Monday 9th June 2025
Blog Page 562

Chilean Protests: a call for change

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It’s Monday morning in the coastal city of Antofagasta, northern Chile. From its centre, the stench of last night’s tear gas has replaced the usually fresh smell from the nearby sea. Children wear masks to avoid painful stinging to the eyes, nose, and mouth. Soldiers stand outside supermarkets, where queues stretch for two or three blocks. It’s like a grotesque caricature of a usual day time scene.

As a student and teaching assistant in Chile, I have seen protests engulf all of Chile over the last few days. Friends, colleagues and neighbours have become frustrated at poor living conditions, corruption and police brutality. What began as a protest against increased Metro prices has rapidly escalated out of the control of the conservative President Sebastian Piñera. These protests may be happening on the other side of the world, but they deserve our support. What is happening in Chile matters. It tests our fundamental principles: are we on the side of peace, tolerance and democracy, or will we allow would-be tyrants to rule down the barrel of a gun?

All ages – children, parents, miners, professors, and the elderly- can be seen congregating outside for a cacerolazo: a form of protest where wooden spoons are clattered against household pans. It’s an act of defiance against the 8:00 pm curfew. They walk towards the nearby Main Street. Army trucks sit waiting to enforce the toque de queda. They bang the pans as the soldiers drive past with guns.

This typical image of the protests is notably missing from Stephen Gibbs’ report in Monday’s Times. He only wrote of rioters’ supposedly responsible for deaths. Photos from the BBC primarily show rioters in provocations with the police. As the few violent protesters receive the majority of the attention, it’s the plight of the peaceful participants that is continually overlooked.

Of course, any movement with such a national reach risks being undermined by the actions of a small minority. Social media in the past few days has been full of posts urging fellow protesters to be respectful and avoid violence at all costs. Students in particular are desperately trying to self-police this diverse movement. This is made particularly difficult by the spontaneous and leaderless nature of the demonstrations.

While the reports rightly condemn violent demonstrations, they ignore its link to police brutality and a President who has declared a State of War on his own people. The demonstrators that I have spoken to in Antofagasta stress the need for peace. Kenneth Shields is a professor of Law with a PhD in Political Science. He was at the protests that afternoon and described a friendly atmosphere where the elderly, students and children were protesting together until the arrival of the special forces. This account of events was supported by various videos shared on social media. It’s a damning indictment of the traditional media’s ability to distort a story in its own interests.

This disparity between the experience of protesters and its portrayal on Chilean news has been a constant frustration for demonstrators. As of writing, there have been 18 deaths, with a further 8 instances of alleged sexual violence carried out by the carabineros. Lists of missing persons and photos of injuries are ignored by the press but feature far more heavily on social media. Javier Ignacio Iara Gallardo, 23, is studying to become an English teacher. He is “zapping between channels, looking for videos, testimonials and photos to compare”. According to him, national reporters’ silence on police brutality forms part of a long-held position of covering up illegal police activity. This lack of faith in mainstream news outlets has forced people to turn to social media to post videos of police using water cannons, tear gas and bullets against demonstrators. In the process, students are determined to show that they are protesting peacefully and are often willing to place their lives at risk to be heard. Their efforts at standing up for truth and justice in the face of a hostile and violent establishment is an inspiring one.

For many, police brutality, mistrust of mainstream news outlets, and a government facing corruption scandals are echoes of a previous era. This is unsurprising: the Constitution has not changed since the Pinochet years, and the top-rank police and military began their training under his dictatorship. Pinochet may be gone, but the Chile of today lives every day in his shadow. Its public life and population are scarred by the legacy of his rule and the traumatic affect it has had on this nation’s psyche.

Danis Andrea Olivares Rojas was 19 at the time of the coup d’etat in Chile in 1973. Now she is 64 and fighting for the future of the next generation. She suspects that the excessive force used by the government is a ruse in order to stage another coup and justify further repression. During our encounter, she launches into an impassioned appeal to the President and the press, pleading for Piñera to take the military off the streets and for the media to report what is truly going on. She says that she isn’t scared, and the curfew won’t make her back down. The noise of the cacerolazo carries on long into the hot Antofagastan night.

Their anger stems not simply a hike in Santiago metro fares but from issues that have been building for 30 years. One mother who working in public health was protesting with her young son. She told me of people dying while waiting for hospital appointments. She described a corrupt pension system that leaves the terminally ill in a situation of crisis, and an education system collapsing under the burden of insufficient student care. Meanwhile, the salary of politicians remains 33 times higher than the US $414 per month minimum wage. No wonder the Chilean people are angry. In the UK we might complain about politcians’ incompetence and expenses, but over here doing so is a genuine matter of life and death. This might seem alien, but to the people I meet every day here in Chile, it’s all too real. These are my friends and neighbours, and they have every right to be bloody angry.

Above all, they believe that President Sebastian Piñera epitomises these problems. He claims to have listened yet offers little reform. He asks for stability whilst stirring divisions. He calls for peace by declaring war. It would be funny if it wasn’t so tragic. Whether you agree with their assessment or not, their concerns should not be drownedout by the violence of a select few. The media should assess the various issues raised by the Chilean people instead of incorrectly labelling them a violent mob.

From the UK it is easy to feel that none of this is very important. However, accurate reporting on this subject matters. Students in the UK deserve the chance to show solidarity with their counterparts protesting in Chile. More generally, the eyes of the world should be on a country where fundamental human rights are being broken and democracy is under real threat. Most importantly, however, the UK needs to support its own Chilean community, many of whom were protesting outside of the Chilean Embassy in London on Monday, as they think of their loved ones back home.

This house believes genetic engineering is irresponsible

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Proposition: We should not exercise the power to shape our genome

William Atkinson

Who chooses who lives or dies? Which children are born into poverty and hunger? Previous generations would have said God. As staunch an agnostic Anglican as I am, I’m rather glad we’ve done away with that notion now. The last few decades have seen incredible advances in tackling the evils of global poverty and malnutrition. Every day, more people live happier, healthier and wealthier lives than ever before.

But there’s much more to be done, and genetic engineering forms part of the answer. The ‘golden rice’ of Professor Ingo Potrykus was in the news this week. It’s rice that’s high in Vitamin A. Deficiency in this is almost unknown in the West. Elsewhere it’s a huge killer. It’s estimated as the cause of 2,000 deaths a day, more than HIV or malaria. A third of global children suffer from it, and it can lead to blindness. But the introduction of this rice has been delayed in many countries because of stifling regulations. This resistance to genetic engineering is a disgraceful tragedy. The millions that died unnecessary deaths attest to that.

So why, if I can so passionately defend genetic engineering, should I argue it’s irresponsible?

Because plants are different from people, as much as Guardians of the Galaxy suggested otherwise. As genetic engineering progresses, it’s moving into troubling areas. ‘Designer babies’ is an infantile term. It makes you think of Sex in the City style choosy mums picking out their best babies. Oooh, I fancy a ginger one I think. Maybe a girl. Let’s not make her too bright though, the last one was a bit too clever, etc. It’s like Aldous Huxley crossed with Sophie Kinsella. But don’t let this silly image hide a deeply problematic debate. What right do we have to choose what our kids are like?

It happens already, for a lucky few. The wealthy can have sperm sifted from donors predisposed to particular traits. But hoping for a particular sex or hair colour is nothing compared to some of the implication of genetic engineering. What happens thirty or so years down the line when a parent can choose not only their child’s IQ or predisposition for putting on weight, but whether they suffer from mental illness or a disability? If parents chose in a certain way, they’d be suggesting those born naturally with those conditions were somehow less worthy of life. That’s horrifying.

It’s an old debate; after all, the term eugenics was invented in 1883. That doesn’t make it any less crucial. I stand foursquare behind Professor Potrykus and those like him whose work can do so much to alleviate human suffering. But as genetic engineering spreads from plants to humans, I can’t help but feel we’ll be resembling Potrykus less and less. Instead, we’re like those nations blocking the introduction of his rice, choosing who gets to live or die.

Opposition: If done carefully, gene editing can solve problems nothing else can

Yaelle Goldschlag

Gene editing brings to mind dystopian scenarios. The technology and potential behind gene editing feel so futuristic that we condemn progress. But we must not dismiss the field because of its potential dangers. We must instead proceed cautiously and carefully.

Gene editing research today deals primarily with improving unfavourable situations, from increasing crop resilience to preventing diseases. Examples of past experiments include treating a man with HIV by transplanting modified, HIV-resistant cells into his bloodstream and increasing algae’s biofuel production.

Various concerns arise from different categories of gene editing. We must conduct effective tests when modifying food crops because the food is often widely distributed. Edited genes that are inserted into live organisms should be tested like any other medical treatment. However, creating regulations that enforce effective testing and thoughtful progress is preferable to outlawing advances. Progress can be undesirable: we should likely not allocate money towards building larger nuclear weapons.

But we should continue with research in areas that may be fruitful. With the climate, the potential for food shortages, and the state of medical advances, gene editing has the potential to be useful.

There are consequences to tampering with the human genome however. Successes in eliminating a disease or creating immunity may come at the expense of other consequences. The longer-term consequences are speculative. Editing the germline may spur evolution that has been remarkably absent from humans for thousands of years. It is hard to know what will happen if we upset that distinction.

Other concerns are dystopian: what would happen if we improve some segment of humanity? Will this new technology lead to elimination of diseases, increases in strength or intellectual ability, or even reductions in ability to enforce a class-based system?

But these are not decisions we must make today. There is no indication that society will advocate for these changes: people are rightfully wary of editing the human genome, and governmental legislation and self-imposed regulations in the research community prohibit this area of advancement. I argue in favour of thoughtful gene editing, but against nonessential changes to the human genome. There are cases where modifying the human genome may be desirable such as when a fetus is known to have a serious disease. As in these other areas, we should continue to have transparent discussions and reevaluate as new scenarios arise.

Review: Another Sky

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Being punched in the face then kissed tenderly”: this is how Another Sky described their music, and after seeing them live I’m inclined to agree.

Wearing a t-shirt with the print of Joy Division’s iconic debut album ‘Unknown Pleasures’, lead singer Catrin set the tone for an ethereal and energised performance. As so many reviewers have said, her voice is – particularly live – astonishingly beautiful, reminiscent of Florence Welch. It has an incredible pitch range, rising from deep, sonorous tones to a high-pitched celestial wail in their opening song ‘Apple Tree’. Taken from their recent EP ‘Life Was Coming In Through The Blinds’, released in June this year, the song began a vibrant set that brought a warming charm to the room at the top of Cowley Road’s O2 Academy.

Announcing their second song as concerning a “past life as a fish”, the set continued in its bizarre but captivating mix of serene, lulling melodies and furiously energetic drum build-ups. Drummer Max Doohan’s movements from tambourine to cymbals solos created an unusual timbre that characterises the band’s eclectic harmonies, welding perfectly with singer Catrin’s transitions between electric guitar and keyboard. Her voice matched wonderfully with bassist Naomi Le Dune’s warm tones and extremely cool aura.

Quipping to the audience in between songs, Catrin announced that one was about places far away – such as Canary Wharf – and another was for “the ladies in the room”. Tantalising. Her on-stage relationship with guitarist Jack Gilbert was lively and dynamic, emanating enthusiasm as Gilbert became visibly engrossed in the set. Their performance of ‘The Cracks’, also from their recent EP, was a highlight as my favourite song of theirs. Chaotic acceleration to an indulgent fever pitch faded carefully and expertly to silence, holding the audience’s attention.

It’s a shame the set was only 30 minutes, as the audience and I were almost bewitched by its end. I’ll definitely be seeing them again.

Interview: The Sherlocks

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On 4th October, Yorkshire indie band The Sherlocksreleased their second album, Under Your Sky, opening at a brilliant Number 13 on the Official Album Charts. Simone Fraser sat down with their lead singer and songwriter, Kiaran Crook, to talk about musical evolution, gigging, and… a massive loaf of bread.

Under Your Sky is the second full album the Sherlocks have released – how’s your music evolved since Live For the Moment(2017)?

“With this album we’ve sat down and looked at each song and for what it is, rather than just going straight into recording and getting everything down. We looked at the structure of the songs, the lyrics of the songs and then obviously the production…I think with first album we seemed to layer everything up too much, like we’d do a guitar track and we’d end up tracking like 20 guitars. And listening back it still sounds good, but it sounds a lot fuller, there’s no space. And I think that’s the main thing we wanted to achieve with this record is to have a bit more space… You can pick the instruments out rather than just being a wall of sound, so I’d say that’s the main thing”. 

Do you have a favourite song on the album?

“Yeah, mine’s probably Under Your Sky. A couple of other lads like Dreams – that’s good too. I think with Under Your Sky I just like how big it sounds – like it sounds massive… I think Brandon and Josh like Dreams because it sounds pretty fresh for us, and I don’t think it sounds like  anything we’ve done before. Like it sounds more acoustic-y, but it’s still rocky… and it’s a fast-paced tune, but with more acoustic sounds… it sounds a little bit like a DMAs kind of tune.” 

Have you been playing them a lot on tour so far, or have you gone straight into the studio?

“No, we’ve been holding them back. The only tunes we’ve been playing are the singles so each time we released a single then we’ll start to play it. But apart from that we’ve kept then all pretty much under wraps. I think we’ve played we’ve played NYC (Sing it Loud), Magic Man, Waiting, we’ll start playing Under Your Sky… It feels like we’ve been playing the first album for so long now. To have some fresh songs it just feels like a dream for us. And obviously the fans are ready for it as well, when we go on tour it’s just going to fuse right. Everyone’s ready for new music. I’m a fan of music anyway so I know how it feels for a band that I like to bring new music out. It’s just so exciting so can’t wait. We’re all just buzzing to go out”. 

Are there any venues or cities you feel particularly excited about playing?

“Sheffield. That’s a big one. I think we all feel that we’re ready for just playing a good gig in Sheffield. I don’t know why but it just feels like it’s been ages since we’ve played Sheffield. I’d say that that’s the main one to be fair, but  we’re obviously looking forward to them all. I think it’s just because it’s close to home. We live 15 minutes outside of Sheffield, but Sheffield’s the nearest place where we’d go for a night out and a drink and stuff. Me, especially I’m always out in Sheffield, and it’s got a bit of a vibe. I think Sheffield fans as well have got on board with us from the start. They always seem to have got our music. It didn’t take much persuading, it was just like these are tunes and they seemed to get it. And then that’s followed on with this next album as well”.

Doyou feel you’ve got more of a fanbase up North, or is it more spread around?

“I feel slightly yeah, but I feel like we can go anywhere in the UK and get pretty much the same reaction. A few years ago I think it would have been a lot different. When we were playing in London it wouldn’t have been as good as what it would have been in Sheffield. I think now we’re closing that gap where we can do a gig in London and it’s going to go off just as much as a Sheffield gig. But that’s all down to people learning about your band and how your fans react and stuff”.

Do you prefer playing bigger venues or do you prefer smaller, more intimate ones?

“I have enjoyed playing these smaller ones. We’ve been doing a lot of acoustic gigs and stuff. But I think I’d still say the bigger the better for me. I love playing big gigs. We’re a fan of festivals as well. I think the only thing with festivals is there’s a lot more room for things going wrong. You obviously don’t get as much time to play as what you would at your own show. But that’s sometimes nice as well because you play all you best songs and all the songs where you think crowd are gonna get it a lot easier. Your bigger tunes”.

Do you ever get tired of playing your most popular songs, such as ‘Chasing Shadows’?

“I mean I always enjoy playing Chasing Shadows. There’s maybe some songs I don’t like as much, maybe Heart of Gold on the first album. I’m maybe not as fussed about playing it but as soon as it kicks in and you see people reacting then straight away you just snap out of it. I don’t think we’d ever be one of those bands that refuses to play a well-known tune just because we’re bored of it. To me that’s just a little bit selfish. Even if I’m bored of playing a tune that’s still what people come to see, I feel like we owe it to them”.

You’ve toured with quite a few big names, like the Libertines. Do you find it affects the music you’re writing like when you’re touring with them?

“I think it does. If you get the chance to watch it as well. We played with King of Leon in Sheffield Arena and we stayed to watch them, and you learn what sounds good in a certain space. Watching King of Leon was class, they sounded huge. And then you start listening to the songs and how they are, and you realize they write those kind of songs because they sound big. As a band as time goes on your own you start to learn what sounds good in a venue as opposed to what sounds good in your practice room, so you tailor your music and you song writing around that a little bit. I know I do. Now write songs where I think – this’ll will go off in a venue. I don’t think you can base it all on that because sometimes you’ve just got to let the song turn out however it needs to turn out. Certainly when you get to the studio you could probably make thing sound bigger. There are just certain parts that sound good in big venues and stuff – which is where we want to be playing: big venues, and be as big as we can be”.

What’s your songwriting process?

“It usually starts with me on an acoustic guitar – I write the bulk of the song. Recently, on the second record I’ve been making little demos and playing it to the band, just so they can get their head round the song, so they can hear the song a little bit easier and it takes less time and they think ‘right, so that’s how it needs to sound’. Then I just teach them the parts, and get it to a point where we’ll all happy with it. We’re pretty easy going when we get in the studio with somebody, we’re not really like, ‘it’s got to be this way or no way’. We just hand the reigns over to the producer and see what he’s got to offer. And obviously if we didn’t like it we could say, but more times than not the producer adds something that we couldn’t do. I think you’ve got to be open to ideas when you’re in the studio. There’s always somebody else with a better idea to what you might have”.

The band is two sets of brothers. Do you find that adds to the band, or can it get quite difficult being so close all the time? 

“It just depends on how you work as brothers… I think so long as you’re not suffocating each other and doing each other’s head in, it’s all good. We’ve got the balance right now. We’ve been in a band ten years, so we know what annoys each other – and that doesn’t stop us, we still like to annoy each other! But it’s more when’s the right time to do it”. 

You’ve got bigger progressively over the past couple of years. Have you noticed any negatives of that, or is it ‘the bigger the better’ at the moment?

“I mean there’s always negatives but as long as you don’t take it too seriously… I just crack on. My job is to write songs and write the best songs I can. And I can only base that on what I hear. I can’t write a song thinking about what other people think is a good song. I’ve just got to write a song and if it sounds good to me then that’s it. And then show it to the boys and see if they like it and that’s the main thing, and then take it from there really and put it out. And if people like it then it’s done its job and if not then we just try and write a better song I suppose. I mean we could write the best song in the world and the rest of the lads could think it’s class, and we could release it, and the fans could think it’s unbelievable and then a review could say they don’t like it. So it doesn’t really matter to be fair. As long as the lads like it, as long as the fans like it and the record label like it, that’s all that matters to us”.

Are there any moments when you realised you’d become a band that people were starting to know?

“I don’t think I’ll ever see it like that. I feel like we’re still an up and coming band trying to scratch at the surface. We’re just trying our best to get as big as we can, but it’s hard to see how big you’re getting… We’re just focussed on the next thing all the time. We just want to get the single and then release the album and continue writing and touring. And then before you know it it’ll be over the tree, but I’m sure one day we’ll turn round and, depending on where we are, realise how far we’ve come”.

Do you have any standout/strange/funny gig moments? 

“We played Manchester once, a couple of tours ago – I think it was the biggest headline gig we’d done – at Victoria Warehouse… When we walked on there was this massive piece of bread. I think it’s called a cob – pretty much the same size as a loaf of bread but a round shape. It was absolutely massive, and it was just in front of my mike stand and obviously someone from the crowd had thrown it, but it couldn’t have landed in a funnier place. So I got to my mike stand and I just looked at Andy like ‘what’s that doing?”. And when I wasn’t singing I turned to Josh and I absolutely booted it as hard as a could, put my foot through it and it nearly took Josh’s head off, nearly hit Josh straight in the face. Who’s bringing that to a gig?”

Under Your Sky is available to stream and buy online in and in store.

Review: JOHN

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I don’t really know what to expect when I walked in the Wheatsheaf. Music-wise, JOHN is thrashing and discordant, and I was curious to see how that translated to the stage. It was also my first time in the Wheatsheaf, and it was right in the middle of Freshers’ week so I’m pretty sure I was the only student there. The crowd was full of a lot of older people in leather jackets who gave me old rocker vibes, which was interesting for a band that sounds so new.

Opening for JOHN was Milo’s Planes, who John Newton (drummer and vocalist of JOHN) described as “Fugazi reborn” when I chatted to him before the show. They’re young, from Bristol and they are pure distortion-riddled, high tempo, doesn’t-take-itself-too-seriously fun. I was confused to see not one but two drummers on either side of the stage, but it all worked seamlessly – they took us on a journey as they controlled the music so that I didn’t realise how peaceful the room had gotten with their lazy strumming until they started screaming and I could feel the bass in my bones. This expert control of the atmosphere paired well with their contrastingly straightforward lyrics (“Alex IT DOESN’T MATTER, ALEX IT DOESN’T MATTER”) – I’m not quite sure who Alex is but I felt like I understood him. 

The sounds and samples they used were really interesting. The discordant noise of what I can only describe as wood being chainsawed in half cutting in to the emotional content of the lyrics in the second song was interesting to witness, and I was surprised when the drummer started leading the singing a few songs in. I felt like I was kept on my toes: there was never a dull moment. They jumped around the stage and had seemed to have a lot of fun, and the performance felt like it was being made up as they went along. Their subtle digs at each other and overall lightheartedness made the room feel comfortable. It set the tone for JOHN well but the band was talented in their own right. I feel like sometimes in concerts, the opening act can wear a crowd down but because Milo’s Planes had their own strong sound, I felt anticipation for how JOHN would differ.

“Hey, I’m John, He’s John, we’re JOHN.” With a concise opening JOHN played, starting with one of their older songs ‘Squad Vowels’. JOHN have always said they are a “live band first”, and I was able to see first-hand why: the sound just envelops the room, I felt like my ears were bleeding, but I didn’t care. I just wanted to head-bang without a worry as they took over. Despite being chained down by their instruments, both John’s really controlled the stage and the movement of the crowd. The richness of the sound that they create with only two people also blew me away – it never once felt like there was anything missing. Instead it’s rather clever how they take their “ weakness” and convert it into a strength through the sheer force and energy they put into their performance. The sweat was dripping down both John’s faces within one song and I respected that.

They continued into their second song , which is a track from their latest album Out here on the Fringes, ‘Future Thinker’. The crowd was quite small and quiet, so I really appreciated how in between songs, as they caught their breaths, JOHN chatted and tried to rile the crowd up. “You’re all very polite. Shout something mean.”. “ You’ve got shit legs!” referring to Drummer Newton’s bare legs, followed by some hearty chuckles. It was a very warm and welcoming atmosphere as John went on to talk about how Iggy Pop also liked this song, or how John’s mum was in the crowd that night. It is these details that separate the experience of streaming and going to listen to live music. Their performance was incredible and lived up to the expectations I had when I first streamed the album, but what really made this gig into one that I will remember is the interactions between the band and the audience, and their stage presence. At one point Newton’s drumstick flew halfway through the air on to the middle of the stage. It seems that this wasn’t the first time as he just grabbed another drumstick and didn’t miss a beat. Partway through their set, Johnny’s (Guitar/bass) guitar lost a string before losing some more. It wasn’t a reason to panic – he plucked it off and went back to playing. I appreciate a band that brings more than just a perfect rendition of their tracks, especially to a small stage like the Wheatsheaf. 

They continued with a flurry of songs from their latest album such as ‘Fringes’, ‘Western Wild’, and my favourite, ‘Midnight Supermarket’, as well as some old favourites from their first album. ‘Midnight Supermarket’ was a pleasure to see live as I always wondered how they changed their sound to play it – it is slower and more ambient than their other songs. John brings out another set of drumsticks solely for Midnight Supermarket as they slowed it down. They start by beginning with their usual joking around in between sets, a few chords here and there and it slowly developed into the song. Overall the setlist was ordered in a way that it controlled the vibe of the venue well throughout and it all blended together well. 

JOHN and Milo’s Planes are two up-and-coming bands that I recommend wholeheartedly for those times that you want to not think and just move. My only regret is that this concert was in 0th week  – could really have used the stress relief around 5th week!

JOHN’s new album “Out Here On The Fringes” came out on October 4th – you can listen on Spotify or buy here

Review: Ritual Union Festival Ranked

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Ritual Union Festival delivered the goods for the third year on the trot, bringing 45 bands down to Cowley Road for a day of joyous musical revelry. I will preface this ranking by saying that all the acts I saw were of a very high quality and are well worth a listen, but for me, some shone brighter than others. So without further ado, on a scale of least enjoyable to irrefutable masterpiece, I give you Ritual Union.

Eight – Heavy Lungs

The major downside of doing a ranking is that someone must inevitably end up last, and this is particularly upsetting here, since Heavy Lungs, on most festival line-ups, would be leagues ahead of their competition. This is not the case here, though. This was my second time seeing Heavy Lungs in Oxford, after their riotous performance in the O2 academy supporting IDLES last year. That performance, though, was in front of a crowd destined to lap up whatever Heavy Lungs offered; after all, one of IDLES’ biggest songs to date – ‘Danny Nedelko’ – is named after their lead singer. When the IDLES cord is cut though, it becomes apparent that Heavy Lungs struggle. For a start, and it pains me to say this, the songs just aren’t that great, and there is little to set them apart from the slew of other post-punk bands plying their trade on the UK circuit today. The crowd was largely indifferent towards them, at least until Danny Nedelko, the undeniable bright spark, whose glorious dancing and passionate delivery will always make Heavy Lungs intriguing at worst, ploughed into us and sang at our faces. There were promising moments, and I maintain that Heavy Lungs have potential in spades, but as of now, the songs just don’t do it for me.

Seven – Teleman

I feel bad putting Teleman so far down the rankings, since I am sure they suffered heavily in my estimation because of the mastery that preceded them (don’t worry, we’ll get there), but sometimes this is just the way things go. The performance was fun, groovy, and – as was frightfully apparent by glancing at the crowd – very danceable. They are reminiscent of both Hot Chip and Metronomy but sadly fall short of the former’s musical muscle and the latter’s big hooks. Overall, the performance just felt a bit lacklustre, especially considering their headline slot. 

Six – She Drew the Gun

This was good. I’ll start with the positives; the instrumentation was a fresh blend of guitars and keyboard, and the grooves they produced were consistently arresting, serving as the perfect backdrop for the long spoken-word passages of Louisa Roach. These passages, however, did prove to be the major detraction for me. The content was interesting and important, maybe even vital, but the delivery was, if I may be frank, really quite annoying. The whole performance came off as self-righteous and preachy as Roach marched the stage like a prophet, bestowing infinite wisdom upon us. The lectures I get at university are ample; I don’t need more in my free time. Don’t get me wrong, I’m all for delivering important messages in music (Nadine Shah, in the very same place, achieved it spectacularly in the best performance of last year), but this just fell very flat, as was manifest in the dejection and apathy of the crowd. If this can be improved, their live show will become a serious tour de force. 

Five – Psychedelic Porn Crumpets

Say what you will about the name – hardly something that would make me eager to spread my love for the band – this was a mature, well-paced and exciting gig. Yet another success story from Australia’s burgeoning psych-rock scene that includes Tame Impala, Pond and King Gizzard and the Lizard Wizard, Crumpets deploy elaborate fuzzy riffs, catchy choruses, and a whole lotta fun, to create a hugely enjoyable sound that proved to be very popular amongst the Ritual Union crowd. A lively but friendly mosh pit was present throughout, while the band echoed the joyful goofiness, if not quite the versatility, of the aforementioned King Gizzard. My sole criticism beyond this is that the performance hasn’t lodged itself in my mind as vividly as some of the others. 

Four – The Soft Cavalry

In contrast to Teleman, The Soft Cavalry likely benefited in my mind from their positioning in the line-up, since their warm melodic lullabies were a welcome change of pace to the pummelling noisy punk that had preceded it. Their set was sadly cut short but was nevertheless long enough to make a fan of me. The harmonies between bandleader Steve Clarke and Rachel Goswell (not only vocalist and guitarist of the now-legendary shoegaze band Slowdive, but also Clarke’s wife), were quite simply beautiful. The shoegaze influence is ever-present in the winding ambience of the songs and of course, in Goswell’s ethereal vocals, but The Soft Cavalry is its own beast; a folky aesthetic and the guile to include spiky basslines and captivating guitar set this group apart. The true crowning achievement, though, is the production. All the sounds coalesce in a marriage so pleasurable and alluring that it even rivals that of the two singers. 

Three – PIGS PIGS PIGS PIGS PIGS PIGS PIGS

Right. I’ve counted and re-counted the number of times I’ve typed PIGS to be sure I’ve got all seven down (yes it’s a silly name), so let’s crack on with the review. For a band as primal and aggressive as PIGS (x7), I feared they might struggle with a slot early in the day, before the cover of darkness and before the crowd had been loosened up with a few drinks; I couldn’t have been further from the truth. PIGS (x7) delivered a blistering set, full of piss and vinegar, spitting out brutal, sludgy acid rock and crafting a ferocious mosh pit in the process. It was wild. The inter-song banter was probably the best of the day too, with vocalist Matt Baty at one point proudly declaring, ‘this song is what it’d be like if Aleister Crowley went on bake-off.’ Many know of Crowley from Ozzy Osbourne’s classic ‘Mr. Crowley,’ and you can be sure that the Black Sabbath frontman would’ve appreciated a gig like this. 

Two – The Murder Capital

This one was pretty special. With sharp dress sense and even sharper musical sensibilities, The Murder Capital looked and felt like a big deal. The set began patiently, with sparse guitar parts and jagged bass, creating an ominous, foreboding tone. Every so often, more and more noise would creep into this sonic wasteland, until vast, cavernous walls of static filled the room – a suffocation of sound. The other bonus of this sparsity was that it put focus on the depressing gloom of the lyrics. They are delivered in a variety of ways – be it sad, dejected, angry or indifferent – and repetition is utilised in such a way that the words, although hardly catchy, bury themselves deep within the memory nonetheless. The audience is given the time to dwell on small phrases that are vague enough to make them truly consider what is being said. The performance can be best summed up in one image; vocalist James McGovern offering a sardonic grin as he casually shakes his tambourine along to a dreary drum beat. It was also lovely to see them supporting the other bands throughout the day. Top marks.

One – The Comet is Coming

Electrifying. Breathtaking. Faultless. Despite the quality on display throughout the day, I’d be lying if I said that anything came close to this. Shabaka Hutchings (here using pseudonym ‘King Shabaka’), has been one of the most important figures in the British music scene over the last couple of years, and within just a few seconds of this live show, it became most evident why this is so. Revitalising jazz through masterful, rousing and innovative saxophone playing, King Shabaka is absolutely worthy of his moniker. The three-piece have such a distinct identity, and keyboardist Dan Leavers, (‘Danalogue’) and drummer Max Hallett (‘Betamax’) are both as integral to this as Shabaka. For a start, all three are quite simply superb at their respective instruments, which is always handy. This can be witnessed in absolute clarity, since each of them are given the freedom to go off on galvanising and explosive solos. It is when playing together, though, that they are at their most powerful. 

Their update on jazz is not merely refreshing, it is essential, maybe even historic. Propulsive, chunky synths give the tracks a rampant momentum, made even more thrilling by the unmitigated bluster of Hutching’s saxophone. The drumming is intricate, but potent. What makes the live show so perfect though, is that every single beat is timed to perfection. As soon as a solo reaches its climax, a filthy synth pattern is introduced, which will itself build with steady groove until it explodes into an even wilder house beat, and then just when things are threatening to get a bit too raucous, or the crowd is about to lag, suddenly they jump into a spacey ambient piece. It was so precise, so academic, but somehow also so animalistic and off-the-cuff. In short, it was the best live show I’ve ever seen. Show me someone who wasn’t dancing; I’ll show you a liar. Show me someone who wasn’t smiling; I’ll show you a cheat. Most heart-warming of all, is the fact that the band were quite clearly loving it every bit as much as those watching. I’m not a particularly cheery fellow, but I’m still buzzing from that over a week later. 

Review: Ritual Union Festival Overview

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We all know Oxford, right? Home to grandiose museums, lavish theatres, all sorts of student shenanigans and exhibitions, it is a cultural hotbed for artistic triumph. The city is nigh-on gluttonous with a wealth of wonder and fascination down every hidden side-alley, and secret nook or cranny, but one aspect of this cornucopia is consistently besmirched with allegations of insufficiency. I speak, of course, of the live music scene. To all you bitter detractors, I respond with this; just because your fav band ain’t making a stop here on their world tour, doesn’t mean that our live scene is shoddy or in any way sub-par. In fact, quite the opposite is true. Of course, it would be foolish for us to expect stadium filling acts to make a little venture over to Oxford’s cute and cosy venues, just to please the small handful of us who can fit in the buildings, but who ever said that the best live music came from those who have either been around for so long that they’ve amassed immensely bloated fanbases or those lucky few to have struck big with a gold-mine of a radio hit? In fact, many such bands (from Radiohead to Rage Against the Machine) have played at Oxford at the start of storied careers, when intrigue was through the roof, so we must open our eyes to the fantastic talent on our doorstep; who knows who could be next!? There is no better place to do this than Ritual Union Festival.

I’m not quite sure how to best sell Ritual Union; it hardly helps that it sounds more like a cult than a festival, nor that the majority of the bands aren’t exactly ‘household names.’ Perhaps this is the point, though; it is the perfect opportunity to sample a smorgasbord of diverse and cutting-edge bands making waves in the UK (and indeed beyond). There are four main stages – two in the o2, one in the Bullingdon, and the fabulously charming basement of the Library pub – all of which are reasonably small, creating intimate and visceral gigs that stay with you long after the final notes. Additionally, all these stages are located along Cowley Road – itself a bombastic hoard of out-there cuisine, niche cocktail bars and seductive boutiques – which proves itself to be the ideal relaxation location between bands. 

This year (October 19th) was my second time on the bounce at the 3-year old festival, and even after the immensely high bar set by last year, boy oh boy did it fail to disappoint! For an in-depth analysis of some of the bands performing, see cherwell.org, but it must here be noted that the festival has an unparalleled knack of booking bands at the peak of that thing we call ‘buzz,’ and this is what makes Ritual Union so special. The palpable excitement for Nadine Shah and Ghostpoet last year, and the zeitgeist they managed to so ably tap into, was somehow topped this year by the Shabaka Hutchings-led The Comet is Coming. There is an intangible chemistry between audience and performer that only seems to exist in these early phases of bands’ trajectories, and no festival I have attended taps into this more successfully than Ritual Union. I am proud to say with all honesty that The Comet is Coming’s was the best live show I’ve ever had the pleasure of witnessing; those ignoring Ritual Union, and Oxford live music on the whole, are in need of a stern wake-up call.

EGG – A Musical Parable

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In early September, the IOC published an article celebrating the life of ‘Father of Modern Olympic Games’ Pierre Coubertin. Whilst highlighting his struggles in launching a modern revolution, bringing about a grand feast that aimed to resemble the spirits of the ancient Greeks and celebrate sport on a worldwide scale, it also illustrated the complexities of contemporary realities – namely the politics and wars of early twentieth-century Europe – which largely hindered and tainted his grand ambitions. His experiences act as vivid reminders of the complicated power dynamics behind the façade of Olympic Games, especially in terms of politics and history, which deprives the Games from possibly achieving their sacred and, perhaps more importantly, ‘pure’ status that Coubertin envisioned.

As the 2016 Olympic Games concluded in Rio, the next host nation, Japan, was given a section of around eight minutes to present a teaser of what was to come. The blend between sports and pop culture on top of the mix between upbeat jazz and contemporary dance gained widespread appraisal. The organisers successfully demonstrated a unity between the country’s rich history and advanced modernity, especially during the end piece where the dancers, dressed in bright white and red, brandished flags of Hinomaru and then proceeded to position themselves to form the futuristic skyline of Tokyo.

In seeking the origins of that very piece, however, the message conveyed here by the organisers becomes very interesting. The piece was a rendition of the original, performed by SOIL & PIMP SESSIONS and written by prominent Japanese musician Sheena Ringo. Titled ‘望遠鏡の外の景色/Bōenkyō no Soto no Keshiki’ (literally: view outside the telescope), it was originally written for Noda Hideaki’s 2012 play ‘Egg’ and was performed during the curtain call. The play, relatively unknown in the West, is a blatant critique of Japan’s war in Manchuria in the 1940s and its attitudes towards it. The story unfolds as a theatre director, played by Noda, discovers a draft of a play about a number of ambitious athletes who pursued victory against the Chinese in a peculiar sport named ‘egg’, where players aim to pierce a hole in the shell of a raw egg without breaking it. In the first hour or so the play rather successfully disguises itself as a modern farce about love and sports, centred around an energetic newcomer to the sport and his adoration for a pop idol who also happens to be the daughter of the owner of the sports club. At times it seems to be a bizarre critique of Japan’s pop industry and consumerism, though still incorporating strong literary flavours highlighted by the lines of Lautréamont and Busse. In the second half, however, the pace accelerates drastically, and the audience is taken from ‘the present’ back to the year 1964, and then eventually to 1940. It soon becomes apparent that it was the Olympics that linked three different realities in this timeline. The 1964 Games allowed Japan to begin to forget the atrocities of the war and demonstrate the country’s miraculous post-war recovery, while 1940 saw the Japanese Olympic Committee’s announcement to abandon plans for hosting the summer games in Tokyo due to the ongoing war in north-eastern China. Yet, the most shocking reveal is the identity of the sport ‘egg’, the essence of the entire play. In a black-and-white video, the audience is introduced the true nature of the ‘sport’: a biological weapon developed by students of Tokyo Imperial University and nurses of Unit 731 – an infamous unit under the Japanese Army responsible for much of Japan’s war crimes during the Second World War. The pop idol is revealed as a puppet, used by the authorities to entertain the Japanese soldiers, while the ambitious newcomer becomes the scapegoat of the chief researcher behind the project, who eventually retreats to Japan along with the higher authorities. At the end of the play, the protagonists, blinded by their fervent love for their country, are ultimately betrayed by it, fading as a bright, crimson red coloured summer Manchurian sky.

Haunted by the controversies that surrounded the 1936 Games hosted by Nazi Germany, Coubertin wrote the following lines for its closing ceremony: ‘The choices and struggles of history will carry on, but gradually understanding will replace dreadful ignorance; mutual understanding will soothe impulsive hatreds. In this way, what I have worked toward for half a century will be strengthened.’ Perhaps fortunately, Coubertin would not live to see the outbreak of WWII, nor the trauma and devastation it would bring on a worldwide scale that further shattered his visions. From the end of the War till this day, the Olympics, though commonly seen as a symbol of peace and unity, remain closely intertwined with and often troubled by politics, as the massacre at the 1972 Games and the boycotts of the three subsequent Games can demonstrate. For Japan, while the Showa-era is now commonly viewed in the nostalgic light of prosperity and recovery, it would be impossible for Japan to not address the period of imperialism and rapid expansionism which Noda’s work illustrated as fanatic and maniacal, when it attempts to show off its culture and history.

Noda’s play is a vivid and extremely impactful artistic reflection of the past, and the title of the piece of music corresponds with a line from the play: ‘I use the telescope in reverse, because the faraway views becomes small, and the past becomes distant.’ After an impressive demonstration at Rio, the organisers, in a rather subtle way, presented a powerful reminder for the world: as we keep marching on and keep moving forward into the ever-uncertain future in this fast-paced modernity, we mustn’t forget the lessons taught by history.

Friends of the Earth Present Vision of Carbon Neutral Oxford

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Friends of the Earth, an international network of environmentalist organisations, has published a new report entitled “Fast Forward Oxfordshire” detailing their vision of a sustainable Oxford by the year 2040.

Published earlier this week, the report highlights the magnitude of the impending climate breakdown and outlines steps which must be taken on both a local and national level in government to deliver a fairer and healthier society.

Friends of the Earth Oxford begin the report by setting out the need for dramatic and fundamental changes to address climate collapse.

They assert that the changes currently being made fail to meet the pace of what is required to avoid environmental collapse.

Divided into six sectors: homes & settlements, transport, work, energy, food, and nature, each section begins with a short description of an ordinary scenario in 2040, but whose artefacts differ drastically from contemporary life.

In one example, a pair of friends decide to eat out at a restaurant. Unusually, they decide that they will eat from the restaurant’s “meat” page. In this alternative society, meat has become a rare experience which is described as “strange and different.’’

Additional proposed edits to the county include a new tram railway service, a set of long-distance bike routes, the re-inclusion of beavers in the county’s ecosystem, and a new electric vehicle plant in Cowley.

Oxford City Councillor Tom Hayes, Cabinet Member for Zero Carbon Oxford, said: “It’s not enough to declare a climate emergency and fail to follow up with action. “I strongly welcome this facts-first report which gives the councils that I work with more of the solutions they need to meet the climate crisis. Some of the suggested policies will be challenging to implement, but we must rise to the challenge.

“It’s not just about getting serious about becoming a zero carbon county it’s also about enjoying cleaner transport, homes to be proud of, and greener spaces.”

Aside from combatting climate change, the report makes the case for a range of societal changes intended to improve universal quality of life and encourage a “safer” society.

For example, Fast Forward Oxfordshire says that travellers should be pushed away from cars towards more sustainable means of transport, like trains or cycling.

The suggested policies include workplace parking levies, congestion charging and even constraining road space.

While commuters are driven away from driving, cycling and rail infrastructure should be improved, including the commissioning of new rail links and re-commissioning of old, now disused rail lines.

Although the report made no specific requests or references to Oxford University, there is a general call to use public investment to minimise inequality.

It also promotes the advantages of harnessing the spending power of ‘anchor institutions’ which includes universities.

A spokesperson for the University of Oxford said: “The University, our staff and our students are deeply engaged in improving our sustainability.

“Through our Green Impact scheme, around 6,500 members of staff and students have taken actions to encourage more sustainable workplaces. Our Student Switch-Off campaign, which encourages practical energy saving and recycling, involves more than 3,000 students every year.

“The University has invested over £4 million in carbon reduction projects and emissions have fallen steadily since 2010, despite a large expansion in the size of the University estate.

“The University switched to a 100% wind power supply from Scottish Power in 2017, for which we pay a premium.

“More than 4,200 square metres of solar power panels have been installed across the University estate. “We know there is more to be done and will continue to work with partners across Oxfordshire on actions to tackle climate change.”

Oxford colleges hosting group with “homophobic, misogynistic and Islamophobic views”

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Oxford colleges have been annually hosting the summer camp of the evangelical Christian group the Ravi Zacharias Trust, despite the Oxford SU having previously called for the University to “distance itself publicly” due to concerns over the group’s “homophobic, misogynistic and Islamophobic views”.

The week-long residential camp was held at Merton College this July with speakers including Prof. John Lennox, Oxford Emeritus Professor of Maths. It was convened by Sam Alberry, who promotes the principle of “agape love” or celibacy for homosexual Christians.

The Ravi Zacharias Trust is the European branch of the US-based Ravi Zacharias International Ministries (RZIM), founded and led by the evangelical Christian apologist Ravi Zacharias. RZIM shares an academic director, Dr Joseph Boot, with the Wilberforce Academy. The Academy was banned from colleges including Trinity, Jesus and Lady Margaret Hall due to the views of their founders, Christian Concern.

Oxford SU told Cherwell: “The University of Oxford should be a safe and welcoming space for all people, hosting events that jeopardise this are counterintuitive. We need to take action on the intolerance and hatred in its most extreme forms, but uprooting it wherever it exists and stop events like this happening on campus. We are calling for Colleges and the University to be more responsible when taking commercial bookings and setting a precedent that makes campus inclusive.”

The SU first became aware of the group’s presence in 2015, after the University expressed concern over the Trust’s close association with Wycliffe Hall in their PPH report.

The college and the ministry jointly established the Oxford Centre for Christian Apologetics in 2006, with Ravi Zacharias himself listed as one of the teaching fellows. The University expressed concern about the Centre because its “admissions to the centre were not clearly differentiated to the university,” raising questions about the rigour of the Hall’s assessment process.

Today, the Centre is wholly run by RZIM, although the Centre’s “Team” include Max Baker-Hytch, a professor at Wycliffe Hall and those participating in the Centre’s programmes have the opportunity to be accommodated in single rooms at the college. Despite the SU’s calls for the University to find “clear ways” to show that “the wider University is not in sympathy” with such views, Queen’s College hosted the Trust’s camp in the summer of 2015.

Speaking to Cherwell, a spokesperson for the Trust said: “Zacharias Trust did not respond to the call by the Student Union four years ago, as the proceedings were only known to students — thus, we were not invited to respond. Our organisation believes in the sanctity and value of all human life regardless of ethnicity, sexual orientation or gender. The women we employ occupy some of the highest positions of leadership within our organization, and we also employ individuals with same-sex attractions.

“As a Christian organisation, some people will naturally disagree with our viewpoint. When disagreements in faith or philosophy arise, no matter the audience, we urge civil dialogue. Any claim otherwise is false and unsubstantiated.

“Lastly, we are grateful for our relationships with some of the colleges and we have never had any issues using their facilities.”

Merton College JCR President told Cherwell: “Merton JCR is proud to hold the values of inclusion and equality at its core, and that is something we strive to promote amongst students through cooperation with college.”

RZIM’s purpose “is to reach and challenge those who shape the ideas of a culture with the credibility of the Gospel of Jesus Christ” which they facilitate through their “global team of speakers” based at their interna- tional offices. According to the Ministries’ website, their staff members work in 43 different countries, and their videos and blogs attract 60,000 users per month.

Ravi Zacharias, a self-claimed former sceptic, first launched RZIM in 1984, after securing financial backing from American evangelist Billy Graham. He first forged links with the preacher after being invited to speak at the plenary of his Amsterdam conference in 1983. Zacharias featured in one of Billy Graham’s video sermons as late as 2012.

The Association also works in the UK and was the subject of controversy in 2017. Critics of the group, including other Christian Anglicans, called for Graham’s son Franklin, CEO of the Association, to be banned from the UK after alleging his comments about LGBTQ rights and Islam were a violation of laws on hate speech.

In 2017, Ravi Zacharias was forced to issue a statement regarding a misrepresentation of his association with Oxford and Cambridge universities.

According to Christianity Today, his 2015 biography, now corrected, on the RZIM website read that he held “six doctorate degrees” when he had only been awarded honorary degrees.

In a statement, RZIM stated that referring Mr Zacharias as “Dr.” was “appropriate and acceptable practice with honorary doctorates” although they admitted the practice was “contentious.”

He also claimed to be a Senior Research Fellow at Wycliffe Hall, a line which has been subsequently removed.

They said: “Ravi’s desire and our desire as an evangelistic ministry is to engage the honest skeptic, to take questions seriously, and to be as clear as possible in our communication. We therefore have restructured Ravi’s biography to better reflect his 45 years as an itinerant evangelist and apologist.”

Zacharias’ Spotify artist account still refers to him as “Dr”.

The camp included prominent evangelical activists that promote celibacy, including Sam Allberry, editor at the Gospel Coalition and David Bennett, a self-described “former gay activist.”

Sam Allberry was the founding editor of Living Out, a magazine that claims “to help Christian brothers and sisters who experience same-sex attraction stay faithful to Biblical teaching.”

Writing in 2016 for the Gospel Coalition, Allberry said: “Sexual unfulfillment itself becomes a means of deepening our sense of the fuller, deeper satisfaction we await in Jesus. It helps us to hunger more for him. We skip the appetizer, but we await the entrée. Celibacy isn’t a waste of our sexuality; it’s a wonderful way offulfilling it.

“For marriage to be a parable of Christ and the church, it must be between like and unlike, male and female. Change this arrangement, and you end up distorting the spiritual reality to which it points. Alter marriage, and you end up distorting a picture of the gospel itself.”

Living Out and the Oxford Centre for Christian Apologetics itself are both considered organisations that hold “similar values” to the True Freedom Trust, and feature on the latter’s website. In April 2019, a conference held by the Freedom Trust was protested after describing the event as promoting “a form of gay conversion therapy.”

Allberry was one of the signatories, which also included Head of Welfare at St Edmund’s Hall Will Donaldson and former Pembroke Chaplain Greg Downes, by “concerned Anglicans” of the Oxford Diocese earlier this year that called for the bishops to define the “appropriate setting for sexual intimacy – namely in marriage between a man and a woman”.

Allberry was also among the signatories of the 2017 evangelical manifesto, the Nashville Statement, which The Guardian described as “a proclamation denouncing LGBT rights and anyone who supports them.”

The Statement was designed as a response to the “post Christian” age, where “common to think that human identity as male and female is not part of God’s beautiful plan, but is, rather, an expression of an individual’s autonomous preferences.”

The Statement’s list of affirmations and denials includes a denial that “adopting a homosexual or transgender self-conception is consistent with God’s holy purposes in creation and redemption.”

Eliel Cruz, founder of the Faithfully LGBT Project, attacked the Statement in the New York Times, writing that the Statement “represents a renewed commitment to open bigotry.”

Allberry tweeted at the time: “The Nashville Statement brings much needed clarity to issues where there is often silence, pain and confusion.”

The opening address of this year’s summer camp was given by Os Guinness, author and co-founder of the Trinity Forum, a group that aims to “cultivate, curate, and disseminate the best of Christian thought” by “seek(ing) to connect thinking leaders with leading thinkers” in global policymaking.

Guinness’ co-founder is Alonzo MacDonald who established the McDonald-Agape Foundation, which describes itself as “a support group for scholars and other dedicated leaders to serve Jesus Christ.”

The Foundation lists Prof. John Biggar as its collaborative scholar in Oxford, and funded Biggar’s “Ethics and Empire” project in 2017. The project attracted criticism from Common Ground and Dan Iley-Williamson, lecturer at Queen’s College and Labour Councillor, who described Biggar at the time as an “ardent apologist for colonialism.”

Guinness was also a guest speaker at US evangelical pastor Rick Warren’s Saddleback Church in the April 2015. In 2008, Obama caused outrage after he selected the pastor for his inauguration due to Warren’s opposition to abortion and same-sex marriage.