Friday 1st August 2025
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Brockhampton: The Internet’s First Boyband

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While some may bewail the recent rash of synthetic pop groups, created via TV competitions and sponsored by corporations, Brockhampton prove that there is still room in the digital age for groups based around shared passions and interest.

In 2010, Kevin Abstract called for a formation of a band on the Kanye West fan forum, KanyeToThe.Com. AliveSinceForever was then formed in a line-up that included Dom McLennon and former member Ameer Vann. This group failed, but eventually produced Brockhampton.

After their genre-busting mixtape All-American Trash in 2016, the group went from strength to strength with an incredible breakthrough year in 2017, producing a trilogy of albums: Saturation I, Saturation II and Saturation III. All were released through Brockhampton’s own label and media company, Question Everything, Inc. In just six months, the group released 49 tracks, two stand-alone singles, and a boxset that included a slew of demos. At the time, the 15 members lived in one house in South-Central LA which they call the ‘Brockhampton Factory’, where all but one of the tracks were recorded.

In the very short time since their formation, Brockhampton have created a cult following with talent flowing to the brim, but not without controversy. To the lazy eye and ear, many could and have made comparisons between Brockhampton’s and Odd Future’s rise circa 2012, but there is one clear and obvious distinction between them – the strength and the depth that the Brockhampton roster possesses.

This depth perhaps originates in the diversity of the group’s members, which themselves vary wildly from track to track. While Kevin Abstract is undoubtedly the group’s
lodestar, the band have also featured a huge number of other vocal members, including JOBA, Merlyn Woods, Matt Champion, and Dom McLennon. One such artist, Irishman Bearface, moved to California just to be in the band. Aside from Abstract, the other consistent presence is Romil Hemnani, who was involved in the production of all but eleven songs in the Saturation trilogy.

Brockhampton very much pride themselves as being hip-hop for the future. They’re very much against the homophobia and misogyny that could be found in many a hip-hop song. For this reason, Ameer Vann – a former prominent rapper in the group, was kicked out of the band in May 2018 after sexual assault allegations hung over his head. A statement was released where Brockhampton stated they sorry “for not speaking up sooner”, followed by a cancellation of their tour. Much like their sound, the versatile subject-matter explored by the group makes them incredibly relevant. Themes like depression, poverty, and the white commodification of black culture are paired with the norms of hip-hop where braggadocious lyrics allude to drug abuse, sex, as well as being nouveau riche.

Songs like ‘SWEET’ sum up the multi-faceted nature of Brockhampton with thoughtprovoking lyrics juxtaposed with upbeat and rowdy production. Merlyn explores the experience of an immigrant in a low socioeconomic area as well as calling out the phenomenon of the rich kids trying to act like they’re working-class. JOBA teeters from nostalgic character-driven falsetto to melodic rapping where he reminisces about his upbringing, whilst slating the teachers and acquaintances that doubted his talent. The sonics almost seem to create distinct visuals for the listener.

As I’ve been writing this, I’ve had Brockhampton’s latest effort Iridescence on repeat and boy this KNOCKS! Recorded in a ten-day stay in London following sold-out shows in KOKO, a regrouped and redirected group addressed their newfound weight as the hottest property in music. This is only the start – so let’s thank the rap gods for gifting us with years of future amazing albums!

The Bodyguard: Recovering from the TV event of the year

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It’s not hard to figure out why the nation has been so gripped by The Bodyguard this September. The show is a political thriller in which politicians and officers hide their actions from the public and act purely out of self-interest, while claiming to only have the good of the country at heart. – I have absolutely no idea what parallels can be drawn by the British public there… Yet, for 6 weeks, the nation tuned in for a collective heart attack, making The Bodyguard the most watched BBC drama since 2008.

Keeley Hawes, of course, shines in any role she’s in, and her now-second collaboration with writer Jed Mercurio is no exception. A regular to BBC dramas, including Ashes to Ashes and Line of Duty, her convincingly steely portrayal of the Home Secretary is certainly one that was difficult to forget going in to the final episode.

Richard Madden, known for his role as Robb Stark in Game of Thrones, has possibly found his star-making role here as Sergeant David Budd, war-veteran turned police officer turned personal bodyguard. His ability to effortlessly slip from quiet desperation to overwhelming frustration to broken acceptance in mere moments is incredible.

Madden is able to do more with his face and voice than many actors learn to do in a
lifetime of performance, and it would be a crime to take the talent that goes into this for granted. Is it any wonder his odds of playing James Bond have been dramatically slashed since the premier of the show? Has there ever been a better audition tape?

To Mercurio’s credit, the tension the show establishes in the chilling opening 17 minutes of
the first episode has only wavered momentarily across the whole drama – and the final episode was no exception to the standard he raised.

Each storyline is kicked into high- gear: the Security Service must ensure Budd is killed to stop investigations, the discovery of Budd’s PTSD throws his previous behaviour and pleas of innocence into jeopardy, and the identity of the mole is revealed.

All the while, David is strapped into a bomb, his arms outstretched, Christ-like, as he runs out of time. It feels like anything could happen, including the death of the protagonist.

Once David gets out of the vest, however, there are still questions left unanswered, and with only a matter of hours before the police take him in, David bursts through the final stretch of the episode with heightened, nervous energy.

And then we get to the twist. The moment the series had been building to, the reveal of the largest conspiracy in government history. What was the twist, I hear you ask?Absolutely nothing. Everything that we thought was happening, was happening. No secret PTSD-fuelled dream states, no reveals of complicity from David Budd.

The Secret Service were, and had always been, the bad guys. Yet somehow, the show remains one of the most compelling dramas to grace our screens in a long time. Though
he proved trustworthy, David Budd’s fragile state of mind ensured that we never quite trusted the narrative, and to the show’s credit, the twist was never the most important part; the journey was.

Of course, there’s what the writers clearly thought was the twist: the reveal of the final maniacal villain, which they’d clearly expected to be subversive (or at least, expected to subvert the first stereotype they enacted), but instead ended up being
an uncomfortable stereotype and the one part of the series that completely drags it down.

You have to wonder why the writers’ room didn’t have anyone recognised it as a problem. With more of this creativity, The Bodyguard would have its more shocking and fitting twist right at the end.

It must be said that the best tension came from the first and last episodes. The show finished the way it began- brilliant, full of action. Generally, the writing was exceptional throughout the series, but the best tension came from the first and last episodes. The show finished the way it began – brilliantly, full of action, without wasting a second.

The appeal of dystopian drama

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In 100 years of cinema and TV we have loved to watch the world fall apart, and the upcoming Mortal Engines film and Terminator reboot suggest that our obsession is still going strong. Yet it seems an odd thing to base one story upon, let alone enough to create an entire genre, so why have we produced so many stories about worst-case scenario situations?

The number of ways we have imagined the world’s demise is impressive: nuclear war, global warming, robots and infertility to name a few. How the world will end is an unlimited well for storytellers to draw from. After devastating destruction, the world is a blank slate to be reworked however the writer sees fit.

The possibilities this world-shaping allows were made clear in the 1968 classic, Planet of the Apes. The prosthetics and make-up created by John Chambers allow the film to portray an entire ape culture; from the social hierarchy to the legal system. However, although the writers could create any number of unusual societies for the apes, what is most interesting is that they chose not to. In this film, and many others, the future world is not a brand-new creation – just a grotesque reflection of our own, a melting pot of our worst fears and anxieties about human nature.

In Planet of the Apes, it is a reflection of our assumed superiority over other creatures and a reflection of our use of religion to influence history and suppress views that don’t benefit us, not to mention the inescapable fear of the cold war and self-destruction. In its futuristic cyberpunk neo-noir city, Blade Runner is a checklist of modern and very 80’s fears: corporate power over democracy, ceaseless urban sprawls, pollution, and technology run wild. Even WALL-E reflects our concern about technology turning us into pudgy flying blobs.

So why do we insistently pursue the end of the word as we know it? Perhaps we like to create these stories as a sort of omen of what’s to come, to frighten us away from making the choices that could lead there.

Speaking about her book The Handmaid’s Tale, the now award-winning TV series, Margaret Atwood stated: “No, [the story] isn’t a prediction, because predicting the future isn’t really possible…Let’s say it’s an anti-prediction: If the future can be described in detail, maybe it won’t happen.”

This statement seems to resonate with much of the genre; maybe if we tell enough stories about AI world domination it won’t come to pass. Yet, cynical warnings of the future would not make for great entertainment. Aside from the occasional Black Mirror episode, we don’t like to be convinced of our complete decline.

In The Handmaid’s Tale, a cruel regime, the Republic of Gilead, has taken over America. It is a horrific society where women are placed in sub-human roles, forced into ritualised rape to combat infertility and forbidden to read and own property. The fear of who is watching or listening in Gilead holds eerie echoes of countries behind the iron curtain and the policing of women’s freedom is not far from some of the laws we see around the world today. However, what truly compels the viewer is the individuals’ struggle against this collapse of civilization. One of the most memorable phrases of the series is found scratched into a closet: Nolite Te Bastardes Carborundorum – ‘Don’t let the bastards grind you down.’ It sums up the fight all the characters go through to survive and retain their humanity, and it is this fight that the viewer invests in.

We see this theme crop up again and again throughout the genre: the hope that humanity has what it takes to survive through any situation. The show The 100, depicts a small number of humans trying to survive on Earth in the aftermath of a nuclear war, where the enemy is both the planet and humanity. The show delves into the cost of surviving in this environment and is far from what we are used to in Western society. Would you kill 300 people in the hope of saving thousands more? What is survival worth? It is a fight for both humanity and what makes us human. Characters throughout the show make mistakes, but ultimately, the sacrifices made ensure that life continues.

The Walking Dead is also about making the hard choices needed to survive in a world turned against you. As are The Hunger Games, The Matrix, Maze Runner and many others. The bleakest films and shows seem to be about the hope that humanity can survive. Is this conviction that we can brave the zombie apocalypse simply indulgent arrogance? Or is it an optimism that is encouraging in our era of divisive politics and environmental decline?

Rugby Blues dominate after inaugural tour

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Oxford Women’s Rugby team began their inaugural tour in early September, when they flew to Barcelona for a week of pre-season training and a match against Spanish side CN Poblenou.

Along with their first pre-season tour, the squad appear to be entering a new era. A new coaching team headed by Kevin Moggridge, former England women’s under 20s forward coach, has come on board, as well as a new sponsor, Vodaphone, as the women’s Varsity match celebrates its 30th year this December.

Oxford lost their match against CN Poblenou 32-12, with Oxford’s tries coming from Abby D’Cruz and Sophie Trott. However, the team told Cherwell that they took many positives away from their defeat, such as their competent maintenance of structure and organisation, despite many substitutions, and signs of individual promise which will make selections for the season difficult and competitive.

The side, which has a range of new recruits from rugby cuppers and returning blues and panthers, focused on consolidating themselves as a team as well as fine tuning their technical ability. The squad were joined by Graham Smith, the forwards coach for the 2014 winning England world cup team, for an intense session of body management and handling practice.

Prop Gwen Cartwright told Cherwell that during the team’s trip to Camp Nou, FC Barcelona’s stadium, they used the opportunity of being in a stadium comparable to Twickenham to talk over how it feels to run out into such a space. The team used this opportunity to grow themselves both physically and mentally which will serve them well as they enter a gruelling season of fixtures leading up to their contest with Cambridge at the end of the term.

Women’s captain Abby D’Cruz told Cherwell that she felt that the tour was a “huge success for the playing group” and their new coaching team and that they were able to “put down a really solid foundation for the season ahead”. D’Cruz said that she was very excited by this year’s squad who are “full of potential”. After last year’s varsity match defeat, the blues captain expressed that the team “really can’t wait to show what we can do in the upcoming BUCS season and the Women’s Varsity Match”.

The Women’s Blues tested themselves in a pre-season friendly against Oxford Brookes last Friday, with their 31-20 victory suggesting that their hard work in pre-season, including their training on tour, is paying off. Leading by example, the Blues’ vice-captain Sophie Trott scored three tries, converting one, whilst captain D’Cruz converted the other two.

Oxford’s remaining tries came from Ann Bidgood and new recruit Connie Hurton. Hurton, a second year who stood out during women’s rugby cuppers, has already acheived a blue after the 2017 cross country Varsity match, and will be looking to add a further one to her collection.

Connie Hurton told Cherwell: “It was an exciting match to play in as we had a very mixed Oxford side with lots of new players (several were making their debuts for the Blues).

“Equally with my try, we’ve had a great preseason and tour and it was great to put all that we’ve been working on succesfully to use in a match environment.”

Caroline Lucas Interview: “Labour doesn’t get the Environment”

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In the 2010 General Election, Caroline Lucas, leader of the Green Party, won Brighton Pavilion. She was the first ever Green MP elected to Westminster. Lucas’ 2010 win represented a milestone for the party; the Greens, who originate from the Peoples’ Party of the 1970s and lay a claim to being the world’s oldest Green Party, had, at long last, a voice in Parliament.

The 2010 Election is the first political event I remember; Lucas’ victory was a step forward in an election which seemed to take us backwards. Since 2010, Caroline Lucas has represented the political wing of the broader Green movement; in Westminster she’s pushed for Parliamentary reform, Social Justice, EU integration, and, naturally, for a more responsible Environment Policy. Lucas has campaigned assiduously against fracking, as well as against Austerity.

We spoke on a sunny September afternoon. A Westminster Hall debate on fracking delayed our call. Lucas is affable and articulate and I couldn’t argue with her alibi. Westminster Hall debates are rarely well attended, but a strong contingent of Conservative MPs attended this one. “I didn’t hear a single Conservative or anyone say they thought fracking was a good thing.” Lucas said.

Determined opposition to fracking is a central aspect of Lucas’ political mission. Her objection is – at least partly – idealogical: scientists argue that at least 3/4 of known fossil fuel reserves must remain untapped for the planet to meet emission goals, and even if Britain were to replace half of existing natural gas with fracked gas, the country would need to build 6000 drilling rigs.

Lucas detects a changing consensus: “It really feels to me like we might be on a tipping point, on that one, where I think that the backlash up and down the country is being fed through into the political system. The Government is going to have a hard time pushing it [fracking] further.”

Despite the Green Party’s detractors – who argue that minimal change can be implemented with a single MP – the Greens have been influential on mainstream politics: “Corbyn cut and pasted most of his policies out of the Green Party manifesto of 2014 – bringing rail back into public ownership, putting most public services into public ownership. Anti-fracking was Green Party policy and a basic income scheme – which they’re beginning to flirt with – is a Green Party policy.”

“Frankly Labour doesn’t get the environment” she added. “And the Greens are still absolutely vital to the political scene. Labour still feel that they can go ahead expanding roads, expanding airports, being pro-nuclear, all of this, being pro-HS2, pro-Hinkley. I don’t think Labour under Corbyn really understands the environment.”

Unlike the majority of Parliamentarians, but arguably not unlike Corbyn, Lucas came to politics direct from grassroots activism – Lucas was arrested during a non-violent protest at a fracking site in Sussex, in August of 2013. “When the democratic deficit is so enormous, people are left with very little option but to take peaceful, non-violent direct action,” she said, following her arrest.

Lucas has frequently criticised Westminster’s culture: “I think the structures of Westminster are wholly discouraging, but they are just so unfit for purpose – ” as she told me. “Just the way in which our politics works – the whipping system and the power of the whips, which means that most MPs are just encouraged to be voting fodder and not to really challenge their leaders too much.”

For many MPs, getting on the wrong side of their Whip can irreparably damage their parliamentary career; and Whips frequently take the credentials of their politicians only into minimal account. Caroline explained one such case: a medically trained MP requested to sit on the committee scrutinising the Health and Social Care Bill, in the 2010 Parliament. Instead, the Whips made her work on double taxation in the Cayman Islands. “When she objected,” Caroline continued, “saying that she didn’t know anything about double taxation, they said fine, all you need to do is raise your arm when we tell you to do so.”

For Lucas, the roots of Westminster’s problems are as deep as the building itself: “Even the Architecture makes a difference. I’m sad that we’re not using the opportunity of moving out of Westminster to take the MPs out.” She said. “Antagonism is built up through having the two sides of the chamber shadowing each other.”

“I would have loved for us to have taken that opportunity to move Westminster –  even to have Parliament moved out of London and to have had the structure like the Scottish parliament, even, or the German Bundestag, where you’re in a circle or hemicircle – and that can sound a bit non-serious but I do think the architecture that you’re in does create a certain kind of behaviour.”

Despite underlying structural problems, Lucas’ Greens have pushed for cross-party cooperation: “I think things work best when there’s a cooperation, a deliberate collaboration between people in Parliament.’ she said. “One of the big campaigns I was pushing was for mandatory PSHE to be rolled out in schools. That was coming from my concerns around page 3 and sexual violence and that has now been agreed.”

I asked Caroline about the highlights of her Parliamentary career: “There have been some successes, but it’s a big battle and I think it works best when you have really strong voices outside of Parliament as well as really good MPs working cross-party inside.”

External voices should include student organisations; and Caroline expressed particular admiration for Divestment campaigners, including those at Oxford. “It’s something where you can make a real difference,” she said, “because that’s something where the University is answerable to you as students and if you get a cumulative mass you can change that – as many universities have.”

I asked Caroline what her advice for young activists would be: “Follow what makes you passionate,” she said. “We need you to be there for the long-haul. Try to judge where issues feel like another push might just get them over the edge – where you can make that judgement. But often you can’t.

“Away from that kind of bearpit politics, it is possible to find allies in other parties and work cross-party to get things done. In terms of where we’ve had successes now, we’re slowly trying to get our pension scheme to divest. It’s something that I started but there are now many others at least insisting on the basics, like the transparency – that was a big enough battle just to work out where the pension fund was investing and it was outrageous that they were so reluctant to be transparent about that. So that movement is growing, although there’s a long way to go.”

Lucas isn’t interested in implementing a handful of environmental policies tacked onto an unchanged capitalist system – she is demanding societal change: “The environment is at the heart of all of our policies, but it is an integrated package, and so we recognise that in order to protect the environment you need a whole different set of economic policies that aren’t based on a throw-away economic culture, you need a whole different set of health policies where you’re focussing far more on public health and the impact of the environment, things like dirty air, on people’s health.”

The paradigm shift which this aspect of Green Philosophy represents fundamentally impacts the party’s approach to economic policy-making: “What’s interesting about the Green Party’s economic policies is the recognition that if you’re not going to try to grow your way out of poverty – in other words if you challenge the idea, as we do, that more and more of the same kind of economic growth doesn’t help the poorest as the trickle down economic theory doesn’t work – if you’re not going to have that kind of economic policy then the focus on redistribution is much greater.”

I ask Caroline about the ideological roots of this shift: “it’s often the poorest who suffer most from that [pollution] because they’re more likely, for example –  in the case of air pollution – to be living on busy roads and can’t afford to move into a leafy suburb. It’s the sense of injustice that it’s the poorest people who are suffering most.”

Caroline suggests greater cooperation between rich and poor to combat this injustice: “I think one of the reasons we’re not moving as fast on that as we should,” said Caroline, “Is that the richer countries are reluctant to put money on the table to enable some of the poorer countries to leapfrog some of the dirty technologies we’ve gone through and to move straight ahead to green technologies.”

The ideological reconfiguration which the Greens propose extends to Housing: “Affordable housing is one of the biggest crises facing so many places, including Oxford,” said Caroline. “Housing far too often is still being regarded as a speculative asset rather than a human right and I think that the planning process should be much stricter on the amount of affordable housing that is part of any development.”

Lucas described a living rents campaign in Brighton: their intentions would be not only to limit rent inflation, but to actively lower rents. “People say that if you do that you might restrict the number of properties coming on to the market,” Caroline continued. “Because perhaps it’s less attractive for landlords to let out their properties, but if that led to some landlords, who have multiple properties, maybe selling some of those, then that’s not a bad thing.”

Caroline Lucas represents, for Britain, the environmental movement, and all which it entails. The policies her party pursues are radical; until Corbyn, Green Party policy was, for the most part, well outside the window of what we expect said in Westminster. But Lucas’ voice in Parliament pushes the environment, and a raft of related issues, onto the agenda. Unlike most career Politicians, Lucas brings something new. Now, more than ever, the danger of the ideological monotony which Lucas is breaking should not be overstated.

Push for estranged student policy reform begins

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Almost half of Oxford students who have been estranged from their families are forced to “couchsurf” during the vacations, or would otherwise be homeless, according to a new SU report.

Authored by SU VP for Welfare and Equal Opportunities, Ellie Macdonald, the report gathers testimonies from 41 estranged students studying at the University.

The report also reveals that over a third of estranged students worked during term time, as well as in the vac, in order to make ends meet.

Macdonald said she wrote the report because it is “an issue close to my heart”. She said: “it’s a shame that although colleges do deal with it on an informal basis, there are no formal processes in place to help students who find themselves without family support whilst on course.

“Before this research took place, there was no information at all around estranged students at the University of Oxford and so I’m really hopeful that this report can help change things.”

Macdonald submitted her report for to the university-wide Domestic Bursars Committee yesterday, aiming to get the University and its colleges to adopt the Stand Alone Pledge, a statement committing educational institutions to supporting students without a family network.

Whilst the report is based on the experiences of 41 students, the SU estimate there are at least 200 Oxford students who have no family support.

Further statistics detailed in the report show that half of the estranged students involved in the report felt they could not approach their college for support, whilst 58% reported severe mental health problems as a result of burnout, stress, and isolation.

43% of the students interviewed had difficulty in securing college accommodation, and 45% felt that bursaries were not enough to survive on and had difficulty accessing other funds.

Macdonald told Cherwell: “If Oxford is interested in helping its graduates use their Oxford education as a foundation stone for their later success, then the University must recognize it has a duty of care towards estranged students especially in ensuring their university experience is at no significant disadvantage to their non-estranged peers.”

Taking Oxford by storm: the Magic Gang sells out the O2

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It would be easy to dismiss The Magic Gang as ‘just another band’. Indie bands from Brighton aren’t exactly thin on the ground, and in a highly competitive industry, creating a new sound is really difficult. Strangely though, something that makes the Magic Gang stand out is that they don’t appear to be trying to. Compared to current favourites like the Arctic Monkeys or Catfish and the Bottlemen, the Magic Gang have a sound that is a lot more relaxed, and reminiscent of bands like Weezer or the Beach Boys, with even a few of their songs, like ‘Fade Away’, edging towards the sound of the later Beatles. It’s chilled-out and optimistic, the kind of music you want to listen to on sunny days, and even when they’re writing about tougher topics like relationship breakdowns, they still have a strange sort of optimism, or at least acceptance.

 

There’s definitely an edge to their music though, that reflects the time they’re playing in. Their dress and general vibe is firmly indie – a little bit different, and heavily focused on music that can be played live. If you were wondering what they’re like, Spotify lists bands like Viola Beach, Blossoms, and The Night Café as similar, and their lyrics and performance place them alongside this kind of more laid-back, alternative vibe. You couldn’t mosh to most of their songs, but you could certainly dance, and with shows like Leeds and Reading Festival under their belt, the quartet are certainly established, and gifted, performers.

 

The Magic Gang are just at the level of fame where they’re attracting a decent crowd but haven’t got to such a popular level that have to play venues like arenas, which can make bands lose some of the atmosphere that gigs are all about. They’ve had a fair amount of practice warming up bigger crowds though – one of their breakthrough moments was supporting a bigger group, Wolf Alice, on their 2016 UK tour, something that they’ve openly credited as being a big boost in their early days. The band even opened for them at the Oxford O2 – and now they’re coming back on 5th October for their own headline gig; a venue that I can say from experience is perfect for the kind of intimate show that makes you feel really in sync with the music, but has a big enough capacity for the atmosphere to really kick off too. Paeris Gills, the drummer, agrees that smaller venues are better, “at this point we still love the places we play. The atmosphere is a bit better with more energy in a small place”. It seems likely that Oxford will be treated to a genuinely fantastic time, where both the band and the crowd are loving what they’re doing – exactly what everyone wants.

 

One of The Magic Gang’s main strengths can be found in their lyrical prowess, played against an array of guitar riffs, and making them not just a fun, but genuinely talented group of musicians. Rather than leaning heavily on loud bass and frenzied drum beats, like others in the genre, the more simplistic style of music shows their talent well, but still retains the fun and quirky indie vibe that makes the genre so popular, especially live.

 

This has led to a wave of positive feedback from established critics. They’ve only released one album so far; a sixteen-track creation, that peaked at number 12 in the UK album charts, pretty good going for a debut, and earning them an NME Best New Artist nomination. Following in a well-established indie tradition of eponymy, the group simply called it The Magic Gang, following the same simple naming system they have on previous EPs like The Magic Gang EP (2016) and The Second EP From (2016). NME gave The Magic Gang (album) four stars out of five, calling it “a timeless collection”, and placing it in the top 14 debut albums of 2018 so far – a solid indicator that they’re doing well. In fact, across-the-board, feedback has been positive, which is quite unusual for even more established bands. This was possibly due to the fact that they recorded the whole thing in a farmhouse in Banbury, not far from Oxford, and we all know that things created around here are just naturally better… but I guess it could be down to their innate talent too.

 

Ultimately, in a world dominated by divas, it’s rather endearing to see a band that seem just genuinely thrilled to be able to do what they love. The reason for their style of music is clearly shown in their personalities. You can see it in their attitude to touring; asked whether he was looking forward to their 2017 tour, front-man Jack Kaye is clearly sincerely excited, replying “I’m buzzing about it, yeah, it’s great!”. In their interviews, rather than boasting about partying, drugs and girls, they mess around with each other, teasing bassist Angus Taylor for his childhood appearance on Raven, and laughingly reminiscing about the time Jack sleepwalked and locked himself out of his bedroom in Holland in just his underwear. The final member, Kristan Smith, shares the same laid-back attitude to life that the others do, but reminds us that this doesn’t translate in their attitude to creating music, noting laughingly “it’s really hard work!”.

 

They’re not rock stars, something that they’ve decried as ‘bullshit’ in GQ, they’re normal boys, who genuinely love what they’re doing, and this comes across in the quality of their music. Ultimately, their sound and outlook can be summed up pretty well in Kristan Smith’s description of the album, “all of the songs are about friendship and love and family and good vibes… that’s what the album means to me: it’s good vibes”.

Are Waitrose taking the piss(ata)?

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What are you stocking up on for your kitchen essentials at university? There are some classics staples in every student kitchen – pesto and pasta are no doubt among the most popular items.

Student diets are famously carby and convenience-based (who has the time for cooking when you’ve got a essay deadline at 8pm and pres at 9pm?). We have all lived with someone who can put away an abnormally large number of slices of toast. And then there’s the person who loves a ready meal or something frozen and easy. But when was the last time you saw someone knock up a hungover lunch using cider vinegar, rose harissa, or bouillon powder? Anyone? Nope, me neither.

Yet they all, of course, feature on Waitrose’s essential Freshers list.

Waitrose’s list is well intended but simply ignores the fact that most students are not going to crack out the bouillon powder to create a broth when you can put together something that hits the spot much more quickly and with far less faff. I mean, we didn’t even actually need to read the list in order to know it was probably not going to consist of a simple list of rice, stock cubes, and tinned tomatoes.

On the other hand, Waitrose has a point – hear me out. Quite frankly, there are a lot of really bad cooks in Oxford (I’m totally @ing the token veggie of the kitchen, who puts frozen and often unidentifiable things into the oven). You don’t need to enjoy slaving for hours over a stove, but we can’t totally criticise Waitrose’s attempts at just, you know, making student food less carb-on-carb, more nutritious, and not tasting of beige or salt.

Homemade sauces made of veggies cheaply available in Tesco, and herb plants that you can share with the other people in your kitchen can go a long way, and make you feel less like a couch potato yourself come fifth week. I’d also like to deviate from my semi-rant of kitchen frustration just to do a shout out to the simple stock cube – the genius underdog of the amateur, lazy person’s culinary palate.

Here’s my moment of honesty though – I have my own food essentials that are just as weird and ‘nonessential’ to most as Waitrose’s list. My painfully middle class beginning of term shop included a burrata (or two), pink Himalayan salt, Romanesco broccoli, and two different bottles of fish sauce (can’t have enough umami, amirite?).

Perhaps that list seems even less attractive to many and less versatile than Waitrose’s list. But when I have foods that I really like cooking with, I make food that I actually look forward to eating rather than making do with food as bland as a Freshers’ Week essay.

Waitrose’s list may not feature products that are very affordable or appeal to everyone, but if you are flavouring everything with your pot of chilli powder or decent quality soy sauce, it can stop your lecture-filled world from falling apart.

When it comes down to it, it’s fun to mock the Waitrose stereotypes (I can embarrassingly say that a comment of mine once featured on ‘Overheard in Waitrose’), and we love to hate that stereotype. But even if you’re not about to whip out a harissa-marinated feast on a Wednesday night, maybe we can see Waitrose’s list as a massive kick up the arse to students everywhere. Maybe they were trying to teach us to season food and reconsider the monotony of student kitchen dinners. So buy some stock and herbs, but don’t forget your pasta and pesto, because they are everyone’s essentials.

Uni to publish vice chancellor expenses online

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Oxford University has committed to publishing the expense claims of vice chancellor Louise Richardson on its website, following calls for transparency over her and other senior staff’s remuneration.

The move will see the existing expenses of Richardson – who has defended her pay against popular backlash, once comparing her £350,000 salary to those of footballers and bankers – published later this year, with future claims being made public on a rolling basis. However, the University declined to provide details on whether they would be giving a detailed breakdown of expenses as has been requested by Cherwell, as opposed to the records being itemised by generalised categories.

Cherwell understands the University currently has no plans to publish the expense claims of the pro vice-chancellors and other senior staff.

Last year, Cherwell revealed that nearly £70,000 had been spent on Richardson’s expenses since she became vice chancellor, including nearly £29,969 on air travel – nearly four times than the average £7,762 claimed by university vice chancellors in 2017/18.

A University spokesperson told Cherwell: “The vice-chancellor was concerned about the amount of time staff were spending answering multiple FOI requests about her expenses so she decided she would post them on the website.

Going forward her office will post them by month on a quarterly basis.”

The University FoI team has failed to respond to requests in a timely manner for most of this year, with some passing well past the statutory deadline of twenty working days to more than 4 months.

Last term, Cherwell revealed some of the expense claims of Oxford heads of college.

While this shed some transparency into college expense claim policies – with some college heads splashing the cash on luxury hotels and gentlemen’s clubs – most colleges failed to give comprehensive responses to FoI requests on the matter.

Glitterball abandons ‘hideous’ theme

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The 2019 Glitterball committee has come under fire after advertising a “tokenising” and “appropriating” ball theme on their event’s website.

Cherwell understands that the theme of next June’s Glitterball has changed from “LGBTQ+ History through the Eras” to “Somewhere Over the Rainbow”, upon recommendation from the University’s LGBTQ+ Society and the Oxford Student Union’s LGBTQ+ Campaign group.

The original theme proved controversial among some students and was criticised on Twitter for “tokenising” and “appropriating” the actions of those who participated in the Stonewall Riots.

The riots were a sequence of large-scale demonstrations by members of the LGBTQ+ community provoked by a police raid which took place at Manhattan’s Stonewall Inn on 28th June 1969.

These protests are widely considered the most important event leading to the beginnings of modern activism for LGBTQ+ rights.

The ball is due to take place a week preceding the 50th anniversary of the riots, scheduled for 20th June at Oxford Town Hall.

Until the initial theme was dropped, the Glitterball’s official website marketed the event as “celebrating 50 years since the first brick was thrown at Stonewall with [its] very own protest.”

The statement also urged the ball-goers to “tear up the dresscode and slap on [their] glittery warpaint!” promising that the event would be “a riot”.

In a response on Twitter, an Oxford student called the theme “hideous”, “egregious”, and the most “brazenly offensive thing to have come out of Oxford.

“I just heard that Oxford LGBT+ Society are taking the Stonewall Riots to be the theme of their next Glitterball.

“Yes, ball, an elitist institution, which is effectively a piss-up, where no doubt copious amounts of drug abuse will take place.”

When asked to comment, Glitterball President Nic Elliott denied that the ball was linked in any way to the anniversary of the riots, writing that: “The Glitterball 2019 theme will not be and was never going to be ‘the Stonewall Riots’.”

Instead, he told Cherwell that ‘LGBTQ+ History Through the Eras’ was only a potential theme being considered, but upon “discussions” with SU Campaign and the LGBTQ+ society, the theme was dropped.

In regards to abandoning this as a potential theme, Elliott told Cherwell that, after consideration and “work[ing] closely with the LGBTQ+ Society, SU LGBTQ+ Campaign, and other Oxford based LGBTQ+ groups”, the committee decided that the initial theme was not “an appropriate message for a celebratory event like Glitterball 2019.”

He told Cherwell that the previously-quoted event details were posted online in order “to see how it would appear visually,” along with marketing for other potential themes.

However, he wrote that seeing the previously-quoted event details on the live website “helped [the committee] realise” how the theme “may be perceived as distasteful, as the website is very glittery and ‘upbeat’.”

This lead them to “[believe] that it did not fit with the darker moments of our shared LGBTQ+ history.”

Elliott stressed that this “mockup marketing material” was put online prior to any official announcements regarding the Glitterball and, therefore, allegedly assumed that the “website traffic before this was zero.”

He told Cherwell that the likelihood of “somebody outside of the Glitterball committee, LGBTQ+ Society, or the SU LGBTQ+ Campaign seeing this pre-publication material was extremely low.”

This is despite the fact a senior editorial member of Cherwell viewed the “pre-publication” material while it was still publicly available online.

Elliott told Cherwell: “Although we intended to celebrate the positive aspects of our history, we felt that we could not do so without acknowledging the more negative aspects and huge amounts of work that still need to be done, particularly with regards to trans liberation.

“The LGBTQ+ community and its struggles throughout the years have encompassed salient intersectional aspects, so I understand that approaching this theme may be perceived as tokenisation or appropriation.

“We strive to create an event which LGBTQ+ people can not only enjoy, but feel proud to have been part of, and so invite and value any and all feedback from our community.”

OULGBTQ+ Society President, Ellie Oppenhein, told Cherwell that while the Society is not officially linked to the Glitterball, they are still closely involved with the organisers.

Oppenhein said: “Due to the significance of this event for LGBTQ+ students in Oxford, we are in close contact with the organisers to ensure that the event is inclusive to as many students as possible under the LGBTQ+ umbrella.”

She confirmed that the theme was dropped “due to the complex nature of sensitively executing such a theme.”

Cherwell understands that the SU’s LGBTQ+ Campaign, the political campaigning arm of the University’s student LGBTQ+ community, took particular issue with the theme.

The campaign’s co-chair, Aaron Hughes, told Cherwell that the campaign “gave feedback on the theme” that lead to the ball committee deciding to change the theme in order to “honour and celebrate the work done by LGBTQ+ activists”, as per “[the ball committee’s] original intention.”

In order to recognise the 50th anniversary of the riots, the Glitterball will be making a donation to a LGBTQ+ charity.