Thursday, May 8, 2025
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Six of the best: winter albums

Descriptions that liken music to a particular season will inevitably be based on subjective experience. A ‘wintry’ album might remind one person of cuddles with a loved one on a chilly evening; for another, it will be something to dissociate to whilst gazing numbly out onto the frost-covered quad on Sunday of 8th Week. Or, of course, it might be the seminal avant-garde masterpiece that is 2010’s Now That’s What I Call Xmas.

1. Radiohead Kid A (2000)

In 2000, Radiohead made perhaps the greatest left turn in the history of popular music, going from everyone’s favourite despondent art-rockers to everyone’s favourite despondent… whatever the hell Kid A is. There’s much to be said – and much that has already been said – about Radiohead’s then radical (at least by mainstream standards) channeling of influences from electronica, ambient, free jazz and the avant-garde into their signature brand of alienation and ennui. But if we’re talking strictly about a sense of coldness here, I’ll just let ‘Idioteque’, with its stark atmosphere, choppy beats and chilling refrain of ‘ice age coming, ice age coming’ do the talking. FM

2. Godspeed You! Black Emperor F#A#∞ (1997)

‘The car’s on fire, and there’s no driver at the wheel…’ so begins ‘The Dead Flag Blues’, the mammoth opening track on GY!BE’s 1997 debut, an at times fragile, at others overwhelming sonic journey into the post-industrial wasteland. There’s probably some cheap comparison to be made between this line and the current handling of a certain national health crisis, but I’ll avoid glib connections to contemporary politics and instead focus on the band’s sense of texture and atmosphere, their abstract blend of dirge-like guitars and mournful strings with low, rumbling drones, their sparse, cinematic soundscapes, the ineffable quality of the field recordings that punctuate the album. ‘These are truly the last days’ indeed. FM

3. Purple Mountains – Purple Mountains (2019)

Already about as bleak an album as you’ll be able to find, the feelings of despondency and isolation seeping through Purple Mountains’ self-titled debut were compounded when David Berman, the man behind the moniker, hanged himself in his New York apartment just weeks after the record’s release. Deceptively catchy songs such as ‘Darkness and Cold’ and ‘All My Happiness is Gone’ reveal a man who, though frosty and flawed, was someone we could all root for right until the end. Rest In Peace, David. FW

4. Tim Hecker Ravedeath, 1972 (2011)

Canadian sound artist Tim Hecker is inarguably one of the most vital and expressive artists working in the realm of ambient music. As such, it was difficult to choose between this and his other masterwork, 2013’s similarly chilly Virgins – I went with Ravedeath, 1972 only in part due to the punworthy fact that it was recorded in Iceland and produced by fellow sonic experimenter Ben Frost. Consisting of compositions that prominently feature grandiose, elegiac church organs alongside Hecker’s trademark fuzzy electronic textures, the record is driven by Tim’s desire to explore through music ideas of decay and degradation, isolation and internal conflict. Fittingly, it’s an emotional powerhouse of an album, one that can be as harsh and claustrophobic at some points as it is melancholic and cathartic at others. FM

5. Better Oblivion Community Center – Better Oblivion Community Center (2019)

Two of indie-folk’s most affecting voices, in Phoebe Bridgers (we are not worthy) and Bright Eyes’ Conor Oberst, team up on this understated gem, released without fanfare in January 2019. ‘Chesapeake’ is a yearnful campfire duet about “how depressing [the music industry] is”, while ‘Service Road’ lyrically depicts a snow-dusted Midwestern highway. The highlight, however, is the rollicking ‘Dylan Thomas’, with its angsty chorus and references to the eponymous poet drinking himself to death on a cold November night. FW

6. Various Artists Now That’s What I Call Xmas (2010)

With the realisation that this list is erring on the side of the depressing (‘Do they know it’s Christmas?’ I hear you ask), it might be best to remind the listener that it’s not all so bad with this set of cheery festive classics. Sit back and relax by the fireplace with a mince pie in one hand and a glass of mulled wine in the other, and let Bing Crosby’s ‘White Christmas’ soothe your soul. Or gather round with your friends and belt out The Pogues’ ‘Fairytale of New York’ and Slade’s ‘Merry Xmas Everybody’ into the early hours of the morning. Or question the bizarre inclusion of Jethro Tull and Frankie Goes To Hollywood on the tracklist. Whatever floats your yuletide log, really – ‘tis the season, after all. FM

Artwork by Sasha LaCômbe.

On First Looking into Rupi Kaur’s ‘Home Body’

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This must be what god feels like: swimming the 

Slim interstice between sensation and 

Language, or within the silence as the 

Curtain lifts. Head to the source of the earth’s 

Deep percussive heartbeat like dum-da-dum

Waltzing with every last atom in the 

Universe, impenitent, blank verse blown

Apart by line breaks, bricolage applause

As spoken word verses raining down like 

Stardust, this meteor only ever half-glimpsed 

As it careens throughout the heavens. It’s 

Sappho if she could have heard Ludacris’ verse 

On ‘Baby’. It’s fire, baby, and I, the 

Reader, can warm your hands against it while

You still have the chance. A truth that one can 

Express in epithet form is that

Meena Alexander wasn’t on Fallon

Even once, and probably died poor. 

Poor as in penniless. So take a good look. 

And then again as it is reproduced 

Through a series of iterated images. 

That’s £19.99 at Waterstones, 

Baby, and trust me: 

There’s an L in ‘neoliberalism’ but you won’t find one in ‘Home Body’. 

Artwork by Rachel Jung.

Lighting: the art of manipulating the audience

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Light is a subversive medium. Unless reflected off something, it is invisible – its only job is to tone how something is presented to an audience. If you think you are immune to manipulation by light then I invite you to partake in a little thought experiment: imagine a summer evening with a warm golden sun. Now imagine an overcast Monday in February with a grey cloudy sky. The change of emotions is immediate. It is an old trick that has been used, far more elegantly than me, by writers for millennia but one that is incredibly powerful.

Changing the feel of the light has a massive impact on how an audience sees a piece of drama; imagine if the murder scene from The Scottish Play was undertaken in bright Mediterranean sun or if the title song of Chitty Chitty Bang Bang was performed under moody grey lighting. It is something most audiences have probably never considered, not because it is unimportant but because most people don’t have an intellectual response to light. The effect of light is upon the unconscious, unacknowledged unless you are thinking about it, but it influences you all the same.

So, how do you manipulate light to manipulate people then?

One of the most used methods is colour temperature or how warm or cool a light source is. Warm, yellow-orange light is comforting and homely, these colours are associated with candles or being around a campfire. It is often used to draw people into high-end shops or to create a comforting ambiance on stage. Cool light, which mimics the harsh midday sun is bluer, can be used to trick an audience’s subconscious into thinking that action is happening outside when in fact everything is taking place in a theatre. It can also make people feel uncomfortable: fast food restaurants use cool lighting to reduce the average length of stay. By making people feel slightly on edge, they won’t sit and chat. This increases restaurant capacity and profitability. It is significantly cheaper and subtler than hiring someone to kick punters out after they have finished their food but achieves the same effect and, crucially, the customer is none the wiser.

As well as colour temperature, another incredibly useful lighting trick is relative brightness. Human vision is easily diverted to bright things. In theatre, unlike movies or TV, the director has no natural control over where the audience looks. They can’t cut to a close-up showing the action and so light is used to direct attention. In crowd scenes where multiple people speak in quick succession, it isn’t uncommon to boost the brightness of an actor just before they speak so an audience is already looking at them when they start their line.

This effect isn’t just useful to the arts. Have you ever wondered why in most night clubs the spirits are illuminated? Shots tend to be around 20% more profitable than bottled beer and so by lighting them up bars can nudge patrons to their most profitable items. It is one of the best value ways to boost sales. Incheon Airport has found it can reduce the number of signs needed and the time customers take to find their bearings by using horizontal directional lighting and light corridors that subtly guide passengers where to go. Pathways through the airport could even be changed by altering the brightness of different areas.

Light can also alter how people are perceived. Most people are vaguely aware of how soft omnidirectional light can flatten wrinkles turning back the clock. However, the lighting designers’ ability to change how we view a character goes far deeper. The size of a theatre designers’ canvas is large: it’s the whole stage. The emotion of the lighting must be felt from the gods and so effects can be large and dramatic. Film designers may only have the face to focus on and so effects tend to be contained and far more subtle.

Some studios use a light called an inky dinky that is placed in an actor’s eyeline in order to produce a circular reflection. This makes the eye pop out and the character seem more sympathetic; baddies are differentiated by replacing the circular light with a slit of light. This makes their eye look more reptilian and puts the audience on edge subconsciously. The type of lighting can also influence how dramatic an actor’s performance is perceived. Some actors have vetoes in their contract enabling them to adjust the lighting as they see fit; Maggie Smith has been known to stop tech rehearsals if she believes the light on her face is too flat and won’t convey emotion as well to the audience.

Another little talked about feature of light is colour rendering, some light sources like fluorescent tubes (used in some form for the majority of Oxford buildings) are missing certain frequencies of light. This makes them cheaper to produce and to some extent more energy efficient but they are missing whole colours, comparing their light with full- spectrum sources (that have every perceivable colour) the world feels slightly bleak and washed out. Theatre mostly uses ‘antiquated’ tungsten lamps that have a perfect colour rendering index, though you can use coloured film to reduce the colour rendering of a light.

Crossfading from a low colour rendering source to a high colour rendering source can produce a beautiful transformation scene in theatre but its effect in ordinary life is much more surprising. The University of Nevada found that students learned 20% more in classrooms lit with high colour rendering lights. Of course, things like this are difficult to prove outright, and it doesn’t help that the idea of quantifying the effect of light on human performance and mood is relatively new and so things like the emotional impact of light are seldom taken into account by commercial lighting designers.

Ironically, the study of light has always been in the shadows despite how much light impacts our day-to-day life. Perhaps it is because the eye is drawn to what is illuminated rather than the illumination itself. Either way, it has never really bothered lighting professionals. Their motivation isn’t for themselves to be in art but comes from the art that they can create and the effect of that art on an audience.

Image Credit: Eva Rinaldi / Wikimedia Commons. Licence: CC BY-SA 2.0.

Out of the Blue release their charity Christmas single

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Oxford-based acapella group Out of the Blue have just released their new Acapella cover of Wizzard’s I Wish It Could be Christmas Everyday in aid of Helen & Douglas House, the world’s first children’s hospice. 

Out of the Blue is an all-male group composed of University of Oxford students, although it is open to anyone that lives in the city. The group have worked with Helen & Douglas hospice for 10 years, and donate all of their annual profits to them after costs, alongside performing regularly in the hospice. 

A spokesperson for Out of the Blue told Cherwell: “Out of the Blue have been doing an annual Christmas single in aid of Helen & Douglas House since 2014.  Helen & Douglas House are a children’s hospice (the oldest in the world) in Oxford who provide palliative and end of life care for children with life-limiting illnesses. Over the past 5 years we have raised over £150,000 for them – something we are incredibly proud of.” 

“Like most people in the arts, we have struggled this year and with significant running costs, have only just managed to turn a profit after our intense work in Michaelmas and Hilary last year. Helen & Douglas House were facing financial difficulty before the pandemic so it’s even more important that we raise as much money as possible for them. “

You can watch Out of the Blue’s Christmas music video here and download the single here.

Image credit: Richard Tong

Review: Taylor Swift’s ‘evermore’

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‘In the disbelief I can’t face reinvention. I haven’t met the new me yet.’ So sings Taylor Swift in her ninth and most recent album. Swift has talked before about the pressure on female artists to be constantly recreating themselves, but here her break from this expectation has paid off in the fullest way. For those who warn against the inability of a sequel to match up to the original, this ‘sister album’ to folklore is, like the second Godfather installment or Shrek 2, one of those exquisite exceptions which prove the rule. evermore, in all its moody alt-folk glory, is a christmas gift. 

Unlike its predecessors, it takes a few listens to start to unpick the complexities in sound and story. Accordingly I have listened to evermore cycling through Oxford fog, running round my village and most recently staring moodily into the fireplace like I’m starring in a shitter, Scottisher Call Me By Your Name remake. What has become apparent is a richness that I can hardly do justice to either in reception or writing – articles more informed than this one are already springing up tracing the correlation between different song-stories, or explaining the musical influence of her different collaborating artists. Nevertheless, this is me trying. Swift opens the album with ‘willow’, the folk influences signposting that evermore shares the same instrumental foundations as folklore, but is more experimental. Her stripped back, mid-tempo piano and picked guitar tie disparate themes together with an invisible indie swing, from the off-kilter ‘closure’ to the feral ‘no body, no crime’ (Taylor’s country has come a long way from misogyny to misandry and I am so ready for it). Because of this, evermore, even more than folklore, walks a delicate balance to avoid album accusations of either incoherency or mono-sound; it’s true that one or two songs don’t quite pull this off. ‘gold rush’ in particular shows the stumbling blocks of a collab between two distinct sounds, and is a jarring jumble of producer Antoff’s sonic set pieces which distracts from the gorgeous lyrical conceit of the song rather than adds to it. Elsewhere, however, this collaboration (among others) soars and leaves us with a stunning compilation of pieces, especially impressive as the second album she has produced in one year. 

Form mirrors function; as much as these songs move away from chart-friendly pop, so Swift excludes herself from her narratives in a way not often seen in high profile artists. I think it’s a relief to be looking for meaning in her lyrics without trying to link it to the latest piece of tabloid gossip.  On one level it allows a new layer to her songs; without a confirmed canon, ‘dorothea’ can be related by fans to ‘‘tis the damn season’, or it can be heard as a sapphic anthem. But crucially, Taylor’s character studies are proof that songwriters don’t need to lay bare details of their personal lives to pack an emotional punch. Just in time for Christmas, ‘‘tis the damn season’ has 2020 me wishing that 2015 me had not taken up debating or believed my mum that percussion was the coolest instrument, just to increase the probability I would now have a hometown ex to text. Autobiography in songs is only one way for them to be honest; fundamentally Taylor, unlike many contemporaries, is a lyricist first and it’s with this skill that she conveys an acute, almost painful at points, emotional honesty which is as transcendent in a song about a fictional ex-husband as it is about Tim McGraw. evermore sees an overload of word play, rich imagery and structural tricks to bring this home; even if you’ve somehow remained emotionally stable in the 2020 rollercoaster from cruel summer back to December, then ‘champagne problems’ and ‘ivy’ might just be the final straw for your tear ducts. The same mild treatment is given both to confessional suggestions of sensuality and to an erudite set of cultural references from F. Scott Fitzegerald to contemporary poet Miller Williams, creating a unique kind of shared experience. Swift has this gift which has you pull up, almost breathless, during a song about a specific failing marriage, or child-hood friend and think, oh that’s me. That’s how I feel but expressed in words that I didn’t necessarily have at my fingertips.

I said in a review of Lover, my possible favourite album before this point, that Swift’s gift lies in that she’s so invigorated by the concept of falling in love, it’s difficult not to get swept up in the excitement too. evermore hasn’t so much proven this wrong as expanded her interest to treat other types of passion with the same sensitivity. There’s a new maturity that doesn’t just come from the increased swearing in her last two albums (sexy as it is). These 17 tracks chart predominantly the breakdown of different relationships and from the perspectives of different parties but somehow any nastiness only goes as far as bittersweet and this remains an album which is ultimately uplifting to listen to. On one hand, this can be credited to a universal power of any beloved artist; there’s a warmth that comes from knowing whatever acute, individual emotion you feel is echoed around the world. Taylor certainly plays into this with a more self conscious use of narrative voice. But freshly, there’s a broader perspective here which gives a self-affirming power to the listener. evermore as an album recognises that the pain of lost love – romantic or platonic – is matched with the happiness that that relationship at one point brought, even as it acknowledges the difficulties in being able to hold on to this in the heat of the moment. Songs like ‘happiness’ sway from forgiveness to bad blood and back again in the same verse;

‘There’ll be happiness after you. But there was happiness because of you. Both of these things can be true – there is happiness.’

This is a fruitful symmetry and one which throws into relief the asymmetry of requitation and arrhythmic dualities of internal emotion that Taylor wants to explore – it’s these which go hand in hand in lived passion. This is why the titular song serves so well to complete the album, concluding that the pain of lost love can simultaneously be understood to be both temporary and evermore.

It was always going to be a love story for me and Taylor and I’m sure that this article has come across as far from unbiased. I’m happy to be made fun of as a T Swizzle fan, but I’m also coming to realise that my aggressive stanning of her isn’t just proportional, but reactionary. Frankly this is the side I’d rather err on. Fans know all too well that it is easy for her to be swept aside as the ‘crazy ex-girlfriend’ or bland pop princess by boys to whom The National or Bon Iver must be invoked in order for them to take her work seriously. 2020 marks the year that Swift dislodged Michael Jackson as the most awarded artist of all time and also, I hope, the year the world will finally stop any facade that it consumes Taylor Swift in any way other than non-ironic. evermore is just the latest piece of evidence in a long line of conquered musical genres that makes it clear that, as far as the music industry goes, Taylor Swift’s position is unapologetic, incomparable and irreplaceable.

Image credit: Wikimedia Commons.

Going Viral: Religion and the Pandemic

Pandemics are nothing new, but we now live in a technological age – a globalised world where people and information travel further and faster than ever before. This has facilitated the prolific spread of the virus, but it also means that we have the technology to adapt in response. Online messaging platforms have come to define the way in which we continue to communicate amidst a global pandemic. In relation to religious services, it is online streaming services that now facilitate congregational worship, albeit removed from a particular place of worship. 

The global events of 2020 have had an unprecedented impact on our lives and our faith, prompting us to reconsider our established beliefs. In times of crisis, we often turn to our community for support, only to find that amidst this pandemic, we cannot — physically. As a result, many begin to look inwards for answers, whether it be through religious activity or spiritual practice. The endurance of religious activity is vital to many who seek reassurance and counsel during a time of greater hardship and loneliness. Isolated from society, many have been severely impacted by anxiety, apprehension, and fear on account of lockdown and the threat posed by COVID-19. In a polling of 4,294 UK adults carried out by The Mental Health Foundation in early July, almost one in five (19 per cent) of UK adults were feeling hopeless.

In the absence of a typical congregation, religious communities around the world have had to adjust time-honoured rituals, adapting to a ‘new normal’ in order to curb the spread of the virus. 

One particularly novel example of such an adjustment went viral online when a socially-distanced baptism in the US was conducted with a toy water pistol. Additionally, since moving its services online, an evangelical introduction to Christianity has seen the number of its participants double. While religion functions at the individual level, COVID has impacted the communal and collective issues, and it is this community that is at stake. The innovation and adaptation of organised religion during the pandemic is necessary in order to safeguard the survival of the communal and ritualistic aspects of religion, retaining the connection between the sacred and the profane.

Here, we present our respective experiences of lockdown in two religious contexts – a non-denominational monastery in rural South Wales and Muslim communities in Oxford and Malaysia. 

While these communities represent very different cultures and practices, these personal perspectives will give insight into how religious communities have sought some common means of adapting traditional religious practices in the face of a global pandemic.

Skanda Vale, South Wales

Prior to my stay at Skanda Vale monastery, I had been in lockdown in Pondicherry, South India for about a month. I came home on the only chartered flight out of Chennai, and knew that I couldn’t risk being my immediate family for at least 14 days after the flight. It occurred to me that I could contact a monastery local to my home in rural South Wales, whose members I knew well. 

The religious community of Skanda Vale was founded in 1973 by a Sri Lankan gentleman named Guru Subramanium, and most of the worship at Skanda Vale has what could be described as a predominantly Hindu character; the three temples set across the site are dedicated to Hindu deities Murugan, Vishnu, and Kali, but each temple also accommodates shrines to other faiths including Christianity, Buddhism, Judaism, Islam, Sikhism, and Zoroastrianism, and festivals of other faiths are celebrated. 

The monastery originally comprised a derelict farm, but has now grown to cover approximately 300 acres of land. In normal times Skanda Vale attracts tens of thousands of pilgrims annually, and although the community had closed its gates to the public at a very early stage in the pandemic, I was permitted to isolate for 14 days in a cottage owned by Skanda Vale, just outside of the monastery. 

What I had planned to be a period of isolation followed by a week with the monastic community turned out to be a four-month stay. During that time, I experienced first-hand the ways in which Skanda Vale adapted to the pandemic. 

I had already observed the impact of the pandemic on religious practice during my time in India – without the ubiquitous crowds of devotees, temple priests would continue the daily rituals behind closed doors, venerating the presiding deity as usual. The situation was very much the same at Skanda Vale, where six regular services, called pujas, are conducted daily. Whereas there would normally be hundreds of pilgrims, the only people in attendance when I arrived were the 25 or so monks and nuns that make up the monastic community, along with five pilgrims who had chosen to stay put during lockdown. 

The first morning service that I attended was a celebration of Buddha Vesak, commemorating the life of the Buddha. The few of us who were staying at Skanda Vale gathered outside the main temple – the Murugan temple – before one of the monks came to let us in. We picked up some cushions and walked to the front of the temple, where we sat cross-legged and quietly waited in the dim, lamp-lit hall for the service to begin. A beautiful shrine had been constructed the previous evening; adorned with colourful saris that glistened in the flickering candlelight. The centrepiece was a large black statue of the Buddha, depicted in blissful meditation. Incense was offered at the shrine accompanied by chanting in both Sanskrit and Pali. Finally, everyone was invited forward to offer a lit candle before the seated Buddha. All in all, the service lasted about an hour.  

This particularly special service was live streamed at 5am, and the live streaming of daily worship has since attracted a large core group who have tuned into the broadcast on a daily basis since the beginning of lockdown.

Elliot Muir manages Skanda Vale’s online presence, and shared his thoughts on adapting to lockdown and reaching out to devotees: “There’s a live chat on our broadcast, so everyone has got to know each other – there’s now a strong social aspect to the broadcast… If it wasn’t for lockdown we would never have broadcast pujas, but now it’s ingrained and we’ll definitely continue.”

Muir says that lockdown changed his approach to the potential and value of life online: “Lockdown clarified everyone’s priorities – one outcome for us was that our online offering became a simple expression of care and support for our community.”

Besides daily worship and religious practice, Skanda Vale operates an independent hospice service, providing daily care and inpatient respite free-of-charge. Due to COVID-19, the service has been suspended and will remain so for the foreseeable future, but the temporary closure has provided a chance to re-evaluate Skanda Vale’s charitable services. Whilst the religious community hope to improve delivery of the hospice service post-COVID, in the short term the wider community is lacking a valuable service. However, Skanda Vale is continuing to provide a phone-in ‘listening service’ where anyone can chat with a member of the community about their anxieties and concerns.

Brother Neil, a monk at Skanda Vale, had this to say: “During late March I received a lot of calls in response to COVID-19. The emotional response was fear – people were experiencing their mortality for the first time. The loss of control, the total change, the collapse of everyday normality and anxiety over the future pushed people into unchartered psychological territory.” 

Brother Neil stressed that despite this being a period of uncertainty, the nature of the crisis serves as a reminder to live consciously and compassionately in the moment, and the opportunity can be seized to implement meaningful change.

Ramadan in Oxford, United Kingdom

For the umpteenth time during lockdown, I closed my laptop and sighed. My eyes flickered to a clumsily blu-tacked Oxford SU calendar, searching for a particular date.

One week left.

It was nearing the end of Easter vac, about a month after the United Kingdom had gone into lockdown and I, an international student, was one of few who chose to remain in Oxford.

A week until Ramadan, the holiest month in the Islamic lunar calendar, in which Muslims fast every day from dawn to dusk. A month of abstaining from worldly pleasures, of dedication to worshipping and getting closer to God, fasting during Ramadan is one of the five pillars of Islam.

Memories of the previous Ramadan and the many before came flooding through my head once again, as I lay down in my bed alone in the middle of Oxford, about six and a half thousand miles away from home, in Malaysia.

Mama would always wake me up slightly more than an hour before fajr, the dawn prayer which marks the beginning of the daily fast. Walking groggily, half-asleep to the dining table, my family and I would eat sahoor, the pre-dawn meal; then I would return to bed while my father began his morning. The rest of the day goes about as normal, albeit with a much-needed nap in the afternoon to recharge, as it is the night that holds many blessings.

My family would always break our fast at our neighbourhood mosque, where we’d arrive early to wait patiently in line for food generously donated by members of the community. Woven mats line the empty space just outside the praying area of the mosque, where we’d sit crossed-legged on the floor alongside others waiting for maghrib, the dusk prayer which signals the breaking of our fast. During Ramadan, there are additional night prayers called tarawih, performed at the mosque in congregation after the obligatory Isha prayers. Many take the time to socialise and catch up during ‘moreh’ suppers afterwards, though my family returns home promptly after, as it is an early start again the next morning.

Ramadhan – a month where it is not only about focusing on bettering one’s faith, but fasting itself an act that brings Muslims together in the practice of self-discipline. From breaking fast together as a community at the mosque or at home with family and friends, to tarawih congregational prayers only performed during the holy month of Ramadan, it is the community connection and the sense of solidarity that distinguishes this blessed month from the others.

Ramadan amidst the COVID-19 pandemic was no doubt difficult for the global Muslim community; for me, it was a difficult yet rewarding solitary experience. What was once done with the company of many others, from the joy of breaking one’s fast at the end of the day to different festivities celebrated by different cultures, was limited to my own room. Mosques are usually crowded during the tarawih prayers, filled with regulars as well as people who usually do not frequent them: rows upon rows of Muslims standing ankle-to-ankle, shoulder-to-shoulder. Though it is permissible to perform tarawih prayers at home, the same powerful feeling of communal devotion cannot be replicated.

With the lockdown in place even before the beginning of Ramadan, Islam and Muslims around the world have adapted with the move to online worship. During a Facetime call with my father early on in the pandemic as he was home in Malaysia, I remember my father’s sentiments of what would be the new rulings on the congregational Friday prayers, which are mandatory for every able-bodied Muslim male. Never before had it been permissible to perform Friday prayers alone at home: with Friday sermons or a small socially distanced congregation livestreamed on Facebook or on Zoom, technology has been utilised in order to keep faith alive amongst its adherents. 

For me in England, the highlight of my Ramadan was when I frequented iftaars on Zoom, held by the Oxford University Islamic Society, allowing me to be acquainted with other Muslims around the city who were also going through Ramadan alone. Iftaar, the meal consumed when breaking one’s fast, is no doubt solitary, though the joy and gratitude of being able to eat once again is the central significance and cause for celebration. As each one of us in Oxford were students isolated by the rest of our family, the iftaars over Zoom gave us an opportunity to experience that communal feeling once again as we checked up on each other – something that proved to be so important for our wellbeing during the pandemic.

Experiencing the holy month of Ramadan in isolation has made me more aware of the significance of the rituals and the prayers. At the mosques, it is easy for one to blindly follow the imam, the one who leads the prayer, merely imitating his actions and the rest of the congregation. With no one to guide or keep a tab on my actions, it was up to my own conscience to execute it. This was a blessing in disguise, as it truly strengthened my own faith. Now, as countries begin returning to a ‘new normal’ with mosque quotas, temperature scanning and tracking apps in Malaysia, the future of faith and religion still stands.

On the Future of Religion

As our individual accounts show, religious communities have adapted to the restrictions surrounding COVID-19. While the pandemic has changed how rituals and practices are carried out, the virus does not pose an existential threat to religion itself. Rather, just as religious communities have adapted to crises throughout history, modern technology has proved a vital asset under the conditions imposed by the current pandemic. 

In many ways, the pandemic has provided an opportunity to adapt and re-evaluate the modern-day significance of faith. The sudden and unprecedented social deprivation has particularly highlighted the function of individual observance as opposed to institutional congregational practices of religion.

In January 2005, Linda Woodhead published The Spiritual Revolution, in which she presents a study of religious belief conducted in the English town of Kendal. The study found that people are rapidly turning away from organised religion and institutions in favour of self-guided practices that work for the individual. This ‘spiritual revolution’ is especially exacerbated when traditional religious doctrines clash with the moral codes of a secular society, particularly regarding issues like gender and marriage. In many ways, the nature of social restriction surrounding the COVID-19 virus gives further impetus to this movement from collective communal worship to individual spiritual pursuit, as a degree of isolation is compulsory. However, whether it is to have a lasting effect remains to be seen, because while individualism has long been associated with independence – a kind of freedom based on choice – the ‘individualism’ of the COVID era is more about imposition and isolation. If anything, the pandemic has taught us that we are wholly dependent on each other as a society. It is therefore possible that people’s yearning to gather and socialise could spark a renewed appreciation for interdependence and collectivism in the long term.    

COVID-19 has greatly disrupted the functioning of all institutions – religious or otherwise – and yet the existential threat posed by the virus will have little effect on those individuals whose faith does not rely on access to bricks and mortar and, if anything, research suggests that natural disasters tend to make people more religious. If religious observance is taken to be a serious examination of one’s place in the universe, then it is in times of existential crisis that such observance is energised.

Artwork by: Anjali Attygalle.

Memory/Dream

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I see 

myself, smiling on a summer’s day, 

watching the sunset,

shapes sketched on car windows,

days so cold my breath fogs up the glass,

a cherished photo in a family album,

my room, the city lights, constellations:

stars on sleepless nights.

I hear

a song that plays on a loop:

snippets of shared secrets, 

tied to a half forgotten memory,

a piece played shyly on a piano, 

hushed conversations 

offstage.

I cling

to the past,

but a dream cannot be caged.

half of me knows this –

the rest retreats

to hide in a place it thinks it knows: 

travelling endlessly in dreams,

chasing fading memories.

Artwork by Amir Pichhadze.

In Conversation with Bruce LaBruce

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For a generation of queer artists, Bruce LaBruce is the very thing. Founding father of the queercore movement, renowned for his provocative, sexually transgressive style of filmmaking specialising in all things taboo, there really isn’t much he hasn’t seen.

LaBruce rose to prominence in the mid-1980s for publishing the fanzine J.D.s which in turn launched queercore, a subculture of punk aligned with the gay liberation movement. The fanzine had previously exploded onto the punk scene. It was the ultimate form of fan expression; people would make publications dedicated to their favourite stars, with pictures, comics, stories and the occasional political diatribe. “We did the same thing but from a queer angle,” LaBruce recalls, “we would make the fanzine with all these proclamations about homosexuality.” The philosophy behind the movement was to empower the isolated queer youth. “They were closeted. They were frustrated. And so they rebelled.”

J.D.s is a masterclass in queer anarchy. The front cover of its first issue salaciously teases what lies within: Polymorphous Perversity!, Unconscious Fantasies Revealed!, and of course, Bum-Boys! What follows is page upon page of gorgeous pop stars in the nude, stories of young queer love defying convention and heteronormativity. One cartoon shows two women tying a police officer to a tree. They leave her there, semi-naked, spank marks showing, her legs tied together with a note that reads: “I AM A FASCIST PIG”. J.D.s was a celebration of the queer identity, its complexities and self-contradictions; every reference I don’t understand makes me yearn to be a part of the collective queer conscious it once represented. It was an unassailable force of queer revolution. It was also built on a lie.

“A lot of it was myth,” LaBruce admits, “we made it seem like there was a full-blown movement coming out of Toronto in the ‘80s by just pure propaganda and fake news. And then it became a self-fulfilling prophesy. It turned into a real movement.”

“It’s just like how everyone now on the Internet presents the most idealised representation of themselves. We did the same thing.” Even his name is an invention, a mythic character constructed in the early ‘80s, “a hard-fucking, hard-drinking, reckless juvenile delinquent”, “a carefully constructed persona [he] was presenting to the world.”

Queercore was born from punk, though their ethos served as a middle finger to the punk community, within which LaBruce and his contemporaries had encountered homophobia and sexism. “Our mission was to make these provocative, homosexually explicit fanzines and super 8 films to say to these radical punks: if you can’t take this, then you’re not revolutionaries. If you don’t have a sexual revolution as part of your manifesto, then you’re not radical at all.”

Nowadays LaBruce is perhaps best-known for his films. His 2011 short film Offing Jack is a domestic tragedy on speed, as we witness the two antagonistic lovers fight, fuck and fight again. His 2010 feature-length L.A. Zombie is about a zombie with the power to bring the recently deceased back to life by penetrating their wounds. Then there’s Gerontophilia, his 2013 romantic comedy about an elicit, intergenerational relationship between nurse and patient. They range in length, tone and theme, and yet each film feels distinctly his. I don’t know how to define a LaBruce film, but I know it when I see it.

Of course, one giveaway is his depiction of sex, often transgressive, blurring the boundary between right and wrong, consensual and non-consensual, alive and dead, and undead. Sex in a LaBruce film is a cinematic experience; it echoes the pornography of the ‘70s and early ‘80s, full of character, humour and artistic sensibility. It feels worlds away from the mainstream, commercialised pornography of the 21st century.

“Porn has become so ubiquitous,” he tells me, “everyone’s a porn star now so there is this kind of acceptance of porn and this willingness to exploit one’s own body for money. OnlyFans is basically prostitution.” He then adds, “I have no problem with prostitution. I consider myself a hooker, at least philosophically,” a line so blasé I’m convinced he’s spent hours rehearsing it.  

He cites the digital revolution as a main factor behind the evolution of the porn industry. The clips became shorter, because “people didn’t want long-form porn anymore, they wanted short, digestible scenes”. “People just wanted to see the sex and it was quicker to churn it out,” he says.

I ask LaBruce whether he mourns the old way and he argues that the Internet has paved the way for greater artistic freedom for creators, producing “alternative porn” that plays with “gender and body…ideas of what makes something attractive.” “I think it’s more of an art form [than before]”, he tells me. “It’s become more creative again because people are doing it themselves. It’s become a creative outlet for people.” He cites independent film director Erika Lust who creates feminist porn that he considers “aligned with the sensibility of the ‘70s.”

That said, he considers all pornographers artists, regardless of their budget or style. “My pet peeve is the people who look down their noses and judge pornographers and porn stars, while they consume it madly,” he tells me, “I mean how do they think it gets made? It doesn’t just magically appear on your Internet screen. It’s a business, it’s an industry and it’s an art form.”

“I like both types of porn,” he begins, “I like porn that is strictly sex…I’m not above looking at ‘bad’ porn that represents those kind of fetishes, porn that is very strictly about a banal capturing of the sexual act. But then there’s the other kind of porn, which I also appreciate, which can also be very sexy, and which I use for sexual stimulation as well, that has humour, that has characters, that has an aesthetic dimension…narrative in porn really can contribute to how sexy it is and how much it turns you on. People have forgotten that the sexual imagination is part of that process of stimulation. It’s like foreplay.”

LaBruce recognises the problematic aspect of the porn industry, which “attracts and preys on a lot of people who have been sexually exploited in their lives,” but views it as a necessary perversity: “The bottom line is pornography is necessary. It’ll always be part of the sexual imagination and I think of it as a largely positive thing because if you repress sexuality, if you don’t acknowledge your deepest and darkest sexual fantasies and aren’t allowed to give them some form of expression, then the repression of all that results in far worse consequences.”

Repression is a recurring theme in the LaBruce oeuvre. “I subscribe to the theory that a lot of horror is based on homosexual panic,” he tells me, “whenever the conservative institutions of culture are challenged, like the nuclear family, or the church or monogamy or what have you, then horror erupts. I mean all those slasher films like Halloween and Friday 13th are based on punishing teenagers for their sexuality. It’s built into horror.”

Low-budget and transgressive, his films take inspiration from the B-movies of the 1970s and ‘80s, which were, for him “a very raw and unprocessed expression of the zeitgeist.” They straddle the line between pornography and horror, a boundary LaBruce claims is less distinct than one might think. “Horror movies and porn movies are structured in exactly the same way,” he begins,  “the narrative is structured as a pretext for a number of these explosive climaxes. One victim at a time, one sex scene at a time. It’s all based on achieving this orgasmic moment.” He recalls the phallic plunging knife and orgasmic squirting of blood from the infamous Psycho shower scene.

LaBruce examines the horror genre from a distinctly queer perspective. The titular Otto in Otto; or Up with Dead People, with his reluctant movements and lethargic expression recalls the somnambulistic sexual trance of the men LaBruce would meet in gay saunas and cruising parks. The regenerative ability of L.A. Zombie’s protagonist, who revives corpses through the power of penetration, serves as an attempt to destigmatise gay sex and draw attention to its unconscious pathologization in the wake of the AIDS crisis.

At times the gore can verge on the excessive. Perusing a collection of his Polaroids, entitled The Revolution is My Boyfriend, I’m struck by their brutality; men in camo wearing headscarves and balaclavas surround bloodied victims. His recent collection of previously unpublished photographs, Death Book, features photographs depicting gang rape, extreme violence and death. It seems indicative of a wider criticism of LaBruce’s work; skinheads ejaculating onto copies of Mein Kampf, zombies chest-fucking the deceased back to life, I question whether LaBruce’s work might be accused of going too far. Is it purely transgression for the sake of transgression?

“Sure,” he says, “what’s wrong with that? In my philosophical view, art should be provocative. Being gay should be provocative. Art that provokes is much more interesting to me than art that hangs on the wall for decorative purposes. I have no problem with [being provocative].”

Viewing his films and the images that tend to recur: teeming masses of white bodies, twinks with vacant stares, usually dripping in blood, I question how provocative his portrayal of queer characters can be given their white, able-bodied, cisgender uniformity.

“I’ve been criticised for that,” he admits, “my new one is the same. It’s even more accessible in that way. Saint Narcisse has a gorgeous leading man. But I mean…he’s playing Narcissus. I cast someone who has that classical bone structure that you associate with Narcissus.”

The seeming conflict between the conventional beauty of his leading men and his own radical politics is one he embraces. “It’s part of my influence from classical Hollywood. I appreciate all the glamour from that period. It’s part of my old school gay sensibility that I’ve always mixed in with my more radical queer politics. If it’s a contradiction, I think that’s fine.”

He mentions that he’s also made short films featuring actors whose bodies don’t conform to the conventional standards of beauty. Offing Jack stars two transgender actors, Give Piece of Ass a Chance features women of varying shapes.  “[Those films] remain more underground because it’s easier to finance a film…,” he pauses, searching for the right way to phrase it.

“When I want to make a movie that’s more accessible, I do use the tropes and some of the conventions of the mainstream. And I just try to subvert them as much as I can within those conventions.”

The tendency to transgress is also integral to his politics. We discuss the ‘gay agenda’ and Bruce expresses an aversion to assimilationism.  “The logical conclusion of assimilation is for two gay men, for example, to be in bed, in the missionary position, having sex, completely monogamous, trying to only have sex minimally because they have kids or something. Which is fine. That’s what some people do. I wouldn’t say that their sex is particularly radical.”  

“It’s radical in the sense that it’s a betrayal of everything the gay liberation movement stood for…,” he begins as if reciting directly from the pages of J.D.s,“but most people don’t want to be radical and that’s fine if you want the world to regress into this cesspool of conservatism and blind religious zeal… It doesn’t make sense to me. What is the ultimate goal? To be so…normal?”

“I would say that sex is political in general but I wouldn’t say the act of gay sex is necessarily political,” he tells me, “you have to radicalise it yourself.”

“Maybe it doesn’t have to be radical,” I venture.

“But then the world will regress completely to a state of warlords…”

“So the world’s going to regress completely because two men choose monogamy?”

“Yes, it’s all about that,” he says sardonically, “I blame all the problems of the world right now on gay assimilation.”

He pauses, toying with this concept for a moment.

“I blame all the problems of the world right now on gay assimilation,” he repeats. Though I’m no longer sure he’s being ironic.

Photo credit: Camo

Some Women Don’t Owe You Pretty

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Since its release in June, Florence Given’s debut book Women Don’t Owe You Pretty has sat comfortably at the top of bestseller lists, recently exceeding 100k sales. The mass popularity it has inspired is perhaps the least surprising thing to happen this year. After gaining recognition on social media in 2018, Given has been catapulted into the role of feminist activist and icon for the Instagram generation. To her 500k followers, slogans such as ‘Stop Raising Him He’s Not Your Son’ have become part of the Florence Given brand, women’s empowerment painted in pink seventies font and leopard print.   

If that sounded scathing, it wasn’t the intention. For a 21-year-old Florence Given has achieved great things, has helped make feminism accessible to those previously uninterested or unaware. There are certainly worse things than girls finding a form of empowerment in discussions surrounding consent, sexuality and boundaries. The one area, however, that Given’s book struggles to tackle fully is that of privilege. Privilege is a system built on generations of inequality, and the reversal of this dynamic is so much bigger than one person’s intentions. As a white, middle class and (by eurocentric standards) conventionally attractive woman, it is a system that Florence Given herself benefits from. Could she ever have understood it completely?

Last week, Chidera Eggerue, the feminist writer otherwise known as ‘the Slumflower’, expressed her justified anger and sadness at Given’s book. Eggerue has also achieved success with her works ‘What a Time to be Alone’ and ‘How to Get Over a Boy,’ both through the lens of black women’s experiences. On close inspection, the writers’ books have striking similarities; from their bold phrases such as ‘Dump Him’ to the print and colour scheme used, they could be interchangeable. It is these similarities that have raised the necessary question of why it was Given’s book that achieved such a blinding success. Eggerue’s books, after all, were released prior to Given’s debut. The answer we are left with is the uncomfortable truth about the consumerism of palatable white women’s feminism.

As Eggerue has said, Florence Given, and other white women in the history of feminism, learnt from the emotional labour of black women.  From the suffrage movement and Sojourner Truth’s ‘Ain’t I a Woman?,’  to the isolation of black women within the 1970s Women’s Liberation Movement, repeatedly we have witnessed the failures of white women’s feminism. The inability to understand, to centre ourselves in conversations, to repeat others’ ideas in a louder voice. In Given’s book, she acknowledges the role of black women, including Eggerue, in her journey of feminism. However, their work still remains unpaid.   Eggerue herself stated, ‘This book is generating wealth for white people. Black women’s ideas generate wealth for white people. But that wealth doesn’t go to our community.’ The more this point is contemplated, the more there is something quietly insidious about an industry that repackages and profits from black women’s ideas, selling feminism and equality at the cost of £12.99.

In the aftermath of her open criticism, Chidera Eggerue has been dropped by her agency Diving Bell. This is unsurprisingly the same agency that represent Given, undoubtedly also benefiting from her success. As for the latter, her official response seemed to somehow miss the heart of the problem. Whilst she stated that a portion of her royalties were directed to black charities, the main issue of innate privilege remained blurry. Especially with Eggerue’s career now damaged after speaking out, it does feel that instead of listening to Chidera’s feelings, the response was a defensive PR move against any negative claims. In Given’s own chapter ‘Check Your Privilege’ she writes, ‘the reason you are privileged is because another group is suffering and paying for it.’ Yet Chidera Eggerue’s suffering still remains unacknowledged.

The questions raised by this series of events are so much bigger than the individuals involved. Personal attacks against either parties seem slightly reductive: the problem lies not just with Florence Given but the machinery she is part of.  Could the selling of feminism as a brand ever have achieved equality? The premise of agencies such as Diving Bell is to represent feminist activists and influencers as a business, however this already seems to conflict with true activism. Activism sold in the form of social media and aesthetic paperbacks already suggests a level of performativity, of selling a neatly finished product. When it comes to what is right versus what sells the most, it is difficult to tell where priorities lie.

As for the author of Women Don’t Owe You Pretty, for so long Given has moved from strength to strength, heralded as the ‘true’ feminist voice of our generation. It cannot be denied that she has in some ways invited this idealisation, citing women breaking up with their boyfriends as ‘the Floss effect’ and claiming to coin words such as ‘hetrifying’. The positioning of Florence Given as the face of feminism causes two main problems. At its most damaging, it prioritises the experiences of white women above all else. It also removes any space for her to get things wrong, to admit that there are issues she cannot speak on. It is easy to forget that this is a young woman barely into her twenties, but easier still to fall into the trap of viewing her book as the single guide for feminism.

Mistakes are likely to be made when learning about feminism, and misgivings are likely to be had before listening to different women’s experiences. Navigating privilege and amplifying unheard voices is a continuous effort and impossible to reverse overnight after reading one slogan. The complexities of feminism and women’s experiences cannot be condensed into a single book. Though there are many positives within Given’s work, there is still so much about the nature of privilege that cannot be said in pretty pink print.

Instead Of

Instead of

growing apart, why don’t we go

and see that film,

the one that’s been delayed,

in the cinema that’s closed. We’ll sit

on the grubby seats

that are always sticky

and never recline,

and I’ll say It’s been a while,

and we’ll laugh about how bad we are at keeping in touch.

When something shocking happens, I’ll lean over and

whisper about how I saw it coming

and my arm will brush yours.

On the way out,

you’ll say It wasn’t the best

and I’ll agree. Perhaps you’ll skip

the last step as we’re leaving,

turn and look at me like you’re

Tom Cruise doing a stunt in Mission Impossible.

We’ll walk home

and the sun probably won’t be out

and it will be cold

and we’ll complain.

When we get to yours

we’ll hug and wave goodbye.

I won’t have to close my eyes to remember your smile.

When I get to the end of your road,

I’ll turn.

I’ll see you lift your hand and wave again – 

but I won’t give it a second thought

because I’ll see you again tomorrow.

Image Credit: Bora Rex.