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Internet Babies: Students of Subculture

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There’s a certain kind of artist that I keep coming back to lately: artists who seem to know exactly what I want to hear before I do. Not algorithmically, but instinctively. Their music feels hyper-specific yet universal; familiar, but not quite verging on nostalgic.

I’ve started thinking of them as ‘internet babies’ – artists born and raised online, whose creative instincts have been shaped not by a single scene but by years of immersion in fragmented, overlapping subcultures. 

What defines these creators is long-term exposure to subcultures. Years of YouTube rabbit holes, Tumblr aesthetics, game soundtracks, and online music recommendations. A cultural collage of sorts, an environment in which emo sits comfortably next to UK garage, and indie sleaze bleeds into rap. Nothing feels out of place because everything was encountered together.

There’s also a practical shift underpinning all of this. Music-making has never been more accessible. Any kid with an iPad can stumble across YouTube tutorials, free sample packs and intuitive software that can quickly turn curiosity into something more structured. While barriers to music careers still exist, the act of creating music is no longer subject to gatekeeping in the same way. More self-sufficient artists are emerging outside traditional industry pipelines, marked by a notable increase in artists from working-class backgrounds – particularly female producers – breaking through via online platforms.

All of this marks a clear break from older models of music culture. Scenes were once tied to geography and gatekept by labels, with genres functioning as boundaries rather than starting points. For internet-native artists, taste is no longer shaped linearly, but accumulated and in flux. 

Jim Legxacy – a student of everything, bound by nothing

Jim Legxacy is one of the clearest examples of this shift in the UK right now. The Lewisham artist, of Nigerian heritage, makes music that on paper shouldn’t cohere, with rap, emo, Afrobeats, indie, R&B, even folk elements all pulling in different directions. And yet, on his genre-fluid album Black British Music (2025), it comes together in a kind of effortless logic.

You can hear echoes of Britpop and indie alongside more contemporary rap and club influences. The album’s title – often shortened to BBM – nods not just to Black British identity, but to the BlackBerry Messenger era that defined a specific kind of 2000s UK youth culture. It’s nostalgia, but not in a heavy-handed way; it’s embedded in his sound and aesthetics, but never allowed to define them.

What makes the MOBO-winning artist’s work land is not just the range of influences, but the way they’re carefully stitched together. UK rap, especially in its underground iterations, can sometimes risk collapsing into its own conventions; a kind of anti-mainstream becoming a new ‘box’ itself. Legxacy sidesteps that entirely. His music feels raw and unpredictable, yet intentional. It reflects a broader shift away from scene-based identity towards something more fluid.

PinkPantheress – the algorithm made human

If Jim Legxacy represents the collage, PinkPantheress represents the algorithm. Her rise was inseparable from the internet: posting snippets on TikTok and SoundCloud while still at university, initially without even showing her face.

Her music pulls from a wide range of influences: emo’s emotional directness (seen in artists like My Chemical Romance and Paramore), K-pop’s polish and melodic precision, and the rhythmic backbone of UK garage and drum & bass, all filtered through a distinctly British pop lens. The result is deceptively simple – short, hook-driven songs that feel immediate and endlessly replayable, built from a complex set of references.

Her songs feel designed for how we now consume music: in fragments, on loop, through clips and snippets – a natural extension of growing up with a musical and cultural landscape that’s constantly reshaping itself.

At the same time, PinkPantheress is acutely aware of the downsides of this hyper-online existence. In ‘Internet baby (interlude)’, she gestures towards the dissonance of being both shaped by and exposed through the internet, a tension that sits quietly beneath much of her work. Still, her impact on modern British music is undeniable. We see her breaking through to international audiences, with a recent showstopping performance at Coachella, and being the first woman to win Producer of the Year at the BRITs. She feels like a frontrunner in any conversation about defining stars of the 2020s.

Natanya – genre as a palette, not a boundary

Natanya offers a slightly different angle on the same phenomenon. She was classically trained in piano from a young age, with clear jazz influences, but also draws from Amy Winehouse, Aaliyah and even Vocaloid artists. However, her work doesn’t sit neatly within any one lineage. It moves between neo-soul, R&B, indie, even touches of grunge, without ever fully settling.

On Feline’s Return (2025), that fluidity becomes the point. The project feels ambitious and deliberately uncontained, drawing from both formal training and eclectic, internet-driven listening habits that define her generation. Her songs refuse to resolve into a single identity.

What’s striking about Natanya is that she doesn’t just draw from different subcultures – she moves between them so seamlessly that they begin to lose their boundaries altogether. In an interview with Exeposé, she said: “I think in worlds. Instead of genre, I’d rather imagine I’m somewhere”. When listening to Natanya, you are transported to the scene that she sets with her diaristic lyrics and unique sound.

From everything we’ve ever clicked on

Taken together, artists like Jim Legxacy, PinkPantheress and Natanya point towards something broader. Their work is defined by how it processes influence, reassembling fragments of culture shaped by years of online immersion. What emerges isn’t just collage, but music that feels both widely legible and unexpectedly personal.

There’s a common criticism that the collapse of traditional ‘scenes’ have flattened music into a set of aesthetic blends, with styles endlessly recycled. But what these internet-native artists are doing isn’t simply repackaging the past – it reflects a different mode of cultural consumption, where broadly ranging influences are accumulated, reworked and made intuitive.

To me, this generation has a distinct creative instinct. Their music is rooted in shared cultural memory but not limited by it. With the right level of craft and imagination, it becomes generation-defining.

It makes me think about how I listen, not just what I’m listening to. I’ve grown up on everything from FIFA soundtracks to Paramore to K-pop – a constant stream of sounds that never really resolved into one identity, but gradually moulded my taste through constant exposure. Maybe that’s why this music feels so familiar. It reflects that same way of consuming culture: scattered, overlapping, always in motion. I’m hearing it not just as a listener, but as a fellow internet baby.



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Student Life

St Edmund Hall unveils new eco-friendly accommodation 

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St Edmund Hall has opened new, sustainability-focused accommodation in Norham Gardens, one of Oxford’s most affluent neighbourhoods.

 The College describes the buildings, which took three years to construct, as an “exemplar” of sustainability. Designed by architects Wright & Wright LLP, they are certified with a Passivhaus standard, widely regarded as the industry benchmark for energy efficiency, and were built using “sustainably sourced and low-embodied carbon materials”. According to a press release on the Teddy Hall website, the buildings will use 70% less energy than the typical modern building. 

It contains 127 en-suite study rooms, split across three new buildings: Willis House, Ashton House, and Elliott House, on the nearly 50-year-old Norham St Edmund site. The buildings, which back onto University Parks, are powered at least in part by solar panels and are heated by air-source heat pumps. 

The rooms include heated towel racks, big double beds, and dimmable lights. Despite the luxury, the College kept the nightly rate in line with the rest of its Norham housing. The College told Cherwell that it “recognises the need to keep rents as low as possible” and that its accommodation costs are “below the median of all Oxford colleges”. By that standard, tenants are expected to pay around £30 a night. 

Rooms on the site will be reserved for Teddy Hall returning undergraduates. They will not be available to postgraduates and, by extension, not be offered through the Oxford University Collegiate Accommodation System, now in its second year of opening college rooms to students from other colleges. The accommodation will allow Teddy Hall to accommodate all undergraduates for their whole degree. 

The development’s outdoor spaces are boasted as climate-resilient and biodiverse, with landscaped gardens and lawns. For budding geographers and biologists, the most intriguing feature may be an ecology pond. 

Chancellor William Hague said in a press release: “Norham St Edmund is a world-leading blueprint for future student accommodation projects and sustainable building design, both in Oxford and beyond. I look forward to seeing it serve a thriving college community for generations to come.



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Summit calls for human rights safeguards on AI

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Human rights experts called for stronger legal protections against the risks posed by artificial intelligence (AI) at an Oxford AI and Human Rights Summit, with speakers arguing that human rights standards must be embedded into AI governance and technology. 

The summit was hosted at the newly redeveloped Rhodes House in Oxford and organised by the Institute for Ethics in AI. It built upon Professor Yuval Shany’s consultation on a white paper, published in 2025, on the need for and feasibility of an international AI Bill of Human Rights, which proposes ways to adapt existing human rights standards so as to better address some of the unique challenges posed by AI systems and their uses. 

An opening video address from the United Nations High Commissioner for Human Rights Volker Türk outlined how AI policy can keep pace with a fast-developing technology. He said that “great power demands responsibility on the same scale, and when the two don’t match, we have a problem”. Corporate control, he explained, means that AI policy stretches beyond existing national borders. He continued to praise this summit for bringing together leaders and representatives at the forefront of the discussion.

 Speakers called on the UK government to establish legislation, recalling Labour’s manifesto commitment to an AI Bill of Human Rights. The panellists broadly agreed on the importance of human rights, but appeared less aligned on what enforcement should look like in practice.

 In an exclusive interview, Michael O’Flaherty, the Council of Europe’s Commissioner for Human Rights, told Cherwell that political short-termism Continued on pg. 2 risks undermining efforts to address the long-term consequences of AI. “We are infected across our societies with shorttermist responses to the great issue of our societies and politics,” he said, adding that electoral cycles make it difficult for politicians “to think beyond the next election”. 

O’Flaherty also noted that younger generations no longer take the international human rights system for granted. “There is no longer an assumption that the human rights system is safe, that it will survive,” he told Cherwell. He argued that political leaders increasingly treat human rights selectively, saying: “Increasingly, leaders are treating human rights, if they are respected at all, as an a la carte buffet. We take those rights because they serve our goal. We’ll ignore others because they get in the way.

The summit also heard concerns about the effects of AI-generated misinformation on communities that may have limited access to, or awareness of, the technology itself. An audience question asked human rights experts to consider the impacts of AI on populations, such as those in India, who might be unaware of its existence. The focus on the impact of AI on populations in developing countries more vulnerable to the power of big tech was a key theme of the summit. 

Eileen Carter from the South African Human Rights Commission warned that underrepresentation of African languages in large language models could exacerbate existing inequalities. She also raised concerns about the effects of misinformation and deepfakes on elections, referring to more than 360 deaths associated with unrest and the amplification of narratives. 

The third panel, which offered a civil society perspective on promoting human rights in AI systems, offered some hope. Across all speakers, the potential for AI to transform the beliefs that underpin human rights, including the rights to water, education, and an interpreter, was debated. When asked about AI’s potential to unravel and alter the definition of human rights, such as what is included in the ‘right to education’ O’Flaherty told Cherwell: “The damage that can be done by AI has hit more dramatically and more visibly than perhaps any other sector within education through the phenomenon of cognitive loss, of cognitive transfer. We’re only beginning to realise the extent to which we have allowed education to be fundamentally undermined for an entire generation. 

“It’s time to seize that now and engage it. I’m not sure that the classic understanding of the human right to education is particularly well-framed for this extraordinary development.”

 In a discussion on different countries’ regulatory approach to AI, Suresh Venkatasubramanian, professor at Brown University and former AI advisor to US President Joe Biden, argued that AI systems should not be treated as inevitable developments beyond human control. “We continue, I think, to talk about AI as a thing that emerged out of nowhere that we just have to deal with,” he said. “We forget that these aren’t coming from an alien planet and they were built by entities that choose to build them in a certain way.” He called for pressure on technology companies to make different choices about how AI systems are developed. 

Questions of accountability also emerged during discussions about AI’s potential to improve access to justice. Research presented by Philippa Webb said that only 10% of people who have access to a lawyer can get one while there are thousands of bookings for an interpreter in a court covering 150 languages. However, this progress is not cemented as “general-purpose chatbots hallucinate 58% of the time on a legal task”. The use of AI in moderating legal proceedings raised fundamental questions about humanity and authority. Thompson Chengeta from Liverpool John Moores University said that “human rights is the last line of defence so when we say we want a human rights based governance… human rights is not an idea, it is an obligation. There is a gap that can only be recovered by a legally binding instrument”.

The event culminated in a panel offering an industry perspective. Co-host Dr Caroline Emmer De Albuquerque Green questioned representatives from Meta, Google, Microsoft, and OpenAI. Michael Karimian, who works in digital diplomacy at Microsoft, discussed the role of private sectors in engaging with AI, defining corporate responsibility as something which “provides transparency and identified risks”. 

All companies supported having formal programmes to ensure that they have an AI policy in place. Within their own companies, they suggested protective measures such as specialised training to ensure that policies, such as whistleblowing, are understood. Alexandria Walden from Google described how consultations with stakeholders could be used to identify when the product breached users’ boundaries. These assessments, according to OpenAI’s spokesperson, “feedback into tangible technical input” and “benchmark it”.

Fundamentally, understanding the rationale behind human rights is imperative, though lacking. Alexandria Walden from Google said: “Whether or not they understand human rights, they care enough to infuse it in their company… we might not always get it right, but it is something we care about.” 

Where former panels discussed controls to ensure human rights are considered in the development and implementation of AI products, this panel focused on mitigation. A spokesperson from Google pointed out that technology is inevitably going to move faster, so multiple tools are needed. Companies, OpenAI’s representative noted, still encounter issues such as discrimination and free speech. Consequently, they regard this as an additional policy which companies have a structured model to deal with, but newer companies, and newer industries, haven’t learnt it yet. 

In her concluding remarks, Green called for policy makers to “make the abstract actionable” at both governmental and corporate levels. She argued that, by framing the issues posed by AI as human rights issues, we gain a “foundation” for recognising AI’s many societal impacts.



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Oxford University launches Ebola vaccine trial in Uganda

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Ugandan participants in a clinical safety study received an Oxford developed Ebola vaccine this week. 

Researchers vaccinated the first participants on 6th October in Masaka, Uganda. The phase follows the launch of a first-in-human Phase I trial in the UK evaluating the same vaccine candidate. 

They received the vaccine as part of an evaluation of the safety and efficacy of a ChAdOx-based Bundibugyo Ebola vaccine candidate developed by the Oxford Vaccine Group (OVG) and the Pandemic Sciences Institute at the University of Oxford. 

Development for this vaccine began in May this year in response to the ongoing Ebola outbreak in the Democratic Republic of the Congo (DRC). The research, led by OVG’s Professor Teresa Lambe and Professor Simon Drysdale, is funded by the Coalition for Epidemic Preparedness Innovations (CEPI). No licenced vaccine for the Bundibugyo strain of Ebola virus currently exists. 

In a statement to Cherwell, OVG said its involvement includes collaborating with the Ugandan research team to support “the study’s scientific design, clinical trial coordination, safety oversight, and evaluation of vaccine safety and immunogenicity”. The Phase I clinical trial addresses a rare strain of Ebola virus affecting communities in the DRC since May. The phase is a collaboration between the Medical Research Council/ Uganda Virus Research Institute and the London School of Hygiene and Tropical Medicine (LSHTM). 

Dr Nicole Lurie, CEPI’s Executive Director for Emergency Preparedness and Response, told Cherwell: “It [the Bundibugyo outbreak] remains the fastest-growing and second-largest Ebola outbreak ever recorded – and we currently remain without a licensed vaccine or treatment.” The Bundibugyo Ebola epidemic in the DRC has surpassed 8,600 cases, with almost half of infections proving fatal. 

The outbreak was declared a Public Health Emergency of International Concern (PHEIC) by the World Health Organisation (WHO) in May. 

OVG told Cherwell: “For more than a decade, the University of Oxford has performed many clinical trials of candidate viral-vectored vaccines. Some of the most promising vaccines used a modified chimpanzee adenovirus, a harmless version of a common cold virus. The Oxford-AstraZeneca (ChAdOx1) COVID-19 vaccine was approved for emergency use in the UK in December 2020 and was estimated to have saved six million lives during 2021 alone, and over 3 billion doses were used worldwide.” The adenovirus vector vaccine technology trialled in this study was successfully used worldwide as part of the Oxford-AstraZeneca COVID-19 vaccine. 

More funding is necessary to ensure the development and approval of the Ebola vaccine. Lurie told Cherwell: “Without sufficient additional funding, we are at risk of not being able to develop these promising vaccine candidates… CEPI urgently needs US$128M now to keep our Bundibugyo emergency R&D response moving. Without it, we are putting the DRC, and the world, at tremendous risk.”



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