Saturday, May 10, 2025
Blog Page 1239

The Second Coming of D’Angelo

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Although a month has passed since the release of D’Angelo’s new album, Black Messiah, the buzz around his unforeseen comeback isn’t dying down yet. The hype over his ‘second coming’ is warranted by his fifteen year-long vanishing act, which was shrouded in speculation and intrigue. His last album, the R&B slash neo-soul masterpiece Voodoo, has been bled dry for nearly a decade and a half whilst the long in the making follow-up became another studio myth for despondent fans.
 
But those patiently waiting for 14 calendar runs have been rewarded big time with this offering, which feels almost more like one, monumental piece of music than a sequence of songs; a river meandering from one after-hours jam session to the next, masking the effort and labour behind it. In ‘Sugah Daddy’, the standout track, D’Angelo reminds us in his silky smooth voice that you “can’t snatch the meat out of the lioness’ mouth/Sometimes you gotta just ease it out.”
 
Having been once hailed as the next Martin Gaye and dubbed ‘the R&B Jesus’ by Robert Christgau in 2000, the singer, songwriter, multi-instrumentalist and producer found himself crippled by the overwhelming pressure of stardom, causing him to retreat from the spotlight completely, much to the dismay of fans pining for his chiselled torso as flaunted in the video for ‘Untitled’.
 
During his hiatus, D’Angelo had two stints in rehab, grappling with drink and drug addiction, some run-ins with the law and a near fatal car accident in 2005. In the meantime, America had its first black president, and a Jay-Z and Kanye West discography.
 
There are moments of nostalgia, a large dose felt poignantly in the lines, “I just wanna go back, baby/Back to the way it was,” as well as in the album’s analogue warmth, which sets it apart from the ultra-synthesized R&B vocals we’ve become so used to hearing. But with its political message, underlined most explicitly in ‘The Charade’s’ “All we wanted was a chance to talk, ‘stead we only got outlined in chalk,” and the timing of its release, following the Ferguson protests and the ‘I Can’t Breathe’ movements, it is right on cue.
 
D’Angelo doesn’t shy away from the reality of his intervening years, singing, “So if you’re wondering about the shape I’m in/I hope it ain’t my abdomen that you’re referring to,” in ‘Back to the Future (Part I)’. But his effortless virtuosity and soaring, inimitable vocals, are enough to quell any slight trepidations, and sate a fifteen year long appetite. 
 

Review: Ghost Culture – Ghost Culture

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★★★★☆
Four Stars
 
Mysterious London producer, Ghost Culture, has debuted with a spectral eponymous album. Contorted and disfigured basslines drone into grinding disarray, as whispered vocals drift over the sonic chaos. He describes himself as emerging from the London fog, but after a late night listen it’s fair to say it’s more the other way round. 
 
Track after track draws us into the mists of Ghost Culture’s gloomy and seductive netherworld. The man on the shadowy cover is 24 year old producer James Greenwood. Initially his credentials were scant, confined to the dark recesses of bedroom synthesizers and optimistic SoundCloud uploads. But after making a name for himself at the Phantasy Label, he was offered his big break by boss Errol Alkan. The result is captivating. 
 
The opening track ‘Mouth’ weaves undulating strands of laidback beats into a curt finish before segueing perfectly into the stand out track ‘Giudecca’. It’s an addictive and catchy tune that mixes dark gloopy beats with an accessible dance floor feel. The album gets mellower mid-way with ‘Glaciers’. It feels like a ponderous recycling of the promising start and as such, is the only low point. It finishes, however, with the delightfully loopy ‘The Fog’, a suitably murky and mysterious end to a murky and mysterious album. Overall, a strong effort that promises much for the future.
 

Picks of the Week HT15 Week 1

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Too Much, Too Young, Friday-Saturday, 7.30pm, Burton Tailor Studio

A one-man show by actor-cum-comedian Jack Bennett, arguing that life-changing decisions should not be left up to teenagers. Promising a mix of humour and seriousness, Bennett aims to amuse by asking big questions.

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Deep Cover, Friday, 10pm-3am, The Cellar

The legendary hip hop night at Cellar returns, this time co-curated by P Money, and taking on, as one might expect, a distinctly grimy flavour. This also serves as the Oxford stop of the ‘Originators Tour’ for P Money, Big Narstie, Darq E Freaker and others. £8 entry with a flyer.

Skeletor ft. Ignite The Sky, Saturday, 6.30pm, O2 Academy

If you need a heavy metal fix for the beginning of term, this is the night for you. Featuring headliners Ignite the Sky,and four other supporting acts, prepare to get your mosh on.

Set Fire To The Stars Q&A, Tuesday, 6pm, Phoenix Picture House

A screening of the film that follows Dylan Thomas’ hellraising tour of American universities in the 1950s, starring Elijah Wood and newcomer Celyn Jiones. The screening will be followed by a Q&A with producer AJ Riach.

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Alvin Roy Reeds Unlimited, Tuesday, 8.30-11pm, The Bullingdon

If heavy metal isn’t your thing, then this relaxed night of jazz at the Bullingdon might be much more up your street. It’s free entry all night, so turn up and enjoy syncopated beats from the winner of the British Jazz Band Contest (in 1960).

William Blake Special Printing Demonstration, Friday-Friday, 10am-12pm & 2pm-4pm, Ashmolean Museum

As part of the Ashmolean’s extended exhibition on William Blake, guest curator Professor Michael Phillips will use a Nineteenth Century printing press to demonstrate how Blake himself would have performed the printing process.

Mark Watson: Flaws, Thursday, 7.30pm, Oxford Playhouse

Multi-award winning comedian Mark Watson returns to the Playhouse for his latest tour, Flaws. His darkest and most personal show yet, it also shows a return to the verbal and physical dynamism of his younger days.

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Quids In, Friday, 10pm-3am, Lava Ignite

An alternative to Wahoo on Friday, this night at Park End promises “top tunes, incredible drinks deals and an unforgettable party atmosphere”. Free entry before 11. If that doesn’t sound like your cup of tea, you probably just have discerning taste in how you spend your leisure time.

 

Milestones: The Beer Widget

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Genius and innovation go hand in hand. Any brain brilliant enough to be considered genius will inevitably produce something to improve the world around them, and these inventions are what drive human achievement. Just take a moment to think where we’d be as a civilisation without the wheel, the plough, the printing press, the refrigerator or the ballpoint pen. 

Consequently, the modern man is no longer plagued by the tribulations of the past. The telephone means we no longer have to wait an agonisingly long time for a handwritten letter from a loved one. The jet engine means we can travel thousands of miles in the time which our ancestors would have taken to travel tens. Yet, we are constantly affronted by fresh problems in our lives. 

Take the greatest issue facing our species in the current era: the quest to relax. In a world that is rapidly running out of food, water, inhabitable space, fossil fuels and bees, the importance of kicking back, opening a can of beer and just chilling has never been greater. It is at this juncture that we meet the greatest unsung inventors of the twentieth century: Alan Forage and William Byrne. 

They had the common person’s concerns at heart. Canned beer was the pivotal step in allowing the public to relax in the comfort of their own homes. But it was also widely known that lesser carbonated beers had never successfully survived the canning process. Guinness, the company for whom our dynamic duo worked, set up Project ACORN (Advanced Cans Of Rich Nectar) to valiantly resolve this issue. 

Their solution was the widget, the most beautiful ball of hollow plastic the world has ever known. This elegantly simple creation was filled with nitrogen during the canning process, and placed in the beer so that it would re-release the gas once the can’s tab was pulled. This created the ideal level of gas bubbles and liquid. What that means in layman’s terms is a cracking foam head on every can of Guinness, Tetley’s and John Smith’s you could ever imbibe. 

The widget not only makes sure the foam is as substantial as one pulled in a pub, but the additional nitrogen also ensures the foam is creamier and better tasting. Consequently, it was a win-win for Guinness on every front; it meant their stout tasted good whether on the go or at a bar, and it meant they had a new product to mass market. By 1989, in a quest for innovation that began in 1968, Forage and Byrne’s genius had pushed human achievement to its greatest pinnacle yet. 

So the next time the year 1989 springs to mind, remember it wasn’t significant just for the collapse of the Berlin Wall. And the next time you kick away an empty Guinness can into the gutter and hear a mysterious rattling noise as it rolls, remember what that noise means. That noise is the siren song of the widget, the answer to humankind’s most profound problem (surrounding the issue of effectively canning lesser-carbonated hops-based drinks). For now, we can revel in all our beers having sufficient foaming heads. And really, who couldn’t do with a bit more head?

"Washing the dust of daily life off our souls"

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“The purpose of art is washing the dust of daily life off our souls,” according to Picasso. Assuming one of the most influential artists of all time knew something about the trade that kept his kids in shoes, we should accept that good art involves the individual, facilitates clarity of understanding, and, in general, gives people a bloody good, thought-provoking time. Art should cleanse, art should inspire, and art should invigorate.

How is this best achieved? To that, there is no single answer. Picasso and his avant-garde contemporaries may have argued that provoking the viewer into re-evaluating their preconceptions was key. One imagines that politically motivated artists like Banksy or Ai Weiwei would attempt to engage with the viewer on an ethical, rational level. But in the global, commercially-driven spheres of popular music and film, I would suggest that emotional involvement is paramount.

The latest Taylor Swift song or Hollywood blockbuster seeks to find success with as large an audience as possible, and to do that, it utilises recognisable (if not always relatable) emotions in an evidently manipulative way. In short, it attempts to involve the viewer or listener by making them feel.

And this, for the most part, is a tremendously effective approach. Its artistic merit placed to one side, I think you would be hardpressed to find anyone who wasn’t just the tiniest bit affected by Frozen, or by Katy Perry’s Fireworks. Yeah, Katy, I will make them go oh-oh-oh as I shoot across the sky-sky-sky.

But what happens when complex, real-life stories are approached through these, for want of a better word, populist mediums? Are awkward, un-fairytale-like themes butchered into cute, kitsch banalities? Are difficult issues ignored in favour of happier conclusions? Is high-level academic theory reduced to the most layman of layman’s terms? Is fact entirely reduced to disrespectful fiction?

The stories of Alan Turing and Stephen Hawking are particularly relevant examples because two films depicting their lives, The Imitation Game and The Theory Of Everything respectively, have been released in the past few months, both to widespread critical acclaim.

No-one could argue that the stories of their lives are straightforward. Alan Turing suffered childhood tragedy when his best friend died of tuberculosis, he endured the traumas of both world wars and played a major role in ending the second by cracking the Enigma code, only subsequently to be prosecuted for homosexuality and to commit suicide in June 1954.

Stephen Hawking was diagnosed with motor neurone disease whilst studying for his doctorate in Cambridge. His continued devotion to pushing the
boundaries of cosmology is undoubtedly inspiring, but his personal life, particularly his strained relationship with his first wife Jane, is far from formulaic.

How are their stories and achievements treated in their respective biopics? The Imitation Game, which starred Bendict Cumberbatch as Turing, was damningly labelled “multiplex-friendly” by Christian Caryl and “soft-focus cinematic capital” by Catherine Shoard. It is difficult to disagree.

Although undoubtedly an emotionally engaging and artistically sound film, it deserves the heavy criticism it received, both for its exceedingly tentative attitude towards Turing’s homosexuality, which is rarely more than hinted at throughout, and for the frustratingly brief description of the science that led Turing and his team to break the Nazis’ “unbreakable” code.

As a result, The Imitation Game is little more than the cinematic equivalent of a chart-topping Katy Perry song: predictably moving but ultimately unrecognisable to the point of disrespect. Its is a shallow success, one built on hackneyed themes, limited pretensions to scientific complexity, and above all, cheap sentimentality.

The Theory Of Everything addresses the difficult issues at its heart with considerably more courage, with Eddie Redmayne’s powerfully physical portrayal of Hawking providing a major contribution. We are left under no illusions as to the viscerally debilitating nature of his condition, nor are we fobbed off with a cosy, wide-eyed love story; the strain the Hawkings’ marriage is placed under is foregrounded, and the thought-provoking implications are never side-stepped. Even his scientific theories, which are so far evolved from my own intellectual capacity as to be virtually nonsense, are, if not detailed fully, at least sketched in. And as a result, it is infinitely more powerful.

Art should wash the dust of daily life off our souls, as Picasso said, and in the world of film, it is emotional engagement that truly registers as a good soul-cleansing sesh. Both The Imitation Game and The Theory Of Everything involve the audience, but only the latter does so in a commendable fashion.

Neither Turing nor Hawking are paradigmatic Prince Charmings, and they should in no way be treated as such. They are both exceptionally intelligent individuals who have achieved remarkable scientific leaps and who have had to face the stigmatisations society has placed in front of them. Their stories, and those like them, should be treated with the respect and complexity they deserve.

Debate: should there be exclusionary zones for abortion clinics?

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YES

Mary Reader

The ‘Back Off’ campaign to create ‘exclusionary zones’ outside abortion clinics has generated a great deal of support in recent months, including a petition with over 100,000 signatures. The British Pregnancy Advisory Service (BPAS) has found a substantial increase in the number of anti-abortion protestors actively blocking, harassing or intimidating women entering clinics. BPAS have therefore called for legislation to make ‘buffer zones’ of at least 10 metres. The campaign has attracted support from the Royal College of Obstetricians and Gynaecologists, Rape Crisis England and Wales, the Royal College of Midwives, and Violence Against Women. In addition, Yvette Cooper and Ed Miliband have recently considered legislation on this topic.

Abortion has always been, and always will be, a highly sensitive issue. It is really important in such emotive debates to consider how the status quo could affect the most vulnerable. Imagine you are a rape victim. You have made the difficult but completely understandable and legitimate decision to have an abortion, albeit not without regret and huge conflict of emotion. But, having made that decision, you arrive at the clinic to be confronted on the steps with posters and leaflets illustrating dismembered foetuses, banners screaming ‘Protect the Embryo’ and even recording equipment testifying your entrance into the clinic.

The sad truth is that these protests are not just nuisances for patients; they have a very real effect upon women’s state of mind before having an abortion. Anti-abortion groups trade on this power. Such groups claim that they are “educating” women about the reality of abortion. But the images they use are not representative of the vast majority of cases; they are created as propagandist pieces of emotional manipulation. The leader of Abort67, Ruth Rawlins, says that they are helping women make “an informed choice”. But emotional blackmail does not help people make rational choices.

BBC Newsbeat spoke to a 21 year old anonymous woman who had an abortion at a Marie Stopes clinic and found the protestors “really upsetting”. She said, “It’s not like you haven’t thought it through and you’re just doing it on a whim. Nobody has an abortion on a whim. So it just reinforces a bunch of emotions that you don’t need and probably can’t handle much at that point in time.”

One BPAS patient claimed, “If it was my first appointment I probably wouldn’t have come in. I had to phone a family member crying as I didn’t want to walk past.”

So long as abortion is legal in the UK, there should be free and accessible provision where there is need, without the threat of social condemnation or intimidation. Of course, ‘exclusionary zones’ will not completely solve the problem. But it will provide a ‘safe space’ around clinics so that patients will feel as protected, safe and relaxed as possible.

Opponents argue that this is an infringement of free speech and the right to protest. It is nothing of the kind. There is nothing free about actively intimidating others, especially some of the most vulnerable people in society while they are receiving a legal operation.

The ‘free speech’ card is recurrently used to legitimize exclusionary and intimidating actions. It is rarely used to protect the rights of those in society who are most likely to be silenced.

Of course, free speech should be exercised at times in the debate around abortion. The steps leading to the abortion clinic provide neither the correct time nor the place.

 

NO

Kayleigh Tompkins


Equal rights for women has, unfortunately, always been a radical concept to some. In the 1910s, the idea of female franchise was a radical one and in their campaign for the vote women chained themselves to railings, went on hunger strikes, even detonated bombs. While methods of demonstration have changed, women have continually challenged existing social structures and attitudes in a manner that certainly did not pander to traditional ideas of female behaviour. These forms of protest are ‘radical’ and they are visible.

In the 1960s and 70s, women began to live in ways that challenged the traditional idea of nuclear families. Feminists such as Lynne Segal sought empowerment through collective living. Other radical feminists rejected any kind of relationship with men, instead advocating lesbianism, asexuality or celibacy. Here, again, accepted social norms were dismantled by groups of women seeking emancipation in ways that were novel and shocking to some parts of society.

Today, inspiring men and women are continuing to challenge sexism, standing up against cat-calling, unfair media representations and rape culture. People continue to take a stand, refusing to be cowed by negative responses. Fear is a tool of oppression and by refusing to mitigate their actions they refuse to be oppressed.

It is when we place the issue of legal exclusionary zones in this larger historical narrative that it becomes more contentious. The idea that women making brave and difficult choices about their bodies needs to be hidden away, as though it were something shameful, is a disquieting one. When women experience ‘slut-shaming’ for exercising their sexual agency, it is a powerful and sad reminder that there will always be those who will attempt to shame women for exercising their rights. By closeting a woman’s right to choose, this action itself becomes one of ‘shaming’. The creation of exclusionary zones suggests that abortion is not a normal action condoned and accepted by society. This is surely the wrong message to be sending to women making brave and difficult decisions.

Hiding away has never beaten the bullies. History shows that acting visibly, and not shying away, in the name of feminism, has lead to great feminist achievements. Despite the inevitable angry reaction from some segments of society this causes, it has never, and should never, deter women from challenging oppressive structures in the search for equality. By continuing to practice openly the culture that feminists believe in, whether mainstream patriarchal society agrees or not, a fairer and freer culture can become normalised.

I realise this point of view is selfish. No woman should feel she has a duty to stand up to anyone, especially those that harass or intimidate others. She should not feel indebted to a grandiose narrative of resistance in a situation as emotional and potentially vulnerable as abortion.

Ultimately, we do need safe spaces for women to make their choices. However, we must face up to those who challenge us. Exclusionary zones may hinder us by hiding away what we want to proudly assert, by making it abnormal. By openly challenging norms that prevent progress, we can stand tall. For those who can and who want to challenge these norms, we must stare our oppressors in the face, assert our rights proudly, not hidden away behind legal curtains.

Can #Fitspiration make us healthier?

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As we’ve settled into January, it’s become clear why it’s dubbed ‘diet month’. Newspapers and magazines are full of the ‘New Year, New You, New Body’ clichés. The solution to an improved, ‘more healthy’ you is a lifestyle change that involves losing weight. Looking at the poster girls for ‘healthiness’, ‘health’ looks like a defined pair of biceps, a chiselled set of abs, and a keyhole thigh-gap flanked by solid quads. In other words: an absence of body fat. Is that really ‘healthy’? ‘Health’ should not just be about physical wellbeing.

Discussions of mental health, particularly with regards to body image, and eating disorders are extremely important. There’s an awful lot we don’t know about eating disorders. Evidence suggests that 1.6m people in the UK suffer from them and that 89 per cent of those people are female (National Institute of Health and Clinical Excellence). Fashion magazines have long been criticised for an unhealthy emphasis on one’s appearance, and in 2012 a coroner even blamed the fashion industry for the suicide of a schoolgirl who had been suffering from bulimia. Conversely, health and lifestyle magazines have rarely been condemned for promoting negative mental wellbeing because this would be utterly paradoxical. But just because they champion that simple five-letter word in their titles, does that mean they are actually endorsing it? 

The virtual world of social media is also revealing. If you type #thinspo into Instagram’s search engine, it’ll yield no results. If, however, you type in #fitspo, you’ll find over 15 million. ‘Thinspiration’ is the online glorification of thinness and eating disorders. ‘Fitspiration’ is apparently the ‘healthy’ version. But the fact that the demise of the former and the rise of the latter was simultaneous suggests that we are dealing with a Lernaean Hydra which is not something that can be easily censored. Fitspo perpetuates the same trends as thinspo because of its excessively meritocratic mentality. Supposedly, if you can work hard enough, then you’re entitled to feel good. If you can’t, you deserve to feel like a failure. In comparison to thinspo, it’s argued that fitspo encourages a healthier body image because it doesn’t focus on low BMIs. But by placing excessive emphasis on having low body fat and eating ‘clean’ foods, fitspo can encourage similar unhealthy thoughts and behaviours as thinspo.

A disorder has recently been identified by the chair of the British Dietetics Association, Ursula Philpot known as ‘orthorexia’ – the unhealthy obsession with eating only ‘clean’ foods. Essentially, the disorder does not necessarily cause the sufferer to be physically malnourished because they don’t obsess about controlling food quantity but rather food quality.  Researchers have shown that social problems and mental rigidity are more obvious dilemmas. If orthorexia were a recognised disorder like anorexia, fitspo would probably be censored like thinspo. But it isn’t, because ‘healthiness’ is terminologically imbued with positivity. It seems though that ‘healthiness’ has taken on a far too narrow definition because it has been constructed against an equally narrow conception of ‘unhealthiness’. We cannot deny that obesity is a problem in the UK; 23.1 per cent of the population is obese. However, cultural anxiety over this issue has fostered  perception of health into dichotomous categories of ‘fat’/’thin’, ’guilty pleasures’/‘clean foods’ and ‘unhealthy’/’healthy’.

We now have a discourse of health which has lost one of its oldest adages, the ‘healthy balance’. Essentially, the ‘healthy’ ideal presented in the media is aesthetically attractive by today’s beauty standards, and wrongly conflates ‘healthy’ with ‘thin’. This aesthetic is created and primarily driven by the beauty and fashion industries so that ‘healthy’ is synonymous with ‘skinny’. If, however, health was perceived more broadly as a spectrum rather than black and white categories, which incorporated mental as well as physical wellbeing, we might be able to shift the construction of the healthy ideal into a more achievable place. There should not be a definitive depiction of health. Humans come in all different shapes and sizes and we need to celebrate diversity and broaden our perception of health.

Bexistentialism: HT15 Week 0

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Whilst some may have used the vac to detox on debauchery, mine instead pleasantly supplied a collection of disasters which aided me in my constant journey closer to becoming a parody. This involves interpreting the whole ‘sitting by the fire’ Christmas vibe in a hip and nouveau way by accidentally managing to set alight two items of my clothing at a party, with a single tea light.

Constantly running from those damned dignity police, I am thus happy to head back to Oxford. But first, I have a deadline. Because, yep. You are subjected to me once again, and all the pain that comes with it. I would say I’m sorry, but I’m not. At least you don’t have to BE me. And so I begin to discuss my last week. Must. Appear. Cool. And. Edgy.

The problem? In my last week or so, the friends who haven’t already moved on from Base-Camp to cooler places, stream back to their respective unis. I wave my handkerchief sadly, and return to my posh and non-edgy work establishment. To the burn of 8am-until-finish shifts and a boss who hates me (though, on requesting work for January, I am told, “We would LOVE to have you back, sweetie.” The email gives off  such strong undertones of sickly bullshit that I throw up a little in my mouth.)

The objective and unquestionable hate began sadly on my first shift last April. On learning that I am at Oxford, she turns her head sharply away. It turns out she was at Brookes. I learn too that her husband left her for her best friend (do I look like her best friend??). The psychoanalysis is exhausting. Fellow workers laugh in bemusement at the way she treats me, demanding me to unveil the grand reason why. I woefully sigh. If only I knew.

But finally – my last shift. My mind is kind and nudges me. I remember that I’m not delving into hell for the, err, hell of it. I’m getting money! I imagine $$$ swirling like snowflakes (admittedly, it’d be more useful if they were £££, but that wouldn’t be so cool, bae). The week’s payslips arrive. Work Friend nervously sifts through the envelope, and then bites her lip. “I don’t think you’ve been put back on the payroll.” I wade on. As the shift draws to a close she hands me a discarded £6.20. “She may eventually pay you, but you’ll never get your tips.” I clutch the money tightly in my hand. When I unclench, an angry 20p-induced dent remains.

Bar Review: Balliol

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★★☆☆☆
Two Stars

Having reviewed a few bars by this point, I wanted to start the term off with a bang and so I decided to review the most frequented of all: Balliol. Balliol is in many ways the college bar to which every other is compared and every Crazy Tuesday it’s completely full.  With this in mind, I took my college daughter on a Tuesday so she could experience this rite of passage.

The first thing I must say about Balliol is that it isn’t particularly well-designed. The ceiling is too low, there aren’t enough toilets, it’s kind of grotty, and if you didn’t manage to nab that table early, there’s no hope of sitting down. The drawings on the wall of famous Balliolites are kind of take-them-or-leave them (I leave them) and the pool table is a nice touch but if it’s a busy night then it’s unlikely you’ll be able to play. It kind of seems like Balliol designed the bar for significantly fewer people and then became a victim of its own success when the crowds started showing up en masse.

However, the signature drinks are still fun (even if they do run out of the Balliol Blue all the time) and it is a fun place to be. The selection of alcohol is very impressive and it’s of course very very cheap here too. My beer was well-pulled and the bartenders are nice, if a little overworked and everybody seems to be in a relatively good mood. I’ve never been to Balliol bar and had a truly shitty time. The fact that it’s so central means bar-hopping is easy and if you’re there with someone who’s dull as fuck you can always ditch them easily.

But then other people can be slightly standoffish and people don’t chat unless they’re wasted which can make it an oddly lonely experience, especially if you’re relatively sober (as I was that night). The most social place to be is often smoking outside but unfortunately no one here is that sociable either, and everyone seems to be smoking alone (where’s the fun in that?).

In my mind, going to Balliol bar is as much an ‘Oxford Moment’ as matriculation or punting and this means it’s incredibly difficult to really give this bar a rating. It has its issues (overcrowding, claustrophobic-ness) but in the end it manages to get a very good blend of location, price, and atmosphere. So, to be honest, it is fair enough that this is the college bar to which every other bar is compared, but that still doesn’t mean that it’s the best bar in Oxford. My feeling about Balliol bar is that it attempts to be a typical student bar in a place which doesn’t really offer the typical student experience which is why it has become so successful. Unfortunately this has meant that it’s become slightly clichéd and slightly uncool. I personally feel that this really has become a place which is just for freshers, which was fine for my daughter but I really felt too old.

★★☆☆☆ (2/5)

A birthday party to remember

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In case you didn’t know, this comic-book themed diner offers you a free burger on your birthday, provided that you prove it with ID. Since it was my birthday I begrudgingly allowed my friend to talk me into having my birthday party here. Neither a fan of burgers nor comics, I had never been enticed to go in until I found out about this deal, especially given its slightly tacky exterior.

I was more than happy to see that the menu was varied (down to what you want your burger to be made out of, and whether you’d like malt added to your milkshake). They served us with smiles on their faces and in their voices, and spread around the good cheer. When we showed up on the night, we were immediately welcomed and shown to our table at the back of the room, below the TV screen that was showing old music videos on loop. Stepping inside, you feel like you’ve entered a cartoon world – even our table was bright and multi-coloured. Drinks followed shortly afterwards (apart from the one that they had overlooked), in milk bottles and they were creamy, frothy, cold, and bursting with flavour. Adding malt is free, so a friend and I had malted shakes for the same price as my other friends who had normal shakes (i.e. £3.25).

As for the burgers, the clean plates said it all. Juicy meat, with a light burger bun that was crucially not greasy (though they were prepared and gave us extra napkins), with generous fillings. To give you an idea of the prices, they range from £8.25 to £10.95 and you can “go Atomic” with any of the burgers, i.e. double their size. The sides were superb too – crispy thin fries, potato or sweet potato came with the burger. You can also order onion rings, extra toppings on your fries, and salads.

Understandably, by the time we got to the dessert, even though we were only sharing, our extended bellies meant that we weren’t really in the mood for it. Sadly, the Wookie Cookie Sundae (£5.95, inside are oreos and a chocolate butterscotch sauce) did little to change that, but it was upstaged and partially melted by the flame from the portable ‘campfire’ we had to roast marshmallows in. I was particularly impressed by their investment in these burners, which you could use at the table for the ‘Roasty Toasty Marshmallows’ (£3.95), having not expected much (I was half expecting them to be roasted before being brought to the table) because of the dessert’s low low price.

Atomic Burger is a great place to eat with your friends, serving delicious food with good humour and in a fabulous environment. It took my friends and I on a trip down memory lane, and we felt like children again, sitting around the campfire, which was nice since I was feeling particularly old that day. This is my new restaurant of choice for an informal evening out, and should be highly  recommended for any upcoming birthday celebrants.