Wednesday, May 14, 2025
Blog Page 673

OUCA Bullingdon ban reversed after motion branded ‘unconstitutional’

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The Oxford University Conservative Association’s (OUCA) ban of Bullingdon Club members has been terminated, following a disciplinary meeting which found the passing of the motion to be unconstitutional.

Cherwell understands that a number of concerns were raised around the handling of the motion, the most prominent of which being that several non-OUCA attended last week’s meeting and voted for the ban.

The OUCA Disciplinary Committee alleged that the votes of several non-OUCA members were counted on several motions brought in the meeting of Council held in 1st week, including on the motion to ban Bullingdon members.

The Committee therefore ruled that last week’s verdict on the ban be nullified.

In addition to the ban motion, last week’s passing of a motion to change all pronouns in the OUCA constitution from ‘he’ to ‘they’ was also overturned.

OUCA President Ben Etty told Cherwell: “The overturning of the Bullingdon ban on a constitutional technicality is very disappointing, but it is only a minor setback. The ban will be re-proposed very soon and I’m confident this time that the much-needed change, supported by the vast majority of the membership, will be made permanent.”

Neither the ban nor the pronoun amendment were re-proposed at the meeting of Council this week.

Last week, Cherwell reported that Etty justified the proscription of Bullingdon members on the grounds that “if there was another story in the national press, it would be my face on it.”

This came despite his public claim that the ban was intended to “symbolise our desire to become a more inclusive association.”

Etty, who had supported past motions to ban the Bullingdon from the association, told Cherwell: “This was not a personally-motivated proposal, but was done in the best interests of the members of this association and the wider Conservative Party.

“In my view, this is something that was very long overdue for any self-respecting political organisation, and I’m confident that the vast majority of our members agree with me.”

There had also been suggestions from several members that Etty had “packed the room” with supporters – a suggestion that seems to have played out following the disciplinary ruling.

Minutes from the meeting of Council last Wednesday show ten OUCA members leaving the meeting promptly after the motion to ban Bullingdon members passed, six of whom attend the President’s college.

A previous attempt to ban Bullingdon members from OUCA came in Hilary term of this year, in the wake of negative coverage of the drunken behaviour of the Association’s members. However, the amendment was voted down overwhelmingly by members, as was another amendment attempt the following term.

At the time, then President and supporter of the amendment, Timothy Doyle, told Cherwell he believed some members “feared [a ban] would lead to maliciously-targeted proscriptions of student societies to prevent individual members’ holding office”.

Entry requirements are an arbitrary measure

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A Cherwell investigation last week revealed that 40% off all those who missed conditional offers last year still took up places at Oxford University.

The question we must be asking is whether or not this brute fact alone reduces the value of conditional offers, and of entry requirements? I would argue that whether or not it does is irrelevant. Oxford University is famed for its rigorous admissions process – where else other than Cambridge do you spend three days being subjected to a series of interviews?

For every place offered, over five students apply, and the vast majority of these are high-performing academic students. As such, it is evident, and it has always been so: good grades simply aren’t enough. One must pass every hurdle in the rigorous admissions process, from the entrance examination (the wounds of which may still be fresh for Freshers) to the interviews themselves.

Indeed, in the process of applying you pass tests on unknown topics, read and are quizzed on entirely new information. You meet and are forced to interact with tutors (who themselves are experts in their field). All of these things together combine to demonstrate one’s suitability for a place at Oxford, based on both academic merit and genuine passion and commitment.

Arguably therefore, missing the grade requirements by one or two grades does not suddenly make a student unfit for Oxford, because they have previously demonstrated time and time again that they are.

For instance, a student that has missed their entry requirements for PPE, achieving say AAB instead of the required AAA, may also have achieved in the high 80s in their entry test, making them, based on this metric, the crème de la crème of all applicants.

Indeed, Oxford places greatest emphasis on its own admissions tests, with the commonly held belief being that performance in these tests are a greater indicator of their end outcome in Finals.

This is primarily because although there is some opportunity to be pre-taught and to be tutored to do well in these tests, these examine the natural aptitude at certain skills such as problem solving or critical thinking. These skills are far harder to receive tutoring for than for say A levels, for instance.

As such, these tests are less likely to bias wealthy applicants, and using these as a primary measure is likely to be more conducive to leveling the playing field.

Notably, lots of factors can affect someone’s performance in exams. It is impossible to plan
for events like bereavements, mental health problems, relationship breakdowns, or illnesses, all of which may cause a person to perform below their true potential and cause them to slightly miss their grade requirements.

In relation to this, the average state comprehensive is unlikely to be able to provide the same pastoral support and guidance when a student is faced with mental health problems, for instance. This is primarily because of a difference in resources available.

The Freedom of Information (FoI) request sent by Cherwell notably revealed that 76.2% of students who didn’t meet their conditional offer went to state schools, which make up 57.7% of the total Oxford intake. As such, it is clear that state school students are disproportionately likely to miss their entry requirements, and as such are disproportionately likely to be affected by the imposition of such an arbitrary measure as grade requirements.

The University itself notes that ‘students with genuine mitigating circumstances will be in state schools’ and to say that students who don’t meet their entry requirements face a blanket rejection fails to consider factors external to the individual student that may have affected their performance.

We must not place so much emphasis on entry requirements, for to do so fails to widen participation, and may even mean that the University fails to attract the best students, regardless of where they are from.

Keble Warden ‘mightily sorry’ for undergrad accommodation cock-up

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Keble offcials have apolgised to students for forcing students to delay their arrival in Oxford, though insist they will “make no apology for not consulting.”

The apology came in an acrimonious open forum between students and staff, as they try to restore relations ahead of the coming year.

Following a failure to complete fire saftey tests in the college’s graduate accommodation prior to the start of term, second and third year undergraduates at Keble College were told to “postpone their arrival in Oxford.”

In an email sent by the college’s warden, Jonathan Phillips, on Monday of -1st week, the students were further told that “unless they [had] a compelling reason to be in College sooner,” they would only be allowed to take up residence at the college from Thursday 4th October.

Wednesday’s open forum was held to allow students affected by the accommodation mishap to voice their concerns.

Presided over by the warden, the forum was attended by Keble Bursar Roger Boden, Domestic Bursar Nick French, Senior Tutor Ali Rogers, and Welfare Fellow Nevsky Everett.

About 30 members of the Keble JCR were also present.

Noting the “considerable inconvenience” caused by the accommodation cock-up, Phillips said he was “mightily sorry”.

However, he added: “We had no time to consult [students about the best course of action], and I make no apology for not consulting.”

Students raised points about access, with one JCR member citing an email, dated 25th September, which explained: “In the circumstances we cannot accept as a compelling reason the fact that the only time you can be brought to College is at the weekend.”

Students also called for improved communication, noting the unclear emails sent five minutes before the college office closed during -1st week.

Phillips argued, that “the [college’s] motivation was good,” as they intended to communicate as quickly and clearly as possible, but acknowledged that there were still problems with the way in which information was distributed.

Questions were also raised about the temporary closure of the hall and the O’Reilly Theatre, which started last week and will end during the Easter Vacation.

Furthermore, there was discussion about college facilities, with MCR members being set to use JCR washing machines until the end of the month.

A third year at Keble told Cherwell: “Since I had already committed to coming back early, I had to sleep on friends’ floors for six nights.

“I had problems with storing my stuff as well, as my parents couldn’t take time off on the Thursday to help me move in.”

Another third-year student added: “The general feeling in college in the past has been the administration does not prioritise its undergraduate students.

“It was this discontent that meant the inconsiderate emails and delay in our return to college was disappointing, but not surprising, confirming what we’ve suspected all along.”

Gin and tonic’s history might leave you with a bitter taste

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A bitter mixer and a strong, pungent spirit: on paper, this drink isn’t the most attractive cocktail. It lacks the sweetness of other highballs (a drink with one mixer and one spirit) like a Cuba Libre or the complex preparation of an Old Fashioned, and yet, the Gin and Tonic has found itself the object of quixotry and a cult-like following.

I must confess a vested interest: gin and tonic has been my preferred drink for a few months. I have even found myself zesting an orange, buying red peppercorns and browsing the Fever Tree website.

I’ve got over it now, don’t worry: this week’s recipe has been a Tesco’s gin, stored in a water bottle with ‘Freddie’s gin’ scrawled across it, and a flat tonic.

But where has this seemingly odd partnership come from?

Gin and tonic’s ubiquity isn’t just down to our fascination with stylish consumables, it has a history of empire and disease.

Tonic is made when quinine, extracted from the bark of the cinchona tree, is dissolved in water, giving it that bitter taste. Quinine was, and still is, a medicine that treats malaria.

With the expansion of the British Empire into tropical regions came the risk of this disease. When the British took control of India in 1858, large numbers of troops were issued with quinine to combat malaria.

Today, we drink a less concentrated version of what was then, and is now, called ‘Indian tonic water’. To encourage his troops to drink this bitter and noisome medicine, one officer mixed it with Britain’s favourite spirit: gin. And thus, the G&T was born.

Unfortunately, it seems that our favourite tipple was a baby of colonialism. The production of quinine was mostly for agents of the Raj to keep them healthy; it acted as a crutch to the occupation.

This was true for most tropical colonies.

Nowadays, gin and tonic is as popular as ever. With the Office for National Statistics reintroducing gin into the basket of goods used to calculate inflation last year, gin and tonic continues to be supreme.

Well, that is until a new drink becomes fashionable. Whisky and soda anyone?

The Threepenny Opera Preview – ‘promises to be exhilarating’

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Bertolt Brecht’s The Threepenny Opera tells a story of power, transgression, chaos and crime, set in a larger-than-life East London. Macheath – otherwise known as Mack the Knife, London’s most notorious criminal – ends up marrying Polly Peachum, the daughter of Jonathan Jeremiah Peachum. But, because Mack is the boss of all London beggars, Mr. Peachum tries to get him arrested and hung for marrying Polly. It’s a fast-paced and energetic plot with the addition of a wonderful 7-piece band, and its cast sing their hearts out.

For the few scenes I witness, director Georgie Botham first introduces ‘Barbara Song’, a piece sung by Polly (Emelye Moulton) that announces her marriage to Mack the Knife (Eoghan McNelis). Moulton is incredibly animated: “You must keep your head screwed on and insist on going slow,” she sings knowingly, her voice rising above the band as she is, quite literally, lifted up by the chorus. Unlike previous adaptations, Moulton’s Polly is charismatic and arresting, a woman who seems both vulnerable and worldly-wise – Botham says: this is as much Polly’s story as it is Mack’s. ‘Barbara Song’ finishes with a belting peal of saxophone and Mrs. Peachum running to shove Polly and Mack apart. It is an abrupt, unexpected end to the scene. In The Threepenny Opera, things happen before you can process them, leaving you running to catch up.

Ella Tournes and Marcus Knight-Adams, as Mrs. and Mr. Peachum/Vixen respectively, are a wonderfully sassy double-act, drawing attention to themselves even when sat silently onstage. Tournes is particularly dynamic, stomping around in heels, whilst Knight-Adams switches between aggressive and disdainful, smoking atmospherically behind McNeils as the latter duets with the prostitute Jenny (Amelia Holt) outside a brothel. Set against the unusually quiet piano, McNelis and Holt’s voices command attention: “You bastard,” Holt glares at him, showing Jenny to be another pleasingly strong female character. McNelis’s Macheath is an archetypal villain, but avoids being two-dimensional: even in the small selection of scenes from the preview, he manages to convey a curious sadness. His and Holt’s ‘Pimp’s Ballad’ is springy but uncompromising, and the injection of a sudden flute solo only makes it all the stranger.

Taking place in a mythic version of East London, everything about SLAM Theatre’s production is stylised and exaggerated; even the black and white set is designed to feel as though it is spilling off the stage. The ‘Second Threepenny Finale’, starring Macheath and Mrs Peachum, is an anthem that speaks to the core of the play: “What keeps mankind alive?” is the question asked over and over again, the chorus united behind the singers as everyone roars “Mankind is kept alive by bestial acts!”. This is not your classical musical. Whilst it is not moralising, the themes speak to socialism and poverty, intending to entertain but also unsettle. As Botham explains: it is about risk, with the cast looking to provoke a reaction and explore the dangers of losing control. As the first production of Simon Stephens’s adaptation since the National’s in 2016, SLAM Theatre have an opportunity to re-interpret and re-create, and their Threepenny Opera promises to be exhilarating.

Brett Kavanaugh’s success is disgraceful

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Brett Kavanaugh has a well-evidenced history of misogyny. For this reason alone, US Senators should have disconfirmed him from the US Supreme Court.

One in three women worldwide have experienced sexual violence in their lifetime. This is, in large part, a consequence of cultural norms, tacit and explicit, that sanction the objectification of women. It is thus our moral obligation to do all we can to eradicate norms which constrain this recognition of humanity.

On September 27th, Dr. Christine Ford testified before the US Senate alleging that Kavanaugh, along with his friend Mark Judge, sexually assaulted her at a house party in 1982. After she did so, two others came forward: Julie Swetnick and Deborah Ramirez, the former of whom alleges that Kavanaugh and Judge attended a high school party where she was drugged and gangraped, the latter of whom was a peer of Kavanaugh’s at Yale who asserts that he displayed his penis in her face at the urging of friends.

With November’s elections set to remove the Republican majority in Congress, Donald Trump allowed a “limited” and “narrow” FBI investigation of these allegations lasting only one week: no evidence was found. On this basis, Senate Republicans claim that Kavanaugh’s nomination to the Supreme Court is justified. This claim is made in ignorance or, more likely, disgusting disregard towards well-evidenced facts.

In Kavanaugh’s high school yearbook, aside from claims of membership in numerous drinking clubs, there are several troubling references. First, Kavanaugh claims the status of “Renate alumnus,” the meaning of which is contextualized in the following poem from another student’s yearbook: “You need a date / And it’s getting late / So don’t hesitate / To call Renate,” a reference to a student at a nearby school. Then, there is mention of a “devil’s triangle”, slang for a sexual position involving two men and one woman. Kavanaugh denied this as his intended meaning in the most recent Senate hearing. He did the same for the mention of the word “boofed,” slang for the anal ingestion of drugs.

All of this might be dismissed as the immature musings of an teenage boy which do not accurately reflect the esteemed judge he has later become. However, the narrative continues. As a Yale undergraduate, Kavanaugh was a member of Delta Kappa Epsilon (DKE), a fraternity which was banned from campus in 2011 for chants of “No means yes, yes means anal.” Granted, Kavanaugh was a member twenty-six years earlier, in 1986. But, only a year before he joined, in 1985, members of DKE paraded a flag composed of stolen womens’ underwear around the Yale campus. Multiple reports from the time validate this narrative.

What can we conclude from this information, and why it is important? We can securely conclude that Kavanaugh, throughout his formative years at high school and university, was surrounded by and, at times, active in a culture of explicit misogyny. This is evidenced in his yearbook entries, as well as in his active membership in a fraternity with a public reputation for disrespecting women.

For the non-American reader, membership in an American fraternity is, almost by definition, active. Fraternities in the United States are closed organizations with selective membership, annual recruitment drives, and a set of social activities, such as house parties, which are limited to friends of members. Kavanaugh’s membership in DKE practically necessitates that he was an active participant in and contributor to its explicitly misogynistic culture.

There has been a common disregard displayed by members of both political parties towards these facts. We are, without any further investigation, able to conclude that a man up for nomination to interpret the United States constitution has been surrounded by and active in a culture which is in violation of one of its basic precepts: the basic equality of all people. Yet, the media, politicians, and the public are fixated on the veracity or lack thereof of accusations concerning the most extreme exemplification of his history.

Why isn’t a demonstrated respect for the basic equality of people accepted as a job requirement for interpreting the constitution? After all, Republicans and Democrats alike defend the document as one built on this premise. Liberals, and by that I mean classical liberals, of whom there are both Democrats and Republicans, defend it as the starting point for politics. Yet, both those defending Kavanaugh’s confirmation and those against it have failed to identify his history of misogyny as the basis for rejection from the Supreme Court. In doing so, they have failed us. We need to call them on it.

Break ups are never easy

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So long, farewell. The Oxford University Conservative Association has finally severed ties with its difficult relation, the Bullingdon Club. That elite drinking society has proved more and more troublesome for OUCA over the past year or so: the Buller’s repellent antics have even started to surpass the drunken drama of Port and Policy.

As of yesterday evening, the chinless wonders have been proscribed, excluded, dismissed. The party’s over. But didn’t it start to wrap up long ago? In three years of Bullingdon watching, I’ve noticed one consistent feature in the club: decline. Ever since David Cameron spent half his time in frontline politics running away from that infamous photo on the Christ Church steps, smarter poshos have stayed mindful of the choice between youthful exuberance and a decent career. Now, the membership has declined, Christ Church has told them to get lost and do the photoshoot elsewhere,and with Boris Johnson’s graceless exit from the Cabinet, the Bullingdon flame has finally been extinguished in government.

This colossus of the old Oxford is, today, an anaemic shadow of its former self. So what motivated OUCA to act now? Publicly, their president Ben Etty has given the copy-paste argument that they “have no place in the modern Conservative party”. Ah, the ‘modern Conservative party’, a tepid phrase rolled out by any Tory looking for a PR boost. Because despite the pretence of good intentions, the move was above all about ‘optics’.

At OUCA council on Wednesday evening, the President was more candid about his motivations, explaining “if there were another story in the national press it would be my face on it.” The committee suspended any semblance of fair play in the crusade to ban the Buller, giving negligible notice of the motion.

Speak to any young Tory in Oxford and it’s clear this high minded vote is intended to give OUCA an easy ride with publicity. But does anyone really think that banning a few filthy-rich troublemakers will transform OUCA into a quiet and benign political discussion group?

Of course not. Outrage and bangarang are the essence of the association, whose weekly and Port and Policy piss-up has provided this newspaper with an avalanche of sleaze stories over the years. My recent favourites include a white powdered punch-up at the King’s Arms, and the defacement of the Papal flag by an utterly sloshed committee member.

Many of us see the funny side of this, but there has been a far darker tinge to some stories. One which stayed with me most was the shocking news this year that half of the OUCA’s committee had complained about sexism and sexual harassment going unchallenged at society drinking events.

Endemic problems such as this have far deeper roots than the ossified Bullingdon Club, and the very DNA of the club needs alteration if any meaningful change is to come.

I suspect that before this year is out, some other scandal will likely have enveloped OUCA; my faint hope is that it will be a story we can laugh at rather than sorely lament.

As things stand, the risk this hope will be dashed is far too high. Current association bigwigs are taking the students of Oxford for fools if they think a token motion to ban the Bullingdon Club will serve as an adequate substitute.

OUCA introduces Bullingdon ban

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Oxford University Conservative Association (OUCA) has added the Bullingdon Club to its list of “proscribed organisations” in order to avoid embarrassment, Cherwell can reveal.

At OUCA council on Wednesday, OUCA President Ben Etty justified the proscription of Bullingdon members on the grounds that “if there was another story in the national press, it would be my face on it.”

This comes despite his public claim that the ban was intended to “symbolise our desire to become a more inclusive association.”

At a meeting of top OUCA officials, the President was criticised for breaking a past promise not to call another vote on the Bulling don Club, and his Treasurer asked: “Is the President lying to us?”

Etty has twice before supported failed motions to ban the club’s members from OUCA. Etty told Cherwell: “This was not a personally-motivated proposal, but was done in the best interests of the members of this association and the wider Conservative Party.

“In my view, this is something that was very long overdue for any self-respecting political organisation, and I’m confident that the vast majority of our members agree with me.”

The Bullingdon Club is an exclusive, men’s-only dining society founded in 1780. Members have been known for their wealth and debauchery. The club has become a symbol for Oxford’s excesses and elitism, with the 2014 film The Riot Club taking inspiration from it.

Many of the Bullingdon Club’s past members have gone on to join the ranks of Britain’s political establishment. These include the likes of former Prime Minister David Cameron, former Foreign Secretary Boris Johnson, and for mer Chancellor of the Exchequer George Osborne.

A previous attempt to ban Bullingdon members from OUCA came in Hilary term of this year, in the wake of negative coverage of the drunken behaviour of the Association’s members. However, the amendment was voted down by members.

In June 2017, the club was barred from taking its traditional picture on the steps of Christ Church, much to the amusement of onlookers.

At the time, then OUCA President and supporter of the amendment, Timothy Doyle, told  Cherwell  he believed some members “feared [a ban] would lead to maliciously-targeted prescriptions of student societies to prevent individual members’ holding office”.

Concerns have been raised about the attendance at Wednesday’s meeting, with one anonymous OUCA member telling Cherwell that Etty had “packed the meeting”.

Eleven non-committee members from the President and Political Officer’s colleges were present to vote on the Bullingdon ban.

They reportedly left the meeting immediately after the motion had passed.

One OUCA member, who wished to remain anonymous, told Cherwell: “Student politics is decided by who has the most friends who can be bothered to turn up, and, as ever, in this case a good 15 such random friends who never turn up to council did.”

Another added: “It’s just some petty ideological war between the current president and political officer, and most of OUCA. It’s a pointless change but they think it’s good for their image.”

During the council, the President responded to concerns about effectively enforcing a ban on the secretive society, saying “we only need reasonable doubt”.

Men’s Football Blues handed opening day defeat at Iffley

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After a very promising pre-season, the Blues were raring to kick off their Midlands 1A league campaign, and looking forward to seeing the benefits of all the hard work that had been put in. Within just minutes of kick-off however, Oxford found themselves 1-0 down, after a defensive error released Derby’s winger, who drove to the byline and pulled the ball back for their striker to coolly finish. The Blues did respond however, dragging themselves back into the game with a perfectly executed training ground set-piece leaving centre-back Ben Briggs to head home from six yards.

As the second half wore on, the Blues began to increasingly impose themselves on the game, giving Derby’s defenders and midfielders less time on the ball, and forcing turnovers in play. It was during this dominant spell however, that the Blues conceded their second, after another defensive mix-up allowed their striker a free run at goal. Despite a number of chances towards the close of the game, the final whistle blew and the 2-1 defeat confirmed.

Captain Leo Ackerman told Cherwell: “Their second goal came at a terrible time. We had responded to Mickey in the dressing room at half-time and got on top of the game but for a defensive mix-up to gift them a goal.

“From there, we struggled to find the quality that would have hauled us back into the game, but for two chances at the end from successive set-pieces.

“Derby deserved those three points, but everyone in our squad is hurting and they are all desperate to get back to training on Friday.

“We play Cambridge away next week, and there couldn’t be a better place to put this right.”

Lessons From Tranquility Base Hotel and Casino

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Even before Arctic Monkeys had started talking about what Tranquility Base Hotel and Casino was actually going to be, a casual fan could tell that the group were steering away from the dynamic, groove-centred brand of indie-rock that catapulted their previous release into ubiquity. Pictures of stern thirty-year-olds in suits looking pensive hardly screamed of past themes of lust, adolescence and nightlife. It was clear that the Monkeys were entering into a new era.

However, I don’t think many expected their newest release to be quite as off-the-wall as it turned out to be. Abstract metaphors and dreamscape imagery, sung over psychedelic, lounge-pop instrumentals made Tranquility Base Hotel and Casino a challenging listen for even the most open-minded of fans. The melodies were less catchy, the drums less prominent, and the punchlines more subtle.

To some, Arctic Monkeys had strayed too far. They were no longer the gritty, loud symbols of youth and disobedience that fans had initially taken to. To others, the challenging nature of the newest album was a welcome breath of fresh air. It was an album that was truly different from anything on the scene at the time; it was the product of Alex Turner’s genius, that fans were able to fumble around in, trying to understand and explore.

And this was exactly the risk of putting out a project like this. By releasing such an abstract project, fans separated out into likers and dislikers of the new music, and there were concerns for the future of the once immaculate Arctic Monkeys brand. So what made the  Monkeys take such a risk? And why do artists take risks like these in general?

A good place in time to start thinking about these questions is just after the release of the Monkey’s fifth album AM. In NME’s highly praising review of this album, Mike Williams suggested that AM was so good that it secured them a permanent place in history, and that the band could “do whatever they want, sound however they like, and always be Arctic Monkeys” from that moment forth. This kind of bold talk is likely to have played a part in making the band feel comfortable enough to release something so out-there.

However, the situation they found themselves in post-AM, was not as simple as this. Yes, AM secured their place in history, but it also captured millions of fans around the world, and with that came a certain level of pressure. Putting out such an abstract project was not only an artistic risk, but they also risked losing millions of eager listeners, along with their attention and money.

Artists rarely benefit from such a move. Album sales are almost always lower: AM was one of the top 20 albums in the charts for 42 days, whereas Tranquility Base Hotel and Casino dropped below 20 after just six. On top of this, reviews are often mixed: AM has a Metacritic rating of 81/100 compared to Tranquility’s 76/100.

There are some exceptions of course. When Kendrick Lamar released his landmark project To Pimp a Butterfly, it was a risk. It was not as much of a risk as Tranquility, but with challenging instrumentals and a more fluid song structure, it was a risk all the same. Lamar’s album, however, rather than suffering as a result of its ambition, is now often praised as being one of the greatest rap albums of all time, and boasts an obscene 96/100 rating on Metacritic – a rating only surpassed by 3 other albums.

However, this kind of tangible reward is rare. The Monkeys did not suffer greatly at the hand of their risk-taking, but considering the omnipresent-super-band they seemed on a path to become, they missed out on a lot.

Yet, this is where the intangible benefits of risk-taking are so important to recognise, and why Tranquility Base Hotel and Casino is such an important record. Arctic Monkeys did something so much more fulfilling and important than make a popular album – they created something different. By letting go of industry distractions like money and fame, the Monkeys were able to create something truly weird and wonderful that, long after they have stopped making records, is going to inspire kids to make weird and wonderful things too. And that is arguably worth way more to an artist and, crucially, to the world of music than any AM-esque album.

Tranquility Base Hotel and Casino is a symbol for artistic integrity, and a reminder of how important it is for artists not to get bogged down in the shallow dreams of ‘success’, and to just make something freaky and new.