Tuesday, May 6, 2025
Blog Page 1827

Joe Cornish: Chip off the old block

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It was 2001 when Joe Cornish first conceived Attack the Block, in what seem like fairly unlikely circumstances for inspiration: he was being mugged by a gang of young kids. In fact, the same scene opens the film itself, which has finally leapt onto the silver screen after ten years of gestation and hard work. When I sit down to chat with Cornish, I’m sceptical that his first thought when having his wallet taken was, ‘Ooh, this’ll make a good film…’, but he laughs at this. ‘Oh no, that’s my first reaction to everything that happens to me. I’ve wanted to make a film since I was a kid, and my head’s been full of films since I was about seven. I’m afraid I’m one of those people who looks at everything and thinks about how it would play as a film.’

Although inspiration may have come from a somewhat unconventional source, the result is stunning. The plot is both simple and outlandish: a group of kids are midway through mugging a young woman, when they are interrupted by an alien invasion, and they spend the rest of the film defending their tower block from the extra-terrestrial threat. Although largely made up of unfamiliar faces, the young cast are brilliantly convincing, inhabiting a film that’s far more thrilling and cinematic than people might expect.

Attack the Block is one of the most original and stylish debuts of a British writer/director in years. This might surprise those familiar with Joe’s prior career as one half of comedy duo Adam and Joe, where the only hint of his cinematic future was the cuddly toy film re-enactments they used to make for their TV show. Despite the lack of cuddly toys here, Attack the Block looks like the work of a supremely confident and film-literate mind. Yet given its abundance of action and special effects, Cornish didn’t give himself the easiest first gig: had he always intended to direct it himself?

‘Yeah, absolutely. Always intended to. I’ve always wanted to direct, and particularly on this because I felt that would be the way that I would know exactly what was going on in the script, and be totally confident that I understood all the elements of the story, and I wouldn’t end up fucking up someone else’s masterpiece.’ So did he feel confident in steering it towards the screen? ‘No, it was surprising. To be honest, I had no idea. I’m one these people that for years has enjoyed film-going like sport. But when you actually make one, you realise what an incredible endeavour it is just to make anything coherent , and you realise the genuine amount of hard work involved. It annihilates all your personal relationships and your weekends and your holidays – it’s 24 hours a day for years, literally. But I loved it, I thought it was incredibly good fun.’

Still, Cornish isn’t quite new to this game. Over the past few years, he’s secretly been making a name for himself in Hollywood, co-writing the upcoming Tintin and Ant-Man while rubbing shoulders with, amongst others, Stephen Spielberg and Peter Jackson. I suggest that hanging around with such experts seems to have paid off, but Joe hesitates at this. ‘Riiight. Well, that’s nice of you to say, but those were both writing gigs. Ant-Man I’ve been working on for a while with [Shaun of the Dead director] Edgar Wright, and being friends with him has been a huge boon to me, because he’s taught me a huge amount, and tolerated me hanging around, watching how he does things.’ As a result of this association (Wright executive-produced Attack the Block), as well as due to its niche genre of horror-comedy, I remind Cornish that there have been an abundance of pretty lazy comparisons to Shaun of the Dead by both reviewers and the film’s marketing team.

‘Sure. I think it’s a very different film. I think Edgar’s a genius and I would be an idiot to try and do something similar. I think mine is more like a John Carpenter film. It’s less funny than Shaun of the Dead, it isn’t intended to be as joke driven. It wants to be a little more real, and maybe with a tiny bit more social commentary.’ Apart from anything, the setting is a very different one; while Shaun seemed fairly closely modelled on Wright and Simon Pegg’s own lives (give or take a few flesh-eating zombies), Attack the Block must be far less familiar territory for Wright, with its young cast and their distinctive inner-city slang. I suggest to Cornish that it wouldn’t necessarily be the first setting that people might associate with him, but he riles at this.

‘No, with great respect I think that’s a very reductive attitude. If you go through art and culture and eliminate everything that isn’t based on the author’s first hand personal experience, you’d lose the vast majority of it. So I wouldn’t even begin to think about it like that. I think that’s reductive and not the way to look at things, really.’ Feeling thoroughly scolded, and surprised by the irritation in Joe’s voice, I guess that I’m not the first to ask such a question. In fact, it’s understandable, given the work he put into immersing himself in that world. ‘The script was evolved from months and months of workshops with youth groups around south London, in which I interviewed them and talked them through the story. I recorded and transcribed personally everything they said and I taught myself the language they spoke, as if it was a foreign language. We worked extremely hard to create an authentic argot or slang, but we’ve also kept it quite simple and accessible.’

As the interview draws to a close, I feel obliged to ask about the future of The Adam and Joe Show on BBC 6Music. Even if Joe does become a big-shot director, will he continue to chat entertaining rubbish with Adam on Saturday mornings? He chuckles at this. ‘I hope so. I think what we’ll probably try and do is do little runs every now and then, if someone will have us. I think it’s quite healthy for both of us to do something outside of the radio show, and I don’t think either of us necessarily wants to spend the rest of our lives doing that show… But I came straight back from shooting, straight back onto the radio – I didn’t even have a day off, and that’s an expression of how much I love doing that show and how much I feel I owe the audience.’ Some fans might be a little disappointed by Adam’s absence from this film (if you discount his brief aural cameo, narrating a moth documentary on TV in one scene). Did Joe not want to give his professional other half a starring role? He laughs. ‘He’s my best friend in the world, and very talented, and as such, for my first film I wanted to be careful. If I fucked it up, I didn’t want to take him down with me.’

So after twenty-five years of looking at everything in the world and thinking about how anything might make a film (even a mugging), did he treat this as his one chance to shine? ‘Kind of. I didn’t sort of throw everything in like someone on a ridiculous trolley dash. But I have been waiting to do it for a long time and I’m acutely aware that the British film industry has a huge list of first time directors, a smaller list of second time directors, and a very small list of third time and career directors. I knew I had one shot. I wanted to do something ambitious, so that if it succeeded it would be exciting and if it failed it would be a heroic failure.’ In fact, it’s neither. And Joe certainly hasn’t ‘fucked it up’. Instead, Attack the Block is a fiercely original action flick that, along with similarly brilliant debuts like Moon and Submarine, represents a new wave of young British filmmaking talent. Being mugged can really pay off.

Painting the moment

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Clova Stuart-Hamilton was in the first cohort of Ruskin Fine Art students to be integrated into the collegiate system at Oxford and although nominally based at Somerville, she had to be at the Ruskin from 9am to 9pm every day, the sort of schedule which would make an English student drop his roll-up. Clova talks about how lucky she was to receive the technical grounding she needed to evolve into a figurative painter, ‘a rather rare species nowadays.’

Based in Jericho for over 20 years now, Clova enthuses about the Oxford Art Weeks, which she believes have contributed to ‘a heightened awareness of the benefits of patronising artists and craftspeople.’ She emphasises their educational value, explaining that ‘perhaps if you know nothing about print-making you can go and see a print-maker pulling lithographs off the press.’
Clearly a perfectionist, when asked what she finds the most difficult part of the creative process she answers ‘I find stopping paintings incredibly difficult.’ This is why she often paints things which are transient, such as plants which are dying.  As she’s very engaged with ‘working in the moment’, she has to finish an autumnal scene before the first frost or return to it another year, and tends to have a morning and an afternoon painting on the go at the same time to cope with the changes in light.

Clova often returns to certain themes in her work: ‘Going back to the same thing can propel you forward as you’re so conscious of the fact that you don’t want to repeat yourself.’ Living with a family of musicians, instruments regularly crop up in her paintings and she is particularly fascinated by interiors; the play of light with windows is a particularly common motif in her work. She always tries to balance more familiar compositions in her exhibitions with new subjects which excite her.

I ask how she reconciles a realistic portrayal of the modern world with the aesthetics of her painting style and she calls it a ‘fascinating challenge.’ She smilingly announces that she has sold one painting with a fridge in it and another, when her children were small, which involved a bottle of Calpol. She confesses, however, that she has ‘a big issue with cars’ and tries to avoid them when painting street scenes. ‘I do feel as a figurative painter working in the 21st century that ideally I would like to reflect back the world that I’m living in and when I was in New York, I did a little painting of a modern interior of what’s called IHOP, it’s a chain of cafés.’ She describes how she was ‘very taken with these two workers who were on their break’ and found that there was ‘a sort of poetry of the moment’ among the formica tables and ugly lights.

We turn to modern art and I ask for her feelings on more abstract and subversive pieces. ‘So much work nowadays is connected with ideas and I wouldn’t ever say my work is to do with ideas, my work is to do with experiences and using a visual language to record them,’ she explains. She suggests that ‘there’s a limit to the “shock-ability” of the British public’, who may eventually tire of art pieces which strive to offend. She points towards the enormous numbers of visitors to blockbuster exhibitions of Van Gogh’s letters or large retrospectives of Monet and says ‘I think there’s an interest there which isn’t actually represented in the media, who are concerned with sensationalism.’

She names Bridget Riley as a contemporary artist who excites her, generating visual rhythms with large bars of colour: ‘It’s at the opposite end of the scale from my work in terms of its pure abstraction but not in terms of it being to do with paint and colour.’ Her favourite artists, however, are the 19th century French Intimists Bonnard and Vuillard, who she credits with having produced ‘some of the most poetic and quietly inspiring painting of all time’. Art is a translation of personality and experience for Clova but it’s also about the economy of the brushstroke, the physicality of the materials and the visceral, sensual nature of painting as an art form. She talks about the sand embedded in the paint of Monet’s pictures of beaches and grins ‘it’s that sort of “in the moment-ness” of painting which I find exciting’. And I realise that I too have been ‘quietly inspired’.

 

Clova Stuart-Hamilton will be exhibiting her work at 92 Walton St, 21-22 and 25-28 May

Sectarianism, Strikes and Scares: A Year in the SPL

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The SPL once again produced a lively, if not predictable season – at least that is on the pitch. The Old Firm, as usual, left the rest of the field behind, and in the process conjured up a title race that ebbed and flowed and took us down to the final day of the season. Nonetheless, it was off the pitch, with an unprecedented strike by Scottish referees in response to undue criticism from Scottish clubs, unsavoury scenes at the Old Firm derbies and death threats made against Celtic manager Neil Lennon, which produced the biggest talking points of the season.

 

Rangers (1st Position, 93 points)

The King’s of Scotland (again): What a fitting finale for manager Walter Smith in his final season with The Gers: a League and Cup double. Allan McGregor tremendous in goal; 41 year old Captain David Weir a rock in defence; Steven Davis instrumental in midfield and upfront Croatian Nikica Jelavic has been lethal in front of goal. Smith’s assistant and Rangers legend Ally McCoist will take over the reins and with a new owner in Craig Whyte, the future looks bright for the Glasgow Club.

 

Celtic (2nd Position, 92 points)

Mad About The Bhoys: For the third year in a row, Neil Lennon’s team play second fiddle to their Old Firm rivals. Left-back Emilio Izaguirre has been a real revelation this season – winning the SPL Player of the Season Award – whilst striker Gary Hooper has been in fine goalscoring form. Speculation will continue to surround Lennon’s position following a string of threats made against him this season, nonetheless next season The Hoops will hope to stop their rivals from winning a fourth consecutive SPL title.

 

Hearts of Midlothian (3rd Position, 63 points)

Mambo Jambo-s: After years of instability both on and off the pitch triggered by majority shareholder Vladimir Romanov and disgruntlement at the appointment of Jim Jeffries at the beginning of the season, his shrewd transfer dealings have helped to bring Europa League football to Tynecastle, albeit with the club beginning in the Second Qualifying Round. With an exciting, talented squad and youngsters such as David Templeton already showing great promise, they’ll hope to push on next season and close the gap to the Old Firm.

 

Dundee United (4th Position, 61 points)

The Future is Bright, The Future is Tangerine: Peter Houston has continued from where he left off last season, consolidating United’s place in the top half of the SPL, providing formidable opposition to Hearts in the race for 3rd position and giving both Old Firm clubs reasons to worry when visiting Tannadice this season. Houston is building a young and progressive team with the likes of top-goalscorer David Goodwillie and midfielders Craing Conway, Danny Swanson and Morgaro Gomis all putting in impressive contributions this season.

 

Kilmarnock (6th Position, 49 points)

Free Killie: With many predicting a tough season for The Rubgy Park outfit, Killie have found themselves lying comfortably in mid-table. Alexei Eremenko has shone this season doing his best to fill the boots of striker Connor Sammon who left in January. Despite a less than successful spell at Hibernian, Mixu Paatelainen – named SPL Manager of the Season – rebuilt his reputation with the club, eventually taking charge of the Finnish National Team. The club’s first priority in the summer will be to appoint Paatelainen’s successor.

 

Motherwell (7th Position, 46 points)

Well, Well, Well: Having succeeded Craig Brown, former Bradford City manager Stuart McCall has had a good start to his managerial life at Fir Park, guiding the club to a solid mid-table position with striker John Sutton having a particularly impressive season upfront. The season is by no means over for The Steelmen as they go in search of silverware – the last coming back in 1991 – as they take on Celtic in this weekend’s Scottish Cup Final at the home of Scottish football, Hampden Park.

 

Inverness Caledonian Thistle (5th Position, 53 points)

You Know When You’ve Been Butcher-ed: Following their promotion back into the SPL from the Scottish First Division, it has been a terrific season for manager Terry Butcher. The club produced their best ever finish to a season in Scotland’s top flight division which included remaining unbeaten away for the entire 2010 calendar year. The addition of St Mirren defender Chris Innes has proved to be a shrewd bit of business, whilst Caley’s very own Rooney, Adam Rooney, has been a goal threat all season.

 

St Johnstone (8th Position, 44 points)

Steady As She Goes: Since their arrival back into the SPL in the 2009-2010 season following a seven year absence, The Saintess’s priority has been survival and that’s exactly what Derek McInnes’s team have delivered. Goals have been hard to come by and McInnes will be hoping to address this problem in his summer transfer dealings. The club will be further boosted by the news that last week McInnes turned down the offer to cross the border and manage Npower Football League One side Brentford.

 

Aberdeen (9th Position, 38 points)

Not so Dandi-es: Having been the only club outside the Old Firm to have achieved any level of domestic or European success in recent years gone by, fans at Pittodrie have set unrealistically high standards which haven’t been met – this season being no different. Following a record 9-0 defeat at the hands of Celtic earlier on in the season, Craig Brown stepped in and has since steadied the ship. He recognizes the need for changes so expect a huge turnover of players over the summer.

 

Hibernian (10th Position, 37 points)

Poked in the Hibs: Tipped at the beginning of the season to be challenging for 3rd place with the likes of Dundee United and Hearts, Hibs have struggled all season long. Unlike last season, they’ve been unable to make Easter Road a fortress and their away record has been equally poor. Losing defender Sol Bamba to Leicester City in January added to their defensive frailties however the performances of striker Derek Riordan and the exciting young Scottish midfielder David Wotherspoon will provided Calderwood some comfort.

 

St Mirren (11th Position, 33 points)

Best of Buddies: He’s one of the rising young managers in Scottish Football, having previously steered Cowdenbeath to promotion in successive seasons, and Danny Lennon has done what was asked of him at the beginning of this season, namely to guarantee St Mirren’s future in the SPL for another season. Their home and away form has been poor and Lennon will be worried by the lack of goals from his team who have relied far too much on the outstanding form of striker Michael Higdon.

 

Hamilton Academical (12th Position, 26 points)

It’s all Academic-al: Despite Billy Reid’s Accies finishing comfortably in 7th place last season, the loss of midfielder James McArthur to Wigan Athletic over the summer has been a huge loss – a player who they’ve been unable to replace. Goals have come at a premium and their heavy reliance on weaker clubs around them at the bottom of the league slipping up simply hasn’t materialized. Nonetheless Reid is a talented manager and his Lower League experience with Clyde should stand the club in good stead.

 

 

Team of the Season: Rangers

Player of the Season: Emilio Izaguirre (Celtic)

Manager of the Season: Walter Smith (Rangers)

 

For all the intrigue surrounding the action on the pitch, it’s been a season overshadowed by the events off it and you feel that the Scottish game must now take a long hard look at itself in the mirror over the Summer months. However the final word of the season must go to Walter Smith. Despite being beset by financial restrictions, a protracted takeover of the club and with a small squad at his disposal, his success this season must be ranked amongst the greatest achievement in his managerial career. At least for now Walter, it’s Good Night, and Good Luck.

Oxford’s Best: Sandwich

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Okay, so, in New York we have these things called Delis. They make sandwiches. Very little bread, much unfortunate salami and ambiguous cheese. Mayonnaise. I miss them. This may make me just a stupid foreigner but I love me a good Prêt sandwich. Reasonably priced sammies of seemingly untold variety. (Note the use of “sammie”) My favourite is the “Pole Line Caught Tuna Baguette” with cucumbers.  “Chicken Pesto Bloomer” is a strong second.  

Okay, so, in New York we have these things called Delis. They make sandwiches. Very little bread, much unfortunate salami and ambiguous cheese. Mayonnaise. I miss them.
This may make me just a stupid foreigner but I love me a good Prêt sandwich. Reasonably priced sammies of seemingly untold variety. (Note the use of “sammie.”) My favourite is the “Pole Line Caught Tuna Baguette” with cucumbers.  “Chicken Pesto Bloomer” is a strong second.  
Stay away from Nero and Starbuck’s sandwiches at all costs. Literally. They don’t taste great at all and they cost the same as a three-course meal. The caloric value is approximately equal to that too. The fact that they list these details on the packaging is just bad business. 
Brothers’ ciabatta specials are fab. They come with a little side salad, which apparently accounts for the extra three pounds. 
The price seems sadistic compared to Mortons’, their Covered Market neighbours. Mortons is dirt cheap and pretty tasty, but nothing special. However, quick and easy is all university students are really after, right?
I love anything with the Alternative Tuck Shop’s chicken pesto salad in it. Deep and passionate love.  Sit on the curb, almost-hit-by-a-testy-biker love. 
For those Jericho residents I’d opt for Bleroni Café. My housemates have conniptions over it. I have to say I can’t really understand why. They, like Mortons, have a lunch-box deal for just under four pounds but use nicer bread—poppy seeds on the baguettes and everything. I say go for the toasted chicken, cheddar and tomato sandwich. Plus the location and big windows are perfect for people watching. 
Just make sure there are no poppy seeds in your teeth when you casually smile at that hipster from the Rad-cam…

Stay away from Nero and Starbuck’s sandwiches at all costs. Literally. They don’t taste great at all and they cost the same as a three-course meal. The caloric value is approximately equal to that too. The fact that they list these details on the packaging is just bad business. Brothers’ ciabatta specials are fab. They come with a little side salad, which apparently accounts for the extra three pounds. The price seems sadistic compared to Mortons’, their Covered Market neighbours.

Mortons is dirt cheap and pretty tasty, but nothing special. However, quick and easy is all university students are really after, right? I love anything with the Alternative Tuck Shop’s chicken pesto salad in it. Deep and passionate love. Sit on the curb, almost-hit-by-a-testy-biker love. 

For those Jericho residents I’d opt for Bleroni Café. My housemates have conniptions over it. I have to say I can’t really understand why. They, like Mortons, have a lunch-box deal for just under four pounds but use nicer bread—poppy seeds on the baguettes and everything. I say go for the toasted chicken, cheddar and tomato sandwich. Plus the location and big windows are perfect for people watching. Just make sure there are no poppy seeds in your teeth when you casually smile at that hipster from the Rad Cam…

Having a ball

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Just imagine the scene: a ball dress, floor length, streaming to the ground in waves of silk or chiffon or taffeta; it’s been dry cleaned; the shoes and bag have been meticulously matched; your hair has been teased into flowing curls. And then, some oaf stumbles past, their DJ tacky with the lurid stickiness of VKs, and suddenly your perfect dress is suffering from a large splodge of Mission burrito right on the chest, and your dress, like the rest of your night, is ruined.  Yes, ball season is upon us, but Cherwell have some tips for making the most of the food and drink on offer, while avoiding spending the night in the loos with the hand soap.

It’s unlimited alcohol, so it would be a travesty not to get your money’s worth.  Stick to clear alcohols and mixers – not only will they give you less of a hangover the next day, but gin and tonic, vodka and lemonade and the majority of shots dry quickly and aren’t going to leave a whacking great mark on your clothes.

 Red wine is always going to spell danger for a light coloured dress.  However if you do succumb to the call of a little vin rouge, there are ways to lessen the stain.  Immediately cover the patch in salt to absorb the wine, and washing should do the rest (use cold water, hot water sets stains).  Alternatively, follow the old wives’ tale of dousing yourself in white wine to get rid of the red.  We can’t honestly say whether it works but either way you’re going to stink of wine for the next 7 hours.

There’ will be lots of food on offer to line your stomach: Mission, The Big Bang, Dominos, Noodle Nation, G&D’s etc taste delicious in an inebritated stupor but these greasy delights are a disaster for clothes. Be careful is stupid advice when drunk so, wipe the stain away as quickly as possible, run cold water over it and dab.  If you’ve hired a dress, it might be an idea to bring a stain removing stick or spray as leaving it to dry makes it harder to remove. If, inevitably, you overindulge, the same rules follow for sick as well as food.

Maybe keep some perfume and a few mints to hand.And if your dress can only be salvaged by dry cleaning, the one thing left to do is keep drinking. Having a permanent drink in your hand which you can hold in front of the stain works well, or alternatively, if the situation is really desperate, steal and attach a gaudy decoration to cover it up.

Food and other drugs

In the Bekaa Valley, trays of raisins and cannabis leaves dry together under the sun. The herbal reek of hashish is headily overpowering, as men roll long cigarettes of Red Lebanese, the local speciality, over dishes of mezzeh on a plastic tablecloth. In this village in the Bekaa Valley, cannabis is as much of a time-honoured tradition as the local cuisine. The family of our campsite owner Mohamad lives in the remote outskirts of Dar Al Wasaa village, in the northern Shiite territory of the valley. Their low-walled garden is tucked into rocky hillside, where a rolling plateau of wild lavender shrubs is hemmed in by the snowy folds of Mt Lebanon and the silhouettes of cedar trees. In the wilds of these planes, flat leafed cannabis plants grow. But the cannabis farmed here is not just a commodity; it is an integral part of the area’s cultural identity. It is the valley’s life-blood, and, as Mohamad’s brother puts it, lighting a joint on the barbeque, “Hashish is very special here, it has a special place in Bekaa’s history.” He laughs, and tells me how he spent his boyhood combing local roadsides for the occasional untamed spiky-leaved plant, drying it out on his bedroom windowsill. When I ask why the crop is so important for local business, he responds darkly, “This is Lebanon. Things are more difficult here. I mean, who can make a living by just growing tomatoes?” Until relatively recently, he explains, hashish had value as a kind of social currency. It was used in a system of collective barter and exchange, where it was given in the place of dowries and used to settle debts. One thing is clear, away from the sterile brashness of central Beirut and the seedy glitz of its downtown, the poverty in these remote parts of the Bekaa Valley is real. This community needs to farm hashish to survive. 

The fertile flatness of Lebanon’s most productive valley is where two very different traditions of farming grow side by side. Here food and drugs are twin industries, where the rich soil impartially nourishes both vegetable and narcotic alike. Despite the US sponsored crackdown in the mid 90s, where drug fields were ploughed and sprayed with poison, the governmental instability and political traumas of the last five years have meant cultivation has significantly increased. In the valley’s remote northern outreaches, green plantations of cannabis edge into orchards of apples, and opium poppies grow amongst wheat fields. These territories are predominantly Hezbollah strongholds, and while the official party-line condemns drug production, in reality, it more often than not chooses to overlook the cultivation of hashish and heroin refinement which goes on in the area. Mohamad explains that there is actually a certain level of collaboration between the valley’s drug underworld and Hezbollah officials. Drug dealers from the Bekaa are permitted to smuggle cannabis and heroin into Israel as long as they provide Hezbollah with  intelligence on the IDF. Since the Lebanon War in 2006, and the sporadic clashes with Israel since, central government has a weakened grip on Bekaa’s rural localities. The valley is portioned off into powerful mafia kingdoms run by tribal clans. Mohamad tells us that in Dar Al Wasaa, people do not respect the authority of national institutions any more, instead they answer to local drug barons. When I ask who the mafia boss in this village is, a shadow passes across his face. He doesn’t want to talk about it. Closing his eyes in the sunlight, Mohamad finds it hard to put into words the perversions of law and order that regulate life here. As more and more of the country’s soldiers are siphoned off to deal with security commitments elsewhere, the situation in the Bekaa Valley gets progressively worse. Lawlessness is an ideal growing condition for the cannabis plant.  It seems central government is losing control of Lebanon’s wild, wild East. 
Barbecue smoke and hashish mingle. The pungent smelling sacks of cannabis leaves and seeds are heaped up in a breezeblock shed, while in the garden, spatchcocked chickens hiss on hot charcoal. A world away from the corporate drabness of Beirut’s greasy falafel franchises, the traditions of peasant cookery in the Bekaa valley still centre on the principles of seasonality and subsistence. The practice of mouneh is at the heart of village life. This ancient art of food preservation stores the summer harvest for the barren winter months to follow. Mohamad’s mother Fatima produces an extraordinary selection of jams, jellies, syrups, perfumed waters, pickles and oils left over from this year’s mouneh store. The spring sunlight illuminates jewel-like bottles of mulberry and pomegranate molasses, while jars of dark thyme-scented honey are treacly opaque. These dusty pots and containers are an intensely nostalgic memory of childhood for Mohamad. He tells me how he remembers eating dried figs in summertime sitting in the hashish fields. On the table there are dark green bottles of hemp oil, like glossy pond-water, made from crushing the seeds of the cannabis plant. I spread the coral-coloured crush of watermelon jam on thin bread, and glue my fingers together with the syrupy stick of candied pumpkin. Fatima passes around fat kibbeh, flavoured with sumac and smokily rich leeyeh (sheep tail fat), and a large dish of labneh b’toom, mildly acidic yoghurt blended with garlic. Our chicken is accompanied by the fruity sourness of pickled baby aubergines, swollen in grape juice vinegar.  Fatima’s mouneh stash is a storehouse of tradition; preserving more than pickles in the process, she is salvaging a culturally historic art that many have abandoned. 
Old traditions often find new ways of surviving.  As we drive away from rural farmland and onto the dusty stretch of motorway that cuts into the valley, Mohamad points out the bustling roadside clothes markets. He explains how the drug dealers operating in Bekaa have been forced into adopting new, more secretive methods of distribution; where sellers now sew marijuana, cocaine, and heroine into the pockets of jeans. In a valley that is at once a living, breathing symbol of fruition and fertility, there is also a sinister shadow of death and destruction that darkens the Edenic picture. Mohamed, squinting in the sun, gestures with a smoking cigar to the breezeblock buildings that are stencilled with green Hezbollah rifles: he says “in this area, there is no fighting, only killing. When a conflict breaks out, there are no physical fights and no fists are involved, instead people bring out their army machine guns. Imagine… AK47s to settle arguments! It’s a massacre.” Here the houses of normal villagers bristle with military metal, where family homes are loaded with stocks of weaponry and ammunition left over from the war. In this part of town, Mohamad tells me, the window repair business flourishes. 
I spit the pips of a melon as daylight dies in the valley. From the stump of a Roman colonnade in Baalbek, I can make out the entire grassy plateau. It seems obvious that the future of the Bekaa Valley depends on positive UN intervention. Its promises of irrigation projects and alternative crop subsidies never materialised. Until there are changes made, it is certain that the fertile soil of the valley will play host to vegetable and narcotic alike. And for now the political problem of the Bekaa remains un-weeded.

In the Bekaa Valley, trays of raisins and cannabis leaves dry together under the sun. The herbal reek of hashish is headily overpowering, as men roll long cigarettes of Red Lebanese, the local speciality, over dishes of mezzeh on a plastic tablecloth. In this village in the Bekaa Valley, cannabis is as much of a time-honoured tradition as the local cuisine. The family of our campsite owner Mohamad lives in the remote outskirts of Dar Al Wasaa village, in the northern Shiite territory of the valley. Their low-walled garden is tucked into rocky hillside, where a rolling plateau of wild lavender shrubs is hemmed in by the snowy folds of Mt Lebanon and the silhouettes of cedar trees. In the wilds of these planes, flat leafed cannabis plants grow. But the cannabis farmed here is not just a commodity; it is an integral part of the area’s cultural identity. It is the valley’s life-blood, and, as Mohamad’s brother puts it, lighting a joint on the barbeque, “Hashish is very special here, it has a special place in Bekaa’s history.” He laughs, and tells me how he spent his boyhood combing local roadsides for the occasional untamed spiky-leaved plant, drying it out on his bedroom windowsill. When I ask why the crop is so important for local business, he responds darkly, “This is Lebanon. Things are more difficult here. I mean, who can make a living by just growing tomatoes?” Until relatively recently, he explains, hashish had value as a kind of social currency. It was used in a system of collective barter and exchange, where it was given in the place of dowries and used to settle debts. One thing is clear, away from the sterile brashness of central Beirut and the seedy glitz of its downtown, the poverty in these remote parts of the Bekaa Valley is real. This community needs to farm hashish to survive. 

The fertile flatness of Lebanon’s most productive valley is where two very different traditions of farming grow side by side. Here food and drugs are twin industries, where the rich soil impartially nourishes both vegetable and narcotic alike. Despite the US sponsored crackdown in the mid 90s, where drug fields were ploughed and sprayed with poison, the governmental instability and political traumas of the last five years have meant cultivation has significantly increased. In the valley’s remote northern outreaches, green plantations of cannabis edge into orchards of apples, and opium poppies grow amongst wheat fields. These territories are predominantly Hezbollah strongholds, and while the official party-line condemns drug production, in reality, it more often than not chooses to overlook the cultivation of hashish and heroin refinement which goes on in the area. Mohamad explains that there is actually a certain level of collaboration between the valley’s drug underworld and Hezbollah officials. Drug dealers from the Bekaa are permitted to smuggle cannabis and heroin into Israel as long as they provide Hezbollah with  intelligence on the IDF. Since the Lebanon War in 2006, and the sporadic clashes with Israel since, central government has a weakened grip on Bekaa’s rural localities. The valley is portioned off into powerful mafia kingdoms run by tribal clans. Mohamad tells us that in Dar Al Wasaa, people do not respect the authority of national institutions any more, instead they answer to local drug barons. When I ask who the mafia boss in this village is, a shadow passes across his face. He doesn’t want to talk about it. Closing his eyes in the sunlight, Mohamad finds it hard to put into words the perversions of law and order that regulate life here. As more and more of the country’s soldiers are siphoned off to deal with security commitments elsewhere, the situation in the Bekaa Valley gets progressively worse. Lawlessness is an ideal growing condition for the cannabis plant.  It seems central government is losing control of Lebanon’s wild, wild East. 
Barbecue smoke and hashish mingle. The pungent smelling sacks of cannabis leaves and seeds are heaped up in a breezeblock shed, while in the garden, spatchcocked chickens hiss on hot charcoal. A world away from the corporate drabness of Beirut’s greasy falafel franchises, the traditions of peasant cookery in the Bekaa valley still centre on the principles of seasonality and subsistence. The practice of mouneh is at the heart of village life. This ancient art of food preservation stores the summer harvest for the barren winter months to follow. Mohamad’s mother Fatima produces an extraordinary selection of jams, jellies, syrups, perfumed waters, pickles and oils left over from this year’s mouneh store. The spring sunlight illuminates jewel-like bottles of mulberry and pomegranate molasses, while jars of dark thyme-scented honey are treacly opaque. These dusty pots and containers are an intensely nostalgic memory of childhood for Mohamad. He tells me how he remembers eating dried figs in summertime sitting in the hashish fields. On the table there are dark green bottles of hemp oil, like glossy pond-water, made from crushing the seeds of the cannabis plant. I spread the coral-coloured crush of watermelon jam on thin bread, and glue my fingers together with the syrupy stick of candied pumpkin. Fatima passes around fat kibbeh, flavoured with sumac and smokily rich leeyeh (sheep tail fat), and a large dish of labneh b’toom, mildly acidic yoghurt blended with garlic. Our chicken is accompanied by the fruity sourness of pickled baby aubergines, swollen in grape juice vinegar.  Fatima’s mouneh stash is a storehouse of tradition; preserving more than pickles in the process, she is salvaging a culturally historic art that many have abandoned. 
Old traditions often find new ways of surviving.  As we drive away from rural farmland and onto the dusty stretch of motorway that cuts into the valley, Mohamad points out the bustling roadside clothes markets. He explains how the drug dealers operating in Bekaa have been forced into adopting new, more secretive methods of distribution; where sellers now sew marijuana, cocaine, and heroine into the pockets of jeans. In a valley that is at once a living, breathing symbol of fruition and fertility, there is also a sinister shadow of death and destruction that darkens the Edenic picture. Mohamed, squinting in the sun, gestures with a smoking cigar to the breezeblock buildings that are stencilled with green Hezbollah rifles: he says “in this area, there is no fighting, only killing. When a conflict breaks out, there are no physical fights and no fists are involved, instead people bring out their army machine guns. Imagine… AK47s to settle arguments! It’s a massacre.” Here the houses of normal villagers bristle with military metal, where family homes are loaded with stocks of weaponry and ammunition left over from the war. In this part of town, Mohamad tells me, the window repair business flourishes. 
I spit the pips of a melon as daylight dies in the valley. From the stump of a Roman colonnade in Baalbek, I can make out the entire grassy plateau. It seems obvious that the future of the Bekaa Valley depends on positive UN intervention. Its promises of irrigation projects and alternative crop subsidies never materialised. Until there are changes made, it is certain that the fertile soil of the valley will play host to vegetable and narcotic alike. And for now the political problem of the Bekaa remains un-weeded.

Max-imum exposure

0

The Beatles – arguably the most successful band in the history of popular music. Simon Cowell – a music producer with an estimated net worth of £200 million. Jade Goody – a media personality who was ranked on Channel 4’s 100 Worst Britains, yet also the most mourned individual of 2009. Other than fame, only one thing ties these three together. It may be going a bit far to call this thing an institution, but there is no question about the fact that Max Clifford is a big deal. Clifford left school with no qualifications and was given a leg up by his brother into a job which would train him as a journalist. However, after taking redundancy, he made a move across enemy lines to become a publicist for EMI records. It was here he began to build up what can only be described as an unparalleled CV. With clients ranging from Frank Sinatra to David Beckham, Clifford must be very good at what he does. 

he Beatles – arguably the most successful band in the history of popular music. Simon Cowell – a music producer with an estimated net worth of £200 million. Jade Goody – a media personality who was ranked on Channel 4’s 100 Worst Britains, yet also the most mourned individual of 2009. Other than fame, only one thing ties these three together. It may be going a bit far to call this thing an institution, but there is no question about the fact that Max Clifford is a very big deal. Clifford left school with no qualifications and was given a leg up by his brother into a job which would train him as a journalist. However, after taking redundancy, he made a move across enemy lines to become a publicist for EMI records. It was here he began to build up what can only be described as an unparalleled CV. With clients ranging from Frank Sinatra to David Beckham, Clifford must be very good at what he does. 
Before I met Clifford, he had just spoken at the Union. After an emotive and compelling speech in proposition from Professor Jean Seaton and very “British” rebuttal from Bob Marshall-Andrews QC, Clifford was going to have to do a very good job arguing in favour of the motion “This house fears the Rise of Media Monopolies”. And I’ll be honest, he wasn’t at all how I’d expected. Softly spoken, humble, it wasn’t what you’d imagine from the UK’s greatest PR mogul. However, what he perhaps lacked in presentation, he made up for in conviction and content. His warning of the power of Rupert Murdoch and the influence this man had over David Cameron was delivered in an eerily serious tone, to which even the charismatic and apparently fearless Marshall-Andrews had no response. “When I found out my phone was hacked, I took on News International. None of the other people named would, including cabinet ministers and very powerful people, because they were scared and frightened of News International’s power.” So does Clifford believe that publicists have too much power? “No… I think because of the media generally speaking no. Publicists seek to have too much power, so do journalists. Journalists resent publicists or PRs because they want to have total control themselves. But the journalists, and largely speaking the media, still have the upper hand, although I would like to change that as much as I possibly can, and I do”. 
Having the job of interviewing a PR powerhouse who has just shaken one of the most influential debating chambers in the world can only be described as a bittersweet experience. On the one hand you have a chance to grill this individual on any topic you desire, on the other you’re so nervous that just holding onto the dictaphone is difficult, let alone working out how to use it. After convincing myself that it was unlikely that his tirade against the media held Cherwell specifically in mind (although you never know) we turned towards the topic of super-injunctions. Clifford has been responsible for the majority of kiss-and-tell stories that have splashed the front pages of tabloids, and is currently representing Imogen Thomas, the Big Brother star caught in the centre of the super-injunctions scandal after an alleged affair with a premiership footballer. “Yes, I’ve taken out super injunctions; I’ve got lawyers to take them out on behalf of clients, but they’re wrong because it’s a law for the rich. Ordinary people can’t afford super-injunctions which cost fifty, sixty, seventy thousand pounds from the lawyer, the QCs, the whole process. That alone makes it wrong. Also its been introduced by judges, not by parliament. In a democracy that means it’s wrong.” For a resource which would make any publicist’s job easier, Clifford’s outspoken disdain of super-injunctions is clearly a very powerful message. 
 Clifford has acknowledged the shrewd and calculating nature of the PR industry.  In the past, he has used contacts in high-end brothels to detract attention from his own clients, and he was responsible for one of the most famous, and entirely fictional, tabloid headlines of all time, ‘Freddie Starr ate my hamster’, to garner interest for Starr’s up-coming tour. In 2009, he admitted advising two high-profile gay footballers to stay in the closet to save their careers.   When I asked if Clifford thought there had been any progress made in the standing of gay footballers in recent years he responded, “Sadly, no… I said 10 years ago that hopefully it would change, but in my mind it hasn’t. Hopefully the FA will one day start to do something about it as they promised they would a year or two ago.”
Clifford is now 68, and despite over 40 years in the industry, he shows no sign of retiring. While it would appear that the name of the game has not changed much over the course of his career, the internet has changed almost every aspect of public life: “There is so much out there which is absolutely ridiculous. I mean, the super-injuctions: in the last week or so there have been two or three people named as having taken out super-injuctions who haven’t. But actually the newspapers, magazines, television have far greater impact and influence in my opinion. I’ve had seven people coming out on Facebook pretending they’re Max Clifford who have nothing to do with me at all, but that couldn’t happen in a national newspaper.” 
And yet despite this marathon of a career, it seems that Clifford has few regrets. “Have I made mistakes? Of course. I’ve had things I’ve been involved in and thought, ‘I would have done that differently’. Of course. But I love what I do and I’ve done it my own way. I’ve had far greater freedom than any journalist… by and large I’m happy with the years gone by.”

Before I met Clifford, he had just spoken at the Union. After an emotive and compelling speech in proposition from Professor Jean Seaton and a very “British” rebuttal from Bob Marshall-Andrews QC, Clifford was going to have to do a very good job arguing in favour of the motion “This house fears the Rise of Media Monopolies”. And I’ll be honest, he wasn’t at all how I’d expected. Softly spoken, humble, it wasn’t what you’d imagine from the UK’s greatest PR mogul. However, what he perhaps lacked in presentation, he made up for in conviction and content. His warning of the power of Rupert Murdoch and the influence this man had over David Cameron was delivered in an eerily serious tone, to which even the charismatic and apparently fearless Marshall-Andrews had no response. “When I found out my phone was hacked, I took on News International. None of the other people named would, including cabinet ministers and very powerful people, because they were scared and frightened of News International’s power.” So does Clifford believe that publicists have too much power? “No… I think because of the media generally speaking no. Publicists seek to have too much power, so do journalists. Journalists resent publicists or PRs because they want to have total control themselves. But the journalists, and largely speaking the media, still have the upper hand, although I would like to change that as much as I possibly can, and I do”.

 Having the job of interviewing a PR powerhouse who has just shaken one of the most influential debating chambers in the world can only be described as a bittersweet experience. On the one hand you have a chance to grill this individual on any topic you desire, on the other you’re so nervous that just holding onto the dictaphone is difficult, let alone working out how to use it. After convincing myself that it was unlikely that his tirade against the media held Cherwell specifically in mind (although you never know) we turned towards the topic of super-injunctions. Clifford has been responsible for the majority of kiss-and-tell stories that have splashed the front pages of tabloids, and is currently representing Imogen Thomas, the Big Brother star caught in the centre of the super-injunctions scandal after an alleged affair with a premiership footballer. “Yes, I’ve taken out super injunctions; I’ve got lawyers to take them out on behalf of clients, but they’re wrong because it’s a law for the rich. Ordinary people can’t afford super-injunctions which cost fifty, sixty, seventy thousand pounds from the lawyer, the QCs, the whole process. That alone makes it wrong. Also its been introduced by judges, not by parliament. In a democracy that means it’s wrong.” For a resource which would make any publicist’s job easier, Clifford’s outspoken disdain of super-injunctions is clearly a very powerful message. 

Clifford has acknowledged the shrewd and calculating nature of the PR industry.  In the past, he has used contacts in high-end brothels to detract attention from his own clients, and he was responsible for one of the most famous, and entirely fictional, tabloid headlines of all time, ‘Freddie Starr ate my hamster’, to garner interest for Starr’s up-coming tour. In 2009, he admitted advising two high-profile gay footballers to stay in the closet to save their careers.   When I asked if Clifford thought there had been any progress made in the standing of gay footballers in recent years he responded, “Sadly, no… I said 10 years ago that hopefully it would change, but in my mind it hasn’t. Hopefully the FA will one day start to do something about it as they promised they would a year or two ago.”

Clifford is now 68, and despite over 40 years in the industry, he shows no sign of retiring. While it would appear that the name of the game has not changed much over the course of his career, the internet has changed almost every aspect of public life: “There is so much out there which is absolutely ridiculous. I mean, the super-injuctions: in the last week or so there have been two or three people named as having taken out super-injuctions who haven’t. But actually the newspapers, magazines, television have far greater impact and influence in my opinion. I’ve had seven people coming out on Facebook pretending they’re Max Clifford who have nothing to do with me at all, but that couldn’t happen in a national newspaper.”

And yet despite this marathon of a career, it seems that Clifford has few regrets. “Have I made mistakes? Of course. I’ve had things I’ve been involved in and thought, ‘I would have done that differently’. Of course. But I love what I do and I’ve done it my own way. I’ve had far greater freedom than any journalist… by and large I’m happy with the years gone by.”

Ja-caring for the kids

0

So, what do you get up to in your free time at Oxford?” Relatives ask me, probably imagining something along the lines of rowing on the Isis, fine dining at formal hall, singing in the chapel or playing croquet. Quaint, old-fashioned, undeniably Oxbridge things. Though I have to admit, I  do enjoy  some – ok, most – of these things, when I think back on last term, it’s taking a coachload of kids and students on a trip to the Roald Dahl Museum that first springs to mind. 

o, what do you get up to in your free time at Oxford?” Relatives ask me, probably imagining something along the lines of rowing on the Isis, fine dining at formal hall, singing in the chapel or playing croquet. Quaint, old-fashioned, undeniably Oxbridge things. Though I have to admit, I  do enjoy  some – ok, most – of these things, when I think back on last term, it’s taking a coachload of kids and students on a trip to the Roald Dahl Museum that first springs to mind. 
Not exactly sure what I’d expect while trawling   around Freshers’ Fair, I had somehow managed to get involved in organising events for Jacari, a student-run charity providing free after school home teaching for over 200 local children who don’t speak English as their first language and are falling behind at school. As a treat for both the kids and volunteers, whose help can make a huge difference to a child’s self-esteem and school performance, we put on events: bowling trips, trips to see the new Harry Potter film, or, in this case, something a little more educational. It’s my responsibility to make sure they all have a good time.
It can be a stressful role, as I quickly discovered when 25 excited kids piled on to the coach. I’d been slightly apprehensive about the journey, so had games of ‘travel bingo’, a CD of Charlie and the Chocolate Factory and a few bags of sweets at hand. Perhaps these all  went down too well: the coach was filled with shrieks every time a yellow car or motorbike went past, and I was soon faced with constant demands for sweets from people who assured me that they were about to puke. When we finally arrived – I don’t think I quite understood before how many times it is possible to fit “Are we there yet?” into an hour long journey – I had my work cut out trying to stop the children from running around the museum. I caught one boy trying to lick chocolate from a remarkably realistic chocolate-bar door, and stopped another from walking off in what was supposedly Roald Dahl’s school uniform. By the time we got back to the coach I was as exhausted as they were.
Still, it was a great chance for those involved in Jacari to get together, and, judging from the grins on the kids’ faces as their teachers were forced to act out Dahl’s version of the Three Little Pigs, I think everyone enjoyed themselves. It was brilliant to see those who struggle so much at school completely throw themselves into a competition for the most imaginative ‘Story Ideas Book’, which all children are given on entrance to the museum. For the volunteers, it was a way to bond with their pupil outside their weekly lesson, as well as a perfect excuse to be a kid for the day – who wouldn’t enjoy writing a rude story in fridge magnets, or dressing up as Willy Wonka? 
But for me, best of all was listening to volunteers and kids share their experiences of Jacari. I met Jean, who had brought four pupils on the trip (most volunteers are allocated one or two but sometimes siblings get jealous!) and told me that every lesson since the ‘Mad Hatter party’, they’d nagged her about when the next event would be.  Another volunteer, Bekah, said that Jacari was “definitely the most interesting ‘outside’ thing” she’d done at Oxford so far. She raved about the chai tea and chapatis that greet her at her pupil Tahira’s house, and made me laugh by recalling a lesson in January when Tahira asked her politely whether she would like to come to her 7th birthday party on August 30th.  Zaza, who has been a Jacari volunteer since 2009, said that almost every week her pupils ask her if she has any children herself, and, refusing to accept she has none, insist that she brings them over next time for them to play with. She added, “I think Jacari is brilliant, it’s so nice for the children to have an older role model to look up to and the rewards of being a tutor are definitely worth it.” 
Jacari only asks its 175 volunteers, from both Oxford and Oxford Brookes Universities, to commit to one hour teaching each week, but many enjoy spending time with their pupil and family so much that they stay longer. Bekah had just come from making gingerbread with Tahira, and another volunteer warned me that he was running late for the trip because he’d been helping his pupil’s father fill in a form he’d had trouble understanding. For some of these families, many of whom are recent arrivals in the UK, having a native English speaker in the house – even if only for an hour or so – can be a real lifeline. 
Of course, the teaching part is crucial: the whole point of Jacari is to try to do something about the fact that educational achievement of pupils who speak English as an additional language is consistently lower than their peers at all ages. The fact that there are over 150 kids on the waiting list speaks for itself: families and teachers really do value that one hour a week. In the words of one local schoolteacher, “The support and guidance the students provide to our pupils is invaluable. Our learners thrive under their support and always, always make better progress in their subjects as a consequence.” 
But Jacari is about much more than just exam results. Families who are new to the area often tell us how much they appreciate simply having a friendly face to visit them each week. And the learning works both ways.  Adrianne, who taught the Kamala family for a year, recalled, “As well as English practice and schoolwork, I taught them a few words of French and they taught me some Somali; I checked their timetables and they showed me how to hold their new baby brother… being a Jacari tutor made me see the real people behind the ‘immigration’ headlines.” Adrianne, like many volunteers, became good friends with the whole family, and found it hard to say goodbye when she left Oxford last year. Some of the friendships formed are lifelong – one Jacari alumni even invited her pupil and family to her wedding.
As for me, I admit that sometimes while in the middle of an essay crisis I don’t especially feel like going to teach a sweet but very stubborn ten year old girl whose homework is often so full of spelling mistakes I don’t know where to start. But when I get there –  when her twelve-year-old sister presents me with a huge plate of onion bhajis and gives me even more to take home with me –  when I am asked to talk to her countless Pakistani relatives on Skype – when I finally get her to understand the point of a full stop – you can guarantee I’ll be smiling. I always leave in a much better mood than I was in an hour before.
The Oxford bubble can be fun, novel and exciting, but at times it is also stifling. Jacari is a chance to escape it for an hour or so and make a very real difference to the lives of families whose experience of Oxford is far from the stereotypes.

Not exactly sure what I’d expect while trawling   around Freshers’ Fair, I had somehow managed to get involved in organising events for Jacari, a student-run charity providing free after school home teaching for over 200 local children who don’t speak English as their first language and are falling behind at school. As a treat for both the kids and volunteers, whose help can make a huge difference to a child’s self-esteem and school performance, we put on events: bowling trips, trips to see the new Harry Potter film, or, in this case, something a little more educational. It’s my responsibility to make sure they all have a good time.

It can be a stressful role, as I quickly discovered when 25 excited kids piled on to the coach. I’d been slightly apprehensive about the journey, so had games of ‘travel bingo’, a CD of Charlie and the Chocolate Factory and a few bags of sweets at hand. Perhaps these all  went down too well: the coach was filled with shrieks every time a yellow car or motorbike went past, and I was soon faced with constant demands for sweets from people who assured me that they were about to puke. When we finally arrived – I don’t think I quite understood before how many times it is possible to fit “Are we there yet?” into an hour long journey – I had my work cut out trying to stop the children from running around the museum. I caught one boy trying to lick chocolate from a remarkably realistic chocolate-bar door, and stopped another from walking off in what was supposedly Roald Dahl’s school uniform. By the time we got back to the coach I was as exhausted as they were.

Still, it was a great chance for those involved in Jacari to get together, and, judging from the grins on the kids’ faces as their teachers were forced to act out Dahl’s version of the Three Little Pigs, I think everyone enjoyed themselves. It was brilliant to see those who struggle so much at school completely throw themselves into a competition for the most imaginative ‘Story Ideas Book’, which all children are given on entrance to the museum. For the volunteers, it was a way to bond with their pupil outside their weekly lesson, as well as a perfect excuse to be a kid for the day – who wouldn’t enjoy writing a rude story in fridge magnets, or dressing up as Willy Wonka? 

But for me, best of all was listening to volunteers and kids share their experiences of Jacari. I met Jean, who had brought four pupils on the trip (most volunteers are allocated one or two but sometimes siblings get jealous!) and told me that every lesson since the ‘Mad Hatter party’, they’d nagged her about when the next event would be.  Another volunteer, Bekah, said that Jacari was “definitely the most interesting ‘outside’ thing” she’d done at Oxford so far. She raved about the chai tea and chapatis that greet her at her pupil Tahira’s house, and made me laugh by recalling a lesson in January when Tahira asked her politely whether she would like to come to her 7th birthday party on August 30th.  Zaza, who has been a Jacari volunteer since 2009, said that almost every week her pupils ask her if she has any children herself, and, refusing to accept she has none, insist that she brings them over next time for them to play with. She added, “I think Jacari is brilliant, it’s so nice for the children to have an older role model to look up to and the rewards of being a tutor are definitely worth it.” 

Jacari only asks its 175 volunteers, from both Oxford and Oxford Brookes Universities, to commit to one hour teaching each week, but many enjoy spending time with their pupil and family so much that they stay longer. Bekah had just come from making gingerbread with Tahira, and another volunteer warned me that he was running late for the trip because he’d been helping his pupil’s father fill in a form he’d had trouble understanding. For some of these families, many of whom are recent arrivals in the UK, having a native English speaker in the house – even if only for an hour or so – can be a real lifeline. 

Of course, the teaching part is crucial: the whole point of Jacari is to try to do something about the fact that educational achievement of pupils who speak English as an additional language is consistently lower than their peers at all ages. The fact that there are over 150 kids on the waiting list speaks for itself: families and teachers really do value that one hour a week. In the words of one local schoolteacher, “The support and guidance the students provide to our pupils is invaluable. Our learners thrive under their support and always, always make better progress in their subjects as a consequence.” 

But Jacari is about much more than just exam results. Families who are new to the area often tell us how much they appreciate simply having a friendly face to visit them each week. And the learning works both ways.  Adrianne, who taught the Kamala family for a year, recalled, “As well as English practice and schoolwork, I taught them a few words of French and they taught me some Somali; I checked their timetables and they showed me how to hold their new baby brother… being a Jacari tutor made me see the real people behind the ‘immigration’ headlines.” Adrianne, like many volunteers, became good friends with the whole family, and found it hard to say goodbye when she left Oxford last year. Some of the friendships formed are lifelong – one Jacari alumni even invited her pupil and family to her wedding. As for me, I admit that sometimes while in the middle of an essay crisis I don’t especially feel like going to teach a sweet but very stubborn ten year old girl whose homework is often so full of spelling mistakes I don’t know where to start. But when I get there –  when her twelve-year-old sister presents me with a huge plate of onion bhajis and gives me even more to take home with me –  when I am asked to talk to her countless Pakistani relatives on Skype – when I finally get her to understand the point of a full stop – you can guarantee I’ll be smiling. I always leave in a much better mood than I was in an hour before.

The Oxford bubble can be fun, novel and exciting, but at times it is also stifling. Jacari is a chance to escape it for an hour or so and make a very real difference to the lives of families whose experience of Oxford is far from the stereotypes.

A right repentant madam

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Not being an expert in minor playwrights of 17th Century England, I had never heard of Philip Massinger nor his comedy The City Madam. So it was with the giddy excitement of a theatre nerd seeing a rare production, mixed with a touch of apprehension, that I entered the Swan theatre in Stratford-upon-Avon. Had I done my research, I would have found that Massinger was a master satirist and social critic with a keen sense for the fun that can be had on the stage when exploring the English social system.

The City Madam follows the fortunes of the inappropriately-named Frugal family. Luke Frugal, destitute and penitent, has frittered away the family fortune, been imprisoned for his debts, and imposed himself on the charity of his brother and his family. Despite the title, Frugal is the enigmatic heart of this play and much of the production’s tension stems from the audience’s awareness that we are never quite sure what he will do next – a fact that Jo Stone-Fewings performance deliciously foregrounds, shifting mercurially under a restrained surface of Christian benevolence. Sir John Frugal, his brother, is the play’s moral compass and he devises a ruse to both unmask his brother and reform his extravagant wife, the City Madam of the title, and his daughters. In this play even the women are camp caricatures and Lady Frugal and her daughters do a wonderful job of maintaining the audience’s sympathies for three rather ugly characters. Meanwhile Christopher Godwin’s performance adds a dignity and intelligence to the play. The stillness that he brings to Sir John reminds us that there is a moral purpose to the action that whirls around him.

Massinger’s play is part-parable, part-pantomime. If you’re expecting the high-flown verse and delicacy of composition that you might find in Shakespeare, look elsewhere. Massinger’s style is robust, witty and satirical and Dominic Hill’s direction conjures a heady vivacity from the text. Indeed, the whole play has a riotous carnival feel to it. Suffused with exoticism, magic and – of all things – puppetry, which surprisingly delivers one of the most touching spectacles of the entire production, the play has a surrealism and immediacy that is vividly brought to life by the Royal Shakespeare Company.

The costuming is flawless as you would expect from the RSC – I particularly enjoyed the incongruous purple satin bows on Mr. Plenty’s attire, a lapse in taste that only a self-made man could make. Hill described The City Madam as participating in the same heightened reality as a Hogarth cartoon or a Dickens novel and it is a sentiment I can strongly agree with, all three delighting in the absurdity and extremity of human life. Yet the play’s thematic interest in the parvenu, old money and materialism adds a depth and intellectual resonance to the present day that manages to stimulate thinking whilst not spoiling the fun.

And with the free RSC Key scheme making it possible for students to see RSC productions for only £5, this is fun that won’t break the bank – and if Massinger is preaching anything it is surely that pleasure in moderation is the best pleasure of all.

Review: Smother

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When Wild Beasts gave us Limbo, Panto in 2008, its earnest theatricality immediately set the Kendal quartet apart from their indie rock contemporaries. Deploying the contrast of two vocalists (Hayden Thorpe’s coarse falsetto and Tom Fleming’s more standard register) and drawing from the vaudeville and the picaresque, Limbo, Panto described life (and sex) in the North-West with characteristically flamboyant panache. Thorpe crooned in ‘Woebegone Wanderers’: ‘Unstable stands a-flush with fans, pilfered piles and pints in wobbly hands,’ while whispering on ‘She Purred, while I Grrred’ that ‘her fruit was ripe, I bit, I’m nothing more than a humble mongrel, whipped cast, rash and unabashed.’ Follow-up Two Dancers upheld this lyrical ingenuity, but toned down the melodramatic excesses of its predecessor to great critical accolade, including a Mercury Prize nomination. But in so doing – to this reviewer at least – it showed signs of losing the singular aesthetic of the debut.

Smother, I fear, continues this trend. Wild Beasts’ fascinating exploration of fragile masculinity is still present, but the lyricism is far more conventional – no more depictions of the bar fights as ‘bovver boot ballets’. The record features cleaner production, and sparser instrumentation, but ultimately this allows for a far more atmospheric record, and leaves greater room for Thorpe’s still striking vocal ability. Smother is the product of a greater maturity, and the grooves, though darker, are often just as undeniable.

‘Lion’s Share’ couples Thorpe’s haunting voice with a sinister piano backing, while the masterful ‘Bed of Nails’ conveys a sense of unfulfilled lust with stalking bass and shuffling drums. In ‘Burning’, Fleming’s shaky, despairing vocals gradually sink into the mix until they are enveloped by a growing wall of sound. Whether or not one applauds the jettisoning of youthful extravagance for greater sobriety, Smother must be commended as another excellent release from the ever-impressive Wild Beasts.