Sunday, April 27, 2025
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It: Chapter Two Review

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The much-anticipated sequel to IT (2017) finally saw its cinematic release last weekend as the all-grown-up Losers’ Club return home to take on Pennywise for a final showdown. Fans of the first installment might want to start cherishing those childhood memories because, while not a resounding disappointment, CHAPTER 2 does not reach the stellar heights set by its predecessor. Having made a pact at the end of the last film to return to their hometown of Derry if, and when, the nightmarish clown of their youth awakes to wreak its typical violent havoc once again, the gang (played by an ensemble cast that includes James McAvoy, Jessica Chastain, and Bill Hader) is forced to relive their forgotten collective terrors in an effort to finally put a stop to Pennywise once and for all.

However, despite a fantastically manic performance from Bill Skarsgård, the eponymous It fails to live up to form this time round. Much as the Losers’ Club are unable to escape their own childhood traumas, IT: CHAPTER TWO finds itself, for the most part, trapped in a singular, highly static, mode of horror for the entirety of the film that is more the fault of the film’s screenplay than its direction.

Relying heavily on jump scares in an extremely regularised form, IT CHAPTER: 2 finds it impossible to build tension for much longer than a single scene before it quickly dissipates, soon leading to an overwhelming sense of fatigue with the film’s horror elements.

Most egregiously, this manifests in one drawn out segment (clocking in at nearly forty minutes) in which each member of the group must return to and re-confront their own site of childhood terror. Rather than diversify this section of the film with a mixture of storytelling devices – potentially allowing for a greater exploration of this salient theme of unresolved trauma – the film regurgitates the same scene five times over without narrative consequence.

The ubiquity of this basic structure is a shame, given the creativity of the film’s visual horror. Screenplay choices needlessly dictate that Pennywise’s ability to take on endless forms works to the film’s disadvantage; more controlled writing would and should have reined it in rather than allowing what would otherwise have been very effective and imaginative visuals to become less and less impressive with every new manifestation.

It is, however, a testament to the film’s strengths that it remained an entertaining and watchable ride throughout. While IT: CHAPTER 2 could undoubtedly have done with some brutal editing down, its repetitiveness didn’t leave this film feeling particularly drawn-out. Despite a 170 minute run time, I never once felt compelled to check my watch.

This is mostly on account of some fantastic work by Chastain (on form as ever) and Hader. There’s something unbeatable about the group chemistry of the baby-faced cast of the first film but IT: CHAPTER 2’s ensemble certainly gives them a run for their money.

Given the inherent tension between a group of adult protagonists and the film’s axiomatic “friendship is magic” spiel, it’s remarkable how successfully the actors work to pull the film back off the cliffedge of schmaltz.

Fans of the first film shouldn’t despair. IT: CHAPTER 2 was disappointing, but disappointment is mostly the fault of raised expectations. The film is otherwise fun enough to warrant lowering those expectations and heading to the cinema for the story’s conclusion

Optimism and anxiety at the HS2 Economic Growth Conference

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Passing waves of military canon and eccentric Tudor war helmets, I entered the conference hall as Wagner’s Rise of the Valkyries boomed out of the sound system. The Royal Armouries in Leeds was the setting for this ‘HS2 Economic Growth Conference’, and the message from the get-go was bombastic enough to enough to match the slightly surreal surroundings: HS2 is happening (please).

Gathering over 250 attendees from local government, business and the project itself, here was a relentless onslaught of general optimism, with only occasional tempering to heed HS2 Ltd Chairman Alan Cook’s call for “the voice of optimism” being matched with “the voice of reason”. Jonathan Bretherton assured us that “planning and wider work is continuing regardless of threatened delays”, while Steve Hollis stressed that “world precedent shows that major infrastructure can be a transformative catalyst for economic growth”, but that “momentum was crucial” and the private sector wants to be planning and making investment proposals in the context of overall commitment and growth. “Not everything we do will have positive effects for everyone” conceded Bex Seeley, Commercial Finance Director at Lendlease, while Rob Valentine, Director of Bruntwood, admitted that the iconic but now often desperate Northern mill-towns were “not easily saveable”. These were, however, only minor bumps in the (rail)road of optimism.

And yet, through it all, there ran a parallel sense of private, foot-tapping anxiety, voiced more in the foyer during breaks for ‘networking’ than on the main stage. The independent review commissioned by the government less than a fortnight before the conference was regarded with a slightly combative enthusiasm- “We welcome the review!” exclaimed Alan Cook, prompting echoes of the same feeling throughout the day. Audience questions belied deeper worries, however. Again and again, questions were asked wondering what would happen to individual areas, development plans and already started projects, if the decision was made to end HS2, or part of it. By far the most popular question, as voted for by the audience, was “What would you say to Boris Johnson if you were stuck in a lift with him for twenty minutes?”. The people here had real influence but there was a basic acknowledgement that the ultimate, fate-deciding decisions about the project lay out of their hands.

There were also private laments for what was repeatedly stressed to me as “completely well-intentioned” mismanagement at every level. As I write, a quick Google of ‘HS2’ is telling. It brings up stories of “absurd” amounts being spent on security guards to protect a tiny plot of empty land in Birmingham, and “10 places in Aylesbury Vale” which would be irrevocably blighted if HS2 goes ahead, as well as a report reiterating that Douglas Oakervee, chair of the HS2 review committee, is quite prepared to cancel the entire project.

But then how many could deny the very real, economically unbalancing gravitational pull of London, siphoning students, graduates and powerful business investment away from the ‘provinces’. Infrastructure investment duly follows suit, with £2, 700 per capita in London contrasting shockingly with just £5 per capita in Hull. The tension between centre and regions was mentioned repeatedly, and brought home with thumping force by Kay Cutts, Leader of Nottinghamshire County Council, who announced, to the palpable enthusiasm of the Leeds-based audience, that “we [outside London] are the country!…We need you, Government, but you need us!”

The media debate had, we were told, unfairly painted the project as being all about getting to London more quickly. In actual fact, all stages of new and improved rail services constituted the fullness of national “connectivity”- a word surely used over 100 times. Richard Gregory, Senior Advisor and Honorary Yorkshire Bank Chair at CYBG, made the project’s fundamental selling-point the ability “to build a career without having to move to London”. Companies lined up to describe their own projects, based on the presumption HS2 would be completed. All was in an attempt to undermine reports from the New Economics Foundation that 40% of the benefits of the project would go to London and that the £56bn budget would be better spent on upgrading the existing network and undertaking smaller-scale local projects. Arguments that the proposed railway network connecting northern cities and transport hubs, ‘Northern Powerhouse Rail’, would be a sounder investment were undercut with a demand for “both, not either/ or”.

The tension between thumping optimism and every-stage uncertainty is what makes HS2 such a divisive and fascinating issue, even in times as politically turbulent and soap-opera dramatic as these. On the other hand, it’s also an issue that has dragged on across decades, governments and fluctuating economic outlooks, and prompts as much frustration as it does enthusiasm. With the future so unclear, one of the few things we can do with much certainty is note, with irony, how patently the development of the country’s second high-speed rail network has failed to live up to its name.

FLEABAG – Triumphant return to where it all began

Phoebe Waller-Bridge was a joy to observe in her sold-out one-woman show, Fleabag, albeit via a National Theatre Live cinema screening from the West End. The audience (mainly women) was of a wide generational spectrum despite the often ripe language and filthy material, showing the wide appeal of Fleabag, at least among women. Entirely engrossed in the performance, and with much laughter, there was palpable disappointment at curtain-call. Quite an achievement for what was essentially a 90-minute monologue.

From stand-up to Fringe to Soho to the small screen, the history of Fleabag needn’t be rehearsed at length. Waller-Bridge, and Fleabag, are current-day icons. Combining techniques of meta-theatre with humour, she recalls Fleabag’s sister Claire saying, “don’t talk as though you’re always doing stand-up.” Is she addressing Fleabag or scolding Waller-Bridge?

Most will have come to the live-screening with the television series still fresh in the memory. Blunt, boisterous, hilarious, sad, sexy, on the edge – hers is a deeply personal character study and story told with perfect comic timing that the audience was very familiar with. We know that beneath her trademark chic bob, post-box red lipstick and sexy bravado there is a finely nuanced, self-obsessed, self-hating, woman on-the-edge; we know Fleabag’s use of sex to blunt emotional pain and trauma leaves her emotionally unfulfilled; we know the punchlines not only of betrayal of her best friend Boo but of individual stories she weaves. It was like meeting an old friend (if only!) for a catch up. The true pleasure is seeing Waller-Bridge at work.

The set was a tiny elevated square, the only prop the tall stool on which Fleabag largely sits. Being a sole performer, this heightens the sense of her loneliness and claustrophobia boxed in with worries about the past, present and the future. Her stasis is a reflection of her life at a metaphorical standstill. This contrasts with her wild stories of living life at a million miles an hour; she has more adventures in a couple of months than most people have in a lifetime. Waller-Bridge tells rather than shows. However, one scene where she stands up from the stool to re-enact taking sexually explicit photographs of herself is hilarious highlighting its tedium rather than eroticism.

Combining intensity, fragility, confidence and an uber-expressive face, her constant engagement and ownership of the stage was remarkable; the trademark conspiratorial side glances and raised eyebrow feature heavily. Fleabag’s intimate relationship with the audience – where everyone felt she was speaking directly to them – set the tone. On one singular occasion when an audience member failed to grasp the gravity of a pendulum swing from comedy to tragedy, her piercing side glance put them in their place. The close-up importance of facial expressions could be a rare time when attending a live-screening is preferable to being in the 700-seater theatre. The camera captures close-ups of split-second facial expressions that could be missed if you were sat up in the gods.

Comparison between the show and TV series was inevitable. Diehard Fleabag fans could no doubt recite verbatim some lines used both here and in the television series, such as her soliloquy on being a “greedy, perverted, selfish, apathetic, cynical, depraved, morally bankrupt woman who can’t even call herself a feminist”. Quick profile portraits are a speciality of Waller-Bridge, sowing the seeds for Oliva Coleman and Sian Clifford’s roles as respectively the stepmother and Fleabag’s sister, Claire. It is important to bear in mind that this show was the jumping off point for the TV series and stands as a complete artistic statement in its own right. The desire to compare the versions was short-lived, however, as the audience became fully absorbed in Waller-Bridge’s performance.

The unique ticks and quirks of each character are brought to life with an array of accents, postures and facial expressions. Fleabag’s interactions with a character ‘Tube Rodent’ was a highlight, Waller-Bridge’s face expressing the comedy and disgust of this hook-up. Martin, Fleabag’s alcoholic and sexually inappropriate brother-in-law, is succinctly portrayed in a single anecdote conjuring his over-whelming sleaziness, despite his physical absence. 

Occasional pre-recorded conversations between Fleabag and characters worked less well than when she was in full flow alone; however, the scene when, being hot and flustered, she removed her jumper in an interview forgetting she didn’t have a on t-shirt underneath was still hilarious despite this issue.  The play has unfamiliar material of an equally high standard to that of the television series, including a particularly side-splitting anecdote involving Fleabag’s horrendously hung-over ex-boyfriend Harry’s tragic toilet trip in the middle of a business meeting. 

This is undeniably a stellar performance of excellent material. 

So, why was the audience largely female? It’s refreshing to hear unglamourised accounts of female sexuality from a woman’s perspective, even if Fleabag’s relationship with sex is complicated. Fleabag is unafraid to speak her mind and say/do things perhaps she shouldn’t. She makes mistakes but keeps going. Much of Fleabag’s self-worth is drawn from how she is perceived by men; she enjoys being watched by them.  At times she is ethically questionable, such as being disappointed when a stranger doesn’t attempt sex when she was off her head at a festival.

As anyone who has seen the series 2 finale of the TV show Fleabag will be aware, Waller-Bridge is unafraid of closure, bringing down the guillotine on one of the most promising comedic scenarios in recent memory.  The end of this play feels equally brutal. Fans of Hilary, steel yourself for a nasty surprise… 

Dominic Cummings: The genius in Number 10?

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Dominic Cummings – pictured entering Downing Street looking like the kind of man who wears three-quarter-lengths to work – is a genius maverick. We know this because Channel 4 roped in Benedict Cumberbatch to go full skittish detective mode to portray Cummings in ‘Brexit: The Uncivil War.’ If that’s not evidence enough, he also has a suspiciously large head. 

In fact, Cummings has shot right to the top of the Men Who Wear Trainers To Work and Swear at People Because They Are So Clever rankings. If Armando Iannucci and Aaron Sorkin were tasked with writing a crossover of The Thick Of It and Steve Jobs, Cummings would be their sweary Silicon-Whitehall brainchild. The confrontational dismissal of Sonia Khan – a Treasury media advisor accused of consorting with anti-no-deal figures – would be their opening scene: it was a paranoid act directed by Cummings, suitably ‘redolent of the ways of a hard-hitting technology CEO, such as Musk or Steve Jobs, rage-firing employees suspected of not being committed enough to his vision.’ 

It is little surprise, then, that a quick Google search of Cummings yields a trio of recycled terms: articles debate among themselves about the extent of his ‘guru’, ‘maverick’, and ‘genius’ properties. Yet amid all the media furore exalting and fearing him in equal measure, it is difficult to discern from where the ‘genius’ label actually derives. Surely to earn the title of an erratic but brilliant mastermind it is not enough to simply create a ‘culture of fear’ in the workspace. No one hails Alan Sugar as Da Vinci incarnate for firing everyone. 

Shedding light on the issue, Cummings provides a window into his thoughts in the form of a blog that amasses, by one Guardian article’s calculation, a greater word count than Ulysses. It is with thanks to this that we don’t have to try and infer the complex inner workings of a mind that once declared, in 2017, that ‘Tory MPs largely do not care about poorer people’, yet currently sits inside Johnson’s Number 10 pulling the strings. His ideas, interests, and visions have already been laid out on the page, ranging from a few brief sentences to vast extended essays.

In Some Thoughts on Education and Political Priorities (and by ‘some’ he means 237 pages), his essential thesis is that the globe is rapidly changing, but Western politics aren’t keeping apace; if children are to thrive in this big new world, our schools must undergo a profound shift to an ‘Odyssean’ education – one that begins with the biggest questions and problems. The author notes that less than 10 percent of children leave school with sufficient tuition ‘in basics such as exponential functions, normal distributions (‘the bell curve’), and conditional probability’, normalising the fact that ‘most politicians, officials, and advisers operate with…little knowledge of maths or science (few MPs can answer even simple probability questions yet most are confident in their judgement).’ To overhaul rule by the ‘incompetents’, we need an education system that, from the bottom-up, spawns ‘leaders with an understanding of Thucydides and statistical modelling, who have read The Brothers Karamazov and The Quark and the Jaguar, who can feel Kipling’s Kim and succeed in Tetlock’s Good Judgement Project.’ 

For a young person like me with a pitiful grasp of anything resembling statistical modelling, it’s comforting to be told that you might not actually be, to use Cummings’ own phrase, ‘thick as mince’, but just another casualty of a decaying system that will eventually send us all hurtling towards our own extinction. 

Amid the urgent tone, it’s hard to doubt that the thrust of Cummings’ thesis is compelling. But it strikes me that I don’t know just how compelling it really is, because I am unequipped to assess how pressing the issues he presents are. I may be proving his point. It’s also hard to doubt that – considering a formal education in ancient and modern history – Cummings’ ability to meander from energy technology, space science, genetic engineering, machine intelligence, cognitive science and on to cyberwar indicates some big brain energy. It almost makes you forget that the sum total of his ideas probably amounts to some sort of grand technopolis of Renaissance polymaths that understand data and listen to rationality podcasts. 

But even when dealing with the authors of eccentric and eclectic blogs, how useful really is it to throw around the term ‘genius’ in politics? Certainly by the metric of his own intellectual mentors, talk of genius seems fruitless. 

The intellectual milieu that Cummings associates with are referred to as the ‘Rationalists’ – a corner of the internet that concerns itself with thinking accurately, making precise predictions, overcoming biases, and, among other issues, the menacing capacity of AI. His page is littered with links and references to Rationalist blogs such as Slate Star Codex and LessWrong. But as this great article demonstrates, judging by Cummings’ willingness to ‘eat away at the various little conventions and traditions which underpin British public life’, it is not clear that he totally grasps the fundamental objectives of his peers. Cummings is a disruptor – a man in a hurry, advancing his ideas with vigour because he knows that he is right. 

But the Rationalist movement – no matter how exceptional or urgent the idea – is not about bulldozing through reform in pursuit of a short term goal, nor is it about proving you’re the smartest guy in the room. It is about being introspective, taking stock of your own errors, and implementing ‘steps to make sure that you’re not going to accidentally blow everything up with your brilliant ideas.’ Many Rationalist thinkers even object to being called as such, preferring the term ‘aspiring rationalist’ to signal humility. Perhaps Cummings’ erosion of constitutional convention and his rash removal of the whip may disqualify him from the halls of careful brilliance among his own keyboard ‘gurus’. 

As for other names in politics, even by Cummings’ very own metric of a proficient mind (a dense amalgam of literature and science), many figures that might come close are rarely awarded the title of genius. Angela Merkel is a doctor of quantum chemistry, and was recently pictured on her South Tyrol hike digging into Shakespearean scholar Stephen Greenblatt’s analysis of the playwright’s villains. Whether she’s a genius, however, is a question hardly asked. Maybe if she spends her last few years in office lurking in the shadows and telling civil servants to piss off more people will remember her for her intellect. 

Similarly, Democratic candidate Pete Buttigieg is said to speak eight languages and managed to bag a first during his time as a Rhodes scholar, but there appears to be (to my knowledge across the pond) no dominant narrative labelling him a great mastermind. And perhaps it’s all the better for it: a President who enjoys the odd book wouldn’t go amiss, but buying into the cult of the Guy With the Impeccable CV may not be entirely helpful, either. There can be no escaping the fact that leadership races are largely about the character and credentials of the candidates, but it is not immediately clear what effect a beefy academic record has on advancing good policy – especially in the wake of recent news reminding us that elite university admissions can be based on factors independent of talent.

Of course, neither Merkel nor Buttigieg have asked that we refer to them as brilliant geniuses. If someone actively demands to be regarded as a brilliant genius, as Mr Trump so gracefully demonstrates, they most likely are not. Yet Cummings has never outright laid claim to any sort of distinction, either. He remarks that he is ‘not clever’, but rather succeeds on account of a ‘demented focus’; perhaps, for this reason, he is not to blame when the media decides to pounce on his unorthodoxy and dishevelment and brand him a maverick, or when babbling students like me decide to question his status having read only a fraction of his writings. 

But this misses the point slightly. Intended or not, the ‘erratic genius’ label Cummings has acquired has helped to explain away many eccentric, and sometimes outright poor, behaviours – his unceremonious firing of Sonia Khan being one. What’s more, a media preoccupation with character over record helps to detract from the issues that ought to warrant greater attention, like the small indiscretion of Cummings’ Vote Leave campaign breaking electoral law, for instance. 

Indeed, in the long term, whether his branding as a scruffy genius is the product of studied behaviours or media sensationalism is hardly consequential. Cummings’ popular image will now provide him with a buffer, regardless of whether his time puppeteering in government is a success or a failure for his cause. If his strategising works, the label will stick. If it crashes and burns, then he may nonetheless leave Number 10 as the unorthodox genius who ran into a burning building of ‘grotesque incompetents’ that just would not listen. 

Stonewall: 50 years on

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Earlier this summer, on Saturday 6th June, as it is at least once a year, London was adorned with LGBT flags. Around a million people joined celebrations of London Pride, an event which has been part of the city’s official calendar since 1972. Undeniably, the rights of LGBT+ people have since then expanded – both through the law and through social changes the UK and dozens of other countries globally have seen.

But in the 50 years since the first brick was thrown at the Stonewall Inn in Lower Manhattan, the world and the United Kingdom have seen serious fluctuations in the status of LGBT+ people. Many see the legacy of Stonewall as a progressive increase in the rights of LGBT+ people, but are we being too quick in making such a statement?

It was only in 1987, fifteen years on from the Stonewall Riots that then-British Prime Minister Margaret Thatcher stood behind a podium in Blackpool, declaring that hard-left teachers had imbued children with the idea that they had an “inalienable right to be gay”. Her speech stains both her historical reputation and this country’s recent history and was shortly followed by the enactment of the Local Government Act. It was Section 28 of this which infamously stated that local authorities must not “intentionally promote homosexuality”.

Such legislation is irrefutable proof that every time Pride is celebrated, it reinforces its primary purpose as a protest. In 2003, Thatcher’s legislation was repealed after a long struggle; this was shortly followed by legislation enabling civil partnerships in 2004. That gay marriage was not granted then, but only in 2014, is another failure that can be looked back on with deep regret. As a consequence of the intractable influence of right-wing newspapers and unreconstructed public opinion, the Labour government was not as bold as it should, and most likely would, have been.

Despite this, we have seen a huge increase in positive public perceptions of the LGBT+ community. According to the Telegraph, the shift in public attitudes to homosexuality has been the most dramatic change of views in a generation. Whilst only 30 years ago two thirds of Brits viewed same-sex relationships as immoral, such numbers had dropped to only one in five by 2013, and continued to fall. All members of the LGBT+ community should welcome such social changes but should also work to ensure progress does not slow. All too often, there is still bias towards focusing on the cisgender, masculine, and white. We should never stop being allies to the trans community, especially those facing intersectional discrimination.

Looking forwards, there is still an incredible amount of work that needs to be done. Fourteen countries still punish homosexuality with the death penalty. Even in countries which have legal same-sex marriage, like the United States, it is still possible in this very year for eleven trans-women – all of colour – to be murdered simply for being who they are. In the US, black transgender women have a life expectancy of 35 years. Such statistics are horrifying, and should appal us all. The UK government should wholeheartedly condemn and act against the rollbacks in protections for LGBT+ people in the US that are taking place at the behest of the fundamentalist religious right. It should continue to work with organisations such as Stonewall UK, which does incredible work in the UK and abroad. This includes, for example, working with LGBT+ people of faith and religious institutions to help bring about progressive change. In 2015, the Equalities Minister of the then Coalition, Jo Swinson, wrote to 70 countries asking about the status of LGBT+ rights. This was a positive move, but not enough. The UK should use its status as a soft power powerhouse globally to push for stronger rights for members of the LGBT+ community, not just make inquiries.

Whether it means changing trading relationships with countries which kill gay people, or those which refuse to grant basic protections of human rights based on sexual-orientation and gender identity, there is absolutely no excuse for the UK not to be at the forefront of the fight for LGBT+ rights – focussing both domestically, and to tackle the huge but not insurmountable challenges worldwide.

Many members of the LGBT+ community will at least be familiar with the most popular contemporary account of what happened at the Stonewall Inn in 1969 – commencing when the “first brick was thrown at Stonewall”. This is a story which, while never concluding on one version of events, has set the scene for contemporary LGBT+ struggles. But personally, I don’t really care for the particulars of that night. Whether it was a stone, a brick, a shot glass, a stiletto, a handbag, or whether it was Stormé DeLarverie, or Marty Robinson, or Marsha P Johnson – none of that truly matters, as long as none of their names are forgotten. What matters is that Stonewall marks a seminal turning point in our history. Stonewall represents a group which had been sidelined throughout history making itself heard and accepted, and steeping out of the shadows, as a group whose history is so often absent from  archives across the world.

On the 50th anniversary of Stonewall, members of the LGBT+ community need to remember that our rights have been won thanks to the hard and determined struggle. We cannot stay complacent. We must continue fighting to ensure that there is not one inch of regression. The legacy of Stonewall should not be forgotten.

We must never forget – Pride is a protest.

Festival Review: We Out Here

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We woke on Saturday morning creaking and happy. It had rained biblically for most of the day before – mud-caking our wellies, plastering macs to aching legs, dampening the bread rolls – but somehow, between Yazmin Lacey’s early evening neo-soul and Auntie Flo’s arm-raising midnight set, the halfway point of We Out Here trembled through us. It was joyful.

The festival promised a lot. A product of Gilles Peterson’s own taste and his label Brownswood Recordings, the inaugural We Out Here pitched itself as “joining the musical dots” between jazz, soul, hip hop, afro, electronica, and house – everything that slots into Peterson’s Saturday afternoon radio show on 6 Music. An album of the same name was released last year featuring the musicians who were to form the basis ofthe summer line-up.

Keyboardist and composer Joe Armon-Jones is one of these artists, whose second album ‘Turn To Clear View’ is released this Friday, 20th September. He is known for his part in explosive London jazz group Ezra Collective, and the style carries over into his solo work. His music is galactic, and quivers with momentum; the set’s solos were fiery burst of notes sparking their way through the melody in precise hits, deliberate and individual compared to the psycho-smooth blissiness of the chords. This contrast is the point: his ghosty, warped organ at once set off the other band-members and bared his talent. As a performer, he was colourful andstreamlined; his notes bent round, bloated, and diffused as they filled in the gaps where dub, funk, and Herbie Hancock’s legacy meet.

Armon-Jones slinked in for an appearance in Nubya Garcia’s set. Tenor saxophonist and composer Garcia is of a spirited and spiritual mould, and her solos had catchy melodies with all the elasticity to showcase her improvisational skill. ‘Lost Kingdoms’ was a Coltrane-esque slow-build, and she bloomed in freer compositions like the ‘When We Are’. Cool and magnetic enthusiasm made for wide-eyed, glistening tracks, and she deserved longer than the half an hour she was given – perhaps true for a few artists, who could have been enjoyed for two or three times as long as their sets permitted.

Garcia’s versatility was characteristic of most of the jazz musicians, both in style and material, as they consistently cropped up in others’ sets. They are the product of the same scene. Like Armon-Jones, Theon Cross plays with Garcia, himself the tuba-player in Sons of Kemet (winners of a MOBO for Best Jazz Act in 2013). Cross was bone-shaking: the blistering Sunday afternoon heat dried the mud beneath our feet; his playing cracked the ground right open. Lips of raspberry steel made for near-beatboxing into his tuba, his encore feeding from the crowd’s astonishment at the sheer strength of it all.

In spite of – perhaps because thanks to – the threat of dampness on Friday night, the crowd at the Main Stage received Kojey Radical with feverish excitement. The weekend’s mode was one of vitality, and, simply, he bled life – a mercurial blend of rap, spoken word and occasionally raw-edge funk. His performance was a succession of lightning flashes, as he zig-zagged across the stage with sweating, sinewy virtuosity. Infectiously honest about both composing and battling depression, he streaked through the line-up as the most vibrant of highlights.

Elsewhere in the area surrounding ‘The Forest’ were DJs playing through the night; wandering between them was like the same approach you have between floors in a club – without the aimlessness, and with the confidence that there’d be something good. This ‘something for everyone’ refraction sometimes felt too decentred, but it did account for the inevitable proliferation of music taste, like one of the most inexplicable but gold-miney Discover Weeklys. I swerved the eye-popping DnB/jungle of DJ Randall, but sets as varied as Tenderlonius’ jazz-laced house to Malfada’s disco-y Brazil were scattered around the site and across the weekend. 

Abbots Rippon, old home to the Secret Garden Party, is in the heart of Cambridgeshire and had room for outdoor lake swimming, yoga (if so inclined), and films and talks. The Sunday headliner, Gary Bartz, gave an interview for Worldwide FM in an outdoor tent, during which he talked about the advice passed down from Miles Davis, and what it was like to play with Charlie Parker.

Like the name of his radio station, Peterson pushed for his festival to be a “worldwide family gathering”. Clearly, this meant drawing out the resemblances between different music genres, celebrating the closeness of the current scene, and bringing fans into the fold. Performers and campers alike simply roamed and savoured. It all seemed a bit more than “joining the dots”: this was musical pointillism; sharp, bright individuals creating patterned, vivid blur.

Fry ‘held audience in the palm of his hand’ in Mythos performance

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Stephen Fry’s latest show at the Oxford New Theatre, ‘Mythos’, is a three night event, with each performance covering a different realm of Greek myths. The first is ‘Gods’, the second ‘Heroes’, and the third ‘Men’. In theory, then, although each performance can stand on its own, this is a seven and a half hour long show. If this wasn’t impressive enough, the cast list for ‘Mythos’ is just one name long: Stephen Fry himself.

Despite Fry rightly being heralded as one of the greatest storytellers of our time, I had my reservations going into ‘Mythos’. Fry undoubtedly has enough charisma and charm to match any one of the Olympian characters in his tales, but could he hold the audience’s attention for such a mythological marathon as this?

The answer is a resounding ‘yes’. The first act was riveting, with Fry sprinkling tasteful doses of humour into the Greek story of creation, somehow managing to make Kronos’ cannibalistic tendencies towards his children sound hilarious. Balancing out the laughter are moments of darkness and poignance, with Fry leaning in to the audience as if sharing a secret, placing careful emphasis on each word, warning the viewers to take heed of what he was saying. An example is his veiled criticism of Brexit in telling the story of a town that forgot Zeus’ most highly regarded principle, that of hospitality, and the welcoming of strangers into the household.

Stephen Fry as himself in Mythos: A Trilogy – Gods. Heroes. Men. Photo by David Cooper.

For parts of his performance, you could be forgiven for mistaking Stephen Fry for a particularly affable and talented lecturer, teaching a class of University students. The only difference being that he held the audience in the palm of his hand throughout, with there being few times when he rambled, giving the mind a chance to wander. It is quite remarkable really, in this era of short-attention spans, where everything is condensed into 140 characters or less, that Fry would want to take on such a mammoth oratory challenge. Even more surprising, is that he manages to keep his audience entertained without the many bells and whistles that most productions use.

He takes a couple of brief diversions for a mini-adaption of Trivial Pursuit (aptly called ‘Mythical Pursuit’), where audience members choose from an assortment of topics, on which Fry will then expand upon. This is clearly a result of producers’ worries about maintaining the viewers’ focus, but to be quite honest the show doesn’t really need it.
It does, however, offer an illuminating insight into the motivation behind Stephen’s retelling of the great Greek myths. One could be forgiven for looking sceptically upon his ‘Mythos’ tour as being mere advertisements for his accompanying books, and as the show began I must admit I had lingering doubts in the back of my mind.

But partway through the second act, somebody chose the ‘Stephen’ option in his Mythical Pursuit game, and he proceeded to tell the audience what it was that made him want to get so involved in Greek mythology. He said it was his mother who first introduced him to the wonderful tales of Ovid and Homer, and then expanded on how he would read their stories for hours on end, making Greek mythology ‘his subject’ whenever his family watched gameshows.

In regaling us with this context, he eased the minds of any sceptics that remained, and his passion is clear from how eagerly he paints the beautiful scenes of Mount Olympus and Othrys, before allowing the terrifying images of war between the Titans and Gods to seep into his tapestry, turning the overall picture into an amazingly eclectic myriad of colours and sights.

There are very few people with the gravitas that Fry possesses, and when watching ‘Mythos’ one can’t help but see him as our modern day equivalent to the great orators, the Ovids and the Homers, that he is emulating. While the first act impresses more in terms of the fiery, monstrous tale of how the world was created from chaos, the second act arguably draws you in more. Fry meanders through amusing and moving stories of Hermes, Apollo, Midas, Pan, and more. We find ourselves following one character at a time, and you end up rooting for them, in a way that many fully-formed plays never get you to.

The staging is fairly minimal, with Fry sitting on a high-backed chair, with a small round table beside him, on which a glass of water stands largely untouched. There are five rectangular panels behind him, which all combine throughout the show to form images ranging from constellations, to Greek sculptures, to artistic representations of the tale Fry is telling at that time. They are simply accompaniments, designed to complement him, catching the eye every now and then, but not drawing any attention away from his captivating stories.

It is perhaps fitting that Fry brings his boyish enthusiasm and thirst for knowledge on Greek mythology to Oxford. As we slowly drown in essays and coursework it is easy to lose our passion for whatever it is we are studying. To some extent, Fry rekindles a lost spark, and reminds us what it feels like to love learning.

Magazines: a media migration

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A familiar scenario: Smothered by deadlines, exam pressure building and faced with the prospect of never-ending revision, the allure of kicking back for a minute and scrolling through social media becomes increasingly hard to resist. We live in an era of increasingly short attention spans. Just look at the difficulty of writing a hook that’s both interesting enough to pull a reader in and convince them that reading the rest of this article is worth their time. In a world where relaxation takes the form of 6 second Vines and temporary Snap stories, and where we are used to having our entire culture and news filtered through to us in carefully curated 280-word tweets, how can traditional print press compete?

Once upon a time, the popular magazine was a teenager’s chief tool in getting to know their heroes. Published interviews provided exclusive insights into the lives of celebrities which, in turn, allowed fans to feel as though they were intimate friends with their icons. Magazines had complete control over everything, from who was platformed to what trends were published. Nowadays, however, a fan need only create a variety of social media accounts to have their favourite’s personal photos (Instagram), thoughts (Twitter) and day to day life (Snapchat) fed straight into their timelines from the horse’s mouth. The middleman of the magazine has been removed: now the interaction is direct, intimately interspersed with posts from your friends and – cost of electronic device aside – free.

The result is that many magazines have been forced to sink or swim. In 2018, music magazine NME ceased producing print publications after 66 years to focus on a digital audience. Earlier this year, celebrity gossip magazine Now followed suit, only to be followed by fashion and beauty magazine Marie Claire, which will also make the jump to digital-only in the coming months. TI Media, the latter’s publisher, explained the shift: “to best serve the changing needs of its audience’s mobile-first, fast-paced, style-rich lifestyles.” Whilst this prognosis certainly looks dire for print, it reflects the ever-changing ways we as readers interact with the content we are given. Snapchat is a leading example, carefully combining its stories page with a plethora of articles and content from various publishing outlets, all of which can be easily subscribed to with just an upwards swipe. With a University of Chicago study finding 75% of American teens alone (aged 13-17) use Snapchat, magazines are arguably reaching a wider audience than ever before by integrating their articles with posts from friends.

However, as with anything, this shift hasn’t come without its problems. An Influence Central report found that by the time they are 12 years old, 50% of children are active on at least one social media platform. Already, the rising prominence of ‘fake news’ puts susceptible people – such as uninformed children online – at risk. By adding the sensational journalism that is favoured by many celebrity magazines to the mix, these figures would suggest that an increasing number of children and teens are becoming exposed to unrealistic body standards, bias reporting, and overall toxic attitudes at a much earlier age. As a jaded university student, the People and Cosmo headlines on Snapchat initially identify themselves as attention grabbing clickbait: over-the-top but ultimately harmless (and sometimes even entertaining). Yet presented beside articles from the controversial likes of The Sun, all neatly sandwiched in one place alongside content from your friends, it becomes easy to see how the lines between reality and fiction can become blurred.

On the surface, it may appear like we are getting more control over the content we see. Flicking through a gossip magazine in the form of a Snap story certainly has the fast-paced appeal many of our shortened attention spans demand. Social media allows us to follow, and subsequently learn more about, the specific celebrities and trends we are interested in and simply ignore and not follow the things we couldn’t care less for. Yet perhaps the physicality of the printed page acted as a tangible reminder of the difference between reality and the sensational fiction we were consuming. It is easy to choose to subscribe to a magazine, read for a while, and then close and be done with it. But to live a life disconnected from our phones, away from savvy promoted articles and ads interspersed in our feeds, with total control over what we see and where we see it? Now that is a much trickier task.

The Huffman scandal: just another story of privilege and bribery?

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Last week, Desperate Housewives star Felicity Huffman was sentenced as part of Operation Varsity Blues, the college admissions scandal, receiving 14 days in prison, a $30,000 fine, 250 hours of community service, and one year’s probation. Having pleaded guilty back in May to paying $15,000 for her daughter’s SAT score to be improved, Huffman would have expected a lower sentence, which this certainly was – a fortnight in jail is a long way off from the four months predicted by many newspapers and legal experts since the scandal first broke. For an Emmy-award winning actress, this has certainly been a fall from grace, placing her future job prospects and celebrity status in serious jeopardy. For a woman convicted of paying her daughter’s way into a high-ranking US university, however, is it enough?

To me, the scandal is so interesting because it’s so hard to feel sympathy for people who have everything going for them (the money to pay for the best schools, SAT tutors for their children, etc.) and still feel the need to cheat to get ahead. One of the reasons it’s caused so much outrage globally is because it challenges the very notion of “meritocracy”, proving that wealth and important connections really can get you everywhere, including some of the most prestigious colleges in the US. Parallels have been drawn to people in less privileged communities falsifying their address to send their kids to better schools, and being sent to prison for it – with this this mind, why should Huffman and other (mostly white) wealthy parents be treated any differently in the eyes of the law? A two-week stint in jail feels lenient when you consider the months, even years, that people in poorer communities spend behind bars for using a friend’s address to give their kids a better chance at life. Why is Huffman’s case any different?

But having said that, I’m not entirely convinced that a prison sentence is the answer in this case. As well as shining a spotlight on the lengths to which the privileged will go to cheat a system that already works in their favour, the case has provoked a debate about America’s justice system in general. Many have questioned whether incarceration as an across-the-board punishment really holds up these days, especially with white-collar crimes such as Huffman’s. Is it necessary to imprison someone who isn’t a physical danger to society, who might be better able to make amends for her actions in other ways, such as paying for scholarships to prestigious colleges or funding SAT-prep programmes? While it is undeniably important to hold people (especially those in the public eye) accountable for their actions, is imprisoning them really the best way to do that? John Legend, singer and founder of Free America, a campaign designed to “transform America’s criminal justice system”, according to its twitter bio, recently tweeted his disapproval over the sentencing, saying: “Prisons and jails are not the answer to every bad thing everyone does, but we’ve come to use them to address nearly every societal ill,” adding that “no one in our nation will benefit from the 14 days an actress will serve for cheating in college admissions.”

Incarceration is one way of proving that celebrities are not above the law, but I do think Legend has a point about its benefits for society being limited. Why not, as has been suggested by news outlets over the past few months, get her to pay for a group of disadvantaged applicants’ SAT tutoring, or fund a number of scholarships and bursaries to the elite colleges that remain so out-of-reach to people who don’t benefit from Huffman’s privilege? As of April 2018, the USA has the highest incarceration rate in the world, costing the federal government $265 billion a year. I really wonder if locking up an actress for cheating in college admissions is the best use of that money, and if it might not be better overall to commit her to helping fix the problem of which she is part in a different way.

Climate strike comes to Oxford

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This morning school students across Oxford and the surround area left class to march at another climate change strike held in the city centre.

In what was the city’s seventh Youth Strike 4 Climate event, hundreds gathered to make known their opposition to global pollution and widespread damage to the environment. 

Chris Church of Oxford Friends of the Earth said: “This is the largest environmental demonstration Oxford has ever seen.

“It is a wonderful tie-in to all the other things which are happening around the planet at the same time”.

Oxford MP Anneliese Dodds, MP for Oxford East, said: “I think it is really humbling to see a huge number of young people here today and they are very clear that we need to act now. We cannot keep putting action off”.

These protests came as part of climate strikes all across the UK, and the rest of the world. Thousands descended on central London to hear activists speak, as well as Labour Party leader Jeremy Corbyn who described himself as ‘absolutely delighted’ by the protests. 

However, Education Secretary Gavin Williamson said “every child” should be in school. He added that “they should be learning, they shouldn’t be bunking off and it’s very irresponsible for people to encourage children to do so”.

Demonstrations have been held in every continent, and millions are thought to have attended climate strike events across the world.