Thursday 17th July 2025
Blog Page 606

Wadham commits to full divestment from coal and tar sands

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Wadham College’s governing body has approved a statement resolving to fully divest the College’s endowment from coal and tar sands, tobacco and ‘controversial’ arms manufacturing.

The College’s estimated £107 million endowment will now be prevented from investing in companies that gain a significant portion of revenue from these industries.

The decision is a major victory for student campaigners, who have been pressuring colleges and the University to withdraw financial support for the fossil fuel, tobacco and arms industries.

Wadham has not committed to divesting from other forms of fossil fuel, such as oil and natural gas, or much of the arms industry.

The College will also take steps to ensure that its indirect investments are subject to more substantive ethical guidelines, although these have yet to be clarified.

The statement is the culmination of two years of intense lobbying by Wadham students. Already in November 2017, they passed a motion in Wadham Student Union expressing their support for the Oxford Climate Justice Campaign (OCJC) and calling on the College to divest.

In a joint statement, Wadham SU President Sulamaan Rahim and Environment and Ethics Officer Theo Harris said: “We’re both incredibly proud to have been involved in this final part of the process to get Wadham as a college body to interrogate its role in the climate crisis that we currently face. The new ethical investment policy of the college represents a concrete step in this direction.”

The two praised the work of Harris’s predecessor Harry Penrose, who spearheaded the campaign. They described it as “incredible” that the campaign now “has culminated in tangible structural change on the college level.”

Calling on other colleges to “examine their responsibilities around the climate crisis”,  they said: “A huge part of divestment is communicating the message that our current practices are wrong and we need to change now.“

Harris and Rahim expressed hope that other colleges now will follow suit, and that similar guidelines will be adopted by Oxford University Endowment Management (OUem), a wholly owned subsidiary of the University of Oxford. OUem manages £3 bn for the University, 25 colleges, and six associated charities.

Currently, OUem’s website lists as the only absolute restrictions on investments that: “The Oxford Endowment Fund does not hold direct investments in tobacco companies, manufacturers of weapons illegal under UK law, or companies whose main business is the extraction of thermal coal and oil sands.”

Talks between Wadham SU representatives and college administration commenced in Hilary term 2018. Harry Penrose told Cherwell that, despite some disagreement, the college “generally took our concerns seriously”.

In Trinity the same year, whilst talks were underway, an open letter expressed students, faculty, and staff’s “deep concern” that the college profited from investments in companies which extract fossil fuels. The letter had 128 signatories and urged Wadham to “uphold its name as a progressive and liberal college” and to divest from companies on the Carbon Underground 200 list.

Following what Penrose described as “very productive” talks in Michaelmas 2018, Governing Body approved the creation of a working group. It comprised members of Wadham SU and MCR, as well as tutors, college staff, and alumni. The statement which was recently approved is the product of their work.

Julia Peck, Chair of OCJC called the Governing Body’s decision “a thrilling victory for divestment at Oxford.”  

Echoing Harris’s hope that other colleges would follow, she told Cherwell: “We’re expecting similar policy shifts at several colleges in which we work, and working towards a wave of divestment among colleges that will push full divestment at the University from below.

“Wadham will play an important role: it’s now in a position to lead the way amongst constituent investors of Oxford University Endowment Management — which includes 24 other colleges — to ask OUem to finally divest fully, as the student body has demanded.”

Co-Director for Campaigns at People & Planet J Clarke, who has helped organise the national student divestment movement, also pointed a finger at OUem. Clarke told Cherwell: “Oxford University Endowment Management increasingly reveals itself as uninterested in the wants and needs of those it claims to benefit – young people who will feel the damaging effects of climate change in their lifetime.”

Clarke expressed satisfaction that Wadham is now “stepping up to become a leader among Oxford colleges”.

They added: “Students at Wadham have done a fantastic job organising for this victory, and it is clear full divestment is the only acceptable position in a time of climate emergency: if it is wrong to wreck the climate it is wrong to profit from that wreckage.”

Interview: Jocelyn Bell Burnell

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Jocelyn Bell Burnell first noticed the unusual, recurring blip – ‘Little Green Man 1’ – on her rolls of radio telescope data when she was a graduate student at the University of Cambridge in 1967. She mentions that the series of blips “lodged in her brain” and her persistence revealed the existence of pulsars; rapidly rotating neutron stars which emit regular pulses of radio waves across the sky at up to one thousand times a second.

Last year Bell Burnell was awarded the $3 million Special Breakthrough Prize in Fundamental Physics. This prize has only been awarded thrice before: to Stephen Hawking for black hole radiation in 1974, to CERN for discovering the Higgs Boson in 2012, and the LIGO collaboration that in 2016 found gravitational waves. Bell Burnell’s discovery of pulsars revolutionised astrophysics and was awarded the 1974 Nobel Prize; though the prize was awarded to her supervisor at Cambridge. Her exclusion from the citation is widely viewed as one of the biggest Nobel snubs; it has famously been dubbed the “No-Bell” prize.

Half a century on from her revolutionary discovery, Bell Burnell is giving back: donating her prize money from the Special Breakthrough Prize to support women and underrepresented minorities in physics.

I meet Jocelyn in the grounds of Mansfield College, where she is Professorial Fellow in Physics. She is softly spoken, thoughtful and charming, and thanks me for taking the time out of my day to speak with her. In fact, it is much the other way around; in high demand, Jocelyn had only just returned from the States where she was awarded yet another honorary degree, and is due to give a talk at Mansfield on the 14th of June. As one of my personal STEM heroines, I am delighted she agreed to sit down with me.

As we start talking, I note that the Special Breakthrough Prize commended her also for a “lifetime of inspiring scientific leadership”.

She laughs, and replies, “You’re aware of the phrase “a serial offender”? I’m a serial president! I’ve been president of several professional bodies: the Royal Astronomical Society, of the Institute of Physics nd the Royal Society of Edinburgh, and as the Pro Chancellor at Trinity College Dublin. I think it’s through those roles that I’ve provided leadership. I was the female president of the Institute of Physics, and the first female president of the Royal Society, which was only founded in 1783! It’s crazy, isn’t it.”

I exclaim that scientific history is lacking in women, and ask if she thinks things are changing.

“Yes,” she answers. “They still need to change a bit more but undoubtedly they are; I’ve just come back from the United States and in academia there is becoming greater awareness of sexual harassment, which up until now they’ve managed to sweep under the carpet. People are paying it more attention.”

I ask her what it was like working as a graduate at the University of Cambridge in a male dominated team, where she made her famous discovery.

“I wasn’t the only woman in the place. At Glasgow I had been the only woman in a class of 50 but in the radio astronomy group in Cambridge there were one or two other women. Not many, but there were some! I found Cambridge very daunting, coming from Glasgow; people seemed very confident, self-assured, self-possessed and I was at risk of running away. I now realise that I was suffering from Imposter’s Syndrome. I was quite convinced that they were going to throw me out, that they had made a mistake admitting me and that they were going to discover their mistake.

My policy was to work as hard as I could until they threw me out so I’d know I’d done my best. And I was very thorough, because the thing I discovered amounted to an anomaly of ten parts in a million, so it was fairly small. It was all rolls and rolls of chart paper.”

Jocelyn has donated all the $3 million dollars’ worth of prize money to fund women and underrepresented minorities in pursuing physics. I ask her why that decision was important to her, and why she decided to provide such admirable support.

“I don’t need three million dollars! At my stage of life, it’s very nice but what do you do with it? I thought about it a lot and decided that if the Institute of Physics would take it, that would be a good use of the money. I strongly believe that diversity in a research group strengthens the group; it’s a bit harder to manage a diverse group but it’s much more creative and flexible and robust. I reckoned, harking back to my experience as a grad student, that one of the reasons I was feeling an imposter was that I was a minority. It is to give a better chance to people who wouldn’t otherwise have had such a chance.”

I remark that representation is still a problem: physics at Oxford is one of the most male-dominated subjects at the university, with under 20% women on the course. It’s a lot better than it used to be but there’s still a massive access problem in physics at Oxford. I ask her why she thinks this still the case.

“I don’t know because they do try very hard but there aren’t many girls doing A level physics. And so, that’s a big factor in the crunch. And why aren’t there many girls doing physics? Because society in Britain says physics is a man’s subject. You have to be quite astute as well as robust to notice that and not get put off.

“It’s quite systematic: it follows you through a career in physics – as you go up the academic hierarchy there’s more wastage of the females than the males. And certainly, some of the issues are around how you have kids and raise a family and keep your research going. There’s also unconscious bias – we’re getting better at it but there’s still a bit to go.”

Bell Burnell was one a group of senior female scientists who founded the Athena SWAN awards, which recognise commitment to advancing the careers of women in science. 

“When I became Professor of Physics at the Open University I doubled the number of female professors of physics in the country and I thought this isn’t good enough: where are the women! We see them there at student age and gradually they disappear as you go up the ranks.

“A small group of women which I joined was concerned about the progress of women. We look particularly at the progress of academics – post doctoral and professors – and highlighted a number of issues with the way universities operated. We didn’t label unconscious bias at that point but we had a suspicion that something like that was happening. Thus we created the Athena SWAN award. Even though we started with no money and at the start the award was just a glass rose bowl, we realised that vice chancellors are competitive guys (at that point, it was just guys) and if we have any sort of prize they would compete! And they did and it gradually grew and has been exported round the world. Holding these awards signals that you’re a place that aims to be good for women and minorities – signals that they are an employer you should look at seriously. It now looks bad if a university doesn’t hold one of the awards.”

In Ireland, from 2019 all universities must hold a bronze award to be able to apply for research funding. The University of Oxford only holds a bronze award institutionally, however the physics department holds a silver award.

Recently, the global scientific collaboration that is the Event Horizon Telescope has led to the first image of a black hole. I ask her how important she thinks global collaborations like these are, and if there’s been a recent regression in this, especially in relation to countries becoming more insular.

“Collaborations happen a lot, particularly with the big projects like the detection of gravitational waves or the black hole measurements. These all need enormous groups. I think scientists are a bit slow on rewarding the ability to organise and manage big diverse groups, in different countries speaking different languages. It’s a real skill to provide that kind of leadership- probably means you publish fewer papers but it does help big science.

“Brexit is a worry for big science. I can see that other countries might go that way if they go more right wing, and this will be bad for all sorts of research. Most areas of academic work benefits from having contact with researchers who are culturally different from themselves.”

We move on to the topic of her own journey to physics, and how she got interested in it. “As soon as we started doing science at school at age 11 or 12, my school sent the boys to science and the girls to domestic science. I fought it and we ended up with three girls in the science class. I don’t think the teacher had ever taught girls before because he made us sit right up against his desk because clearly we were dynamite or something! Troublemakers…

“We did physics that term and I came top of the class – I could just do it. Through my school years I decided I wanted to do a physics degree, and through reading my father’s library books I discovered astronomy so decided I would be an astronomer and settled on radio astronomy. It was very new, developing very fast and was very exciting!”

I ask her if she considers herself a role model for women in physics, as she has a busy schedule giving talks all around the world.

“It’s one of the reasons that I accept invitations to talk in schools; to show that there are female scientists.”

Clearly, physicists come in all shapes, genders and sizes. I ask her what she thinks makes a good physicist, and how important creativity is in science.

“Thinking clearly. You have to have a fairly sharp, precise brain to think clearly but you can get locked in logical thinking and forget to look outside the box! So the ability to sometimes stop and stand back is also important. It can be quite hard work to do so.

“The ability to jump out of the box you’re currently in and size it up and realise there are other boxes is very important. You also need to be systematic because having had this bright creative idea you have to thrash it to see if it stands up and that has to be done with thoroughness and care, and rigour. You need both. But sometimes in physics there are people who go down a narrow lane and don’t see connections with anything else. It’s when you can make those connections that the important science is done.

“I think scientists from different disciplines have trouble talking to each other because they operate in rather different ways. I think Oxford and Cambridge are so wonderful because when you sit down at High Table you talk to people and find out what they’re working on which is really interesting; this kind of interaction ought to be really creative.”

Finally, I ask her if there’s been a trend over her career as a research scientist in when she’s made discoveries, and whether there’s a “correct” scientific method, as scientists work in such differing ways.

“You have to be meticulous. When I discovered pulsars I saw the blip a few times and registered that it was something anomalous but didn’t articulate it. On the fourth or fifth showing my brain said, “you’ve seen something like this before, from this bit of sky before, haven’t you?” The pulsar signal lodged in my brain.

“At one point in my career I was responsible for an X-ray astronomy satellite. This was one of the early satellites, which either worked or they didn’t, and this one did, beautifully; it kept making discoveries. I was in charge of the data pipeline, so I knew how many it made, and it usually made them on Friday afternoons, particularly on the Friday before a bank holiday weekend! There were two reasons it was so successful: firstly, it was cutting edge development and it worked. The other reason was more mundane; there should have been a US satellite that launched six months earlier, but it didn’t because their data pipeline didn’t work. They were sitting and waiting for their data and it never came.

“It was huge fun but slightly frantic as it just made discoveries all the time. The launch was from a platform off the coast of Kenya at about 8 in the morning. We were all in at work. We had a radio link, listening to the launch and about an hour in the computer programmers snuck away and said, ‘it looks like its going to work, we’d better go finish those programmes!’

“Which they did, in time! So it launched successfully at 8 o’clock in the morning and on the midday news there was the announcement of the Nobel Prize to my former supervisor, and former professor. But it was great fun working with that satellite even if it was a bit manic.”

Professor Dame Jocelyn Bell Burnell gives the lecture “A Graduate Student’s Tale; discovering pulsars as a young woman” at Mansfield College, 5:30pm 14th June.

Being under the spell of Harry Potter

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I have been a Harry Potter fan since the age of five (although I admit my enthusiasm has waned lately). At the peak of the obsession, I hadn’t anticipated walking the streets of Lisbon in 2019 laughing out loud at detailed descriptions of various characters’ genitals. The Fangasm podcast has definitely rekindled my interest in J.K. Rowling’s creations, despite the fact that I now doubt my ability to appreciate a bog-standard Harry Potter.

We may wonder who has spare time and inclination in sufficient quantities to produce such farfetched erotic fan fiction, but I don’t think anyone who listens will wind up complaining. Fangasm has three American presenters each with a sense of humour and Harry Potter knowledge to bring to the table. Per series (there are eight covering each HP fanfic), a story is selected from the vast library that is the internet. It is then read aloud and reviewed; often ripped to shreds and put on a so-bad-it’s-almost-good pedestal in equal measure.

Admittedly, I still have five series of downloads awaiting my ears. But I can safely expect more of the same: sex, hexes, titillation and imagination. Of course, for us Brits, the proud compatriots of both J.K. and the majority of her characters, hearing Americans express confusion about the fact Harry has both ‘pants’ and ‘trousers’ is frustrating. But that, and their slightly lengthy pre-story chat, aside, it is sorting hats off to the presenters for punctuating the stories both pertinently and with an appropriate perplexion to which the listener will often relate. They, like me, were baffled to hear that, in Series One, Snape has ‘silken pubes’. Whose pubic hair is glossy, I mean….?

Forget the know-it-all Hermione overeager to answer every question in class, the Quidditch star and Chosen one Harry Potter, and the residential insecure rich kid Malfoy terrorising the school playground with his sidekicks. The outrageous and bawdy characters of Fangasm’s various plotlines seem only to be interesting in doing things that will make you cringe, laugh out loud in shock, and probably feel just a little uncomfortable.

The stories are almost charming, though, in the way they seamlessly re-incorporate the magical elements of the Harry Potter world in an entirely different context. Forget about the shifting staircases we all wish that we had in school and magic portaits guarding the dorms in Rowling’s book: there is conveniently a noise-cancelling spell to allow the students to do un-repeatable things in their closely-neighbouring dormitory rooms in peace.

But listening, it is easy to overlook the potential factual inaccuracy of the characters’ escapades and anatomy. No one goes to an erotic fanfic for high-quality writing and it’s just as well.

Refrain from taking offence when uncomfortable shifts in register and cringe-worthy descriptions (think ‘Snape’s milky-white belly’) surface. Presenter Danny’s comedic Pansy Parkinson voice will leave you guffawing for more, so much so, that there will be no spare energy to direct towards detected poor syntax.

So, should you fancy reliving a more adult-rated version your childhood Harry Potter fantasies, Malfoy and Harry anticipate your arrival in the C*ck Critiquer’s photography studio – and that’s just one plot line.

The exploitation of musicians’ emotional struggles

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Musicians utilise comedy in vastly different ways. Some use comedy to show personality, like JME and Giggs in ‘Man Don’t Care’. Some use comedy as a way to go viral (think of 2014’s ‘What Does the Fox Say?’), or to go with a funny song. In the video for ‘Ain’t It Funny’, rapper Danny Brown uses comedy to comment on the difficulty of dealing with mental health problems in the public eye. Based on a fictional family sitcom starring a nuclear family and Brown as ‘Uncle Danny’, the video shows increasingly horrific scenes while a studio audience laughs. Subtitles under the music detail the dialogue of the show under the music. Any attempt to address Danny’s problems are interrupted by ‘Kid’, the young son of the family, with the catchphrase “Oh Uncle Danny”, dismissing Danny’s cries for help. Although disturbing, they manage to make the audience laugh with slapstick elements.

At the end of the video, afterBrown’s death, the disconnection between the studio audience’s laughter and the horror of the show is confronted. ‘Kid’, standing over Danny’s bleeding body (Danny’s stabbed by his anthropomorphalised antidepressants), says ‘He’s DYING and you people are LAUGHING. You DISGUST me.’ As the character who shuts down any discussion of Danny’s problems, this feels like a dig at those who express sadness at deaths on social media but do nothing to help when they are alive.

‘Ain’t It Funny’ is the sixth song on Brown’s fourth album Atrocity Exhibition. The name of the record comes from the controversial 1970 J. G. Ballard novel, in which mass media drives the protagonist insane. With chapters titled ‘Why I Want to Fuck Ronald Reagan’ and ‘Notes Towards a Mental Breakdown’, it is easy to see why the book might appeal – Joy Division also took the title for the opening song on their final album Closer. For Danny Brown, the title is a comment on an ugly aspect of the human psyche, our apathy to the suffering of those around us. In an interview with NPR the rapper laments “when they see anything happen…like say police or anything that’s violent that’s happening, instead of them trying to fix the situation, what do they do? They pull they phone out and try to record it…We living in an atrocity exhibition”. These sentiments are echoed in the sitcom setting in the ‘Ain’t it Funny’ video – Brown’s suffering is just a show to entertain others, instead of real emotional issues to be met with empathy.

Danny Brown has been open about his struggles with mental health, despite taboos against ‘weakness’ in hip hop. In a Twitter rant in 2014 he spoke out about his problems with anxiety and depression, and his use of substances as a way of coping. A theme of his tweets was feeling unappreciated and that his problems were a show: “Y’all just want me to be goofy and Y’all don’t give a fuck about me…”. These feelings are reflected in the video for ‘Ain’t It Funny’: for example when Danny sits on the sofa smoking crack while the family watch TV and the studio audience laugh. “I have a serious problem” the subtitles read, while the laugh track plays over the top. Comedy creates bathos with the pain and misfortune of its characters. However, it stops being funny when real people are the target. Over the past few years Kanye West has been treated as a joke, the superstar rapper’s bizarre behaviour a subject of public laughter. This is despite the fact that he’s clearly struggling – even suggestions that he might be going through serious mental health problems has been used as a punchline. Brown brings attention to the damage that treating someone’s problems as a laughing stock can do.

‘Ain’t It Funny’ was directed by Jonah Hill, himself a comic actor. In many of his roles he plays characters similar to ‘Uncle Danny’. The comedy comes from characters hurting themselves and others, for example through abusing substances. In The Wolf of Wall Street, the comedy comes from the stupidity and excess of Jordan Belfort and his entourage, including his sidekick played by Hill. While I would never defend Belfort, the descent of the characters (including drug is a spectacle to amuse the viewer. Dark comedy is one thing, but we shouldn’t turn musicians and other celebrities into characters in a drama in which their problems are punchlines. They can go through emotional struggles as real as any ordinary person. Social media provides opportunities for people to broadcast their internal struggles – often in very funny ways as to entertain subscribers. Humour can be used as a coping mechanism by the musicians, but the element of comedy should not be the veil that masks real problems and prevents those who struggle from healing. The general reaction to musicians’ pains is a testament to the humanity of our age.

9 to 5 and Feminism

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It starts with the clicking of fingers on a typewriter, a sound which defined the working world for a generation. One of the most recognizable guitar riffs in music quickly follows and the warm and sassy voice of Dolly Parton telling the audience, among other things, that “they just use your mind and you never get the credit. It’s enough to drive you crazy if you let it”. 

While this is playing, we are treated to a montage of the working women of the year 1980 with some notable shoulder-pads and platinum perms. While the fashion choices of these women may seem rather distant today, the shots of them commuting to their office jobs, meanwhile dropping their children off at school, have not become quite so retro. 

Neither have the issues faced by the film’s three protagonists. Working for a “sexist, egotistical, lying, hypocritical bigot”, Mr Hart, each of them are subjected to harassment, belittlement and injustices. Capable and experienced Violet (played by Lily Tomlin) is left frustrated as said boss blatantly steals her ideas, gives a promotion to a male colleague on the grounds that he’s, you guessed it, a man. He calls her and her colleagues “the girls”- she curtly replies that she’s a mother in her mid-forties. 

Judy (played by an icon of the era, Jane Fonda) is thrown into the workplace with no experience after her husband left her for his secretary. Dolly Parton’s character, adorable Texan Doralee Rhodes, is given perhaps the most disturbing storyline as Mr Hart repeatedly harasses her for sex and subsequently spread rumours about their non-existent affair. The extreme discomfort on Parton’s face completely wrings any audience member of pity. 

You may wonder how comedy could be made out of a largely depressing situation. The answer is: through complete absurdity, starting with the hallucinations the three gain after sharing a joint (ranging from Tomlin skipping about the office with cartoon birds helping her murder her boss in a twisted Snow White scenario, to Parton putting him on a spit roast dressed as a cowgirl having just thrown herself upon him). The main plot is driven by the three of them covering up a near accidental murder after Violet puts rat poison (rather than “Skinny ‘n’ Sweet”) into his coffee. This involves taking him hostage in his own house with a modified parachuting kit pinging him to the ceiling whenever he misbehaves, and running the office in his absence. In this time the three introduce ideas like flexible working hours, a jobsharing program and on-site daycare centre for working parents. 

A particularly satisfying moment is seeing a close-up of a hand stapling up a notice that male and female employees will now receive equal pay at the company. Watching this film, I realised how much we are still in that “same boat with a lot of our friends, waiting for the day our ship will come in”. 

With the global gender pay gap expected to take another 200 hundred years to close and the #MeToo movement bringing to light work place harassment in every corner of society, how far have we really come from the darker side of this essentially silly comedy? Far enough, perhaps, to appreciate what a forward thinking and empowering film this must have been at its release; yet far from enough to undo the injustice behind the comedy. 

Cool your beans! Iced coffee’s good for you!

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With both summer and exams around the corner, a rush of caffeine is very much needed to get through the long days of working, or, at least, attempts to work. And yet, the bright sunshine and heat doesn’t seem to invite the hot cup of coffee that once provided warmth in the cold of winter. Instead, one craves something refreshing and reinvigorating to both cool down and bring energy levels up. Luckily, there is a creative solution that doesn’t include the unhealthy sugariness of energy or soft drinks – iced coffee!

Iced coffees, and other infusions and cold brews, open up the possibility for more creativity and flavour than your standard, hot cup of coffee, making it a versatile summer drink. Caffe Nero, for instance, has created an infusion called the “Espresso & Tonic” which combines a double shot of expresso with ice and tonic, giving you the invigorating feel and energy of a G&T without the regret. What’s more, they also add a dash of ginger to give it another dimension of brightening, summery flavour. Starbucks, on the other hand, have cold brews combined with vanilla or caramel, for those craving something sweeter.

Flavour aside, iced coffee is also scientifically proven to be more healthy than hot coffees. Not only will it never burn your tongue when you’re forced to quickly consume it in a rush, but its pH levels have added health and taste benefits. Iced coffees are more alkaline (or less acidic) than hot coffees, since coffee beans release acidic oils when heated. And because the human body functions better in a relatively alkaline state, it makes it more difficult to digest and induces a mad dash to the bathroom. Thus, because a cold brew is more alkaline, it helps your digestive system and means your stomach remains relatively stable. On top of that, reduced levels of acid also enhance and improve the flavour of coffee. The bitterness of hot coffee is also minimised because it is these very acidic oils, absent in iced coffees, that produce the sour taste. The reduced acidity is also much more beneficial for the health of your teeth and tongue, both minimising tooth staining and decay as well as odour-causing bacteria that contributes to bad breath.

However, although it’s always nice to treat yourself to one that’s made for you, the best thing about iced coffee is that you can make it yourself! Simply brew a hot, black coffee as normal (including instant!). Make sure it’s quite strong, as you’ll be diluting it. Place the coffee into a glass jar or other container and let it cool to room temperature for around 30 minutes to 1 hour, then refrigerate for another couple of hours. Finally, serve it as you like with some ice cubes, maybe with some tonic, or milk, or cream, or whatever else you fancy, and stir!

Restaurant review: Khyber Kebab house

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When it comes to Pakistani food, we, the British restaurant-going public, are unwitting Punjab supremacists. Our experience of Pakistani cuisine begins and ends with the butter chicken, basmati rice, and seekh kebabs of Punjab, the most populous of the country’s four provinces.

This island’s culinary experiences have long been shaped by historical trends in immigration. Hundreds of thousands of Punjabis came to the UK during the 20th century, opening restaurants and spreading their cuisine. Immigration from Pakistan’s other regions, such as the predominantly Pashtun north-west, was much lighter. How can we be faulted for our ignorance of Pashtun food if we’ve never had the chance to try it? Well, now we have that chance, and we’d be fools to miss it.

Khyber Kebab is a tiny new takeaway and delivery restaurant located deep in Cowley. It serves (at extraordinarily low prices) a range of dishes from the Khyber Pakhtunkhwa province, which borders Afghanistan in Pakistan’s mountainous north-west. The region’s cuisine, and the menu, synthesises a tantalising array of cultural influences. The influence of the Indian Sub-Continent is unmistakable, but equally strong consistencies are to be found with the culinary traditions of Central Asia and, Persia.

The chapli kebab, a round, flattened chunk of spice-infused mincemeat, is a great place to start. It takes a bit of chewing, but you’ll get your just rewards. Each meeting of the molars procures delicious juices with a deep umami taste. You’ll notice some more subtle individual flavours too, courtesy of the tomatoes, onions, and various herbs chopped into the meat. Gaze over the counter into the open kitchen as the meat fries in a giant tava (a disk-shaped frying pan you couldn’t get your arms around).

The chapli kebab is best consumed engulfed in an enormous, freshly prepared naan. The combination of the kebab’s meaty flavours and the doughy texture of the warm naan is bliss; Khyber Pakhtunkhwa’s answer to the hamburger. Salads and sauces are not to be forgotten. My choice of a mint and chilli sauce combo was a fluke, but like the accidental invention of Coca-Cola or the discovery of penicillin, it will have its mark on history. The mint sauce provides exactly the sort of cooling contrast a meal like this needs, a bit like the sour cream in a burrito. A chapli kebab naan, which is more than enough for lunch, will set you back £2.99.

The chargha chicken, a dish of Punjabi origins, is another winner. Each morning, a flock of marinated chickens is hung up to slowly spit roast at the back of the kitchen, and, by around two o’clock, chargha chicken is on the menu. Before it is served, the chosen chicken is allowed to sizzle on a charcoal grill where it is unceremoniously, but expertly, slathered in a spicy paste. The white meat of a chicken can often be dry and bland, almost a chore to eat – but not here. The flavour percolates from the succulent, spicy skin down to each bone. The price? A fiver.

I must note that standard fast-food fare (burgers, chips, wings etc.) is on offer too. But come on, have some imagination. While you wait for your food, take a quick break from watching the meat sizzle and head to the next-door corner shop to grab a bottle of imported Shezan fruit juice. There’s nothing like sweet, smooth mango pulp to soothe your tingling taste buds. A perfect complement to this feast. The flavour and the price seems too good to be true, and it almost is. The restaurant’s distant location and lack of any seating mean that to avoid a delivery fee and to get the food fresh, a cycle ride is required. But in this balmy weather, that almost seems a treat.

Khyber Kebab is just six weeks old and sure to grow in popularity in the coming months. With the specialised talents of the chefs, the restaurant will quickly garner a following of loyal devotees. Get there before the prices and crowds increase.

Reclaiming the Moment

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Lavinia Greenlaw’s latest collection of poetry is scattered with moments built from the ruin of memory. Writing in response to, and so to some extent against, her father’s decline into dementia, the poems seem born out of a need to reclaim moments of pure sight from the vastness of her days. The collection thus becomes a salvage from the wastes of time, a writing against decay, and a demonstration of the necessity of poetry.

The two halves of the collection, one focused solely on her father’s memory-loss, the other more generally on life and love, make for a poised and nuanced whole. Whether reflecting on the loss of a father, in the personal if not the physical sense, the collection offers a generous redress to the trauma of knowing and loving when all love is doomed to end in death, and all knowing in forgetting.

One poem in particular, ‘The Break’, offers a gentle rumination on pain and its inevitability, drawing out moments of tension in the speaker’s relationships with those she loves, against a backdrop of emotional and mental instability. The act of reaching out is complicated by the fact that our days become unsynchronised, even with those we are closest to:

People nodded and moved on. What else could they do?Hold me? Through each and every day? They had their own days.

Such observations come as a revelation amidst Greenlaw’s deftly handled imagery. Her use of imagistic precision coupled with moments of unbridled confession makes for a poetry of tensions sprung and unsprung, coiled and blooming, like carnation Catherine-wheels. In Greenlaw’s hands one gains the impression of a poet self-consciously reducing her words and her images, holding back from total effusion; it would be unnecessary, as she has the ability to invest power into three lines, dropped like an ink-spot on the page.

Each half of the collection complements the other, and a subtle dialogue can be observed between the two. The first, ‘The Sea is an Edge and an Ending’, ends on a note of uncertainty; ‘Will you stop leaving now?’. The question could just as well refer to the poet’s imagery as to her father, as questions of loved ones and moments lost become blurred with questions of the nature of poetry itself. This sense of childhood abandonment and language’s implication in it suggests that poetry, as well as the father-figure, is vulnerable to memory’s decay. The second part of the collection, meanwhile, ends with a direct rejoinder to this very uncertainty. These are the concluding lines to a playful exposition on the nature of the poet’s medium, words:

ABANDONMENT

And yet

Thus, Greenlaw’s collection, through a succession of precise images, and careful explorations of our personal relationships, presents poetry as an uneasy, but ultimately worthwhile monument, built with the triumph over time in mind. Her father may slip from her into illness and forgetting, but her poems remain forever in her grasp, her words the final frontier against oblivion.

The Funny/Not Funny Exercise

But it was just a joke, I say to myself in the dark room. A horrible, horrible joke.’

What makes David Sedaris such a master of his craft is his ability to make, not horrible jokes, but brilliant jokes about horrible, horrible things. This latest collection of essays, out now in paperback, doesn’t so much take aim at as spool out the horrors of family, loss, Trump’s America, and the inevitable decline into old age. Sedaris writes with such natural wit that one wonders whether he actually sets out to be funny, or whether his inner monologue coalesces into poised, perfectly level and almost painfully self-aware observations entirely of its own accord. Especially for Calypso unlike his earlier, less internally focused works – this question is a legitimate one. Comedy here is not the object but the lens; one which frequently leaves Sedaris the man, his actions and his relationships, at the very least singed by its glare.

The central drama of Calypso is the suicide of Sedaris’ younger sister, Tiffany. The essays don’t all explicitly address her death. The first of the collection sees him extolling the middle-aged pleasures of owning a guest-room – but of course, the essay also operates on another level, to explore Sedaris’ fear and unease with his ageing family and self. His construction of multiple semantic fields in which to play around is so seamless it’s almost undetectable as he shifts from layer to layer, seemingly without breaking a sweat: ‘Yes, the washer on my penis has worn out, leaving me to dribble urine long after I’ve zipped my trousers back up. But I have two guest rooms.’ However, Sedaris occasionally and masterfully delivers a gut punch of emotional intensity unforeseen and undetectable until it suddenly arrives, leaving the reader reeling. Tiffany’s death is one such instance, and even more so is Sedaris’ description of the last time he saw her, in the antepenultimate essay ‘The Spirit World’. These moments are, crucially, humourless. Sedaris delivers these blows without any fancy footwork, straight and abrupt.

It’s a comedic formula we see cropping up more and more: the Funny/ Not Funny exercise. Phoebe Waller-Bridge explains the challenge as ‘How do you make an audience laugh in one moment, then feel something completely and profoundly different in the next?’. With Fleabag, Waller- Bridge used this as a founding philosophy, building a TV show which defies easy-labelling, and, like Calypso, is centred around a deep and un-funny trauma. The laugh/cry formula (to put it crudely) can easily become a cheap trick, fulfilling neither its comedic nor its dramatic potential. Its success is a testament to the talent of those who successfully employ it, as Tig Notaro did in her landmark set Live in 2012, introducing herself on stage ‘Good evening, hello, how are you, I have cancer’, and as Hannah Gadsby so triumphantly did in Nanette. In Calypso Sedaris displays an unwillingness to cleave to the constraints of comedy writing as a genre, but what marks these essays out from the stylings of Notaro and Gadsby is his quasi-weaponization of humour as a vehicle to eviscerate his own flaws. Calypso is both funny and heart-breaking, but at its core it is deeply, uncomfortably personal; one wonders how on earth Sedaris will follow it.

Review: The Reunion(?) – ‘a subversive new take on the classic murder mystery’

The opening night of the absurd comedy The Reunion(?) had your reviewer and the rest of the audience in fits of laughter for a good ten minutes—the last ten minutes. If the play were a joke, these last ten minutes of comedic gold would be the punchline to a good 40 minutes of setup. Of course, the play was littered with little knock-knock jokes, dirty ditties, intentionally awful puns throughout—sometimes to the extent that I suspected there was a quota to be met. But the real comedic force was the plotline which builds up slowly with thorough character development, culminating in a series of genius Chekhov-inspired twists and turns which catch the audience by surprise. This is when the play really comes alive.

This subversive new take on the classic murder mystery genre revolves both in terms of plot and mise-en-scène around the cadaver of billionaire Sebastian Coxcomb (though I heard Cockskin), played by Tommy Hurst, which has recently been admitted to the aptly named funeral home Cloak and Hearse. Although you probably won’t guess whodunnit, events unfold in a predictable yet intriguing fashion, becoming increasingly ridiculous—just like the disparate cast of characters who are introduced one by one with extraordinary back-stories and captivating asides.

Energetic acting from each member of the Oxford Revue produces a devilish contrast to the darkness of the story line and serves to imbue each character with its own distinct brand of quirk. I must commend Kathryn Cussons, who plays Coxcomb’s wife Jennifer, and above all Bernard Visser, who plays George, for their rare mastery of their characters’ accents. Good rehearsing and a refreshing lack of first-night mishaps allows the discord amongst these bereaved souls to confuse your attempts to identify the killer.

Inevitably, a few of the many jokes peppered through the play tonight met with a reception that was painfully flat, especially before the audience had had a chance to warm up. But the troupe would soldier on seamlessly like professionals. Although not quite reaching Gary Oldman’s level, special mention must go to Tom Saer and Angus Moore who play the eponymous funeral directors. A hilarious dynamic emerges between Tom playing Cloak, an enthusiastic Frankenstein-wannabe, and the desperate attempts of Angus’ character, Hearse, to control his co-worker and keep a lid on the chaos that ensues.

The sound and lighting of the stage is flawlessly executed. Before the play, the claustrophobic Burton Taylor Studio’s stage eerily lit with organ music resonating – but these are remakes of Queen’s Bohemian Rhapsody and other pop songs, cleverly hinting at the morbid quirkiness of what’s to come. The sparse decoration that befits a struggling funeral home helps to create a spooky atmosphere as does the single spotlight focused on the corpse. Will Hayman, director of sound and lighting design, is clearly adept at his job and he makes cautious use of his skills by deferring some sound effects to the actors on stage for added comic effect.

For a play with such ridiculous plot twists, The Reunion(?) has rather stern origins. Writer Tommy Hurst adapted one of his more serious works on toxic masculinity and the influence of greed with the help of fellow co-writer Bernard Visser and comic inspiration drawn, worryingly, from a real-life funeral parlour. The duo let the play remain a parable of sorts, but the main draw is the humour. All in all, The Reunion(?) is a compelling antidote to Trinity stress with fast-paced, laugh-a-minute banter – but beneath all the jokes offer a sliver of the original moral tale of greed, especially religious and corporate greed, which is still annoyingly relevant to today’s society.