Sunday 20th July 2025
Blog Page 1248

Interview: Sama Dizayee

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Arundhati Roy once said, “There’s really no such thing as the ‘voiceless’. There are only the deliberately silenced, or the preferably unheard.” Talking to Sama Dizayee, there is a very real sense in which her project as a journalist is to empower the disempowered, hear the supposedly ‘voiceless’, and write about the unwritten.

Born in Baghdad, she has lived through three wars in Iraq and watched her country being torn apart by ethnic division and foreign intervention. But she has been a ‘witness’ in more ways than one. From a young age, she felt an insuppressible urge to document not only acts of bloodshed, turmoil, and corruption, but also the often omitted acts of community, reconciliation, and charity.

She recounts the defining moment when she knew she wanted to be a journalist. At the age of 15, there was an explosion 50 metres down her street. Against her mother’s instructions, she couldn’t resist going outside to see what had happened. “I was always adventurous,” she smiles. “When I went outside, I just thought, I want to grab my camera and film this because I want to share what happened. I want to share the torture that is happening to these people, how many people are dying. And I want to show how others are helping each other, are risking their lives, to put the wounded in cars and take them to hospital.”

She expresses frustration that the media “never talked about the community that risked their lives. They never mentioned that. It was like the news was trying to divide people rather than report what actually happened.”

Following the incident, she started to write a diary documenting her experiences. “That was the moment I realised I just want to keep writing, and I want the world to see what I write.”

She tells me, “The media is biased. We all know that. They ignore some stories like, you know, what’s happening in Nigeria.” And while Dizayee stands with the victims of the Charlie Hebdo shooting, she compares the 12 victims there with the 2,000 killed by Boko Haram, saying, “It’s a massacre… and you don’t see it in the headlines.”

“And I am sad to see the news like that… Because our job as journalists is to cover everything – to tell the world everything about what’s going on in the world. For instance, since the US soldiers left Iraq, you barely see Iraq in the news – it became something people didn’t want to talk about.” Under the Saddam Hussein regime, the Western media focused on foreign policy issues like WMDs, rather than human rights violations. “They really weren’t talking about the people…”

There seems to be a definite sense in which white lives matter more in Western media. When I ask whether she thinks that the Middle East is ‘othered’ or ‘orientalised’ in the media, she says it is dismissed as a “conflicted” area. “Like for example everywhere in the news you hear them talking about Lebanon as a conflicted country. But also, I go to Beirut on a really regular basis and we party like no place else! I swear to you!” It seems that ethnic conflict in Lebanon has even had a kind of cathartic effect, ultimately unifying communities. “Trust me, they live like it’s the last day of their life. They’ve got to a point where they’re like, ‘OK, we might be living today and tomorrow we might die. So what do we want to do? Do we want to sit at home and wait for it? No! We want to keep going with our lives.’ And you know, they really do!”

A central theme for Dizayee seems to be the balance between the positive and the negative. In being a witness to her country’s conflict, she is also determined to be a witness to its reconciliation. “I will keep writing until I see my country unified. And that is possible, if we come together, with other people around the world. You have to inform people: keep writing, keep trying.”

I’m intrigued to find out whether she feels being a woman impacts upon her career. With a wry smile, she says, “Definitely. Because we’re women, and when you start writing something, people say, ‘well that’s because she’s a woman’.” She reflects on how women are not expected to be able to cope with risky or dangerous situations. “Even my family right now doesn’t want me to go back to Iraq. But if it was my brother and
he was a journalist, they would have let him go, because he’s a man – he can survive these situations.”

Dizayee rejects these assumptions, saying, “Journalists are journalists to tell stories – to show the real images to the people, not to be scared. Because if you are supposed to be a journalist, and especially if you choose to be in a conflict zone, or you choose to be a war correspondent, then you know what you’re getting into. I think you should fight for it. You should fight for your stories.”

Words are like oxygen to Dizayee. “This pen,” she gestures metaphorically, “has been my friend for 12 years.” Her eyes shine as she talks about writing. “I love it, – because that’s how I feel alive.”

Is the pen really mightier than the sword? It might not seem so to those who are victims of bloodshed and oppression across the world. But as Dizayee symbolically throws hers into the audience at the end of her speech, we can only hope that a new surge of ink will blot the Western narrative of a blood-stained, orientalised Middle East into obscurity.

OxStew: Residents demand removal of ‘spires’ blocking view

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In what is rapidly becoming a row between town and gown, angry locals have joined forces with conservation enthusiasts to campaign against the ‘dreaming spires’ that they say are ‘hideous’ additions to Oxford’s skyline. Such edifices, commissioned over hundreds of years at an enormous cost to the University, are invariably in the centre of the city – where, according to critics, they do the most damage to its famous silhouette. Moreover, it is contended that many spires were built without an adequate consultation period from the relevant planning authorities.

The offending buildings include the imposing Radcliffe Camera, built in the Eighteenth Century when planning permission was significantly more relaxed, and Christ Church’s Tom Tower, which has been criticised as “ruining the view over the beautiful, unspoilt Christ Church Meadows”. The iconic Sheldonian Theatre, campaigners have argued, is “literally a crime against everything beautiful in the universe”.

Benjamin Mapplethorpe, a Summertown resident, told The Oxstew, “How dare the University just go ahead and, over the course of a millennium, arrogantly transform a few mud huts at a crossroad into one of the splendours of western aesthetic and intellectual achievement! How dare they! Without Oxford City, where on earth would Oxford University be? Probably in Reading or something. They should count themselves lucky.”

“I think it’s outrageous,” added Meredith Folkenshaw, an environmental activist from Luton. “Back in 1087, Oxford was such a gorgeous place to come for a picnic – all wooden bridges and open drainage systems.

“Now, the University’s throwing its weight around and is refusing to pull down or even apologise for the late-gothic stone masterpieces ruining the view.”

Opinion has so far been divided as to the right way forward on the matter. Townsfolk, who at the time of writing were chaining themselves to the bicycle racks outside the University’s Wellington Square offices and singing ‘We shall overcome’, favour the immediate detonation of any building taller than a loft-converted semidetached house in Jericho.

The City Council, nervous of accusations that they may have dropped their guard for a few centuries or so, propose that the offending buildings be repainted in camouflage, so as to blend in better with the surrounding countryside. The University continues to reject these suggestions, arguing that its spires are peerless examples of medieval wealth distribution inequalities.

Word of the dispute has even reached parliament, where one MP told the media, “I have no idea what I am talking about, so please do not listen to any of my opinions on the matter, or indeed on any other matter.”

If the University’s hand is forced into removing many of the buildings, the resulting displaced students and fellows are expected to have to camp in Port Meadow until a more permanent solution is reached.

One undergraduate remarked, “Well, I’d miss the May Morning singing from the top of Magdalen Tower, but I am also very attracted by the idea of all 23,000 of us living in the splendid unspoilt Arcadia that is Port Meadow, which of course has remained untouched by human hand since the beginning of time.”

A beginner’s guide to foot fetishism

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I first met Erica, a 20 year old podophile, online, through a mutual friend. We chatted a bit before meeting in person and I was amazed at how much she told me, a virtual stranger, about herself. She is a 21 year old undergraduate who is in a long term relationship with another student and is a tall, well-dressed, and somewhat intellectual woman who has a huge range of interests and otherwise a fairly normal university lifestyle apart from the fact that she is a foot fetishist. When I told people I was interviewing a foot fetishist, I was astonished at how many people at least know, or know of, a foot fetishist. I guess I shouldn’t be surprised, since foot fetishism is one of the most common fetishes but it isn’t a huge part of mainstream dialogue about BDSM, despite foot-licking and toe sucking being in the 50 Shades of Grey novels and the fact that lots of famous people, including Elvis and Pharell, have openly admitted to having foot fetishes.  However, no one I spoke to would admit to being a foot fetishist and there were quite a few jokes about dirty old men, so I guess people aren’t so liberal about fetishes and BDSM as one tends to think they are.

Erica was almost the exact antithesis of a dirty old man. The only unusual aspect of Erica’s life is the fact that she is aroused by touching, smelling, and generally interacting with feet and feet-related things, like shoes and socks. Erica and her girlfriend often spend hours looking at shoes and Erica often enjoys giving Maddie (her girlfriend) foot massages. She also, like many of the stereotypes suggest, enjoys sweaty tennis shoes and used socks. She also told me about how she enjoys having her back massaged with feet instead of hands.

The fact that foot fetishism is considered so subversive does seem odd to me, especially since it has a long history in literature and doesn’t generally involve violence. After having explained that to her, Erica said that she still wanted to be anonymous (Erica is a pseudonym and some of the details in this piece have been altered so that she can remain unidentifiable) and I have to say, I really did wonder why.

Apparently even close friends do not know and she said she would never try to explain it to her parents. I ask if she would ever tell her friends and she says that she may one day but that she is currently still uncomfortable with the idea. I am interested in this fact because Erica is openly lesbian and has been since she was thirteen and so it seemed odd that she wouldn’t tell her friends about what she considers a fundamental aspect of her sexuality.

Next, I asked if she felt that coming out as a lesbian woman was comparable to coming out as a foot fetishist and she explained that it was because she was a lesbian woman that she was not open about her foot fetish.

According to Erica, both the LGBTQIA+ and the BDSM communities are extremely accepting of the other but because mainstream depictions of BDSM are so often heteronormative, she feels that the larger society of straight, vanilla people would absolutely not accept her. She felt that it was far easier to hide her foot fetishism than her sexuality so she doesn’t discuss it with anyone apart from her girlfriend. Basically, she said that being a foot fetishist and a lesbian means that people are twice as likely to discriminate against her, so it is possible that coming out as a foot fetishist and coming out as a lesbian are analogous but, in her case, they aren’t at all.

A lot of time has been spent attempting to understand the psychology of fetish with people like Freud weighing in on why people have fetishes. And, it is important to say that psychology has said that people who practise BDSM are not mentally ill.

But still, because I am not a psychoanalyser or even close to one, I really didn’t want to attempt trying to psychoanalyse Erica and I felt (and feel) that it would be entirely inappropriate and offensive to do so.

Erica feels that she works through some of her own personal past experiences through kink and since it helps her feel better, and be more confident it seems ridiculous to judge her.

Erica enjoys sex and the way she has sex does not hurt, bother, or annoy anyone else, so why should I, or anyone else, have any say in how she has sex?

In my opinion, this is a fairly mild kink but it is very interesting that it is so stigmatized by society

The highest sights of Tamil Nadu

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The first time I see Rasappan, he is about 20-30m up a palm. His agile limbs cling on to the rough trunk, as he perfectly keeps his balance with his feet so that his arms can hack at the nongu fruits and gather them in his arms – a sweat-inducing task in the sticky 40°C heat, but Rasappan looks unfazed. As he sucks the refreshing juices from the jelly-like flesh of some freshly picked nongu, Rasappan informs me that he has been in the palm-climbing profession for 37 years, having been taught the skill at the age of 14 by his father, who was also taught by his father.

In Tamil Nadu, the products that climbers can obtain from the trees are the ‘nongu’ fruits, its juices, and ‘kallu’ – a beverage formed from the palm sap that can be fermented into an alcoholic palm wine. However, in recent years the Tamil Nadu government has imposed a ban on the extraction of kallu, with detrimental consequences for the palm tree climbing communities. The extraction of kallu is a delicate task. The palm flowers are cut so that the palm sap leaks into a special kallu pot – a process known as ‘tapping’. The white liquid which is initially collected is a sweet, non-alcoholic beverage known often as ‘neera’ with many health qualities such as rehydration and strengthening of the immune system (so much so that it would help to cure chickenpox) and was thus even compared to mother’s milk.

Its prohibition is therefore a great shame for communities based around palm farms, as this drink used to be beneficial to all members of the community. Nevertheless, because of its potential to be fermented into a mild alcoholic palm wine (with around four per cent alcoholic content), the Tamil Nadu government has banned its extraction altogether.

The ban was not introduced, as one might expect, due to health concerns about readily available alcohol, but instead is solely economic. Since the Tamil Nadu government runs all of the legal liquor shops and sales in the state, the cheaper market of kallu was a threat to governmental income. As a result, the financial situation for palm tree climbers is ever worsening. The complete lack of consistent rainfall over the last 12 years had constituted the greatest threat to the climbers’ profession, but their problems have only worsened in the face of this new, unnatural obstacle.

Climbers like Rasappan were promised benefits in order to supplement the income lost since the ban of kallu production, but, rather unsurprisingly, this supplementation has failed to transpire and, as a result, palm tree climbers have had to turn to other means of making ends meet.

Sadly, other forms of farming, such as rearing cattle and bred with the skills that enabled them to excel in such a niche form of agriculture. There is little backing from other communities in the state to re-legalise controlled practices of tapping – seemingly unjust given that it is legal in other states, such as the neighbouring Kerala. Additionally, illicit production of other indigenous alcoholic drinks, such as ‘moonshine’, is said to occur in the absence of cheap kallu. These are often contaminated with dangerous substances such as methanol, which can have deadly health consequences.

It was saddening to leave Rettiapetti, the extremely remote village where I met Rasappan. With a population of about 40 people, it was only accessible via a two-hour motorbike venture from Madurai. Despite his relatively poor English, Rasappan was overwhelmingly enthusiastic, and talked to me about his profession with pride and incredible insight. Some local teenagers leapt at the chance to translate for me and even made me a delicious homemade masala served on, inevitably, a palm leaf.

The tradition of palm tree climbing in Indian culture, the health benefits of palm fruits and the welfare of local climbers such as Rasappan all mean that a redundancy of the profession would be a huge shame, and yet its decreasing earnings offer little hope for a revival of the profession.

It seems likely, then, that this tightly-knit community will be forced to find new ways to sustain itself, and palm tree climbing will exist only in stories from the past, of which Rasappan’s tale is only one.

Bexistentialism HT15 Week 3

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Friday approaches, and I get out of here. I pack my rucksack, cramming in, amongst other things, a towel, a sheet, and a wine bottle filled with what a Sharpie labels as ‘Bex Mix’. I actually bother to lock my door, and turn my fairy-lights off. (My Anti-Everything housemate describes them as making it “look like you’re in an indie film”. Which apparently is the worst thing that could happen to anyone, ever.)

I say my farewells. I will be back within 24 hours, but leaving Oxford for any time at all is like slipping through a wardrobe into Narnia. And so later I find myself settled in London, at a house party. The sheet and bottle are emptied from my bag. A few Oxonians have joined me, and we nonchalantly toga up. My previously prepared mix seems to have begun to separate. But the first rule of Bex Mix is that one does not question. And so I sip on. The house is filled with Oxford graduates. The Merton stereotype, I learn, is not a new thing. I do very little to help this as the house welcomes more guests, and the air fills with the dust of illegality.

A stranger splutters as I reject his offerings, and demands why on earth not. Now I must begin my regular explanation. “I actually do this thing where I, like, want to see if I can never smoke a cigarette in my life. Or, um, do drugs.” Bemused faces surround me as I mutter about not wanting to prefer another reality/the classic family-cancer-tales. White sheets blur as the crowd stampedes away from crazy-girl-who-doesn’t-take-drugs-or- smoke. That is, apart from one. One sheet clad stranger.

He takes a long drag on his cigarette, and nods his head. “Fair enough.” Huh. As I meet the more inviting glare of this stranger’s eyes, I hear a cry. Great. I reluctantly break off the tension that I probably created in my delusional head anyway, and search for the source of the noise. Because, oh yes, I recognise the sound. Sure enough, dilated pupils of clumsy-Oxonian-friend look up at me from the bottom of the stairs. “I don’t think I can walk.”

I help her to bed to dream of the A&E trip that awaits us. When I return downstairs my friend has outrageously decided to begin cavorting with her boyfriend.

I guess there’s nothing left but to seek the eyes I left earlier. I look at the sea of sheets before me. This may take a while.

Creaming Spires HT15 Week 3

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Somewhere online I came across an article that promised to tell me all about a super dirty sex act shunned by all of society, except the extremely kinky ones. Naturally, I was curious as hell. What could it be? Clit-whipping? Anal fisting? Something only the Urban Dictionary could come up with? The truth did indeed shock me, but not because of the depths of human depravity.

Instead, I was just dismayed at how anyone could think that having sex whilst on your period is in any way depraved. Yeah, it may not be the most glamorous thing in the world, but neither should it be a taboo. I won’t get into a feminist rant about how menstruation is not inherently disgusting. I’ll just say with a little bit of care and hygiene sex is still possible and enjoyable and thank the lord for spacious showers. The way I see it the problem lies not so much with practicalities, but with finding the right partner. You’re hoping for an awkward story here, right?

Well, I don’t like to disappoint. My first encounter with men and blood was indeed very awkward, and very unplanned. After a few tame meetings, one of the most beautiful men I’d ever known finally invited me over for dinner. I hoped that ‘dinner’ in this context meant lots of food and then lots of nudity, and he wholly met my expectations. However, I do not think that me suddenly leaving copious trails of redness on his white sheets was what he expected. At the time I was changing my contraception, and the new pill (trusting a condom alone? I’d rather die) temporarily unsettled my cycle. Bright side? He was not going down on me right then. Downside? Although he was perfectly understanding, I’m sure that a) those sheets had to be thrown away and b) in his head I’m forever the Period Girl.

After this sad little encounter, it’s no wonder I thought that attempting sex at ‘that time of the month’ was out of the question. Fortunately, another set of circumstances made me see the light.

I don’t know about anyone else but during my period I am constantly horny. Deeply, achingly horny. I mentioned this inconvenience once to a long-term lover of mine, and his solution was so heartbreakingly simple and perfect that I was astounded at never having thought of it before. “It’s only some blood. Why don’t we go for it?” And next time the occasion arose, go for it we did. And the next time. And the next. After a while it was a perfectly routine thing to do, and every month the good shower would be occupied and potentially a little bit noisy.

Suddenly my life was no longer regularly punctured by enforced celibacy. I still need a regular, trusted partner to make it work, but blood equals sadness no longer.

Review: Brief Interviews with Hideous Men

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★★★★☆

Four Stars 

I spent a lot of time before going to see this play attempting to come up with a witty pun: “brief but not hideous”; “hideously brief”; “brief and hideous” were all serious contenders. However, five minutes in, I realised that this clever and nuanced play could not simply be described by a quip on the title. If, that is, it can be described at all.

Many have tried labelling it with the cliched genus of ‘dark comedy’ but, for me, placing these two together seems odd – yes it is ‘dark’ and yes it is a ‘comedy’, but these two things jar together throughout the play. You find yourself laughing one second and the next recoiling in disgust (especially in one memorable toilet attendant scene). But this is not a criticism; it is precisely how these two things conflict with each other that makes the play so interesting.

The play, adapted for the stage by Josh Dolphin and Penny Cartwright, follows short sketches – misleadingly not interviews – of modern hideousness. Yes, these are extreme stories of S&M gone wrong and masturbation mishaps but they also feed into the insecurity we all feel – the fear that we won’t find someone to accept us for us. The room erupts with laughter, but it is an aching laughter.

It’s the BT as I’ve never seen it before, chairs forming a semi-circle around the stage, violating the safe distance between the audience and stage. This is something played upon in a number of the monologues. Alex Newton’s special effects were particularly exciting – the thumping of a heart, the discordant music and shadow play never felt gratuitous, but rather added to the strange dissonant atmosphere of the surreal piece.

The show is produced in collaboration with the Revue and, whilst it stands alone, each ensemble member clearly has a deeply engrained comedic understanding. Particular standouts were James Colenutt with his physical inhabitation of each character’s voice, ticks, and behaviour, and Tom Dowling for his unparalleled comic timing in a particularly hilarious monologue of his ill-fated S&M habits on his “four and a half foot ottoman”. His ability to deadpan deliver the line, “The excitement was intense but not necessarily genital,” deserves a standing ovation in itself. The ensemble as a whole works extremely well together, transforming each scene into a slick and self-contained entity.

The fact that each scene is self-contained is perhaps the only problem since it made for confusing transitions that, although not messy or ill-timed, were slightly disjointed and at times hard to follow. Overall, however, the play was poignant, funny and just the right length.

Review: West Side Story

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★★★★☆

Four Stars

I’m not actually sure if I ever watched all of the 1961 film adaptation of West Side Story, or if I just saw parts and filled in the blanks with my knowledge of Romeo and Juliet. Nonetheless, West Side Story is one of those musicals we feel we know all about even if we’ve never seen a single scene. We know it’s American Jets and Puerto Rican Sharks, we know it’s a young couple in love, we know about its slightly incongruous use of finger-clicking and balletic movement to convey the gritty reality of gang violence on the streets of New York. Despite the extent to which West Side Story has saturated popular culture, this performance from Byzantium Productions, directed by Dominic Applewhite, finds a rawness and urgency in the musical which force the audience to look at it with a fresh and unbiased perspective.

The conflict between the leather-jacketed Sharks and the Americana-clad Jets has its pointlessness foregrounded – reasons for the schism are posited, but the overwhelming impression is that the young men fight because they don’t have very much, and they don’t have anything better to do either. Both gangs’ similarities and differences are conveyed by an incredibly talented ensemble and leads, with the fantastic and well-executed choreography giving this conflict an extra edge, as well as giving the whole show a polished and visually striking finish.

Although much of the plot is driven by male violence, this doesn’t stop the female characters shining through as some of the most outstanding performances in an extremely talented cast. Clementine Collett gives a sweet, spirited, and deeply moving performance as an endearingly vivacious Maria, cheeringly pragmatic compared with the love-struck idealism of Tony.

Helena Wilson likewise gives a performance of formidable power and presence as Anita. From the moment she teams up with Annabel Mutale Reed’s Rosalia for what is an absolutely show-stopping rendition of ‘America’, to the song’s chillingly ironic echo later in the show’s score, Wilson is a winning and captivating presence onstage.

The central couple is charming, with Collett and Brandon Levin pulling off the difficult task of making a two day romance seem plausible and unforced. Their singing impresses as much as their acting – Tony and Maria need to be able to carry the show, and this pair makes it look easy. Not only is their love believable, but it also serves to endear the characters to the audience even more, making them share the couple’s sorrow as well as their happiness.

West Side Story remains one of the most enduring re-workings of Shakespeare, and this production makes you realise exactly why that is. Even after the musical’s big hits are over and done with, this production continues to hold the audience’s attention, right until a very emotional performance of the play’s tragic ending. This reviewer may have even shed a small tear. The show’s not perfect – there are some very lengthy scene changes, and one or two dodgy accents – but it’s damn close. I can dig it.

Review: Dido and Aeneas – A St Peter’s success story

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★★★★☆

Ushered into the atmospheric nave of St Peter’s Chapel, the performance of Dido and Aeneas begins the moment the door is opened. Dry ice creeps around the edge of the door, catching in the light as the orchestra launch into the jaunting overture.

The setting is breath-taking. As the houselights descend, the stained glass window becomes back-lit, casting rays of saintly light upon the stage as we are introduced to the chorus and the court of Carthage and Belinda’s song of optimism. One struggles to imagine a more apt place to stage Purcell’s baroque masterpiece than the chapel of St Peter’s College. First performed in a girls’ school in 1689, the chapel of the college once served a similar institution In this sense, the opera has returned to its roots. Indeed, impressive quality performance when singing was emphasised as a key element of the original curriculum at the school. It is hard to comment on the Orchestra led by John Warner, as I can find no fault in the sextet – it was delightful to hear a harpsichord brought to life in such an atmospheric setting.

Vocally, it is hard to find fault. Dido’s (Rachel Coll) opening aura is refined to a sublime lament. She quite simply lives the role, eyes glistening with tears, brow furrowed in intense internal conflict. Her performance is the highlight of the show, and the production team must be commended on such a successful casting. Similarly, Tom Dixon’s depiction of the Sorcerer deserves high commendation. His counter-tenor voice is simply flawless.

The performance of the witches was another strength of the show. Rory Green’s mannerisms are perfectly snivelling as he and Lila Chrisp approve their master’s plan for Dido’s downfall. They are suitably scary, bedecked in white face-paint and strong black eyebrows, but maintain a certain comical aspect. The bearded and cross-dressed appearances of the male witches remind one of Macbeth’s weird sisters and maintains a healthy aspect of comedy in the midst of the tragic cycle.

Similarly, the chorus provides the perfect blend of comedy and tragedy. Their reactions to the events unfurling around them compliment, but do not detract. Bearing paper props, they demonstrated the ever fragile vanity of the Dido’s character. Their performance as drunken sailors was a welcome comical reprieve f before the tragic pathos of Act III gripped the audience.

My only criticism of the production comes in Act III. Dido and Aeneas’s passionate parting lacked force and conviction, but is nothing that cannot be remedied in subsequent performances. The production quickly picked up again for Dido’s heartbreaking demise. The audience is captivated as she removes her symbols of majesty and is surrounded by the chorus bearing lit lanterns. The setting of the chapel and her white night-gown gives the feeling of a convict awaiting execution upon Tower Hill. As her final lament rises from her lips, we are gripped. The closing epilogue of the chorus huddled around her lifeless body is the perfect close to the production. As Aeneas rejoins the cast, one is reminded of his final encounter with Dido in Virgil’s underworld – able to see her, but speak no more. His guilt lingers perpetually, and so will the immense success of this performance.  

Where Are They Now?: Blazin’ Squad

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The Chingford massive, Blazin’ Squad, were massive in every sense of the word: in numbers, they were forced to cram onto the Top of the Pops stage, whilst in top ten singles, the band held six. Girls cooed at their slitted eyebrows, gold chains and spiky, gelled up hairdos.

But despite blazing a trail in the charts, things slowly began to look less peachy for the band, who, after losing seven members, changed their name to Friday Hill and were subsequently dropped by their record company, Peach Records.

Flava and Strider now work as producers at their company MoJam, and Rocky B, or ‘Primetime Pro-Juice’, as his Myspace page states, has also turned his hand to producing. Kenzie’s flip reversed from being a scrawny Big Brother housemate back in 2005, to personal trainer, joining Craig David in a series of failed pop stars nursing their bruised egos in the gym, whilst the rest of the squad have all turned to DJing, forking off at their own ‘crossroads’.