Saturday 23rd August 2025
Blog Page 1206

#NotGuilty: Facing sexual antagonism

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Good times. A long planned evening with my friend. I had not seen her in a long time as we both studied in different cities. We had a lot to catch up on.  So we met in a quiet, cosy restaurant in the small town where we used to go to high school together. The only people there were the owner of the restaurant, another couple with their dog and us. We had a great time – until you came in: two big, tall men, late 20s or early 30s. You sat down at the table next to us. You kept looking at us. We noticed, but did not respond.

You started talking to us. You demanded we should have drinks with you. We said, “Thank you, that is very kind of you, but we don’t want to have any drinks.” We were really apologetic. Maybe because society tells young women they should understand such advances as compliments. Maybe because we were afraid of the consequences.

You would not accept our “No”. You kept interrupting us and you kept demanding that we drank with you. You started getting aggressive. I started getting afraid. My friend was noticeably nervous. I said firmly, “Leave us in peace.” You got angry. You started shouting at us “You ugly bitches, who do you think you are? We came here to have a good time and you are ruining it.”

You got angrier. You got money out of your wallet, threw it at us and said: “Dance for us, sluts”. You would not leave us in peace for a minute. We were afraid, really afraid. No one else intervened. Should we call the police? Or would the police be annoyed because they have more important things to do? Because really, this was not an uncommon situation. It was just another experience of intense sexual harassment.

My friend was in slight panic. She went to the bathroom. When she left, one of you walked over to me. You leaned over to me, two inches between our faces. You yelled at me. You were insulting me, calling me an arrogant slut, an asshole, an ugly bitch. I started shaking. You went over to the bar with your friend, ordered more drinks. I rang the police and asked for help. They said it would take around 30 minutes before they arrived; it is a rural area.

You both realised I had rung the police and left the restaurant.

We were relieved. But only for a moment, until the owner of the restaurant walked over to us. He had  not helped us. Instead, he had continued to serve drinks  to our harassers. He started blaming us. “Did you ring the police? Why are you presenting my restaurant in such a bad light? Why are you causing trouble?”

We were shocked. We just wanted to leave. But we were seriously afraid of leaving the restaurant at night by ourselves. We were afraid you were waiting for us outside.  We asked the couple in the restaurant to accompany us to my car. We drove to the police station.

I met one of you, the harassers from that night, in court again. You already had a previous criminal record. I saw you sitting there. Nothing was left of your aggressive, intimidating behaviour. You were rather quiet that day. And I almost commiserated with you. Just like me, you were born into a society which tolerates violence against girls and women. At least you were found guilty that day.

This is just one example from of a long list of unpleasant experiences. There have been countless cat calls, inappropriate sexual comments, insults after rejection, and attempts to grope me.

All these incidents intimidated me. They turned me into someone who would call Oxford University Security Services just for reassurance on a dark, lonely walk home.

In the end, however, it was my community that made a strong person out of me again. Family and friends. And empowering discussions on the subject here in Oxford. And it will be campaigns such as #NotGuilty that will make girls and women stronger again. Each of my female friends has her own, similar story. Some of them are rape stories.

#NotGuilty: The secret community

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TW: Rape, sexual harrassment, child abuse

I was raped. It has taken me six months to admit those three words. For half of that time, I didn’t remember. I didn’t want to remember, supressing the memory so that I could carry on with my life. For a further two months I thought it was just a sexual assault, which I felt society thought of as less traumatic than rape and something that I could “move on” from faster. Society doesn’t know the facts that preceded the rape. They don’t know how safe I felt being out, alone at night, despite being intoxicated. They don’t know how my sense of security at my dream university was shattered the moment I realised the two silhouettes I saw walking towards me were not my friends, or even friendly at all. They don’t know how I felt as they overpowered me, tied me up, and subjected me to an onslaught of punches, near suffocation, and oral rape. They don’t know what it felt like to be convinced that those were my last moments alive. They do not know how I felt when they chucked me in a bin once they were done, implanting the idea in my head that I was worthless. Used and then discarded.

There should not be an expectation for a right or wrong way to react after any form of sexual assault, whether it is inappropriate touching or a violent rape attack. They are all traumatic experiences that I would not wish on anyone, ever. My saving grace after the attack was a secret community. A community I felt safe to talk to. A community that would not think that I was even a little to blame for what happened, one that knew I was not guilty. This community is one that the majority of people do not know exists. Some members, including me, have not told even their families that they are part of it. It is a community of survivors.  I was appalled as I began to discover its true size as I slowly confided in more of my friends. Listening to their struggles and how they overcame them was the most healing thing for me, particularly in dark times. Knowing that others had also experienced days when they could not bring themselves to get out of bed was very comforting. They now have many less of these dark days and are moving on with their lives. If they can do it, so can I. 

As I learnt about the secret community and those within it, I came across two instances of child abuse. Whilst waiting for a counselling session, I looked at one of the flyers pinned up on the wall. It was calling for those who were victims of child abuse to come to a Women’s Only day. This might not seem strange to you but one of the two people who I know was subjected to child abuse is male. As I looked further, I realised that almost all of the help available to the victims of sexual assault was directed solely at women. I am a woman and I hate what I had to go through. I am, however, very glad that I did not have to go through it as a male. Within this hidden community, there are men who were also raped. I don’t feel it is right that the society presumes that all victims of sexual assault are female. Until I stated it just now, I am confident that you had already assumed that I was female. As much as statistics may say that I am a woman, don’t assume that it never happens to men. This secret community, little by little, needs to let the rest of the world in. We need to show them that this problem occurs all too often and that no one but the abusers or offenders are at fault. We need to show them who we are and that we are a strong community.  This article is my starting point to doing just that.

Confessions of a student chef: Alys Key

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Although it may be Spring, there are still the odd evenings where I fancy something warming and homely for dinner. This week, I made a stew in honour of that fabled other newspaper, the OxStu (hence the name – there are no products of oxen in this recipe though I’m sure you could add some if you so desired). I suppose I thought being a former editor might give me the magic ability to make this OxStew, but it turns out this was not the case.

After throwing together some mushrooms, onions, tomatoes, leeks, potatoes and herbs, my efforts yielded a distinctly sloppy-looking dish which was rather more watery than I had hoped.

The moral of the story is that a modicum of planning is required in most cooking, even for completely made-up, journalism-related recipes. Fortunately I could count on my favourite two things to rescue this meal: alcohol and carbohydrates. Whilst simmering the stew, I added an unreasonably large dash of red wine, which just always improves the flavour. Then I served it alongside a big piece of crusty bread, which soaked up the excess nicely, and more red wine. Less of an OxStew, more of an OxSoup, but tasty nonetheless. Next time I make it, I may even add more wine.

Recipe of the week: Sweet Onion Tart

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Light but confidently carby, this tart is cheap as dirt to make and a refreshing alternative to Pot Noodle and pasta. All the ingredients should be available in your nearest supermarket. Serves 6.

Ingredients:
50g self-raising flour
50g wholemeal flour
½ teaspoon mustard powder
100g butter
50g cheese (Cheddar is best)
3 large onions, diced
2 eggs, beaten
100ml milk

Method:

1. Preheat oven to 180°C. Mix the flours, mustard, 50g butter, and a pinch of salt with 40g grated cheese and a dash or two of water to make dough then put in a plastic bag in your fridge.

2. Melt the leftover butter in a pan, with the onions. Leave them on a medium heat for 30 minutes, tossing them so they become evenly chocolate brown.

3. Line a tart tin with your pastry. Bake this for 15 minutes, coat the inside with beaten egg, and put back in for five. Whisk the remaining egg with milk and seasoning. Put the onions in the pastry and gradually add this liquid, keeping it hot, then cover with cheese and bake for 30 minutes.

Ready, Steady, Cook! Sainsbury’s Macaroni

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★★★☆☆

Three stars

I’m no vegetarian, but I admit I am an absolute sucker for macaroni. This weakness of mine may have influenced my decision to choose Sainsbury’s macaroni cheese for this review, giving me the impossible task of summing up macaroni within a word limit. The packaging suggests that the best way to prepare it is to microwave for four minutes. However, as I consider myself a terrible, but willing chef, I oven baked it for 20 minutes instead.

My first bite of the meal was a not-so-cheesy piece of pasta, but this was my fault for choosing a very crunchy-looking piece. Despite this initial moment of despair, I’d consider it to be a good macaroni; the sauce is very creamy. It lacks any form of seasoning, but if you ask me, the whole point of macaroni is to be a simple meal. It is certainly filling and satisfying for the cost, but it contains no arguably healthy ingredient, so on that note, I am off to go and eat an apple.

Review: Peppers Burgers

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As I approached this burger joint on Walton Street in Jericho, I couldn’t help but be struck by the incongruity between the neat, upmarket minimalism of most of the bistros and delis I’d just passed and the stoner paradise I’d had so strongly recommended to me, by a stoner, shockingly. This is not necessarily a negative: the backwards clock, holographic images and mind warp poster provided great amusement as I queued to order, though I found the large picture of a pizza particularly perplexing, since they don’t sell them.

Despite this, their menu is impressively varied: they offer at least three different kinds of meat, as well as a decent and not from-frozen vegetarian option, as either quarter or half pounders. You are encouraged by graphic neon chalk art on a blackboard above the counter to pick two of the long list of sauces available for your burger, which included alongside the classics some more adventurous options, like tandoori, horseradish, and white shark. I was childishly hoping that the latter was actually made from white sharks, in spite of my PETA-ish leanings, but was informed by my laughing stoner friend that it is just a very hot, hot sauce. I eventually decided on blue cheese and ketchup and returned to staring at the mind warp poster.

When it came to ordering, our server was calm and friendly, entirely unfazed by the bustle of customers on our side of the counter. My friend realised he’d been too busy enjoying the posters to actually pick something, but our grinning server assured him that he had “all the time in the world, man”. Fortunately, it didn’t take that long, and we squeezed into the wooden chairs between the counter and the window and watched as another guy took fresh-made burgers from the display and slapped them on the grill. It was a longer wait than you’d get at most chain fast food places for a burger, but I don’t mind waiting a little longer for cooked-to-order, good food, especially when it’s as cheaply priced as Peppers was.

When the burgers arrived, I found the mushrooms I had asked for as a topping were conspicuously absent, meaning I can only speculate about how well they would have gone with the blue cheese sauce (bitterly, I suspect the answer is very well). Instead, I had been given onions and jalapeños, which were at least very easy to pick out. I was impressed with both the quality and quantity of salad in the burgers, despite the mix up, especially considering I didn’t even have to pay extra. We decided to have them as take out; the wooden chairs were actually more comfortable than they looked, but the combination of customer traffic and blaring 90s shit-hop and school disco bangers somewhat dampened the burger bar experience.

Although not the best burger I’ve ever had, it effortlessly surpasses anything in its price bracket and is considerably better than anything from a supermarket. The range of fresh and largely healthy toppings was a nice touch, and really made it worth the walk to Jericho.

Bar Review: Linacre

★☆☆☆☆

One star

In the interest of full disclosure, severe disorganisation meant I found myself desperately trawling Oxford, alone, in -1st Week, searching for any open college bar I might be able to sneak into. After two hours of walking around spookily empty colleges, and finding nothing but locked doors and grumpy porters, I began to pity those students stranded among the spires outside of term. But the Bar Review Team is nothing if not committed, and I eventually found refuge in Linacre, a small graduate college tucked away in the shadow of that monstrosity of a building they call the Zoology Department.

My first thought was that this was no bar at all, but merely some old lady’s living room with a bar thrown in the middle. With horrible orange walls and a frankly bizarre layout, it could equally be mistaken for the set of a student production of Abigail’s Party. Linacre provides ample evidence of why bars should never, I repeat, never double as common rooms. Though I must concede the plethora of seating – including some extremely comfortable sofas – and surprisingly good sound system were impressive. There is also table football and darts behind the bar, for those so inclined.

The drinks selection was certainly better than what I have come to expect from student-run bars, with a particularly pleasing array of beers, all offered at standard college bar prices. I think it would be fair to say the students running the bar offer a friendly but no-frills service. My pint was well poured, yet upon asking for a spirit mixer, I was handed two shots of rum in a branded pint glass and a can of coke on the side. Half of the spirits on offer were actually hidden out of sight of the punters, which seems a completely unnecessary flaw. They don’t sell a signature drink – perhaps graduate students are just too ‘mature’ for such things?

I have to hand it to them, though, the bar was busy for the entire evening, especially for a Monday outside of term, and whoever was in charge of the playlist was doing a stellar job. My experience was only somewhat worsened by the guy sitting next to me, who potently and incessantly farted in my direction, but it’s surely unreasonable to blame Linacre for the questionable actions of their students’ bowels. Were I a Linacre student, I may have considered posting passive aggressive complaints on their adult equivalent to a JCR Facebook notice board, or even post-its on the bathroom stall doors. Alas.

This bar would be an unfulfilling but just about acceptable venue for actual Linacre students, and potentially even relaxing after a long day of shouting and waving placards outside the science area as part of their never-ending campaign for neverending change. However, I can’t say it would make a good hangout spot for any of us lowly undergraduates, even during term.

The rise of the zine: the mouthpiece of modern youth

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I feel bad for saying it out loud, (even worse on paper) but print is kind of dying. Newspapers are hemmorhaging money like there’s no tomorrow. Propped up by eccentric Russian oligarchs and dropping staff daily, bloggers and vloggers are getting more invites to front row seats and press events than journalists. Romanticism aside, that ain’t no bad thing; the immediacy of online reporting, and blogging’s democratisation of the journalism industry means that more voices can be heard than ever on a plethora of subjects that mainstream media isn’t necessarily reporting.

But, a change is coming. The public still seems to yearn for a perfect matt sheen of a glossy front cover, and are steadily switching off their iPads in favour of the age old printed page. Past years have seen an exponential growth in the niche independent magazine industry; independent subscription service Stack has seen its revenue grow by 78 per cent in the past year.

Head into London shops Magma, Foyles or Wardour News any day of the week and you’ll find an array of glorious, heavy magazines being fondled by hipsters on subjects as specific as feminist cooking. Despite the varying content, the commonality of these magazines is their use of thick, luxurious paper than feels nicer than a freshly washed pillow case. And the fact that they all champion passionate, knowledgeable and interesting new voices.

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The brains behind most of these magazines seem to have a history in journalism, but up until this point haven’t been able to find an outlet for their crazy obsession with falconry. People like Marcus Webb of Delayed Gratification (the slow news quarterly), who was previously the International Editor of Time Out, packed it all in to produce something he truly believed in. Delayed Gratification is an exception. Most publications like Offscreen or The Intern, don’t have an office yet: they are basically the products of a lot of labour in the editor’s mum’s house. This means that without any staff, editors ask for submissions from people across the globe; sometimes not even meeting the person who sub-edits for them in the flesh. Makeshift Magazine, about creative problem solving, has a distinctively broad outlook because of its dedication to printing stories from far-flung countries; stories and voices that people like me wouldn’t get to hear from reading magazines written by a team in a London media office who invariably all live in High Street Kensington and share the same music taste, bank balance and nights out.

The amount of work that goes into one issue means that each has been crafted with a discerment and dedicationto long-form think pieces and beautifully considered aesthetics. 

Children’s magazine Anorak, for example, has beautiful artwork and cartoons of a quality I wouldn’t mind hanging on my wall. Student-run fashion magazine Pigeons and Peacocks consistently runs editorials which focus on the avant-garde work of cutting-edge teen talent rather than big brands; making each page far more of a delight than Vogue.

While dipping into what is essentially a fan-zine for a small group of diehard hobbyists might be alienating at first, the niche subject matter is made accessible by the pure zeal of the writers which exudes from every page.

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Wine magazine Noble Rot tells the tales of people rather than products, and slow-living magazine Kinfolk advocates a calm, settled way of living rather than focusing on any particular commercial commodity; a refreshing relief for those tired of promotional features and tabloid news.

True, the short-print run, rather high pricing (anywhere from £6-20 for each issue) and news-stand elusiveness of the products of this new wave of publishing romanticism might be off-putting. But invest in a copy and you’ll be championing talented, enthusiastic voices from across the globe that would otherwise remain unheard 

Monumental Art: exhibitions at Modern art Oxford

Debora Delmar is a little known Mexican artist but in recognition of 2015 as the ‘year of Mexico in the UK’ she has been invited to stage her first solo exhibition in Britain at Modern Art Oxford. Delmar’s desire for this exhibition is to demonstrate our dependence upon, constant interaction with and bombardment by global corporations: their brand images, slogans and eye-catching advertising.

This is an exhibition of “Aspirational Aesthetics”: orange juice, the image of ‘wellbeing’; the mock Ugg-boots, a status symbol accessible to all; tidy boxed hedges which border the American dream home. The exhibition gave off the impression of trying to overload us with these images, illustrating the explosion of communications technology and the infiltration of branding into every aspect of our lives. It was this ‘explosion’ effect that fell a little short: in the spacious, lofty, light Upper Gallery of Modern Art Oxford the exhibition looks too polite; even fifteen works in the gallery and large vibrant fabric prints hanging from the ceiling failed to imitate the feeling of living under siege from commercial bombardment. The “mass” of material looked like politely arranged mess.

Test Run: Performance in Public is definitely worth paying a visit to. Jeremy Deller, who curated the recent Andy Warhol and William Morris Love is Not Enough show is an artist in his own right too and his best-known work The Battle of Orgreave features in the current group exhibition. It is an hour-long video documenting the re-enactment of violent confrontation between miners and police in 1984. There were two identifiable main lines of enquiry within the exhibition: public engagement as a medium, to which Deller’s video belongs and performance interventions (or the documentation of) which seek to disrupt the unspoken codes of convention in public space, commenting upon their ungrounded authority. Documentation of Gillian Wearing dancing in public shopping malls explores the amusing result of recontexutualising dancing; placing it in a public space where it is received with amusement, bewilderment, ambivalence and indifference by shoppers.

Several performances have been commissioned in tandem with the gallery works including a walk led by Hamish Fulton on April 26th. For Florence Peake’s Lay me Down, multiple volunteers will interrupt the predominance of vertical structures, tall vertical buildings and upright people in the street by lying down in the centre of town. So if you see something a bit strange going on in Oxford, it might be art. 

Upward Mobility and Test Run: Performance in Public will run until 17th May, Modern Art Oxford, Pembroke Street. 

Coloured squares, black pigs and the art of abstraction

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I’m nervous walking into the Richard Diebenkorn exhibition. The American painter is famous (rather, art-famous). This means I’ll give his work time, perhaps too much (wait long enough and anything: fried eggs, a urinal, Tracy’s bed, starts to seem deep and meaningful). Diebenkorn is also too recent; only dead for 21 years, his work might just be kicking around because history hasn’t had time to get rid of it. Time generally purges the crap, but the excrement of the present is always among us- the contemporary is always the worst period.

Also, Diebenkorn’s work isn’t realistic, or meant to be. This makes judging it hard. Realistic art is easier to critique, five fingers right, six fingers wrong etc., whereas you can’t go up to a Rothko and ask ‘why orange?’ When Abstraction cut painting’s umbilical cord to nature, it also cut the (tenuous) tether connecting critics and objectivity.  Art judgements have never been totally objective, but with modernism people gave up even trying. Public confusion over how to judge modernist art lead to the critic-tycoon type in 1950; a popular art critic would buy the works of a lesser-known artist, promote said artist, then sell the works for a profit. This brings us back to the fame-point; is Richard Diebenkorn famous for the market’s sake? I walk into the exhibition awash with waves of neurosis, disillusioned with the gallery-world. Then I see the art. 

The paintings don’t look great, or at least not Sistine-ceiling-so-great-it-ends-up-woefully-distorted-on-mugs-for-tourists-great. One painting, called ‘black pig’, looks as much like a pig as any black square with feet would. There is a series called ‘Albuquerque’; I grew up there, and am not convinced. On one wall is an orangeish painting, with a collection of shapes in the middle. It looks really good, which is peculiar, as it doesn’t look quite like anything. Each part of the painting is unattractive, but together it just works.  Several other paintings share this ‘just works’ quality, most of them in fact. The paintings feel totally convincing- I believe in the world they depict. ‘Abstract’ seems a misnomer. It’s like a room of lucky strikes, the one in a thousand work of accidental brilliance that each amateur hopes to produce. Only, there’s a room of these.

I walk into the second room, and god the relief. A wall of drawings- good drawings, with that special looking-like-the-things-they-are-meant-to-look-like quality. ‘Artist’s gaze’ is the kind of (usually) empty art jargon I hear a lot. Only, here it seems applicable: you can see in the work the process behind it, a drawing re-examined, redefined, with such concentration that you imagine looking through the artist’s own eyes. Intense observation underlies everything in the room. This doesn’t mean the work looks photorealistic.

Instead, Diebenkorn has studied his subject so well that he can leave almost everything out besides the few key details that make it what it is. Scissors made metal by a few touches of white, a knife with a three-mark ebony handle. Through the exclusion of detail, Diebenkorn pushes his work up to the line between figurative and abstract. And once we’ve arrived there, we realise there isn’t a line at all, there aren’t even two different camps. His ‘abstract’ paintings are only coloured shapes, yet they look like fields, mountains, and (dubious) pigs. Similarly, his scissors could be just an X on the canvas and his ocean landscape, an abstraction. This is a simple point, but the most important of modernism: everything is just paint on canvas. 

The last room. Go and see it. I will lend you my museum pass. London is close, and Collections will soon be over.It is the best room I’ve been in. The paintings are huge. They are Californian days, warm sunsets, totally welcoming but not the least bit naff. (This tells you nothing about what they look like; so think ‘coloured squares’ and suspend judgement till you see for yourself). Diebenkorn has genius. The paintings shout ‘I am heaven’ and ‘I am some shapes’ simultaneously. They are so well-observed, but nowhere can you see a mark that ties the pictures to something specific. This is great, and it’s great because it’s great, but also because Diebenkorn’s being great means that the art world does something alright, the market can be trusted and everything is going to be just fine.