Doing science the Wonga way

The model used by the payday loans company might finally make science work for everyone. Could we be about to enter the age of Wonga science?

Occasionally a corporate entity tries to get science done its way. Google, for instance, sponsors various researchers to find out whether their worthy, planet-improving idea can work. But what would we get if the payday loans company sponsored science?

It’s not an idle question. Just recently, up in committee room 17 of the House of Commons, Chi Onwurah, Labour’s science minister, gathered academics and asked for thoughts on the public role of science and how we should fund it. The responses weren’t terribly conclusive or enlightening. But one interesting thing came up – the origins of Wonga.

Wonga’s eye-watering prices (borrowing £400 for 28 days will cost you £117.48, for example) have been the subject of questions downstairs in the Commons and the Lords. Stella Creasy MP is trying to get the Financial Services Authority to cap the rate of interest a company can charge. She is supported in the other chamber by the future archbishop of Canterbury, who has called Wonga’s business model “morally wrong”.

Apparently the algorithm behind was originally developed to detect banking fraud. The subtext in Onwurah’s meeting was clear – Wonga is an evil application of perfectly good algorithms, and if someone had said those algorithms could lead to Wonga questions would have been asked of those funding their development. Especially, perhaps, if Onwurah were in charge. When Wonga ploughed £24m into Newcastle Football Club in exchange for on-shirt advertising, Onwurah, MP for Newcastle Central, expressed outrage. She called Wonga a source of “debt and misery”.

There are two reasons to take issue with this. First, many people are clearly happy to pay hundreds of pounds for a short-term loan. Wonga’s reported customer satisfaction is above Apple’s and far above that recorded by any of the high-street banks. Second, Onwurah’s remit is innovation, science and digital infrastructure and yet she slurs a company that has used science and digital infrastructure to innovate. The firm is expanding into the US and is on course to become a billion-dollar company next year.

The good news is that the government will soon have a Wonga-friendly chief scientific adviser. Mark Walport is at present the director of the Wellcome Trust, the UK’s largest scientific and medical research charity and an investor in Wonga. When Creasy challenged Walport about this, he replied that he finds Wonga “extremely engaging”, with a good business model and a willingness to listen to feedback.

This bodes extremely well for Walport’s stint as the UK’s most influential scientist. Clearly, he’s not populist, he’s not swayed by conflicts with authority and he’s not averse to a bit of level-headed thinking.

Coming round

If Onwurah comes round, she and Walport might even usher in the age of Wonga science. This would be open to no-fuss funding of projects and people that are currently considered unfundable, ending the pyramid scheme that makes life easy for established professors and near-impossible for those trying to become established. It would reward people who cross disciplines to achieve optimum productivity (one of Wonga’s co-founders, Jonty Hurwitz, trained as a mathematician and physicist and then became a software engineer and entrepreneur). Pursuing interdisciplinary research is widely known as a fast track to the funding wilderness.

Wonga science would present straight-talking science advice to government and pursue research that has no useful application in sight. It would also encourage scientists to take things we already have and find entirely new purposes for them. Most appealing, it might show us gaps in our scientific research that no one even realised were there. The Wonga model might finally make science work for everyone.


Michael Brooks holds a PhD in quantum physics. He writes a weekly science column for the New Statesman, and his most recent book is At the Edge of Uncertainty: 11 Discoveries Taking Science by Surprise.

This article first appeared in the 17 December 2012 issue of the New Statesman, Will Europe ever go to war again?

Azeem Ward
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Living the Meme: What happened to Azeem Ward and his flute?

In the first of a new series investigating what happens to people after they become memes, we speak to Azeem Ward, whose flute recital went viral in 2015.

The Sixties had Woodstock. The Nineties had Lollapalooza. The Tens – and, if we’re being honest, just a single year of them – had Azeem's Senior Flute Recital.

If you were inactive on the internet between 12 and 16 May 2015, you’ll be forgiven for not knowing who Azeem Ward is. After setting up a Facebook page for his end of year flute performance, the University of California student was inundated with over 100,000 RSVPs from the United Kindom, along with multiple requests to fly to England and play (for no apparent reason) Darude’s “Sandstorm” in Nando’s. After international news coverage, Ward – as all memes inevitably do – appeared on Jimmy Kimmel Live! to discuss his newfound fame. On 16 May, he had to turn hordes of people away from the 500 seat recital hall, and over 55,000 individuals tuned into a livestream of the event. Then, Ward disappeared. Not from social media, and not from the world, but from the internet’s collective consciousness.

Search interest in "Azeem Ward" over time

“I’d say no,” answers Ward, when I ask him whether, one and a half years later, he still receives any special attention or has any fan interactions. “I’m just regular Azeem now, and I’m okay with that. Regular me is a more focussed person that is not reacting to things that are happening around me.”

Ward is Skyping me from his home in Iowa, where he is getting his master’s degree in flute performance. He spends his time composing flute beatbox songs, learning how to produce music, and teaching a class on flute fundamentals at the university. “A lot of [the students] here in Iowa know what happened but they don’t go like: ‘Oh my God! It’s Azeem!’. It’s just like, ‘Hey, what’s up man? I saw that one thing about you on Jimmy Kimmel’.”  

The original Facebook event page

Ward regained his anonymity when he moved to Iowa, as many of his fellow undergraduate students in California recognised him because he was on the local news. “But the whole viral thing was a UK thing,” he explains, “It wasn’t really around the whole US.”

An Azeem meme

Four months after his famed flute recital, Ward did come to the UK and toured the country to perform as part of various university freshers’ weeks. “That was a crazy time,” he says, “I was over there for five weeks and played 22 shows in 12 different cities, all the way from London to Scotland.” His concerts were popular, though most people came to take a selfie or ask about how the recital happened, and only a few wanted to talk to him about music. Still, Ward profited from the events. “We did make some pretty good money," he says, admitting he earnt around $5,000. 

Despite clearly enjoying this time, Ward seems unfazed that his viral fame is now over. His only regrets, he says, are that he didn’t make any connections in the music business while in the UK, and that he didn’t have any social media accounts set up before he went viral, so there was nowhere for people to go to listen to his music. “When you go viral people hold onto that rather than taking you seriously as a musician,” he says. “Sometimes it annoyed me but sometimes I realised that I wouldn’t be there in the first place if it wasn’t for going viral.”

Azeem now, photo courtesy of Azeem Ward

So what advice would Ward give to the next person who finds themselves, unwittingly, the object of the internet’s affection?

“I'd say don't lose sight of what you've already been doing in your life, like keep your focus. I'd say that sometimes in your head you're like ‘Oh man, I have to do this now’, but you've just got to stay focussed on your goals. When you have your own path and you go viral you have a lot of people asking you to do all these different things. It was pretty intense – I’m not used to having a lot of people look at me and my actions, so I was pretty anxious at first. In the end I realised that I came to do what I came to do, and I had to go do it.”

Although Ward doesn’t miss being internet-famous, it is clear that going viral had an impact on him. He recalls the peak of the madness with telling clarity, sharing specific details such as "256 people” clicked attending in "four hours", and “then 512”, before 12,000 people RSVP’d overnight. Mostly, however, he seems very grounded, though he acknowledges it was “out of control” and “really crazy”.

Perhaps Ward feels this way because he received little in the way of negativity or hate. He fondly discusses memes that were created and art that was drawn about him, and the support of his family and friends. “Even though there were a lot of silly things going on, I managed to make it positive for the school,” he says. “I had no haters. Everyone was like ‘Damn, Azeem. Good job, man’.”

One day, Ward hopes to come back to London, although he is wary of returning. Not because of his viral fame, nor the number of selfies he might have to take with Nando's customers, but because of Brexit. Our conversation, like all post-June conversations, turns swiftly to the topic, and Ward asks me about the economy. “I was thinking about trying to do a doctorate over in London, but if things aren't going to be so good in a few years...” 

Ward admits he wouldn’t be bothered if he never went viral again. “When I think of something going viral, I think it has a point in time where there’s so much interest and then it goes away. I’d like to produce material and the attention to keep going up.” So do you want to be famous, I ask? “Do I really want to be famous?” he ponders. “Being famous is okay, I guess. But I want to be is respected and appreciated.”

To listen to Azeem’s music visit or Like his Facebook page.

To suggest an interviewee for Living the Meme, reach out to Amelia on Twitter.

Amelia Tait is a technology and digital culture writer at the New Statesman.