Sunday, May 11, 2025
Blog Page 947

‘Post-truth’ named Oxford Dictionaries’ word of the year

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Oxford Dictionaries has announced “post-truth” is its 2016 international word of the year. Reflecting the widespread impact of the US election and the Brexit debate, both the US and UK dictionaries chose the term.

Defined as an adjective “relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief”, use of the term has increased by around 2,000% in 2016. “Post-truth” was chosen ahead of a shortlist including other political terms, such as “Brexiteer” and “alt-right”, and cultural alternatives, such as “coulroophobia” (the fear of clowns) and “hygge”.

According to Oxford Dictionaries, the term ” post-truth” was first used in an essay by playwright Steve Tesich in a 1992 edition of Nation magazine. Commenting on the Iran-Contra affair and the Persian Gulf war, Tesich noted that “we, as a free people, have freely decided that we want to live in some post-truth world”.

Casper Grathwohl, President of Oxford Dictionaries, commented, “Fuelled by the rise of social media as a news source and a growing distrust of facts offered up by the establishment, post-truth as a concept has been finding its linguistic footing for some time.
“We first saw the frequency really spike this year in June with buzz over the Brexit vote and again in July when Donald Trump secured the Republican presidential nomination.
“Given that usage of the term hasn’t shown any signs of slowing down, I wouldn’t be surprised if post-truth becomes one of the defining words of our time.”

“Post-truth” has been added to OxfordDictionaries.com, while editors will analyse its ongoing usage to see whether it will be included in future editions of the Oxford English Dictionary.

To see Oxford Dictionaries’ full reasoning and shortlist, click here.

 

No more scholars’ gowns at viva exams

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New regulations have been adopted which will impose commoner’s gowns for all candidates at viva exams, regardless of whether they own a scholar’s gown.

The Proctors approved of the demands made in the Oxford University Society of Biomedical Sciences’ petition this week, making commoner’s gowns compulsory.

Science students including medics, biochemists and biologists as well as some MsC and DPhil students must attend viva exams in the final year of their course. They consist of a presentation of a research project in front of a jury, followed by questions, and can last up to six hours in some cases.

In previous years, undergraduates who had both types of academic dress could choose which one to wear, leading to potential unconscious bias from the examiners.

Concerns were raised in a Medicine examiner’s report in 2005, advising the candidates not to wear subfusc to their oral exams. Previous attempts were also made at solving the problem by abolishing gowns at vivas, a solution which was made impossible after students voted to keep the academic dress at OUSU’s referendum.

A petition to limit the risk of prejudice was launched in April 2016 under the initiative of Emily Gowers, Vice-President of OUSBMS. Attracting over 300 signatories in the first two days, the petition was backed by LMH, St Hugh’s, Balliol, St John’s and Teddy Hall JCRs.

With a final count of 553 signatures, the petition’s description stated, “Considering the efforts that Oxford makes to ensure that written exams are unbiased (e.g. candidate numbers), it seems ridiculous that during a viva the examiner has a full view of your academic history – and you’re wearing it!”

In addition to giving candidates wearing a scholar’s gown the benefit of the doubt, the petition argued that examiners were more likely to ask them difficult questions, resulting in a two-way disadvantage.

Some signatories suggested that the same should be applied to language orals.

The announcement of the Proctor’s decision was welcomed by OUSBMS president Joy Hodkinson. She commented, “There remain a multitude of ways in which examiners may be unconsciously biased in Viva Examinations, for instance, with regard to race, gender or regional accents.

“Despite this, I believe this change represents significant progress, particularly in relation to the University responding to the voices of the student body. Hopefully, the success of OUSBMS’s campaign will encourage students to pursue analogous initiatives relating to issues of equality in the future.”

Josh Newman, a recently graduated scientist and petition signatory, told Cherwell, “It’s so great to see what is often considered an archaic institution adapting it’s ways to ensure that all exams are fair and equal to all, regardless of past exam performance.”

He added, “Having sat my viva last year, it was plain to see how your gown could affect things – wearing my scholar’s gown, I was worried about whether this would change how my examiners treated me.”

In his message of support to the campaign in April, Newman addressed its opposition. “Yes, the scholar system is in place to reward individuals who have performed well, and the ability to wear a scholar’s gown is a perk of that – however, it is fundamentally not the case that such a system should have the ability to influence the outcome of future exams.

“As a scholar myself, I do agree with having the choice to wear your scholars gown to exams – it’s a personal choice. But as soon as that personal choice has the capability of impacting either your or somebody else’s grade undeservedly, then there is a problem.”

The enduring value of Diamond Dogs

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When David Bowie died at the beginning of this year, there came an inevitable flood of retrospectives, reappraisals and re-releases. Perhaps because Bowie himself was no longer alive to tell the sycophants and the glory hunters to fuck off, there was a huge public outpouring of grief from any vaguely relevant musical personality.

Month after month of editorial after editorial as each increasingly inconsequential celebrity clambered over one another to supplicate themselves before the altar of Bowie’s memory—and get themselves back in the national press for a scant few moments. The crescendo of this masturbatory outpouring came during the BBC’s ‘Bowie’ Prom, when a resplendent Amanda Palmer (of all people) declared “David is in the house with us tonight”—spoiler alert, he definitely wasn’t (other than during Conor O’Brien from the Villager’s chilling rendition of ‘The Man Who Sold The World’).

So, with every member of the musical establishment embarrassingly falling over themselves to conduct séances with the late great David Bowie, you probably aren’t surprised to be reading a self-important student journo writing a similar piece (albeit some months late to catch the press hype). I have evidently spent the beginning of this piece writing about how cheap and easy Bowie retrospectives are to let you know this isn’t a Bowie retrospective like all the other Bowie retrospectives—it is a letter of love addressed to a slightly maligned album—Diamond Dogs.

I am writing this because I understand the people that don’t rate Diamond Dogs—the first time I heard it I thought it was overwrought and self important, embodying everything wrong with the hubristic later years of glam rock. None of the catchy riffs and sing along tunes of Ziggy, and none of the quaint acoustic, poetic sweetness of Hunky Dory. It was loud and big and brash and frankly slightly embarrassing from the man who claimed to be the ultimate purveyor of musical taste.

A lot of the obvious criticisms of its pseudo-orchestral grandeur come from the fact that it didn’t start life as an album at all, it started life as a rock opera adaptation of 1984 which Bowie wanted to put on in the West end in the summer of the appropriate year.

Let that just sink in for a moment. David Bowie tried to write a rock opera adaptation of Orwell’s 1984, and whilst he failed to get it made, he went on to make a concept album with a track called ‘Big Brother’ on it—you can see why I’m keen to forgive this album for some of its sins.

It is in the lyrics of this album that Bowie really comes into his own—the opening track ‘Future Legend’ is not so much a song, as a rabid soliloquy about life in a dystopian future where “Fleas the size of rats sucked on rats the size of cats, And ten thousand peoploids split into small tribes”. Beyond this prologue the album ticks all of the classic Bowie boxes—the crowd pleasing jump about ‘Rebel Rebel’; the aching peaks and troughs of ‘Sweet Thing’ and ‘Candidate’; the lighters in the air sing along epic of ‘Rock ‘n’ Roll with me’; lastly the utterly bizarre jackhammer mania of ‘Chant of the Ever Circling Skeletal Family’.

This is an album that needs to be listened to for sheer scope of artistic vision—if you haven’t heard it before, go away and give it a go—and for God’s sake don’t listen to it on shuffle.

Emotional electronica

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Part way through ‘Timeless’, the fourth song of the night, and fourth track from this year’s surprise release The Colour in Anything, I realise why this James Blake gig is so much more than a whiny young man sitting behind a bank of keys and synths.

I’d only ever listened to music from the London-born electronica musician and producer alone in my bedroom, or perhaps through headphones on a solitary bus journey. Every glorious chord change, falsetto splurge and lovelorn lyric had seemed my own. My heart rate had dropped, and then quickened, at very particular and frequent points throughout Blake’s moody dubstep backbeats and piano ballads.

When the synth glitches arrive in ‘Timeless’, breaking through a percussive, steady beat and a distinctly non-emotive (by Blake’s standard) vocal line, a huge sigh ripples through the Bristol crowd. Blake has the heavenly skill of knowing just when to propel forward in his chord sequence, when to add into the song a strange timbre, or a new, crushing melody, and when to break up one instrumental line that the song has relied on since it started spinning two or three, even four, minutes ago.

Live, everything that was hinted at or somewhat explored on record is even defter. The heartbreak evident in ‘Choose Me’—a stirring tale of need—is made into an even dizzier, more frenzied plea, brought out early in this set. Rising and falling synths make this track the ultimate heart string-tugger. It rises and falls continuously, until Blake hits us with “You don’t owe me anything /What could I want back from you?” It’s an impressive feat of power for a man who so often puts himself in the firing lane in his lyrics.

It is impressive that Blake is able to play this record live at all. The mechanics of the emotion he creates for his willing audience is likely down to the fact that, for once, Blake is not relying on computers. “It’s taken us a long time to get us to this stage, where we can play without laptops, spacebars or automation”, he said “There’s a reason people don’t play electronic music live—it’s hard.”

Each musician sits on his own individual platform, with Blake to the side, rather than the middle, allowing his band members to take as significant a role as he does and equalising all the layers from which his music is made up. The three make up a resilient unit of sound, propelled over the audience with sincerity.

What does come from Blake alone are his vocals, his signature soulful croon which could just as easily become a moody whine as a sublime falsetto. His rhythmic vocal trick is often incredibly simple: one vocal line repeated on loop (often with a loop pedal, freeing up his hands for effects and a constant layering of keys), as he does on ‘Modern Soul’. Over and over he sings “Because of a few songs”, each time his murmur swelling over disparate piano chords and a defiant siren-like synth.

But it is Blake’s gaping ear for harmony and his placement of uncomfortably beautiful intervals that allow his voice to retain the most sensational sound of desperation. His voice is no more vulnerable than in his cover of Joni Mitchell’s ‘A Case of You’, reworked into a sombre love song to end all love songs, and sung free of any effects or electronics, which proves his technical ability of both piano and voice.

It’s a voice Beyonce wanted and used on ‘Forward’, a surprise collaboration on arguably this year’s biggest record, Lemonade, which Blake plays of his own accord tonight. The same voice was wanted by Kanye West, who in 2014 named Blake as his “favourite artist”, as well as the name of 2016, Frank Ocean. Justin Vernon (of Bon Iver fame) is also a regular collaborator of Blake’s.

Yet, despite these huge-name associations, Blake still warms audiences on this remarkably personal level. “Imagine having him round the piano at Christmas. I’d be in tears,” I hear a man say behind me.

On my way out I see a group of four teenage boys embrace each other in a group hug. If there is ever music to make you feel more human, James Blake’s is it.

Review: The Sellout by Paul Beatty

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Talking to The Paris Review last year, Paul Beatty said he thinks plot is a “very subjective” element. Fortuitously, plotting doesn’t seem important to The Sellout, his latest novel and recently-announced winner of the Man Booker. The unnamed narrator, subject in childhood to an experimenting psychoanalyst father, meanders around his life as an inner-city farmer in present-day Dickens—a kind of fictional Compton—accompanied by Hominy, a washed-up actor who insists on being his slave and encountering Marpessa, his ex who now drives buses. In the place of “plot”, there is at least an “idea”, a selling point. The narrator wants to resegregate his city, and ultimately all of America. With Hominy’s help, he starts segregating Marpessa’s bus and works his way up to local education.

It is, surprisingly, quite a funny book. In the same interview, Beatty was asked if he was a satirist, to which he replied, “No, not at all. I’m surprised that everybody keeps calling this a comic novel.” His publishers apparently didn’t get the memo: the cover of my fresh Man-Booker-stamped copy has a Guardian quote calling the work a “lacerating American satire”, and the blurb adds that it is “biting satire” that shows off Beatty’s “comic genius”. (On Beatty’s superb sense of humour, the irony is surely not lost: this novel is all about how difficult it is to control identity.) But he forgets that comedy is very different to satire. Take slapstick or puns—they’re rarely satirical. And some of the finest satire is cynically depressing.

I found The Sellout actually combines comedy and satire, and does it very well. The narrative returns semi-regularly to certain scenes: childhood experiments, daily farm life, or local black intellectual meetings. But large parts are just based on Beatty riffi ng off a pithy idea or throwaway remark—a whole fifty pages play around with the phrase “Too many Mexicans”. Occasionally, the humour touches slapstick. It uses lots of puns and altogether makes the book’s discernible action comically surreal. The quick movement of action is aided by very tight prose.

Altogether, it feels like this book would make a great stand-up routine—and that’s where it might let some readers down. Experiencing The Sellout in one sitting, like one experiences stand-up, would be more interesting than pick-up-put-down reading. Unfortunately, at just shy of 300 pages reading it all in one go would be tricky. Therefore, the complaint that each time you return to the book it feels like more-of-the-same is not without merit. People not only have different tastes in humour, but also different saturation levels—even for humour they enjoy.

This isn’t the same criticism as some others have felt. Amazonites complaining in their reviews that there are too many references to American pop-culture, African-American history and culture in general, have put down The Sellout outraged by the idea that a book might ask its reader to think, or to learn, something that they didn’t know. Admittedly, Beatty namechecks, titledrops, and codeswitches like he’s blended the contents of a liberal arts syllabus. But the result seems much more genuinely rich than strutting. And if you’re not reading to have something new revealed to you, then why are you reading?

The more sombre parts of The Sellout shouldn’t be glossed over. In places—after, for instance, two of the book’s most important shootings—a tone that doesn’t even attempt to be funny, but takes on a searing anger at racial injustice, is switched on. And the uncomical satirical moments are laudably unsettling. Beatty is a talented writer in many ways, and his ability to make both the comic and tragic uncomfortable, just clauses apart, makes this book feel unique. It’s not flawless, but you can tell why the Man Booker judges went for this one: there’s something quite special about 300 pages of witty and compelling plotlessness.

How to beat Fifth Week blues

1. Firstly, and perhaps most obviously, one must never forget the various welfare-related events that take place throughout the university. Law Society’s greatly anticipated puppy party is a sure-fire way of soothing term-time neurosis, and numerous yoga, mindfulness and welfare sessions will be taking place within colleges. Attend your college’s welfare tea, talk to a Peer Supporter if needed, and put your mental health first and foremost.

2. Classical music is highly regarded as a relaxation tool. For years, academics have cited the usefulness of Mozart during work. This principle holds true for beating the 5th week blues, as nothing can be more relaxing than switching off for an hour or so, and simply letting the music wash over you. Classical musical opportunities aren’t rare in Oxford—this Saturday, one can enjoy Mozart’s Requiem in D minor at Exeter College. Oxford is always alive with classical music and this performance will be any Mozart fan’s dream.

3. In a similar line to this, it is important to remember that Oxford is full of ‘miscellaneous’ cultural activities to get involved in or attend. Oxford Whiskey Society is offering a slightly unusual variation on this theme on Thursday—a scotch tasting. A fun exercise and a slightly more sophisticated way of getting lightly tipsy in a warm, relaxing environment.

4. Touring the colleges can also be a fun way of exploring hitherto unseen parts of the city. Be it through formal-swapping, or merely just exploring the gardens. Oxford colleges are without doubt some of the most beautiful places on Earth. Places to start might include Worcester’s gardens, Keble’s chapel, or Christ Church’s picture gallery.

5. As another cultural event, what better way to spend an evening than attending a poetry reading by some of our peers? This Wednesday we saw some of Oxford’s very own poets-in-residence perform, with others, readings of their works published by Indigo Dreams Inc. Keep your eyes peeled for future such events! Blackwell’s and Waterstones frequently host these kind of poetry events.

6. Sometimes, you’ve just got to ignore the growing hole in your wallet and bite the bullet—treat yourself to that fancy meal you’ve always wanted. Oxford is a fantastic place to explore for any foodie (the Randolph excluded, apparently). Our recommendations include Zheng (located in Jericho), which is “possibly the best authentic Chinese-Malaysian in the country” as Giles Coren wrote, Pierre Vittoire (a very enjoyable French restaurant, also in Jericho) or Kazbar (a hip tapas establishment in Cowley).

7. Touring colleges is one thing, but touring Oxford’s pubs is another thing entirely. Similarly enjoyable (but for slightly different reasons) doing an Oxford pub tour is a must. Featuring some of the best drinking houses of the country, some highlights include The Turf Tavern (where Bill Clinton famously ‘did not inhale’), The Half Moon (with the added benefit of staying open until 2am) and The Rose and Crown (located towards Lady Margaret Hall). Though perhaps not best viewed as a regular way to relax, as a one-off event, pub crawls are great fun.

8. Another option is the wonderfully familiar coffeehouse—a suitable place for a first relaxed date, an essay crisis, or just a place to take an hour or so out of the day to relax in the warmth and the hubbub of the cafe. For those not already familiar with the best coffee that Oxford has to offer, try The Natural Bread Company (which does a fantastic manual brew), Rick’s (a popular favourite in Cowley) and The Vaults (conveniently located next to the Rad Cam-a perfect work rest break).

9. If the Oxford bubble becomes too all-encompassing, dropping everything for an afternoon, catching a train to Didcot, or even just walking through South Park can create a physical distance from the stresses of the town. Adjacent to the south entrance to University Parks is a footpath into Marsden, taking you past streams, fields, and the occasional horse. At the other end of town, Port Meadow can take you away from the hustle and bustle of city life, while still being in walking distance from college.

Ultimately, the key point is to balance one’s life in a manner unique to each person—everyone may respond differently to each option laid out here. But hopefully, however, everyone will garner some benefit from at least one of these possibilities.

Not Wong: Lewandowski at the Union

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Context: Corey Lewandowski—Trump’s former campaign manager—is due to give a talk at the Oxford Union this Wednesday. Certain online reactions have pointed out his fascist beliefs, as well as suggesting that his visit to the Union is morally condemnable. Contrary claims have attacked these reactions on the basis that they repress free speech and reinforce Oxford’s liberal echo chamber. Whilst I am more emotively aligned with the no-platformers, I hold that Lewandowski’s visit is justified by the unique right of the Union’s members to access the ability to interrogate and question the man himself. Lewandowski does not deserve to be heard; Union members, however, deserve to hear him.

Clarification: I find Lewandowski’s opportunism and work with Trump despicable. Trump himself is a man who sprouts xenophobic, race-baiting, half-baked post-truths; he espouses views that have encouraged misogynistic and racist persecution of minorities; his “victory” has galvanised his previously dormant supporters, and has dragged America into trenches of uncertainty. The important thing to recognise, however, is that Trump and his cronies have already “legitimised” themselves as “democratic representatives” of the USA. To that effect, it is unclear how the Union’s inviting him over would be significant in further normalising Donald Trump.

One of the most popular arguments for the talk is the “trending” post-election claim that liberals ought to engage with those they disagree with, in order to convince them. The first response to this is to note that it is perfectly consistent to approve of engagement with non-liberals in every other context whilst rejecting the hosting of Lewandowski at the Union—it is possible to posit that the unique renown of the Union renders the context-specific reason of not letting a populist campaign manager spout their views more dominant than the context-neutral reason of general engagement.
The second response is that it is genuinely unlikely that:

  1. Lewandowski would suddenly have a change in heart after being questioned, OR
  2. Union members would suddenly find an hour of interactive but non-in-depth discussion a life-changing experience that would sway them from being anti-liberal to liberal.

The third response points to everyone’s favourite Millean argument—the “in-betweeners”: it is equally unlikely that the undecided middle (if there even is one, after the hugely divisive US election) would find 1 hour of theatrical PR from Trump’s campaign manager and Union members asking questions evidentially sufficient to swing them.
Finally it is unclear why people cannot be persuaded or converted via watching other debates or reading articles, so the impacts are at best non-exclusive. This argument therefore clearly falls.

Another argument in favour of having Lewandowski is the classic view that he has the freedom of speech to deliver and say whatever he wishes to say, within certain boundaries (that are apparently not crossed by Lewandowski). Several points render this argument a horrendously bad one. Firstly, there’s a distinction between banning Lewandowski from speaking:

  1. At all
  2. In public spaces
  3. In a specific, private space.

It is trivially a denial of an KKK mob’s freedom of speech to deny them the right to shout profanity at a Black person’s funeral—this does not imply that it is illegitimate. Similarly, given that the Union is a private space co-owned by its members, it is not true that not granting Lewandowski the right to speak at the Union is equivalent to dismissing (illegitimately) his freedom of speech. Recognise that he is perfectly capable of expressing his views and beliefs through multiple other channels.
Secondly, even if the argument is that no-platforming him encourages a dangerous precedent (this slippery slope certainly does not seem to be threatening us at the moment, Trump is now broadcasting his lies from the greatest bully pulpit on Earth), it is unclear why this slippery slope extends so far as to create the Orwellian reality of alt-right fantasy.
Third, given that the norms, codes, and expectations within private spaces are co-authored by their own members, there exists no prima facie reason why the standards of permissible speech within private spaces ought to match those of public spaces. For one, it would not be unjustifiable for a Muslim to deny a man’s right to scream Islamophobic slurs outside their house’s windows, given that the man’s speech enters his house—which is owned by the offended individual. This is perfectly compatible with the classical liberal view that people may have the right to produce Islamophobic speech in public spaces.

I do posit, however, that the Lewandowski talk should still go ahead (and the scheduled protests, too, provided that they are peaceful and non-disruptive—which would be the only hypothetical reasons that disqualify them from being legitimate speech-acts in a liberal society), for a simple reason. It is not that such a despicable man deserves to be heard, but that the Union members who choose to attend should have the right to confront his arguments in person. The Union has hosted le Pen, Farage, and their likes before—it is worth noting that:

  1. Not only did psychological legitimisation not really manifest in reality (because the dominant student media have always framed the Union’s decisions as grounded upon principle of first-order neutrality and free speech, as opposed to the view that its actions carried active endorsement weight), but also:
  2. The Union’s members gained an exclusive opportunity to challenge (face-to-face) figures that would otherwise be difficult to access.

To the extent that there are members who find this experience valuable (via gaining potentially exclusive information about Lewandowski, for instance, or the ability to directly confront and refute his views), there exists an obligation on behalf of the Union to serve its paid members.

In conclusion, Lewandowski is a horrible human being, and the classic pro-talk arguments do not effectively defend his presence. However, I do believe the talk should go on as scheduled. For a pluralist society is one where mutually incompatible views are expressed, and where debates happen not only on a surface level—but also manifest in deeper, internal reflections.

Oxford’s Chancellor says “Trump poses an existential threat”

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Lord Christopher Patten, the Chancellor of Oxford University, has branded Donald Trump’s election as President “an existential threat” in an article published on Project Syndicate.

In the article, titled “Will Trump Bring Down the West?”, the former EU commissioner claims that Trump’s Presidency threatens the “entire system” of global order, which has been built in the West.

He states, “If Trump does in office what he promised to do during his crude and mendacious campaign, he could wreck a highly sophisticated creation, one that took several decades to develop and has benefited billions of people. Those of us who, like Americans, have gained from it must fight for it while it still breathes.”

“A Trump presidency also poses something of an existential threat. His derogatory comments about marginalized groups – including Muslims, Mexicans, women, and people with disabilities – imperil the values that are fundamental to America’s identity and place in the world, and that bind the countries of the West together.”

Patten praises Merkel’s response to Trump’s election and her recognition of “how quickly the collapse of US leadership could bring about the end of the post-1945 global order”.

He continues, “Like Merkel, we should all speak up for all that the West has stood for, and all that it has achieved. We must condemn any move by Trump to shirk the rule of law and the norms of a free society. We must argue the case for free trade, which has brought far-reaching benefits to humanity. And we must fight to uphold the nuclear deal with Iran and nuclear non-proliferation around the world.”

“The idea of “the West” is one of America’s finest achievements (though many other countries have also contributed). It would be a true disaster for the world if America, in an act of self-destructive decadence, tossed this noble, practical, and inspiring creation into the dustbin of history.”

Patten condemns the “dangerous policy” and “highly destabilizing” stance that Trump could pursue in backing away from America’s security arrangements with countries like Japan and South Korea, as well as with NATO.

He describes Trump’s stated approach to climate change as “problematic” and stresses the need “to reiterate our commitment to stand firm against Russian adventurism in Eastern and Central Europe”.

In addition, he discusses Trump’s economic policy, taking issue with his promise to “advance trade protectionism” which he argues is not the solution to the rising income equality which has “economically marooned” the American working class.

The office for the Vice Chancellor Louise Richardson has told Cherwell that she will not be issuing a formal statement about Trump’s election as President.

Oxford University has been contacted for comment.

Review: Queer Cabaret

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Queer people are known for being a major part of the performing world, but it’s rare for there to be a show dedicated to showcasing queer talent. Luckily, the OUSU LGBTQ Campaign organised the Queer Charity Cabaret, featuring a variety of performances from Oxford students in support of The Terrence Higgins Trust and the Lesbian and Gay Immigration Group.

The night starts off well, with our host Katt Walton singing a rendition of ‘Wilkommen’ from Cabaret. Dressed in a corset, a black shiny shirt and nipple tape Walton’s performance sets the tone for a night where boundaries are not only crossed but torn down. The first act are The Oxford Commas acapella group. Maintaining the high standard set by Walton, their harmonies and arrangements are enjoyable, especially in their rendition of ‘We Found Love’. Their performance is upbeat although the solos could have been more audible—at times they are almost drowned out by the enthusiastic backing singers. Special mention goes to Ben Christopher, who did arrangements and whose top note is especially high and to Jake Topping, whose beat-boxing is impressive to say the least. The other musical act of the night is sweet-voiced soprano Cassie White, who gives us a tender cover of ‘I Push up My Glasses’. The emotion in her voice conveys the feeling of loving someone from afar.

Vivian Holmes’ performance—a monologue about self-awareness and performance art—falls somewhere between genres. There are occasional moments of comedy, and she is self-accompanied by a looped guitar. It is a mashup of genres and while I get that the point of the piece is to question art I think that at times there is too much going on. The mashup becomes a bit overwhelming and at some points the audience can’t hear Vivian.

The night contains a lot of poetry. Juliana Lewis is the first poet to perform—her poetry is rich in imagery and politics, and ranges from emotive to calmly beautiful. The next poet, Zubair Dhalla, performs a piece about clichés and unrequited love for a boy at school. Focussing more on rhythm and rhyme, this piece has a faster pace than Lewis’ work and is definitely a poem written to be heard, and which, added to the combination of humour and romance and self-awareness of being a poet at a cabaret night, made this my favourite act of the night. Elizabeth Yule performs a beautiful poem called ‘Lessons I Learned in the In Between’ about the process of understanding yourself, pride, and love. The final poetry act are Patrick and Archie, who perform a hard hitting poem about the discrimination that queer people can face from their families and from society. Although harder hitting than the rest of the acts it is perhaps the most important of the night.

There is some good sketch comedy over the course of the night. The duo Not Your Nice Girl, backed up by Pissy Feet, perform some sketches on the way women are told to act to appear sexual, a song about the humour in lad culture, like speaking down to or over women, and a monologue performed by a cat about the way humans frustratingly assign their views of gender and sexuality on animals. We get more physical comedy and sketches from Pissy Feet later in the show. I especially enjoy the sketch about a PTA meeting concerning the outbreak of lesbianism, which played off stereotypes and overreactions. Another particularly funny sketch is about assigning human attitudes to sex and gender to animals, this time via a nature documentary where the goldfish question the narration (and then forget). All five members embody and switch characters easily, and it is a fun section

The audience are invited to participate over the interval by drawing naked model LG Simpkins. A tiara is awarded to the best drawing, all contributions are collected (I think to be taken home by LG), and a special mention goes to a paper sculpture of Laura straddling the chair.

The night wraps up with a performance by drag queen Dinah Lux performing a lip-sync and striptease. Lux maintains a sassy attitude throughout the dance which gives the performance real character and the splits performed at the end are impressive—doubly so because of the six inch heels she is wearing!

The night is full of talent in a variety of performance-art branches. The organisers have managed to find acts from Oxford students both past and present, and put them together to form a show that makes you laugh, cry, and gives you a great night, all for a good cause.

Magdalen Tower lit blue for World Diabetes Day

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Magdalen College Tower in High Street joined landmarks such as Big Ben and the Sydney Opera House by turning blue at 4.30pm yesterday in honour of World Diabetes Day. It is the first time an Oxford building has been lit to mark this occasion, an official United Nations Day led by the International Diabetes Federation.

The move follows a collaboration between Magdalen College and researchers at The Oxford Centre for Diabetes, Endocrinology and Metabolism (OCDEM) at the Churchill Hospital. On Friday, between 2pm and 6pm, the OCDEM will also be holding an open day, “Eyes on Diabetes: Research and Innovation”, to showcase the centre’s most recent work.

This year’s World Diabetes Day focused on highlighting the importance of screening to ensure early diagnosis of Type 2 diabetes, and swift treatment to limit the risk of severe complications.

Magdalen College Home Bursar Mark Blandford-Baker commented, “Magdalen is delighted to be able to support this Awareness Campaign for World Diabetes Day and in doing so highlight the excellent research work going on in Oxford, including the work of an alumnus of the College, Dr Rustam Rea.”

Dr Garry Tan, consultant physician and clinical lead at OCDEM, added, “There is lots which can be done, from prevention of diabetes through to new medications for both type 1 and type 2 diabetes, all of which should be underpinned by education and support to enable people to live well with their diabetes.

“World Diabetes Day is a day when millions of people around the world come together to raise awareness of diabetes and what it’s really like to live with the condition.

“Oxford is one of the leading centres in the world for research into diabetes, and we will be opening our doors to people to come and find out what is happening about diabetes in Oxfordshire.”