, he directs proceedings from behind a digitally engineered mask of vocal distortion and autotune, sculpting a masterpiece that, with its video game aesthetic and throwaway pop references, perfectly reflects the joys and perils of modern Internet culture. You might describe closing track ‘Oh God’ as the sound of an existential crisis composed solely of First World problems, and that more or less sums up the album as a whole, too. Kesha, Kanye, Grimes: take note.