11 April 1959: An undergraduate asks "is chastity outmoded?"

From our correspondence.

11 April 1959

SIR, - May a 21-year-old student give his reaction to the problem of "outmoded chastity"? For spiritual and psychological reasons which Dr Chesser evidently endorses, my girl-friend and I intend to retain our chastity until marriage. University life is not conducive to this. I, for one, find "integrity", as Dr Chesser calls it, increasingly difficult to maintain.

My own experience and that of many friends emphatically denies that (a) a choice free from the pressure of society would increase chastity; and (b) that the "unconscious fear of frustrating maternal instinct" is an adequate balance. By all means get rid of the guilt and hypocrisy, but if every other social influence is removed Dr Chesser's "homily" leaves the field uncontested to a converse pressure about which he seems to be unaware - the less easily resisted influence which says "Go on, you're young, what does it matter when you're in love - or even if you're not in love".

Dr Chesser thinks that only a minority find it difficult. I question this very strongly indeed. If it is true it can only be because the majority are not subjected to the pressures which exist in university life. I doubt that these are much stronger than elsewhere. Has Dr Chesser any convincing new values to redress the balance which he leaves overweighted with the combined pressures of natural impulses and a provocative social environment?

He leaves me for one in a disturbing physical and emotional turmoil, feeling that it would be so much easier if chastity were outmoded. And this is evidently not the conclusion he intended. Can sexologists have attained so pure a degree of dispassion that they are unable to assess the impact of their articles? But why should he bother? It isn't his problem any longer. He's married.

Signed, "Undergraduate"

University students on spring break in Texas. Photo: Getty Images.

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Indie band The 1975 want to “sue the government” over the Electoral Commission’s latest advert

Frontman Matt Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

How do you make registering to vote in the EU Referendum cool? It sounds like something  from The Thick of It, but judging by the Electoral Commission’s latest TV ad for their new voting guide, this was a genuine question posed in their meetings this month. The finished product seems inspired by teen Tumblrs with its killer combination of secluded woodlands, vintage laundrettes and bright pink neon lighting.

But indie-pop band The 1975 saw a different inspiration for the advert: the campaign for their latest album, I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It (Yes, a title perhaps even more cumbersome than “The EU Referendum - You Can’t Miss It (Phase One)”).


Lead singer Matt Healy posted a picture of the guide with the caption “LOOK OUT KIDZ THE GOVERNMENT ARE STEALING OUR THOUGHTS!!” back on 17 May. The release of the TV spot only furthered Healy’s suspicions:

Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

The 1975’s manager, Jamie Oborne, was similarly outraged.

Oborne added that he was particularly “disappointed” that the director for the band’s video for their song “Settle Down”, Nadia Marquard Otzen, also directed the Electoral Commission’s ad. But Otzen also directed the Electoral Commission’s visually similar Scottish Referendum campaign video, released back in September 2014: almost a year before The 1975 released the first promotional image for their album on Instagram on 2 June 2015.

Many were quick to point out that the band “didn’t invent neon lights”. The band know this. Their visual identity draws on an array of artists working with neon: Dan Flavin’s florescent lights, James Turrell’s “Raemar pink white”, Nathan Coley’s esoteric, and oddly-placed, Turner-shortlisted work, Bruce Nauman’s aphoristic signs, Chris Bracey’s neon pink colour palette, to just name a few – never mind the thousands of Tumblrs that undoubtedly inspired Healy’s aesthetics (their neon signs were exhibited at a show called Tumblr IRL). I see no reason why Otzen might not be similarly influenced by this artistic tradition.

Of course, The 1975 may be right: that they have helped to popularise this particular vibe, moving it out of aesthetic corners of the internet and onto leaflets dropped through every letterbox in the country. But if mainstream organisations weren’t making vaguely cringeworthy attempts to jump on board a particular moment, how would we know it was cool at all?

Anna Leszkiewicz is a pop culture writer at the New Statesman.