Monday 18th August 2025
Blog Page 1144

Oxford’s mental health: time for change

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What do we get from Oxford? We get the opportunity to learn more and faster than our peers, we get better job prospects, and we get a justified sense of achievement for all that work we put in to get here. We all know these headline benefits, but if you ask an average Oxford student what it feels like to be at Oxford two more telling words come out: “tired” and “stressed.”

People expect to work hard, but that is not the only thing which hides behind these words. The truth is they refer to the exhaustion and weekly peaks and troughs of stress, to anxious tension building up in our minds as that week’s deadline approaches, reaching fever pitch before crashing in a blowout of relief, the next tidal wave already visible as the second or maybe even the third deadline of the week approaches. The pounding of this tide of work takes its toll on all of us – it doesn’t take a psychology DPhil to tell you that such regular extremes of mental tension are unhealthy. But it’s Oxford, it’s expected, right? 5th week blues are just a fact of life, our predecessors did it, and if we want the benefits we should persevere too. But the thing is, our predecessors didn’t know the costs as we now do; the impact depression and anxiety has on our physical health, on our academic productivity, and most importantly on our happiness.

Now we know those costs. In a much-cited Tab survey of mental health in Cambridge 21 per cent of respondents admitted that they had been diagnosed with depression with a further 25 per cent believing themselves to be suffering depression or other metal illness undiagnosed. That comes to a total of 46 per cent of the 1,749 respondents (making up around 15 per cent of all undergraduates in Cambridge at the time,) reporting difficulties with mental health compared to 6.7 per cent nationwide. As a baseline this is bad enough but when I dived into the stats of the extreme manifestations of this stress it took the meaning of those statistics to a whole different level. Eating disorders, panic attacks, self-harming and suicidal thoughts were rife. These are pains which leave lasting scars – to realise their extent disgusted me.

Higher Education should be liberating and yet so many of us have felt imprisoned by it. It should be self-improving instead of giving rise to such self-destructive tendencies. Above all it should be a light we look back on, not the dark hole we escaped. As JCR President of Catz last year I realised the extent of the problem; acting as advocate in many rustication meetings I saw people at the point of breakdown time and again. Then, in Trinity term, I felt it for myself.

I like to think I have always had quite an objective view on stress and work which has protected me. Watching my parents both in unhappy jobs, my mum’s temper shortened by the looming stress of redundancies while my dad being regularly brought down by stress-induced migraines made me promise myself to never do any job which made me fundamentally unhappy. I knew when to take breaks from work and when to give up on it and seek help, but last term I couldn’t take a break – under the weight of a nightmarish battle with Catz finance committee over independence, with more rustication meetings in the lead up to finals than ever before, and with University Hockey commitments and completely unintelligible models, I found myself unhappy. I wanted to go home, I didn’t want to get out of bed in the mornings. I wanted to say sack this and walk away. Thankfully my housemates supported me and pushed me through to the holidays.

These experiences have hardened me in the view that something needs to change fast and to call bullshit to the claims that this level of student mental health is an unfortunate but necessary side effect of our world class education. We at Oxford are at greater risk; having become accustomed to success we are therefore unequipped to cope with perceived failure. Because of this our solutions need to be more structural and more proactive.

I don’t think that anyone is willing to demand the adjustments necessary to pre-empt the rustication culture we have established in response to the mental health crisis on our campuses. I also don’t think that those who have become the student politics elite truly believe that we can effect change where it counts – in caps in weekly work load, in college in-house counselling services, in an end to term time punitive collections, in term lengths, and in reading weeks.

OUSU needs new people who know the power we have as students and who know how to communicate it in terms the new generation of academic administrators understand, as consumers. People who won’t accept that conference income is the most important thing. At the moment the debate is over reactive policies like access to libraries for rusticated students. Together let’s move that debate to a place where we can stop those people needing to rusticate at all.

The Coloured Market

Creative Direction: Emmanuelle Soffe
Styling: Emily Pritchard
Photography: Mark Barclay
Models: Shannon Gunawardana and Ben Christopher

 

A pair of great black jeans never go out of style. Don’t be afraid to add excitement with other pieces- as model Ben shows, too much is never enough.  

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Yellow mac, Vintage. Shoes, Lathbridge.

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Jumper, Kenzo

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Bomber jacket, Lulu’s Vintage Fair

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Use tobacco as a base for dark autumnal tones and faux fur textures, or lighten up with stark white and pops of colour. One pair of trousers, three ways to style- the tailoring speaks for itself.

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Trousers (worn throughout), Topshop. Cami, H & M. White shirt, Topshop. 

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Earrings, Freedom at Topshop

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Blue suede shoes, Zara

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Jumper, Marks and Spencer. Brogues, River Island.

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Clutch bag, Zara.

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Cami and leather jacket, both River Island. Fur, Primark. Purse, Acne.

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Court shoes, Topshop.

 

Oxford University in oil donor controversy

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Cherwell has learned that in 2013, the Earth Sciences Department accepted a donation worth up to £10m from the subsidiary of a company subsequently convicted for violating trade sanctions.

Schlumberger Oilfield UK, a wholly-owned subsidiary of Schlumberger Ltd, the largest oilfield services company in the world, donated software licenses worth up to £10m to the University of Oxford’s Earth Sciences Department. These licences, which constituted the third-largest donation to Oxford University in the financial year 2013/14 according to Freedom of Information requests submitted by Cherwell, are currently used in the Shell Geoscience Laboratory.

In March 2015, Schlumberger Oilfield Holdings Ltd. (SOHL), another of Schlumberger’s subsidiaries, was handed the biggest criminal fine for sanctions violations in US history.

SOHL pleaded guilty to allegations of violating sanctions by trading with Iran and Sudan, and attempting to conceal their activities from the US government. The company paid out $155m in criminal fines, forfeited $77.5m in earnings and has begun a period of three years of corporate probation.

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According to a University spokesperson, the University’s Committee to Review Donations “undertook a thorough assessment to determine whether it was appropriate to receive software from this donor,” although this was before Schlumberger’s subsidiary pleaded guilty to sanctions violations.

In April 2012, Professor Nick Rawlins, the University’s Pro-Vice Chancellor for Development & External Affairs, said in an interview with Spear’s magazine, “If you asked what would happen if somebody from whom we’ve accepted a donation committed some grave criminal act, what we would do? What we would do is take the matter of donation back to the committee that reviews donations and in the light of the evidence we now have, [we’d ask] what should we do?”

However, after SOHL’s criminal fine, Cherwell understands that no formal review took place. Professor Nick Rawlins could not be reached for comment on the matter.

The Earth Sciences department has previously come under environmental scrutiny, most notably when the Shell Geoscience Laboratory itself was founded in 2013. The research partnership with Royal Dutch Shell provoked anger among climate change activists, sparking protests outside the Radcliffe Camera and open letters to The Guardian. Within the department, the Shell Geoscience Laboratory is involved with a wide variety of different research projects, with a particular focus on unconventional hydrocarbons and carbon sequestration.

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Unconventional hydrocarbons are sources of oil and gas which require unconventional methods of extraction, like shale gas, or tar sands. Typically, some sort of stimulation or injection is required before the resources can be extracted.

Research into these areas has provoked the ire of climate change activists in the past, but in a statement to Cherwell, the University insisted, “All donations to the University, whether from oil companies or anyone else, do not affect the independence of our teaching and research programmes.

“Those donating money to the University have no influence over how academics carry out their research or what conclusions they reach.

“Where the results of research are not favourable to industry, the researcher will still seek to publish the results in the usual way. The University of Oxford is one of the world’s leading universities, with the top ranking in the UK’s 2014 Research Excellence Framework (REF). This would not be achievable if our research was not rigorous, independent and objective.”

Rivka Micklethwaite, who has been involved in OUSU’s campaign to persuade the University to divest from fossil fuels, told Cherwell, “People have calculated how much more [CO2] we can put into the atmosphere, and there’s about five times that much carbon locked away in the known reserves of all the fossil fuel corporations. Their industry needs to stop functioning.” Asked about the University’s research into unconventional hydrocarbons, Micklethwaite commented, “The long and the short of it is that they’re looking for more fossil fuels; they’re looking for more ways that they can get to different kinds of fossil fuels.”

As an oilfield services company, rather than an oil and gas company like Shell or BP, Schlumberger neither owns any oilfields nor extracts any fossil fuels itself. The company does, however, play a vital facilitating role in the operations of oil and gas companies around the world. In particular, it is responsible for engineering the equipment used in arctic exploration and in extraction at deep-sea drilling sites.

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While the University cited carbon sequestration as an example of environmental research being done in the laboratory, Micklethwaite was critical of this approach. Carbon sequestration involves pulling carbon dioxide out of the atmosphere and storing it deep underground.

But Micklethwaite suggested that research in these areas was progressing far too slowly for it to be a viable option. She went on to say that it was “a really irresponsible way for politicians and fossil fuel companies to be treating the climate change problem”, insisting that more funding should be diverted to renewable energy sources.

This news comes just as an investigation by Greenpeace has revealed the true scale of donations made by the fossil fuel industry to UK universities. The environmental organisation placed Oxford fourth on their list of universities who had taken the most money from oil, gas, and coal companies in the last five years, with well over £21m accepted in the last five years. Their investigation was also critical of Oxford for taking money for branded professorships, citing the Shell Professor of Earth Sciences as an example.

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However, Professor Joe Cartwright, the Shell Professor of Earth Sciences and head of the Shell Geoscience Laboratory, was keen to emphasise the varied nature of the work done in the lab. He explained that in addition to hydrocarbon exploration, “one of our major themes is to understand how natural fractures form.”

He continued, “We are also actively trying to explain how giant submarine landslides and mud volcanoes form (these are major hazards for society,) and trying to understand how chemical reactions affect the physical properties of sediments (how mud turns into rock.)”

Schlumberger did not respond to Cherwell’s request for comment.

Fridge Fix: Post-Bop Citrus Face-mask

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If you’re in desperate need of a post-bop skin detox and have some leftover beer lying around that you’ve promised the almighty god of hangovers never to drink again, this week you’re in luck! Treat yourself with that stale half can of Heineken and still stay sober enough to meet your essay deadline by making it into a facemask. With radiant skin, you might even be able to, ahem, face your tutor after he’s marked it (hahahaha).

1 egg white
1/2 can of beer
2 tsps fresh lime juice

Separate the egg white from the yolk and throw the nasty fatty yellow thing away. Stir the former thoroughly into your beer (it doesn’t matter if it’s stale or warm) before squeezing fresh lime juice from an actual lime into the mix. Do not use the neon green stuff you can pick up at Tesco instead. Apply to the face and remove after 10 minutes using warm water. The lime and beer contain a variety of vitamins and the egg white aids elasticity.

Home or Roam: Born in Brazil

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When people think of Brazil, they generally think of Rio’s beaches, or the Amazon rainforest. If they know Brazil a bit better, they might think of São Paulo’s booming metropolis, or the diversity of flora and fauna found in the Pantanal, or the planned capital city of Brasília. But Brazil is a huge country with 26 states, and not many people travel beyond Rio and São Paulo. I was born about an hour south of São Paulo, in Curitiba, the largest city in Brazil’s south.

Life in Curitiba doesn’t fit the international stereotype of Brazil. For starters, Curitiba doesn’t have a beach, and is actually quite cold in the winters. The news and pop culture displays all of Brazil as looking like Rio’s favelas (Brazilian slums), but in general Brazil is actually quite a safe place, where babies are adored and their first birthday party is a huge event. Although there are favelas in any big Brazilian city, they aren’t as dangerous as their reputation, especially not in Curitiba.

As a city, there are several interesting things that make Curitiba unique. Curitiba is known in environmentalist circles internationally because of its sustainability. The RIT, or bus system, was designed to increase consumer usage of buses over cars, and was so successful it won multiple international awards. So many people used the system that there are now plans to build a subway due to overcrowding on the buses. There is also a beautiful flower clock – literally, a clock made out of flower beds – downtown, that appeals to locals as much as it does to tourists. Florianópolis isn’t far, and Iguaçu Falls is also in Paraná (Curitiba’s state) and is stunning.

What I miss most when I’m away, though, is the food and drink. Brazilian food is great! I love snacks – pao de quijo, which used to be sold in the Covered Market as ‘bolitas’, are yummy cheesy balls of dough, and brigadeiros are chocolate, truffle-like sweets. On a Sunday, when English families traditionally have a roast, Brazilian families often eat a barbeque – either at home, or at a churrascaria, or barbeque restaurant. Churrascarias serve every cut of meat you could want, from sausages to the favourite Brazilian cut, picanha. Meat is brought around and sliced off huge skewers at the table so you can get it cooked exactly how you like it; I order mine ‘mal pasado’, roughly translated as ‘badly cooked’ or medium rare. They also have huge, elaborate salad bars with any toppings or sauces you can imagine.

The national drink of Brazil is the caipirinha. It is traditionally made with cachaça (sugarcane alcohol), lime, and sugar. However, the varieties are endless – at parties, there is often a caipirinha assembly line, with alcohols, fruits, and sugar. The most popular alcohol for caipirinhas is still cachaça, but Steinhäger (a German gin) and vodka are also common. It’s very easy to make yourself – cut up a lime and put it in an empty glass with sugar, muddle them together, add the alcohol and ice and give it a swirl. Many cocktail bars and restaurants in Oxford include caipirinhas on their cocktail menu, and Las Iguanas sells bottles of cachaça.

Curitiba is a beautiful city, where the historic district’s old buildings meet the lights of the university town and regional financial centre. Although the traditional Brazilian tourist spots are definitely worth a visit, there are many other cities worth visiting if you want to get a better sense of Brazil as a country. With the Olympics coming up next summer, and the Brazilian real fairly cheap at the moment, when could be better than to book flights?

Creaming Spires: MT15 Week 4

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Speaking to a perpetually single friend drunk on the dancefloor on the brink of her first relationship, she asks me: “How does it feel to be tied down?” Drunken, horny me of course did not construe this to mean tied down in a relationship. “Oh I’ve never been tied up”, I slur into her drinksmattered shoulder, “I’ve only ever tied people up. But that can be hot.”

Birmingham Tom was nothing special. I’d felt the need to satiate my undying need for cocktails one evening and wandered along to a local bar with a few friends. When I went to order my poison of choice, I was greeted by a group of men in suits about a decade older than myself. Leaning across the bar in the most graceful manner I could muster after a few whiskey sours, I caught his eye. I was a little drunk and feeling flirty so took a painfully obvious elongated route back to my table through his party.

My subtle seduction of carefully cast looks was going so well; until I tripped and knocked my entire drink down his three-piece. Apologies pouring out of my mouth somewhat more liberally than the spirit measures of the bar, I abandon my seducing. However, Tom touches the cuff of my shirt. He takes the blame and offers to replace my drink. In need of something to quell my nerves I agree, making small talk in the meantime. He explains he’s a postgrad studying for his doctorate. I attempt to look interested, and after a few exchanges of sweet nothings and numbers, I leave.

Back in bed and with my room spinning round me, I check my phone. It seems Birmingham Tom is at the same point of blissful drunkenness. Or at least that’s what I understood by the typos and subsequent flurry of nudes I received at 1am.

Horny and drunk, I invite this guy round. Not because he was aesthetically pleasing. I mean, he wasn’t bad looking or out of shape. I mainly invite him over because I’d never been with someone born a decade earlier than myself. The mystique and taboo of age intrigued me. Plus, when someone sends you a messages saying they are “looking to experiment a bit, and for the other person to take control”, the dom within this small masculine frame quivered with excitement. Being asked to shave his genitals was somewhat less arousing and something I utterly refused. But being told how much he wanted me to handcuff him, spread his legs apart and work my magic made up for that.

Arriving bleary eyed, his frumpy fleece kills the slight boner I had. But as soon as we enter my room and I begin to undress him, it soon returns. Lying naked on the bed, he tells me to tie him up and clamp his mouth shut. Inexperienced, I grab the joke red furry handcuffs an ex bought me and set to work. Running around my room to find things to tie this tall man up with, all I have to hand is a couple of dressing gown cords. I feel I can never praise my Gran’s excellent choice in M&S’s festive loungewear again.

I now have a thirty-year-old man trussed up and blindfolded on my bed. I decide I really could do this dominatrix lark. However disaster strikes. At my height of arousal, his undisclosed allergy to strawberry-flavoured lube kick in. Trying to untie all knots made in my horny haste and sobering up, the night ends. But at least I got a free drink out of it. 

Stuck and stranded in Paris

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Patrik used to work at Shakespeare and Company in Paris. For many months he pestered me to come and work at the bookshop. Because I was broke and lazy, I only wandered over in late September. I stuffed a couple pairs of underwear and some random articles of clothing into the backpack my great aunt Vicki gave me for my 13th birthday. I didn’t have a plan because I was too chaotic to think about planning. Everything was chaos in September. My dog had a urinary tract infection and I had to work as a nanny for three eight-year-old boys.

The plan was to work and stay at Shakespeare and Company. A small, but famous, bookshop in Paris, this is a place where English nerds can stay for free if they work a couple hours a day. I got there and spoke to a man with two braids and a goatee working at the register. When I asked if I could stay there he giggled and said with a snark, “Not tonight, definitely not tonight.” I was totally stranded.

I probably should have booked a hostel. But Patrik, the boyishly handsome moustached man, urged me to stay. As a neurotic New Yorker by birth, images of crime TV shows inevitably ran through my mind as we walked through Paris towards his friend Nuyringa’s apartment.

He assured me I was not being rude. “Nuyringa is the nicest person. Don’t worry, don’t stress, just help yourself to whatever.” A weird lamp, a train ticket and a bunch of peanuts sucked out all the cash I needed for dinner that day. I was late for my train so I only had a Nature Valley bar for breakfast. Despite my polite upbringing, I found myself forced to raid the fridge of a woman I’d never met and who potentially would be rather angry at me pilfering her carefully selected groceries.

I fiddled around the woman’s fridge while I waited to meet her for the first time. I didn’t want to eat anything too expensive so I grabbed a block of cheese wrapped in plastic. It was a bit suspicious, but I convinced myself the best cheeses are stinky and gloopy. Meanwhile, Patrik casually popped open a bottle of Nuyringa’s red wine and delicately poured it into a ceramic mug with a protruding snowman on it.

His round Harry Potter glasses and dark brown hair bustled about as he swigged. He has a moustache that he very subtly waxes so it turns up on either end of his lip, evoking his inner Poirot. I met Patrik a year ago in a café when I was living in Rome. I overheard him having a conversation with his friend in a language I could not understand. It was certainly not Italian, English, Spanish, French or Portuguese. Upon my inquiries, I learned he was speaking in Latin. Duh.

I ate the entire block of cheese. In my defence, I never meant to be in this random woman’s kitchen in the center of Paris at 12:30am. Patrik promised me a place at his place if all else failed. Upon my arrival in Paris, I learnt that he’d been evicted from his apartment. I have yet to understand the reasons for this eviction. My place at Shakespeare and Company was deferred by the man with a goattee, so Patrik called his friend Nuyringa.

We drank red wine out of coffee mugs and I pretended I wasn’t having serious gas from the block of cheese I ate. Nuyringa was still a phantom-like host at that point. I remember sitting out on her balcony whilst Patrik smoked his Marlboro reds. Patrik promised I would love this figure who I knew nothing about apart from a name and her love of unsalted butter. And when she finally returned like a triumphant Stephen Dedalus at the end of Joyce’s Ulysess, I did. But after a bottle of sherry, numerous glasses of red wine and enough cheese to last my lactose-intolerant stomach a lifetime, who don’t you love? Especially if they provide you with dairy products and booze and warm roof over your head for the night when you need it the most

Profile: Raymond Blanc

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Raymond Blanc OBE is by all accounts aculinary genius, and one of the world’smost respected chefs. He is also entirely self-taught; a refreshing career model in today’s education-orientated world.Born and raised in a small village in the Franche-Comté region of eastern France, Raymond Blanc’s entire culinary ethos, which has revolutionised British cooking and reawakened the notion of the Kitchen Garden, is inspired and deeply connected to his humble French roots. 

Indeed, he tells me some of his favourite dishes are ones that Maman Blanc made when he was young. “I have recreated them today, and they instantly transport me back. Sometimes, it’s a real Madeleine moment – like in Proust’s À La Recherche Du Temps Perdu!” 

Blanc has strong connections with Oxford, and arrived here in 1972 as a humble waiter at a local restaurant, the Rose Revived. His latent passion for food was revealed when he infamously angered the chef by trying to give him cooking advice. He worked here for a while, until one day the chef was ill, and Blanc had to take over the kitchen. The rest, they say, is history. 

Remaining in Oxford with his young wife, Raymond Blanc opened his fi rst restaurant in Summertown in 1977. It hasn’t always been smooth sailing, and he and his wife had to mortgage their house and borrow from dozens of people to cover start-up costs for this tiny restaurant, squeezed between a lingerie shop and Oxfam. 

Blanc makes it clear that the restaurant business is one of the toughest businesses around, and the pressure can definitely take its toll. “You must be brave and maybe a little mad. Even when you’re in, the struggle isn’t over. You have to be a craftsman, a manager of money, of people, of any situation that life may throw at you. If you have a true vocation and this is what you want, I mean what you should do, then that’s great.” 

His ambition and passion has paid off, however, and he now runs many hugely successful, world-famous restaurants. The name of his fi rst restaurant in Summertown, Aux Quat’Saisons, has been nostalgically preserved, and is echoed in the name of the two-Michelin-star palace in Oxfordshire, Le Manoir aux Quat’Saisons. 

Le Manoir prides itself on cooking local, seasonal food, and Blanc is keen to tell me all about the principles behind is success. “Seasonal and sustainable produce is vital – to me and my team at Belmond Le Manoir aux Quat’Saisons, and to everyone,” he says enthusiastically. His mother, the formidable Madame Blanc, always cooked with the produce from their own garden, and food that his father had hunted, fi shed or foraged. Using fresh, seasonal produce is what Blanc is accustomed to, and his high standards are refl ected in every aspect of his kitchen. He believes that people are starting to understand again that food is connected with everything – with the environment, society, the farm, home, family values, the health of the nation. “It is truly exciting to see people start to respect food, enjoy food and give it value – long may that last!” 

Blanc is president of the Sustainable Restaurant Association, and a passionate advocate of the organic gardening movement that has exploded in Britain over the last decade. He is trying to raise awareness about using our local suppliers to get the freshest produce; using our local butchers, greengrocers, and having food markets to visit. Oxford is a haven for fresh fruit and vegetables, and the Wednesday market in Gloucester Green, among others, is a testimony to cheap and delicious produce available to everyone. Similarly, the OxGrow campaign in east Oxford, where local families and Oxford students alike spend weekends growing, harvesting and eating their own plants, is exactly the sort of small-scale project he supports. Blanc is currently working with Love British Food on their Bring Home the Harvest campaign that does just this; encourages communities to work together to highlight local suppliers and buy their produce. 

Le Manoir has also been praised for growing a huge variety of vegetables and herbs in its stunning gardens, and specifi cally for bringing back herbs which are not commonly used today. Wandering around the stunning grounds of Le Manoir in the afternoon sunshine, I find hedgerows of wild berries, beds of tiny strawberries, and rows and rows of nurtured, rare vegetables growing in the rich soil. 

Many of the ingredients at Le Manoir come from the adjacent two-acre kitchen garden, that is home to some 90 types of vegetable and an impressive 70 varieties of herb. The mushroom garden alone sprouts around 20 diff erent species. One of my favourite sections is the herb garden, where I pick and smell hundreds of subtly diff erent varieties of mint, thyme, coriander and rosemary, crushing them in my hands and breathing in their potent smells. Their witch-doctor-esque powers, I later discover, are more than just myth, and Blanc is at the forefront of a new initiative to revive the use of herbs in cooking for their medicinal properties as well as their natural fl avour enhancement. 

In 2006, a new dimension was added to the kitchen garden in the form of a Malaysian Garden. Subtly woven into the existing design of these stately English gardens, diff erent varieties of herbs and spices such as ginger, lemon grass and turmeric grow together with vegetables and pulses such as pak choi and soya beans, as well as squashes and the exotic purple lablab beans. 

In Asia lemongrass is like our mint, Blanc tells me, and there is plenty of it everywhere. It has its own fl avour, smell, character; it is very diff erent from all other lemon plants that I know. It was his trip to Thailand and Malaysia that inspired Blanc to try growing lemongrass in the gardens at Le Manoir, but it took some time to get it right. “I had to try 25 varieties before I could fi nd one that could resist the British weather.” 

Among other things, Blanc is a pioneer of creating new culinary sensations and novel combinations out of traditional old favourites, and I am keen to fi nd out what inspires and drives his creations. As a chef, it is crucial that Blanc travels and discovers new ingredients. He tells me that if you are able to bring three completely new fl avours together, it’s like giving a painter extra primary colours. You imagine the new dishes you can create. “To me, food is about displacement and discovering something new and alive and herbs enable you to do this. Herbs have long held a holistic place in our wellbeing. We depend on them to purify our body, mind and soul!” 

The menus at Le Manoir change with the seasons, and Blanc and his team spend a huge amount of time deciding what to cook to refl ect what is growing in the gardens, what animals are being hunted, and what people want to eat in response to the weather outside. To create new dishes takes time, inspiration and confi dence, he tells me. “I have travelled all over the world and can honestly say that I’ve learnt something from every single place I have visited. My travels help me to experience new ingredients and fl avours and often, the most simple ingredients can be the most eff ective and memorable. For example, I adore the hawker markets in Hong Kong and Singapore.” 

These markets indeed use local ingredients recipe traditions that have been used for generations, and the people come up with the most wonderful and sublime dishes. “You just can’t beat experiences like that and when I return to my beloved Le Manoir, I like to use them as inspiration and add a little twist of my own!” As one of the most discerning cooks in the world, I am interested to know which restaurants Blanc likes to go to when he eats out, and what he thinks makes a good restaurant. At first he avoids the question, telling me that there are so many he loves, and he couldn’t possibly choose. 

For him, it takes an ensemble of things to make a good restaurant, and food alone is not enough. A good restaurant, Blanc believes, should have ambience, warmth, a true ‘food and people’ culture, staff who care and food that makes you dream. True to his humble French beginnings, Blanc enjoys simple and wholesome food such as Morteau saucisson, Comté cheese, homemade preserves and crusty bread. He is a connoisseur of fi ne ingredients cooked to an exquisite standard, rather than of pretentious and ambitious fi ne dining that is vacuous in fl avour and quality. For him, it is the ability to take simple ingredients and turn them into the most delicious recipes that takes a chef from good to exceptional. 

So what are Blanc’s favourite restaurants? In the end, he picks three. Firstly, Le Vin et l’Assiette, situated in Blanc’s hometown, is owned by a close friend, Bernard Leroy. He has a huge wine cellar too, and the most amazing French hospitality. In accordance with Blanc’s nature, it is fi tting that he chooses a local restaurant with an excellent tradition of high standards as his first choice. 

On the other hand, Blanc also believes that Heston Blumenthal has been very instrumental in redefi ning a certain aspect of cooking, namely molecular gastronomy, and Blanc is very fond of his celebrated restaurant, The Fat Duck. Interestingly, Blumenthal spent time as an apprentice of Blanc at Le Manoir, so perhaps he sees something of his own ethos in the younger chef. 

Finally, Blanc describes the “amazing proliferation of small bistros with real character” in Paris, and singles out Le Beurre Noisette as a personal favourite, very simple, but elegant. Looking back over his many years of success, development and incredibly hard work with more than a tinge of nostalgia, Blanc offers me perhaps the most poignant and interesting nugget of all; a single piece of advice that he wishes to impart on me and all other students: “Stick at it! I worked hard and didn’t give up. At times I was [so] exhausted that I thought I couldn’t do it anymore but I did, and the advice would be: stick at it” 

Songs From The Screen

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In the words of Sean Bean, “Winter is coming” – seemingly faster in Oxford than elsewhere. As the days get shorter, it may not seem that every cloud has a silver lining. But the upside of the season is that it becomes ever easier to replace the grey skies with the silver screen.

Musical accompaniment to the cinema predates audible dialogue – back before the era of ‘talkies’, so-called silent films were accompanied by music: the first ever public screening of a film by the Lumière Brothers, on 28th December 1895, featured a live guitarist. Live accompaniment was even used occasionally during the filming to enhance the atmosphere. In larger-scale screenings, orchestras provided sound effects, recreating galloping horses (using drums, not coconut shells sadly) or rainfall. This tradition is starting to see a resurgence – ‘film concerts’ are gaining popularity across the globe, where the music from popular films is stripped out and performed by an in-house orchestra.

Even if not live, music still plays a vital part in cinema. Much of the dramatic tension in Interstellar, for example, comes from the juxtaposition of near overwhelming aural assault for the enclosed shots to the sudden silence of space. What’s more, so many iconic films are instantly recognisable from the theme tune. What would Star Wars be without the epic score; how else could The Breakfast Club end if not with ‘Don’t You (Forget About Me)’?

So what’s the musical attraction in this season’s cinematic offerings? Already gracing our screens, Spectre continues the James Bond tradition of a dedicated intro theme. Expect Sam Smith’s crooner to be accompanied by an artsy, abstract introduction full of subtext and foreshadowing. Judging from Adele’s ‘Skyfall’, ‘Writing’s on the Wall’ isn’t going to be Smith’s best work. But the fact is that the song beats out all but one trailer on YouTube views, and – unlike a trailer – can be played on the radio. How’s that for advertising?

Even more eagerly anticipated is the new Star Wars movie. More Star Wars from John Williams, after ten years? Almost as exciting as that lightsabre/ broadsword combo. And to round up the year, expect Ennio Morricone to knock it out of the park in Tarantino’s Hateful Eight, as he’s done time and time again – just look at the Dollars trilogy.

Whether it’s specifically composed for the movie, or hand-picked to suit, movies are better with music.

The Mercury Prize: "Enigmatically Diverse"

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After being broadcast on Channel 4 for the past three years, 2015’s Mercury Prize has returned to the BBC, celebrating the ‘Albums of the Year’ from the past twelve months. And our beloved Beeb didn’t half shout about it. The BBC set up an online live blog to hype up nomination announcements as they came in, revelled up in all their excitable glory as they were revealed by Lauren Laverne on Radio 6 Music. As always, Twitter was rife with speculations and bets seeping in from every music publication (and just about anyone who fancied shouting about it) as to who would make the shortlist of this year’s ‘best’ twelve British and Irish albums. And what of the shortlist? It is, of course, as eclectic as ever. Because that’s the Mercury’s thing, isn’t it? They don’t go for the obvious. The Mercury seems to pride itself on choosing somewhat underground, or – dare I say it – ‘edgy’ artists, many of whom, in most likelihood, even the keenest Radio 6 Music listener will not have heard of prior to the announcement.

Amongst the twelve nominated albums, seven are debuts. These newbies stand against artists like Florence and the Machine – who has been selling out arenas for a couple of years, now – and the well-established Róisín Murphy and Gaz Coombes (initially of Supergrass fame). This ‘range’ of albums suggests that the Mercury Prize is an enigmatically diverse award, seeking out the best of British music rather than drawing attention to acts whom everyone’s already been talking about all year. And so we come to respect the Mercury. We’re talking about serious music here.

 But the prize is hardly faultless. If you take just a few of the albums on the list, we’re comparing Aphex Twin’s dance-y, intricate Syro with the gritty punk of Slaves’ Are You Satisfied; Jamie XX’s clubtechno In Colour with the comparatively dulcet, thoughtful tones of SOAK’s Before We Forgot How To Dream; Wolf Alice’s grungy, angst-filled My Love Is Cool with the atmospheric soul of Eska’s self-titled release. This diversity is often said to be the greatest thing about the prize. But how can anyone be asked to compare these albums, to choose a ‘best’, when their end results – these soundwaves that we’re basing this all on – sound so different? Not to mention how distinct the craftsmanship and creative process behind each album must be. By choosing a winner, are the panel also declaring a rulebook on how best to ‘do’ art?

 Even amongst this haphazardous thrill of mishmashed genres, not everyone is represented. No classical album has been nominated for the Mercury Prize since 2002, and a metal album has never made the shortlist. In a current music scene which seems saturated with indierock outfits, is it really representative to arguably have just one band – Wolf Alice – represent the lot?

 Last year Edinburgh-based Young Fathers won the Mercury with their socio-political hiphop-come-electro godsend of a debut, Dead. This year’s second album, White Men Are Black Men Too is perhaps better than their debut. It is starker, richer, and even more intelligently-written and politically-driven than the first, which was deemed ‘Album of the Year’. If the Mercury Prize really is only about the music that has been released this year, with no comparisons to external ideas, it’s not ridiculous to say White Men should also have been nominated. But the organisers seem pretty set on introducing new names to us all the time, with PJ Harvey the only artist to have ever been awarded the prize more than once.

In contrast, reviews deemed Florence and the Machine’s How Big, How Blue, How Beautiful her weakest album yet. She still has the huge songs, and instrumentally has stepped up her game, but the album is not as succinct as either of her previous endeavours. Debut Lungs was nominated for the prize in 2009, but is Florence’s nomination this time around suggesting that How Big is a better album than 2011’s Ceremonials? Because critical reviews would suggest otherwise; something doesn’t quite fit.

At the crux of this, I’m asking why we feel the need to rank these albums at all. It is near impossible to discern boundaries and gradients to an ideal as subjective as music. As humans, we feel the need to rank these things, give them figures, finite values, when the whole point of making music is to move beyond nominal figures, and transcend ideas into something numbers and rankings can’t touch.

I suppose following the Mercury shortlist is a bloody easy way to listen to some high-class music if you’ve been asleep for the last year, though. And, well, I just cannot wait to see whether Richard D. James (Aphex Twin) will make a very rare public appearance at the ceremony come 20th November.