Sunday 12th October 2025
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Food diary: why we all should cook more

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Every year, New Year’s food resolutions start promisingly yet many tend to dwindle rapidly. After the maelstrom year that was 2016, one can understand the desire to move into a completely new time, marked by an even firmer resolution. With a firmer resolution, however, comes a steeper slide back into old food habits. Perhaps 2017 is the year to try a new kind of resolution: forget trying to control what you eat, try cooking instead.

Among many of the greats lost in 2016 was that giant of all food critics, A. A. Gill, whose thorny humour and characteristically piercing critique granted him a place at the top of the food chain. A recovered alcoholic, Gill found cooking a sort of therapy—“four and 20 black thoughts baked in a pie”. As with much of his writing, this assessment seems to hit the nail on the head, especially when it comes to New Year’s resolutions for 2017 which seek to move away from the black mess that was the year before.

From working one’s way through a hefty cookbook, to conquering Buzzfeed Food, there’s plenty to do. Whether you aspire to be a dab hand at patisserie, or just an expert at microwave mug cakes, having a personal cooking goal for the year can be as serious or as casual as you want it to be.

All resolutions require some motivation in order to be kept up: this year, in memory of a true jewel in the crown of British television, I say we put those familiar Bake Off induced hunger pangs to good use. Cooking programmes dominate the TV scene at all times of year, and are one of the best ways to learn how to cook.

Whilst being a year of lows for the world, 2016 was happily punctuated by many highs in the world of British cookery television. The winners of both Masterchef and the Great British Bake Off, Jane Devonshire and Candice Brown, were incredibly entertaining to watch—if the latter was divisive, she was arguably just as endearing as the former. This year-long presence of achievements in and ideas about food on TV is constant motivation to cook, whereas the January ‘clean-eating’ craze usually quickly falters.

New Year’s resolutions seek to leave behind bad habits and memories. But a sudden change can be challenging, not to mention a change in something so fundamental as food. The best way to leave behind a bad time is to have a good one, and there’s a reason that food is at the centre of social life. Paying more attention to, and taking more enjoyment from something as everyday and communal as cooking might be much more fun than an often solitary diet resolution. Ultimately, making a resolution about cooking will end up changing how we eat.

Brandon Flowers: “Nobody ever had a dream round here'”

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Not many people know the best moment in their life. I know mine. 2013, Wembley Stadium, when The Killers played their first stadium concert.

As the sun set on 80,000 people on that sultry Saturday night, a show began long on emotion, short on patience, as Brandon Flowers, the band’s lead singer and frontman pulled out every stop for a gig that defined his career. After a mesmeric three hour performance he got in a taxi, drove to the Islington Garage Club and did it all again. That takes commitment.

Brandon Flowers is a curiously reclusive figure in a pop age that valorises the extrovert. He broke-through in 2003, first in the UK and later the US, with ‘Mr Brightside’. Since then he’s released four studio albums with The Killers, and two solo works. Worldwide he’s sold about 22 million albums, is described by Elton John as one of the most inspirational musicians of this century, and has performed before the British Royal family.

Oh, and The Killers’ charity Christmas singles have raised over $1 million dollars for the HIV charity RED. Actions speak louder than words and Flowers may shake before he appears on national television, but he’s a man as driven as he is creative.

Commercially Flowers is big. Culturally he is well known. Musically he is respected. But he has never received the status he deserves as a wordsmith in the Lennon-Jagger tradition. His songs are powerful, political and pertinent, transcending his Las Vegan heritage. They present a clarity of thought and certainty of value increasingly unusual in our post-truth world.

Hot Fuss was his electrifying debut, ‘Mr Brightside’ now a dance-floor classic of every club. Like everywhere. The indie soft rock, auto-tuned vocals, and missionary lyrics about ‘destiny’ were immediately popular. “I must have performed that song a thousand times and I still don’t get bored of it,” Flowers told Zane Lowe in 2013. Nor does any club DJ I’ve ever heard.

Sam’s Town, Hot Fuss’ 2006 sequel, was the album where Flowers truly found his voice. He wasn’t bashful about it either. The Nevadan claimed it was “one of the best albums in the past twenty years”, that it would be “the album that keeps rock & roll afloat.”

The critics disagreed, with Rolling Stone delivering a miserly two-star rating. It was a radical and, many argued, unnecessary departure from The Killers globally successful debut. But if you listen to Sam’s Town, and I mean really listen, you understand what Flowers is on about. It’s an American masquerade about hope, success and failure. “Nobody ever had a dream round here” is the framing-opening lyric from the title track, a nostalgic throw-back to Flower’s tragic youth surrounded by gambling addicts in a rundown suburb of Las Vegas.

Sam’s Town takes its name from the casino across the road from where Flowers grew up. The tracks together form a biographical narrative of self-reflection. ‘This River is Wild’ is a cry of the tribulations of faith, ‘Uncle Jonny’ about watching your best friend break down, ‘When You Were Young’ a classic Springsteenrock song about dating the wrong girl.The manifesto song for the album ‘Read my Mind,’ is Flowers’ essay on the American Dream. “I never really gave up on/ Breakin’ out of this two-star town/I got the green light/I got a little fight/ I’m gonna turn this thing around”—aspiration courses through the bridging-guitar crescendo. I could go on, but that’s beside the point.

Individually the songs are great to listen to, but the album succeeds because it coheres so perfectly. This is the antonym to beige pop, the kind of thing that should keep Ed Sheeran awake at night. Flowers writes soul music in the original meaning of the term. Biblical in its reach, epic in its subject matter, the lyrics resonate the harsh non-conformist value system of Flowers’ Nevadan upbringing. “Decades disappear like sinking ships/ God gives us hope,” Flowers shouts in ‘A Dustland Fairytale’, the raw emotion of self-denial trilling through the cadences of that bitter-sweet symphony. God and religion are present in much of Flowers writing, highly unusual in an age in which secularism is writ-large across pop culture.

More than a musical mastermind Flowers is an indie rock fashion icon, an old-school practitioner of Las Vegas haute-pop-couture. In an era of fashion neurosis on stage, where Harry Styles is feted for donning a blank t-shirt and Chris Martin’s rent-a-sticker guitar becomes a cultural symbol, Flowers remains stubbornly gaudy. America’s synthrock cowboy, he’s worn everything from a Dior feathered epaulette jacket to lavish quantities of eye mascara. Flowers remains a vigilant 80s New Romantic revivalist, an unashamedly ostentatious showman.

“I’ve gone through life white-knuckled…” Flowers opens ‘Flesh and Bone’ the breakout track of The Killers fourth album Battle Born. This is music with a diaristic quality, a haunting resonance and melodic variance so out of step with contemporary synth-pop. It’s music which echoes Flowers’ life story; about succeeding in the face of adversity and fighting for what you believe in.

Together his oeuvre forms a go-to lyric book replete with every mode of human emotion and experience. The man is a genius and it’s time he is recognised as such.

Review: Bowie’s Lazarus

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3 STARS

It was really no surprise that Lazarus, the musical composed by David Bowie and Enda Walsh, sold out in a matter of hours when it debuted on Broadway in 2014. Even less surprising is the gravity it then held after Bowie’s death, as his final musical gift following his iconic career. There was further excitement still, when in November 2016, the show crossed the Atlantic for a three-month spell at the King’s Cross Theatre.

Bowie famously starred as the humanoid alien, Thomas Jerome Newton, in the film adaptation of Walter Tevis’ The Man Who Fell to Earth. Originally seeking water for his own planet from Earth, Newton amasses great wealth but is eventually discovered as an alien and experimented on by the American government. Lazarus follows on from the film, with Michael C. Hall (of Dexter fame) taking on Newton, drinking his days away on gin, broken, and unable to return home.

Obviously, Bowie’s music—both much-loved classics and songs written especially for Lazarus—was the focal point of the show. However, with twenty songs in less than two hours and a complicated plot, it was more like a musical concert with an obscured storyline.

That being said, the music itself was fantastic: covers of classic Bowie songs such as ‘Changes’ were not just emulations, they were reimagined for the performer. Bowie played a big part in the casting, and in creating the fresh interpretations of his own music. The 15 year-old Sophia Anne Caruso particularly stood out as The Girl, an ethereal character whose mature, clear vocals and complete innocence of character contrasted brilliantly to Michael C. Hall’s depraved Thomas Newton.

The use of a screen in the centre of the stage was effective. It was used in a variety of ways: to show live close-ups of characters lying on the floor, to add depth to the stage, and to show scenes from the original film, with characters on stage mirroring similar events. This was brilliant design on the otherwise minimalistic stage: not just for the practical reason that a large theatre can swallow up finer details of a performance, but also as a creative way to add to the hallucinatory theme of the show.

The plot has received a lot of mixed reviews from critics. I found that, leaving the theatre, I was totally unable to explain what I had seen to anybody. The production was hard to follow, and some of the more climactic moments towards the end were weakened because the logic of what led to that moment was unclear.

Similarly, the incorporation of characters from the original The Man Who Fell to Earth seemed to have no real purpose besides novelty, and it deviated from the primary impetus of the storyline. However, with Newton as the protagonist in a delusional mental state, the confusing plot is ultimately a reflection of his mind: and what could be more Bowie than a psychedelic, and equally unfathomable character?

SPRING PRINTS

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This week, Anoushka styled Ebere in colourful prints for some vibrant spring inspiration to lift you out of any January gloom.

Spring 1 spring 4 spring 3 Spring 2

CREATIVE DIRECTOR/STYLIST/PHOTOGRAPHER: Anoushka Kavanagh

MODEL: Ebere Nweze

Time Tunnel: Edward II

Unsurprisingly for such an iconic play, Charlotte Vickers’ production is not the first to hit the Oxford drama scene. While it is exciting to produce work in dialogue with a rich theatrical history, a glance over the Cherwell archives reveals a rather checkered history when it comes to Oxford productions of Edward II.

Let’s hope our reviewer this year will be more impressed than Ellie Wade was with Francesca Petruzzi’s “comically bad” direction in 2012. Sounds pretty harsh, you might think, but Wade supports her damning conclusions with such examples as, “I think critics are entitled to have a pop when that ‘glittering’ crown you’re monologuing about came free with a Happy Meal and weighs visibly less than a Satsuma.”

She went on to describe the much-hyped gay element of the play as “a lot of groping and not much chemistry” and noted that three actors had “an amusing habit of standing in height order.” Vickers should take note: this publication does not take kindly to height-related stage direction. Big no-no.

While far removed from the dire straits of 2012, Cherwell also had reservations about Tom Richards’ 2008 production. Like Vickers, Richards used a modern setting, and certainly, “the sweet-sour smell of weed, star-cross’d lovers, and violence” all sound pretty evocative, although perhaps reviewer Chen-Li Yiu should avoid mixing her Shakespeare-Marlowe metaphors.

However, modern settings clearly have their pitfalls, as she went on to note that the actors seem, “never quite sure whether they are playing nobles or gangsters.” Second note to Vickers: make sure your actors know which parts they’re playing. What would Oxford theatre do without Cherwell’s sage advice?

Review: George Street Social

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The George Street Social is the kind of cafe-bistro-bar conglomerate that Oxford does so well. Situated half-way down the city’s main food street, it definitely holds its own amidst the strong competition.

The GSS prides itself on its locality, making it the perfect place to visit if you’ve found yourself missing Oxford over the vac. Portraits of the city’s finest adorn the upstairs walls, inspiring the many students typing away diligently on their laptops. The décor is industrial inspired—think exposed panelling, steel lamps and vintage objects—but there is a hint of fun in the puns on the literature themed stairs (‘Olives and Twist’, ‘Gone with the Wine’).

Any menu with ‘heritage carrot’ as a salad ingredient maybe takes itself a little too seriously, but there is a variety of options ranging from light brunch plates to hefty main meals and also some exciting sharing boards. There is also a pleasingly broad selection of vegetarian and vegan dishes, as well as good catering for anybody with allergens.

My co-editor, who had dragged me here after raving about the baked eggs, had the shakshouka with tomato, peppers and feta. I, meanwhile, had the smashed avocado on toasted campaillou, with poached egg & chilli (campaillou, as I discovered, was an enjoyably crusty sourdough-type bread that was sourced from a local bakery up in Summertown). The flavours of this posh avocado on toast were all perfectly balanced, but I did find myself wishing there was more for my £5.50. Nevertheless, the prices are around the standard for most middle range Oxford restaurants.

Things we didn’t try but wish we had were drinks from the inventive cocktail menu, including a delicious sounding ‘Raspberry Collins’ with Beefeater gin, lemon juice, sugar and fresh raspberries, and the mouth-watering cake selection. The restaurant also very much lives up to its ‘social’ label, with weekday happy hours between 5-8pm and Friday evening events. All in all, the George Street Social is a great place to experience the buzz of Oxford again after six weeks at home.

George Street Social, 35 New Inn Hall Street.

Farage appointed to key rolls in the Foreign Office

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Due to popular pressure, the Foreign Office has announced that it will be filling all of its diplomatic roles with self-styled business man and spokenword artist Nigel Farage. After the election of Donald Trump as US president, Farage was appointed as the British ambassador to America on the advice of several expert Twitter consultants, including @BritzJobz4 and @BravoBoobZero.

After the resignation of EU ambassador Sir Ivan Rogers, the Foreign Office announced that Farage would be taking on this role to help smooth the Brexit process.

The Foreign Office spokesperson Joanne Unbright said: “After public consultation we have decided to appoint a firm Brexiter as EU ambassador, largely because their unpopularity in the European Community will save tax revenue through a reduction in social engagements. Brexit means Brexit, after all.”

Several hours later she issued a further statement:“Sod it, Farage can take the lot. China, Australia, the UN. Who doesn’t want to see Farage try to negotiate a trade deal in the Congo? Or anywhere, for that matter.” After clarification from Downing Street, the press reported that this in fact meant the Farage is to be appointed ambassador to all 195 recognised nations, all global institutions and placed in charge of all economic negotiations.

In his new positions Farage will receive a sizeable salary, which he has chosen to draw primarily in pints of Ruddle’s Best County Bitter (allegedly around 300 pints per day) and packs of Benson & Hedges. He told Reuters: “What’s best for Britain is best for me and I’m excited to have such a pivotal role in re-forging Britain’s place on the world stage. It’s a bit like the war, isn’t it?”

Approached for comment whilst in America building new ties, Boris Johnson said: “Farage is a man that I can do business with. We played a game of charity cricket once. He was out for a duck and then we went and shot a pheasant in a Wetherspoons car park. What a pity that Mrs May confiscated our bails.”

Exclusive: Squatters set to stay

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Iffley Open House have stated there are “strong indications” that squatters will be allowed to stay in the temporary homeless shelter set up on Iffley road after a hearing on Friday morning.

Speaking exclusively to Cherwell on Thursday night they said: “We really hope that we will be able to stay in the shelter. There have been strong indications that this will be the case and that the court will rule in our favour tomorrow.”

The current leaseholders of the Iffley Road squat, Midcounties Co-op, have expressed a similar confidence that they will reach an “amicable arrangement”, allowing the squatters to remain in the property, which is owned by Wadham college, throughout the rest of winter.
In a statement the company suggested that they will allow the property’s continued use as a homeless shelter until legally required to hand it back to Wadham in April.

Kevin Brown, Group General Manager for the Midcounties Co-op said: “We successfully adjourned the repossession process on Friday for seven days to give us more time to reach a positive outcome.

“We’ve also completed a health and safety inspection of the site. The areas affected by asbestos have been cordoned off, and we’re satisfied that the building is safe and that those staying there are taking their duty of care very seriously.

“In April we have a legal obligation to hand the site back, with vacant possession, to our landlord Wadham College. To ensure we’re able to meet that requirement, we will request a repossession order at Court next Friday, but our preference is not to have to use it.”

Students across the university have continued to show support in favour of the current residents of Iffley Open House (IOH). On Thursday, a motion was passed without opposition at OUSU Council to, “unequivocally support the actions of IOH.”

The motion called for, “Oxford Students to offer practical help, such as legal expertise, marketing skills, donations and volunteered time.”

At Wadham, the Students’ Union (SU) voted in favour of paying legal fees on behalf of the Iffley House Group.

Wadham SU President Lucas Bertholdi-Saad told Cherwell: “Wadham College, and Wadham Students’ Union, do have a material interest in the redevelopment of the Iffley Road Site and its development on schedule.

“Despite the health and safety issues around the occupation, it is far safer to be sheltered in IOH during the Oxford winter than out on the streets. Wadham College has an opportunity to offer concrete support to vulnerable people.

“Occupiers at IOH should be allowed to stay as long as is reasonable. Wadham College should help IOH in trying to ensure they do not need to return to the streets after the building needs to be vacated.

“Cuts to homelessness services by Oxfordshire county council have helped create a crisis in Oxford. It is a scandal that, in one of the richest cities in one of the richest nations on Earth, people still sleep rough in the streets in winter. People need homes, empty spaces need people.”

Hannah-Lily Lanyon, who seconded the motion at Wadham SU, said: “Many Wadham students are part of the IOH community, and do not want to have a split interest between Wadham and IOH: we want both College and IOH to be working together to help find solutions for homelessness while the weather is particularly awful.

“We urge College to open up the eleven empty flats above the currently occupied space, which would provide the housing which is so desperately and urgently needed.”

In response to the statement from the Co-op, the IOH group described its residents as relieved, and gave thanks to its supporters.

A member of the group told Cherwell: “Our focus now is to work with Co-op to turn their positive statements into a concrete agreement that will ensure the current residents can continue living in their new home securely through the harshest of the winter months. Until an agreement is made we face potential eviction in court this Friday.”

The group continue to urge people to show their support, and say that they “will support the Co-op and Wadham College to do the right thing in their local community, actions they say they are keen to take”.

The building, initially purchased by Wadham in 2015, is scheduled for demolition in order that it can be turned it into student accommodation.
The site has been occupied since New Year’s Eve by IOH. Around 36 people are believed to currently be sleeping in the space.

Top five things to do post collections

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Haven’t recovered from collections? Not looking forward to explaining your grade to your tutor? Or are you just in need of a break already? However you’re feeling, Cherwell Broadcasting has taken some time to ensure that students know where to relax and enjoy in a post-collection world in Oxford. From learning something new in the Ashmolean or just grabbing an ice cream, we have the top five things to do in Oxford to help with those January blues.