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The Age of Multipolarity

Image credit: Marcin Nowak, via Unsplash

Lord Cameron put it aptly when he recently stated that,“The world has changed significantly since I first entered government, and we live in very unstable, uncertain, and dangerous times”. The Foreign Secretary captured the zeitgeist of chaos and change that has come to define this last decade. All but gone is the atmosphere of optimism that accompanied the end of the Cold War, the Fall of the Berlin Wall, the introduction of Russia into the G8, and China into the World Trade Organisation. 

Of course, this century is nominally ‘dealing with’ its fair share of crises, from the U.S.’s failed War on Terror to the Financial Crash of 2008, the devastation that accompanied the Arab Spring, and the untold suffering in civil wars across the globe. The difference now is that the world is hurtling down a path of ever-increasing instability; the Doomsday Clock now stands 90 seconds to midnight, the closest to global catastrophe it has ever been.

We have returned to an age of Great Power conflicts. Beyond Russia’s invasion of Ukraine and the explosion of proxy conflicts in the Middle East, a general contagion of coups and populism has swept across the globe, extinguishing faint flickers of democracy and threatening its bastions. It would have seemed unfathomable just a decade ago to say that the United States had suffered an insurrection at the Capitol, directed by a President unwilling to relinquish power; further, that 147 lawmakers would object to the election results, and that 40% of Americans believe the election was ‘stolen’. Has the U.S. really entered into a Post Truth Age of “alternative facts”? Similar questions might well be asked soon of Europe, with the Far-Right sweeping across Italy and Germany. Just this month, the second most popular party in Germany, the AFD, was implicated in a neo-Nazi meeting which was plotting the mass deportation of asylum seekers and non-native German citizens. History may not repeat itself, but it certainly rhymes.

According to Freedom House, global freedom has declined for the 17th consecutive year. Since 2020, the term la ceinture de coups d’État has arisen to describe the unbroken chain of African countries from the Atlantic to the Red Sea that have fallen to various coups. As French influence is effectively forced out of the social-political structures of West Africa, there is an opposite movement towards consolidating Chinese influence, especially economically through the Belt and Road Initiative, which waives pressure to adhere to democratic principles that would accompany modern Western investment. Autocratic influence seems also to extend militarily, with the U.S. accusing Russian mercenaries of plugging the military gap left by withdrawing French forces in the Sahel. 

The West has been forced to recognise that nations in the Global South are no longer prepared to work as junior partners, and rightly so. Many nations are beginning to flex their muscles after a century of subjugation. For example, much to the ire of the Americans, it was China who brokered a deal between Saudi Arabia and Iran in 2023. Indeed, one just has to look at the latest additions to the BRICS organisation to appreciate that alternative power structures are being constructed to offer a counterweight to what used to be considered the world’s sole “superpower”. The argument in Francis Fukuyama’s The End of History and the Last Man is that the “final form of human government” is the “universalization of Western liberal democracy” continues to be undermined. While in 1989, the U.S.’s worldview seemed ascendant, in 2024, the West is beginning to reckon with the realities of a multi-polar world, and democracies are at risk from both forces outside and within. 

There are thus major questions for the U.K., which in foreign policy circles is said to merely “see what the Americans are doing and then do a little less”. Indeed, it was Blair who followed Bush into Iraq, and now it is Sunak who has followed Biden into launching airstrikes on the Houthis in Yemen. With global shipping routes under attack, the U.K. will need to shore up its fractured relationship with Europe, lest Trump follows through on his threat to either pull the U.S. out of NATO or, at the very least, undermine the organisation, if he is to be re-elected. At the very least, moments such as Liz truss’ fever-dream quip on President Macron (that ‘the jury was still out’ on whether he was a friend or foe) seem to be rarer under Sunak’s premiership. 

In the age of an ascendant China, a revanchist Russia, and regional actors such as Iran and North Korea threatening to undo the U.S.-led order from which Britain has thus far benefited, what can the U.K. do to protect itself from the erosion of democratic practices that has infected its neighbours and allies?

Although it has long been touted as an outlier when it comes to the political representation of extremist parties (purportedly thanks to its first-past-the-post system), the U.K. has nevertheless been subjected to the very same populist pressures as other countries, and has also seen its unique democratic norms challenged.

Since David Cameron, who himself resigned, we have not had a prime minister successfully serve a full term in office. In the last two years, we have had three prime ministers without a general election. One only needs to cast their mind back to former Northern Ireland minister Brandon Lewis’s ill-fated statement in 2020 that the U.K. would only break international law “in a very specific and limited way” to appreciate the U.K.’s democratic vulnerability. Indeed, back in 2019, the Supreme Court ruled that Boris Johnson had unlawfully prorogued parliament. Furthermore, in 2023 the privileges committee found that Johnson had committed the cardinal sin of ‘deliberately misleading parliament’. We are a country based on what Peter Hennessy coined the “good chaps” theory of government – we trust that our elected officials will act within the conventions, and when they don’t, the system cracks. 

The latest Rwanda Plan saga lays bare the peculiar fragility of our system. Once unthinkable, U.K. civil servants are now being instructed to ignore Rule 39 orders from the European Court of Human Rights.  Moreover, the government has pushed through specific legislation designed to bypass a Supreme Court ruling last November which blocked the planned deportation of asylum seekers to the African nation for processing. The Strasbourg Court has been branded a “foreign” court by the government, a not-so-subtle semantic shift from the more accurate “international” label which recognises that the U.K. is both a signatory and founding member. 

Former immigration minister Robert Jenrick said in the House of Commons that, “the law is our servant, not our master”, a far cry from Magret Thatcher’s statement that, “The first duty of Government is to uphold the law. If it tries to bob and weave and duck around that duty when it’s inconvenient, if government does that, then so will the governed, and then nothing is safe – not home, not liberty, not life itself”. 

Of course, I’m not suggesting that our governing party is a tyrannical force seeking to destroy the independent judiciary, but the political saga over immigration has laid out a slippery slope that would not look so dangerous if it weren’t for the examples of Poland and Hungary, where an illiberal democracy has been proclaimed in the latter and almost consecrated in the former. Immigration as a political issue has profoundly shaped European and American politics, pushing British voters to leave the European Union and mainland Europeans towards far-right candidates. Indeed, centrist Macron in France has all but capitulated to the far-right in his own immigration reform last year, with Le Pen claiming an ideological victory. 

In the face of these domestic and international pressures, it is incumbent on British politicians to refrain from using scapegoats and to stop pandering to populists. Appeasement of the far-right by moderates has time and time again seen the appeaser swallowed up by the extremists. Every veiled insult flung at both domestic and international courts only further weakens the delicate balance of power the U.K. maintains. We need politicians who can take the difficult and necessary actions, both at home and abroad, without recourse to policy that undermines our democracy in the process. 

With Labour set to trounce the Tories in the general election later this year, Starmer must heed the lessons of what thirteen years in power can do to a party, and the Conservatives must resist the urge to lurch to the ideological extremes if they find themselves seeking yet another leader for their time in opposition. Finally, both parties need to stop campaigning on a message of fear and blame, and instead offer an optimistic future forward for the country. If voters are continually told that the other party is all but the devil incarnate, how can we ever hope to build a political system that demonstrates to voters that sensible, forward-looking policies should win out over extreme policies which, at the very best, paper over cracks and, at worst, cut a deep ravine through our democracy?

Making reading for pleasure pleasurable

Painting of a woman reading a book.
Image Credit: Takehiko Fujisawa/CC BY-SA 4.0 via Wikimedia Commons

After spending an entire day in the library, the last thing I want to do to relax is more reading. And that’s if I can even fit it into my packed term-time schedule. But in 2024, my New Year’s Resolution is to read more pleasurable books. I want to find time to make reading relaxing again, and enjoy some books off my rather long TBR list. After being a bit too optimistic with my 2023 Goodreads Challenge, 2024 is going to be the year where I repair my relationship with books. But I’m also going to be realistic: studying at Oxford is a jam-packed lifestyle, and I don’t want to miss a second of it.

For humanities students like me, low contact hours and high library hours are the norm. Whilst we may have loved reading as a child, for many it is no longer relaxing:reading has become  irrevocably associated with work. But I remember going to the local library in the summer holidays when I was younger, selecting the next book in the series I was reading, and then reading it all day on my bedroom floor. I remember not being able to put my book down, reading at my meals (which I was not allowed to do), and staying up past my bedtime because I just had to know what happened next. I remember reading being relaxing and fun, and that’s something I want again.

But the big problem for me is that I don’t feel like reading when I’ve finished work for the day. I don’t find it relaxing any more. In term-time, I typically read one book, if any. So how can reading become pleasurable again?

Firstly, I am being less ambitious in 2024. Although I’d love to read War and Peace, this year I’m sticking to shorter books in simpler prose. I’m going to be reading contemporary fiction by bestselling authors of the last few years rather than enormous classic tomes, and I’m going to keep my pleasurable reading well within fiction. I do love non-fiction, but for now that’s going to be reserved for my degree.

Secondly, I am going to listen to more audiobooks. The great thing about them  is that they can be free: I use BorrowBox with my membership to Oxfordshire County Library, and there are lots to choose from. It’s also good that you have a deadline, which motivates me to finish books. I’m planning to listen to audiobooks as I wander around Oxford this term, especially on my half-hour walk into town in the mornings (an advantage of living further out!).

Finally, I’m going to set aside some time specifically for reading. The time I currently spend scrolling through TikTok could certainly be reduced. I want to hear “put your book down” again, not “young people spend all their time on their phones these days”. Don’t get me wrong, I love having a phone, but I think I will find reading to be more relaxing than the information-overload provided by my device.

Reading can be hard in the 21st century, where we have been conditioned to have short attention spans in order to process the vast amount of information available to us. Social media is much more attention-grabbing than reading, and movies and television more fast-paced; in this environment it can be difficult to keep going with a book, especially when they are slower or have sections which are perhaps less engaging. But I think that’s what I need to relax. Maybe that’s what we all need. I’m now nearly halfway through my degree at Oxford, and it sometimes feels as though I have hardly stopped moving or thinking since I arrived. I want to slow the pace of everything around me as I read.

It is entirely possible that 2024 will be another year where I do not meet my Goodreads goal–100 books last year was way off the mark. But that’s okay. I want to read for fun, not for the sake of hitting a target. So much about life when you’re studying is about achieving, and I just want reading to be about enjoyment. I will have succeeded if I have made reading for pleasure pleasurable again.

Review of Tennant as Macbeth: An Auditory Experience

Last week I took a trip to London to see the new production of Macbeth starring David Tennant at Donmar Warehouse. Macbeth is an age-old Shakesperean classic, one that people often think of first when told to think of a Shakespearean play. Thus, I am always looking (as I do with all Shakespeare productions I see) for something new and exciting, something to make me remember why it is still a play we see performed today, centuries later. Having heard murmurings about this being a very technology based interpretation of the play, I was excited to see what was in store. 

The stage at the Donmar theatre is black box-esque style with a thrust element, with audiences seated on three sides of the action. The stage was a simple white floor with no set or props. On the back wall there was, however, a distinctive feature. It had four large glass panels, like sliding doors that could open and close and that we could just about see through. For most of the play we saw the three piece band sat behind here, and at other moments full scenes played out behind the glass. It made it feel disjointed from the central action on the stage, but this made it more haunting and omnipotent, the sense being that someone was always watching over the main action.  

I initially thus have to commend the people behind the scenes of this production, perhaps more so than the actors themselves. The idea of giving every audience member synced up headphones with binaural sound was innovative and enthralling; I felt central to the action the entire two hour performance. I especially enjoyed that actors, primarily Tennant as Macbeth, could choose to vary volume and come down to even a whisper for certain lines, and we were still able to pick up every word due to the headphones feature. The concept of having the witches as this intangible entity identifiable only by the speech made through the soundscapes was eerie and genius. A prominent feature was birds made to seem as if circling your head at several moments, wings flapping right inside your ears. There was music from the band that funnelled through the headphones, underpinning most of the scenes. 

The ensemble was certainly a strongpoint for this production. On top of the soundscapes, we got a lot of choreographed group work, including lifts and movement sequences that really emphasised the sense of entrapment and pressure that Macbeth was feeling from his peers and himself, internally. We saw them on all fours at the back of the stage, climbing over the sides, slowly advancing on Macbeth placed centre stage, whispering lines all the while. We also saw them utilise the back glass-panelled room by standing in a line banging on the glass wordlessly, representing the inner turmoil Macbeth was facing in the wake of his murderous actions. 

Many of the people there, I would hasten to guess, were there purely for David Tennant. A big name both on screen and theatre; just his name on a production is guaranteed to warrant some allure. And he lived up to expectations: his acting was visceral and haunting. I think this is the first production where I felt some empathy for Macbeth, and really understood the emotional aspect of his mental decline.

The costume was also cleverly thought out, even if seeming minimal upon first glance. All of the characters were dressed in shades of grey and black, all with classical Scottish kilts, a small homage to the Scotland setting in which the play is primarily located. However, Lady Macbeth stands out amongst the rest, dressed head to toe in white. A common colour symbolic of purity, it felt oxymoronic given her murderous intentions and manipulations. Her role as a woman associated with this sort of “cover” of innocence was emphasised by this costume choice. The high neckline of this long, flowing, dress, impacting the stage at every turn, dominating the space whenever she frequented it.  

The serious nature of the performance was also interspersed with moments of comedy primarily through breaking the fourth wall and having audience interaction. It did feel slightly out of touch from the rest of the production, but certainly warranted some shock factor and lightened the mood.

Definitely one to catch if you are lucky enough to get your hands on tickets. It’s an all round experience that entices every one of your senses.

Macbeth is running at the Donmar Theatre from 8 December 2023 – 10 February 2024.

The Spartan attitude of tennis to its young

Image Credit: Pahcal123/CC BY 4.0 DEED via Wikimedia commons

The year is 2018. Greek 20-year-old, Stefanos Tsitsipas, has won the NextGen Finals, the tournament for breakout tennis stars and a promising sign of things to come. Just a year later he wins the ATP World Tour Finals, the highest accolade in tennis after a Grand Slam, to become the youngest winner of the championship since 2001. Eager anticipation begins to brew from the giants of the sport, tipping Tsitsipas to be the successor of men’s tennis and usher in the new era.

Four years after this triumph, in 2023, and Tsitsipas’ career paints a starkly different picture to the one many envisaged. No longer viewed as a threat to the throne of tennis in the way he once was and with his prospects of a slam diminishing, at twenty-five years old, he, and other players in a similar position such as Andrey Rublev and Alexander Zverev, have been supplanted by the ‘next generation’ of talent following them. Scrappy, unrefined, but defined by an insatiable hunger to win that outweighs all else, the next generation of teenagers and twenty-year-olds are still at the stage where inexperience is overshadowed by an obsession to prove themselves. They are also faster, possess unwavering courage on court and have a plethora of potential still to tap into. And they are now the players that are being heralded as the heirs to the tennis world.  

The fact of the matter is that the optimal window for Tsitsipas to win a slam has come and gone. No longer a starlet himself, buoyed by dreams of slam wins that seemed in touching distance just four years ago, the harsh reality of the tennis world has set in and established that every year that he failed to meet the dream of a grand slam was a year closer it would be for someone younger. The problem doesn’t exclusively affect Tsitsipas; Eugenie Bouchard reached the Wimbledon finals aged twenty but has since declined in form and is now ranked outside the top 200. Madison Keys reached the 2017 US Open final aged twenty-two, having cracked the top fifty as an 18-year-old, but saw a stark drop in performance over the next few years, which she only saw end in 2023. Outliers like Djokovic and Williams who were winning titles in their thirties do exist, but the odds aren’t in most players’ favour. 

Tsitsipas himself seems to have recognised his fading chances of achieving the dream that he’s worked his whole life for: “There was a gap roughly, between 2018 and 2020, before Carlos Alcaraz, Holger Rune and Jannik Sinner. Then all the spotlight was on me…Now the scene has changed, we’re not so young anymore. Young players have tremendous energy, thirst and no fear…A grand slam title and world number one? It’s something I think about a lot but it’s not everything”. His candid words acknowledge the uncertainty of his prospects, but are tinged with regret – the goals he has aspired to realise his whole life are dwindling out of sight. 

Experiencing high levels of success at an early age followed by years of failing to live up to the hype aren’t coincidental; a combination of factors can play into this dreaded experience. The turbulent nature of junior tennis cannot be understated, a period where form fluctuates and both mental and physical strength are developing, making progress here an unreliable indicator of future success. Learning to acclimatise to the sporting scene is also highly challenging: perpetual travel and a consequent inability to settle down takes its toll, with many players citing burnout for the decline in their careers. 

Injuries are commonplace too, as in the case of Hyeon Chung, who reached the 2018 Australian Open semis and was similarly touted for greatness before suffering unrelenting injury crises. Mental struggles play their part as well, especially when juggling the effects of personal issues, fame, and the insidious attitudes of the media with the pressures of meeting expectations. The result of this concoction of challenges can be a player who realises that their childhood entrenched destiny of winning tennis’ greatest accolades will go unfulfilled, a curse that has plagued many players and will afflict many more. 

The tennis world is ruthless; junior players are constantly coming through the ranks to supplant players like Tsitsipas, much like he did as a twenty-year-old. Once players reach their early twenties, almost presciently they fulfil the cycle, becoming victims of a younger player that they once were and struggling to have the same impact that they once had. There’s still flickers of hope for Tsitsipas though. He is only 25 and has around a decade left of his career, copious chances to achieve his ambitions. He reached a slam final in 2023, exhibiting hope for deep runs. And recently, Thiem, Cilic and Halep have all reached the pinnacle of tennis at ages older than Tsitsipas. Tennis has a vicious cycle with its young players, but its curse can still be broken – whether Tsitsipas joins this illustrious list is dubious but not entirely out of the question.

Forget her not: Rediscovering women in music: Week 0

With each edition of Cherwell this term, Keziah will be bringing you a new female artist who she believes should not be forgotten. This week: Fiona Apple.

Stumbling upon Fiona Apple’s 1999 album When The Pawn… actually inspired the concept of this column. I had heard of the American singer/songwriter before, but actually listening to her music was something entirely different. 

I discovered that many others are unaware of Fiona Apple and her discography, and are thus also missing out. So, my mission is to enlighten, one underrated female artist at a time.

It’s not just Apple’s inimitable voice that captivated me over the winter vac, but the Joni Mitchell-esque emotional intensity and unique musicality of her lyrics. Fiona Apple defies genre typecasting, with each album containing a plethora: at once alt rock, blues and jazz, even infusing classical. 

Fiona Apple McAfee-Maggart was born and raised in New York City with her mother and sister (though spent summers with her father in Los Angeles) and composed jazz pieces growing up. From the age of 12, she suffered from OCD, anxiety and depression, PTSD and an eating disorder following a traumatic event in her young life. 

The powerful poignancy of her music cannot therefore be separated from the artist’s experiences. Apple’s debut album Tidal addresses and explores her trauma, isolation and woes. Its lyrics deal deftly with her personal life through oceanic metaphors, and we see her pain ebb and flow and rage below the surface, herself an emptied shell, helpless victim of “he” who “took my pearl” (from the album’s second song, Sullen Girl). It is no surprise, then, that this young lyrical mastermind’s debut album went triple-Platinum. But the album didn’t achieve great fame until Apple’s controversial, overtly sexual music video for the single Criminal earned her a Grammy Award for Best Female Rock Vocal Performance, and the album a spot in the Top Ten. 

Since then, each of Apple’s albums offer something unique and deeply personal, her lyricism plaintive, apt and soulful. Both album titles The Idler Wheel… and When the Pawn… derive from longer poems written by Apple herself, showcasing her great expressive ambition. Apple has earned herself a cult following over the years, spellbinding listeners with her poetry and stunning, rare contralto voice. 

My personal favourite songs of hers? I Know, Paper Bag, Slow Like Honey and Extraordinary Machine

Rebel Moon – Review

Image Credit: Rawpixel/ CC0 1.0 via rawpixel

Call me cynical, but I always find reviewing bad movies far more enjoyable than good ones. Dissecting Tommy Wiseau’s ‘so-bad-its-good’ reverse masterpiece The Room, for example, is a joyous caper due to its unending stream of foibles. The chance to review Zack Snyder’s new Netflix blockbuster, Rebel Moon, was therefore not something I could pass up, having seen the torrent of dreadful reviews and the poor scores from Rotten Tomatoes (22%) and Metacritic (31%). The problem with this anti-genre is to do with intent. The Room is funny because it wasn’t meant to be; the damnable dialogue written earnestly for what Wiseau hoped was a good film. Rebel Moon is another; the enjoyment I got from its crap-ness does not detract from the blunt truth that the film is not good.

One phrase summed up my thoughts after watching-slash-trudging through this film: why? What was the point of it? Synder’s pet project defied cliché in how cliché it was. Often my dad and I, with stunning success, found ourselves predicting character’s lines before they actually said them. The plot was staid, its story beats hitting with clockwork timing. The simple village folk of the rebel moon in question, Veldt, have their innocence shattered as the Evil Empire threatens to blow them to smithereens. The film quickly becomes The Magnificent Seven in space, as Sofia Boutella’s anti-heroine protagonist Kora assembles a ragtag crew of reluctant adventurers to foil the comically wicked Space Fascist commander, played by a scene-chewing Ed Skrein. Kora, along with Michiel Huisman’s lunar bumpkin Gunnar, resolve to gather a team to fight back, leading to a brain-melting slog consisting of meeting each character and convincing them to move the plot along. This culminates in a final showdown between Kora and Skrein’s Atticus Noble. The only unexpected part about the ‘twists’ is how foreseeable they are; Charlie Hunnam’s roguish cad Kai turns out to be a roguish cad and betrays our heroes, Atticus Noble survives the final fight and is revealed to be a pawn of the next film’s antagonist, who himself raised Kora as an imperial soldier before she defected to become a farmer on Veldt. 

The characters are non-existent, with Synder pulling the old trick of substituting meaningful character development with a tragic backstory. The obvious romantic subplot between Kora and Gunnar, for example, has no impact when they are both so forgettable. Rebel Moon is left with pallid etch-a-sketches of characters from other, better films. If I seem uncharitable, it is because there really is vanishingly little that can be enjoyed in this film if not through the lens of irony. Even the fight scenes, often what many look forward to in space opera after wading through clunky exposition-laden dialogue, were just dull. Slow-mo, used to great effect in films such as X-Men: Days of Future Past, was used here as a crutch rendering all the fights uniform and uninteresting. 

I hear your cries of protest: you’re not meant to take it seriously! This kind of film is a fun, brainless romp à la Marvel! Sadly not. Snyder’s DCEU offerings were notably lighter than its rival on humour, and this film takes that lack of levity even further. I can’t remember one joke throughout its hefty 2 hour and 14 minute runtime. Don’t get me wrong; like everyone else in my generation, I am tired of the lazy millennial-esque quips that prevail in blockbusters. Serious films given space to be serious, like Oppenheimer or Joker, have proven they can achieve stellar success with audiences and critics alike. But Rebel Moon is not a serious film. While Snyder clearly tried hard to uprate the movie to a more adult version of Star Wars, with the supposedly morally muddled protagonists and implications of sexual violence in an early scene, it cannot escape its absurd premise. The film’s “heaviness” weighs it down rather than giving it an added punch. Watching it feels like a chore with no reward.

‘I have never courted popularity’, intones John Cleese in a Monty Python’s Flying Circus sketch about a homicidal stockbroker. If Netflix viewing figures are anything to go by, my scathing acid for Snyder’s movie will not resonate with public opinion. Rebel Moon topped the charts for Netflix in the coveted post-Christmas week, and its audience scores have far exceeded the consensus from critics. Some fans even took to social media to demand an extended edition. Rebel Moon is basically enjoyable if you switch your brain off, but we deserve better blockbuster movies. While not every sci-fi has to be the strange, uncomfortable and masterful 2001: A Space Odyssey, for example, light entertainment should bring something new and original to the table.  If you want a rubbish film to while away a few hours, and some chuckles at inept dialogue, then Rebel Moon is worth a watch. But I’ve had my fill.

Flapping wings: taking the chicken scene by storm

Sketch of the Popeyes logo
Artwork by Madeleine Storer


There are two KFCs in central Oxford – one on Cowley Road and the other on Cornmarket – and until a few years ago their hegemony over the fried-chicken market seemed secure. Since then, the kebab vans have upped their game, and the little independent shops have also improved the general standard. By the time Popeyes arrived here in 2023, KFC was already in its twilight.

Popeyes has revolutionised the Oxford fried-chicken scene. It only arrived in the UK three years ago but has rapidly established itself as a force to be reckoned with. I can say without exaggeration that, in eighteen years of eating fried chicken far and wide, I have never – never – had anything better than Popeyes; and that, by the end of this decade, Popeyes will have overtaken KFC as the largest chicken dealer in both Oxford and the whole country. 

Now, the spicy chicken burger is the highlight of the menu. Generally speaking, there are two kinds of chicken burger: there is the flat, plasticky “steak” burger that you find in the kinds of shacks which, the next time you go there, have been closed down by the Food Standards Agency; and there is chunkier, better-quality “fillet” sold by KFC and others. Popeyes’ burgers are in the latter category. Twelve hours before serving, the fillet is marinated in a crisp, darkish batter of aromatic herbs which sprawls out in fat ridges; then is lathered with spicy mayo and topped off with gherkins (only if you’re keen on gherkins); before being slapped in between two hot brioche buns. 

When funds are running low, of course, and a big burger is out of the question, Popeyes’ Saver Meals provide, for £2.99, a light yet agreeable stomach-filler. There are four types of Saver Meals to choose from. I usually go for the spicy chicken strips with fries. (Their fries, by the way, are fresh, slender and as good as can be expected, but aren’t in the same league as the chicken). 

The other Saver items involve wings. Wings are usually the standard unit of measurement when discussing chicken shops – like pints for pubs – though the ones from Popeyes have, historically, made quite a poor showing. They all used to be stiff and tasteless, as the chicken pieces still are. But this problem was later solved by the introduction of the Ghost Pepper Wings (£5.25 for five). These are dusted with a zingy seasoning which rubs off on your fingers like Pringle powder, but which is punchier than any of the other things and lingers for longer on the tongue. If your tolerance for spice is low, they come with your choice of Popeyes sauce (Ranch Sauce is the best, though they are all good in their way, and all come in attractive-looking pots) which cools the flavour quite well.

There are also a range of vegetarian options, and various sides, drinks, and desserts. And, if you’re a regular, it all works out as more cost effective, because, whenever you buy something, you get a barcode from which you’re guaranteed to win anything from a free ice-cream to a free year’s worth of chicken sandwiches (or most often something in between, like a burger meal). 

Now, I’ll finish with a warning that Popeyes may have unaccountable effects on your health and mind. You may well find yourself under the grip of violent cravings in the middle of the night – or, worse, in the middle of a tutorial – which send you marching suddenly off to 36-37 Queen Street. You might end up having to mortgage your bed and your laptop in exchange for more spicy chicken burger meals. Moderation is the word. I would try my best to restrain these fatal attractions…as much as humanly possible once that batter has passed the lips and that sauce has touched the tongue.

Bands to Watch Out For in 2024

Image Credit: marfis75/ CC BY SA 2.0 via flickr

As the new year unfolds there is no better time to expand your music taste and explore genres and artists that you may not otherwise have chosen to listen to- or even have heard of. January is the time to put well-deserved emphasis on smaller artists; to connect with live music and local DIY scenes. So if you want to get going on this new year’s resolution, the list below is an opening into new listening-territory; as it were: an amalgamation of artists who are on the up in 2024.

  1. HotWax

This Hastings-based grunge alternative/ punk rock trio has been rapidly rising in popularity in the last year, with ablaze live performances reminiscent of the roughness and energy of Riot Grrrl. Endorsed by the likes of Elton John, Hole’s Courtney Love, and Wolf Alice, the HotWax band have gone on to release their flaming second EP: Invite me, kindly, which you can catch live on their 2024 tour with DIY Magazine.

  1.  Dream Wife

Brighton’s Dream Wife have crafted a dreamy discography displaying a punchy concoction of indie rock, dream-pop, and pop-punk. The female-fronted band’s hits, call upon themes that a surprising number of us can relate to, with catchy, playful lyricism: Such as Hey Heartbreaker, and Hot (Don’t Date a Musician), the titular (and my favourite) track off their 2023 album. 

  1. Vision Video 

For those inclined to music on the darker side, Vision Video are an accessible and exceptionally slippery slope into an obsession with post-punk and goth music. The American band replicates nostalgic sounds from traditional bands including The Cure (check their cover of Pictures Of You) as well as introducing modern melodies for baby bats. The release of their 2023 single Normalized bodes well for an incoming album, as does their gig supporting Skeleton Family I caught in London last winter.

  1. She’s in Parties

Despite paying homage to the gothic in their name, the quartet She’s In Parties produce an exquisite mix of shoegaze and dream pop harmonies which make the listener feel as if they’re floating in layers of hazy noise. Reminiscent of the classic Cocteau Twins, and the vocals of contemporary Pale Waves, we can excitedly anticipate the Essex based band’s debut album End Scene, due for release in 2024.

  1. Bob Vylan

Bob Vylan’s discography incorporates punk rock, with influences from the UK grime and rap scenes; a perhaps unexpectedly felicitous mix. However, where these genres differ in sound, they ideologically align: grime participates in punk ideology. So, they implement the style and cadence of people of colour in grime within this subculture, boasting titles such as We Live Here and Hunger Games. Catch their 2024 album: Humble As The Sun.

5. The Last Dinner Party

After catching them by chance on an enclosed stage at a rural philosophy festival this summer, the The Last Dinner Party’s capacity to draw energy from such a small crowd impressed me. The female-fronted five-person band’s banquet of indie rock tunes have landed them supporting spots with Florence and the Machine and the Lana Del Rey. Hence there’s no doubt that we’re likely to eat up their debut album Prelude To Ecstasy later this year.

6. SNAYX

Last but by no means least, playing Oxford’s notorious Bullingdon this February, this English punk rock trio have also incorporated more danceable genres from indie rock to ska, with their live shows demonstrating noise-rock in the most positively conative sense of the word. Their 2024 single release featuring Sink Or Swim and Better Days include intense bass riffs and experimentation not to be missed. 

In conclusion, rather than an exhaustive list, this selection of artists can serve as a platform from which to explore new musical-ground. Other ways to find new artists can be from gigs themselves- in Oxford, for example in venues such as: the Bullingdon, the Library, Common Ground, and the O2 Academy.

Leo Buckley election appeal to be heard by tribunal

Image Credit: Daniel Stick

An election appeal launched by Leo Buckley is set to be heard by an Oxford Union tribunal this term. 

On the Union’s Hilary term card, the position of President-Elect is absent from the Hilary Committee page. According to the Union Press Office, the position’s powers and duties are currently devolved upon the President since “disciplinary proceedings related to last term’s election are ongoing.”

This development in the Union elections for Trinity term comes seven weeks after Buckley, found guilty of electoral malpractice, was disqualified from the presidential race. His margin of victory before his disqualification was narrow – he received only a few votes more than #Challenge-slate candidate Julia Maranhao-Wong.

The two sides – one representing Buckley and one representing Maranhao-Wong – will have the opportunity to present their cases before the tribunal. It is unclear exactly what the composition of the tribunal will be, but Union members who have long since graduated might be asked to join to avoid any potential conflict of interest. 

Buckley appeared to make oblique reference to the ongoing appeal in a social media post Monday night. His Facebook account showed him standing in front of the Roman Colosseum with the Latin phrase “Sic Semper Tyrannis” displayed in the image’s background. (The phrase means “Thus always to tyrants” and is used in contemporary parlance to say that tyrants will inevitably be overthrown.)

University severs ties with TCS following admissions test debacle

Image Credit: Jess Buckle via Pexels

Due to issues in test administration during last year’s admission cycle, Oxford University has decided to sever ties with Tata Consultancy Services (TCS). The University explained: “Following the technical problems experienced by some candidates during the delivery of this year’s online admissions tests by a new provider, TCS will not be involved in the delivery of Oxford admissions tests going forward.”

Oxford’s admissions tests were previously managed by Cambridge Assessment Admissions Testing (CAAT) until it withdrew last year, citing problems with affordability and increasing complexity of the exams. In response, the University partnered with TCS to replace CAAT and modernise test delivery through digitisation. 

TCS was criticised by students and teachers for the technical errors that plagued last year’s admissions tests. Examples include the Mathematics Admissions Test (MAT) taking more than two hours longer for some students due to recurring glitches, and the English Literature Admissions Test (ELAT) accidentally giving students last year’s rubric with the wrong themes listed for the passages.

In response, the Mathematics department decided to offer a supplementary test for students that wished to be re-examined, while the English and Geography departments annulled their respective exams entirely. 

The University told Cherwell: “This decision has been made following careful consideration of the issues, as well as feedback from candidates, teachers and test centres.  Our priority is to ensure a high-quality experience for all candidates and those involved in supporting them, and we are grateful to the students and their teachers for their patience during this process. Details of the new arrangements will be communicated in the Spring, at the start of the next admissions round.”

The webpage for admissions tests currently states: “We are now working on alternative options for 2024 and beyond and will communicate the new arrangements as soon as possible and no later than the start of the new admissions cycle in early Spring.”