Saturday 14th June 2025
Blog Page 993

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.

Cherwell History Pt 2 – Two Rivers, Two Publications

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It is no coincidence that the two longest-running student publications in Oxford are both named after rivers. For most of its near hundred year history, the Cherwell’s rival was not its relatively recent competitor The Oxford Student, but The IsisAs Binney and Edinger wrote in the paper’s first ever editorial, ‘For us the Cherwell personifies all that is most truly Oxford–it is all our own, the Undergraduates rivers, that is why we take its name for our Undergraduate paper.’ In contrast, they claimed ‘No one could call the Isis, which is the Thames, an Oxford river. It is just as freely associated with a hundred other places’

When Cherwell marketed itself as ‘Anti-Political Weekly Review’, the intention was to emphasise it was everything that The Isis was not. It was concerned with Oxford life, rather than outside politics. It contained undergraduate gossip, rather than long articles on the major national issues of the day. Politics was an outside influence distracting from the Oxford undergraduate experience, as outside organisations were ‘spending money so freely as to disturb our little community’. Thus the first edition proclaimed: ‘We don’t want Tories or Liberals or Bolsheviks to set us all by the ears for our opinions. We don’t want London papers to admonish us or our Dons, and we don’t want France to approve or disapprove of what we do here in Oxfordshire.’ Instead, Binney and Edinger believed that undergraduates needed a publication without a political affiliation, which would treat the Oxford undergraduate experience with the levity and appreciation it deserved. They were convinced that a partisan publication could never serve all Oxford students and thus could never acquire a large readership amongst them.

 

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Ironically, The Isis had been founded in 1892 with some similar pretensions. In its founding ‘programme’, it too said it would ‘have no politics’ and intended ‘to be humorous without being ill-humoured’. Edinger said that by the time he was a student The Isis was ‘Conservative, traditionalist and anti-Woman student’, while he claimed that the Cherwell was ‘Radical, iconoclastic and feminist’ (this statement sits rather oddly with the idea that it was also non-political). Maintaining a consistent identity would prove a challenge for both publications. Throughout their histories, both the Cherwell and The Isis have repeatedly switched orientation within the Oxford undergraduate community. It was only after the Cherwell became a newspaper in 1953, while The Isis remained a magazine, that they permanently became distinct.

Edinger’s description of the Cherwell in later years is, at times, sharply at odds with the idea of the paper as non-political. For example, in 1949, Edinger even wrote that in its early years the Cherwell had been broadly supportive of the Liberal Party. The conclusion I have reached on this issue is that Edinger believed that the Cherwell’s non-political status really meant two main things. Firstly, that it should not be connected to any political party and remain independent of any society in Oxford. Secondly, that it should be a platform that all Oxford students, regardless of their political persuasion, felt able to contribute to. The day that the paper was taken over by a narrow and self-perpetuating political clique would be the day that it would no longer be representative of student opinion. Rather than forgetting this founding principle, the surprising thing is that for a large part of its history the Cherwell has been able to maintain this tradition. Indeed, the Cherwell’s non-political stance has probably contributed to its ability to outlast its partisan competitors more than many past editors would be willing to admit.

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

Oxford Council flies bi-flag for first time

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In celebration of Friday’s Bi-Visibility Day, Oxford City Council flew the bi-flag for the first time.

The flag’s appearance over Oxford Town Hall came after the Abingdon Town Council refused to fly the pride flag over its County Hall in July.

International Bi-Visibility Day, also known as Celebrate Bisexuality Day, is a celebration of bisexuality, bisexual history and bisexual community and culture. According to its co-founder Wendy Curry, it is celebrated on September 23rd as a nod to Freddie Mercury, whose birthday was also in the month.

Speaking to the Oxford Mail, Cllr Ed Turner, Deputy Leader of Oxford City Council, said: “As a council we are aware of the real problems still faced by the Bi community, and that having greater visibility will be important in tackling these.

“Flying this flag was an initiative of those with first-hand knowledge of these issues and we are very glad to be doing so, especially on Bi-visibility Day.

“We want Oxford to be a city which is welcoming and tolerant to all, and where discrimination has no place.”

The Oxford Campaign Bye Bi Phobia said: “Oxford City Council has set an amazing example that hopefully other regional councils will follow. Bisexual, pansexual and LGBT erasure on a larger scale perpetuates the treatment of the LGBTQIA+ community as second class citizens.

“Oxford Council’s decision to fly the bi-flag gives hope to many from both the bi/pan and LGBTQIA+ community that attitudes are changing and that these negative stereotypes of bi people can and will be broken down.

“However, it also reminds us of the challenges bisexual and pansexual people still face in their daily lives due to passive biphobia and commands us, regardless of whether you are straight or LGBTQ+, not to judge people based on their sexual orientation and instead stand in solidarity with them.”

 

OxFolk Reviews: ‘Ignite’

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‘Ignite’, the debut album from the instrumental duo Will Pound and Eddy Jay, is a little known gem of the folk music scene. With Will Pound’s breezy, expressive and highly distinctive style of harmonica playing paired up with Eddy Jay’s beautiful accordion, this duo is set for big things to come. Although I was initially concerned with the lack of other instrumentation to bulk out the album, this duo manages to keep each track fresh and interesting, coaxing a frankly astonishing breadth of styles out of their instruments to create a colourful and diverse medley of tunes. Truly, the harmonica is back on the folk scene with a vengeance!

With both musicians holding a prestigious back catalogue of successes and collaborations, this dynamic duo has a lot to live up to. Will Pound has been nominated three times for BBC Radio 2 Folk Musician of the Year, and has worked with musicians and groups from Martin Simpson to the Will Pound Band, whilst Eddy Jay has played keys in a production of Noel Coward’s ‘Brief Encounter’ for Kneehigh theatre and has devised his own version of Prokofiev’s ‘Peter and the Wolf’. This wide breadth of skill and experience really shines through in ‘Ignite’, which forms a culmination of their talents and musical adventures. The album contains a generous mix of traditional and originals tunes, all shaped by Pound and Jay into arrangements for their instruments. The album opens with the storming track ‘Candle in the Wind’, with Pound’s harmonica leaping and fizzing and Jay’s accordion easily keeping time and embellishing the tune. There is a wonderful balance between these two instruments, each giving the other time to play with and shape the melody before joining again in a raucous, joyful dash to the final bars. This breakneck speed is more or less kept up by both Pound and Jay until the last, furiously fast notes die away on the final track- proving that, if nothing else, ‘Ignite’ is a testament to the musician’s sheer stamina!

The wide range of sources the traditional tunes on this album come from mirror the range of skills these musicians perform on this album- in spanning from Balkan dance tunes and Irish reels to a Swedish polka, the duo cover everything from bluegrass to waltz. These consummate performances from two musicians at the top of the game shows the folk world how underappreciated accordion and harmonica duets are- a problem this album will surely rectify.

Pedro Almodóvar’s ‘Julieta’

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In the very first frame of Pedro Almodóvar’s ‘Julieta’, unidentified blood-orange fabric, gently fluttering in the breeze, fills the screen. A wider camera angle reveals that this is the dress of Julieta, the protagonist, but not before the ambiguity and chilling beauty of this opening shot sets the tone for the rest of the film. Adapted from three short stories in Alice Munro’s 2004 collection ‘Runaway’, Almodóvar creates a moving and visually arresting portrait of one woman’s tragic yet beautiful life.

The plot follows how a chance encounter prompts a middle-aged Julieta, played by Emma Suárez, to write a letter to her estranged daughter. Taking the form of flashbacks, with Adriana Ugarte playing the young Julieta, we learn how the sophistication and poise of the older woman belie her dark past. To reveal any more would be to spoil the intrigue, as the subtlety of the character development and mysterious visual cues mean that it is impossible to guess the plot’s trajectory.

Blockbusters tend to ram home their intended reaction: soaring music, lingering close-ups and clichéd dialogue tell the audience what they are meant to feel and when (Steven Spielberg is particularly guilty of this). ‘Julieta’ is refreshing in how it avoids this kind of emotional manipulation. Instead, many moments in the film evade any clear moral judgement. At one point, Julieta is helped out of the bath by her daughter, and her daughter’s best friend Bea. Whilst I found this scene supremely tender and moving, the friend I went to the cinema with deemed it creepy and callous. It made me think about the overlap between helping the vulnerable and stifling them, and how, taken out of context, our most caring actions could seem sinister. Thus, ‘Julieta’ touches on the kind of dark and delicate ideas you are unlikely to find in the latest super-hero film or action thriller.

The power of ‘Julieta’ lies in how themes that are often emotionally pre-circumscribed are given the space to be nuanced. For example, our responses to motherhood, loss and adultery (all dealt with in the film) are socially and culturally predetermined— motherly love is good, adultery is bad, loss must be mourned—yet Almodóvar avoids this kind of moral clarity. This is especially evident in the character of Marian, expertly played by Almodóvar-regular Rossy de Palma. The older, childless woman, outside the family yet involved with their lives, could have easily been stereotyped as a meddling, malevolent crone. However, her love for Antía, plausibly good intentions and the dubious actions of the other characters mean that the audience is denied the opportunity of making her into a scapegoat. Her character is multi-faceted and thus evades a wholly positive or negative evaluation, as is so often the case with real people.

The difficulty with this kind of emotional authenticity is that it often comes at the expense of a truly enjoyable film; why escape to the cinema in order to be confronted with the same tricky decisions and competing impulses that we have to deal with everyday? The visually stunning ‘Julieta’, however, carefully counter-balances painful emotion with aesthetic delight. All the Spanish Tourist Board’s Christmases have come at once, as Almodóvar takes us from stylish Madrid, complete with artfully displayed modern art and Julieta high-fashion wardrobe, to the rural Andalusian idyll where she grew up, not to mention stopping by a log-cabin in the Pyrenees. The standout location in this showcase of Iberian beauty, however, is the Galician seaside town in which Julieta temporarily finds contentment. Dramatic seascapes viewed through huge windows, a charmingly rustic cottage worthy of an interior design magazine, colourful and fresh Spanish foods; as Julieta goes through hell, it is difficult not to think about what a fabulous holiday destination her home would make. Whilst some might find that these picture-perfect settings detract from the difficult themes, I found them a fitting reminder that cages can be gilded, and turmoil can lurk beneath even the most beautiful lives.

Aside from an instance where terrible CGI almost ruins the visual symbolism, it is hard to muster up much criticism of ‘Julieta’. Almodóvar has created a gem that is at once painful and gorgeous, slippery and compelling. You might have no idea how to feel, but the one thing you can be certain of is that this ambivalence is worth surrendering to.

Oxford fellow wins prize for living as an animal

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Dr Charles Foster, a fellow at Green Templeton College, medical law lecturer and practicing barrister, has won a parody biology award in America, a so-called ‘Ig Nobel prize’. Foster lived as a badger, an otter, a fox, a red deer and a swift, recording his experiences in memoirs entitled ‘Being a Beast’. The work has since received excellent reviews and has been translated into five languages.

Dr Foster outlined his reasoning behind the experiment, describing it as a means of exploring the sensory world. He said, “We have five glorious senses. Normally we use only one of them – vision. It’s a very distorting lens because it’s linked to our cognition. That means we get only about 20% of the information that we can squeeze out this extraordinary world.”

“In an attempt to see woods as the really are without that distorting lens of vision and cognition, I tried to follow five non-human species; badgers, foxes, otters, red deer and ridiculously swifts.”

“It increased my understanding of what their landscape is really like rather than landscapes coloured by our colonial impressions of what those landscapes should be like.”

Foster shares his award with Thomas Thwaites who spent three days living as a goat in the Alps, wearing prosthetic limbs. Thwaites commented, “I got tired of all the worry and the pain of being a human and so I decided I would take a holiday from it all and become a goat.”

‘Ig Nobel Prizes’ are parodies of the Nobel Prize and are awarded yearly to “honor achievements that first make people laugh, and then make them think”, celebrating unusual, trivial or satirical achievements in scientific research. The prizes are presented in Harvard University by a group which includes real Nobel Laureates.

Tom Hall, Magdalen fourth year and former Cherwell editor who has interviewed Dr Foster was delighted at the award, but expressed disappointment that it was shared. He told Cherwell, “I’m a legitimate fan of Charles Foster and it’s fantastic to see his book recognised. His project sounds prima facie ridiculous but actually reveals some important and incredibly serious truths, and that’s exactly what these awards are about. By contrast, the man who lived as a goat for three days is a comparative wannabe and totally unworthy of the prize.”

Cherwell History Pt 1 – The Founders

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The Cherwell was founded as an undergraduate magazine by Richard Christian Cecil James Binney and George Adolphus Edinger in 1920. Binney and Edinger had both served in the First World War before coming to the University of Oxford in 1919 – Binney served with the Royal West Kent Regiment in France and Edinger with the Field Ambulance Convoy and later the American Red Cross in Italy. During their time at Oxford, both men studied at Balliol College and it is clear from early editions of the paper that they spoke regularly at the Oxford Union. The magazine was first conceived in the long vac of 1920, when the two men were heading to Austria to do relief work on behalf of Save the Children. On their way to Vienna, the packet boat from Dover to Ostend was running three hours late. As a result, Binney and Edinger talked about ‘the deplorable state of Oxford journalism’ to pass the time. The two noted that, at that point, Oxford had no undergraduate-owned weekly journal. ‘One of them said Oxford didn’t want one. The other said it would be worth trying.’

 

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Of course this account of the paper’s founding is somewhat selective. The Isis had been recently relaunched in 1919 by Beverley Nichols, after a four year hiatus resulting from the war and no less than seven other undergraduate publications produced by political societies also existed. Both The Isis and the Cherwell were written by undergraduates and came out weekly – The Cherwell’s claim to be the sole undergraduate periodical only existed in its ownership. Whereas The Isis was owned by Holywell Press, which allowed students to produce it as long as it was profitable, the Cherwell was to be entirely financed, staffed, and owned by students. However, even this is not as neat as it sounds, with the magazine’s first editorial acknowledging the existence of a somewhat similar publication called the Cardinal’s Hat. Therefore, although the Cherwell was not entirely unprecedented, it is significant that it was conceived as something that should be run – both financially and editorially – by students from the very beginning.

 

 

Binney and Edinger would both run the magazine until they graduated in 1923. Binney would go on to become a barrister and died in 1966. Meanwhile, Edinger would also become a barrister, but he clearly could not resist returning to journalism. In 1928, he got a job at the Sunday Express and was a war correspondent during the Second World War. After that experience, he moved to Southeast Asia, where he worked for the Strait Times of Singapore and as a freelancer. He would die in 1984. Whereas Binney disappears from the pages of the Cherwell after leaving Oxford, Edinger continued to write occasional guest contributions for the magazine. In 1975, when the paper’s editor wrote to Edinger, he replied telling them:

You do not need to tell me all the Cherwell has accomplished and provided over the last 50 years. But you do need to tell the world.

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

Corbyn doesn’t want to unite Labour, but moderates must surrender

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For me, it all comes back to the 13th September 2015. Following Jeremy Corbyn’s cataclysmic victory, there was a general mood of uncertainty over how the lifelong backbencher would proceed. There was optimistic talk that, true to his word, he would offer an olive branch to the Parliamentary Labour Party and appoint the talented Angela Eagle as his Shadow Chancellor – with the bonus of maintaining female representation in the top jobs. Alas.

One wonders if, in another universe, there exists a Jeremy Corbyn who stuck to the spirit of his campaign rhetoric; one who was interested in having a broad debate, one who was willing to work with wary Labour MPs. Imagine having that Corbyn as leader! Imagine a Corbyn who would have compromised and listened to the concerns of his MPs; a Corbyn who wouldn’t have overseen the creation of a party-within-a-party or exacerbated tensions by sacking Pat McFadden for the most capricious of reasons; who wouldn’t have played genial good cop whilst allowing bad cop McCluskey to hint at the deselection of the disloyal; imagine, if you dare, a Jeremy who would have done the decent thing when the majority of the PLP expressed no confidence in him. Alas.

Jeremy Corbyn isn’t interested in uniting the Labour Party. He never has been. Now that MPs have begun seeking the return of shadow cabinet elections, his team has responded by calling for the members to elect it instead. As if this wasn’t a recipe for further factional strife. His interview with Laura Kuenssberg on Wednesday saw him offering to “wipe the slate clean” and encouraging MPs to come together to combat austerity. He then went on to – remarkably – counterbalance this with the statement: “Despite a lot of very personal criticisms that have been made about me, all the unpleasant remarks that have been made to me by a very large number of Labour MPs, I have not replied to any of them.” Brazen divisiveness, as ever.

What unpleasant remarks might Corbyn mean? It brings to mind his victory speech last September, in which he condemned the media for its treatment of his family. For all his incompetence when it comes to the political battles that really matter, he is very good at using his image as Principled And Decent to maximum effect. Thus, every critique of his policy or strategy is denounced as a “personal attack.” This really began following Tony Blair’s painfully tactless intervention into the leadership battle last year; Corbyn refused to respond on the basis that he “doesn’t do personal.” Although Blair’s words were crude, he was not attacking Corbyn’s character. But Corbyn’s conflation of valid criticisms and “personal attacks” has made him invulnerable.

And so, even though we don’t know the result for sure, we can be pretty certain that Owen Smith has been beaten. It can’t be attributed to his gaffes. Indeed, although Smith is a talented communicator, there was almost certainly no way he could have ever beat the leader. We may wistfully consider what-might-have-been, if he had fully optimised the potential of his second-referendum bluster and signed up an army of Remainers as registered supporters. Yet even this is doubtful.

Regrettably, Corbyn’s supporters believe that bad polling can be attributed to a disloyal PLP. According to the prevalent narrative, if only every Labour MP got fully behind Jeremy, all would be well. Never mind that Labour was behind in nearly every poll behind the coup. Never mind that, apart from the likes of Simon Danczuk, Labour MPs were rather loyal to Corbyn. Those that knew he was unelectable – Eagle, Seema Malhotra, Lucy Powell and so many others – gave it their all whilst serving in shadow cabinet. A clear majority of those who went to the backbenches, like Yvette Cooper and Liz Kendall, were never loudly attacking Corbyn in the press. Concurrently, after his first month, Corbyn was receiving the worst poll ratings for an opposition leader since records began. Yet MPs are to blame. As is the nature of politics, truth is always beaten by a good story.

Even those who are aware of Corbyn’s incompetence are happy to support this spurious narrative: occasional realist Owen Jones has repeatedly criticised the PLP for choosing the opportunity of Brexit to rebel against Corbyn. Never mind that Corbyn’s team was uncooperative with Alan Johnson’s during the Remain campaign. Or that Corbyn was hardly an enthusiastic campaigner. Or that this would probably be the best chance to get rid of a leader who, in May’s local elections, had taken Labour to its worst results in Scotland since 1910, in third place behind the Tories. Never mind all that. Apparently, Corbyn could have used Brexit to undermine the Tories. But this is nonsense, as Corbyn himself ably demonstrated when, in the first PMQs after summer, he didn’t bring up Brexit once. We already knew that Corbyn was ineffectual though. When IDS resigned over welfare cuts, Corbyn didn’t bring it up in PMQs. Remember that disastrous Osborne budget last November? No? Oh, of course – you only remember that day because McDonnell threw Mao’s little red book across the Commons.

There are those who have claimed that, as Labour is likely going to lose in 2020 anyway, we might as well lose while being candid about our principles – an argument akin to responding to a blocked toilet by burning your house down. Then there are those such as Sam Kriss who sneer about how Tory-lite politics would be just as ineffective at winning elections – as if anyone was suggesting we should simply return to them. If it’s just a choice between anachronistic Blairism and Corbynism, then we’re doomed either way. But it isn’t. Owen Smith and the PLP at large have rightly embraced the anti-austerity agenda – it was a question of competence. If Corbyn stood down, his legacy could be a Labour Party that was a truly left-wing opposition again. But instead, he will work to exacerbate the tensions between members and MPs, and his team will work towards remaking the party in their own image, regardless of how many Tory governments they will guarantee for the future. There can be no compromise, and so there can be no unity.

In hindsight, Smith’s campaign was a bad idea, because of an even darker truth. If the members are to lose faith in Corbyn, then they must see him fail on his own terms, which rules out further pre-2020 challenges. Labour moderates will not and cannot consider splitting, which would only make things worse for everyone. What, then, is the future for Labour moderates? For now, there is no future. We are trapped in this never-ending nightmare.

Oxford’s gender equality work assessed by UN HeForShe campaign

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Oxford’s commitment to the UN Women organisation and the HeForShe campaign, as well as the effectiveness of its policies to equalise gender imbalances in the University, have been assessed in a new report.

It was released to coincide with an event celebrating the second anniversary of HeForShe, at which Emma Watson was a keynote speaker.

UN Women’s progress report — the ‘HeForShe IMPACT 10x10x10 Report’ — looks at the extent to which ten universities have kept their promises to work against gender inequality.

The 10x10x10 programme has seen commitment by ten heads of state, ten CEOs and ten university chancellors to take action on gender inequality.

“This is first baseline report for the universities,” explained Elizabeth Nyamayaro, senior advisor to the under-secretary-general of UN Women and the head of HeForShe. “These schools have agreed to annual reporting and transparency.”

In general, the report highlighted many positives for Oxford, but with plenty of room for improvement. The report writes that the University “has leaned into engagement with HeForShe, facilitating a university-wide conversation around gender equality.”

“Oxford is dedicated to leveraging its international reach to achieve equitable practices, and to work with peer institutions around the world,” it adds.

A central part of Oxford’s commitment to HeForShe is its pledge to increase female representation in senior leadership roles and 30% in professorial roles by 2020. Other efforts mentioned in the report include OUSU’s mandatory sexual consent workshops for Freshers, and Oxford’s inclusion in the ‘Good Lad’ campaign.

The UN report describes the “significant preparatory work” for tackling sexual violence within the city, and acknowledges the front-line responders to sexual violence within colleges.

Louise Richardson said, “addressing gender equality and ensuring that the University of Oxford is a safe and inclusive space for all our students has been among my main priorities since I became Vice-Chancellor.

“We have already made significant progress in improving the representation of women in academic roles and creating a culture free from violence.”

Perhaps a more familiar link between Oxford and HeForShe than the 10x10x10 programme is actress and UN ambassador Emma Watson, who has also been made a visiting fellow at LMH.

Speaking at an event to celebrate the second anniversary of HeForShe on Tuesday, Watson said that, “in the last two years [HeForShe] have shown me that nothing is impossible. And that’s why I ask you to recommit yourself to gender equality. I genuinely feel that we are closer to a gender-equal world.” She also noted that, “A university should be a place of refuge that takes action against all forms of violence… Students should leave university… expecting societies of equality.”

Watson spoke alongside a number of celebrities and dignitaries, including Justin Trudeau and Edgar Ramirez.

Work on gender inequality and sexual violence in Oxford is set to increase, with mandatory sexual consent workshops happening again this year, and the First Response app, which equips students with information to respond to sexual violence “as a survivor, friend or otherwise”.