Friday 18th July 2025
Blog Page 582

Fry ‘held audience in the palm of his hand’ in Mythos performance

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Stephen Fry’s latest show at the Oxford New Theatre, ‘Mythos’, is a three night event, with each performance covering a different realm of Greek myths. The first is ‘Gods’, the second ‘Heroes’, and the third ‘Men’. In theory, then, although each performance can stand on its own, this is a seven and a half hour long show. If this wasn’t impressive enough, the cast list for ‘Mythos’ is just one name long: Stephen Fry himself.

Despite Fry rightly being heralded as one of the greatest storytellers of our time, I had my reservations going into ‘Mythos’. Fry undoubtedly has enough charisma and charm to match any one of the Olympian characters in his tales, but could he hold the audience’s attention for such a mythological marathon as this?

The answer is a resounding ‘yes’. The first act was riveting, with Fry sprinkling tasteful doses of humour into the Greek story of creation, somehow managing to make Kronos’ cannibalistic tendencies towards his children sound hilarious. Balancing out the laughter are moments of darkness and poignance, with Fry leaning in to the audience as if sharing a secret, placing careful emphasis on each word, warning the viewers to take heed of what he was saying. An example is his veiled criticism of Brexit in telling the story of a town that forgot Zeus’ most highly regarded principle, that of hospitality, and the welcoming of strangers into the household.

Stephen Fry as himself in Mythos: A Trilogy – Gods. Heroes. Men. Photo by David Cooper.

For parts of his performance, you could be forgiven for mistaking Stephen Fry for a particularly affable and talented lecturer, teaching a class of University students. The only difference being that he held the audience in the palm of his hand throughout, with there being few times when he rambled, giving the mind a chance to wander. It is quite remarkable really, in this era of short-attention spans, where everything is condensed into 140 characters or less, that Fry would want to take on such a mammoth oratory challenge. Even more surprising, is that he manages to keep his audience entertained without the many bells and whistles that most productions use.

He takes a couple of brief diversions for a mini-adaption of Trivial Pursuit (aptly called ‘Mythical Pursuit’), where audience members choose from an assortment of topics, on which Fry will then expand upon. This is clearly a result of producers’ worries about maintaining the viewers’ focus, but to be quite honest the show doesn’t really need it.
It does, however, offer an illuminating insight into the motivation behind Stephen’s retelling of the great Greek myths. One could be forgiven for looking sceptically upon his ‘Mythos’ tour as being mere advertisements for his accompanying books, and as the show began I must admit I had lingering doubts in the back of my mind.

But partway through the second act, somebody chose the ‘Stephen’ option in his Mythical Pursuit game, and he proceeded to tell the audience what it was that made him want to get so involved in Greek mythology. He said it was his mother who first introduced him to the wonderful tales of Ovid and Homer, and then expanded on how he would read their stories for hours on end, making Greek mythology ‘his subject’ whenever his family watched gameshows.

In regaling us with this context, he eased the minds of any sceptics that remained, and his passion is clear from how eagerly he paints the beautiful scenes of Mount Olympus and Othrys, before allowing the terrifying images of war between the Titans and Gods to seep into his tapestry, turning the overall picture into an amazingly eclectic myriad of colours and sights.

There are very few people with the gravitas that Fry possesses, and when watching ‘Mythos’ one can’t help but see him as our modern day equivalent to the great orators, the Ovids and the Homers, that he is emulating. While the first act impresses more in terms of the fiery, monstrous tale of how the world was created from chaos, the second act arguably draws you in more. Fry meanders through amusing and moving stories of Hermes, Apollo, Midas, Pan, and more. We find ourselves following one character at a time, and you end up rooting for them, in a way that many fully-formed plays never get you to.

The staging is fairly minimal, with Fry sitting on a high-backed chair, with a small round table beside him, on which a glass of water stands largely untouched. There are five rectangular panels behind him, which all combine throughout the show to form images ranging from constellations, to Greek sculptures, to artistic representations of the tale Fry is telling at that time. They are simply accompaniments, designed to complement him, catching the eye every now and then, but not drawing any attention away from his captivating stories.

It is perhaps fitting that Fry brings his boyish enthusiasm and thirst for knowledge on Greek mythology to Oxford. As we slowly drown in essays and coursework it is easy to lose our passion for whatever it is we are studying. To some extent, Fry rekindles a lost spark, and reminds us what it feels like to love learning.

Magazines: a media migration

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A familiar scenario: Smothered by deadlines, exam pressure building and faced with the prospect of never-ending revision, the allure of kicking back for a minute and scrolling through social media becomes increasingly hard to resist. We live in an era of increasingly short attention spans. Just look at the difficulty of writing a hook that’s both interesting enough to pull a reader in and convince them that reading the rest of this article is worth their time. In a world where relaxation takes the form of 6 second Vines and temporary Snap stories, and where we are used to having our entire culture and news filtered through to us in carefully curated 280-word tweets, how can traditional print press compete?

Once upon a time, the popular magazine was a teenager’s chief tool in getting to know their heroes. Published interviews provided exclusive insights into the lives of celebrities which, in turn, allowed fans to feel as though they were intimate friends with their icons. Magazines had complete control over everything, from who was platformed to what trends were published. Nowadays, however, a fan need only create a variety of social media accounts to have their favourite’s personal photos (Instagram), thoughts (Twitter) and day to day life (Snapchat) fed straight into their timelines from the horse’s mouth. The middleman of the magazine has been removed: now the interaction is direct, intimately interspersed with posts from your friends and – cost of electronic device aside – free.

The result is that many magazines have been forced to sink or swim. In 2018, music magazine NME ceased producing print publications after 66 years to focus on a digital audience. Earlier this year, celebrity gossip magazine Now followed suit, only to be followed by fashion and beauty magazine Marie Claire, which will also make the jump to digital-only in the coming months. TI Media, the latter’s publisher, explained the shift: “to best serve the changing needs of its audience’s mobile-first, fast-paced, style-rich lifestyles.” Whilst this prognosis certainly looks dire for print, it reflects the ever-changing ways we as readers interact with the content we are given. Snapchat is a leading example, carefully combining its stories page with a plethora of articles and content from various publishing outlets, all of which can be easily subscribed to with just an upwards swipe. With a University of Chicago study finding 75% of American teens alone (aged 13-17) use Snapchat, magazines are arguably reaching a wider audience than ever before by integrating their articles with posts from friends.

However, as with anything, this shift hasn’t come without its problems. An Influence Central report found that by the time they are 12 years old, 50% of children are active on at least one social media platform. Already, the rising prominence of ‘fake news’ puts susceptible people – such as uninformed children online – at risk. By adding the sensational journalism that is favoured by many celebrity magazines to the mix, these figures would suggest that an increasing number of children and teens are becoming exposed to unrealistic body standards, bias reporting, and overall toxic attitudes at a much earlier age. As a jaded university student, the People and Cosmo headlines on Snapchat initially identify themselves as attention grabbing clickbait: over-the-top but ultimately harmless (and sometimes even entertaining). Yet presented beside articles from the controversial likes of The Sun, all neatly sandwiched in one place alongside content from your friends, it becomes easy to see how the lines between reality and fiction can become blurred.

On the surface, it may appear like we are getting more control over the content we see. Flicking through a gossip magazine in the form of a Snap story certainly has the fast-paced appeal many of our shortened attention spans demand. Social media allows us to follow, and subsequently learn more about, the specific celebrities and trends we are interested in and simply ignore and not follow the things we couldn’t care less for. Yet perhaps the physicality of the printed page acted as a tangible reminder of the difference between reality and the sensational fiction we were consuming. It is easy to choose to subscribe to a magazine, read for a while, and then close and be done with it. But to live a life disconnected from our phones, away from savvy promoted articles and ads interspersed in our feeds, with total control over what we see and where we see it? Now that is a much trickier task.

The Huffman scandal: just another story of privilege and bribery?

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Last week, Desperate Housewives star Felicity Huffman was sentenced as part of Operation Varsity Blues, the college admissions scandal, receiving 14 days in prison, a $30,000 fine, 250 hours of community service, and one year’s probation. Having pleaded guilty back in May to paying $15,000 for her daughter’s SAT score to be improved, Huffman would have expected a lower sentence, which this certainly was – a fortnight in jail is a long way off from the four months predicted by many newspapers and legal experts since the scandal first broke. For an Emmy-award winning actress, this has certainly been a fall from grace, placing her future job prospects and celebrity status in serious jeopardy. For a woman convicted of paying her daughter’s way into a high-ranking US university, however, is it enough?

To me, the scandal is so interesting because it’s so hard to feel sympathy for people who have everything going for them (the money to pay for the best schools, SAT tutors for their children, etc.) and still feel the need to cheat to get ahead. One of the reasons it’s caused so much outrage globally is because it challenges the very notion of “meritocracy”, proving that wealth and important connections really can get you everywhere, including some of the most prestigious colleges in the US. Parallels have been drawn to people in less privileged communities falsifying their address to send their kids to better schools, and being sent to prison for it – with this this mind, why should Huffman and other (mostly white) wealthy parents be treated any differently in the eyes of the law? A two-week stint in jail feels lenient when you consider the months, even years, that people in poorer communities spend behind bars for using a friend’s address to give their kids a better chance at life. Why is Huffman’s case any different?

But having said that, I’m not entirely convinced that a prison sentence is the answer in this case. As well as shining a spotlight on the lengths to which the privileged will go to cheat a system that already works in their favour, the case has provoked a debate about America’s justice system in general. Many have questioned whether incarceration as an across-the-board punishment really holds up these days, especially with white-collar crimes such as Huffman’s. Is it necessary to imprison someone who isn’t a physical danger to society, who might be better able to make amends for her actions in other ways, such as paying for scholarships to prestigious colleges or funding SAT-prep programmes? While it is undeniably important to hold people (especially those in the public eye) accountable for their actions, is imprisoning them really the best way to do that? John Legend, singer and founder of Free America, a campaign designed to “transform America’s criminal justice system”, according to its twitter bio, recently tweeted his disapproval over the sentencing, saying: “Prisons and jails are not the answer to every bad thing everyone does, but we’ve come to use them to address nearly every societal ill,” adding that “no one in our nation will benefit from the 14 days an actress will serve for cheating in college admissions.”

Incarceration is one way of proving that celebrities are not above the law, but I do think Legend has a point about its benefits for society being limited. Why not, as has been suggested by news outlets over the past few months, get her to pay for a group of disadvantaged applicants’ SAT tutoring, or fund a number of scholarships and bursaries to the elite colleges that remain so out-of-reach to people who don’t benefit from Huffman’s privilege? As of April 2018, the USA has the highest incarceration rate in the world, costing the federal government $265 billion a year. I really wonder if locking up an actress for cheating in college admissions is the best use of that money, and if it might not be better overall to commit her to helping fix the problem of which she is part in a different way.

Climate strike comes to Oxford

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This morning school students across Oxford and the surround area left class to march at another climate change strike held in the city centre.

In what was the city’s seventh Youth Strike 4 Climate event, hundreds gathered to make known their opposition to global pollution and widespread damage to the environment. 

Chris Church of Oxford Friends of the Earth said: “This is the largest environmental demonstration Oxford has ever seen.

“It is a wonderful tie-in to all the other things which are happening around the planet at the same time”.

Oxford MP Anneliese Dodds, MP for Oxford East, said: “I think it is really humbling to see a huge number of young people here today and they are very clear that we need to act now. We cannot keep putting action off”.

These protests came as part of climate strikes all across the UK, and the rest of the world. Thousands descended on central London to hear activists speak, as well as Labour Party leader Jeremy Corbyn who described himself as ‘absolutely delighted’ by the protests. 

However, Education Secretary Gavin Williamson said “every child” should be in school. He added that “they should be learning, they shouldn’t be bunking off and it’s very irresponsible for people to encourage children to do so”.

Demonstrations have been held in every continent, and millions are thought to have attended climate strike events across the world.  

University’s retirement policy comes under fire

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For the second time this year, Oxford has faced opposition from an academic appealing against their retirement under the University’s ‘Employer Justified Retirement Age’ (EJRA).

Professor Paul Ewart, former head of atomic and laser physics at Oxford’s Clarendon Laboratory, was retired before his 70th birthday, but is contesting this decision as his research is “blossoming” and remained important “particularly in making a contribution to solving the problem of climate change and environmental pollution being driven by emissions from combustion”.

Neither he, nor the University, were willing to comment on the case specifically as it is ongoing.

This follows a case earlier this year in which John Pitcher, English professor at St John’s College, lost an employment tribunal case to reverse his retirement by the college.

St John’s defended the EJRA as “promoting intergenerational fairness and maintaining opportunities for career progression”, as well as “promoting equality and diversity”.

Pitcher commented that “I am myself from a working class background and the importance of these kinds of social aims weighs strongly with me”, but believes that in this case he is being wrongly discriminated against.

This is the fourth challenge to the University’s retirement policy since its inception in 2011.

Stilettos, Broken Bottles and Teenage Heartbreak: A Love Letter to Robyn’s Dancing on my Own

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When I was sixteen, I was in love for the first time.

It was a boy from a school near mine, who I’ll refer to as M. Everything about him was perfect – and by that, I mean he was physically attractive and generally a nice guy. However, I couldn’t bring myself to make a move. As excruciating as my feelings for M were, I knew there was no point in telling him how I felt, as he couldn’t possibly feel the same way about someone like me.

The annual Halloween party was one of many strange traditions at my school – a glorified gathering of girls in bodycon dresses doing balloons with a dozen boys who all thought dressing as the Joker made them quirky. The first one I’d been to was far from enjoyable as I was teetotal at the time (oh, how I’ve changed) and I ended up spending the night sober and making tea for my drunk friends. In Year 13 I decided that things would be different, partly because I’d started drinking at this point, but also because I’d heard that M was coming to the party. I’d decided that that night was going to be the night – I was going to make a move on M, tell him how I felt and maybe, just maybe, have my first kiss. As I waited for my friends outside, my heart began to race as I saw M waving at me in the distance, and suddenly sank as soon as he introduced me to his new girlfriend.

When I was seventeen, I experienced heartbreak for the first time.

As soon as I saw M with his arm around this beautiful girl, different from me in every respect, it was like my surroundings had crumbled around me. I felt as though the room had blacked out entirely, save for a single spotlight on M and this girl. I could do was smile and introduce myself to this other girl as I screamed on the inside. I spent the rest of the night getting horrifically drunk, wandering aimlessly and feeling sorry for myself as I tried to pretend that I was having a good time. As much as it stung to see M and his girlfriend together, morbid curiosity got the better of me – I was unable to tear my eyes from them, and all I could think about was why he wasn’t kissing me instead.

I was, understandably, distraught for the following few weeks. Then, as if some higher power understood my heartache, I came across a song on a Spotify playlist – Robyn’s Dancing on my Own. As soon as I hit play, I felt like I had been transported to that church hall in Kentish Town, on the night I’d been romantically punched in the gut. I didn’t expect as visceral a reaction as this, not least because the playlist was Party Classics. It felt like Robyn had written a song about the night my world had fallen apart, like she was with me at that party and could read my innermost thoughts before putting that indescribable pain into words – especially the way I could do nothing but pretend to enjoy myself rather than cause a scene by acting up.  As I listened to the song on repeat over the coming days, I found myself oddly comforted by Robyn’s words – I was reminded that somebody understood how I felt, that it was okay to lick my emotional wounds, but that I’d be just fine if I kept my head held high and kept dancing on my own.

When you think of Robyn, you may dismiss her music as little more than a bit of naff Scandi dance-pop, lacking in substance or originality. To those who scoff at this track in particular, I urge you to look at the quietly devastating lyrics concealed beneath the ridiculously catchy melody and pounding synths. In Dancing on my Own, Robyn describes a sensation that we have all experienced but somehow cannot put into words – and her clever disguising of the lyrics beneath the upbeat instrumentation mirrors our compulsion to act like everything is fine as our entire lives shatter around us in a single instant.

In the same way, I believe we are far too quick to dismiss teenagers’ emotions, especially with regards to love and relationships. Yes, I do still cringe when I think about some of the things I did, or the people I liked, when I was at school – but who wasn’t an idiot at that age? At that stage of my life I was just a clump of raging hormones, still figuring out who I was and what I wanted in my life – hell, I still am – which is why I had felt like my whole world had ended. Something of an overreaction, I know, but a very real one at that, and one we are all too familiar with – so we should cut seventeen-year-old girls some slack and let them cry over silly boys who, quite frankly, aren’t worth their time.

While Dancing on my Own is undoubtedly cheesy, Robyn uses it to articulate what many of us have struggled to put into words – the undiluted pain of knowing that someone you love couldn’t possibly feel the same way about you. With Dancing on my Own, Robyn has created an anthem for teenage heartbreak, giving a voice to lovelorn girls like me who stood in the corner, watching him kiss her (oh, oh, oh).

And so, Robin Miriam Carlsson, I salute you.

#AmINext sheds light on us all

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CW: Violence, sexual assault

In South Africa, women are shining a spotlight on the government’s glaring failure to halt the sustained and rising tide of sexual violence against women. After days of demonstration at the start of September, in which protesters blocked the entrance to the World Economic Forum, South Africans took to the streets again last Friday in the wake of a spate of high-profile murders that has attracted coverage from newspapers across the world.

Under the hashtag ‘#AmINext’, social media has been flooded with images and videos of the protests, calls to reinstate the death penalty, suggestions that the state should make people #PayPatriarchyTax and a seemingly endless stream of missing posters for those whose cases are yet to be resolved. After two days of protest, South African President Cyril Ramaphosa was met with boos from the crowds when he delivered a speech on 5th September. Admitting that the statistics for gender-based violence amounts to a national crisis, he promised ‘Enough is enough.’

Against a backdrop of endemic sexual violence against women and girls, the protests were sparked by the rape and murder of Uyinene Mrwetyana, a 19-year-old student at the Univeristy of Cape Town (UCT). On August 24th, Uyinene, known as ‘Nene’, went to collect a parcel from the post office in Claremont, a short distance away from the campus. She was told by a postal worker there that the card machine was not working, and to return later in the day. When she did, she found the same employee alone there. Offering to help her find the parcel, he locked her in the empty office where he raped her and, when she fought back, bludgeoned her to death. Her body was later found buried in Khayelitsha, on the other side of town. The postal worker (a devout churchgoer, according to neighbours) was charged following a private investigation and has now confessed in court to rape and murder. Some have suggested a private investiagation was necessary to solve the case due to lack police support. It has now emerged that his employers at the state-run post office were aware of his previous criminal record, which includes carjacking.

In a painful irony, August is Women’s Month in South Africa. Events were organised to honour the 20,000 women who marched on government buildings in 1956 to protest the extension of the country’s ‘Pass Laws’ (requiring black citizens to carry an internal passport). As the commemorations ended, the violence continued. Less than a week after Uyinene’s death, South African female boxing champion Leighandre Jegels was shot dead by her partner, a police officer, despite having previously taken out a protection order against him. Across town, fourteen-year-old Janika Mallo was found beaten to death in her grandmother’s garden, after another suspected rape. The next few days after that saw the death of two more women in Cape Town following serious assaults and a female nursing student was raped.

Every three hours in South Africa, one woman is murdered. The names continue to stack up in what is an all-too-familiar story. Is the government finally starting to listen?

Ramaphosa was meant to celebrate 100 days in office that week. However, his speech on the 5th September was meant by a hostile reception from the thousand-strong crowd. His commitments to strengthening the state’s approach to sexual violence were deemed too little too late.

“Our nation is in mourning and pain,” he began, speaking of the country as “deeply traumatised by acts of extreme violence perpetrated by men against women and children.” His rhetoric implied an understanding of activists’ demands that men, as the perpetrators of the vast majority of such crimes, need to be called on to solve the problem, rather than the focus remaining on women as victims. Ramaphosa was emphatic: “Violence against women is not a women’s problem. It is not a problem of what a woman said or did, what a woman was wearing, or where she was walking. Violence against women is a men’s problem. It is men who rape and kill women.”

Yet critics argued that the solutions he proposed were unrealistic, such as reviewing closed cases, when many current cases go uninvestigated, or have been unsuccessfully attempted before. While he pledged to ensure every police station has the necessary equipment to investigate sexual assault cases, some on social media criticised his lack of action to date. In some provinces the current number of police stations with access to a ‘rape kit’ is less than 10%. Across the country, only one-quarter of all police stations have access to this equiptment. Accusations that the president was being disingenuous were underlined by the later use of water cannons and stun grenades against protestors.

Though Ramaphosa’s pledges did not go far enough, his messaging around sexual violence, is a vast improvement on his predecessor, Jacob Zuma. Zuma, who resigned in February last year, was notoriously accused raping a lesbian AIDS activist in 2005. During the trial, he told the court that his accuser had dressed provocatively, and appealed to a Zulu cultural taboo against leaving a sexually aroused woman unsatisfied. He was later acquitted. He had also stated at the trial that while he knew the alleged victim was HIV positive, he had showered afterwards, implying that this would reduce the risk of contracting it. This statement was a major setback in the ongoing battle against AIDS in the country, where over 20% of the adult population are HIV positive.

In the context of South Africa’s history of apartheid, unpicking the country’s problem with rape is not simple. Academic analysis has focused on the normalisation of violence, with patriarchal understandings of gender intersecting with a racist history of sexual assault against black women women going unpunished. A 2006 survey of rural South African men found that a fifth admitted to committing rape, and that the mean age of their first rape was 17. Pumla Gqola, author of Rape: A South African Nightmare, saw Zuma’s trial as emblematic of public opinion on the issue. Gqola described it as: “a watershed moment for what it highlighted about societal attitudes that had previously been slightly out of view… Under colonialism and apartheid, adult Africans were designated boys and girls, legally and economically infantilised.” She argues that South Africa’s history has bred a brand of toxic hypermasculinity that encourages violence as a way of asserting power.

The data on sexual violence around the world is extremely inadequate, but the statistics that do exist suggest a stark reality. In 2016, the World Health Organization (WHO) placed South Africa fourth in the world for female interpersonal violence death rate, with only Honduras, Jamaica and Lesotho ahead of it. Both murder and sexual assault rates are rising, with sexual violence increasing by 4.6% between 2018 and 2019. However, despite the increase in reported rapes to just over 40,000 in 2018, studies suggest that the true rate is vastly underreported, with as few as 1 in 9 informing police. A 2017 study found that, of those reported, only 6% resulted in a conviction.

As news of South Africa’s protests hit international headlines this month, the UK is facing a crisis with its own handling of sexual violence. Last year, rape conviction rates in the UK went down 27%. For the second year running, rape charges are also substantially down. This has been blamed on a number of factors: the Crown Prosecution Service adopting a “merits-based” approach to prosecuting rape, vastly reduced police numbers and reports of women being required to hand over their phones or face charges being dropped. A study by the Office of National Statistics in 2017 revealed that 20% of women in the UK reported being sexually assaulted since the age of 16, and 4.5% of women reported being raped.

The hashtag which protestors are using to broadcast their movement across social media, asking the question ‘#AmINext’, is not without controversy. It was first used in 2013 in the wake of the shooting of Trayvon Martin in the US, before being adopted to protest the high murder and disappearance rates of indigenous women in Canada. The hashtag’s use in Canada was simultaneously criticised for moving the focus from actual victims to potential victims. People were also worried about imposing a sense of victimhood on a marginalised group, which risks furthering their marginalisation. This resulted in a counter-hashtag ‘#ImNotNext’, which was itself criticised for implying immediate action was not needed.

The campaign’s success cannot be denied: after international media picked up the story in 2015, Justin Trudeau committed to a national inquiry on the issue. In the words of academic Sarah Hunt, “The impact of both campaigns lies in the fact that they have been initiated by Indigenous women, and are examples of self-determined approaches to resisting violence.” They also brought into focus issues of representation for the ‘Two-Spirit’ population: people indigenous to North America who fulfil a ceremonial role in their traditions as a ‘third gender’. Hunt continues: “Social media is revealing the ways in which individual women, men, Two-Spirit and trans people are actively resisting colonialism in their everyday lives, not just waiting for state officials to ‘save’ them.”

The Cape Town protestors, who have also adopted the hashtags #NotInMyName and #SAShutDown, do not deserve any criticism for their passionate and successful attempts to bring the issue into sharp focus. The problem of framing the issue, when it comes to discussing rape, is a global one. The question ‘Am I next?’ exposes pervasive problems in society’s response to sexual violence. The need to focus on who will be the next victim betrays the tragic fact that to capture the media’s attention, the facts are somehow not shocking enough; campaigns need to bring it ‘closer to home’. Often what that really means is closer to the lives of people who are more powerful, or more enfranchised, than the victims.

Paraphrasing the question reveals its subtext. When we ask, ‘Am I next?’, we ask, ‘What if this happened to a different human?’ The rape of one human is no more or less horrific than the rape of another. If we are only empathetic to the issue when we imagine it happening to someone different, we betray the apathy inherent in our outlook.

We do not have to look far to see this logic writ large in the rhetoric of our politicians. Even Barack Obama, in a speech publicising his tough approach to sexual assault in 2014, led with the line: “It’s about all of us – our moms, our wives, our sisters, our daughters, our sons.” Women here, as critics noted at the time, are defined exclusively by their relationships (subtext: to men). They are defined by somebody’s ownership of them by association: “our… our… our… our.” The person excluded from the “all of us” is the woman in her own right as a human. What of the woman who does not have children, is not married, has no siblings and, for whatever reason, does not form part of a community or family who feel that she belongs? Often these are the people most vulnerable to sexual assault and rape. Yet to shock ourselves into action, it still appears it is necessary to imagine it happening to a different human, someone closer to home.

Stephen Fry on Mythos

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It seems entirely appropriate that one of the world’s greatest storytellers is telling some of the world’s greatest stories. In news that will thrill his legions of fans across the country, Stephen Fry is undertaking his first UK tour in nearly 40 years. Rightly hailed as a wonderful storyteller, he will be travelling the country with his new show, “Mythos: A Trilogy – Gods. Heroes. Men.” Beginning at the Edinburgh International Festival on 19 August, Stephen will travel the UK visiting Salford, Liverpool, Birmingham, London, Oxford and Gateshead, delivering this trilogy of plays about Greek Gods, Heroes and Men. These timeless tales resonate to this very day. Mythos – Greek for “story” – is divided into three separate shows. Loosely scripted, each evening will afford the audience the opportunity to revel in Stephen’s signature wit, natural charm and effortless intelligence. Drawing on his immense knowledge of Greek mythology, Stephen has an excess of stories even for three shows, so his audience will aid him in selecting which tales to recount. This means that Mythos will be different every single night. It promises to be one of the most captivating theatrical events of the year. Book early, as they say, to avoid disappointment. Even though the three Mythos productions are all selfcontained, they also form a coherent sequence. Therefore, those lucky enough to have tickets for all three shows will be able to trace a beautifully satisfying arc.

Hilariously funny, often astonishing and frequently quite personal, Mythos is an experience that has to be seen to be believed. It is a once-in-a-lifetime event. But don’t just take my word for it. Stephen premiered the show last year at the Shaw Festival in Ontario, Canada, where it was acclaimed by critics. The Toronto Star marvelled that, “Fry turns teaching into entertainment through the skill by which he tells history as a great story.” For its part, The Buffalo News pointed out that his, “Lacerating wit and penchant for the irreverent is a perfect fit for the many sordid stories of Greek myth.” Meanwhile, The Stage praised the show as, “An Olympian feat of storytelling well worth a pilgrimage.” With an astounding CV that takes in everything from hit TV panel shows (QI), sitcoms (Blackadder) and sketch shows (A Bit of Fry and Laurie) to documentaries (Stephen Fry in America), movies (Wilde) and books (The Fry Chronicles), Stephen is certainly one of my heroes. They often say that you should never meet your heroes, but I’m delighted to report that this meeting exceeded all expectations. Stephen is just as engaging and impressive off stage as he is on it. The 61-year-old Renaissance Man begins by explaining why he has decided to tour the UK for the first time in four decades. “I tried Mythos out at the Shaw Festival in Canada last year, and it went so well. “It was also a really interesting use of the stage – it’s not standup comedy and it’s not drama. It felt like a new genre, and yet it’s the oldest genre there is – gathering people round the fire to tell them the story of how everything began.”
Stephen adds that by returning these stories to the oral tradition, he is bringing them back to where they belong. “The myths are such great stories, and it just struck me as a fun way of telling them. I also noticed a lot of people really enjoy audio books. “Because these stories were originally told to other listeners, they work incredibly well in that communal sense of the hearth. After a long day’s work or a long day chasing antelope, early humans would all come back and sit round the fire and tell stories of how the world was made and how spiders would spin webs and so on.” The enduring power of the Greek myths is mirrored in the fact that they continue to reverberate in the literature of the last century. According to Stephen, “The stories cast a kind of spell if you are telling them right. Two of the most popular ‘manmade’ mythological sequences are the Tolkien and the JK Rowling series – I suppose you could add to that what is known as the MCU, the Marvel Comics Universe, and Game of Thrones to that mix. “These are 20th century versions of Greek myth – and they owe everything to Greek myth. It shows there’s a great yearning for stories which are out of our own milieu. The moment you are inside that story, it’s more universal because it’s about the human spirit without it actually being about living in London, or living in Manchester, or living in New York, or living in Hong Kong, which is a very specific thing.” The performer carries on that, “I think that’s why people flock to see things like The Lord of the Rings, The Avengers or Game of Thrones. You have the elemental nature of greed, betrayal, lust, love, passion – these human virtues and vices are all on display. You don’t have to think it’s a satire on politics – it’s about everything. I think that’s part of the excitement of it.”

Mythos will also serve to plug a gap for many in the audience. Stephen comments that, “There is an enormous appetite amongst all kinds of people to put right what they left out at school. That’s why history, science and art are so popular now. More people go to art galleries in London than football matches. There is this hunger for knowing more, a curiosity.

“I hope I can take the smell of the school out of Greek myths because a lot of people associate them with a so-called classical education and believe that you have to be intellectual to understand them. But that’s just not the case. It’s not a test of intelligence, it’s quite the reverse. It’s welcoming you into this fantastic world, which is universal, sexy, juicy and full of fury and rage and adventures.” The other amazing thing about these stories is that they contain so many parallels with contemporary life. Stephen points to a myth that has quite remarkable echoes today. “The story of Pandora’s Box is very much analogous with the rise of the internet. “The Greeks understood that if something was too good to be true, then it was too good to be true. Everything casts a shadow – it took us a little bit of time to realise that the internet was casting a shadow.” He continues that, “Pandora means gifted – she was given all the gifts of all the different Gods: wisdom, beauty, prophecy, art and music and so on. But she was also given this box which she was told she wasn’t to open. “I was incredibly naive. When I was a very early user of the internet, I was a huge evangelist for it – I thought that it would solve the problems of the world. I thought, ‘Boundaries will dissolve and tribal divides and hatreds will disappear, and
we’ll all suddenly understand each other and people who have unusual and different hobbies will be able to contact each other across the world instantly rather than relying on quarterly fanzines.'” However, Stephen admits, “Pandora opened a box and out flew all these creatures who destroyed the world in which humans lived. This world without pain, this paradisiacal world was suddenly infested with the creatures from her box: war, famine, lies, murder, betrayal, lust and anger.

“Similarly, at some point in the first decade of this century, the lid of the box came off the internet, and trolls, abusers, groomers, misinformation, viruses, all flew out. What had seemed like a paradise, a beautiful clean pool in which we could all swim, was suddenly littered with broken glass and horribly polluted. That can sound very pessimistic, but the lesson is that life can be very tough.” Stephen wraps up by reflecting on what he hopes audiences will take away from Mythos. “I hope people will come out with a sense of ‘I never knew Greek myths could be so exciting! I’d heard of Narcissus and Echo. I knew there was something about turning into a flower, but I never knew that.’ I also hope everyone connects with these myths, which are deep in our language and our culture. I think this show will feed our curiosity.” Above all, he says, “The most important thing is that the audience realise just how approachable the Greek myths are. These are the creations of ordinary people. They are all our ancestors. Poets and playwrights may have used them for their plays, but that’s a different thing. These are stories from all of us, from the earliest time around the fire.”

He concludes that, “If you have ever had an exciting time around a campfire, whether it’s been caravanning with your parents or camping with friends, and you’ve sat round cooking sausages and telling each other stories – that’s the atmosphere that I want to create. “It’s one of the most exciting atmospheres because we are all family.”

Credit: Mythos – A Trilogy: Gods. Heroes. Men. UK tour comes to New Theatre, Oxford on 19th – 21st September. For tickets: stephenfrymythoslive.com Twitter: @stephenfry

Billionaire’s Oxford donation sparks protest

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Students, staff and councillors have raised concern with the University over its receipt of £150 million from Stephen Schwarzman, co-founder and chair of the controversial Blackstone Group.

Oxford plans to use the donation to build the ‘Stephen A. Schwarzman Centre for the Humanities’. The open letter, signed by a forty-two locals, students, staff, councillors and activist groups, academics and councillors, warns that the Centre will “be built with the proceeds of the exploitation and disenfranchisement of vulnerable people across the world.”

Schwarzman, who is estimated to be worth $12.5 billion, is a long-time supporter of Donald Trump. Blackstone, a private equity firm, has faced criticism for its unethical investments in a wide variety of areas. Senior executives at the firm earn millions of pounds per month.

An investigation by The Intercept recently revealed that Blackstone has played a role in the deforestation of the Amazon. Hidrovias, a company owned largely by Blackstone, is one of the chief beneficiaries of a controversial highway built through the heart of the Amazon rainforest to reach its shipping terminal at Miritituba. Blackstone denies allegations of complicity in the deforestation, pointing out that the road in question is owned and operated by the Brazilian government.

The UN’s special rapporteur on the right to adequate housing this year blamed Blackstone for exacerbating in America’s housing crisis. Blackstone’s full response to the allegations can be found here.

In the UK, Blackstone has attracted controversy for its role in privatised NHS services. One elderly care provider, Southern Cross, was bought by Blackstone in 2004, which earned huge profits by investing heavily in the housing market. Three years later, as the housing market bubble was about to burst, Blackstone sold its shares in Southern Cross. The company was left unable to repay its debts and eventually collapsed.

A spokesman for Blackstone told Cherwell: “Blackstone has not controlled Southern Cross since its IPO in July 2006. It was a full five years later that it ran into financial difficulties. During Blackstone’s ownership, the company experienced growth and profitability and was healthy at the time of its IPO, evidenced by the strong share price performance in the year after listing, and was viewed as one of the highest quality operators in the sector.”

Another NHS care provider acquired by Blackstone, Independent Clinical Services, was found to have used a loophole to avoid paying up to £3 million in tax in 2012 alone.

Blackstone told Cherwell that they act in full compliance with all applicable laws, rules and regulations, including proper disclosure to tax authorities. “The allegations that were put to us are false and unsupported by the facts,” a spokesman said in response to this article.

“It is through association with universities like MIT, Yale, and now Oxford, that Schwarzman seeks to legitimise these practices,” the open letter states. “Recent controversies surrounding donations by the Sackler Family and Jeffrey Epstein have shown how institutions that have ignored the concerns of their members have gone on, deservedly, to suffer significant damage to their reputations. We believe that Oxford is leaving itself open to such future damage.”

The signatories are demanding that the University release the details of its due-diligence tests for this particular donation, and how the decision was made to accept Schwarzman’s money.

A University spokesperson told Cherwell: “Mr Schwarzman has been approved by our rigorous due diligence procedures which consider ethical, legal, financial and reputational issues. You can find out more about the University’s Committee to Review Donations, which approved Mr Schwarzman, here. We have very clear policies when accepting gifts that they should not influence academic freedom or content and this gift is no exception.”

Common Ground, one of the petition’s signatories, told Cherwell that they want the University to reject the donation outright. “It is about time universities started showing due diligence regarding their funding,” they said. “The fact that it is considered so unthinkable by the Vice-Chancellor to turn down such a large sum of money demonstrates the extent to which ethical considerations and due diligence have been obscured by the number of zeros in Schwarzman’s donation.”

The spokesperson for Common Ground called on the University to consult students, staff and locals on a new framework for vetting donations: “The prestige afforded by institutions like Oxford give these figures a respectability that can’t be bought through their controversial business practices alone.

“Oxford has a close relationship with power in the UK. Association with Oxford is an association with power. Wafic Saïd, known for his use of bribery in brokering the al-Yamamah arms deal, is the subject of honorary dinners at Somerville College. This level of social acceptance can rarely be bought.”

The Stephen A. Schwarzman Centre for the Humanities will occupy the empty plot adjacent to the Radcliffe Observatory. The website for the Centre states: “The building, made possible by a landmark £150 million gift from philanthropist and businessman Stephen A. Schwarzman, demonstrates the essential role of the humanities in helping society confront and answer fundamental questions of the 21st century.”

Oxford has attracted controversy in the past for its receipt of donations earned through unethical business practices. Earlier this year, the Said Business School was gifted £15 million from billionaire arms dealer Wafic Saïd. Saïd has for decades played a key role in facilitating the arms trade between Britain and Saudi Arabia. The weapons sold through Saïd are currently being used to attack Yemen in what the UN has called the worst humanitarian crisis in the world.

In 2018, during the height of the opioid epidemic which has since killed over 70,000 Americans, Oxford decided not to reconsider its acceptance of regular donations from the Sackler family, who have been heavily implicated in fomenting the crisis. Donations only stopped in March of this year, at the initiative of the Sackler family.

A spokesperson for Blackstone told Cherwell: “At Blackstone, we invest on behalf of institutional investors around the world, including retirement systems which represent more than 31 million pensioners in the United States and millions more internationally. Responsible and sustainable investing is a central element of the firm’s culture and is reflected in the work that we do. From the day of our founding, Blackstone has dedicated itself to being a responsible corporate citizen. Our commitment to corporate responsibility is embedded into every investment decision we make.”

You can read the full text of the open letter here.

Inside an MP’s constituency surgery

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When we consider the daily work of an MP, we tend typically to think of appearances in the House of Commons and other Westminster business: committee work, media events, and scrutinising legislation. This is especially the case at this febrile time in British politics, in which major votes in Parliament are taking place on a frequent basis and dominate the news cycle.

It is easy, then, to forget the other vital part of a politician’s job: the one based back in the constituency, meeting and acting on behalf of the people whom the MP represents. MPs hold regular constituency surgeries to talk with local people, hear their concerns, offer advice, and try to correct errors in the system which may have affected them.

So what exactly do these surgeries involve? I spent an afternoon with Anneliese Dodds, the Labour MP for Oxford East, to find out more.

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We meet on a Friday afternoon, just off the Cowley Road in a local community centre. As constituents start arriving for their appointments, Anneliese manages to combine considerable concern for each story with a sympathetic but professional manner. Engaging and attentive, she offers each constituent her undivided attention, as a member of her team records the details of the case. She succeeds not only in offering sympathy but also in sharing the constituent’s frustration with the system. 

She remains realistic, however, about how much she is able to help in each individual case. Parliamentary notepaper can have some sway, and MPs can ensure their constituents’ cases are being handled properly by housing authorities, for example; but they are not able to intervene in individual cases or get particular constituents moved up priority lists. 

Constituents come to their MPs with a wide range of problems and have frequently run out of other options when they turn up at the doors of a surgery. Anneliese tells me of people who have come to her in desperation with bin bags full of letters from the council. In many cases the confused correspondence spans years and betrays a system which can be complicated, opaque, and profoundly difficult to navigate, especially for those who are not native speakers of English. 

Most of the cases which arrive in her surgery relate to immigration, housing, and, more recently, complications arising from Universal Credit. Since its roll-out, Anneliese tells me that her team has had ‘absolutely loads of cases. It’s just been a complete nightmare.’ The delayed payments that many faced during the early stages of Universal Credit have caused a particular problem in Oxford, with its high housing costs and tight labour market.

With great compassion, Anneliese describes the example of a single-parent family whose working mother showed up at a recent surgery. With children to feed and so much money going on rent, she had been struggling to make ends meet, and the delay to benefits due to Universal Credit left her simply unable to cope.

Over the course of the afternoon, Anneliese shows considerable understanding of all parts of her constituency. Although she was only elected MP for Oxford East in 2017 – having previously worked as an academic in King’s College London and Aston University – Anneliese is acquainted with details of the communities across the area she represents. 

Her time as a PPE student at St. Hilda’s in the late 1990s gave her one perspective on the city; and her work canvassing with the Oxford University Labour Club meant that, even before standing as an MP, she had already got to know many of the areas less visited by students. 

Anneliese is thus in a good position to understand the details of problems faced by constituents across the city. She is also well-informed about more positive aspects of Oxford life. Over the afternoon she reveals knowledge of matters ranging from the city’s various inter-faith groups to the community outreach projects put on by Holy Family Church in Blackbird Leys, for which she has great admiration.

Anneliese speaks with pride about cases in which she has made a real difference. She found it ‘hugely rewarding’ to have been able to help many local Windrush victims, for instance. A special surgery was put on to deal with that particular problem, in which she met ‘so many impressive and really interesting people’ and was glad to have been able to make a difference to their lives. 

Throughout the afternoon, the constituents show great appreciation towards Anneliese for the attention and advice she gives them. They appear grateful to have been listened to and taken seriously, in some cases after years of difficulties. Some turn up out of a sense of community spirit, having solved their problems already but anxious to explain them, seeing their MP as a means of improving the experience of others who find themselves in similar situations in future.

Does she have people coming in to talk about her work in Parliament, or to criticise particular votes she has made? ‘Yes, and often they have been really good discussions. The more hostile stuff tends to come from behind an email or a social media account.’ As with other topics that come up in surgeries, Anneliese sees real value in these face-to-face encounters with the people whom she represents. 

As we emerge back onto the Cowley Road into the early evening sunshine, Anneliese is spotted by a couple who are having a drink in a pub across the road. They erupt into a spontaneous chorus of ‘Stop Brexit!’. Anneliese breaks out into a smile and stops briefly to exchange a few remarks with them. As we say goodbye, I get a sense of her deep concern for the constituents who have just passed through her door, as well as the burden she feels of the upcoming battles in Parliament.