Sunday, May 25, 2025
Blog Page 1474

Sex hormones linked to breast cancer, new research shows

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The study, undertaken by Oxford University, revealed that pre-menstrual women with high levels of sex hormones such as oestrogen and testosterone were between a fifth and a third more likely to develop breast cancer than women with low levels of the hormones.

Professor Tim Key of the Cancer Epidemiology Unit at the University of Oxford said, “While the link between higher levels of sex hormones and breast cancer is well established in older, postmenopausal women, it’s much less clear what effect hormones have on cancer risk in younger, premenopausal women.

“But from this study we can say there appears to be a link, which has important implications for understanding the biology of breast cancer and for planning future research.”

The study also researched the effect of smoking and alcohol on sex levels. The researchers discovered that women who smoked 15 or more cigarettes a day, or drank two or more glasses of wine a day, had higher levels of the male sex hormones compared with women who didn’t smoke or didn’t drink.

Data on hormone levels in the blood of 760 premenopausal women with breast cancer and of 1,700 without was looked at from seven previous scientific studies. The report has been published in The Lancet.

Although 80% of those diagnosed with breast cancer are over fifty, 10,000 women under fifty are diagnosed with the disease every year.

Cancer charities have welcomed the news. Cancer Research UK commented, “With one in five breast cancers now diagnosed in women under 50 it’s important that we find out as much as we can about what increases the risk for younger women. We don’t yet know why having higher levels of some sex hormones might increase a woman’s risk so further research is needed to investigate this link.”

Interview: Katie Hopkins

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Katie Hopkins is hell-bent upon becoming the go-to bitch for television producers in need of a cheap villain to fill sofa space, capitalising on her notorious appearance on ITV’s ‘This Morning’.  From the beginning of our interview, she makes it clear she is here to “say what you can’t say anymore”. She is a pawn in the tiresome narrative of breakfast chat shows, perpetuating a meaningless cycle of scandal, outcry and comment. 

She accuses me of being “the sort of person who believes in climate change”, in a provocative non-sequitur with no relevance our conversation. On one level, she is evidently attempting to keep the camera focused on her by inspiring fresh outrage. 

For example, I believe that parents almost always seek the best possible life for their children. Hopkins does not. “I don’t believe every mother wants what’s best for their baby,” she says. “[Single teenage mothers] want what’s best for themselves. And what’s best for them is doing very little to support their children.” She goes on to tell me in absolute seriousness how “young mums… take KFC home, stick it in the blender and feed it to their babies.”  This is precisely the sort of pantomime nonsense which makes Hopkins so easy to revile. 

In doing so, though, lefties like myself run the risk of engaging in dangerous and hypocritical snobbery of our own. The vitriol Hopkins peddles on daytime TV is being drip-fed into the nation daily, and must be taken seriously, representative as it is of a far wider culture of disdain. In these days of debt, unemployment and uncertainty, it is easy to see the appeal of Hopkins’ economic and educational ideology that “you have to let people fail”. 

She spells out her views in simple terms: “I think that hierarchy is a great way of sorting life and I think that shortcuts are a great way of making hierarchy work and I think that the class system is the best system that perfectly matches this hierarchy.” In other words, your position in the “hierarchy” of society is decided by a series of value judgements based on arbitrary “shortcuts” such as class, race, gender, appearance and even name. 

“[For everyone] to be educated the same? to have the same chance?” To Hopkins, these are empty aspirations — there is not enough money in the economy for everyone to be financially secure and well-educated, and so some must fail that others may succeed. She sees the class system as “much more effective than any social policy” in determining who is able to access higher education — who will succeed, and who will fail. Private schools are an “efficient way of processing highly intelligent individuals… into elite institutions”, because the children who deserve to succeed are naturally to be found amongst the upper classes. 

In contrast, there is no room in the state educational system for struggling children whose parents cannot spare the time to help with homework or the money for private tuition. “If the parents aren’t going to take responsibility”, Hopkins expects primary-age pupils to fend for themselves.  “At a certain age, around 8 years old, you can recognise either you are going to do something about that or you’re not.” 

Rich children “are funnelled into private schools” which “turn them into fantastically inquisitive minds”. Children of equal academic potential, who come from homes where there is less money and less time to spare, are mere intellectual collateral. “It’s harsh,” says Hopkins, “but life is harsh.”

We also discuss other “shortcuts”, such as the use of racial profiling by the police. To Hopkins, it is simple. “The ratio of black people that are found to have committed crime is greater. And so we are therefore making those shortcuts… now clearly I’m not suggesting racism is a great idea. I’m merely saying there are shortcuts that exist.” It should be noted that racial profiling makes no difference whatsoever to crime figures, according to the Equality and Human Rights Commission. (She is careful to tell me that “nobody can use race any more” when making value judgements between people. I will let those two words, “any more”, speak for themselves.) 

Hopkins is as scornful of the campaign for women’s rights as she is of the right of black people to a fair criminal process. “Do I believe there’s a lot of inequality around? No, I don’t.” To her, feminism is a matter of “special treatment” and mere semantics, and she talks dismissively of all-male golf clubs and all-female literary prizes when the topic is broached.  In fact, she tells me, “the equality brigade has managed to get themselves far more than equal”. Moments later, Hopkins freely admits that she would always “pick the man” when choosing between otherwise equal candidates for a job, as she “knows the cost of maternity leave”. 

Hopkins does not “believe in the world of –isms”. This is despite statistical evidence that working-class women continue to learn far less than their male counterparts, as this study by the Institute for Public Policy Research shows. All this proves is that “there are idle people in this world, and there are grafters.” 

“Money is very easy to come by if you do nothing”, she tells me. “Until we cap benefits at £20,000 a year, we will never find the workforce we are looking for.” Two and a half million people in the UK are currently unemployed- but Katie Hopkins has the solution. “You have to create your own job. Ask twenty people if you can take their bins out for them. Ask thirty people if you can mow their lawn. Just knock on a door.” It is simple — an entire generation can drag itself out of unemployment by doing each other’s chores.

According to Hopkins, single mothers only “want to find an easy way of getting their kid through life”. She seeks to absolve us of our corporate responsibility to help those at the bottom of the economic ladder, by perpetuating the toxic delusion that life on benefits is anything other than an endless struggle. “I don’t think a lot of mothers want what’s best for their baby. I think a lot of mothers what is best for them, and what is best for them is doing frankly very little to support their children.”

If she were an Oxford admissions tutor, Hopkins assures me she wouldn’t “want a Tyrone in her tutor group” when she could have a “Cecil”. That is to say, she would favour an upper-class applicant over a working-class student. “It’s a case of being true to what you’ve learnt… not many Tyrones I’ve had the misfortune to meet have been terribly nice.” Hopkins wants everyone to know their place. The working class should not aspire to a university education, for that is the preserve of the rich elite. She tells me that people “look up to Oxford because it is the hierarchy.” 

Hopkins’ argument is that “it is not the responsibility of the state [and] it is not the responsibility of the taxpayer” to help children who do not get the academic help they need from their parents. However, failure to invest in state schools will leave thousands of potential high-achievers without the training they need to support Britain’s gradual financial recovery, rather than achieving Hopkins’ stated aim of “getting this economy streamlined” by saving money in the short-term.

This is not a matter of what Hopkins terms “vengeful social mobility”. It is simply a matter of ensuring that the best possible people get the best possible training to give British businesses the best possible future employees. She is “sickened… by social mobility clauses” which make allowances for the different levels of education and support university applicants have received. But higher education exists to provide the economy with the scientists and businessmen and innovators it needs, irrespective of their social background. Oxford should embody not hierarchy but opportunity. 

Katie Hopkins believes that the poor are poor because they are lazy, and that the rich are rich because they are talented and hard-working. This is a lie. Although she contends that “we all buy into this shortcut system” where we can be judged on our social standing, class has nothing to do with the degree you can study or the career you can follow.  

It would be useless to tell Hopkins the truth — that snobbery is as groundless as racism, and that the word “chav” is as dehumanising as the word “nigger”. The value of human life evidently means nothing to her. However, you do not need a sense of social responsibility to see how these generalisations are hurting our economy.

All of Katie Hopkins’ “shortcuts” (and this is a word she repeats more than any other) seem to make life much easier. They distract us from the true causes of our poverty, debt and despair by making monsters of the innocent. They absolve us of our duty of care toward the vulnerable. But they also prevent whole generations from realising their academic and economical potential. They must be resisted. We cannot afford to do otherwise.

Bridge of Sigh-cle ride for Hertford Principal

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The Principal of Hertford College, Will Hutton, will cycle from Oxford’s Bridge of Sighs to Venice’s Bridge of Sighs next July, to mark one hundred years since his college’s building of the famous Oxford landmark.

Hutton sent out an email to Hertford students asking for their help in the attempt to carry out the challenge, set to take place over two weeks next July.

In the email, Hutton said, “Over the next twelve months we celebrate the centenary of our iconic bridge and in thinking about ways to celebrate, the idea of a sponsored cycle ride from the Hertford bridge to the Bridge of Sighs in Venice was mooted.

“This idea has increasingly caught my imagination, and over the last few days I have decided to do it – providing we can make it work. Believe me, at about a thousand miles over a fortnight next July this will be probably the most physically challenging thing I have ever done – and just the preparation is a daunting prospect.”

Although Hutton intends to hire a professional company to help with the organisation of the trip, he is also keen for Hertford students to become actively involved. As his email explained, “I am looking for a group of individuals who can share my enthusiasm for this idea and help get it off the ground.

“No, you don’t have to commit to ride with me, although you will be most welcome – my aspiration is to tap into the wider Hertford community rather than have the whole project driven by an outside contractor.”

About half a dozen students will be asked to help Hutton in four areas – route planning, technical support, accommodation and transport. He says that he already has two possible routes planned.

Hutton will formally announce the idea in September, when the centenary of the Bridge of Sighs will be celebrated by Hertford College with a series of lectures on the Bridge’s history, the screening of a short documentary about it, and a drinks reception and party.

Hertford’s Bridge of Sighs was designed and built in 1913 and now connects the two main college buildings, spanning New College Lane. It was first opened in January 1914. The Bridge of Sighs in Venice, or the Ponte dei Sospiri, was built in 1602 and connects the New Prison to the interrogation rooms in the Doge’s Palace.

The distance between them is 757 miles, just under the length of the famous John O’Groats to Land’s End ride in the UK, at about 840 miles.

Let’s not spoil all the fun: A response to Marc Pacitti

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Marc Pacitti has just written a very thought provoking piece on this website, giving a republican perspective on the birth of the royal baby. In the first instance there are some things that he writes about which are I think certainly of merit.

He is for instance right to identify the friction between royalty and celebrity and the problems that this has caused – the 1990s being its best example. Royalty’s identification as celebrity produces problems in its ability to perform its constitutional role; but the media hopefully is learning lessons from the horrors of its behaviour in recent years.  

He is also right to identify the complexities associated with the Head of State sharing responsibilities as Head of the Church of England in our twenty first century secular society. We cannot expect an eighty six year old Queen – who is in all regards – a devout Christian to change this function radically anytime soon, but Prince Charles’s plans to be Defender of Faith as well as Defender of the Faith should certainly go some way to healing these issues.

But Marc’s piece does not, in all its significant length, identify what is arguably the basis for Monarchy’s survival – that it has to evolve, change and modernize. In order to survive the Monarchy has to move with the times – it is not a museum piece; it has to reflect the society at which it is at the head. As far back as Queen Victoria and Prince Albert the Monarchy has done this, through to George V’s use of radio and creation of the Windsor brand to Prince Philip’s 1960s modernizing programme and most recently the bringing forward of the new generation.

Marc quotes Christopher Hitchens in his piece, fortunately not associating himself with the belated writer’s aggressiveness and obsession to be right and throw compassion and pragmatism out of the window in the process. I have no intention of writing here to Hitchens’s (or Pacitti’s, for that matter!) depths but let me just put forward a few of the reasons, which I seem to share with a great number of people, for why what this royal baby represents works and is so special.

First, the monarchy is relevant – it performs that vital task of bringing our contemporary life together with our historical past. Monarchy provides a symbol of national unity around which we can all, regardless of our background gather. You only had to stand on The Mall on the evening of the Diamond Jubilee concert to experience that awesome sensation in practice.

Second, of course Marc is right to recognize the drawbacks of heredity – there are many. It is certainly the case that heredity cannot guarantee us that Prince George will, all going well, turn out to be a suitable King. In an age when we (quite rightly) care a lot less about royal etiquette and educate sovereigns much better, these risks are eliminated a lot less though. Heredity has less drawbacks than other methods of producing a Head of State. An elective monarchy for example would produce a scramble for social distinction and simply enlarge our awful culture of party politics. Who would want David Cameron or Tony Blair as a monarch? Who would show them the same kinds of affection we show the monarchy as it is? An elective monarchy would lose the monarchy’s central benefit – its reconciling character.

Of course, the greatest charge that many produce against the monarchy is its cost. But this can in practice come to no fruition. Even if one disregards the hugely significant levels of money the monarchy brings to this country’s economy through tourism, the Monarchy still runs at a significant profit. No longer do minor members of the royal family receive money from the state and nor, in a way, does the Queen because of the method of surrendering the Crown Estates’ profits to the treasury. If you were to put a number on it, which is difficult to do, then it would probably cost around 52p per head, which is far less than Heads of State in other countries. There is certainly a case for a republic and there is a case for a proper monarchy, but nobody wants a mean monarchy – where would the fun be in that?

In a final recall to Marc I have to tell him that I am not alone in my thoughts here – the numbers show that most of us support, and feel great affection for the monarchy. Probably, on principle, many objections can be leveled against it. Many of them are certainly fair – though I hope I have been able to respond to a few of them here, albeit briefly.

Put that aside, there are times when things work and are special for reasons which we cannot explain. The monarchy is an example of that and we would be very stupid indeed to let something as unique as it go. The birth of Prince George only reinforces the importance of the monarchy as an institution. We only have to look at what happened last time we got rid of a King to convince ourselves of the merits of having one. Why look in the crystal ball when you can read the book?

Marc describes the monarchy towards the end of his piece as “an interesting and decaying relic on the international stage”. Perhaps that is true, but there’s one thing that is for sure, there are certainly worse things to be called. Maybe we should take it as a compliment? 

Bargain Bin Buy: Dr. John — Locked Down

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Original release date  3rd April 2012

Whilst Dr John never really went away, his artistic efforts have been ‘sagging’ slightly in more recent years. Despite originally hailing from LA, John has become intertwined into New Orleans folklore and has emerged as a figurehead for the city post-Katrina. Similarly, his association with the Bonnaroo Festival in Tennessee, where he plays frequently, is as a result of his 1974 offering, Desitively Bonnaroo  New Orleans patois for “good time” or “party.”

And it was here, in Tennessee, that John started his collaboration with Dan Auerbach of the Black Keys fame who together stormed the Bonnaroo stage for a cracking set, and then went straight into the studio to have a crack at a new album.

Spotify player temporarily removed. Apologies.

It’s an unlikely collaboration, seemingly escaping Dr. John’s New Orleans character intentionally and going in search of something entirely different, and a bit new. Auerbach takes up both producing and guitar duties and brings back ‘trickology’ (see liner notes)  whatever that is!  to John’s writing which is the key to his success, apparently.

Littered with R&B and Soul references musically, the album centres on a solid groove and a PHAT beat which would give even the funkalicious James Brown a run for his money. It’s infectious and the perfect chilled-out groove for any chilled-out summer.

Musical hooks such as the horn line in ‘Ice Age’ tease with a pop sensibility presumably put forward by Auerbach whilst the title track, and album opener, ‘Locked Down’ features an almost dreary sing-along which is surprisingly effective. It’s just cool. 

But that’s exactly what this album achieves; it just makes you feel like you’ve been accepted into somewhere you really don’t belong  a speakeasy in Orleans perhaps?  and brings back the good old days, some cracking tunes and a bit of the past that never really should have gone away.

However self-referential it may first appear the album stays current with John showing outrage over class inequities and flawed American systems. It also remains entirely unpredictable, despite the numerous hooks, and John, at 71, appears to be getting better with age. Vocally, he’s like a fragile Leonard Cohen, with the song writing sensibility of Springsteen and the beats of James Brown. What a fantastic combination, and what a great album.

Track to download: Eleggua

Oxford Shows at the Fringe 2013

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Prices shown are full price, but almost every show offers a reduction of two or three quid for students – follow the links for tickets and more details on pricing.

Drama

OUDS’ Alice in Wonderland

While the Comedy of Errors arm of OUDS jets off to Japan, these guys will do a leg in Edinburgh. Adapted by Matt Parvin, this hour-long version of Lewis Carroll’s classic is set to be heavy on physical theatre and improv. Cue croquet, ducks and dodos to entertain the youngsters, while a healthy dose of social commentary is designed to bridge the generational gap.

31 July – 26 August, 2:45pm @C Nova, £10.50

4.48 Psychosis

Directed by Ramin Sabi, who is also producing Theory of Justice, this version of Sarah Kane’s 4.48 Psychosis will be a highly naturalistic examination of a patient in the midst of a psychotic breakdown.

14-26 August, 8:20pm @C Venues, C Nova Studio 1, £9.50

Life Sentence

An original comedy about Theo, a young hypochondriac who is diagnosed with immortality. Theo immediately goes into mourning at the thought of the delights now denied to him by his diagnosis, such as the glory of a young death, final words and his very own funeral. Described by Cherwell as an “audacious and dynamic production”. 

2-17 August, 9:10pm @theSpace on The Mile, £7

Look Back in Anger

Eleanor Keel and Isabel Marr’s production will be a pared-down and slick version of Osborne’s classic. The play follows Jimmy, an ‘angry young man’ incensed by the injustices of post-war Britain, and his destructive relationship with wife Alison. The claustrophobia of the set – the couple’s bedroom – is balanced by Jimmy’s lyrical, expansive and seminal rants.

4-17 August, varying times @Greenside, £9

Gabe Day

An eschatological piece of new writing from Trinity Fringe Productions, Gabe Day chronicles the last night before the world is supposed to end. Cue an ironic apocalypse party in a nightclub which resembles Babylove in a last-ditch attempt to coax in some custom. Cherwell described the naturalistic dialogue as “free of cliché and sloppiness”, with a strong cast and a vivacious script.

2-17 August, 10:40pm, theSpace @Surgeons Hall, £8.50

Bluebeard

Another dramatic offering from Trinity Fringe Productions, Bluebeard garnered a hefty five stars from Cherwell when it was performed at the BT in Hilary. Becky Banatvala plays an old woman with Alzheimer’s in this fraught yet curiously undepressing piece of original writing. It’s only an hour but it feels like a lifetime, in the nicest possible way.

2-17 August, 9:25pm, theSpace @Surgeons Hall, £8.50

 

Musical Theatre

A Theory of Justice: the Musical!

Any script which condenses 2500 years of political philosophy into a rollicking musical comedy deserves a look. Described by Cherwell as “spectacularly, delightfully nerdy”, A Theory of Justice: the Musical! has already enjoyed international interest and is tipped as the breakthrough success of the Fringe. Go along and see if its heady mix of the comic and the academic works north of Summertown; Cherwell thinks you’ll be pleasantly surprised.

31 July – 26 August, 12:15pm @C Venues, C Main +3, £10.50

 

Comedy

Some Funny

Five-strong troupe The Buttless Chaps will be performing their underwhelmingly named show for just five short days. Creator Barney Fishwick assured Cherwell last term that “if the audience get more than some funny they should be fucking grateful really”. However, five stars from our reviewer can be seen as a resounding thumbs up: this amalgamation of musical numbers, historical sketches and pure silliness should not disappoint.

12-16 July @Canon’s Gait on the Royal Mile

The Oxford Imps

Acclaimed Fringe veterans The Oxford Imps return once more with Whose Line Is It Anyway? style comedy. The Imps perform games and sketches based entirely on audience suggestions, from Shakespeare to Broadway musical.

31 July – 26 August, 3:15pm @Gilded Balloon Teviot, £5

The Oxford Revue: With Bits

The critically acclaimed Revue present an all-new hour of satire, wit, and absurdity from the troupe that nurtured  Stewart Lee and Rowan Atkinson in their infancy. Go along, have a laugh and spot a future star

1-25 August, 3:20pm @Underbelly, Cowgate, £10

Racing Minds: Aaaand Now For Something Completely Improvised

Current and ex-Imps take you on a comic adventure based entirely on audience suggestions – anything could happen and no show even resembles the next. 

31 July – 26 August, 11:30am Pleasance That @Pleasance Courtyard, free

Racing Minds: The Wireless Podcast

Four comedians plus a virtuoso musician and some sound effects bring a musical twist to Racing Minds’ improv. Laffs and choons abound.

1-25 August, 7:30 pm Laughing Horse @The Three Sisters, free & non-ticketed

Rory & Tim: On the House

Sketch comedy show which supported (to use the term loosely) Phill Jupitus in London last week, and boasts a bonus member (Iain) in addition to the two billed. And their Facebook page is quite funny.

3-24 August, 6:15pm @The Dram House, free

A cappella

Oxford’s The Alternotives will be performing “pop, funk, RnB and jazz” from the 11 to the 24 of August (2:05pm, theSpace @Symposium Hall, £10). Meanwhile, The Gargoyles, the university’s other mixed a cappella group, will provide them with jazzier competition in the form of a mixture of “pop, soul, jazz and Disney” from 31 July – 17 August (2:20pm @C Venues – C, £11.50).

All-female group In The Pink will also be  performing “everything, from 90s classics to moden chart-toppers” 11-23 August (4:30pm @C Venues, Adams House, £10.50). Their hunky counterparts Out of the Blue, stars of Britain’s Got Talent, will be performing “an eclectic mix of songs ranging from foot-tapping pop, through jazzy R&B and rock, to sentimental ballads” from 1-26 August (2pm at Assembly George Square, £11).

If you have any additions or corrections to make to this list, or if you would like to review for Cherwell over the Fringe, please get in touch via Twitter (@Cherwell Stage) or else email us at [email protected]

Football’s Silly Season: A Round-up

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On receiving Arsenal’s £40,000,001 bid for Luis Suarez this Wednesday, Liverpool owner John Henry pondered aloud: “What do you think they’re smoking over there at [the] Emirates?” The football silly season has returned, perhaps more loony than ever. Increments of £1 are very Arsène Wenger – but his sudden willingness to treble his transfer record (and, furthermore, on a convicted racist with teething trouble) suggests that he and Ivan Gazidis might well have been enjoying a Camberwell Carrot or two in the otherwise unused trophy room.

And to think the summer had started so sensibly. Before the last two weeks of 30°C roastings, most clubs had conducted themselves their business with the appropriate shrewdness. Chelsea picked up Schurrle and van Ginkel, with de Bruyne returning on loan; likewise Manchester United collected Zaha from the Crystal Palace school gates, and the promising Guillermo Varela from Uruguay. Liverpool had been the most effective of the fourth-place contenders, with Mignolet, Toure, Aspas, and Alberto all looking like excellent acquisitions at very modest prices. Amongst the clubs lower in the league, the snaffling of Ricky van Wolfswinkel, Victor Wanyama, and Marc Muniesa (by Norwich, Southampton, and Stoke respectively) caught the eye.

Since then, off-season barminess has affected clubs across the land. In the growing heat of the sun, common sense has gone out of the (hastily opened) window. Manchester City – bouncing back from the short spell of austerity that saw them haggling for Jack Rodwell and Scott Sinclair – have returned to the market of top European attackers like a nostalgic teenager to his Pokédex. The rabid snatching of Negredo, Navas, Fernandinho and Jovetic has had a hint of the “gotta catch ’em all” mentality to it – recalling the pursuits of Tevez, Robinho, Adebayor, Santa Cruz, Dzeko, Balotelli, Silva, Caicedo and Bojinov to name but a few, in previous years.

City’s spree has really set the tone for everyone else: United have been hurling money at a very reluctant Cesc Fabregas, Chelsea dusting off the blue carpet for Wayne Rooney; Tottenham went big on the reasonably unknown Paulinho, whilst Arsenal have been trying to splash the cash on the aforementioned Suarez and Gonzalo Higuain (who has just passed a medical for Napoli, sadly for the Gunners). In reality though, the glut has probably been provoked by mammoth deals on the continent: notably in France (with Falcao and Cavani the latest perfomers in their ever-improving circus), but also July has seen the long-awaited transfers of Thiago Alcantara, Mario Götze and Neymar. Gareth Bale could well be added to that list by the end of the window.

Of course, not all of the silliness has been transfer-based; most of the more ridiculous stories in the past couple of weeks have come from outside the boardrooms. The Asian money-spinning tours are always good for a giggle: for every amusing pre-season stumble against the might of Yokohama F Marinos or Singha All Stars, there is a bonkers fan sprinting through traffic for eight miles to meet his team. Throw in the bizarre controversies over Falcao’s real date of birth and Papiss Cisse’s penchant for Tyneside casinos, and you have a month of football’s finest cock-ups and craziness. Enjoy it while it lasts – it won’t be long before the headlines are full once again of indecent liaisons, referee intimidation and racist abuse.

Review: Measure For Measure

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★★★☆☆
Three Stars

Having never encountered Shakespeare’s Measure for Measure before, it was testament to the acting of the Union Theatre’s production that I understood most of the plot. Phil Willmott’s direction turns a play about power, purity and marriage into a lively performance complete with ad-libbing chorus of prostitutes and cabaret songs, although this vividness is often not enough to redeem some of the production’s shortcomings.

Philip Lindley’s design turns the black box interior of the Union Theatre, first into a sultry whorehouse sectioned off by mesh walls and later into a courtroom, prison and nightclub. The vaguely modern atmosphere seems to lift it out of Elizabethan stuffiness, such as the Madmen suits and whisky, but adds little else to the production and often nears the gimmicky.

The show starts with a lascivious Pompeia (Natalie Harman) welcoming the audience into the promenade-style first scene; in case anyone is confused as to the setting, ‘Whore’ is lit up in large red letters. Colloquial one-liners and cockney jibes bring a charming liveliness to the stage, indeed, the boisterous and saucy chorus of prostitutes were almost the life and soul of the performance, providing comic vocal backdrop to various scenes like a band of beautiful, scantily-clad pirates.

However, the real heart of the play is Paul Critoph’s Angelo. Critoph gives a Javert-like tortured conscience to the figure whose morals are tested and teased. His tense scene with Daisy Ward’s Isabella is a standout moment, her quietly fierce propriety coming up against his pitiful lechery in a grippingly uncomfortable encounter.

Unfortunately, their respective struggles with principles take a back seat in the second half, where Nicholas Osmond’s Duke/Friar leads the action in a sluggish resolution of the conflict which had proved much more captivating in the previous half. Osmond’s performance begins promisingly with a Don Draper swagger that suits the Duke, but fails to take advantage of the part his character would go on to play in an inexplicably complicated and roundabout resolution.

Either something of the fiercely virtuous or of the Machiavellian lacks in his performance, but he seemed to coast throughout, satisfying but never quite captivating the audience. It is his performance that could make the resolution more fascinating than the inevitable slog towards a happily ever after ending, led by a dodgy Scottish accent.

Slurred lines occasionally make for tedious and downright confusing viewing, while miscasting or lack of props does little to suggest visual resemblance between certain characters, which turns out to be key to the plot. Tighter and more explorative direction could raise other performances to the level of Critoph and Ward’s encounters; however, it remains an appealing production with some vivid acting in a space which is imaginatively filled. 

Measure for Measure will be at the Union Theatre, London until the 27th July. Tickets are available here.

Review: Macbeth at the National

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★★★☆☆
Three Stars

Life, according to Macbeth, is “full of sound and fury/Signifying nothing”. Kenneth Branagh and Rob Ashford’s production is full of balls-to-the-wall aggression and bombast, but ultimately falls short of the significance achieved by Olivier, McKellen or Sher.

I experienced the sound and the fury of Macbeth in the slightly incongruous setting of my local Cineworld. The nationwide broadcast of the closing night from a decrepit and deconsecrated Mancunian church made excellent use of the various angles permitted by the play’s staging in traverse.

This deft camerawork is in evidence during the play’s chaotic opening scene. As she kneels cowled in prayer, Alex Kingston’s Lady Macbeth is cast into shadow by a flickering crescent of candles. This momentary stillness is shattered by the sounds of war; martial drums echoe as sprinting warriors clash, bleed and die on the churned mud which covers the stage. The rapid progression of shots make it easier to accept the staged violence as real, lingering for no more than a couple of seconds on any one struggle.

Later, though, the converse proves true. The suspension of disbelief required from the theatrical audience proves harder to achieve in a popcorn-stickied cinema seat. The unforgiving camera reminds us constantly that dead men were still breathing and that swords were not being swung with true menace.

The staging does not always help here either, for example when Macbeth gazes in fear at a dagger ludicrously and obviously suspended from wires. “Is this a dagger I see before me?” Yes, Kenneth, and we can all see it dangling from a piece of string. (Other challenges were better met – the writhing bodies which formed the demons in Macbeth’s second visit to the witches formed a spectacle impressive enough for any motion picture)

Individual performances, on the other hand, mostly benefit from the closer focus of the camera. The three witches are superb, forming a wriggling mass of insane sexuality which was drawn inexorably toward murder and mayhem as the production wears on.

Ray Fearon as Macduff is a triumph, a man of colossal stature whose colossal grief upon learning on the death of his son explodes with seismic intensity through the church. However, upon Macduff’s (somewhat anti-climatic) defeat of the usurper Macbeth, it seems slightly absurd to accept Alexander Vlahos’ underwhelming and somewhat vapid Malcolm as the rightful heir.

There is far more regal gravitas in Fearon’s character and also in Jimmy Yuill’s stentorian Banquo, both prior to his demise and in the ghost scene where he forged an effectively sinister connection with Branagh.

This is what stopped Branagh’s convincing and accomplished Macbeth from being amongst the great performances of the role. He was excellent in communion with other actors but seemed to lack a final drive into madness following the death of his wife (save for the “tomorrow, and tomorrow, and tomorrow” soliloquy, delivered with flawless grief and nihilism).

He and Kingston are a fascinating, complex and sexually-charged pair  a tartan-clad Bonnie and Clyde  but this focus on their intimacy left their individual characterisation lacking in depth. Kingston’s sleep-walking scene, for example, has the air of overwrought amateur dramatics, while her scenes with her husband are alive with nuance and murderous ambition.

The play does not lack originality, particularly in its focus on the sometimes-neglected Macbeth and his Lady. More could be made of Branagh and Kingston’s personal journeys into insanity, but at its best this production is an unnerving portrait of a far-off time all too familiar in its naked ambition.

The National Theatre broadcast this production of Macbeth to cinemas around the world on 20th July 2013 as part of the Manchester International Festival  more information may be found here.

Unto Us is Born a Son

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A child was born earlier this week, to two very proud and, I assume, very tired parents. The circumstances of this birth mean that this child (without a name as I write) will grow up with almost unavoidable media attention, total security, and, crucially, his future job already set out for him. He will, all circumstances permitting, rule over the United Kingdom of Great Britain and Northern Ireland (not to mention the remnants of the empire). From the images on the BBC, you would think that entire nation is joyful, frolicking in the streets to welcome their future king. However, there exists a band of professional party poopers, known as republicans, who feel rather differently about the whole thing.

However, exactly what we republicans think about the royal birth has been much misrepresented. There are two main misconceptions (excuse the pun) about republican attitudes to the royal child. The first is that we all hate him. Not so, I’m afraid. I no more hate the kid than I hate any other. Frankly, it is not through any fault of his that he was born into an institution with which I find fault, therefore, I don’t have any personal problems with the Prince.

The other misconception, perhaps spurred on by the Guardian, with their option to censor their website to remove all royal content, is that republicans think too much fuss is being made out of this issue. This is nonsense. If anything, republicans feel as if too little fuss has been made. However, we feel as if the attention has been directed towards the wrong thing. Rather than obsessing over the very personal details of the birth in a worryingly voyeuristic manner, we ought to be reflecting on the very public and far-reaching implications of the peculiarity of this particular birth. Republicans do not demand that we treat this child like any other, we demand that the difference between this child and any other is taken and examined seriously.

This difference could not be any greater. This child, unlike the vast majority born to British parents, will come to rule Britain. However, this is no just deserts. It is only by the virtue of his parentage that the royal child will come to take this position. This is a serious constitutional point that should not and, indeed, cannot be ignored. Those who tell republicans, in varying levels of civility, to shut up and grin along, are merely ignoring the opportunity for a great and important national soul searching. Instead, they treat the birth of the royal child as a solely personal affair, whilst revelling in it in a very public manner. The public treatment of the entire occasion has been more reminiscent of celebrity, rather than political culture.

In fact it is precisely this dichotomy between the celebrity and the political which divides the public attitude towards the modern royalty. The royal family are treated much like many other celebrities, with constant media attention, prying photographers and a public desperate for any insight into their lives, no matter how invasive. We treat them first and foremost as people for whom the majority of the nation has great affection and great interest. However, this means that, whenever there is any (legitimate) political criticism of the royal family, the response is often to either attack the critic on an ad hominem basis (in response to a perceived personal attack on that beloved family) or to deny that there is any political content to the royal family – to deny that their position is up for discussion.

However, when it suits the royalist public, the royal family are anything but apolitical. They are the symbol of Britishness, of what it means to be a part of our society and a grand tradition that ought to be protected. If something is allowed to stand as shorthand for a nation, or to define a society, that is very definitely political. We need to be sure that every aspect of that institution is a desirable and appropriate representation of everything for which we want our nation to stand. That requires political argument, and thus requires royalists to engage with the republican case, rather than accusing them of ruining everyone else’s fun.

Perhaps the most obvious symbolic element of the royalty is the fact that we have a sole ruler. We are not citizens of a society which has any control over its head of state. In fact we are not citizens in any proper sense at all. We are subjects, subjects to the wishes of our monarch. Anyone with a shred of liberalism in their soul will surely be unable to stomach this constitutional stratification of society into those with inherent power and those without, far less those with any sense of the importance of the ideal of equality.

Furthermore, this sole ruler is not selected according to any process considering merit or worth, only heredity. This is not a process that can be conceived of as just under any definition. We do not accept this principle in any of our private institutions, nor even in our oldest and most public institutions (it has been a long time since anyone has looked favourably on hereditary peers), so it is a mystery why we should choose to accept it here and only here, much less let it represent our country. If we are serious about becoming a country where hard work is rewarded, rather than parentage, as many of us seem to think is only fair, then we should start by questioning whether we can legitimately have a head of state who is selected by the single least meritocratic process possible, and whether that is the face we want to present to the world.

Finally, and perhaps of little interest to most, there is the fact that our monarch is also the head of the established religion of our country. Or rather one of our countries – it is an absurdity that Scotland, Ireland and Wales are ruled over by the leader of the Church of England, and even more absurd that we continue to preach secular democracy in Northern Africa and the Middle East (particularly to Iran) when our country is run by the head of a religious institution who pray during communion that they should “may faithfully serve, honour and humbly obey her”. This is not to criticise the Church of England or its beliefs, incidentally, it is to criticise the connection between the head of state and the head of a particular church and the hypocrisy we commit when we exhort others to shun religious political leaders.

Setting aside the justification that is offered on the basis of tradition (which, although beloved of conservatives, would justify many atrocities, such as female circumcision, institutionalised anti-Semitism and hanging, and so cannot be admitted as a guiding principle), the only real justification of the continued existence of this institution is that it preserves stability and national cohesion in the face of the populism and capriciousness of unfettered democracy. Whilst America may face dramatic swings between Democratic and Republican (no relation) presidents, we have a reigning monarch who provides a degree of continuity to our nation’s face to the world. This relies on the fact that the royal family is apolitical in effect, if not in symbolism. Their continued inaction and impartiality, and, consequently, removal from the policy-making process, is essential to maintaining the justification for their existence.

This is, however, a much overstated case. Firstly, as the late Christopher Hitchens correctly observed, the same people who claim that the monarchy is a force for something also have to claim that they have no power to force anything at all. This is not an easy circle to square and requires a great deal of credulity rather than reason. Secondly, the monarchy does in fact possess a great deal of power, and political power at that. They can, by exercise of the Royal Prerogative, make orders in council, declare war, make peace, recognise foreign governments, sign and ratify treaties, grant pardons, grant charters, confer honours, confer patronage and establish commissions. These are hardly the powers of an impotent head of state. Royalists will counter that, although the royal family are entitled by law to do all of the above, they rarely do. This too is a poor replacement for an argument. We should be concerned about what our constitution allows, rather than exactly how it is currently used, in case any future monarch, including perhaps the Prince Cambridge, should prove to be more of an activist than our current Queen.

Additionally, there is the question of whether our current royal family is actually as apolitical as it claims to be. Recently, the Guardian newspaper tried to access notes, known as the “black spider memos”, written from the Prince of Wales to government ministers in order to influence policy. This attempt has been unsuccessful, as the attorney general vetoed the release of the memos, and three high court judges ruled that the memos were not in the public interest. Apparently, the release of the letters would lead to the public no longer perceiving Prince Charles as neutral. The attorney general said that “any such perception would be seriously damaging to his role as future monarch because if he forfeits his position of political neutrality as heir to the throne he cannot easily recover it when he is king.” If that doesn’t sound like the royal family influencing policy, I don’t know what does. If that is the case, then the monarchy is just as political as republicans have feared it could be, and does not fulfil the criteria drawn up by its own supporters.

But let us set aside the points of constitutional principle. Let us set aside the power of an unelected head of state over their subjects and all that that entails. Instead, let us turn to money. The royal family provide incredibly poor value for money, require millions in upkeep from the taxpayer at the best of times. Whenever there is some kind of party to be had, whether for an anniversary or a wedding, the taxpayer foots the bill for an opulent ceremony. In an age of austerity, when the general public are facing increased pressure to pay down debts, unable to secure credit for themselves and are having benefits and other government spending cut, it seems ridiculous to ask them to pay what is essentially a transfer payment from the taxpayer to the biggest landowners in the world (they can’t exactly be hard up). The scale and direction of this transfer is simply one of the greatest self-inflicted injustices being done to the British people.

Self-inflicted, unfortunately, because the majority of people in this country will disagree with most of what I have written above. The vast majority of us are royalists, content to have the Windsor family as our rulers and our superiors. International opinion, however, is something quite different. Whilst the majority of Britons may think that a monarchy is the best form of rule, the fact that only 45 countries in the world have a monarch as head of state (among them Saudia Arabia, Jordan, Monaco and the Vatican City – salubrious company) speaks volumes. To the rest of them, the British monarchy is not a grand old tradition, but just another obnoxious eccentricity. If we cannot recognise the way the tide has turned since the days of feudalism, if we can’t embrace a vision of society as a group of equal citizens, if we can’t throw the last vestiges of our imperial past into the dustbin of history, then we cannot be anything more than an interesting and decaying relic on the international stage.

In short, the birth of the boy who will one day become king should not prompt unbounded joy in us, but instead should start a serious and far-reaching examination of what it means to be a monarchy in the modern age and whether our current constitutional position is tenable. It is my contention that it is not and never can be.