Friday, May 16, 2025
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Students affected by Tinbergen closure

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Students have been hit by a string of relocations and delays for practical work and lectures following the closure of the Tinbergen building on Monday after a major asbestos discovery.

The Tinbergen Building, which is home to the Departments of Zoology and Psychology, is not expected “to reopen for around two years,” according to an Oxford University statement.

More than 200 air quality readings were taken in the Tinbergen Building since September 2016. However, the building was deemed safe until the discovery of new asbestos earlier this February, which prompted its sudden closure. The University has reassured students and staff that they “do not believe there is any risk to health”.

Numerous affected students have informed Cherwell of their dismay at a lack of information on the rescheduling and relocation of their lectures and crucial practical work, which for some forms a compulsory part of their course.

An anonymous source told Cherwell that in several instances DPhil studentships have had to be extended as a result of the closure of the building. The disruption means that they are unable to complete their lab work, and could have to wait possibly months to be relocated.

There were mixed responses from students on the impact of the closure. Second year Biological Sciences student Maisie Vollans told Cherwell: “Our practicals have been postponed, and we’re waiting to hear where and when they’ll occur. Our main concern is our research projects we’ve planned in Trinity Term, many of which were arranged to occur in the labs in Zoology.”

She added: “We’re given regular updates by our head of department on the fate of our projects and practicals, however it currently seems quite unclear what will happen.”

Similar concerns were expressed by first-year Biological sciences student Henry Grub, who said: “We have had no word on the lab sessions, most likely cancelled for at least this week. Finding the available space is proving difficult.”

He added: “It’s very disappointing from our point of view, last week we spent four hours preparing special E.Coli slides for use this week — chances are now they’re in the bin.”

However, some students appear to have been less badly affected. Third-year biochemistry student Cameron Henderson told Cherwell: “The closure doesn’t affect me too much person- ally, other than the cancellation of my labs that were meant to be this week. Instead, we have been kept updated and it seems we are going to do them in the Medical Sciences Teaching Centre during Eighth week. Albeit not the full practical, but enough so we can complete the necessary work.”

For first-year undergraduate Biological Sciences students, practicals are a compulsory part of the course. The closure of the Tinbergen Building has caused concern that these requirements will not be met.

Suzie Marshall, a third-year Biological Sciences student, said: “It’ll inconvenience first year undergrads and DPhil students most, I imagine, as they’ll need to find alternative labs to do their practical work.”

Associate Head of the Zoology Department, Tim Coulson, told Cherwell: “We have been able to continue all the lecturing on the biological sciences degree course we had scheduled for all students. We have had to cancel a small number of practical classes for the first and second years on the biological sciences course. Teaching lab space is being set up, or has been offered, in other departments and we are currently making sure it will work as we need it to. We will be able to teach everything on the syllabus as planned.

“The students and staff have been amazing during the crisis, but of course it is a difficult time.”

Some students have had their lectures take place in the Natural History Museum lecture theatre. This is significantly smaller than the theatre used in the Tinbergen Building, with one lecturer describing it as the “refugee centre”.

First year Biological Sciences student Daniel Antonio Villar said: “We are now in smaller more crowded lecture theaters, and we don’t really know where our practicals are.”

Oxford University said it is “working to minimise disruption to all staff and students” and does not believe that any face a threat to their health.

Jewish Society criticises ORF speakers for alleged ties to anti-Semitism

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Speakers at the Oxford Radical Forum (ORF), including controversial NUS President Malia Bouattia, have been condemned by Oxford University Jewish Society (OUJS) for alleged ties to anti-Semitism.

ORF is described by the organisers as “a three day event for the radical left, held in Wadham”, although the College has not confirmed that they are hosting the event. There are currently seven speakers announced.

OUJS said in a statement made to Cherwell: “OUJS stands in opposition to the decision of ORF 2017 to host Miriyam Aouragh and Malia Bouattia.

“84 per cent of our voting members last year voted that they are unable to reconcile their Jewish identity with Bouattia’s presidency of the NUS, and 57 Jewish Society presidents across the country condemned her comments. Further, the Home Affairs Select Committee have condemned her ‘outright racism’ and an NUS investigation decided that her content had been anti-Semitic.

“Last term, our own student union called for Bouattia to issue a full and formal apology, and should stand down otherwise. Jewish students are still waiting.

“We believe that our community should not be inviting speakers who espouse anti-Semitism and hate speech. They should not be afforded a platform to spread their opinion.”

ORF’s committee told Cherwell: “ORF is a weekend of events designed to critically interrogate current political issues from a range of left-wing perspectives, and has been a fixture of intellectual life at Oxford for almost a decade. We consider the speakers to be well qualified to take part in the specific debates to which they have been invited.

“ORF is not committed to a unified political line and as such cannot and does not endorse all the views held by speakers. Its purpose is to enable critical exchange, self-reflection, and mutual questioning, and to contribute to vibrant and nuanced debates about key political issues of the day.”

Bouattia was elected NUS President in 2016, but soon came under fire for stating that “with mainstream Zionist-led media outlets… resistance is resented as an act of terrorism”.

The Home Affairs select committee said of her: “Referring to Birmingham University as a ‘Zionist outpost’ (and similar comments) smacks of outright racism, which is unacceptable, and even more so from a public figure such as the president of the NUS.”

Another figure due to speak at ORF is Richard Seymour, a far-left blogger who previously spoke at at the forum in 2015.

Seymour responded on Facebook to criticism of Jeremy Corbyn by Simon Weston, a British veteran of the Falklands war who suffered 46 per cent burns to his face after his ship was bombed, by writing “Seriously, who gives a shit about what Simon Weston thinks? If he knew anything he’d still have his face.”

Later that year he wrote of an Israeli journalist reporting on Israel-Palestine “Fuck him, they should cut his throat”.

He has also appeared multiple times on Press TV, the Iranian state broadcaster that has been accused of Holocaust denial and anti-Semitism, and wrote on his Leninology blog that “it’s sensible for occupied people to attack and kill British troops”, and “the poppies should be burned – not just a few, in a symbolic Islam4UK-style action, but all of them in a mass cremation; and any family members who actually sign up to wear a uniform of the armed forces in Afghanistan or anywhere else should be shunned, not loved.”

In a statement Seymour apologised for his comments mocking Simon Weston and calling for the murder of an Israeli journalist, referring to them as “off-hand, off-colour statements made over a year ago in what I had assumed were private exchanges.

“These exchanges involved, as far as I was aware, a small number of friends who would know from the context that they were not intended literally or maliciously…

“To be absolutely clear. I do not think that Simon Weston’s injuries deserve ridicule. I emphatically do not think that people who advocate for the West Bank settlers should have their throats cut… I am, of course, very sorry to anyone who was hurt.”

Seymour declined to respond to these allegations in relation to ORF. He pointed Cherwell towards his earlier apology.

Another speaker on the lineup this year is Miriyam Aouragh, a Dutch anthropologist and activist.

In 2004, Aouragh attended a memorial service in Amsterdam for Ahmed Yassin, a Hamas founder and ‘spiritual leader’ who was killed by an Israeli helicopter gunship..

In their statement to Cherwell, OUJS condemned her attendance as a tie to Hamas, describing the group as “a terrorist organisation whose charter issued in 1988 is overtly anti-Semitic, stating the need to kill Jews and referring to The Protocols of the Elders of Zion”.

Speaking to Cherwell, Aouragh said: “Like many I was very angry about Israel’s murderous targeted killings campaign between 2000-2004, which saw hundreds of political activists and leaders assassinated when the popular uprising in 2000 broke out.

“These war crimes were condemned across the political spectrum, especially the ‘collateral damage’ caused by extrajudicial killings using F16s, such as collapsing buildings with families in them and the killing of bystanders when cars were blown up.

“One case was that of Ahmed Yassin of Hamas, an elderly man in a wheelchair living in a refugee camp in Gaza. I was part of a protest against the incredible violence of that period, many were making this argument, including the UN, the EU, as well as a large numbers of MPs in this country.”

Oxford University Student Union (OUSU) Council, Somerville JCR, and Magdalen JCR have each voted to donate hundreds of pounds to support the event sparking further controversy.

OUSU and Somerville JCR both pledged £150 and Magdalen £200 to cover the costs of bringing the speakers to Oxford.

OUJC condemned OUSU’s funding of the forum: “We believe that our students’ union and JCRs should not be supporting this event and therefore demand that their funding for the Oxford Radical Forum 2017 be withdrawn.”

OUSU Communications Manager, Jo Gregory-Brough told Cherwell: “OUSU weren’t aware of any such allegations against the motion but take them very seriously. With this in mind, the OUSU Sabbatical team are looking into the allegations as a matter of urgency and from which a conclusion will be drawn regarding the funding.”

Somerville JCR President Alex Crichton-Miller said: “ORF puts on panels for all sorts of currently relevant issues, and this absolutely does not mean it endorses each and every word the speakers have said in the past nor might say at the ORF.”

Magdalen’s JCR Executive Committee released a joint statement:”We were unaware of the speakers at the time the motion came to be voted on. We condemn anti-Semitism in all forms.”

This is not the first time that ORF has invited speakers with alleged ties to anti-Semitism. Max Blumenthal, who spoke in 2016, has been criticised for his 2013 book Goliath, Life and Loathing in Greater Israel, in which he compared Israel to Nazi Germany, advocated that the majority of Jews currently living in Israel be removed to make way for a Palestinian state, and referred to Israeli soldiers as ‘Judeo-Nazis’.

Malia Bouattia and Max Blumenthal have not replied to Cherwell’s request for comment.

Correction: The original version of this story (published 17/02/2017) carried the headline “Oxford Radical Forum speakers criticised for anti-Semitism ties”. We have amended the article and its headline to emphasise that the ties are alleged, and to make clear that criticism came from involved parties, and not from Cherwell. We have also clarified some of the alleged ties and contextualised them. We apologise for any upset or confusion caused.

Not Wong: The Invisibility Cloak

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*Queerness is used here in a reclamatory manner.

I want to talk about what it means to be an invisible Queer, and the hidden, pernicious oppression embedded in the means through which we imagine (or assume/appraise) others’ identities on the bases of their behaviours. I want to talk about why policing behaviours on the bases that they are not ‘Queer enough’ is a dangerous norm from both within and without the LGBTQ+ movement. Above all, I want to enunciate the fact that harms can and do result from a norm of assuming others’ gender and sexual identities on the basis of their appearances. Yet let’s first be very clear about two preliminary points of note:

  • Passing as cis and heterosexual in a cisheteronormative society apparently has its benefits – at least on the surface. It appears that you are generally less likely to be socially ostracised; that in societies and cultures that still heavily penalise individuals who perform Queerness in non-performance settings (e.g. cultures that embrace drag shows as subjects of fetishisation and yet refuse to accept the existence of non-cis/het individuals beyond the fetishisation and instrumentalisation under the cis gaze), to pass off as belonging to the constructed ‘Norm’ grants you socioeconomic privileges (e.g. being able to attend school, work, acquire economic and culture capital, accumulate networks of friends and connections – without harassment) appears to be a privilege.
  • Homogenisations are inapplicable and inappropriate – and it would be irresponsible (but also unnecessary) for me to argue that there inherently exists an overriding harm in the manifestations of such relative privileges. In some countries, cultures, or contexts, it may be far more harmful to be overtly Queer than in others. It’s important to bear in mind the intersectional critique that the problematic of Queerness varies from society to society.

Yet the main crux of this article is to argue as thus: despite the privileges often associated with the ability to ‘camouflage’ or ‘blend in’ outlined above, invisible Queers often face problems of another sort. These are the individuals who may identify or view themselves as Queer – with Queer sexual orientations, gender and sexual identities. They may indeed have romantic partners of another gender or sex; or identify themselves as non-binary; or view themselves as non-confirming to the conventional categories framed out and developed by the society that they are forced to be situated in. Indeed, this appears to be a blessing from the eyes of many – they are able to embrace their identities without bearing the costs of alienation and discrimination; they could disguise themselves as cis, het individuals and (when it occurs) ‘take the sides of the privileged’ and shirk off the need to protest or contest their personal politics in the public sphere. These individuals don’t look gay, lesbian, bisexual, or such. They don’t appear to conform to the expected behaviours underpinned by sexual norms.

Let’s make no mistakes here. This sort of dismissive and erasing view is inherently problematic, for several reasons:

Firstly, it feeds off the established controlling images (cf. Collins, Crenshaw, but also Steinem) that are constructed by media, social norms, and powerful key opinion leaders within societies. A straight individual could appropriate Queer behaviours without ever losing their straight identities – for the Queer performativity they exhibit is local and temporary – it is a “sound fashion game”, or a “really cool aesthetic”: its inauthenticity is emphasised and exaggerated, for it dissipates as soon as they resume their conventional identities. But for a Queer individual, for them to be recognised and seen as Queer, they must fulfill the ‘tickboxes’ imposed upon them by entrenched media narratives. A gay man must either be hypermasculine or emaciated and feminine – but never in between (as noted by Kenji Yoshino, the fluidity of a Queer individual feeds into the anxiety of heterosexual gazers, who find the fluctuation and fluidity threatening to their well-formed concepts of the gender binary as innate and non-alterable). A lesbian would only be ‘identified’ as lesbian when she fits into the stereotypes of lesbians (bullshit and offensive ones, by any standard – e.g. ‘promiscuous’ or ‘sex-fuelled’) that are socially endorsed. For individuals who are Queer but do not conform to these categories, they face a double-binding oppression (Crenshaw): firstly, visibility-independent oppression – oppression under heteronormative norms that alienate and patronise their behaviours, romantic partners, and gender attitudes (note: this oppression exists independently of visibility – even if nobody notices, the subjective experience of the Queer individual is still one of fundamental hurting); and secondly, invisibility-driven oppression – the perpetual questioning and/or assuming of their identities as ‘straight’. It makes it far more difficult for Queer individuals to come out – when they have to come out and affirm their authenticity nearly every five seconds (or conversation). Furthermore, it is cognitively exhausting for an invisible Queer person to consistently explain their existence in conversations such as:

“Are you gay?”

“I am!”

“You sure don’t look it!”

“…”

or

“I assumed you had a boyfriend, given that you don’t seem lesbian.”

“…”

Secondly, the erasure of invisible Queerness reinforces unhealthy policing norms both outside Queer spaces, but also within certain Queer spaces dominated by behaviour-essentialist voices – e.g. a sub-group within contemporary Queer literature that policies the authenticity of identities on the basis of their behaviours or self-identification choices. The case-in-point is Germaine Greer, who – in spite of her seminal works such as The Female Eunuch – have repeatedly emphasised that transfeminine individuals merely seek to escape their misogyny via identifying as another gender; that transmasculine individuals are opting out of their obligations towards their fellow women. Whilst Greer appears to actively renounce the role of controlling images with respect to female sexuality, it appears that her works – as with many others – noticeably reinforce the toxic, policing attitudes permeating sects within the modern LGBTQ+ movement. Such policing could become innately dangerous, when it contributes indirectly to problems of gaslighting – when Queer individuals themselves become unclear if they are acting as traitors or impostors, or if they genuinely do have the gender identities they have ‘failed’ to publicly express; of erasure – cf. the persistent framing of bisexuals as ‘people who want to have the cake and eat it or ‘over-promiscuous, sexualised individuals’ (see “Bi Any Other Name: Bisexual People Speak Out” – Hutchins and Ka’ahumanu, 1991), which indirectly discourage individuals who are invisibly Queer to fail to come out and inform the necessary authorities of the problems they face (both psychologically and economically) associated with the oppressive norms they confront. Note, once again, that one can be oppressed by Queerphobic norms even when no one else knows. But to the extent that some know and others don’t (of the Queer identity), the problem is only amplified – these individuals are told that they are inauthentic or not really Queer, and excluded from the otherwise Queer-friendly spaces they could access.

Last but not least, to be publicly recognised and respected for one’s sexual identity is a luxury. To be authentic, and to be ‘flamboyantly out’ is a privilege that not everyone could have access to. To have the right to be Queer means so much more than to have access to civil and political liberties in spite of being a Queer person. It should mean that one, just as one’s cis-heterosexual counterparts, could be publicly recognised and celebrated for one’s choices without being forced to conform to certain controlling images or (self-)policing behaviours.

It is not equality when straight individuals can hyperbolise and appropriate Queer aesthetics for a drag show, for commercial entertainment, and for behaviours that end up trivialising the problems confronting the most vulnerable in societies.

It is not equality when cis-heterosexuality can strategically anti-essentialise, but Queer individuals must necessarily choose between disguising themselves to ensure that they are not endangered by oppressive norms, or preserving their identities.

It is not equality when we constantly – implicitly or explicitly – police Queer persons by telling them that they ‘should look more like X’ or ‘don’t really look gay/lesbian/bisexual/asexual/pansexual’.

Equality, and I will be free.

Equality, and I will be free.

Democratic Art Republic

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Even if you study Biochemistry, you are the artist.

Even if you work 9-6 every day, you are the artist.

Even if you never draw a line, you are the artist.

Simply being you is the making of art.

Share your love-hate relationship with Art. Email [email protected]

Democratic Art Republic, art by Queenie Li.

Recipe: Crispy mock duck pancakes

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Eating vegan and gluten free should never be an anaemic, sad affair of a few mismatched vegetables and monotonous rice. Meat might make the centrepiece in much of Western cooking, but there is more than one landscape of food to explore. Avoiding meat, fish, dairy, eggs and gluten is nearly impossible in cuisines whose bricks and mortar are the meat-and-two-veg, wheat based fodder that has been sustained through centuries. But in places where wheat isn’t widely grown, and where animal products aren’t readily available, eating vegan and gluten-free doesn’t have to limit you at all.

As Amy Adams says in her sunny role as Julie Powell in hers and Meryl Streep’s Julie and Julia, “You can never have too much butter.” Well, replace butter with tofu and you’re on to something. Soft and silken, or firm and textured, tofu (or beancurd) is versatile, easy to cook, and deliciously healthy. This recipe for Chinese style pancakes or lettuce wraps, in which the traditional Peking duck is replaced by tofu, is not only completely straightforward but happily moreish. Served with crisp cucumber and spring onion batons, drizzled with dark, sweet hoisin, and wrapped in a soft pancake or a fresh cold lettuce leaf, it’s every bit as indulgent as eating a whole block of butter.

Ingredients:

Chinese pancakes (can usually be bought from Chinese restaurants or from specialist supermarkets) and/or a whole iceberg lettuce (for gluten-free diets)
A block of firm tofu, cut into thin rectangular pieces
A large cucumber
3-5 spring onions
A small bowl of hoisin sauce to serve

For the marinade:
2 tbsp hoisin sauce
2 tbsp mirin
1 tbsp soy sauce
1 tbsp sesame oil
1 tsp Sriracha
1 tsp miso paste
Ginger and garlic, made into a paste
Five spice powder

Method:

1. Preheat the oven at 200 degrees Celsius.

2. Mix all the marinade ingredients together, adding as much ginger, garlic and five spice as suits you. Taste the marinade and adjust as you want: for more sweetness, add more hoisin, for more saltiness, soy sauce, and for more heat, Sriracha.

3. Marinate each piece of tofu for about five minutes—this is best done in batches. Making sure every piece is well coated, lay them out on a baking tray, leaving a little space between each one.

4. Bake the tofu for ten minutes, then take it out and turn each piece over, and bake for a further ten minutes.

5. Whilst the tofu is baking, if using pancakes, line a steamer and steam them over boiling water for no more than two minutes. If using lettuce, separate the leaves, then place them in ice water. Slice the cucumber and spring onion into long, thin strips.

6. When the tofu is crispy and sizzling on the outside, take it out and let it cool until it stops sizzling.

7. To serve, take a pancake or a lettuce leaf, place a strip of tofu, some cucumber and some spring onion inside it, drizzle with some hoisin sauce, fold up and enjoy.

Examining Oxford’s earthly pleasures

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Maximo Park’s Our Earthly Pleasures and Bloc Party’s A Weekend in the City are underrated gems of the 2007 post-punk revival. They are also existential guidebooks for dealing with Oxford, stuffing the spaces between their muscular guitar work with a subtly relatable lyricism.

Our Earthly Pleasures sets itself up to be a rather trite, standard break-up album: “You’ve been/ With me/ A year/ To the day”, begins album opener ‘Girls Who Play Guitar’. But Paul Smith’s lyricism is too honest to be content with cliché. Instead, he is relentless in his examination of the physical, following that lyric with the empirical coldness of “Three hundred/And sixty/ Five days/ Watching me decay”.

Inversely, ‘By the Monument’ muses: “We sleep tonight in separate towns at dusk/We see our disparate futures”. For Smith, love—or a stolen kiss on the dancefloor of Plush—is far from comforting, but rather a way to offset isolation and futility, two feelings familiar to any humanities student ploughing through an essay at 3am in a cold, empty library.

This physicality is not lost on Bloc Party, either. ‘Kreuzberg’ laments: ”After sex/ The bitter taste/ Been fooled again/ The search continues.” To anyone navigating the messy world of trying to pull in Park End, such emotional confusion is painfully recognisable.

As a makeshift solution, both albums reposition happiness away from the city they inhabit. A Weekend In The City’s title is misleading: rather than being an idyll, the city is a prison, which Kele Okereke tries to escape via the suggestion: “Let’s drive to Brighton on the weekend”.

Similarly, Our Earthly Pleasures signs off with the fragile ‘Parisian Skies’, reconfiguring the heartbreak of the album’s very loose narrative into a contemplative space to consider the past: it is under Parisian skies, not those of the band’s hometown Newcastle, that some succour is found.

Oxford feels the same: sometimes, the only way to deal with its pressure is to flee, back home or to the brighter lights of London, to drown stress and pain in either familiarity or in fluorescent neon. But, should you stay, you can’t go far wrong than to soundtrack your time with these two albums, discovering a forgotten year in music as well as a new way to view Oxford’s earthly pleasures.

Album of the week: Sampha’s Process

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Riddled with classical piano sections and mellow beats, Sampha’s Process is a quiet effort, and yet exactly what we would expect from the man who has remained in the shadows for so long. Vocally perfect and at times painfully soulful (like the heartrending build of ‘(No One Knows Me) Like the Piano’), this long-awaited debut does not disappoint.

Having collaborated behind the scenes with the likes of SBTRKT, Jessie Ware, and Drake, the singer, songwriter, keyboardist, and producer has finally come into the limelight and the applause has been deafening.

The pre-release single, ‘Blood On Me’ builds in momentum to become a track filled with fear and desperation, as Sampha pleads “I swear they smell the blood on me/ I hear them coming for me.”

‘Under’ sees Sampha the producer at his best—he manipulates beats and samples to create a hypnotically complex masterpiece.

Process mingles all of Sampha’s musical talents and spans a profusion of genres. As much as one track lets you unwind, the next promises to leave you in a lurch, breathing heavily.

A school of hard knocks in India for England’s cricketers

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England’s recent ODI series in India marked the beginning of a carefully orchestrated run of games in preparation for this year’s Champions Trophy, which will be held on home turf in early June. The next four months—with ODI series against the West Indies, Ireland, and South Africa—will see continued opportunities for experimentation and development within a young but increasingly confident squad.

With an eye on the path ahead, then, what can be taken from the series defeat in India? In the first two, morale-sapping games, a worrying pattern began to emerge: England’s bowling attack would make a promising start, blunting the Indian top order early on in the innings—taking the first three wickets for 56 and 25 runs respectively–only to let two batsmen steady the ship and ultimately take the game away from them with an imperious stand of at least 200 runs. Why the repeated slump? To Morgan’s credit, it seemed that his ever cool captaincy was not to blame. Rather, his plans in the field were inevitably hamstrung by poor execution on the part of his bowlers, and two unhelpful team selections which deprived England’s attack of depth.

Willey has further strengthened his place in the side, drawing the new ball back into the right hander, and consistently taking wickets at the top in combination with Woakes’ economical spells at the other end. Beyond the first ten overs, however, “taking wickets on flat pitches when the ball’s not moving around’ has proven to be the team’s ‘Achilles heel”, as Trevor Bayliss was quick to admit before boarding the squad’s charter to Kanpur, ahead of the first of three Twenty20 games. Stokes, Ball, and Plunkett appeared to frustrate their captain with their inability to bowl consistent lines and lengths, providing between them four of the top 30 most expensive England ODI bowling figures ever. And Moeen Ali and Adil Rashid continued to disappoint in the typically spin-friendly conditions of the sub-continent, with neither of them taking a single wicket in the entire series.

Credit, of course, must also be given to India’s middle order, who capitalised on a lacklustre bowling attack with Kohli, Jadhav, Yuvraj, and Dhoni all making impressive tons. It was their relentless ability to put runs on the board that denied England yet another chance to come home with a ODI series victory—something they have failed to do for over thirty years now—despite scoring over a thousand runs in only three matches. However, England need not be disheartened. A resurgent bowling order in the third and final match cramped the Indian middle-order and ultimately reaped a desperately needed win, with Ball’s gutsy full-length bowling keeping the batsmen to under a run a ball, and Stokes’ consistent control earning him three valuable wickets.

There were several triumphs amongst the English batsmen. Roy, averaging over 70, has had an enormously impressive series—consistently brutal at the top, he can be counted on to put a hefty dent into any daunting run chase. Morgan has reconciled effective captaincy with proficient batting, coming through with a steely century in the second game. And Stokes has continually proven himself an invaluable contributor in the back end of the innings, belting two swift half centuries.

Looking ahead, with England’s batting not posing any issues, it’s disappointing to see that the selectors have announced an unchanged squad for the upcoming series in the West Indies. Arguably, Broad or Finn’s resurgence into the team was called for, perhaps at the expense of Buttler, who has failed to excite with the bat, and whom Bairstow can aptly replace behind the stumps. And Mark Wood, now recovered from an ankle injury, would have ideally slotted in for Plunkett, bringing his extra pace into the attack. Batting firepower will no doubt pull the team through against a weak West Indian side, who currently sit at ninth place in the ICC ODI rankings, but come Summer England will no longer be able to hide behind large totals when facing the likes of Australia’s Warner and Smith. All in all, the ODI series in India – dramatic, tense, hard-fought—proved a mixed bag. A disappointing result, yes—but one from which the squad can take much encouragement.

Cocktail of the week: red snapper

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I love brunch: unashamedly and openly, it’s the best kind of meal. The food, the company, and most importantly with a good brunch comes a good brunch cocktail. My favourite is the Bloody Mary—it has that delicious savoury flavour, with the perfect Tabasco kick. However, if you have read any of my other articles, you will know that I love gin, which is where we introduce the Red Snapper: the joys of a Bloody Mary but trading the vodka for gin. Perfection.

For this recipe you will have to select which gin carefully. Being a savoury drink, we want a gin with a corresponding botanical. I have chosen Hendricks, which obviously has cucumber as one of the main botanicals.

Ingredients:
1 part Hendrick’s Gin
2 parts Tomato Juice
Celery salt
Ice
Black pepper
Salt
Vegan Worcestershire sauce (If you can find this, if not, and you’re vegan, then leave it out as it contains anchovies)
Lemon juice
Tabasco hot sauce
Half a celery stick

Method:
1. Prepare your glass by putting lemon juice around the rim and then rimming the glass with salt and pepper.

2. Add your gin and tomato juice into a shaker with ice. I recommend a couple of pinches of pepper, salt and celery salt and two teaspoons of lemon juice and Worcestershire sauce. The Tabasco sauce can be added as to your taste, you want a good kick but obviously heat preference is personal so it’s up to you.

3. Shake the ingredients together and the strain into your glass.

4. Add the celery stick to garnish.

Enjoy!

Much more than just Kandinsky: ‘Russian Art 1917-32’ at the Royal Academy

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To mark the centenary year of the Russian Revolution, the Royal Academy of Arts has put on an exhibition of Russian art from the years 1917 to 1932. These were the years before Stalin dissolved all artistic organisations and replaced them with the state-controlled Union of Soviet Artists, banning all visual art which did not conform to the style of Socialist Realism. Until then, post-revolutionary Russian visual art saw the emergence of radical avant-garde styles, as well as expansive experimentation with photography and film.

The exhibition begins with the immediate artistic reactions to the success of the Revolution, with paintings like Boris Kustodiev’s Celebration on Uritsky Square, which captures a moment of euphoria for the workers of Petrograd, the square awash with banners representing the city’s individual factories. Yet responses to the political situation were not always this clear-cut, something demonstrated by the inclusion of Kliment Redko’s Insurrection, which uses traditional orthodox iconography to depict a diamond of marching workers inside a burning city, with Lenin painted Christ-like at the centre. The painting could be a portrayal of the awe-inspiring power of the Revolution, yet it could also be a reaction to the terror of violent upheaval.

The next room is entitled ‘Man and Machine’. Here the exhibition details the boom in photography, a new visual medium which was used to great effect to document—and glorify—the industrialisation and mechanisation of the Russian economy. Photographers like Arkady Shaiket produced photographs which made industrial workers seem like classical war heroes, while other artists used photography to create new styles of visual art, including what became known as Constructivist photomontage. Film, too, achieved greater prominence in the 1920s, and film-makers were also fascinated by mechanisation. Parts of Dziga Vertov’s stunning The Man with the Movie Camera suggest the aesthetic appeal of industrial processes and modern city life. Among the paintings in this room, one in particular caught my attention: Alexander Deineka’s 1927 Textile Workers was unlike the other unambiguously positive representations of industrial labour. It seemed eerily sterile, reminiscent, I felt, of scenes from Huxley’s Brave New World.

This turned out to have been a prescient thought, for the next space was called exactly that: ‘Brave New World’. This room contained works of abstract painting by Kandinsky, Filonov, and Popova, and—the most interesting exhibit—a construction of El Lissitzky’s design for an apartment in the Narkomfin Building in Moscow, a renowned example of Constructivist architecture. The painter Kazimir Malevich, to whom an entire room of the exhibition is dedicated, was a pioneer of geometric abstraction, inventing a purely abstract style in 1915 called Suprematism. Yet his style becomes most significant, or poignant, in his paintings of Russian peasants, whose faces have become merely blank ovals, evoking their lost identity under Communism’s agricultural collectivisation.

The exhibition moves through a collection of war-time documents, film documentaries of the cities and countryside of the 1920s, and the work of artists like Chagall, Shterenberg, and Petrov-Vodkin,  who were troubled by the upheavals in the country they loved. There is also a space in which Vladimir Tatlin’s remarkable flying-mechanism, the Letatlin, is displayed: a giant glider or ‘flying sculpture’, hung from the roof and resembling da Vinci’s bird studies.

Finally, visitors get a glimpse into how art after 1932 was forced to conform to Socialist Realism under Stalin’s repressive regime. Sport became a particularly prevalent theme in paintings and photographs of the 1930s, and the exhibition shows how the State’s encouragement of sport was also aimed at women. The photographs in this final room of women shot-putters and footballers in fact continue a trend that can be seen throughout the exhibition. Women are present in nearly all the representations of Soviet public life: in the films of city life, in the pictures of industrial workers, and in the paintings and photographs of agricultural labourers. In this way, Soviet art and propaganda differs from that of the Nazis in Germany. Yet the exhibition ends with a reminder that the relationship between art and state under the two regimes was otherwise not all that different after 1932. In the final room stand a model of the planned Palace of the Soviets—a terrifying, bombastic piece of architecture—and a booth called the ‘Room of Memory’, in which a slide show is played: photographs of creative figures, taken after their arrest and often not long before their torture and execution.