Tuesday, April 29, 2025
Blog Page 561

Oddball England must win at Headingley

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So, Australia have made it out of London alive: their 2005-evoking 1-0 lead standing strong after a thumping in the first encounter was followed up by a more sodden 1997-style rain afflicted affair at Lord’s, albeit minus Glenn McGrath running riot down the slope and this time the visitors, rather than 77-all-out England, licking their wounds.

Back-to-back Ashes Test matches offer little time to dwell on any lingering hauntings from the capital or to go away and redouble on any technical limitations cruelly betrayed in the middle, and it remains to be seen what lasting psychological impact a first draw in a live Ashes Test match in England since the 2009 series will have on either side: declaration momentum versus valiant resilience.

Certainly, they don’t offer the requisite window for a textbook concussion recovery and so Steve Smith, struck in juddering fashion and then inexplicably allowed to return – bouncer-drunk – in naked thirst for a fourth successive century on these shores, will sit out as the series ventures north to Leeds.

Even yer da who insists on the calling the England debutant Archer, Joffrey could spot the lasting footprint of the heat-seeking missile when the Australian maestro then shouldered arms to an in-swinger clattering into his pads. Though independent doctors will surely become mandatory as the protocol is refined in years to come, the arrival of concussion substitutes to usher in the Test Championship era already has its landmark case. The ball that delivered an electrifying jolt to this series at the climax of an encounter for the ages and will now surely go some way to shape the narrative of the coming weeks, thankfully no further.

His replacement, Marnus Labuschagne, also struck, on the grille with a nasty seaming bouncer before compiling a resistant half-century, brings into sharp focus the challenge such a tight turnaround presents for England too. Despite the County Championship returning this week, the South African-born right hander remains the only man to pass 1000 runs for the season after a five-century stint with Glamorgan, and there are no compelling England-qualified alternatives to the current top order malaise lurking in either division.

With Zak Crawley and Dom Sibley dismissed cheaply, parachuted pinch-hitter Jason Roy failing his austere examination, promoted number 3 Joe Root registering a first golden duck of his glittering Test career and Joe Denly, like Cameron Bancroft, clinging to his career via the virtue of his fielding, the existential crisis of who bats where is the worrying extent to which England can shuffle their pack before battle commences once more. Throw in Moeen Ali bowling medium pace against Northamptonshire, Olly Stone and Mark Wood’s latest check-ins to the back specialist and the hefty risk attached to gambling once more on Jimmy Anderson’s type II twitch fibres, and with it the task becomes all the more onerous.

Not since either Joe Root or Jonny Bairstow made their international debuts has the Ashes returned to Yorkshire, where in 2009 a vein-bursting angry quick called Peter Siddle claimed five to level the series at one apiece heading to The Oval. It is part of a wider trend and England have a worse record at only at Trent Bridge at home. They have lost three of their past five Tests there, including in 2017 to a West Indies side turbo-charged by Shai Hope’s twin tons and England Captain Root averages only 35.40 at the ground, comfortably his worst record at any venue he has batted at more than twice.

With their own recently imperious record at Headingley to call upon – buoyed by just a sole defeat in 2001 amongst a Green sea of triumphs in the past six meetings, skewed by but not lessened a period of general dominance – the equation is simple: win one more Test Match and Australia will have their first away Ashes triumph since the 5-match series era began in earnest.

And yet, after all that, with Mitchell Starc waiting in the wings; with David Warner yet to hit his straps; with a complex algorithm anointing Pat Cummins at the zenith of fast bowling this side of the millennium, you still fancy that this oddball England side might just pull it off. Re-invigorated by the effortless zeal of Archer: the fortnite generation’s Snow White to his pack of seven Js, it might not be too fanciful.

Balliol Boris celebration on hold

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Balliol College have few plans to celebrate Boris Johnson, who read Classics as an undergraduate at the college, moving into Downing Street.

The college’s July newsletter contained a short item recognising that Johnson is now at Number 10, although Balliol are not currently planning to celebrate the success of their fourth Prime Minister in other ways.

The newsletter’s headline article focused instead on the access and outreach work of the college, describing ways in which Balliol is attempting to “encourage students from groups under-represented at Oxford to apply.”

Unlike the previous alumni – Herbert Asquith, Harold Macmillan and Edward Heath – there are no plans to hang a portrait of Mr. Johnson in college yet.

Balliol told Cherwell: “It is a longstanding College Policy that we do not display portraits of currently serving politicians.”

Mr. Johnson attended Balliol from 1983 to 1987, graduating with an upper second-class degree. It has been widely reported that he was deeply unhappy not being awarded a first.

Alongside his studies, Johnson played rugby for Balliol, co-edited the university’s satirical magazine Tributary and was President of the Oxford Union for a term in 1986.

He joined the Bullingdon Club, an upper-class drinking society dominated by Old Etonians and with a reputation for colourful behaviour.

It was also whilst at Balliol that Johnson first started dating Allegra Mostyn-Owen, his first wife. They became engaged at Oxford and married shortly after leaving.

Interview: Humza Yousaf MSP

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I catch Humza outside the Grand Hall of the Stand Comedy Club at the Fringe, where he has just made an appearance to discuss Scottish politics, in a light-hearted manner, with a fairly sympathetic crowd. Not long before the show began, the Scottish Justice Secretary had left one of the government’s confidential government Cobra meetings, and was guarded about what was discussed. Humza’s capacity to make such a quick yet smooth transition from serious top-secret government meeting to having a laugh at the comedy club could be seen as exemplary of an astute, dexterous politician. But as far as Humza is concerned, the real clowning around is in Number 10.   “Far from avoiding a no deal which would be catastrophic, no deal Brexit has become a real policy choice for the government. No deal Brexit is now being looked at as an opportunity, which is beyond my comprehension. I’m more concerned now than I was previously.”

Yousaf has been asked by Westminster whether the police forces in Scotland might be pooled as a last resort in the event of any consequences from a no-deal Brexit. “The resilience of the police force is much greater in Scotland. There is a potential to pool resources from Scotland if necessary. However, if there is a belief that Scottish forces are going to be used simply to plug the gap in an under resourced police in England and Wales, then the government are misguided.”

Yousaf has recently decided to suspend use of his Twitter account, following a spate of online abuse. “My decision to give up Twitter was a bit of a slow burn. It would start with tens of abusive comments a day, which would become hundreds if I put out a particular tweet or there was some particular news about me.

“I drew the line when these abusive comments were directed at my newborn baby daughter. I had put up a picture of the new baby box I’d bought for her, and it was after reading some of the appalling comments below that I decided I’d had enough.

“I may return to Twitter later, but for the moment, I think there are more important things in life.”

Next we discuss drug addiction in Scotland. According to the National Records of Scotland, drug-related deaths in Scotland are the highest per capita in the EU, and show no signs of declining: the rate is up 27% on last year’s figures. Is the Scottish government taking the matter seriously?

“That figure is a stain on the collective conscience of the Scottish government,” Humza tells me. “It is not something where we can simply shrug our shoulders and accept it. We must do everything we can to prevent further deaths.” 

As justice secretary, does Humza share any responsibility in this drugs crisis? “Decriminalisation is a reserved power so it’s not something that I as justice secretary in Scotland can change. However, I would be keen to see the introduction of drug treatment centres across Scotland, following their relative success in other parts of Europe.

“Our approach to this issue is fundamentally as a public health rather than as a policing and crime issue. But from a policing perspective we have had successes in tackling serious organised crime and bringing to justice the criminals responsible for the proliferation of drugs among deprived communities.”

Just three days before we meet, the Scottish government paid out half a million pounds in legal fees to Alex Salmond after admitting it failed to meet its own guidelines in investigating him over sexual harassment claims. This admission was a serious victory for Alex Salmond, who had called the investigation “grossly unfair” and has undermined the credibility and rigor of the government’s sexual complaints investigative procedure. Perhaps understandably, Humza was not keen to discuss this for very long. “I used to know Alex Salmond well and work closely with him.

“As Justice Secretary I’m not in a position to comment on what remains an ongoing case. In terms of the costs involved, clearly, the government did not want to be in that position.”

Last week, Jeremy Corbyn put forward plans to lead a temporary unity government in Westminster – a coalition of pro-remain parties to avoid a no-deal Brexit. With Jo Swinson, leader of the Lib Dems, expressing a reluctance to support the proposal, instead touting the 79-year-old Conservative MP Ken Clarke as preferable interim prime minister, eyes had turned to the SNP’s 35-strong Westminster presence for an offer of support. Could Jeremy’s idea fly?

“The SNP are not the biggest fans of Jeremy Corbyn, not least because we don’t think his position on Brexit have been firm enough. But the consequences of a no deal Brexit would be utterly catastrophic.” Humza tells me. 

“If the remain parties in Westminster get together to form a pact, then as leader of the opposition, Jeremy would have a mandate to lead it.”

But how long would such a mandate last? For a fixed term, or until some prearranged milestone had been reached?

“The first thing that government would have to do is to remove the threat of no deal. Once that has been achieved, it would be my preference that we hold a people’s vote, to give people a chance to revaluate their decision given the complexities involved which we now know.”

Brexit has presented itself as quite the quandary for the SNP. On the one hand, given that three in five Scottish votes supported remain, it’s easier to make the case to this pro-remain base that it’s in Scotland’s interest to leave the UK. On the other hand, following three years of turmoil in Westminster over Brexit and without a clear resolution in sight, even the most dyed in the wool indy ref 2 supporters might be thinking to themselves, “could I go through all of this again? Could I stomach another three years of this?” How do the SNP quell these concerns? The answer it would appear, is to frame the handling of Brexit as a question of competence.

“It would be foolish of the SNP not to learn from Theresa May: she has written the manual for how not to negotiate a withdrawal agreement.” Humza says. 

“We need to make the case for a Scottish independence that would bring all points of view together, rather than a version of independence that appeals only to the fringes and the extremes, in the way that Theresa May had done with Brexit.” A soft Scottish exit seems to be the way forward.

Just recently Humza had been on paternity leave following the birth of his first child. He makes no secret about the effect that becoming a father has had on him: “Being a dad is the best thing in the world.

“In the same way that the lyrics of love songs seem hackneyed and clichéd until you first experience true love, the things people often say about becoming a parent really are true: I do feel I have a whole new perspective on life.

“My first day after paternity leave – being away from my daughter for a whole day – was especially tough. Most nights I get home late from work so I don’t get the chance to cuddle her as much as I’d like.”

Before we part company, and before I dash across Princes Street to catch the 3pm Oxford Revue performance, I wonder whether Humza will also be paying a visit to some shows at the Fringe (while he’s not starring in them).  “I’ve got family coming over from London and Saudi Arabia, and we’ll be going to a few shows together.” Will he be seeing any politics shows, like the one he just hosted? “I’ve got enough politics in my life.”

Cambridge clinch victory in Varsity Tennis

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The last weekend of June saw the Oxford lawn tennis club travel to Cambridge for their annual varsity fixture. Ten teams headed to Fenner’s, home of Cambridge University’s side, for a sunny weekend of competition.

The men’s 5th team had a good weekend, with some well-fought wins on the first day, notably Thomas Moss, who came from match point down in the second set to win six games in a row, and then the following set, providing a glorious victory for the dark blues. They went into the second day with a 7-2 match lead, and continued the success, with the doubles pair of Harry Orrin and Justin Kenny coming from 5-1 down in the second set to produce a 6-2, 7-5 win. The team finished the competition with a 18-3 victory over the Tabs, the widest margin of victory for Oxford throughout the whole weekend.

M3 had a tough competition, fielding only six players to Cambridge’s eight. Dan Farooq notably played all his matches despite having a tennis elbow injury, but overall the team only won two out of their twenty-one matches, with victories in the singles from Thomas Griffiths and in the doubles from Mark Brooke and Daniel Heathcote.

For W5, it was a momentous year, marking their first ever Varsity match. At the end of the first day, they led 5-4, including convincing singles wins from Laura Bailey and Nicole Rosenfeld, but unfortunately on Sunday, the Cambridge side fought back leading to a narrow loss of 11 matches to 10. Elsewhere, M4 had more luck with their results, opening the weekend with a collection of straight set victories including from Matt Calow and David Heathcote, and a superb set of matches leading to a victory over the Tabs of 16-5. W3 also had a successful weekend, winning 15 out of their 21 matches, and bringing Oxford’s wins up to three.

In the blues matches, which took place in London, Oxford failed to gain a decisive grip over Cambridge; the men’s side won a third of their matches, coming away with a 7-14 defeat, and the women’s team mirrored that result, with 7 wins to 14 losses. Other results from the weekend included a 9-12 loss for M2, a 4-17 loss for W2 and a narrow 10-11 defeat for W4, meaning Oxford came away from the weekend with three wins and seven losses.

Overall then, a disappointing result for the dark blues, but the players fought some excellent matches, with some narrow losses over the course of the weekend, and the side came away with renewed determination to reclaim victory next year on home turf.

“Queering Spires”: Museum’s appeal for queer history exhibition

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The curators of an upcoming exhibition celebrating Oxford’s everyday queer history are appealing for local people to loan memorabilia.

“Queering Spires” is a collaboration between the Museum of Oxford, Oxford Pride, Tales of Our City and members of the community to tell the “hidden history” of Oxford’s LGBTQIA+ communities.

To highlight local queer history, the curators are focusing on memories and gathering an eclectic range of objects which evoke them – ranging from memorabilia of gay bars and community centres to activist fliers, from boxes of photos to objects with deeply personal, hidden meanings such as a champagne cork from a civil partnership.

Councillor Mary Clarkson, Cabinet Member for Culture and City Centre, said: “People know about the big moments in queer history, like Stonewall and Section 28, but this exhibition is about what life was like for people in Oxford – the spaces, the events, just daily life. 

“The best way to tell this story is through the memories of those who were living here, which is why the Museum of Oxford is calling for people to loan items to the exhibition.”

There are also valuable ways to take part in the initiative for those who do not have objects to loan. Zayna Ratty, Chair of Oxford Pride, told Cherwell she encourages University of Oxford students to support the exhibition “through visiting and engaging with the exhibits, opening dialogues and having conversations about queer life in Oxfordshire”.

She added: “[There has been] historical exclusion and phobia experienced by some members of the LGBTQIA+ acronym. Pivotal people in LGBTQIA+ history have come from marginalised groups and should be remembered for the vital advances made for all of us.

“Oxford Pride with our theme of DiverseCity 2020 hopes to explore and platform these marginalised groups engaging with our community. To be able to better look forward and face the hurdles ahead, it’s vitally important that we have an awareness of where we come from.

Oxford’s LGBTQ+ Society told Cherwell: “This sounds like a wonderful initiative and a great example of grassroots community-building and refining of Oxford’s collective memory. We hope that this project foregrounds the previously unheard stories of the LGBTQ+ communities who have come before us and made their own unique mark here, which we are privileged to discover through this exhibition.” 

“Queering Spires” is part of Oxford Museum’s National Lottery Fund-supported “Oxford Revisited” project to highlight LGBTQIA+ experiences through community exhibitions and a programme of workshops.

The exhibition will be on display from September 2019 until Christmas 2019 in the museum’s Micro-Museum space in Oxford Town Hall. Subsequently, “Queering Spires” will be installed as a permanent exhibition when the Museum’s ongoing £3.2m redevelopment concludes in 2020.

The Museum advises people interested in loaning objects should contact the Community Engagement and Exhibitions Officer at [email protected].

Animals (2019) review

Sophie Hyde’s latest film Animals, adapted from Emma Jane Unsworth’s 2015 novel, is a welcome antidote to the friendships of fun, feminist, Glossier-buying millennial women that are only really found on screen. These are the elusive women you’ve heard about- the ones who are out all the time, manage a successful creative career from the tables of various minimal coffee shops, never miss a brunch, and simultaneously keep their equally efficient partners satisfied. Hyde’s film is far more interested in the messy parts we are too ashamed to share.

Animals examines the tender (and often completely raw) aspects of an obsessive friendship between wannabe writer Laura (Holliday Grainger) and sardonic Tyler (Alia Shawkat) as we follow their escapades across Dublin. The first few scenes signpost the gleeful hedonism of their lives. Early on, we glimpse Laura tied to her bed with her own underwear, while Tyler wears only a fur coat and sunglasses. Their boozy haven rapidly darkens when Laura, fuelled by an anxious awareness that her next milestone birthday is 40, begins a serious relationship with the equally serious Jim (Fra Fee), a curly-headed pianist with brooding expressions to match. As Tyler begins to feel her position as partner in crime displaced by Laura’s engagement, both women are forced to question whether living so relentlessly in the present is still possible as they notice their 20-year-old identities shifting beneath their feet.

Unsworth’s script captures the mental tug of war between wanting to do something different when the expected next step is represented by the deathly ‘non-sound of the suburbs’ and not feeling guilty for wanting to settle down into the enjoyment of married life. In this way, the emotional lives of the protagonists feel authentic. It is often brutally close to the bone too. Hyde manages to nail the strained atmosphere of one particularly pretentious event with razor-sharp accuracy, from the ambient sounds of The Japanese House playing out, to the meticulously chosen geometric jewellery bedecking bemused faces. The film is helped along by its leads’ witty, potent dialogue which elicited proper laughter, despite on other occasions feeling somewhat forced. Laura’s exclamation: ‘my feminism is about blazing the way through old traditions” serves as one particularly jarring example.

Although it is packed with enjoyable moments, the storyline often feels as aimless as the protagonists. For example, I get the feeling that if you stole an almost full jar of MDMA, you’d be in for a wee confrontation with a disgruntled Dublin dealer at some point (as well as a hefty comedown or two). Of course, in Laura and Tyler’s fantasy world, a figure like this never materialises, and neither do consequences usually. This is kind of the point, but it is still tiresome.  In order to work, Animals requires a hefty helping of poetic licence then, which we also see in Laura’s unexplained ability to live in a gorgeous Georgian townhouse and drink a week’s wages in a single evening while working only a handful of shifts as a barista.

Similarly, after Laura leaves a party at 11 in the morning to attend her fiancé’s event, still not walking quite straight, it only takes her a quick swipe of concealer and little tousle of her shiny locks to look pretty fierce. Maybe it’s just me, but my face after a big night out is not redeemable with just five minutes in the bathroom. As refreshing as it is to see imperfect and frankly unlikeable women on screen, it would have been good to see a more believable hangover. Could we not have been given some pallid skin, bloodshot eyes or greasy hair? It is a very pretty film to watch, but Animals missed a trick by not throwing in a bit more ugliness.

Even so, it can’t be a bad thing that I left the cinema with a desire to read Unsworth’s original vision of fractured female friendship- it has kept me wondering whether the animals in her novel have a bit more bite to their bark.

Lost in Vienna: Reencountering ‘The Third Man’

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I know it’s not cool to like black and white films. OK, so it might be edgy to like Bergman, or better Truffaut, Godard or Fellini, maybe even better still Chaplin or Keaton in a counter-intuitive way. But, generally, black and white movies tend to be scoffed at by far too many.

I can concede some things worthy of criticism. Obviously painted backdrops revealing cramped studio production, for instance. Cut-glass ‘this is the BBC’ accents, or their equally theatrical American equivalents, too. Maybe most of all, a Hays Code enforced lack of the sex, violence and swearing that characterises the real world, and indeed characterised it then, despite the moralising attempts of distribution legislation.

Yet I love many of these films. Limited technologies and petty content restrictions couldn’t stop the flurry of geniuses working in film in this period from exploring timeless human themes and questions, constructing sympathetic relationships or creating genuine tension, and nor should they deter the modern viewer.

If there’s a film that makes my case better and with infinitely more creativity, style and substance than I ever could, it is surely Carol Reed’s 1949 The Third Man, which is fast approaching its 70th birthday. Coming from a story by Graham Greene, the film sees an American writer, Joseph Cotten as Holly Martins, visit Vienna after the end of the Second World War, intending to meet an old friend, the mysterious Harry Lime, only to hear of his recent death on arrival. “I was going to stay with Harry Lime on Thursday, but he died.”, Martins tells a neighbouring hotel guest. “Goodness, how awkward.”, comes the reply.

Unsatisfied with contradictory accounts of his friend’s demise, the writer begins an expedition into Vienna’s criminal underbelly, where he encounters all manner of dangerous European eccentrics, a police chief who’s very English indeed (he is played by Trevor Howard, after all), and Lime’s strong-willed but broken-hearted lover. Played by Alida Valli, she spends most of the film talking about Harry Lime, rather than growing into a fully developed character in her own right, but then this is true of almost everyone in the film.

Lime is the central, spectral force that both anchors the film and gnaws away at its veneer of surface realism until finally, spectacularly, Orson Welles appears illuminated in a city square doorway that barely contains him, just as the film appears to stretch to accommodate his sadistic, majestic charisma.

Yes, in perhaps the worst kept secret in movies- beating the identity of Luke Skywalker’s father in longevity- Harry Lime is in fact very much alive, and bending morality towards dollar signs in a world that admittedly feels gone mad. See, Lime is a racketeer; a gangster without the tommy gun. Talking on a Ferris wheel, Lime justifies his stealing of penicillin bound for the children’s hospital by peering down at children in the fairground far below and asking: “Would you feel any pity if one of those dots stopped moving forever?” He elaborates:

“If I offered you £20,000 for every dot that stopped – would you really, old man, tell me to keep my money? Or would you calculate how many dots you could afford to spare? Free of income tax, old man……free of income tax. It’s the only way to save money nowadays.”

Welcome to the new world, is the message.

Deep within Vienna, behind the frosty love that we periodically see glimpses of between Howard and Valli, and well below the earnest but hopeless attempts of ‘cultural re-education’ to find beauty among the rubble (“last week we looked at Hamlet, the week before….a striptease I think”), lies the dark heart of the post-war European outlook. We don’t need f-bombs or head shots to understand the nihilism of this cinematic vision.

So that’s one black and white movie quibble swept aside, but what of the others? Well the acting is terrific; each of the central four actors capable of being believably earnest, disingenuous, sympathetic, unsympathetic, brutal and flirty, sometimes all at the same time. The cut-glass is there in places, predictably, but you won’t notice after only a little while, promise.

Perhaps the most obvious victim of this startlingly modern (as well as plainly modernist) film is the studio backdrop- tossed aside in favour of the monochrome operatics generated in actual post-war Vienna, as long shadows glide and grow over and between the fine buildings and juxtaposing, omnipresent rubble.

If you see just one black and white film, then, at least consider The Third Man. Citizen Kane and Casablanca seem carved into the memorial bedrock of modern culture, destined never to be forgotten. The Third Man’s future maybe isn’t as certain, but deserves to be.

Vita and Virginia (2019)- Review

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I went into Vita and Virginia with a great deal of trepidation after eyeing the IMDb rating, and it was not without cause. When a film has a trailer with no obvious defects and is yet rated under 6/10, you’re just sitting there in the theatre, waiting for the ball to drop. This comes early on in the film – in fact, with Vita and Virginia’s first meeting. Vita (Gemma Arterton) enters a party and sees Virginia (Elizabeth Debicki) dressed as Shakespeare, doing a strange sort of swaying solo dance akin to Luna Lovegood on Xanax. The visual and auditory cues intend for the audience to empathize with Vita’s wonderment at both Virginia and the general decadence of the Bloomsbury set, and yet it comes off as satire.

The film tonally misses the mark for a number of reasons. Scored by Isobel Waller-Bridge, the film’s music aims for an ambient tone, but ends up closer to an HSBC advertisement. This effect is heightened by the over-polished visuals, which tend to cliche. I mean, did we really need shots of Woolf smoking at the typewriter spliced in every ten minutes, lest we forget she’s a writer?

That notwithstanding, there are some spectacularly constructed scenes in the film, especially the shots of Kew Gardens; director Chanya Button draws visual parallels with Baz Luhrmann’s Great Gatsby. But Gatsby works because it doesn’t claim to be anything other than a fun romp, while Button’s vision lacks that clarity.

Part of the problem is the source material. The film is based of Eileen Atkins’ 1992 play of the same name, which likewise lacked direction. In a 1994 review for the New York Times, critic David Richards writes that Atkins has “cut and arranged” the letters of Woolf and Sackville-West, “but she has been unable to find an organizing principle for the script other than time.” The films’ aimlessness is even worst, spending far too much time on half-blurred scenes of Debicki and Arterton reading letters and making little effort to construct an overarching narrative. This play at realism might have worked with more subtle aesthetic choices, but ultimately just makes the film feel like a muddle. In fairness, Vita and Virginia’s real-life affair was quite obviously a muddle, as we are continuously reminded in the film, but – crucially – this means it doesn’t make for good art in its raw form.

At the end of the film there is a slide telling the viewer that Orlando, Woolf’s 1929 novel inspired by Vita Sackville-West, sold more than any other of Woolf’s books. However, if their relationship is largely significant as a source of literary inspiration, why make a film about it at all? It’s almost an admission that the film does not stand on its own. Which is too bad, because it could have. The relationships built up in the film were engaging but got lost in superfluous detail. Plot elements which went nowhere were constantly introduced, seemingly for purely historical purposes. Button skims over the ‘rest cure’ (the common early 20th c. practice of prescribing strict bed rest to ‘hysterical’ women) administered to Woolf, and presents her mental illness as CGI vines that only Woolf herself can see. Debicki plays the panic attacks well, but the visuals detract from the gravitas of Woolf’s illness, relying once more in the particularly tiresome trend of aestheticizing mental illness.

This film might be nice to play in the background of a casual gathering if you’re an English student, but that’s probably the highest praise I can give it. The relationships between Vita and Virginia and their respective husbands are legitimately touching, but entirely swept by the wayside. This treatment by Button leads to increasing frustration with both the characters – Vita is especially unlikable – as is the film itself. Vita and Virginia is probably best left a source of nice stills and Pinterest GIFs.

Music and Christianity: What’s it all about?

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*Brief disclaimer: I have focussed on Christian worship music, because it is my own personal experience. I cannot speak for any other faith, but I would always be interested to listen.

When you hear the words ‘Christian worship music,’ what’s the first thing that springs to mind? Maybe a modern Christian song with a repetitive tune and incessant choruses about how ‘Jesus loves us.’ Or a stereotypical village church where the congregation mumbles the hymns, out of time with the organ, and with varying levels of enthusiasm or tunefulness? Maybe you can’t think of anything worse!

Whatever your thoughts, it’s undeniable that music has always been an important part of Christian worship. From Gregorian chant and Bach cantatas to Gospel music, and contemporary Christian hip hop, jazz or rock, there is wealth of music, from all across the world, which is inspired by the Christian faith and written intentionally for liturgical settings. Following on from the tradition of Western art music, twentieth century composers such as Olivier Messiaen, Arvo Pärt, John Tavener, and James Macmillan have been renowned for their ‘spiritual’ and ‘sacred’ compositions. But what do these terms actually mean? How can music be ‘sacred’? Besides, isn’t the idea of a deity who demands that human beings regularly sing to him quite preposterous really? In Oxford today, with so many chapel choirs and frequent performances of ‘religious music,’ maybe it’s the ideal time and place to refresh how we think about this tradition, and to consider what – if anything – it might tell us about humanity, faith, music, or the divine.

Firstly, what is the point? For Christians, worship is a response to God – to who he is and what he has done. This involves giving praise and thanks, especially for what Christ accomplished for us in his death and resurrection, meaning we can be justified by faith, restored to right relationship with the God who made us, and set free from sin and death, knowing we will be raised with Christ to eternal life. That’s a lot to be thankful for! If you’re in love with someone, you probably can’t stop talking about them and overflow with how wonderful they are; for Christians, it’s a similar story with Jesus (as cliché as that sounds). It’s all about him. We worship because God is good and so worthy of praise, but also because of his love for us and ours for him. In this sense, worship is a huge joy. It gives us a glimpse into the eternal dance of love, joy and worship which each person of the Trinity has been wrapped up in since the beginning.

That doesn’t mean you always have to pretend everything in your life is fine. (I am guilty of this, as well as many other Christians I know.) We are called to do the opposite of this: real worship means honesty and vulnerability. It means admitting we need help and turning back to Christ. Just like in any healthy relationship, it doesn’t help to bury your true feelings. There are many Psalms (songs in the Bible) which communicate a deep sense of pain, hopelessness, and abandonment by God; these are valid feelings to express, even if we know from the Bible that God will never abandon us, so our feelings do not always correspond with truth. In worship, as well as praising and adoring God, we can bring ourselves as we are – with all our anxiety, weakness and fear – to the foot of the cross, and trust in the faithful and boundless love of Christ, even (or especially) when we’re struggling.

So why do we use music? Why sing when we could just say it? I think this has something to do with the way music engages our emotions. There are numerous occasions in the Bible where music breaks forth from the human spirit: King David dances and celebrates as the musicians make a joyful sound and the tabernacles are brought into Jerusalem (1 Chronicles); the song of God’s people after he delivered them from the Egyptians and parted the red sea for them (Exodus 15); the Canticles in Luke’s Gospel; Song of Songs, and the music of Revelations (e.g. chapter 4, verse 8) – this is just to name a few. Music is universal to every culture and, like language, it is a powerful form of expression. People often say that music takesthem somewhere else or speaksto them deeply when words do not suffice. I think we need to be careful not to idolise music itself (and as a music student, I often fall into this trap). Human beings are fallible, and obviously not all kinds of music glorify God or edify us, but I do think that music is a gift from God and a unique medium through which we can respond to him. Singing allows us to express our love to God with our whole being – heart, soul, mind, and body. Combined with words from scripture, music helps biblical truth to be firmly etched onto our hearts and can strengthen our faith, as we are transformed on the inside by the Spirit. Additionally, by singing together, Christians show the unity of the Church, and it leads us out of our individualism, towards the collective, ceaseless worship of the saints. 

If music has a significant place in Christian worship, it’s important that the Church thinks carefully about its musical decisions. Music, in all its richness and variety, can demonstrate something of the beauty of creation, and worship music, as well as being theologically sound and contextually appropriate, should be engaging and meaningful for a wide variety of people from diverse backgrounds and different stages of faith. 

So, let’s go back to where we began, with the tone-deaf congregation, or the Christian pop song which is – to be frank – musically uninspiring and tedious in its repetition. Is this suitable worship? I think it comes down to the attitude and spirit in which it is done. Of course, we want to offer back to God the highest standard of music we can (using the gifts he gave us in the first place), so we need musically talented people to lead us in worship, but I don’t think it’s all about ability. In the same way, a religious piece of music which is sung to an extremely high standard aesthetically, but with an arrogant mindset or a heart that is not thinking of God, is probably worshipping something else instead. The most important thing is worshipping God in the Spirit, from the heart, and fully participating, whatever level of musical skill you think you have (or don’t have). St Paul sums this up in his letter to the Colossians (3:16-17): ‘Let the message of Christ dwell among you richly as you teach and admonish one another with all wisdom through psalms, hymns, and songs from the Spirit, singing to God with gratitude in your hearts. And whatever you do, whether in word or deed, do it all in the name of the Lord Jesus, giving thanks to God the Father through him.’ 

Review: No Man’s Land – Frank Turner

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Late June this year, Frank Turner announced his new album (No Man’s Land) – a collection of songs about the forgotten and overlooked women of history who have inspired him and his music. This conjured a sense of doubt in me as it seemed to be a very obvious attempt at a male singer-songwriter playing the hero and trying to reset the historical scales of gender imbalance alone. 

The singles that were released before the album dropped were, on their own, nothing out of the ordinary. The last of the singles to be released: The Hymn of Kassiani, was very much the cherry on top of a disappointing cake and left me completely disenfranchised with the album as a whole. This was until Friday morning, when Spotify threw the album in my face. As I have been a rather big fan of Frank Turner for the best part of 8 years now, I gave the full album a try, and couldn’t have been more pleasantly surprised.

The album as a complete work feels far more like a labour of love than a political statement about gender inequality, giving him an opportunity to marry his love of history with the figures that influenced him. From a purely musical perspective, Turner draws from his various stylings during his solo career, from raw songs that seem very personal to him to full band bangers such as Sister Rosetta. The product of this amalgamation of styles and narratives is an album full of short stories about captivating characters where each song has an individual quality to it both in tone and in tale. 

As you listen through this album, the early worries about Turner playing a White-Knight subside almost immediately. The first song alone is about Camden’s legendary Jinny Bingham, the owner of a halfway house who was accused of being a witch after murdering several of her patrons who assaulted her. Not really the first person one would choose if you were purely out with the intention of playing the role of the saviour of womenkind. This being said, Turner does go on to sing about the lives of historical feminists whose stories have not been popularised or well-remembered. By singing from their perspective Turner runs the risk of coming across as mansplaining these powerful people’s lives, but when listening to the album it is plain to see that Turner is simply using the medium he knows best to communicate how inspirational their actions were.

A personal highlight from this album is the song “Rosemary Jane”, a song for his mother giving thanks to her for the difficult task she had of raising him and his sisters in spite of a father who was less than helpful. It feels like the follow on to a song he released as part of “Sleep is for the Week” in 2007: “Father’s Day”. “Father’s day” was a look in to the strained relationship with his father, which had a rather melancholy feel to it and little mention of the rest of his family life. “Rosemary Jane”, however, acts as the counterbalance to his earlier song casting a more positive light on to his home life whilst thanking his mother for it throughout. Turner has always been very open about the relationships he holds with both of his parents, often showcasing his mother during his live shows and getting her to play the odd harmonica solo. 

This album has proved to be an interesting journey away from Turner’s expected array of songs about his personal life and emotions, whilst maintaining the styles he has developed during his solo career. The result of this is a collection songs that you can find yourself lost in listening to for hours on end, enjoying the journey through time and musical styles he takes you on.