Saturday 26th July 2025
Blog Page 968

Red on Blue: Should public services be state-owned or privatised?

Red – Michelle Hufschmid

Companies should be nationalised if it improves their services. The most obvious candidate for nationalisation is British Rail, the result of a failed privatisation between 1994 and 1997, whose current state is a mixture of private companies operating trains and—since 2014—a public sector-owned infrastructure. Indeed, its track operator Railtrack declared bankruptcy in 2001 and was reconstituted as the effectively government-controlled Network Rail. Opening up train operations to free market competition between private companies demonstrably failed to improve quality: tickets are overpriced, with only 45 per cent of national passengers satisfied with the value for money of the cost. The trains themselves are frequently delayed, with only 85 per cent of trains punctual this year, and only 20 per cent of the trains operated by Southern in particular were on time.

Such transport is a necessity rather than a choice for most citizens. The absolute priority of the British train system must be to deliver all passengers to their destinations as quickly as possible with an excellent customer experience to affordable prizes. One of the principal expectations from privatisation was that the railway service could be delivered more efficiently in the private sector via the profit motive. However, the Conservative government’s expectation that considerable costs could be slashed were not fulfilled. Efficiency cannot be increased infinitely and British Rail had already done most of what could improve efficiency. The railways should not be run like a company, but as a public service.

The argument for customer power in the free market is that those who do not wish to purchase the product are free to choose another one. However, customer choice is limited by income, time, and the availability of infrastructure, whether track or road. Those who are dissatisfied do not have the opportunity, say, to choose not to commute to work. They may also not just simply drive by car, as this option is often more expensive, and buses are more time consuming. Renationalising British Rail allows it to focus wholly on improving passenger experience while reducing government subsidies.

Beyond the example of British Rail, the system of partially privatised and nationalised companies puts the taxpayer at a considerable disadvantage. In the time of companies that are too big to fail there is no more clear distinction between those privatised and nationalised. This does not just concern banks, but every large, international company represented at the stock market. Beneficial financial and economic policies from governments or central banks protect companies that are considered so important to state economies that their failure would be disastrous. Despite their free market rhetoric, these companies will seek to profit by this government protection by deliberately taking positions that are high-risk and high-return. They can do so because they can leverage these risks based on the policy preference they receive. If business goes well, they keep their profit. If business fails because companies acted overly risky, the tax-payer picks up the tab. A system in which responsibility remains with the government while the profits benefits a lucky few must be abolished in favour of full nationalisation.

 

Blue – Peter Saville

Reading the title of this piece, would you link successful companies like British Airways or even the long-distance haulers Eddie Stobart to past attempts at privatisation? Their examples prove that the face of privatisation isn’t quite as clear cut as an argument for raising efficiency on the railways. Privatisation undoubtedly has its faults, yet it has also been hugely successful in creating a dynamic capitalist system which spreads wealth. Privatisation isn’t the enemy of the state or state ownership, but a partner within the economy to create conditions under which government can thrive.

Originally privatisation in Britain was a reaction against the worst excesses of the post-war settlement where the sticky tentacles of state were wrapped around the car industry, telephones and even long-distance road haulage. The process of cutting free these industries produced Jaguar Cars, British Aerospace and British Airways, some of the most successful names in global business. It is no coincidence that, since BA was privatised in 1987, the fleet of aircraft has grown from 164 to 273 and annual passenger numbers have risen from 17.3 to 37.6 million. Free of political interference, the shareholders boosted productivity and produced cost effective world-class results.

British Telecoms, formed by privatisation in 1981, has moved on from having to wait six months to apply for a domestic telephone to operating in 170 countries and retuning regular profits in excess of £2.45 billion. The facts speak for themselves. But these aren’t just facts and profits: they provide jobs and opportunities for real people every day.

The successes of the 1980s remain relevant now. British Gas was privatised in 1986 and the government sold in excess of 1.5 million shares at a cost of 135p to the average man on the street. The adverts for the programme were titled ‘tell Sid’, presenting a series of ordinary villagers informing their neighbours of the great deal that the government controlled shares gave—and making sure to ‘tell Sid’. I don’t know who Sid was, but wherever he is, he got a pretty good deal: the stock prices have since increased nearly 1300 per cent. This tradition continues. When Post Office stock was sold in 2013, there were 700,000 applications to the government, far outstripping any available supply. There is quite simply a demand for popular and free ownership.

That is part of privatisation’s success: it gives people a role in the capitalist system, drawing them into a sense of ownership and belonging through shares and the success of their companies. In a nation where home ownership is something of a dream rather than a plan for the next 10-15 years, we need to create a sense of belonging and commitment to the capitalist system. 2016 is quickly shaping up as the year of disenfranchised rebellion and, if we want to turn the heat down on the simmering tensions, creating a capitalist system which works for all should be a top priority.

So, when Margaret Thatcher’s claimed that “privatisation is at the centre of any programme of reclaiming territory for freedom”, she was really onto something. Not only is a privatised business more effective and better able to share expertise, it also gives people a taste of the profit. This amounts to a sense of stability in uncertain times and needs to be a key part of creating a successful and free society.

The Lion, the Witch and the Controversy over C.S. Lewis nature reserve building

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Plans to build new housing close to the C.S. Lewis nature reserve have resulted in protest from Oxford residents.

The small area of Headington woodland supposedly served as C.S. Lewis’ inspiration while writing his children’s book series The Chronicles of Narnia.

Campaigners claim the C.S. Lewis Nature Reserve is under threat from a new building application close to the woodland which could “spoil this place of amazing magic and beauty”.

The Wychwood Foundation submitted plans to Oxford City Council to build nine apartments for vulnerable adults in a two and a half storey block, including 22 car spaces, at Wychwood Lane, Ringhurst, which runs adjacent to the nature reserve.

The application has since received fierce opposition from some campaigners, who handed a 4,250 signature petition to the council on Monday.

The petition organiser, Cara Langford, told Cherwell, “I spent my childhood playing in the C.S. Lewis reserve and now bring my own children there to explore the wonders it holds. The proposed development and access road will create noise, light, dust pollution and many more negative impacts on the environment and wildlife.”

The area of woodland once formed part of the back garden of C.S. Lewis, who was a fellow at Magdalen College from 1925 to 1954.

The Berks, Bucks and Oxon Wildlife Trust, who own the reserve, described it as a “tranquil woodland”, where the author enjoyed wandering while writing such titles as The Lion, the Witch, and the Wardrobe and Prince Caspian and the Voyage of the Dawn Treader.

The Oxford-based C.S. Lewis Foundation, who own the writer’s former home, The Kilns, urged Oxford City Council “to act now to preserve our rich legacy by denying approval of this most aggressive and egregiously offensive development proposal.”

A central objection of campaigners is the plan to construct an access road at the end of Lewis Close, which runs near to the reserve. Ms Langford said “it is such a wonderful place and the access road and property development that is planned to run along it will no doubt pollute the lake, increase the traffic making it unsafe for pedestrians and spoil this place of amazing magic and beauty. This area is of national and historical significance and should be preserved for generations to come.”

However, the campaigners’ claims have been strongly refuted by the Wychwood Foundation, who submitted the application. Speaking to Cherwell, Simon Beecher said “the access lane to the Wychwood Foundation will not be tarmaced, and does not encroach into or interfere with the Nature Reserve, as it travels through a private garden at the end of Lewis Close.

“The parking spaces allowed for in this garden are away from the boundary with the Nature Reserve, and considering the type of vulnerable and disabled people who will be living in the Foundation building, traffic movements are considered to be very light.”

Mr Beecher also stressed the efforts made by the Wychwood Foundation to protect the natural environment of the nature reserve. “The visibility of the new Foundation building will not in any way be dominating to the Reserve, because of the natural screening, which will also ensure all wildlife is not only preserved, but encouraged.”

“No effort is being spared to preserve the uniqueness of the Reserve, and the long term enjoyment of it by generations to come.”

A decision on the planning application is scheduled to be made by Oxford City Council on December 5.

Cherwell is recruiting – HT17

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Cherwell is now recruiting for editorial positions for next term. This is your chance to be part of one of the longest-running independent newspapers in the United Kingdom and to follow in the footsteps of past contributors like Graham Greene, W.H. Auden, Hadley Freeman, and Rupert Murdoch.

We are recruiting for section editors, deputy section editors, news reporters, broadcasters, and contributors.

Apply to be a Cherwell section editor here or a deputy section editor here. Email all application forms to [email protected].

Apply for a position on the Broadcasting team here. Email all application forms to [email protected].

Apply to be a News Reporter here. Email all application forms to [email protected].

The deadline for applications will be on Monday November 28 at 8pm. Please email any queries to [email protected].

Cherwell is also looking for a Puzzles Editor, cartoonists, illustrators, and photographers – all interested contact [email protected].

Candidates will have a short, informal interview with the editors. Interviews will be held during 8th Week.

Like us on Facebook or follow us on Twitter for recruitment updates and news.

Our Business team is also always looking for new recruits. Cherwell provides some of the best business experience in Oxford and provides excellent preparation for any media, consulting or banking career. We’ll train you on all relevant parts of the business and teach you to raise £10,000 independently. Email [email protected] to express interest.

Editorial job descriptions:

News:

In the last six months, Cherwell has been the first to report Wahoo closing, the Norrington Table results, Tim Berners-Lee joining Oxford faculty and the Trinity freshers’ exploits in the Sheldonian. It’s very easy to get involved in the News section (and you can still contribute to other sections of the paper too): just send an email to [email protected], come to an informal interview, and you can be at the forefront of student journalism (maybe even literally on the front page).

Comment:

The Comment section has a well-respected tradition of printing cutting-edge opinion pieces from students on a range of Oxford and national issues. Our best debates and opinion pieces are read around the University and online, frequently attracting several thousand hits.

Joining the Comment team also allows you to interview leading political figures and celebrities. In the last term, Cherwell has interviewed Mary Beard, Jeremy Paxman, Richard Dawkins and Slavoj Žižek.

If you’re passionate about a subject and want to share your views and spark debate, join us. You can be a Deputy Comment Editor even if you haven’t written for us before – Deputy Comment Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Life:

The Life hosts a number of Cherwell’s most popular features, including our Letter from Abroad and the (in)famous Blind Date.

We also have a Food & Drink page, which you can additionally apply to edit, or to write for. It features a wide variety of reviews and recipes. If you want to review college meals, bars or restaurants, this is place to look.

Deputy Life Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Investigations:

We are extremely proud of our Investigations section, otherwise known as C+. This is where some of the most in-depth, investigative journalism is done, tackling some of the biggest issues in Oxford today. This term, C+ has investigated, amongst other things, Oxford’s access problem, sexual assault in Oxford, and inter-college disparity. If you want to test the waters of investigative life before becoming completely in charge of it, apply for Deputy Investigations Editor.

Culture:

Culture is our largest section, with pages dedicated to Film & TV, Stage, Music, Books & Lit, and Photo & Art. We’re one of the first ports of call for reviews of all the student plays, as well as all the other cultural delights which Oxford offers.

If you’d like to edit the whole Culture section, or any of the Film & TV, Stage, Music, Books & Lit or Photo & Art pages, please fill in the Section Editor form. If you would just like to contribute to Culture occasionally, there’s no need to fill in a form — please just email [email protected] expressing your interest.

Fashion:

Our Fashion section has gone from strength to strength this term. If you want to organise weekly photoshoots, or you’ve got opinions on fashion and fancy being the next Sartorialist, this is the section for you.

Deputy Fashion Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section and to help with the weekly fashion shoots. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Sport:

We report on many major sporting occasions in Oxford – whether your interest is rugby, swimming or lacrosse, there are opportunities for objective analysis of the big games, or not-so-objective match reports from those involved in college matches. Get involved with the Sport section to continue this trend and expand high quality coverage to other sporting fields.

Apply to be a Deputy Sport Editor if you would like to be part of a permanent team of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor you don’t need to fill out a form, just email [email protected].

Broadcasting:

Our Broadcasting section has produced fantastic content over the last term, from the our weekly news round up to investigating Jury’s Inn Hotel and underwater polo in Oxford. If you have experience in production and editing, or are just keen to learn, then apply to join the broadcasting team.

Jon Boden at the O2: Painted Lady and other folk

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In Oxford to promote his new anniversary release of his rare debut solo album Painted Lady, it was clear from the moment Jon Boden walked onto the O2 Academy stage that it was going to be an enjoyable, successful night. With his strong Oxford roots (in the audience that night was Jon Spiers, other half of their successful duo Spiers & Boden) it was clear the audience was on his side—Boden even dropped a rye mention of his years “spent living in the Half Moon pub”, raising a cheer from his old landlord in the audience. It felt less a formal performance and more a gathering amongst friends—only enhanced by the ease and grace with which each song flowed out from Boden with skill and beauty that can only be expected from such a formidable musician. Described as “the stand out traditional folk performer of his generation”, Boden has gone from strength to strength, performing with his own band The Remnant Kings, becoming lead singer of the multi-award winning Bellowhead and still somehow finding time to release solo albums that push the boundaries of the folk music genre. This rich tapestry emerged throughout the night, as Boden mixed songs from Painted Lady with older, more recognisable hits from Bellowhead performances—raising cheers and spontaneous singalongs from the audience.

Boden’s release Painted Lady, remastered with new material, contains his unmistakable, unique sound – and gives a fascinating glimpse at his early work. Almost completely self-penned, each song is masterfully crafted to give a nod to Boden’s wide breadth of instrumentation and vocal skills, from the high-powered romp and electric guitar riffs of ‘Pocketful of Mud’ to the gentle fiddle-driven lullaby of ‘Ophelia’. This album includes glockenspiel, Indian harmonium, Moog synthesiser, a drum machine, octave fiddle… but under Boden’s careful eye and accompanied by his distinctive voice, each varied song on this album manages to come together to make perfect sense as a revolutionary piece of folk music.

Boden brought his ingenious, creative approach to music to life in his performance, linking his shruti box to a pedal on one foot and stomping out a beat with the other, allowing him to create a recognisable all-around sound that was completed with fiddle and distinctive voice. Nothing seemed too far for Boden – whether it was singing accompanied merely by handclaps, or performing a cover of Whitney Houston’s 80s hit ‘I wanna dance with somebody’ (one of the new, bonus tracks on Painted Lady), the music electrified the audience and held the room in silence.

Boden’s creativity and versatility when approaching traditional music, which comes shining through on tracks from his latest album such as ‘All Hang Down’ (an interpretation of a temperance movement song that was transformed by sailors into a drinking shanty), managed to breathe energy into these old tunes and get the crowd dancing and swaying in time with his beat. Whether it was his slightly over-long ballad about shipwrecks that ended the first half of the performance, or his own personal songs from his concept album Songs from the Floodplain, exploring the idea of folk music in a post-apocalyptic world, Boden’s infectious joy and enthusiasm got the whole room singing along and stomping their feet, and left me with a grin on my face for the rest of the evening. After all, in the words of Boden himself, “it’s only the good times that can make the bad times seem so far away”—and that’s exactly what this music does. As well as standing as testament to his mastery and love of the folk music genre, Painted Lady reflects Boden’s early efforts to stretch and question its boundaries: a desire that has taken him far, and, as shown by his performance at the O2 Academy, has led him to become one of the most accomplished folk musicians of our time.

Review: Summer and Smoke

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While the plot of Tennessee Williams’ Summer and Smoke follows a spiritual and romantic relationship which never quite blossoms, there can be no doubt that this student production flowered sensationally. The two-act play, which revolves around the lives of Alma Winemiller (Natalie Lauren) and John Buchanan Jr. (Leo Danczak), tenderly traces their complex romance from first kiss to final heartbreak, all in a tricky Southern drawl. Through excellent acting and subtly imaginative production, this performance movingly captures the human emotions involved at every stage of any human relationship.

Set against the backdrop of turn-of-the-century Mississippi, director Aimée Kwan cleverly brings the era’s social tensions to the forefront of the play by having actors perform two roles; Saul Lowndes-Britton does double service as both Alma’s father, a puritanical preacher who disapproves of the less religious and more scientifically minded Buchanan, and Gonzales, the Mexican owner of a casino. Lowndes-Britton does a brilliant job of completely changing both accent and mannerisms to increase the contrast between two of the play’s key father figures. Unfortunately, the same trick does not quite work in the case of Rosa, Gonzalez’s seductive Mexican daughter, and Nellie, a scatter-brained yet charming music pupil; although each role was well acted by Olivia White, at the end Williams’ play has the characters become too similar to allow one person to act both.

Both the studio and the set are masterfully chosen by Kwan and set designed Sarah Davies. Within the intimate black box confines of the Burton-Taylor studio, the audience sits just touching distance from Alma and John, mirroring perfectly the suffocating small town of Glorious Hill, where local gossip Mrs Bassett (the excellent and amusing Louie Iselin) seems to be everywhere and know everything. The set is equally inspired; the sparse medical office of Buchanan on the left is separated only from the Winemillers’ more traditional American parlour by a flimsy piece of panelling. With the interior of both houses always visible, Kwan often has two conflicting scenes going on independently of one another. My only complaint about the set is that it rarely reflects the oppressive heat and summer of the play’s title; Tennessee Williams explicitly specified that “there must be a great expanse of sky so that the entire action of the play takes place against it” and that “during the day the sky should be a pure and intense blue”.

However, the quality of the acting is universally superb. El Port’s noteworthy portrayal of a mentally ill preacher’s wife was a fine mix of amusing and disturbing, while both Hugh Tappin and Tommy Peet give very solid performances considering they are each required to act three different roles during the play. Leo Danczak is a superbly versatile male lead who manages his character’s alarmingly swift character development with both aplomb and maturity. However, it is are doubt Natalie Lauren who steals the show; her stuttering mannerisms and nervous delivery were so realistic that I cannot tell when she really fluffs her lines and when she is merely a far better actress than I am a critic. During one of the play’s most dramatic moments between Buchanan and Rosa Gonzalez, my eyes are instead drawn to the unlit Lauren holding back tears of heartbreak; if you go, it is well worth watching out for this incredible piece of acting. Overall, despite the occasional confusion over cast members playing multiple roles and a slightly loose interpretation of Williams’ set, Summer and Smoke is far and away the best production I have seen at Oxford.

OxFolk Reviews: Faustus – Death and other Animals

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“Men of England, you are slaves!” There aren’t many folk albums that open with such a resounding, powerful voice—but then Faustus aren’t the average group. This trio, formed of Benji Kirkpatrick, Paul Sartin and Saul Rose, is a bold voice on the traditional music scene—and their skill and ingenuity shine through in their latest album Death and other Animals.

Faustus’ wide range of experience is testament to their ability to push the boundaries of folk music: with various members of the group having performed in groups such as Bellowhead, Whapweazel and Belshazzar’s Feast, it is no wonder Faustus’ music shows an accomplished, sharp edge that adapts each traditional song to fit their own indomitable style.

Death and other Animals continues Faustus’ tradition of approaching traditional music from new, exciting angles, breathing fresh life into everything from 20th century American ballads to Chartist parodies of Shelley’s poetry, making it twist and dance in fascinating ways.

Having been made 2016 Artists in Residence for Halsway Manor, the National Centre for Folk Arts, the band were given huge scope and access to previously unknown material— including, tantalisingly, “a filing cabinet in the staff room… comprising the archive of folklorist Ruth Tongue.”

The combination of this treasure trove of music and Faustus’ loud, exuberant style makes for a stunning collection of tunes, each track telling a different story woven into the artists’ blistering music. The wistful lyrics of ‘One More Day’, a song sung by retired mariner and shanty man John Short in 1914, are here energised with Kirkpatrick’s searing mandolin riff and Sartin’s soaring fiddle, all driven along at breakneck speed by Rose’s melodeon, creating a tune so powerful the listener is almost pushed back in their seat. This is then immediately juxtaposed with the gentle tones of ‘The Death of the Hart Royal’, with the soft voices of Sartin and Rose effortlessly blending to bring this slow, sad 15th century eulogy to life.

On first hearing this album, I was initially surprised at the enveloping blanket of sound Faustus manage to create on each track: although only being a trio, they manage to boast an astonishing array of instruments. Bouzouki, melodeons, oboe, even a cor englais—all these allow the group to give each song a unique feel. However, there is also a sense of immense respect for the songs themselves, with each story given time to emerge at their own pace alongside Faustus’ skilled musicianship. As song after song surprise and entertain, it is clear Faustus are never content with covering the same ground twice, and are ingenious at approaching old songs with new ideas—making Death and other Animals an absorbing and fascinating listen.

Debate: Should the Union have hosted Corey Lewandowski?

YES
By Felix Pope

The US election was won by Donald Trump for many complex and intertwined reasons, reasons which political scientists and journalists will spend decades puzzling over. Globalisation, neoliberalism, racism, misogyny, and the role of the media all played a part—but equally so did the role of liberals in shutting down debate and defining ever more narrowly the boundaries of acceptable speech.

Instead of engaging with and rebutting Trump’s arguments (not too difficult a task to accomplish) Clinton was happy to merely characterise him as a racist and his supporters as “deplorables”. Gone was any attempt to understand, debate, persuade and win over his white working-class backers, for in 2016 much of the left believes that mere accusations of bigotry are enough to stop a demagogue. Which they are not.

The same logic was evident in the arguments of those calling for Corey Lewandowski to be disinvited from his talk at the Oxford Union. Hysterically labelling him a ‘Nazi’ they insisted that to give him a platform at the Union was to legitimise him, to allow him to speak was to allow his hateful ideas to be propagated and that it would only enable the growth of fascism in this country.

This smacks of nothing more than intellectual cowardice. If you truly believe that the arguments against Trumpism are so weak that listening to Lewandowski speak for an hour will convert the audience into raving nationalists, then how can you claim to genuinely oppose Trump in the first place? How can you simultaneously hold that your arguments are correct and rational, and yet that they would stand for nothing in the face of critique from a man who couldn’t even get himself elected as the treasurer of a small New Hampshire town?

As a committed anti-fascist and anti-racist I believe that the arguments used to defend the wall, to apologise for institutional police racism, and to uphold Trump’s characterisation of Mexican illegal immigrants as rapists are not only incorrect but utterly incoherent.

Giving Corey a platform to express those views was tantamount to giving him just enough rope to hang himself. Throughout the talk, laugher (at, not with him) rang throughout the chamber. He stated that while Clinton lied, Trump was always honest, that Trump had never backtracked on a policy, that Mexico would still pay for the wall, that Trump’s campaign could not have been racist because it secured (gasp) eight per cent of the black vote, and that global warming was a “scam” invented by the Chinese. The overall impression was of a man detached from reality.

Questions from incisive, argumentative audience members drove this point home, allowing Oxford students a brilliant opportunity to confront in some small way all that they opposed in Trump. The constantly audible protest outside undoubtedly reminded Corey and indeed anyone watching online later, that Trump’s policies will not go unopposed and that resistance will face him at every turn.

To no platform Corey would have been to forsake that power. It would have been to confuse shutting him up with winning the debate, and it would have given credence to his argument that Trump was so dangerous to the establishment that his ideas had to be shut down by the PC thought police.

Moreover to accept the principle that speaker’s dodgy views make it acceptable to prevent students from hearing them speak is to set a dangerous principle. It may begin—as no-platforming did—with only genuine neo-Nazis, such as the knuckle dragging racists of the National Front. Soon it swells to encompass the representatives of populist politicians, then anyone who dares to question the prevailing liberal orthodoxy on campus is liable to find themselves shut out.

This year headlines were made when Germaine Greer, Peter Tatchell, Julie Bindel and other such left-wing campaigners were prevented from speaking at universities by the very no-platforming policies they had once advocated. When the scope of debate is shut down to this extent it is the students who suffer.

NO
By Freddy Potts

Corey Lewandowski may have been, in colloquial language which is so often derided, ‘destroyed’ or ‘roasted’ by the crowd, but that’s ultimately irrelevant. What matters is that he was there at all.

In the period when Lewandowski was his campaign manager, Trump called Mexicans rapists and called for a wall on the Mexican border, a ban on Muslim immigration, a register of Muslims in America, violence against protestors and made a whole series of sexist remarks. Lewandowski’s campaign philosophy during this period was ‘Let Trump Be Trump’, which is either acceptance or approval but definitely isn’t opposition.

And so to the Union. One justification presented for its invitation to Lewandowski is that the Union is ‘belief-neutral’, i.e. it considers no beliefs beyond criticism, considers all beliefs at least theoretically worth hearing and doesn’t display a bias in what it chooses to hear. This is, to be frank, a nonsense position in and of itself. It presupposes either that the people running the Union are themselves belief-neutral or capable of acting that way, or else that some impersonal facet of the Union is able to will belief-neutrality into being. Either assumption is curious.

If belief-neutrality seems bizarre even in the abstract, then it fares no better from an encounter with reality. The Union is, by its own admission after the “Colonial Comeback” cocktail in 2015, institutionally racist. It’s also often argued that the Union’s overriding responsibility is to its members, and that it therefore should invite speakers who will interest its members. This is the final nail in belief-neutrality’s coffin unless one wishes to contend that both the Union’s decision-makers and its membership somehow stand as a collective impartial spectator. A body which deemed itself institutionally racist picking speakers in order to pique its members’ interest is so far from belief-neutral that, even if belief-neutrality were possible, claiming the Union displays it is an absurdity.

That being the case, the question remains as to why Corey Lewandowski was invited at all. It’s not as if he’s a marginalised voice, given his role as a CNN pundit since June. If you want to ‘hear what Lewandowski has to say’, the first thing to do it simply to try YouTube. Lewandowski, as a prep-schooled University of Massachusetts graduate, also has no special insight into what the ever-mysterious ‘legitimate concerns’ of the majority of definitely-not-racist white people in Michigan or Ohio are.

And in terms of the election, there’s no great mystery in how the Trump campaign managed to win—after Lewandowski left!—they campaigned in the Rust Belt and counted on their opponents’ complacency. There are innumerable hot takes online outlining this and competing election theories. Crucially, none of those require giving a fascist-enabler a platform.

What we’re left with in the end, with belief neutrality meaning close to nothing and Lewandowski offering no vital insight, is quite disquieting. It’s my opinion that the idea of challenging Lewandowski at the Union is little more than naïveté or narcissism. If he was ‘destroyed’ last night, it was destruction at the hands of a coterie of Oxford students drunk on their own reputation because the assumption underlying the rhetoric about challenging Lewandowski is that pithy retorts to whatever absurdity he spouts matter. The US election saw all the clever op-eds, all the pointed satire and Drumpfery, all the so called reasoned discussion, ultimately count for nothing in terms of the final electoral college tally.

The irony of this is that it in fact stands in direct contradiction to the Union’s ostensible belief-neutrality. Belief-neutrality ultimately contends that what’s said within the Union’s walls is not meaningful—were it meaningful, then certain speakers would be prioritised through the act of choosing them over others. However, in denying that it’s complicit in the normalisation of crypto-fascism when it offers it up as just another ideology to debate—even though that normalisation through debate is the explicit agenda of the likes of Marine le Pen, hosted by the Union last year.

In sum, Lewandowski’s presence at the Union last night was either an entirely meaningless ego-trip for its attendees, or else it was a contribution to the normalisation of detestable views. Or both. Either way, it shouldn’t have happened.

Brookes to sell campus to create new housing

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Oxford Brookes University have put forward a plan to South Oxfordshire District Council to sell their Wheatley campus and use the 52.7 acre plot for a new housing development.

The campus is currently being used for the Business School and Engineering Department which would be moved to Headington.

Bob Price, Oxford City Council leader, calls the move, which has been in discussion since 2002, “overdue”.

According to the Strategic Housing Market Assessment, up to 32,000 new homes are needed in Oxfordshire before 2031. In light of this, Councillor Price said the university’s proposal would be a “very welcome addition to help meet Oxford’s housing needs” as the proposed houses would be affordable homes and aimed at those who work in Oxford.

Despite concerns regarding potential pressure on Wheatley parish’s infrastructure, Councillor Price insists that the current road that connects the campus to both the East and West-bound A40 will take the strain of any extra traffic. He says there must be talks about the effect on schools and local facilities in the “very active community life in Wheatley.” The South Oxfordshire District council have said that they will collaborate with all involved parties in order to create a “quality redevelopment scheme”.

The move would involve displacement of facilities for future students although Councillor Price, who was also the HR director at Brookes University, insists this will be advantageous as it will concentrate the university’s facilities around the city centre.

A second year engineering student from Brookes commented, “They propose to move everyone in 2021, but they haven’t started building anything yet. There are so many components of Wheatley like stress labs, electronics labs, formula student […] so transporting it all is going to be a hard task in just one summer.”

The Wheatley site is situated within Oxford’s Green Belt which was established in 1997 in order to stem urban growth.

Councillor John Cotton, leader of South Oxfordshire District Council, has said, “Our study, carried out in 2015, suggested that this area no longer meets any of the five purposes that Green Belt land should serve and, given the suburban nature of the proposed development, we are considering whether to remove it from the Green Belt.”

At this stage, the plans are referred to as a ‘scoping opinion request’ and it is likely that the move, if accepted, will not be completed until 2022.

Review: Class

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As a rule, nothing endears me to a TV show more than a group of loveable alien-fighting misfits. It may not be new or original for a rag tag bunch of teenagers to be brought together to combat the threat of supernatural activity. You know there will be love-interests, hormonal arguments and journeys of self-discovery. All set against a backdrop of man-eating monsters and rogue robots. Latest inheritor of this”if it ain’t broke, don’t fix it” formula is Patrick Ness, writer of the new Doctor Who spinoff Class for the BBC. As a huge fan both of Doctor Who and Ness’ children novels, I was anxious to see if the show could inject life into a franchise that has been spiralling downhill ever since Steven Moffat became show-runner in 2009.

The drama takes place at the famous Coal Hill School, the location of the first ever episode of Doctor Who. Here, we meet a group of familiar types— the arrogant football jock, the try-hard teacher’s pet, the isolated child prodigy— all thrown together by events outside of their control. I don’t think it’s a spoiler to say the premise revolves around a tear in time and space; the Doctor Who universe now contains so many rips in the fabric of reality, it has become the cosmological equivalent of that school jumper you had back in 2004, the one that your mum had to throw away because it ended up having more holes in it than material. Sure enough, deadly aliens start pouring through what one character charmingly deems “the bumhole of time”, and those squabbling kids have to get their act together and save the world.

Class might not be the most original program to hit our screens, but it contains much of what I used to love about Doctor Who: tantalising glimpses of other planets, witty dialogue, LGBT representation that isn’t patronising, and a winning mixture of the fantastic and the mundane. Extra-terrestrial shenanigans don’t put a stop to real life, and though Ness might not have mastered the emotional fluency of the Russell T Davies era, he avoids the artificial dialogue of the most recent series. Instead, character-development is subtle and effective. Fiercely intelligent and straight-talking Tanya, kind-hearted but spoilt Charlie, lonely yet quietly confident April and headstrong, misunderstood Ram start to emerge as distinctive personalities, with the potential to become firm favourites as the series goes on. The only indication of Moffat’s executive producer role lies in the clacking heels and swishing bob of Miss Quill. She clearly belongs to his vast stable of underwritten female characters, defined by the fact they are “badass and a bit sexy”—see River Song and his version of the Master.

Nevertheless, Class is a welcome return to form for the franchise. It might be gorier than Doctor Who, but it carries forward its irreverence, humour and humanity. Besides, I’m firmly behind any show where the main characters assemble to attack a dragon whilst M.I.A plays in the background.

Oxford Ice Hockey Blues Triumph Over RAF in Charity Pre-Season

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OUIHC, R.A.F. pre-season ice hockey match supports uni-based charity KEEN and RAF Charitable Trust

A new academic year means a new ice hockey season. The Oxford University Blues of the Oxford University Ice Hockey Club (OUIHC) opened this year’s campaign with a pre-season exhibition match against the Royal Air Force (the R.A.F. Bluewings) in support of local student-run charity, KEEN, and the R.A.F. Charitable Trust.

The Oxford Ice Rink had not seen university hockey since the 2016 OUIHC Alumni Match and men’s Varsity Match in Trinity Term of the previous year. All the players were itching to get going, with many students wearing the Dark Blue Oxford University jersey for the first time.

A long-term KEEN volunteer, Alex Kelly, dropped the puck for the ceremonial puck-drop between Blues Co-Captain Elliot Akama-Garren (St. John’s College) and Cpl. Rob Horsfall of the R.A.F.. The OUIHC’s chosen charity – KEEN – was formed almost thirty years ago and has helped countless local children and adults with special needs by providing opportunities for sport involvement and social skill development. The R.A.F. Charitable Trust work to promote the R.A.F., support its people and encourage air-mindedness and the aviation-related education of the youth.

After a quick start from both teams, it was the R.A.F. who opened the scoring, number 52, Ari GoldShmidt, beating Oxford Vikings tenured goalie Stefan Mirus after prolonged offensive zone pressure. Back and forth chances for both sides throughout the first period resulted in a narrow 3-2 RAF lead after 20 minutes.

A quick five-minute intermission and the boys in Dark Blue were back pushing the pace of the game, knowing that the next goal had to be theirs. After tireless skating and relentless pressure straight off the period’s opening faceoff, Oxford were rewarded with the equaliser, seasoned Slovakian defencemen Martin Vesely (Somerville) grabbing his first goal of the year.

Lack of defensive responsibility continued to be a trend throughout the rest of the period with both teams generating excellent scoring chances. Only the mental focus and agile reflexes of each teams’ goaltenders, reminiscent of mid-season form, kept the score close with 4-4 on the scoreboard after forty minutes of play.

Tensions reached fever-pitch as the competition spilled over into the intermission’s mini-game – chuck-a-puck – a measure of hand-eye coordination and judgement, with the aim to land a puck as close to the target as possible to win prizes. While sporting egos were at steak for bragging rights, the real winners were the charities with this mini-game proving to be a fan-favourite, increasing the fund-raising total.

With the start of the third and final period, the competition was wide open for either team to step up and take the first victory of the season. Another lapse in the Blues defensive zone led to the go-ahead goal for the R.A.F., former OUIHC Viking and Sheffield Bear, Luke Summers getting the tally, whose seeing-shot from the blue line found its way behind Oxford’s Mirus.

It took only one minute for the Blues to rally and score their fifth goal to tie the game. Fresher Kevin Deagle (St. Antony’s), fresh out of the University of Toronto, beating the R.A.F. goalie, Sam Crumbaugh, one-on-one with a beautiful move to his backhand, sliding the puck into the back of the net for his third goal on the night.

The following minutes saw Oxford take charge of the game with another tally from Deagle and fellow Canadian Joey Wenig (2nd goal of the night). With the play turning more physical between the sides, penalties ensued for both teams. A late powerplay goal (5 on 4) from returning Brookes player, Harry Geisler, whose subtle puck deflection in front of RAF’s Crumbaugh from Veselys shot, resulted in the final goal of the game. The game finished 8-5 in favour of OUIHC.

Cheers erupted from the OUIHC fans as the final buzzer went. Following the traditional post-game handshake and exchanging of beers for each teams’ Player of the Match awards (Duncan Blair, R.A.F.; Kevin Deagle, OUIHC), both teams came together for the group photo and to celebrate a fantastic game of hockey and an event that has raise funds and exposure for the chosen charities, KEEN and the R.A.F. Charitable Trust.

Much like the camaraderie amongst a hockey team, these charities work towards a sense of unity and belonging with their beneficiaries. The R.A.F.C.T. supports the development of aviation-education amongst young people, and KEEN provides social groups for children and adults who live with mental and physical impairments. KEENs advocacy for inclusion in sport regardless of age, gender and disability, was summed up by one KEEN parent, ‘[My daughter] now thinks of sport as something in which she can participate, rather than just something she watches her sister do.’

More from the OUIHC can be found on www.oxforduniversityicehockey.com and their social media platforms (Facebook, Twitter, Instagram: OxfordUni_Ice_Hockey). KEEN Oxford can be found at www.KEENOxford.org, and their offices are located in Turl Street Kitchen. More information on the R.A.F.C.T. can obtained at www.airtatoo.com.