Tuesday 1st July 2025
Blog Page 57

Inside Google’s fight against spammy AI content

External Contributor
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Inside Google’s fight against spammy AI content

Some struggles are eternal: Oxford vs Cambridge, Manchester United vs Liverpool, Tom vs Jerry, Batman vs the Joker, and of course, Google vs spammy content. With the rise of AI tools, this last struggle has heated up over the past couple of years. Google has taken aim at low-quality, spammy content and is implementing measures to maintain the integrity of its search results.

Google’s Approach to AI-Generated Content

Google’s primary focus is on the quality and usefulness of content, regardless of its origin. The company has stated that AI-generated content is acceptable as long as it adheres to its guidelines. They emphasise the importance of “helpful, reliable, people-first content” that demonstrates qualities of experience, expertise, authoritativeness, and trustworthiness (E-E-A-T)—one of the pillars of quality content generation.

Google also combats spammy AI-generated content in the following ways:

  • SpamBrain: Detects spam through machine learning.
  • Content Quality Algorithms: Filters out irrelevant or duplicate content.
  • Over-Optimisation Penalties: Flags keyword-stuffed material.
  • User Intent Focus: Prioritises content-matching search queries.
  • Page Experience Metrics: Demotes poorly optimised sites.
  • Manual Reviews: Ensures accuracy with human oversight.
  • Updates & Policies: Regular updates target violations and spam.

Many are now turning to digital marketing and PPC agencies to help ensure their content strategies align with Google’s standards, creating high-quality campaigns that drive traffic while avoiding penalties for spammy or low-value material.

The December 2024 Spam Update

In December 2024, Google rolled out a spam update aimed at enhancing its ability to detect and demote spammy content, including that generated by AI. This update is part of a series of algorithmic improvements throughout the year:

  • March Core Update: Improved content quality and enforced stricter spam policies.
  • June Spam Update: Targeted keyword stuffing and content duplication.
  • August Core Update: Demoted outdated SEO tactics and low-quality sites.
  • November Core Update: Broad improvements to search relevance and quality.
  • December Core Update: Enhanced content evaluation for better rankings.
  • December Spam Update: Strengthened global spam detection systems.

Impact on Content Creators and Website Owners

Google’s increased focus on AI-generated content has big implications for content creators and website owners. Take Forbes, for example—they recently stopped using freelance writers for their product review section, Forbes Vetted, in response to Google’s updated search policies targeting “site reputation abuse.” This shift highlights a growing industry trend of rethinking content strategies to meet Google’s standards for quality and authenticity.

To stay on the right side of these policies, content creators need to prioritise high-quality, original content that genuinely benefits users. AI tools can still play a role, but it’s essential to review and enhance their output with human insights. By striking this balance, creators can harness AI effectively without sacrificing the credibility or value of their content.

Conclusion

Google’s war on AI-generated content, with moves like the December 2024 spam update, shows it’s not messing around when it comes to keeping search results squeaky clean. By cracking down on spam and championing content that’s helpful, reliable, and genuinely useful, Google’s making sure the AI revolution doesn’t turn the internet into a junkyard of dodgy info.

Women’s Rugby World Cup 2025 preview

External Contributor
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Women’s Rugby World Cup 2025 preview

The Women’s Rugby World Cup 2025 is nearly here, and it’s shaping up to be something special. Hosted by none other than England, this tournament is ready to prove why women’s rugby is one of the most exciting and fastest-growing sports in the world.

Tournament Details

The Women’s Rugby World Cup 2025 kicks off on 22 August and runs until 27 September, breaking rugby news as it brings together 16 teams for the first time in either the men’s or women’s tournament’s history. This expanded format includes four pools of four teams, with the top two from each pool advancing to the knockout stages. This change highlights the growing competitiveness and global reach of women’s rugby.

Competing nations include heavyweights like England, New Zealand, and France, alongside emerging teams such as Japan, Italy, and South Africa. Fans can look forward to an exciting mix of established rugby powerhouses and new contenders ready to make their mark.

England as Hosts

As the birthplace of rugby and their dedication to growing the women’s game, England is a fitting host for a now globally-loved sport. Matches will take place in some of the country’s most iconic stadiums, promising fans and players an unforgettable experience. The confirmed venues include:

  • Twickenham Stadium, London (hosting the final)
  • Stadium of Light, Sunderland (hosting the opening match)
  • Brighton & Hove Albion Stadium, Brighton & Hove
  • Ashton Gate, Bristol
  • Sandy Park, Exeter
  • Salford Community Stadium, Manchester
  • Franklin’s Gardens, Northampton
  • York Community Stadium, York

Key Teams & Players to Watch

England’s Red Roses, buoyed by home advantage, will aim to turn their 2021 heartbreak into triumph. Zoe Aldcroft, a former World Rugby Women’s Player of the Year, is key to their campaign. New Zealand’s Black Ferns, six-time champions, remain the team to beat. Ruby Tui’s pace and energy will be central to their success.

France, known for their flair and resilience, are eager for a first title. Laure Sansus’s creativity could make all the difference. Other strong contenders like Australia and Canada have the potential to upset the favourites, with Australia’s emerging talent and Canada’s physicality making them teams to watch.

One exciting development is the inclusion of social media sensation Ilona Maher, who recently made the switch to rugby union. Known for her athleticism and flair, Maher will be looking to make a big impact for the USA if selected.

The Bigger Picture

This World Cup comes at a time when women’s rugby is growing like never before. With more media attention, investment, and grassroots initiatives, the sport is reaching new heights. Hosting the tournament in England gives women’s rugby a massive platform and will hopefully follow in the footsteps of women’s football, inspiring future generations and attracting even more fans.

Predictions

The usual favourites will dominate discussions, but World Cups always have surprises in store. England’s home advantage and recent form make them strong contenders, but New Zealand’s proven track record can’t be ignored.

Whatever happens, the Women’s Rugby World Cup 2025 is set to deliver some nail-biting matches, unforgettable moments, and a celebration of how far the women’s game has come. Get ready for the action, and let the countdown begin!

Interest rates held: What does this mean for SMEs in 2025?

External Contributor
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Interest rates held: What does this mean for SMEs in 2025?

As we kick off 2025, central banks have decided to press the snooze button on interest rates following a financially chaotic year. For SMEs, this decision has sparked debates on whether this will be a blessing or a burden. The effects of these steady rates are anything but simple, stirring up a mix of excitement and dread over borrowing costs, investment plans, cash flow, and the state of the market.

A Brief Recap of 2024

In 2024, central banks, including the Bank of England, focused on balancing inflation control with economic stability. Earlier rate hikes helped to rein in inflation but also left many SMEs struggling with higher borrowing costs. Keeping rates steady now offers a break from monetary tightening, but the impact on SMEs is far from straightforward.

The Positives for SMEs

1)   Predictable Borrowing Costs

One immediate benefit of held rates is stability in borrowing costs. For SMEs, which often rely on loans or credit facilities, this predictability alongside efficient payroll software allows better financial planning. Businesses with existing variable-rate loans can breathe a sigh of relief as repayments remain steady, avoiding further strain on cash flow.

2)   Investment Opportunities

Static rates create a conducive environment for investments, especially in sectors poised for growth. SMEs considering expansion, equipment upgrades, or new ventures may find this a strategic moment to act. Banks and lenders are likely to maintain competitive rates for business loans, creating access to capital.

3)   Boosted Consumer Confidence

Stable rates can positively influence consumer behaviour. For SMEs in retail, hospitality, or consumer-driven sectors, this could translate into stronger spending, increased sales, and improved profit margins. A steady rate environment helps mitigate fears of economic instability, encouraging spending rather than saving.

Challenges SMEs Could Face

1)   Limited Room for Growth

Stable rates bring predictability but may signal broader economic challenges. Without rate cuts, central banks remain wary of inflation, which could restrict growth. For SMEs relying on strong consumer or business spending, this might limit opportunities.

2)   Continued High Costs

Although rates haven’t increased, they remain elevated compared to pre-pandemic levels. Many SMEs, especially those in energy-intensive industries or dealing with supply chain disruptions, still face significant cost pressures. Held rates may offer little respite for businesses already operating on thin margins.

3)   Uncertainty in Global Markets

Global economic conditions continue to evolve, with geopolitical tensions, trade uncertainties, and fluctuating commodity prices. SMEs trading internationally or sourcing materials globally may still encounter volatility, irrespective of domestic rate decisions.

Looking Ahead

SMEs should review their debt obligations to ensure repayments are manageable, and consider fixed-rate loans for stability if rates increase. Stable borrowing costs also provide opportunities for strategic investments, such as diversifying operations or exploring new markets. Monitoring inflation trends and central bank policies will help businesses adapt quickly to changes.

As 2025 kicks into gear, steady interest rates hand SMEs a mixed bag of stability and headaches. Predictable borrowing costs and confident consumers are a plus, but pesky high expenses and global uncertainties mean businesses can’t just sit back and relax. To come out on top, SMEs need to stay resilient, aim for sustainable growth, and keep adaptable for whatever’s around the corner.

38% of students report decline in mental health since joining Oxford

Ila Banerji
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38% of students report decline in mental health since joining Oxford

CW: Mental health, sexual assault, discrimination

The Student Union’s latest welfare report investigated the impact of academic workload on students’ mental health, as well as other challenges including harassment and discrimination. Rosalie Chapman, author of the report and last year’s Vice President for Welfare, described the findings as a “call for urgent action”. It found that 76% of students had felt anxious and 44% had felt depressed during their time at Oxford University. Additionally, nearly one in five women (19%) reported unwanted sexual behaviour, whilst one in five BAME students reported bullying and harassment.

The findings showed that 38% of students reported that their mental health had worsened since coming to Oxford: 24% saying it worsened and 14% that it had slightly worsened. 32% said it had stayed the same, and 30% that it had fluctuated. 74% of students said that their university course adversely affected their mental health, with a commonly cited reason being a “fear of being inferior to others on my course”, and one respondent writing that “the burnout from workload is chronic”. 

Alongside academic pressure, financial strain and social isolation were other commonly cited factors impacting upon students’ mental health, according to responses to an open-ended question. Discrimination, the stress of student leadership, and drinking culture were also frequently named. Social connections and the college community were identified as having a positive effect on wellbeing. 

The report found 15% of students reported experiencing discrimination. There was a higher incidence of discrimination against BAME, disabled, and LGBTQ students, particularly transgender students. LGBTQ respondents reported a larger rate of sexual violence (21.5%) than straight respondents (8.7%). 

Responding to questions on bullying and harassment, 13% of students said they had experienced unwanted sexual behaviour in the previous academic year and 11% said they had experienced bullying and harassment.

There was significant support for the introduction of a reading week. 65% of students believed it would help them with stress and workload. Despite the infamous “Fifth Week Blues”, it was Week Six that students found the most challenging.

The report also discovered that just 35% of students were satisfied with welfare support and that 40% had never used it. Further, while 94% of respondents were aware of College Welfare Support, only 74% were aware of the University Counselling Service.

The survey, carried out by Chapman and supervised by current SU President Dr Addi Haran Diman, surveyed 2,116 students, of which 66% were undergraduates, 17% Postgraduate DPhil, and 15% Postgraduate Masters.

Chapman told Cherwell: “This report is a vital resource for pushing for long-overdue changes to welfare services, structural inequalities, and policy reform. Ultimately I hope these findings will be the catalyst for a better, more supportive and more inclusive Oxford.”

In response, a spokesperson for the University told Cherwell: “We take the wellbeing of our students very seriously and encourage those who are in need of support to access the extensive welfare provision available at both University and college level.”

Kiss Bar Oxford permanently closed by landlords after 23 years

Noah Robson
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Kiss Bar Oxford permanently closed by landlords after 23 years

Kiss Bar, a late-night venue on Park End Street, has been permanently closed just months after ATIK Oxford was shut down in the same building. The owners made the announcement on social media, explaining that the decision was forced on them by landlords, who wish to repurpose the building. 

Writing on Facebook, Kiss Bar said: “They [the landlords] have decided to take back all of the premises situated within their building, in a view to change the purpose of the building, therefore this obviously means we have to go.” The venue had been running for 23 years until its closure was announced on Sunday 22nd December.

Kiss described having experienced a “reduction with the foot fall” after ATIK shut down earlier in the year. The bar had previously been home to both “Intrusion”, a Goth and Industrial Night, as well as “Metaaal!!!”, a club night dedicated to heavy metal music, although Kiss has said this will not be the end of these events.

The bar had been a popular venue with students at Oxford University. One student told Cherwell: “I’m devastated that Kiss is shutting down – especially following the closure of ATIK too.” Another added: “It just feels like nightlife in Oxford is dying, there’s a place closing down practically every week.” Commenting on the Facebook post, one user described it as a “true legacy being lost” and another said that they “felt for the younger generation”. 

In the post, the owners thanked both their customers and staff, saying: “You helped to create one of the best party destinations in Oxford and we will be forever grateful to you.”

The closure marks another blow to Oxford nightlife, a sector which has been struggling nationwide, exacerbated by the impact of both Covid-19 and the cost-of-living crisis. The Night Time Industries Association recently warned that if closures continue at their current rate, there will be no clubs left in the UK by New Year’s Eve of 2029.

Cherwell has contacted New Cantay House and Kiss Bar Oxford for comment.

Gladiator II: A lack-lustre return to Rome

Joseph Andrews
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Gladiator II: A lack-lustre return to Rome

With Gladiator II, Ridley Scott returns to the streets of imperial Rome not in triumph, but to decidedly muted applause. Despite earning the director a record breaking box-office opening, the film is of such varying quality as to fall well short of the anticipatory hype. Most viewers will happily concede the creative licence to garble the historical intricacies of the story being told; audiences are less likely to suspend their judgement in the case of contrived narratives, lazy inconsistencies, or the tackiness visually glossing the project.

After a flurry of frenetic brushstrokes offering a refresher of the first film’s events, the audience is introduced to their main protagonist, Hanno (Paul Mescal). In what might have been played for an engaging twist had the game not been explicitly given away from the very first trailer, this Hanno is none other than the Lucius Verus of the earlier film, son of Lucilla (Connie Nielsen) and, it is revealed, Maximus Decimus Meridius (Russell Crowe). Lucius lives in peaceful exile beyond the Roman frontier until his home is sacked by a relentlessly expansionist Roman army and he is thrown into his new life as a gladiator. Proving himself in various arenas with increasingly challenging odds, Lucius reaches the heights of the Colosseum as a favourite of the masses, before finally having the opportunity to direct his vengeance at the imperial government he blames for his woes.

If those plot beats seem familiar, it is for good reason. Whole swathes of this second film feel like a regurgitation of the first. An inability to decide whether it is a direct remake or a continuation of the characters’ stories renders the whole thing somewhat listless. Contrived coincidences drive the narrative, and Mescal’s one-dimensional performance is appropriate for a character reduced to mere plot device. The thoughtful writing of the earlier film is nowhere to be found, with characters inexplicably quoting Latin before promptly translating it into English. The audience is left wondering what these Romans had been speaking prior to that point.

These attempts to imitate a successful predecessor (this time, with more swords and beasts) gives the film the uncanny air of a Marvel movie. Another shared feature is the surprisingly hit-and-miss CGI, cringeworthy at times and certain to date the film. It says much that the score, while effective, is at its emotive best only when sampling Hans Zimmer’s original soundtrack. Compounding this, Scott’s choice to move away from the gritty texture of physical film to digital cinematography renders the world in a colourful but artificial veneer. Surely recognising the inevitable comparisons with its precursor, Scott has done nothing to enable his latest project to stand confidently in its own right.

With all this said, the film has an impressive command of scale, and the costume and set design are a feast for the eyes. Though playing fast and loose with the reigns of the emperors involved, there is a very real flavour of ancient Rome here; a sympathetic reckoning with imperial conquest’s aftermath outside the walls of a captured city is a standout moment of grounding. Even the most bitter critic will struggle not to enjoy the many well choreographed fight-scenes or the rich depth added by the performances of Joseph Quinn, Connie Nielsen, and Denzel Washington. It is largely through the latter’s deliciously charming Macrinus that political themes pertinent for today are explored. The answers to the questions raised are less satisfying, with an uncomfortably eugenicist logic countering ‘might makes right’ with the bizarre ‘proper breeding makes right’. Meanwhile, the depravity of Geta and Caracalla can be physically identified by the mere dint of their grotesque makeup and sallow, pockmarked skin.

The film, comfortably revelling in its own visual splendour, is without doubt a romp. Fun so long as it lasts, pull too hard at the narrative threads on reflection and it may start to unravel. Like its timeless precursor, Gladiator II presents and challenges a ‘Dream that was Rome’; unfortunately for Scott, the film’s most dreamlike quality is probably how easily it will be forgotten.

Review: Moth – ‘An unabashed, piercing piece of theatre’  

Hilla Sewell
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Review: Moth – ‘An unabashed, piercing piece of theatre’  

Cocooned in the quiet darkness of the Michael Pilch Studio, Moth brings us into the bedroom. With its quaint teddy bears and planet-patterned pillowcases, this set is perfect for two boys who don’t want to grow up. The stage is thrust into the audience, some sit only a step from the scene. We are close, uncomfortably so, befitting a play that centres on a family tangled too tight by their trauma. 

Alec Tiffou, writer and co-director, has mastered the art of pace, weaving the sub-text into complex portraits of repressed rage, shame, and desire. While the first half is more assuredly written than the second, Tiffou consistently treats the disconcerting subject matter with great tenderness and intelligence, never veering into the sensational. 

You are welcomed by stark content warnings on the studio doors, which, though necessary, would give an observant audience member enough to piece together plot twists before they play out onstage. Yet, this works to its benefit; each moment is made more heart-wrenching by the resulting sense that tragedy is inevitable; the moth must fly closer and closer to the flame. 

An acute attention to detail marks Moth as a standout in the world of student theatre. Building on a stellar script, the set (Angharad Thorp and Euan Elliott), with its picturesque assortment of lamps and old-fashioned chairs, crafts an illusion of harmony in contrast with the play’s psychological conflict. It all feels unnervingly real, from the commanding performances of the entire cast to the Coco-Pops, orange juice, and cucumbers consumed throughout. 

This immediacy relies on the impressively uncontrived portrayal of Luca by Rob Wolfreys. He far surpasses his already successful debut as Proteus in Two Gentleman of Verona, expertly balancing volatility and vulnerability. With arresting nervous energy, Wolfreys resists any potential stasis from the confined set, springing from bed to bed, and in a moment of desperation, hurling himself across the dining table with knife-edge intensity.  

Esme Somerside is likewise perfectly cast as the eponymous ‘Moth’, wraithlike and compelling. Though her line delivery is, at times, too unvaried, Somerside is unceasingly alert to her character’s physicality; often curling her limbs around herself like fragile moth wings. Rose Martin is similarly strong in a bold and memorable debut, though certain moments are somewhat overacted. She is undoubtedly one to watch next term.  

Most striking is Vita Hamilton as the mordant Jo. She is at her best on a small stage like this, where we can appreciate her mesmerising micro-expressions which signal a talent that is truly few and far between. Hamilton deftly elicits our every emotion; the Pilch resounds with laughter at Jo’s attempts to act out despair, moaning “I’m so depressed”, and listens in captivated silence to her haunting rendition of ‘Singin’ in the Rain’.  

It is no surprise then, that I heard more than one audience member stifling a sob, or that many were lost for words during the interval. Matchbox Productions has once again delivered an unabashed, piercing piece of theatre. I’ll be proudly lighting my cigarettes with their complimentary matches for weeks to come.  

Review: The Outrun

Dan Paling
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Review: The Outrun

CW: Alcohol abuse

Adapted from Amy Liptrot’s 2016 memoir of the same name, Nora Fingscheidt’s The Outrun (2024) is a story of addiction, wilderness and fraught ties to home. Saoirse Ronan plays Rona, a 29-year-old graduate reeling from the end of a relationship catalysed by her alcohol addiction. The Outrun unfolds between London and Orkney, places that represent the two poles of Rona’s person. (The film repeatedly cuts back to her past life in the city – a thrilling, dysfunctional period of love, parties and spiralling alcoholism.)

We meet Rona as she visits her childhood home in Orkney. She’s returning after a period of rehab with Alcoholics Anonymous in London. The film’s early sequences follow the protagonist as she wanders along beaches and cliffs, helps on her father’s sheep farm (Ronan delivered seven lambs during filming), and listens to electronic music. Fingscheidt maps the geography of her scenes (Orkney’s rocky outcrops, the village café, and dark London streets) onto Rona’s inner landscape. Rona’s travels between her parents’ houses, who live separately and estranged, double as explorations of her troubled interior. This is the subtext throughout the film: emotional and actual distances are inextricable, to travel one is to travel the other.

But Orkney is not an easy place to return to. Rona finds warmth in her maternal home but is frustrated by her mother’s religiousness: “I’ll pray for you” her mother says. Pressure accumulates. Rona begins caring for her eccentric father as he wavers between bipolar episodes. When it’s time to leave, to escape the sticky web of family and harsh landscapes, Rona seems ready. But when the southbound ferry arrives, something jams. She panics and runs away from the port. Orkney is where she must be for now.

A violent relapse follows, then a summer job on a remote nature reserve with the RSPB. The flashbacks to her London life intensify. Damien – played sensitively by Paapa Essiedu – the man she loved (and lost) in the city, repeatedly lurches into the narrative. Here the film finds its central arc as Rona reassembles herself in the remotest corners of her home islands. On the surface her purpose is clear: to stay sober. What’s less overt is the way this journey demands a confrontation with childhood trauma, spoiled love and future hopes.

Saoirse Ronan’s performance holds The Outrun together. She sensitively inhabits a character at once debilitated by alcohol and full of the joys in the wildlife around her. Rona’s struggle with drink is a messy path of grey zones and cutting temptations, of tall highs and deep lows. The maturity of Ronan’s performance allows these peaks and troughs a great visibility. There is genuine tenderness achieved in scenes between parents and child – moments in which family histories, care, and the rugged landscape coalesce vividly in the speakers’ faces.

Fingscheidt works hard to embed the film with local myths from Orkney through the use of voiceovers and cutaways. Sometimes these layers gave the film an engaging texture, but too often they created a feeling of ‘jumping around’ at the expense of narrative clarity. The voiceover told the folklore in an almost laboured manner, as if the director was forcing Rona’s story into a lineage of local mythology.

More attention could have been paid to the ‘folklore’ of the film’s supporting characters. Rona’s mother (played by Saskia Reeves) had little time to recount her experiences as an isolated mother with an unpredictable, sometimes violent husband. There was surely more to be heard from Rona’s father (Stephen Dillane) too – a brilliant peripheral persona whose history and wisdom went mostly unexplored. Perhaps if it cut back on drone shots and slow-motion waves, the film would’ve had time to dwell on these characters.

Yet The Outrun is a considerable achievement. It’s a study of emotional and physical geography in the same breath, an intimate portrayal of the minutiae of alcohol addiction. Ronan, like the Orkney cliffs, cuts through the cold air with charisma and poise.

Blackfriars Fellow created a Cardinal by Pope Francis

Bryn Mollet
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Blackfriars Fellow created a Cardinal by Pope Francis

Timothy Radcliffe, a Fellow of Blackfriars Hall, was created a Cardinal by Pope Francis at a ceremony at the Vatican on 7th December, making him one of four current English Cardinals. The position of Cardinal is the second highest in the Catholic Church and the College of Cardinals plays an important role in advising the Pope and Church administration.

Radcliffe lived, taught, and lectured at Blackfriars Hall, a Permanent Private Hall for graduate students at the University of Oxford that specialises in theology and philosophy and is operated by the Dominican Order. He is also an Honorary Fellow and alumnus of St John’s College.

Cardinal Radcliffe told Cherwell: “The Catholic Church is in a moment of profound transition” and that he hopes to help “make the Church more welcoming to everyone and (…) share the gospel with a world which is increasingly torn apart by war and violence.” 

On his time at Oxford, Radcliffe said that he was “blessed with wonderful tutors” who helped him learn “how to engage with people with whom [he] disagreed”. Radcliffe added he hoped to continue to be based in Blackfriars as he found Oxford “a marvellously stimulating place to live” and that he will be able to “continue to visit the difficult places of suffering and poverty”.

Radcliffe was also the head of the Dominican Order from 1992-2001. It is a Catholic organisation that focuses on education and theological intellectual inquiry. He was awarded an honorary Doctor in Divinity in 2003, given in recognition of his contribution to theology and religious leadership.

Radcliffe will turn 80 years old next August, meaning that it is unlikely he will be eligible to vote for the next Pope: The rules dictate that only those under 80 are allowed to form the conclave. Because of this, some commentators see his appointment as an honorific reward for his service to the Catholic Church.

Traditionally, most cardinals have been bishops or archbishops, though this has occasionally been waived, as in the case of Cardinal Radcliffe. This most recent intake of 21 new cardinals has also seen Pope Francis appoint many cardinals from Catholic minority countries, such as Ukraine, India, and Iran.

Defiance: Racial Injustice, Police Brutality, A Sister’s Fight for the Truth by Janet Alder

Asma Issa
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Defiance: Racial Injustice, Police Brutality, A Sister’s Fight for the Truth by Janet Alder

At Oxford’s Wesley Memorial Church, Janet Alder offered a harrowing and unflinching account of resilience in the face of systemic injustice. Launched 26 years after the killing of Janet’s brother, Christopher Alder, in Humberside Police custody, her book – co-authored with Dan Glazebrook – sheds light on a case that drew national outrage but remains shrouded in unanswered questions. With Dan’s steadfast support, Janet recounts the tragic events surrounding Christopher’s death and her decades-long battle against police mistreatment.

Janet and Dan’s collaboration began in 2000 when Dan, then a university student, organised a screening of Injustice, a documentary surrounding police brutality, even after cinemas refused to screen it due to persistent police pressure. Janet attended the event, and their shared commitment to justice forged a friendship that has endured for decades. Now, their combined efforts bring Janet’s story to light. 

Christopher Alder, a former British paratrooper, died in 1998 while handcuffed and lying face down on the floor of a Hull police station, his trousers and boxer shorts pulled down to his knees. Nearby, a group of officers stood chatting and laughing, indifferent to the blood pooling around Christopher’s mouth as he choked on his last breaths. CCTV footage shows a white girl coming into the very same custody suite, upon seeing the cut on her finger, the policemen rally around her, enthusiastically saying ‘we have to get you some medical attention’. 

Beyond the police’s negligent double standards that led to Christopher Alder’s unlawful killing, Janet Alder faced a further violation: police surveillance. Janet began suspecting she was being followed by plainclothes officers just two weeks after her brother’s death. “I knew I was asking the right questions to the wrong people,” she recalls.  

Despite her suspicions, Janet’s attempts to report the surveillance- including to her local MP- yielded no results. Repeatedly, she was told by authorities that there was “no evidence” to support her claims.  

It wasn’t until 2013 – fifteen years after Christopher’s death- that her suspicions were vindicated. Revelations about police surveillance of Stephen Lawrence’s mother, Doreen Lawrence, exposed a pattern of illegal spying on grieving families seeking justice. Janet learned that she too had been a target of unlawful police surveillance throughout her fight for accountability.  

In 2000, Christopher was laid to rest- or so his family believed. In a shocking revelation years later, it emerged that his body had remained in a mortuary and was swapped with that of Grace Kamara, a 77-year-old black woman. Police trainees had even been shown Christopher’s body during mortuary visits under the pretence that it was Kamara’s. Janet calls it “a sick joke,” highlighting the glaring discrepancies: Kamara was 6’1″, while Christopher was 5’6″; their ages (77 and 37 respectively) and appearances were starkly different.

Janet Alder’s family has long borne the brunt of state brutality. Her parents, part of the Windrush generation, migrated to the UK from Nigeria, lured by promises of a better life. Yet, when Janet’s mother experienced a psychiatric crisis and her relationship with Janet’s father broke down, the UK government offered no support. Instead of helping her separate from her husband and care for her children, they deported her. Janet has never met her mother.

Janet, Christopher, and their siblings were placed in state care, enduring mental and physical abuse in a harshly regimented state care home. For Janet, the negligence and injustices of the British state have been a constant, shaping her life in deeply painful ways.

For Janet, the book is both a form of catharsis and an act of resistance. “I had to keep my sanity,” she shared at the launch. ‘To walk away from this, I think it would have left me totally demented so I had to go with what I believed, I had to go with what I was seeing, and I had to go with my intuition (…) because anything less would have destroyed me, and it would have buried this disgusting, inhumane way that Christopher was treated and the way my family was treated.’

Sharing her story during the book’s launch in Oxford, last Thursday, Janet shone as a symbol of strength and resilience in the face of institutional oppression. Despite over 25 years of legal battles, no convictions, and no justice, her story is one of unwavering defiance and determination to expose the truth. 

The book’s release was marked by Dan’s insightful interjections and a poignant discussion with former Labour councillor Jabu Nala-Hartley, who drew parallels between Janet’s struggle and broader systemic failures. She reflected: “The ICJ has ruled that Israel is commiting Genocide, but what has Israel done? They continue to do what they like. So what is the legal system there for? Jabu asks “Who has put them there? Who gives them the power to tell us that people are wrong when they are challenging systems that are destroying us and destroying our planet?” 

Defiance: Racial Injustice, Police Brutality, A Sister’s Fight for the Truth is available at Waterstones, Oxford’s Blackwell’s, and online at : https://housmans.com/product/defiance-racial-injustice-police-brutality-a-sisters-fight-for-the-truth/ 

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