Friday 13th June 2025
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Cherwell History Pt 5 – Office Space

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Whilst it is tempting to write a history of the Cherwell which glosses over its many mistakes, it would be wrong to ignore the harm that the platform a newspaper provides can cause. One of the worst controversies the paper has been involved in was in 1980. The paper had printed the caption ‘Could you rape this woman?’ beneath a photo of a female student named Fiona McTaggart, who had organised a ‘Reclaim the Night’ march. In response, 11 JCRs passed motions condemning the Cherwell. Balliol banned the paper altogether. Things escalated a step further when a crowd of around 40 protestors gained access to the Cherwell offices and destroyed past editions of the paper. The editor eventually apologised for the caption, but not the accompanying story.

In 1981, the paper changed landlord from the Oxford Union to Brasenose College, by moving to Frewin Court. The College said that OSPL would only have to pay electricity and phone bills, but no rent. With this move it seemed that the Cherwell had finally found a solution to the financial problems that had plagued it since its foundation. After all, the bursar of Brasenose had promised the paper that it could stay on the site as long as the Cherwell remained ‘a general undergraduate magazine’. Only five years later the paper was told by the College that it intended to redevelop the Frewin Court site to build more student accommodation. OSPL asked Brasenose whether it would consider including a space for student journalists on the site. The College rejected the proposal. It took severals years for the development to begin, but by July 1993, the bursar was writing to the paper to say that he was ‘astonished’ to see that the Cherwell was still occupying the premises. Time had run out. and the paper had to endure the shock of paying commercial rents in Oxford for the first time since 1954.

 

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The 1990s proved a moment of transition for the student press in Oxford. It started with the Scott Trust (owners of the Guardian Media Group) offering to buy the Cherwell, in response to its financial problems – an offer the OSPL Council of Management declined to preserve the paper’s independence. A new Oxford arts newspaper named The Word appeared in May 1990 and would survive until 1996. The would-be rival complained that there was a ‘lack of any comprehensive guide to the vast number of events in the town’ and said it was conceived out of ‘a certain disillusionment’ with existing publications. In 1992, OUSU had a go at displacing the Cherwell and founded The Oxford Student – rubbing salt in the wound of independent publications in Oxford which were already struggling to be commercially viable. Somehow the Cherwell survived. The Isis did not and was taken over by OSPL in the late 1990s, ending the official rivalry between the two publications.

By Robert Walmsley


 

Preface

Part 1 – The Founders

Part 2 – Two Rivers, Two Publications

Part 3 – The Early Paper

Part 4 – ‘The Cherwell Renaissance’

Part 5 – Office Space

Part 6 – A Near Death Experience

OxFolk Review: ‘Light up the Dark’

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Labelled by Folk Radio as ‘one of the very topmost and best-regarded world class pan-Celtic acts’, The Outside Track have been soaring from strength to strength over the last few years- and their latest album, ‘Light up the Dark’, only furthers these successes. Incorporating the band’s many roots and influences from Cape Breton, Scotland and Ireland, this band has produced a diverse, absorbing album that displays a high level of musical craftsmanship and proficiency. Managing to make use of each member’s individual skills, the various tracks highlight the versatility of The Outside Track: from the barn—storming opening fiddle riff of the first track ‘Drilling’ to the soft, delicate singing of ‘Get me through December’, accompanied by Robertson’s beautiful harp, this album is a significant achievement that shows up the group’s many abilities.

Part of the beauty of this album is the joyous celebration of music that comes through in each subsequent listening- it is clear that the group had enormous fun recording this, and it comes across in the music. The raucous set of tunes that make up ‘Hurry Up and Wait!’ are guaranteed to get the listener on their feet and dancing along, whilst the brilliantly named ‘Glorious, Eh?’ simply ‘emanates happiness’ (the group’s words) in a pure expression of the joy of playing music. The colourful, vibrant album cover, with images of each band member laughing and smiling out at the listener, epitomise this sense of fun- The Outside Track make music to be enjoyed, and loved.

The sheer breadth of instrumentation in The Outside Track allows for playful adaption of many of the tunes- the various instrumental solos such as Black’s beautiful accordion in ‘Jiggery-Polka-Ry’ is accompanied by Rankin’s beautiful fiddle, which weave in and out of each other as the other musicians respond with their own takes on the melody. This sheer creativity and verve is indicative of their work, as seen in their previous album ‘Flash Company’- and although there have been several changes to the group over the past few years, with the addition of flute player Teresa Horgan, fiddle player Mairi Rankin and guitarist Cillian O’Dalaigh, this only seems to have improved their skillset. Of particular notice is Horgan’s singing in the vocal tracks- her gentle, friendly tones really give the music an extra ring of warmth and honesty. In the track ‘Peter’s Dream’ the listener is invited to consider the men who worked in the declining East Canadian fishing industry, whilst ‘Get me through December’ aches with love and loss- all songs very much suited to Horgan’s versatile and attractive singing. ‘Light up the Dark’ really is a burning light in the folk scene- one of the warmest, brightest lights we have seen for a while.

Cherwell History Pt 4 – ‘The Cherwell Renaissance’

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The Cherwell was not resurrected again until either 1946 or 1947. The Bodleian’s collections resumes under the proprietorship of Martyn de B. Gordon-Fisher in 1947. However, the first editorial of Gordon-Fisher’s paper makes reference to how the paper had been restarted some point after the war, before it was sent into liquidation by the Proctors. Why had the Proctors destroyed the Cherwell? The owner of the paper, Alan Beesley, had accidentally sent a questionnaire about women’s sexual experiences at Oxford to a female don. Unsurprisingly, the Proctors were not impressed, and suspended its publication. The resurrected paper did not recover easily, and it quickly became a bi-weekly publication. At the same time, some stability was restored and Gordon-Fisher was able to attract a wide range of contributors. The new owner promised: ‘we will do our best to avoid the criticism usually directed against Varsity magazines – that of cliquishness.’

The future of the Cherwell changed forever in 1951, when it was bought by Clive Labovitch and Earl M. White. Initially, Labovitch and White continued with the paper’s existing magazine format for a year, before deciding that a fundamental change was needed. Sales were not what they once were, and the Cherwell was struggling to differentiate itself from other Oxford magazines with a literary bent. On Tuesday, 27 January 1953, the Cherwell was reborn as a newspaper. The two proprietors laid out their thinking in the first newspaper edition of the paper:

Every innovation is not an improvement, every change is not necessarily for the better. But while we must admit to a slight nostalgia for our shiny pages and glossy birdcage of a cover, we feel that the war of magazines in Oxford is an outmoded conflict, and there is a need for us in our new form. When Cherwell was established in 1920, the University was barely a third of its present size and it was much more possible to be informed of almost all that was happening. Today the University is not merely physically larger, but has increased the scope of its activities to such an extent that a weekly newspaper has become practically the only remaining desideratum.

The Cherwell: News Edition was eight pages long, and included news, interviews, and listings. Having to deal with news stories led the paper to take a more serious tone, particularly when there were a large number of student suicides in 1953. The editorial team wrote in frustration that there was ‘no such thing as an imaginary psychological ailment’ and that ‘the University must in the name of humanity provide a service which is overdue by several young lives.’ The paper was more financially successful than the magazine, but to provide a greater degree of stability, Labovitch also negotiated a move to a small brick hut at the back of the Oxford Union in 1954, with the help of his friend Michael Heseltine, the Treasurer of the Union at the time. 9a Saint Michael’s Street would prove the paper’s longest lasting office, where the Cherwell remained from 1954 until 1981.

Barely a year after the Cherwell adopted newspaper form, its Cambridge competitor Varsity attempted to enter the Oxford media market. Trouble occurred on 24 January 1955, when a dozen members of Varsity’s Cambridge staff visited Oxford and were followed around its colleges, by people who tore down posters and leaflets advertising the newspaper. These shadowy figures were allegedly doing their bidding on behalf of the Cherwell. On the day the Oxford edition of Varsity first went on sale, the BBC even sent down a cameraman who told The Observer that he hoped to film ‘a bit of scuffling’ between the two papers. Thankfully he would be disappointed, although the Cambridge Editor of Varsity, Michael Winner, kept a low profile as he had heard that the Cherwell staff wanted to throw him in the river. Fortunately for the Cherwell, Oxford students remained too tribal to buy a newspaper that had its origins in Cambridge, and Varsity’s presence proved short-lived.

By relaunching the Cherwell as a student newspaper, Labovitch and White saved the paper. They had taken a struggling publication from a room in New College to a well-equipped office at the centre of events in Oxford. In the last edition of the Cherwell before they graduated, its staff wrote that the two had truly been responsible for a ‘Cherwell Renaissance’.

Labovitch and White sold their interest in the paper to another student called Michael Sissons in 1957. However, this state of affairs did not last long, as the Cherwell was sold to a trust consisting largely of senior members of the University in April 1958. To improve the management of the paper the new owners created Oxford Student Publications Limited (OSPL), which was formally established on 6 January 1961. In the short run, this seemed to strengthen the paper as the editors looked to publish it twice a week and staff were even told at one meeting that ‘Cherwell was a newspaper steadily working towards Manchester Guardian level’. Meanwhile, The Isis mocked the Cherwell’s increasingly professional pretensions, by commenting on all the ‘impovements’ that were taking place – a jest aimed at the quality of the paper’s proofreading. But in the long run, dons proved no better at managing the Cherwell in the long run than student proprietors had been. Barely a decade after the incorporation of OSPL, there was serious talk in 1972 of a merger between The Isis, and the equally impoverished the Cherwell. In fact, the situation had deteriorated so much that, in 1974, the paper had to launch a national appeal in order to stay in print. Leading political figures of the day, including Edward Heath and Roy Jenkins, contributed £5. Meanwhile, Margaret Thatcher and Tony Benn both declined. The bluntest rejection came from the writer Kingsley Amis, who wrote:

I understand your difficulty, but I am rather hard up these days, believe it or not, and since Cherwell never did anything for me in the way of publishing my work, I don’t see why I should go out of my way to do something for it.

By 1977, it looked like OSPL might finally have recovered and the Cherwell jokingly ran a front page with the headline ‘Fleet Street Shudders!’, which announced that OSPL would make a bid ‘not exceeding two figures’ for the Evening Standard. But the situation deteriorated again, and by the 1980s the advertising revenue from publishing a careers guide was the only way it avoided shutting down.

By Robert Walmsley


 

Preface

Part 1 – The Founders

Part 2 – Two Rivers, Two Publications

Part 3 – The Early Paper

Part 4 – ‘The Cherwell Renaissance’

Part 5 – Office Space

Part 6 – A Near Death Experience

Cherwell History Pt 3 – The Early Paper

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The first edition of the Cherwell was published on Tuesday of Fourth Week during Michaelmas Term, 1920 and cost four pence. It covered all aspects of university life from drama to sport. One notable early feature in the magazine was ‘Rollers’ – a series of one or two sentence observations and pieces of gossip about what had happened in Oxford that week. For instance, one week the writers of ‘Rollers’ observed:

A rumour has been current to the effect that the CHERWELL has been threatened with legal proceedings. No doubt we ought to be, but we haven’t, up to the time of writing.

Who exactly worked for the publication at this time is difficult to ascertain, as early editions of the magazine contain no staff list, and most articles were written using pseudonyms, such as ‘Ambrose’, ‘Porp’, and ‘Jael’. However, Edinger wrote in 1949 that Louis Golding had been the paper’s first literary editor and that Robert Graves had performed the rather cryptic role of ‘literary adviser’. The habit of holding ‘Conference’ dates back to those early days, when the paper’s staff would meet at 10.30 on Sundays. One editorial describes the purpose of these conferences as twofold:

  1. To criticise contributions from people outside the staff.
  2. To transact “any other business.”

Overall, the tone of the paper was satirical – it professed revulsion at both ‘Bolshevism’ and ‘Anti-Bolshevism’ as well as serious politics of any kind. Soon after the departure of Edinger and Binney in 1923, the magazine swiftly became more literary. ‘Rollers’ came to an end and there were noticeably more poems and literary essays appearing within it. However, the magazine had not lost its sense of humour. For example, the editors announced that the Cherwell would be delivered in 1924 using a ‘large fleet of armoured cars’ acquired from the Romanian government.

By the 1930s, the paper had moved to new premises on 33 St. Aldate’s Street – just down the street from where the offices are today. It often took unpredictable stances in editorials. One year it published one saying that Armistice Day should no longer be observed, because it shut ‘the nation’s eyes to the War’s results.’ The next year, it called for the Labour Club to be more moderate and argued that Oxford politics had ‘too long been regarded as a playground for vociferous extremists’. Regular features included ‘Samuel Pepys – Undergraduate’, a fictionalised diary of an Oxford student’s life, and ‘La Gazette’ a gossipy roundup of weekly goings on. The paper also convinced guest writers like Vera Brittain to write about their experiences at Oxford. By far the most memorable work published by the paper at this time was The Oxford “Cherwell” Wine Book (1932) – a collection of articles by the ‘best known and best qualified’ writers on the subject of wine. The three editors of the Cherwell at the time, A.M.E. Goldschmidt, Giles Playfair, and Derek Hudson, called the book a ‘breath of genius which touched our weary foreheads’ and boldly called for ‘all who take interest in the art of living’ to read it. The book included reviews of hock, champagne, claret, burgundy by prominent writers, as well as a chapter on port by a Catholic priest from Ireland. It proved so popular that a second edition was printed two years later.

The outbreak of the Second World War in September 1939 did not cause the Cherwell to cease publication, despite the vastly reduced number of undergraduates at Oxford. This was in contrast to The Isis, which ceased publication for the duration of the war. However, by this point the Cherwell was in a greatly diminished state. There were even rumours that the Conservative Association would take it over. Meanwhile, Oxford Magazine predicted that the publication would soon meet its demise. The Cherwell fired back by suggesting that the author of the Oxford Magazine article seemed like ‘a rather stupid and left-wing undergraduate’ who did not realise:

THE CHERWELL is not a Tory rag; we beg to present fairly the opinions of all parties who care to write, to present a selection of such literary talent as will contribute to us, and preserve the function of the paper in presenting university news of interest.

In the final edition of Hilary Term 1942, the editors promised that the Cherwell would be back next term and ‘continue to serve you on the twelve miserable pages allowed by Paper Control, with such talent as the Recruiting Board leaves us.’ It was never to be. The Bodleian’s collections abruptly end at this point, Derek Mond, one of the two people who ran the paper would die in a flying accident before the end of the war in April 1945. His co-editor was wounded twice, but survived the war.

By Robert Walmsley


 

Preface

Part 1 – The Founders

Part 2 – Two Rivers, Two Publications

Part 3 – The Early Paper

Part 4 – ‘The Cherwell Renaissance’

Part 5 – Office Space

Part 6 – A Near Death Experience

Historian investigates Cold War Oxford spy ring

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The University of Oxford may have been just as connected to international espionage with the Soviet Union as the infamous ‘Cambridge Five’, historian Andrew Lownie has alleged.

Speaking at the Henley Literary Festival, the investigator of Cambridge’s connection to the Soviet Union in the 1940s and author of Stalin’s Englishman has suggested that his next target will be a similar ring in Oxford.

Lownie pointed out that the Soviet’s numbered their spies, and there was a “large numerical gap” between famous Cambridge spies Guy Burgess’ and Donald Maclean’s recruitment, and that there were therefore more spies as yet uncovered.

The only historian to investigate an Oxford Soviet spy ring “died in mysterious circumstances” in 1995, according to Lownie, prompting further speculation about past or existing espionage links between Russia and Oxford University. John Costello died on a plane from London to Miami, having taken off “hale and hearty”, Lownie said.

The inquest into Costello’s death was allegedly held behind closed doors, and the results were not published. Reports suggest that Costello died suddenly after complaining of a stomach pain mid-flight.

One of the only known Oxford spies, “Agent Scott”, was connected to a former Labour MP, an Oxford don and a Director of the Victoria and Albert Museum. Much of the activity of this group remains unclear.

Lownie will begin his research next month, much of which will involve deciphering many personal documents declassified by Russian archives but written in Russian.

The Trouble with Trinidad

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A picturesque UNESCO world heritage site, Trinidad charms thousands of tourists each year with its brightly painted colonial buildings and bustling Casa de la Musica. If Havana is frozen in the 1950s, the clocks stopped in Trinidad in 1830. At sunrise the convent bells chime and horses hooves clop along the cobbled streets as bicycle vendors cry ¡El pan!, baskets bursting with fresh bread.

Yet its vibrant, cosmopolitan society sits uncomfortably with its bleak origins, treading a thin tightrope towards a promising future, haunted by its past. Distinctive conga percussions applauded by tourists in Trinidad’s salsa clubs are echoes of generations of enslaved Africans clinging to the last memories of their homeland. The walls of Trinidad’s most famous 17th century inn are dressed in rusty shackles, not for horses’ legs but human legs, African legs, and this realisation makes the delicious lunchtime boliche churn in your stomach. The locals laugh and chat as if unaware, although they cannot be. They live with Trinidad’s tragic past every day and smile in its face; sorrow and suffering are ingrained in their character.

More recent enslavement is also buried deep in the town psyche. A popular salsa move ubiquitous in Trinidad’s dance clubs is the balsero, whose name echoes las balseros, tyre boats made by Cubans who risked their lives to cross the shark-infested Straits of Florida to reach the USA. Some died on the journey and those who turn back are mercilessly punished.

On the streets those who dance and laugh on shop corners and drink with friends live on the brink of poverty, many have faced disaster. As the cheerful owner of the Trinidad casa particular I stayed in described how proud she was of her passion fruit flowers she recounted in the same sentence how she had lost everything in the recession after the collapse of the USSR, abandoning her training as an engineer to work in tourism, which became Cuba’s only hope.

The realities I encountered in Trinidad reflected truths about the country as a whole. The past is veiled and manipulated. Colourful music and a diverse cultural heritage mask a repressive government. A generous and passionate people are frustrated but incapacitated. This results in their ability to weave happiness and sadness, celebration and despair into a rich and mysterious tapestry. But Trinidad’s is unravelling; as Cuba opens up its threads loosen and its image may be lost forever.

No Offence magazine to relaunch online

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No Offence, the controversial magazine which was banned at Oxford University’s Freshers’ Fair last year, will be relaunching online and is taking submissions until mid-November, it was announced today.

In a post on the Facebook group Open Oxford and in a separate event page, Jacob Williams announced that this new edition was to be a global magazine, drawing submissions from all over the world, not just Oxford. The post also acknowledged that the previous magazine was criticised by many, and claims that the new issue will not seek to offend anyone for its own sake.

The premise of the magazine, as described in the public post, is that, “The only way to win the argument [over the extent of freedom of speech] is to exercise the right to free expression, and shift the debate to the actual issues that some people want to stop us discussing.”

The first edition of the magazine, which was initially planned to be distributed at last year’s Freshers’ Fair, was banned by OUSU. According to an OUSU statement, the 2015 magazine contained “a graphic description of an abortion, the use of an ableist slur, a celebration of colonialism, and a transphobic article”.

Jacob Williams commented to Cherwell, “With the debate about free speech in academia having reached parliament recently, No Offence is more topical then ever. No one should be offended by a well-reasoned argument or a sincere conviction. If you’ve ever felt stifled and unable to speak your mind, we urge you to come and write for us. Find our Facebook page and get in touch!”

OxFolk Reviews: ‘This Is How We Fly’

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This ground-breaking album from the Irish instrumental group ‘This Is How We Fly’ is folk music’s answer to the question “so what happens next, then?” Filled with experimental twists and turns, and acknowledging influences from a palate ranging from jazz to Appalachian shoe dances, this new album (named ‘This Is How We Fly’ after the group) is an utterly absorbing work by an utterly fascinating group of musicians. Consisting of sublime Irish fiddler Caoimhin O Raghallaigh playing haranguer d’amore, jazz clarinettist and electronics musician Sean Mac Erlaine, Appalacian hard shoe dancer Nic Gareiss and progressive percussionist Petter Berndalen, this group is blazing a new, contemporary trail in Irish folk music. And what an exciting trail it is!

The sheer beauty and inventiveness of these tracks, many of which were written by members of the group, are testament to the versatility and skill of these musicians. Many of the tunes are driven forward and held together by O Raghallaigh’s innate ability to build on the Irish traditional music he knows so well, using hypnotic loops and repetitions to create worlds of sound within the tracks. Around this Mac Erlaine weaves and ducks with the stark, bold voice of the clarinet, at times complimenting and harmonising and at times creating dissonance with the other players. Berndalen underlies all this with incredible skill, able to keep hold the various musical structures together with his subtle percussive accompaniment. And, amongst all this, Gareiss interweaves his distinctive, personal style of stepdancing- influenced both by Irish sean-nos and American stepdance traditions, his astonishing rhythms add depth and colour to this album. Indeed, it is tempting to see ‘This Is How We Fly’ through the extended metaphor of art- everything about it, from its expressive, experimental tracks such as the electronics and clarinet solos of ‘Flight to Light’ to the minimalist, simplistic grey album cover, gives the reader the impression that this is more than merely music to be half-listened to. It demands to be replayed, studied and thought over.

‘This Is How We Fly’ refuses to be pinned down into any category, and thus I have to admit is hard to describe in the limited space of a newspaper review: its musical depths and expression, with each track growing into a new, strange beast that defies pigeonholing, make this album more of an experience than a simple project in listening. This is a wonderful aspect to the group- their music encourages, no, demands engagement and concentration- whether it’s O Raghallaigh’s winding, twisting fiddle music or Gareiss’s soaring step-dance rhythms, ‘This Is How We Fly’ pushes the boundaries of Irish music.

Keep off the Grass: Freshers’ week

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Go to the Freshers fair
No matter how rough the night before was, make sure you go to the Freshers’ Fair. The Freshers’ fair is a true paradise of information and free stuff. Everything you could ever dream of doing in Oxford is brought together under one roof, including the 200+ societies in Oxford ranging from the more traditional football and rugby to the Harry Potter Society. Sign up for anything you are vaguely interested in – you are not obliged to follow up on your interest if you later decide it’s not for you. I still receive emails from the orienteering group I’ve been meaning to join for three years. Just go wild and be enthusiastic! (See page 24 of the magazine, Keep off the Grass, to work out what sort of society you should join).
Talk to a variety of people
You might not end up best friends for life with the people you hang out with in Freshers’ Week, but it’s important to get to know some people in your college, especially those you’ll be living near for the coming year. A network of friends with different subjects, interests and personalities is a real help in navigating your first year happily, and being greeted around college with a friendly smile is always a welcome diversion. Also make sure to catch up with any friends you know from other colleges, and maybe even give your parents a call.
Go to the Oxford Union
The Oxford Union is a bit like marmite: people tend to love it or hate it. Union politics aside, however, some incredible figures have spoken at the union; personal highlights include Morgan Freeman, Stephen Fry and Ian Mckellen. During Freshers’ week new students are given the opportunity to attend a talk at the Union without paying the usual membership fee. Whether you intend to later pay the £248 for life membership or not, I would certainly recommend going to get a taste of the Union. (See pages 22 and 23 of the magazine for a thorough explanantion of the Union).

Don’t miss out on the clubs
Everyone has their favourite, so you should make sure you try them all out for yourself and discover the sweaty, loud rooms you’ll be frequenting yourself over the next few years. In a
similar vein, try to avoid drunken liaisons with people in your college, as this could lead to three years of extreme awkwardness. (See page 6 of the magazine to read the low-down on all the best clubs).
Don’t worry about essays
Freshers’ week is all about settling in and getting to know people; make sure you relax and have fun. Academic work will get sorted, and if you haven’t quite read enough on the reading list (you rarely have to read everything anyway!) then you can always improvise where needed. Improvisation will become a vital tool in your arsenal during your time at Oxford, and you need to start at some point…
Don’t get married too quickly

An error made by many. There might seem to be a lot of pressure in first week to find your college soulmate, but try to avoid committing too soon or you may find yourself coupled with someone you’ll never talk to again beyond the drunken blur of Freshers’ week. Don’t worry, I promise you won’t be ‘left on the shelf’. (See page 31 of the magazine for more on college marriages).

Don’t have any regrets!
Like they say, you can only regret what you didn’t do, so try to take up any invitation that comes your way, even if it isn’t something that you would normally do. Being open and enthusiastic is the best way to meet new people. Equally, think about committing to at least one society. Being part of a society can bond people for life (just ask the rowers) and also gives you access to my favourite part of Oxford social life- crew dates, which will be explained later (see page 10 of the magazine).

OxFolk Reviews: ‘When The Good Times Come Again’

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Megson’s latest release, ‘Good Times Will Come Again’, does what all good folk music should: it transmits urgent issues and addresses the problems that everyone faces, all whilst engaging and entertaining the listener. The English folk duo comprises of husband and wife Stu and Debbie Hanna, from North East England, and are well known for writing and performing their own material. This new album is the first to entirely contain songs written by them, and is a stunning success for it. The first opening track ‘Generation Rent’ epitomises this combination of their energetic, loud voice and urgent message: it comes crashing in with a bouncing, toe-tapping tune, addressing the pertinent problem many of us graduating from Oxford are terrified of. The song-writing skill here is second to none- a skilled control of rhythm and rhyme is combined with humorous, sometimes tongue in cheek lyrics: “But the ladder got bent / Generation Rent’s gonna find we’re never gonna own / a place of our own”. These songs are clearly designed not just to entertain, but to engage and question the listener.

The songs on this album are not autobiographical songs. Instead, they address issues and paint pictures of normal lives, thus making the stories told much more relatable- this is not a highly personal album, it is written for the general public. From zero hours wage contracts to finding love in a busy job, these everyday commonplace issues are effortlessly woven into folk tunes with Megson’s characteristic charm and grace. And no wonder these songs are so eloquent- Megson have been three times nominated in the BBC Radio 2 Folk Awards and are double winners of the Spiral Earth Awards, as well as Stu being involved in various folk groups such as Faustus and Show of Hands. ‘Good Times Will Come Again’ is a bold continuation of this work, pushing Megson to the forefront of political songwriting in folk music. Many have compared them to Ewan MacColl, and I would have to agree- their intelligence and insistent, pertinent songs stay in the memory long after the track has finished playing.

This album is a brilliant evocation of where modern English folk music is going- it’s a bold, forceful step into modernity and our everyday lives. The recurring relevance of these tunes to our day to day existence (“I’m gonna pay off my debts when the good times come again”) and the beautiful accompanying melodies that wind around these lyrical stories make this album an absolute joy to listen to. For English folk music, the good times have indeed come again.