Saturday, May 10, 2025
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Review: Nina Kraviz – DJ-Kicks

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★★★☆☆

Three stars

Nina Kraviz is without doubt something of a divisive force amongst the techno intelligentsia. In a world dominated by 30-something middle aged men, the young, and undeniably aesthetic DJ from Siberia might appear out of place: no stranger to publicity, she made waves in 2013 bathing on camera whilst talking about life as a DJ on the road.

Yet beneath the media image, lies a DJ with an admirable sense of rhythm and mood that shines through the most recent mix in the DJ-Kicks mix series. Kraviz’s mixing style is certainly unusual, weaving tracks on top of an anchor. This creates a wonderfully coherent, and almost trippy sound, as the anchor comes in and out of focus – the blending of Exos’ ‘Nuclear Red Guard’, or her ‘Prozimokampleme’ near the middle are masterful examples of mixing at its finest. The blending of the atmospheric Parsec and the vocal sample create a wonderfully smooth and smokey move into the final stages of the mix.

Yet despite this, there is still a sense of something missing. For one thing, Kraviz has used this mix as a showcase of her new label, which put out its first release last year. This is not unusual, yet it does make for a few slightly slower patches, which require more patient listening. Yet surely this is the point: mix CDs are not supposed to be examples of a set played in a club. As something to listen to with headphones in private, this mix serves as a genuinely interesting example of the craft, from a DJ who deserves serious attention, and not just for her cheekbones.

Milestones: Apocalypse Now

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Francis Ford Coppola’s masterpiece seemed to be destined for success from the get-go. It was an adaptation of Joseph Conrad’s Heart of Darkness, regarded as one of the greatest novels of the Nineteenth century. It was directed by the mastermind behind the two Godfather films. It was set during the Vietnam War, a sure-fire way to garner extensive publicity. And it was Marlon Brando’s return to the silver screen proper, after a string of critically-panned cameos done just for the money. The stage was set for triumph. What could possibly go wrong? 

As it turned out, everything went wrong, very quickly and very drastically. Nature played an important role in both the source material of Heart of Darkness, and the adaptation, where the setting during the Vietnam War played upon ideas of alien territory, unforgiving jungle landscapes, and the blaringly ominous wilderness of natives and unknowns. And of course, the narrative is centred around a journey up a river, with scenes that range from the beginning, where a young Lawrence Fishburne jives to The Rolling Stones, to the pyrotechnical anarchy at the Du Long Bridge. 

But nature turned out to be a constant menace for the production team just as much as the protagonists. Sets and cinematography equipment had started to be shipped in from 1975, but instead of being met with a ready cast and crew, Typhoon Olga crashed in and destroyed most of the prepared sets. The destruction was so total that most of the crew flew back to the US for six to eight weeks, pushing the filming schedule back by the same amount and pushing the production $2 million over budget before filming had really even begun. 

So much for a relaxed shoot in the balmy climate of the Philippines. And it wasn’t just nature that turned against the production. Famously, Brando turned up to the production enormously overweight, having been cast to play the skeletal Kurtz, without having learnt his lines, having not read the book, and having agreed to turn up only on the condition of a $1 million a week contract. 

Then Martin Sheen had a heart attack on set. Then Coppola realised the film’s ending needed to be completely re-written. Then the production was shut down after it emerged that bodies used for a harrowing scene towards the end had actually been stolen from a local graveyard. Then animal rights groups went up in arms when it emerged that an animal sacrifice scene had involved the actual killing of a cow by a native tribe. 

And all that combined so that a projected five month shoot schedule ended up taking over two years. Who would have thought that a typhoon would prove such an inauspicious omen? Coppola can consider himself a lucky man then, when what came out of that calamity of a production became one of the greatest films of the Twentieth century, which won two Oscars and the Palme d’Or at Cannes. It turns out there was a method after all.

"Oh Charles, what a lot you have to learn!"

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The biting cold air clouds my breath as I trudge down the High Street. Half-melted snow, which fell during the night, has thoroughly permeated my socks, my chapped lips are as painful as a stained-glass window, and, to compound this misery, my frozen fingers feel like they’ve fallen off. 

But the picturesque scene that greets me upon entering the Botanic Garden is recompense enough for my troubles. A white carpet of snow, undisturbed and perfect, has been laid across the grass. Skeletal trees dapple the sunlight. Magdalen’s bells ring out, loudly. 

Dr. Stephen Harris, acting director of the Botanic Garden, shakes me warmly by the hand. Snow crunches and squeaks beneath our feet as we wander around and he begins to tell me about the Garden’s history. 

The result of a £5,000 donation by Sir Henry Danvers, who would later become the first Earl of Danby, the Botanic Garden officially opened on July 16th 1621, Harris tells me. A Latin inscription, carved into Nicholas Stone’s spectacular gateway, commemorates Danvers’ generosity, and records that the gift was made for “the glory of God and the greatest honour of King Charles I”. 

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The land itself, used as a Jewish burial ground in medieval times, was rented from Magdalen College and the four walls that were built to enclose the Garden have remained virtually unchanged since their completion in the 1630s. “The soil quality had to be improved at first,” Harris explains, “so thousands of cartloads of dung from the city and from the colleges were dumped here in order to create a really good soil.” 

I ask Harris how closely linked the University and the Garden are, beyond the much-appreciated contribution of tonnes and tonnes of manure. “The Garden itself is a department of the University, and it also has very close ties with the Department of Plant Sciences,” Harris gestures towards the buildings that make up the North Wall, “which actually occupied these buildings until 1953, so there is a very intimate connection there.” 

Since its foundation, the Garden has grown (pardon the pun). It now comprises the original Walled Garden; the Lower Garden, an area outside the wall bordered by the river Cherwell; a series of glasshouses which emulate a variety of worldwide climates; and the Harcourt Arboretum, a 130-acre site a few miles outside the city, containing hundreds of different tree species. 

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There seems to be something historically significant about almost every plant here. We pause by the entrance to the Lower Garden, an area outside the walls not included in the original plans, where an impressive Yew tree stands guard. “This is the oldest tree in the garden,” Harris informs me. “It was planted by the first keeper of the Garden, a German named Jacob Bobart, in 1645. It’s actually mentioned in a catalogue written by Bobart in 1648.” 

The Yew tree, like many other plants in the Garden, serves not only a botanical purpose, but a medicinal one as well. “Back in the Seventeenth and Eighteenth Centuries, the only effective sources of medicine were plants,” Harris explains. “That’s still true today to some extent, because in many ways, plants can synthesise very complex chemicals much, much easier than we can. 

“There is a chemical isolated from Yew trees that is very important in treating cancer, for example. Belladonna and Mandrake provide very important anaesthetics. We have a whole series of beds with these medicinal plants in.” 

We approach these beds and I am mildly surprised when I notice the presence of a certain green-leaved herb. “We do grow cannabis in the gardens,” Harris laughs, “but not that cannabis. Ours has no THC in it. We still need a Home Office licence, though.” 

The Garden plays another important role: conservation too. 

“First and foremost, the Garden helps through educating people,” Stephen explains. “But we do have some plants here that are really rather rare. We’re particularly heavily involved with the protection of two local species, a little violet and a small bedstraw. We think about conservation on a local, a national, and an international level.” 

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But Harris admits that for most, the Garden is primarily a place of relaxation. “It’s an open space which is generally quiet and peaceful, and is a very pleasant place to spend time. We’re not seeing it at its best now, but in the spring and summer, it is genuinely stunning.” 

“It’s amazing to think that this garden has been here for nearly 400 years. We’re standing in a space where generations and generations of students and academics have moved and walked and discussed.” 

“Linnaeus, Humboldt, Darwin, Tolkein, Carroll – they have all worked within these four walls. This is such an amazing space that I suspect quite a few students don’t know is here.” 

As we shake hands and head towards the exit, I am reminded of Sebastian’s comment in Evelyn Waugh’s Brideshead Revisited. It seems beautifully pertinent. 

“Oh, Charles, what a lot you have to learn! There’s a beautiful arch there and more different kinds of ivy than I knew existed. I don’t know where I should be without the Botanical Garden.” 

Oxford students pay comparatively less in rent

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Figures released by StuRents, a website listing student accommodation prices across the UK, reveal that Oxford students pay 32.63 per cent less for privately rented accommodation when compared to local residents.

The analysis looked at 25,572 student properties across the UK, and collated the data to compare whether or not students are paying a premium on housing, when compared to non-student renters.

The average cost of privately rented accommodation in Oxford for students is es- timated to be £102.50 per person per week. In comparison, the overall average rent for non-students in equivalent accommodation per week is £152.15.

This places Oxford second in StuRents’ ranking of the differences between student and non-student accommodation rent values. The only university city where this dif- ference was greater was Reading.

The study also found that there was a regional discrepancy between students who pay a premium for rented accommodation, and those who pay comparatively less.

Whilst students renting in several cities in the north of the country, such as Loughborough, Durham, and Lincoln, pay premiums of up to 36.08 per cent, students living in cit- ies in the south of England have discounted accommodation compared to the average cost of renting in these areas.

Speaking on these regional discrepancies, Tom Walker, the CEO of StuRents, stated, “Analysis of StuRents’ rental data has unveiled a new side to regional variances in the student housing market, indicating that the crown for the most expensive city on a stu- dent rental basis is by no means clear-cut. Clearly value is relative, so comparing inter-city student rental prices purely on an abso- lute basis is perhaps a little one-dimensional. 

“The most fascinating outcome of StuRents’ in-house research is that the story of the most expensive student towns, as defined by which towns have the highest average per-person-per-week rent, is incomplete.

“In towns and cities where the mainstream rental market suffers from upwards pressure as a result of a burgeoning demand from young professionals and out-of-reach house prices, the student rental sector seems to trade at a discount to the market average.

“Conversely, the general consensus in the northern half of England seems to be that students represent a more premium demographic, and rental prices are adjusted upwards to accommodate this.”

Councillor Bob Price told Cherwell, “Rents in the private sector in Oxford are amongst the highest in the country and often provide poor value for money for the quality of the accommodation.”

“The Council’s licensing policy for HMOs [Housing in Multiple Occupation] has seen significant improvements across the sector, but the lack of housing in the city and the high demand for it is continuing to increase rents and drive growth in the size of the pri- vate rented sector.

“High rents are making it increasingly difficult for the Council to acquire accommodation for families accepted as homeless, resulting in a number of referrals out of the city.” 

City Council approves boat yard build

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Oxford City Council has approved the £20m redevelopment of Jericho’s derelict boatyard after months of disputes between residents and developers – although the plans will be subject to 45 conditions.

The new proposals involves creating a “piazza-style” public square between St Barnabas Church and Oxford Canal, surrounded by 22 new homes, a community centre, a nursery, and a restaurant. The plans also involve a new boatyard with two dry docks and a wet dock, as well as a swing bridge that will provide public access to the Oxford Canal.

These plans are the fifth attempt to redevelop the derelict site in over a decade, with the City Council previously rejecting two plan- ning applications to regenerate the boatyard.

Despite the approval of these most recent proposals, they still underwent significant consideration, with the planning committee accepting them on principal, but attaching 45 conditions. These included the amendment that ownership of the community centre and piazza square would eventually be passed to residents’ group Jericho Wharf Trust.

Labour Councillor Bob Price told Cherwell, “The Jericho boatyard site has lain derelict since the British Waterways Board disgracefully sold it off for housing ten years ago, ignoring the needs of the large canal boat population and the local Jericho community.

“The City Council successfully defended its vision of a combined boatyard, housing and public open space development on the site at appeal, and embodied that vision in a Special Planning Document as part of the Local Plan. We are pleased that we have been able to give provisional approval to the current planning application which meets most of our aspirations, but not our wish to secure 50 per cent af-ordable housing units.”

However, he continued to describe the list of conditions and legal issues that need to be negotiated and settled before the final approval can be issued and explained that the Planning Committee will meet later this year to examine those agreements before they are signed.

Lib Dem Mike Gotch was the only councillor to vote against the proposals, which were successfully passed with a vote of seven to one.

Gotch commented, “The boatyard has been in its derelict state for about ten years, and everyone involved is sick of the arguments about this or that aspect of redevelopment – there have been two previous development schemes. However, being fed up, as one might expect, is not a satisfactory reason for accepting a not unattractive but flawed scheme.

“St Barnabas Church is Grade One listed – a precious resource that may be [according to the officers] adversely affected by the proposals – we might have learned from the Castle Mill Flats development to carefully protect our listed assets – but seemingly not.” 

The new revolution in body hair

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Two months ago, I decided to stop shaving all my body hair, to put down the razor and go au naturelle. My armpits have been left to their own devices, as have my legs, pubes, and eyebrows. So far, I have found it very liberating.

To explain how I reached this decision, it seems prudent to go right back to the beginning of my hair-removal career. I was 11 years old when the first wispy hairs began to curl from the nooks of my pre-pubescent armpits. No sooner had they tentatively sprouted than I was eager to obliterate them. I pleaded with my mother to let me use her Veet. I was so desperate to rid myself of something I thought had no rightful place upon my body, failing to see it as a perfectly natural phenomenon.

All I could think about was avoiding the impending embarrassment – boys and girls would all change for PE together in the classroom. Seeing me on the verge of tears, my mother agreed (despite her concerns that I was far too young) and the hair was promptly eradicated.

My pubic hair was to escape unscathed for a few more years. At 16, preparing myself for intimacy with my first boyfriend, I remember gazing down at my hitherto untouched curls of pubic hair whilst thinking of the images of  sexualised women I had encountered.

Invariably, they were hairless ‘down there’. With this in mind, I reached for the razor and shaved the whole lot off. When it was done I marvelled at the  smoothness, feeling quite proud of myself, despite the 10 minutes I then had to spend extracting the hairs lodged in the metal bit over the plughole. After that inaugural sexual encounter, the boyfriend mentioned that he would’ve been disgusted by the presence of pubic hair.

There was nothing more off-putting, apparently, than a “hairy minge”. My naive 16 year old self sighed with relief; thank god I had taken the initiative and met his expectations! This boy claimed that, “Hairy vaginas look…angry.” I think, in his mind, a hairy vagina stood for an angry, hairy, raging feminist. At the time I mutely nodded, still pleased with myself. The smug glow was not to last.

The following day, I had a long-haul flight to New York. I woke up itching not with excitement, but with an urgent burning sensation around my pubic area. Puzzled, I pulled off my underwear and discovered to my dismay that the previous day’s smoothness had been replaced by dozens of angry red bumps, the skin red and inflamed. I looked diseased. I slathered on Sudocreme, and prepared for a singularly uncomfortable eight hour flight.

I wish I could say that this put me off shaving for good; but alas my urge to satisfy my boyfriend’s expectations outweighed the discomfort. It was only relatively recently that I decided to give up shaving my body altogether. It’s expensive, painful and pointless.Whilst I understand that this does not apply to everyone, for me it is an arbitrary societal expectation. The person I’m with now doesn’t care either way. But what’s really important is that it is my choice whether I shave or not.

Bar Review: Christ Church

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Hidden in a less than ideal location vaguely near the dining hall, the newly-opened Undercroft (also apparently known as the “Undie” or “Chundercroft” depending on which type of Christ Church student you are stuck in a  conversation with) is normally not accessible to non-college members, but the door was fortuitously propped open in semi-realistic hopes of attracting formalguests and rugby lads. As anticipated, the biggest deterrent was not Christ Church’s normally excessive security, but a combination of the bar’s quickly-garnered dismal reputation and the really quite dangerous cobblestones one must overcome to reach it.

I would have been concerned for the safety of its high-heeled patrons, had the bar ended up with more than six women in it at any given time during my visit. After finally entering, one finds the interior quite incongruous with the beautiful, traditional, elegant architecture of Tom Quad. The combination of arched stone ceilings, light wood furniture, and painted white walls was perhaps supposed to have a bright, Mediterranean feel, or at least a converted-church vibe similar to that of The Vaults & Garden Café on Radcliffe Square, but this looked tacky and mismatched without the presence of actual sunlight, an inevitable consequence of pub business hours and the cheaply frosted glass on the few, sparse windows. It took at least half an hour for me to remember that I wasn’t in a basement (or the Gladstone Link), an illusion only encouraged by the sickly green ultraviolet lights. Instead of adding a sense of history and grandeur, the ceilings thus only ruined the acoustics, echoing the sound of the badly placed speakers and flatscreens. Bizarrely, the few tables were largely placed directly beneath these TVs, so instead of being able to watch the very loud rugby, their occupants were forced to have their conversations interrupted by thenoise instead.

The unfriendly, humourless barman was unaware whether Christ Church had a college drink, but served me a gin and tonic. The toilet door was marked by three circles with different symbolic markers, from left to right, 80s bow-wearing Madonna lookalikes, people in wheelchairs, and then the one per cent in bow tie. Once inside, it seemed there were only disabled facilities for women (however, it must be said that the combination of stairs and cobblestones makes the bar not particularly wheelchair-accessible in itself).

As this bar lacks any redeeming quality, it may be worth instead going to Christ Church’s unofficial college bar, House, when trying to bag yourself a lover of the landed gentry classes.

Bexistentialism HT15 Week 4

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My boxer friend had spent months weighing food, forgoing alcohol, and complaining  a lot. So this week, I found myself at the Varsity Boxing Competition. On learning he would be fighting near the end, we decided to head off to the Union Bar. Drinks clinked, and we sank rapidly into consuming a quantity of alcohol large enough to rival the Pacific Ocean. A housemate cried, “Does anyone want any Balti mix?”, swiping the pack from the bar and thrusting it around the hubbub.

Fortunately, just as the bar manager’s face swelled and turned bright red, my friend got called up for the fight. No drinks allowed inside. Drunken Bex waddled in with dismay. The fight began. Fists collided. I burrowed into jackets. And then it was over.

And then, time blurred and accelerated. Somehow, I was in purgatory. Minutes, maybe seconds, maybe hours, but at least not days, later, I, in the midst of intoxication, managed to recognise the true location of Hell – in Park End.

Are-We-Mates-Mate sat on a chair, staring into his hands as he moped, whilst the other guy, Mate-Who-Isn’t-Really-My-Mate-Either, glared at us in a similar fashion. People were screaming and shouting all around us and in a flash, I remembered the last time I went to Park End.

I had decided to wear shoes which I knew from the outset were broken and then claimed to have sat cross-legged on the floor, causing the heel to snap. Each time a friend attempted to help me up, I would look down at my shoe, and then sit once more, as if ashamed of my obvious lie.

But as I continued to fall into the abyss of resignation that is Park End, I suddenly decided that enough was enough. I left the two third-year-pseudo-mates, and fled. As I gasped for breath, restored to reality once more, I saw the Boxer and his girlfriend. The Boxer’s face, even with bruises and cuts from the evening’s sport, has never looked more angelic.

They soared towards me and I exhaled. Soon we were snugly walking, hand in hand. We pit-stopped at Hassan’s. Each holding polystyrene, we dozily began the final trail home. We popped our clams open. But mine didn’t contain the chicken nuggets I asked for. We turned to look at Hassan’s. The queue is huge. “There’s no point even trying,” said the Boxer. I look back down at my ten angry onion rings.

Creaming Spires HT15 Week 4

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I guess awkward moments are something I specialise in by now. Running into ex-lovers in unsuitable places, whilst looking like I haven’t showered in weeks? Check. Running into girlfriends of ex-lovers and having nowhere to hide? Double check. But among all of the little mishaps that colour my adventurous sex life, nothing could ever be more awkward than having a hot make-out session interrupted by the horrified, gawping face of my tutor.

It all started perfectly normally. I was having an utterly average evening at the King’s Arms, which involved consuming obscene amounts of ale. It also involved a date, but the ale was more exciting. However, as the Cinderella hour slowly approached, I decided to give the chap a chance before the pub closed and kicked us out. That turned out to be a very good decision, as his tongue was definitely more skilled when mute. We went outside for a cigarette and just as he decided to demonstrate further to me his kissing prowess, I  caught the eye of my tutor standing in the doorway. His look was full of recognition and terror. It was obvious that spotting one of his lovely students being a leather-skirted sex vixen was not what he wanted out of his evening. Tutorials will never be the same again. The poor man said nothing and walkedback inside, and I promptly suggested moving the date to my room, away from the scene of the crime. The sex temporarily took my mind off the matter, but now it’s PANIC TIME.

I suppose it’s not immediately obvious why this bothers me so much. Yeah, my tutor saw me feel someone up, whatever. We’re all adults and it’s not a big deal. Rules of professionalism dictate that neither of us mentions this incident, and our lives will happily go on. Right? Yet just as you wouldn’t want your boss to see you in the throes of passion, you don’t necessarily want to be confronted with your tutor in a non-academic context. I want my private life to be somewhat private (and that’s why I write about it in a student paper, obviously), separated from any professional relationships. Unless a really hot academic wanted to fuck me. Then I’m game. But all in all, an elderly, extremely respected man who may be expected to write me a reference one day is not someone I want around when I’m committed to the serious business of seduction.

Of course, if he were really attractive, it’d be a different matter. One hears many tales of illicit tutor-student incidents. A female student may have been spotted getting hot and heavy with a tutor on the Cowley roundabout. I was once advised by a postgrad to ‘just go for it’ if I so fancied; a suggestion I didn’t take, mostly because I didn’t know how. Perhaps wearing a little leather skirt would have been a good start.

Review: Blake-inspired LiveFriday at the Ashmolean

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It’s cold, it’s wet and I feel overdressed. Huddled masses look to the entrance with wavering optimism. Ah, the weekly pilgrimage to Wahoo, you say. No. I’m at the Ashmolean’s ‘Live Friday’ inspired by Blake’s ‘The Marriage of Heaven and Hell’. Why? Well, firstly the good times really do roll and, secondly, everybody will genuinely want to come back for more.

The Wahoo comparison does bear out. Like Wahoo, the dimly-lit rooms of the Ashmolean are brimming with curious eyes. They amass in rings, their gazes transfixed on the centre. However, unlike Wahoo, the reason isn’t booze, insecurity, or boredom. The museum has arranged a series of creative activities which participants crowd around to have a go: everything from mirror writing to secret confessions. My Blake-inspired pencil drawing at one workshop certainly brought back memories of childhood as potently as Wahoo’s end-of-the-night nostalgia tracks.

It is undeniably magical to explore the walkways and staircases of the Ashmolean at night. It’s a museum particularly suited to such wanderings. The layout of the galleries feels almost purposefully designed for you to get lost in. So when you stumble into one of the many events scattered around, it becomes all the more intriguing.

This does mean, however, that by the end I feel slightly disorientated, like the haziness of waking up from a dream. It’s a feeling which works perfectly for the curators, who make constant reference to ideas of illusion and reality in the exhibit. In the baroque gallery, you play a game called ‘Fake or Blake’, where quotes from Madonna and Blake and Bob Dylan are interspersed with Blake’s poetry. To our shame, as a crowd we could hardly tell the difference. Another gallery is dedicated to optical illusions and magic, the next to shadow puppetry.

It is a testament to the organisers that the event does not feel like a gimmick; it’s not a scene from Ben Stiller’s dying career. Rather, a genuine atmosphere is created by a multitude of small and well thought out touches which compliment the William Blake: Apprentice & Master exhibition. When you see a demonic figure gazing at you from a glass walkway above, fantasy and reality start to come surprisingly close.

Even the permanent collection is given a new intrigue by the sense of occasion. Quite what sort of occasion it is is still not clear to me. Half art workshop, half party, half theatre, half demented fantasy, it is perhaps best summed up by the huge crowd which lines the central stairs at the end and breaks out into a booming rendition of ‘Jerusalem’. I’ll take that over ‘Call Me Maybe’.