Saturday 16th May 2026
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Feel good indie for the oncoming winter

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It’s been five years since the midlands rock scene sprung back into prominence, with triumphant debut tracks from brummie indie rockers Peace and Swim Deep. And it shows no sign of dropping back following this startling second album from Superfood. Bambino paints a picture of a much more controlled and self-aware outfit than that portrayed by its predecessor, thoroughly in tune with the direction and pace of the modern British music industry.

There is nothing more exhilarating in music than an artist fulfilling their potential, particularly after a disappointing debut, and nowhere is this more applicable than here. First coming to attention due to their frontman’s role as producer of early demos for the aforementioned Peace and Swim Deep, Superfood’s debut album Don’t Say That failed to replicate the success seen by other midlanders, receiving a one star review in Cherwell in late 2014 (which, I have to say, feels a little harsh). Halving their member count for the follow up, the two-piece’s sophomore album is filled with infectious melodies and luscious lyrical delight, drawing and improving upon their earlier work with a genre-defying, feel good vibe.

Superfood’s signing to Dirty Hit Records – those behind The 1975 and Wolf Alice – comes as no surprise, nor does their tour later this year. Bambino draws on releases from Tame Impala and Glass Animals releases. These frames of reference, however, feel a disservice as Bambino is a resounding success as a piece of artwork in its own right.

The potent album opener ‘Where’s The Bass Amp?’ sets the stage for this with a filthy bassline and fear- less samples, signalling confidently the bold and groovy record that is to follow. Whilst not losing their Britpop influence, Superfood shift away from a boring Blur or Oasis remake, towards a much more contemporary and original sound, making reference to jazz and funk. They even sample ska on the brilliant track ‘Unstoppable’, which many will consider the album highlight, packed with boozy lyrics and a formidable beat. ‘Natural Super-soul’ follows, treading delicately with soulful, woozy, yet self-assured lyrics with a true 90’s groove backbone. A personal favourite, ‘Raindance’ turns through a multitude of genres with an invigorating beat, infused with grungy nostalgia plus a funky, Jamiroquai-esque sound. The critically adored early first single ‘Double Dutch’ calls back on this nostalgia, its laid-back jazzy tone colliding into trip-hop. Three very smart instrumentals, culminating with ‘C Is For Colour’, truly bring the LP together into a complete singular en- tity. Whilst the dazzling intensity of the opening few numbers drops away at times into the second half of the record, it maintains its core project of carefree relaxation, right through to the end. Bambino’s closer, named ‘Clo Park’, contains a coolly executed guitar solo, evoking a euphoric laying in the grass vibe.

In contrast to the resurgence of guitar music in recent years, Bambino is not just another drug-fuelled guitar pop album. It may not contain a political statement or manifesto, nor is it as backwards looking or as downhearted as some of its lyrics suggest. It is however, an instrumentally diverse, heartwarming and life affirming tribute to youthfulness; intelligent, daring and brash; full of bright and loud colours and with a much bigger bite than their previous output. It’s just what the doctor ordered going into the short, cold and wet autumnal days, and a definite dark horse for the award season in the new year.

How a small office in Bloomsbury keeps the tradition of criticism alive

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The London Review of Books’ offices lie just beyond the British Museum, taking up two floors of an unassuming office building in a narrow Bloomsbury street. It’s not a road you would stumble down. Yet its self-effacement is fitting for a paper which, as assistant editor Alice Spawls explains, “we think our job’s done best by not being in the middle of things, so we’d rather keep a certain distance in order to maintain the quality of what we do.” The marvellous sense of aloofness that pervades the LRB, as it’s affectionately shortened to, has seen it buck every trend in publishing: few pictures, matte paper stock, and long – very long – articles. The current issue I have besides me as I write this (Volume 39, Number 16, 2017), has John Lanchester on Facebook for 9,000 words and T.J. Clark on Picasso’s Guernica for 7,000 words. There are few forums in Britain that would give a writer the space to do this, 24 times a year. It’s a freedom which has attracted some of our best writers: Andrew O’Hagan, Hilary Mantel, Julian Barnes.

As I sat down with Alice Spawls on an early August evening on the second of the LRB’s floors, I could see the back of the neoclassical spire of Nicolas Hawksmoor’s St George’s church, replete with George I in Roman garb atop a pyramid steeple. It’s the kind of peculiar, off centre view which informs the LRB itself. Around us were hundreds of books, laid out over half a dozen tables, covering every field imaginable, fresh from publishers of all sizes and specialisms, every book suggestive of a dozen different articles.

Spawls pointed to a newly-arrived book, David Kynaston’s Till Time’s Last Sand: A History of the Bank of England 1694-2013, and discusses the various routes which could be taken, “whether we wanted to review it as a social history, or as economic history, or whether we wanted to give it to someone to talk about central banks today. There are a lot of ways of approaching a book.” She describes the process of selecting a book for review as being a collaborative process amongst the editors. “We go through the books, pick out the ones that are of interest, either because they’re so good or so bad, and we sit around the table going through them and thinking about which writers to approach. We have huge scope to address certain issues or address issues in a new way”

Spawls has written for the LRB on subjects from Vanessa Bell to Vogue. She is young and alert, dispelling the idea that the paper is run by radical old Dons, although it’s clear they publish what they like to read and write. She started as an intern at the paper, “Like nearly everyone else here,” and as she puts it, “there’s always an expectation that an intern here would write something for the LRB.” Spawls, moreover, is an artist who has contributed a number of covers to the LRB, which traditionally have little to no connection with the issue’s content, elegantly refraining from including a photograph on the front cover.

The process for writing for the paper however, is rigorous and long. “Articles go through three or four editors and a lot of rounds of editing,” Spawls explains, setting it out as an alliance between author and editor. “There are different sorts of writers. There are some writers who present us with a lot of words and we have to do a lot of finishing. And there are some writers whose pieces are too finished, too polished, and their pieces need to breathe. Some editors can see the whole structure of ten thousand word pieces and others focus on a particular sentence.” Yet she stresses that one of the pleasures of her work is “how much the writers surprise us. We are always trying to predict what our writers are going to say, but we never do – writers like Jenny Diski always surprise us.”

In press weeks, Spawls describes the office’s atmosphere as being ‘like a submarine, it’s stuck on course, and it’s heading somewhere terrible and we’re frantically trying to change direction. There’s a sense of impending doom as we’re about to go to press.’ She goes through the laborious process involved after the LRB’s editor Mary-Kay Wilmers has settled on the issue’s contents. “She has a magical way of drawing out the similarities between disparate articles. We have to lay them out, edit them again, fact check them, and do all the word splits!” Grammar and syntax are areas of special concern. “We spend a lot of time talking about the nitty gritty, about language and our style guide, which is a constantly evolving beast. There are arguments about whether communist should be capitalised or not, or where a comma should go.”

It is this, I think, which crystallises the LRB’s special quality: no detail is too insignificant, no hyphen too unimportant. The editors care and so do their readers. Its circulation of around 70,000 per issue is over double that of The Times Literary Supplement, putting it around the mark of The Spectator. And while the readership is loyal, they’re also ‘loyal dissenters’, as the frequently rambunctious letters page attests. Spawls laughs when I raise the paper’s politics, “Our readers are complaining all the time about our politics! And we disagree internally lots too. We don’t just publish what we agree with.”

The LRB has been insulated to a degree from the sea change in publishing, driven by digitalisation, that has occurred over the past 15 years. “You can’t get an online only subscription and there’s little demand for that. But the internet has created a different readership; they might read an article whose link they’ve been sent, and they’re different to the ones who read the paper properly.”

Yet the paper has its blind spots, particularly with fiction. Reviews of non-fiction works overwhelmingly dominate its pages and Spawls acknowledges that “We do approach fiction differently[…] We struggle to do as much as we’d like. A good non-fiction book lends itself to the good, discursive essay we like publishing, which is harder to do with novels. We find it hard to find people who can write about fiction in an interesting way, avoiding academic language or the worst excesses of fiction writing itself.” In an era when contemporary literature is treated so shallowly in the broadsheets, it feels like an area where the LRB should be expanding its coverage.

The LRB though, has stayed remarkably consistent in tone, content, and layout for nearly 40 years now: if you look at its début issue in 1979, published as a British counterpart to The New York Review of Books, little has changed.

Mark Boxer’s wonderful cartoons are gone, colour covers only began in 1993, and Spawls notes that the paperstock changed last year, “we were all upset about that, even though I don’t think our readers noticed.” When I asked if it will be recognisable in a decade’s time, she replies, “I hope it will stay the same.” A horror of change for change’s sake, insures la tradition de qualité.

Near the end of our conversation, Spawls tells me “There’s a certain nervousness about being too popular, if everyone was reading the LRB, we’d be quite worried. We’re not interested in being in the public consciousness for its own sake.” This hints at the LRB’s defining philosophy, a detachment from the quest for popularity, setting about publishing more interesting things no one else is doing.

By being intelligent, careful, and thoughtful, and expecting its readers to hold these values too, the LRB has made itself indispensable, because there’s nothing else like it.

2017/18 JCR Premier League preview: Catz favourites to retain the title

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The JCR Men’s Premier Division gets underway in first week, and all seven sides competing for college football’s ultimate prize have undergone big changes over the summer months. With top scorers graduating, new captains stepping down, and incoming freshers largely unknown entities, the league is exceptionally unpredictable, but it may shape up as follows:

Title Challengers:

Defending champions St. Catz go into 2017/18 full of confidence – as ever – and with good reason. Capricious midfielder Till Wicker returns after a long-term injury, but it is up front that the real talent lies. After captaining UCL last campaign, Thomas Achtel slotted straight into the Blues side against Oxford City Academy in pre-season, and grabbed a hat-trick on debut. If he finds form at college level, Catz will prove a difficult team to beat.

Cuppers semi-finalists Exeter have been a real force in college football for the past few years, and this season should be no different. Goalkeeper Sean Gleeson has been given the captain’s armband, and Blues skipper Alex Urwin is a priceless asset with his defensive ability and capacity to ping balls forward from centre-back. Oluwatobi Olaitan’s panache and creativity in midfield will be vital going forward, and although it remains to be seen how Exeter will replace George Bustin’s goals, the Turl Street outfit are optimistic about their title chances.

St. John’s preparations for the season have been less than ideal, with a late change to the captaincy required after Centaurs’ [University Second XI] captain Sam Morris stepped down from the position. Ben Briggs has stepped up to replace him, but the men in red will likely be reliant on Eddy Mort replicating last year’s goalscoring form. The striker, who started up front on the Blues’ China tour, scored nine for the college last campaign, and set up another ten.

Mid-table mediocrity:

Typically strong in the JCR Premier Division, Wadham’s top-three finish last season was no surprise. However, they are without the mercurial talents of winger Ben Williams this year, who has moved to Cambridge to study for his Masters. If they fail to replace his creativity and trickery, a challenge for the title could prove too much.

Queen’s go into this season without last year’s captain Adam Rhaiti. After impressing for the Centaurs, the Modern Languages student misses out on the upcoming campaign due to his year abroad, and he leaves a gaping hole in central midfield. However, Dom Thelen, who scored one and set up another in Oxford’s 3-2 Varsity win last year, has a predatory instinct which makes him an invaluable asset at this level.

Facing the drop:

After several strong years challenging for the Premier Division title, Worcester finished in mid-table last season, and go into 2017/18 without either of their two top scorers from that campaign. Defensively, they look strong, with Blues centre-half Sam Hale and new skipper Matt Wilson marshalling the troops, but they are reliant on a strong fresher intake for goals.

Newly-promoted Balliol are something of an unknown entity. With very few players involved in the university set-up, the Broad Street side will be reliant on college-level stalwarts to keep them in the Premier Division – it could be a long season.

Andrew Adonis: “Increasing tuition fees has made the Tories unbreakably toxic”

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Tony Blair summed up his priorities in just three words – “education, education, education” – and entrusted his flagship revolution in Britain’s schools to just one man: Andrew Adonis.
His legacy – thousands of academies, which have largely replaced failing comprehensives with some extraordinary results – has been secure since the Conservatives appropriated his policy and ran with it into government.

Despite this, one gets the impression that his political appetite has barely been whetted – from his office in Little Fielden House, he sustains Stakhanovite levels of activity. Lord Adonis – as he is now titled – is writing two books due to be published next year, running a set of lectures, which he will deliver in Oxford this term, on Prime Ministers and Europe since Thatcher, chairing the National Infrastructure Commission, and is an active member of the House of Lords – all whilst fighting against Brexit and the excessive and increasing pay of senior university staff.

Lord Adonis is eagerly awaiting his own lectures: “we have a star studded cast,” he tells me. Lord Charles Powell, Oxford’s own Chancellor Chris Patten, Labour peer Stewart Wood, and Theresa May’s former aide Nick Timothy will all review the European policy of Prime Ministers they knew and served.

PPE students who, presumably, will flock to these lectures might be in for a shock if Adonis should digress and give his thoughts on their degree.

“PPE is a degree essentially in rhetoric, not in intellectual substance,” says Adonis. “PPE produces generations of students who are very good at making arguments on the basis of very flimsy substance. It does teach you a lot about writing very glib 2000-word essays, which have an argument you could just as easily write the reverse of the next week.

“Most of the people making the worst arguments in the Brexit campaign had done PPE at Oxford.”

He himself got into Oxford to read PPE but tells me he is “immensely glad that I switched to History, because first year Economics is just reading newspapers.” Presumably, going on to write not-very-glib essays and reading much more than just newspapers, he graduated top of his year, before gaining a doctorate with a thesis on the House of Lords in the late nineteenth century, and tutoring History and Politics at Nuffield.

Oxford was an unlikely place for Adonis to end up. His mother left him when he was three, and the majority of his early years were thus spent in a children’s home. He was no Tracy Beaker, however, but a quiet, meek, well-read and well-mannered child.

His academic spark was spotted by the manager of his children’s home, Auntie Gladys, who arranged, along with his father, for Camden Council to fund a place for Adonis at Kingham Hill School, a boarding school in Witney. There, he had to learn how to survive quickly. He recalls that sport was the predominant social determinant of the day, and, being relatively unskilled in all aside cross country running, he took to managing and organising things.

On one occasion, the school seemed both uninterested and unqualified to develop an efficient timetable for transporting all students to a CCF trip. Perhaps prescient of his future career, they deferred to Adonis before he was even a teenager. He remembers methodically jotting out which pupil would take what train to what destination, and from there how they would arrive at the field, before writing individually to each student to deliver their specific instructions.

The imagined sight of this twelve-year-old boy – a future Transport Secretary – writing a detailed timetable of efficiency, is far more charming than the idea of, for instance, a prepubescent Boris Johnson telling his friends he wanted to be “world king”.

He continued to excel at school, and by sixth form, he was “practically running the school” – but still found time to prepare for Oxford’s admission test in which he did well enough to be offered a place at Keble. This proficiency for multi-tasking would come to provide him with many more opportunities in his life.

Adonis spent the summer before university working behind the counter of an unemployment office. In that summer of 1981, unemployment had tripled from one to three million. He remembers endless lines of traumatised middle-aged men – doubtful whether they would ever find another job.

At this point in the interview he deters from his usual style of answering questions: like a machine gun – one line of argument triggering the next, all being aimed precisely at supporting his overall conclusion, but at this point in our conversation something seems to have jammed in the barrel. He talks of endless queues around the block, an infinite supply of cases to be processed by hand , regularly resulting in him working until midnight.

The prolonged sense of desperation of the men in that office is a memory which has most certainly not deserted him. It is, perhaps, the first moment the gloom, misery, and importance of politics leapt off the page and confronted this bookworm face-to-face. His intimacy with economic disaster has perhaps turbo-charged what he considers is his duty to fight Brexit tooth and nail, a feeling of duty which brought a halt to his political hiatus.

On Brexit, he believes things “are now moving strongly in favour of another referendum. The one thing the two sides of the argument, in both major parties, will be able to agree on is a referendum”.

Adonis’ prediction goes like this: in the Commons, “the Conservative party will split on whether or not the deal is a good idea. In Labour, the overwhelming majority of Labour MPs will be in favour of staying in the EU, so they’ll be against the deal. Even those who are in favour of leaving won’t want to support May’s deal because it will be bad for Britain. That will include the leader Jeremy Corbyn.”

According to Adonis, Corbyn will then acquiesce to the pro-European case because he “would betray the trust of his younger supporters if he was to move into an anti-European position.” In that referendum, the outcome “is marginally in favour of staying at the moment because the deal will be so bad. If you put those probabilities together, thats how you get to just under 50% chance of Brexit being stopped.”

Yet it is not only Brexit which has Adonis enraged about our present politics. He is also waging a war against the pay of university leaders and the current level of tuition fees.

“Increasing tuition fees to £9,250 has just made them unbreakably toxic and politically unsustainable,” he tells me, predicting that as a result “tuition fees will be swept away because whoever wins the next election, Labour or Conservative, will fight the election to abolish them, because it’s far too complicated a position to fight the election on reducing them.”

Adonis’ preferred solution is for “a sharing of the cost of universities between the student and the state, fees of £9,250 is moving the entire cost and more – because most courses do not cost £9,250 to deliver, onto the student.”

He believes “Oxford has a position of moral leadership, as well as needing to do the right thing for its own students.

“Louise Richardson, the vice-chancellor, who in my view is being paid an unjustifiably large salary for being a leader, needs to show leadership, and the best leadership, in my view. What she could do is to cut fees by £1,000 a year for the next five years, and halve her own salary, and put the cut in her own salary – and that of other university managers, who are grossly overpaid in Oxford, put that all into a pot for reducing fees for students.”

Louise Richardson has labelled politicians like Adonis “tawdry” and “mendacious” for making a link between tuition fees and the rapidly rising pay of vice-chancellors, and, at first sight, the notion that halving the pay of a vice-chancellor could solve the tuition fee crisis is obviously absurd.

However, Adonis argues that those who have challenged him on this point, such as economist Danny Blanchflower, “haven’t done the maths”. At Oxford, if the total pay of the 452 individuals earning over £100k was cut by 25%, every undergraduate could have their fees cut by £1000 next year. A change which would enormously benefit every student, and affect just 3% of its staff.

He says he wants to return to government, hates opposition, and, says “if I was university minister in two years time, I would set up 50 technical universities across every city in the UK which would be outstandingly good to match the technical universities of Germany”.

Could this happen under a Corbyn administration? “No, no, no, Corbyn will not be Prime Minister. People who lead political parties who lose elections almost never win them second time round. There have been 39 elections since 1944 in Britain and the US, and in only three (Churchill, Nixon, and Heath) cases has a leader who has lost the first election and then gone on to win the second.”

In all, if Adonis continues to push his agenda with the drive and energy that has punctuated his ca-reer, perhaps the next great surprise in British politics will be his style of centrism spreading like wildfire.

Then again, as a PPE student myself, perhaps I could just as easily write another glib 2,000 words next week about how Adonis is the last surviving dinosaur hanging onto an ideology which the electorate has effectively driven into extinction.

Snapshot: A Night in Nerja

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The first thing that struck me on my night out in Spain was that all the lads (and I use that term liberally) in our group were wearing shorts. This was something of a novelty for me. Having come of age amid the nightlife of Manchester, it wasn’t so much that the bouncers wouldn’t let you in wearing shorts, but that the weather wouldn’t let you out in them. No such worries on the Costa del Sol as we sat outside a bar in Nerja until about 1am – but I’m getting ahead of myself.

The night began, as all good things do, with a bout of pre-drinks. Giving a whole new meaning to the term ‘party bus’, we hopped aboard the local public transport service to Nerja, trying to avoid the looks of distaste from other passengers as we unceremoniously cracked open our tinnies and slurped on the regrettably lukewarm froth that burst forth. Several miles and several more units later, we stumbled off the bus and into the aforementioned bar, where I had to contain my disbelief and delight at the price of drinks. A couple of euros for a cocktail? It’d be rude not to. As it happened, I was incredibly polite that evening.

My politeness endured into Tutti Frutti Square, where we sampled bars and clubs until about 4am, when my politeness began to catch up with me. Wetherspoon’s had softened me with their watery Woo Woos, so the liberal Spanish attitude to cocktail ratios hit me like a party bus to Nerja. However, it didn’t all end in tears. I managed to make friends with an alleged ‘shaman’, who tried to cure my ailments by tapping my head and showering me with water. Now there’s something you don’t see in the queue for Bridge.

Christ Church students in uproar over new ‘canteen-style’ informal hall

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Changes to Christ Church college’s dining policies have led to anger from students, with dissatisfaction at the changes leading some to an attempt a boycott of hall.

For a trial period starting this Michaelmas, informal hall – taking place at 6pm – will no longer be a catered service. Instead, students will be required to collect their meals at a canteen-style counter, bringing Christ Church in line with the majority of other colleges.

Formal hall, held daily at 7pm, will remain a catered service.

In addition, weekday breakfast will move from the 16th Century great hall to the less distinguished Freind Room, reportedly due to consistently low attendance.

Students expressed concern that once they are no longer served at their tables, and instead are made to queue to collect food, waiting times will grow insufferably long and college social life will suffer.

One student told Cherwell: “Some people are concerned that, under the trial system, they will have to queue for a long time to get food and that it will likely make dinner a less social occasion, with people all eating at different times within the time window for informal.”

Catered dining was described by Christ Church student George Hill as one of the college’s “defining features” in a Cherwell opinion piece. He further wrote that it is this tradition that “draws students to Christ Church”, and that the change was therefore “completely disingenuous towards the newly arriving freshers who may have to change their meal plans”.

Hill continued: “a self-catered service will no doubt reduce the quality of food, with more of it being prepared hours beforehand and kept under heat lamps. This in turn will put further strain on the formal hall staff, who will have to prepare more fresh food under a set menu.”

Other students have alleged to Cherwell that the changes were undertaken with no consultation of either the JCR executive or the wider student body.

When contacted for comment Christ Church’s JCR President said: “there will be ongoing discussion with the JCR about whether to make [the changes] permanent.”

Reportedly the student body did not even discover that plans to abolish catered service were set to take effect until the news was leaked in an Oxfeud post.

The Oxfeud post which allegedly started the row.

Following this, the JCR food representative contacted members to state: “Hall are also going to trial a self-service dinner for informal… Hopefully this should be a quicker alternative to waiting for three courses to be served but remember that this is on a trial basis and will be reviewed if it is unpopular or there are big queues!”

The apparent lack of regard from college for student opinion outraged many, and reportedly led some to attempt a “half-hearted and ultimately abandoned” boycott of hall.

Second year Christ Church student Ama Neubert told Cherwell: “The college went right over the JCR’s head and the lack of communication has left a bad taste in lots of our mouths. It is just a trial for this term but people have jokes about boycotting informal if it becomes a permanent fixture.”

Students at other colleges were less sympathetic, with one third year student at Hertford telling Cherwell: “I can understand the concerns relating to college democracy, but the idea that having to queue to be served dinner will tear apart Christ Church’s social fabric seems pretty absurd.

“If anything, being able to choose a time within a fairly wide window to eat is far more con- venient, and still allows friends to choose to arrive and sit together.”

Christ Church did not respond to a request for comment.

Fringe Round-up: Six of the Best Stand-Up Shows

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The Edinburgh Fringe boasts every possible kind of performance. During my week there
this summer, I saw everything from a ninja card show to a polished musical with one bellowing drunk actor. But by far the most commonly-advertised kind of show was stand-up comedy – and it soon became evident that the Fringe’s unfailing variety was present even within this most competitive of categories.

Tom Goodliffe’s Coffee Run

Rather than shifting endlessly between topics and jokes, the first stand-up show I saw followed a single extended anecdote. Tom Goodliffe’s quest to visit 60 independent London
coffee shops in a day makes for cosy and relaxing storytelling. While not consistently laugh-out-loud funny, Goodliffe’s earnest and friendly manner left me irresistably invested in his story of a hipster pilgrimage across the capital.

Gráinne with a Fada

Gráinne Maguire offers a far more classic stand up show. She weaves anecdotes from her childhood together with political comment, in an effort critique how those who try hard – and particularly those who must, like immigrants and women– are disliked, and caught in a double-bind. The show starts slowly, but gains momentum, flowing wonderfully. Maguire’s
light, self-deprecating humour is warming and a joy to watch.

George Egg: DIY Chef

Combining DIY, cooking and comedy, Egg’s show is truly remarkable. As he demonstrates
how to cook using a wallpaper stripper, drill or bucket, he speaks with a humourous charm, rooting his eclectic show in a compelling narrative, and creating a wonderfully upbeat atmosphere. Combining lighthearted anecdotes and poetry, Egg’s comic timing is flawless. (And his food delicious!)

Frankie Boyle: Prometheus Volume I

Boyle’s new show is outrageously funny, consistently leaving the audience in stitches. The material is tight: he wastes no time between jokes – although, at times, this comes at the
expense of flow. He deftly addresses salient issues through humour, tearing apart people’s fear of refugees through a bit about a Brummie offering to pop down to London by bus to carry out a terrorist attack, and being told that Ahmed, currently floating across the Mediterranean on a mattress, “has the Brits exactly where he wants them.” As is to be expected with Boyle, the jokes that rely on shock factor become tiresome, but overall Prometheus is truly entertaining, with masterful delivery and vivid language.

Shappi Khorsandi: Mistress and Misfit

Khorsandi’s show is remarkably informative, weaving together the history of Emma Hamilton, best known as Nelson’s mistress, with candid personal anecdotes. She interrogates the issue of female autonomy, examining how far we have come, and have left to go, in terms of the position of women in society.

Aung San Suu Kyi stripped of ‘Freedom of Oxford’ title

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The controversial leader of Myanmar, Aung San Suu Kyi, was stripped of her ‘Freedom of the City’ honour by Oxford Council at a meeting earlier this week.

The motion, which argued it was “no longer appropriate” for the politician to hold the award, was approved by a majority of city councillors on Monday.

Aung San Suu Kyi was awarded the Freedom of the City in 1997, in recognition of her pro-democracy activism. But despite winning a supermajority in Myanmar’s 2015 elections, violence towards the unrecognised Rohingya minority in the country has contin-ued under her leadership, drawing international criticism.

“The ethnic cleansing of the Rohingya people in Myanmar has shocked the world,” the Leader of Oxford City Council, Bob Price, told Cherwell.

“There is justied anger across the city and the Council that a Nobel Peace Prize laureate who is the Head of State in Myanmar has not only failed to condemn the violence but has actively queried the accuracy of the evidence presented by the United Nations and the international media.

“She was awarded the Freedom – which is the City’s highest honour – for her remarkable stand against military dictatorship and the imposition of authoritarian rule in her country.

“Her failure to stand up in similar fashion to military leadership in the face of such appalling violence against an ethnic and religious minority clearly leads to the conclusion that she is no longer worthy of the honour bestowed by the City of Oxford.”

This comes after news last week that St Hugh’s College has taken down its portrait of Aung San Suu Kyi, who studied Philosophy, Politics, and Economics (PPE) there in the 1960s. The Swan, a St Hugh’s blog, reported that the painting had been replaced by Yoshihiro Takada’s ‘Morning Glory’.

A spokesperson for St Hugh’s told Cherwell: “The College shares the grave international concerns about the persistent ethnic violence towards, and treatment of, the Rohingya community.

“We earnestly hope that Aung San Suu Kyi will do everything within her power to stop the violence and address the underlying issues as a matter of urgency.”

The University said it is not reviewing its decision to award the Myanmar leader an honorary degree in 2012.

La Bohème review – ‘Shabby and chic but not lacking in charm’

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As I make my way to St Leonard’s Church, east London, I’m confronted with the unmistakable sight and smells of Shoreditch on a Saturday night: the streets are thronging with drunk students seemingly attempting to live out the skint Amy Winehouse lifestyle, with a rollie in one hand and a Stella in the other. It seems that London’s corner of commodified authenticity is still very much alive and kicking.

In this self-professed centre of bougie artistic types, it isn’t difficult to imagine that a visit from a new tour of La Bohème – the tale of four young bohemian creatives living downtrodden in mid-nineteenth-century Paris – would go down a treat. It is even less difficult to imagine when you see that the company, edgy newcomers Barefoot Opera, promise a “youthful new production of Puccini’s classic love story”. (Indeed, the cast, largely made up of recent graduates, is markedly younger than the experienced performers on show at the Royal Opera House’s new production a couple of miles to west.)

But think again. Those in the audience inside St Leonard’s Church are, largely, just a more ‘well-worn’ version of what I imagine the Opera House’s regulars to be. All hornrimmed spectacles and corduroy history lecturer chic, they lack the worn-out converses and leather skirts which fill the streets outside. What’s more, the shabby interior of the church itself is a fitting refute to the veneer of faux-authenticity that characterises most of the local clubs and bars of the area. The flaking paintwork and melted wax down the walls creates an odd cocoon of charming authenticity within a whirlpool of cheap imitation. And the same could be said of the opera.

For Barefoot’s La Bohème is a startlingly engaging performance full of passionate intensity and an electric joie de vivre. Its small cast are certainly not lacking in oomph: along with just four accompanying musicians, their soaring crescendos are enough to fill the lofty church several times over. Lucy Ashton provides a particularly impressive debut as Mimi; she sings of “sewing the sight of spring” with a full-blooded soprano voice oozing life and character.

Despite its limited cast and minimal staging, the production captures the vibrancy of city life. Director Jenny Miller says she aimed “to allow this opera, so often predictably staid and performed by stars in their forties, a sense of real youthfulness,” and through her creative use of movement and choreography, a market scene is transformed into something dynamic and alive. Mid-aria, a sultry and unruly Musetta, played by the excellent Kayleigh McEvoy, jumps aboard a table as its contents come crashing down to let out a wild yet skillfully-executed high note which narrowly avoids becoming a shriek.

In its immediacy and chaos, we are reminded that what sets La Bohème apart from its rivals as one of the greatest ever on-stage love stories is not that the lovers are held back by society’s barriers – but that they are set too free.

But for all its energy, the production still manages to capture the tragic and tender core of the story: the gradual realization by the opera’s central couple that their romance is not meant to be – Mimi has contracted tuberculosis and Rudolfo, her lover, cannot afford the necessary medicine.

The scene when Andrew McGowan’s largely convincing – if faintly awkward – Rudolfo achingly confides the truth to the audience, all the while contrasted by Marcello’s (Oscar Castellino) crisp and biting baritone, is particularly memorable. The closing deathbed duet is as refreshing as it is touching.

The production’s dark and demure staging, emphasized all the more in St Leonard’s tattered interior, is the perfect contrast to the young romance played out on stage. (In fact, the whole harshness-of-the-cold-and-cruel-city vibe is really brought home by the police sirens wailing outside the church during the final scene – like an unwelcome soprano
being added to the cast.)

“It’s a little shabby but it’s cheap and good quality”: the translation projected onscreen during the market scene is a character’s dialogue from a bartering sketch, but she could just as well have been speaking of the production – which, for around £20, is a reviving and warming opera of talented young performers which still manages to pack a punch.

More than that, Barefoot’s La Bohème is also an uplifting reminder of the joy that comes with being young, free, and having nothing at all except little money and big ideas. Maybe I
should join those broke students on Shoreditch High Street after all.

La Bohème is at Wolfson College, Oxford on 14 October.

Oxford Union under fire for male-dominated term card

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The Oxford Union today faces mounting criticism over the gender imbalance of the speakers in its Michaelmas term card.

Of the overall 61 speakers confirmed last week, just twelve are women – arguably a markedly low figure for a university which has a 46% female student body. It’s also a noticeably worse percentage than that of the Cambridge Union’s term card, where eleven of the 28 speakers are women.

The over 80% male term card has been criticised by the Oxford SU VP for Women, Katy Haigh, who said in a statement to Cherwell: “While I greatly appreciate the efforts the Union has made recently to engage with topics of equality and diversity, we need to see more from the Oxford Union.

“An establishment as old and prestigious as the Oxford Union should surely have adequate power and resources to engage a more diverse range of speakers.”

Britain’s Got Talent judge Amanda Holden, activist and former White House intern Monica Lewinsky, and actor Anna Faris are a few of the women speaking this term.

Meanwhile, people of colour fare even worse, with only seven non-white speakers on the term card, including British Vogue editor-in-chief Edward Enninful and actor Terrence Howard .

The gender and racial imbalance has sparked a backlash from women’s and diversity officers across the University, who told Cherwell the Union needed to improve its representation of women and minorities.

The St Hilda’s Women’s Rep expressed her frustration with the term card that contains only two women of colour, compared with 44 white men. She said: “The Oxford Union’s term card proves that success and intelligence at Oxford are continuously and persistently equated with whiteness and masculinity.”

Rachell Collett, the Women’s Officer for both Class Act and Oxford University Labour Club, said she was not surprised by the gender disparity in an institution which she claimed is “dominated by private school boys”.

“I think a failing like this pretty much sums the Union up and shows just how much needs to change in a uni where debating and politics are still the preserve of men,” she said.

Chris Zabilowicz, the Union President, admitted that he was “disappointed” with the gender imbalance, but insisted that it did not reflect a bias held by the Union, just that more men accepted invitations.

“Anyone who knows me will support me when I say I very much care about diversity, as the first openly gay President of the Oxford Union and an access member myself, and that I strived to put together a term card that reflects this.”