Tuesday 28th April 2026
Blog Page 708

Pretty In Pink : The Many Uses of Beetroot

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A bunch of raw beetroot will probably cost you £1 and a packet of four pickled in vinegar might be 60p. They’re seasonal July to January, but even out of season they remain cheap and tasty. The colour, texture and taste of this vegetable aren’t to be missed in your cooking.

Let’s go way back in time. During World War Two, cocoa was being rationed and bakers used beetroot to enhance the colour of their red velvet cakes. If you’re feeling particularly adventurous you too can use beetroot to cheaply colour your own baking. In fact, it even helps to retain moisture in the mix.

Beetroot is also delicious when roasted. Just like parsnips and carrots which go sweet and succulent after roasting, beetroots have a sweet, slightly earthy taste which complements a roast really well. What’s more, beetroot can be peeled like a potato or carrot. Try roasting chopped beets with one red onion and one cubed sweet potato. Takes about an hour but you can meal prep with it – it’s scrummy and you won’t find a prettier Buddha Bowl.

Beets in vinegar baffled me to start with. They taste quite nice on their own, but it’s a bit weird to snack by nibbling at a big red ball skewered on a fork… so I tried it with pasta! Take cooked penne and stir together with cubed pickled beets, peas, spinach, courgette and toasted walnuts. Season with salt, pepper and lemon juice and, voila, the pasta is pink! All this produces an unusual, savoury, and ultimately moreish flavour. A pasta upgrade to wow your pals- maybe for a belated celebration of Pink Week, or to commemorate ‘on Wednesdays we wear pink’?

Another standout is beetroot hummus, both beautiful, delicious and very easy to make. Additionally, Borscht (cold sour beet soup) should be tried by everyone. And, for intensely pink food, mix your beets with yoghurt or cream, or make an apple and beetroot smoothie (but clean your Nutribullet quickly or it might be pink forever…).

The health benefits of beetroot are also quite extraordinary. Indeed, researches from the University of Exeter found that athletes who drank a glass of beetroot juice before running 20 metres saw an improvement in their spring time by 2 percent. What’s more, researchers from the Queen Mary University of London found that the nitrate in beetroots can help to lower blood pressure and fight heart disease. Perhaps the strangest and least explained effect of beetroot is the fact that it helps you hold your breath. Indeed, in a study by the Respiratory Physiology and Neurology journal, subjects who had drunk a 70ml shot of beetroot were able to hold their breath for almost half a minute longer.

So there you have it. Pretty, yummy, and effective for anyone fighting heart disease whilst sprinting underwater – what is there not to love?

Student film: ‘notoriously difficult to penetrate’

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Devon Armstrong, former Vice President of OUFF.
The world of film is notoriously difficult to penetrate as an up-and-coming creative – even more so when you’re a keen fresher with very little experience and an Oxford degree weighing you down. I was worried when I started my degree that my passion for filmmaking would be stunted during my time here.

Luckily, the Oxford University Filmmaking Foundation does a great job of providing informative workshops, inspiring speaker events, and that all-important funding for student shorts. As a society they’re a perfect starting point for those new to filmmaking and there is never a shortage of low-level shorts and videography opportunities to get involved in. I spent a lot of time in first year signing up to any and every project, until I realised I needed to start filtering out opportunities. You learn most when you’re working with people better than you, even when you feel way out of your depth.

As a third year about to launch myself into this unknown territory, this Oscars season leaves me feeling bewildered at the distance between my ‘canon’ of a few low-budget shorts and the exciting world of Margot Robbies and Spike Lees. I’m trying to get some roles on film school grad films, or – if I’m lucky – an independent short directed by a friend of a friend’s aunt. My limited experience has taught me that the world of film is still so much about who you know, and something that Oxford has taught me is that you need to seize every wild opportunity you’re given to get the most out of who you happen to run into.

Dominic Tomlinson, a winner of OUFF’s 2019 screenwriting competition.
For a while now, the idea of writing has always been something that has interested me, yet, it has rarely evolved beyond that, an idea. For that reason, even if my screenplay were complete rubbish, I could console myself with the fact I had finally finished something. Once I had the general outline of the film, I had to face the tricky task of putting it down on paper. My screenplay features two men sitting in a room talking with relatively little action. I had to put myself inside this small, self-contained world I had created, to imagine myself sitting in the same room alongside these two men.

An appreciation and respect of the medium was paramount; the script may read well, but whether it would translate well on screen is a different question. I would close my eyes and picture the scenes over and over again whilst reciting the dialogue to myself, always looking for moments that would bore me until I could honestly say it was the best I could do.

Breaking into the industry post-graduation is still very much a pipedream, and I am well aware that just because I’ve written one screenplay doesn’t mean I have any future in this game. However, the discipline instilled by the deadline, the practical experience of learning how a screenplay is put together, and the fact it was really good fun writing has whet my appetite; it has reminded me why the idea of writing is one which has always appealed to me.

Ross Moncrieff, Student Director
Shifting inside the world of film after working in the world of theatre
has taught me that, in many ways, they are two sides of the same coin. But how much interaction is actually there between these parallel
worlds?

The process of acting is very different. In theatre, the actors are the central element of the theatrical process, and shows will spend around 50 hours rehearsing. In film, on the other hand, an actor may find that most of their time is spent waiting for the director to line up the perfect shot. Whilst acting during a show flows naturally, film acting is a lot more stop-and-start. In terms of direction, an Oxford theatre director will most likely spend the majority of their time with the cast rehearsing; however, a film director’s central preoccupation will often be with exactly how a shot will look. That said, the two genres still obviously have much in common. The interaction between directors and actors is naturally still very similar when dealing with themes and character development.

In both media, directors have to lead large teams, which perhaps distinguishes them from the majority of other art forms in which the creative process is often more solitary. Having a skill-set from one medium therefore naturally makes getting inside the other a lot more doable.

Stealthing is sexual violence

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This week Singapore announced that it is set to become the first country in Asia to make ‘stealthing’ – or removing a condom without the partner’s permission – a criminal offence.

That there even needs to exist a term for ‘stealthing’, and all the websites and advice pages dedicated to its practise, is disgusting.

But what is most scary is that many men and even women do not see it as a sex crime.

Stealthing is illegal in the UK but no one has yet been convicted of it, despite it being a widespread practice (a 2017 paper on stealthing for the Columbia Journal found that 32% of women and 19% of gay men interviewed had been victims of stealthing).

Stealthing is a sex crime, but not really recognised as one in society. If you read the Daily Mail article on a recent stealthing case in Berlin, you’ll find top rated comments such as: “So surely you would also arrest a woman who forgot a day of her birth control regimen”.

They completely miss the point about the intent, the danger, and gender-based violence and power-play surrounding stealthing.

For male-on-female stealthing, the men on the stealthing sites attempt to defend the practise, arguing that it is their natural born right to spread their seed.

Yet that male-on-male stealthing exists shows that stealthing is really about male supremacy and violence as man’s birth right.

Stealthing comes from a belief that somehow if the person has consented to one sexual act, then they have given up all right to their body. The victim must face the general practicalities of not having used a condom, of worrying about STDs and pregnancy. But they must also face something far more traumatic: having to recognise that their trust has been broken, that they have been raped.

I know boys who have been joking about stealthing since they were about sixteen. And even beyond stealthing in practise, a stealthing mindset is everywhere.

How many men do we see on TV, in films, in real life, complain about the wearing a condom?

How many relationships do we know where girls have been quickly pressured or pushed into taking the pill or getting the coil, pumping hormones around her body, so the guy wouldn’t have to wear a condom?

The practice of stealthing is widespread, but the attitude and the entitlement of stealthing is literally everywhere. Not only do men feel they have a right to sex, but they feel they have a right to sex without a condom.

Stealthing is a sex crime that needs to be recognised as one, in society as much as in the law.

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Would you risk your life on God? Reflections on Professor John Lennox’s ‘Can Science Explain Everything?’

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People often think that science and religion are at odds, that a scientist’s ability to rationally comprehend the world averts their gaze from the heavens. But the truth is, the inverse is often the case. Newton was a Christian, his faith in God grounded by the mathematical physics he did understand — not in what he couldn’t. As much as the Principia Mathematicais the bedrock for Newton’s faith, Professor John Lennox career as a mathematician here in Oxford has led him to the same conclusion. 

Lennox has set himself the challenge of undermining the false narrative of science and religion waging a war. One of the important ways in which he does this is by clarifying the nature of faith –showing that the scientific worldview, as well as the Christian worldview, both rely on faith. Faith, whether faith in God or evolutionary theory, is about evidence, according to Lennox. When we ride airplanes, or marry the people we love, there is no mathematical proof that either won’t end in disaster – but we still have faith that our descents into the air or spousal life are safe, sensical things to do because we have evidence. Lennox cannot prove his wife loves him, but as he was keen to note, he would risk his life on it. 

And there is a keen point here to be made. When we step onto the plane, Lennox’s phrasing does not go amiss – there is real sense in which we are risking our lives on our faith that the plane won’t crash. With evidence, this is rational: the risk is small. But the same can be said of a marriage. What if you spend years on something that does not work? What if your partner is actually trying to steal your money or only marrying you in order to control you? The better you know your partner, the safer you are – but there is a sense in which you are risking wasting or negatively affecting a large portion of your life by marrying the wrong person. So, we have faith. The scientist has faith – with evidence they pursue certain theories, they believe in their methods, they have faith that the world is to be made sense of despite the absence of any proof, evidence or philosophical argument that makes us certain that the world, does, in fact, make sense. We see that faith in Einstein’s famous “God does not play dice with the universe.” His faith was in that quantum systems qua deterministic, in a hidden variable missing from the mechanics. But certain faith, even in science, might be mistaken. Physicists might spend their entire lives chasing a theory of everything that they will not obtain – they risk their lives on it, in the sense that they might be chasing horizons.

The faith of the scientist bears on Lennox’s title question: can science explain everything? There is certainly a faith in scientism: the idea that science can explain everything. The evidence might be how wonderful and successful and far-reaching science has been. We have medicine and astronomy and neurology and they have all changed the world for the better. I cannot represent all of Lennox’s rich reflections on scientism here, but I will relay one of his major points – what I imagine is the most important point. There are kindsof explanation – what philosophers might call a reasons-explanation and a causal-explanation. The example he gives is, how do we explain the boiling of the kettle? We can give a story about how the excitation of the molecules in the kettle leads to evaporation and so on. But when asked why is the kettle boiling? most of us will react by giving some story like ‘I’m parched’ or ‘Stressful day, just fancied a brew’ – not with reference to state changes or thermodynamics; a reasons-explanation. As Lennox reminds, we have been drinking tea for a lot longer than we have understood how changes of state work. 

And I might concur that science cannot speak on that level of explanation. I might concur with Lennox as well as that, there is a real sense in which we cannot go without these explanations. It is not how our world works, nor our sense of meaning. For Lennox, this space of meaning is for religion — and in particular, for reasons we won’t go into, Christianity. I want to press on this for a moment. 

Challenging scientism is not solely the task of the interdisciplinary theist community (and Lennox referred to biologists and mathematicians and historians and theologians over the course of the evening). It is the challenge of the atheist too. In his interview Lennox called atheism a ‘worldview’, which I object to. If atheism even amounts to a worldview, and not solely the rejection of a family of worlds of the class theism, it is a misrepresented one. Dostoevsky thought the logical consequence of suicide was atheism and yet, post the 20th Century where philosophers both in Cambridge and the cafés of Paris agreed that value was a projection and God was dead, there was still a point to living. So the first thing to say, there is a point to living with atheism. But even amongst this family of atheists were complex and nuanced views. Like theism, I think atheism should be considered a class of views: amongst this class, one thing that we might dispute is the nature of value. And the reason this new picture might helpful is, it is not clear that there is enough evidence to risk one’s life on theism. 

Theism is not a simple view — rightly it often amounts to a family of worldviews. Your commitment to God is going to bear on your ethics, it is going to bear on your politics (liberal or not) and it might even bear on how you spend every one of your Sunday’s for the rest of your life. The risks are different for everyone: for the gay people, for women, for minority ethnicities or disabled people, getting into bed with theism is no casual and non-committal thing. So what if you do not want to risk your life on God? What if your open to the idea that after some progressive theology and deep soul-searching, all these tensions of yours come out in the wash? You need not deny all that without asking for some good reason – if I am going to worry about the ethical status of my love with another man, I am going to want some good reason to risk my life by taking it down that path. 

It is possible we can cash out the richness of our lives in non-theistic terms – atheism has not been given its chance. In fact, here in Oxford’s faculty there are philosophers arguing against the idea that a world in which God exists is necessarily a preferable one. I won’t give such an argument here, but I will say this. As Wittgenstein said, explanation ends somewhere. I believe that such a limit holds for science, but I think such a thing holds for value: the crux of it might just be, value is just a brute fact. It is there and we have to deal with it. We have to deal with the good and the beautiful, as well as the evil and ugly. The strange, austere universe is one we must deal with, theist or not. As one philosopher has argued, if there is a hole, it is not necessarily God-shaped. 

The sentiment I want to at least consider is, we might not need God if we learn to have each other. I think to the great writer James Baldwin and this beautiful passage he wrote: 

“The sea rises, the light fails, lovers cling to each other, and children cling to us. The moment we cease to hold each other, the moment we break faith with one another, the sea engulfs us and the light goes out.”

This is true for the theist – I would think. For Augustine, proper love of God demands proper love of neighbour; Dostoevsky’s portrayal of an atheist in his Writer’s Diarysees the atheist saved by Christ’s love but only by his inability to abandon sentiment when approached by a beggar child. We need each other. But it is true without God. Our fundamental sociality and dependence might not flesh out in a theological story, but flesh it out we should nonetheless. New atheisms — richer atheisms — are not being given their voice.

This all said, I am for the spirit of the discussion: Lennox is fighting the good fight in questioning scientism, in opening room for new and open attitudes to what a pursuit of truth includes. During the course of the evening he adeptly and gracefully grappled with questions about evolution, miracles and even, the atrocities that we ourselves have committed as a species. Most poignantly Lennox touched on the history of his own Northern Ireland and the terror that ensured there. So for him, I am happy that he has found his faith. He is rationally entitled to it. But ultimately, what I will say is that for the agnostic questioning and for those with faith that seeks understanding, his book promises to offer much to mull over; for the atheist, it is an opportunity to participate in an important conversation and to consider what their atheism can amount towards being. Can science explain everything?Would you risk your life on science? I have faith that if you want to answer these questions, Lennox’s new book is a great place to start.

Placing society’s margins under the microscope

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Independent cinema has a tendency to reach to the margins of society – to metropolitan underbellies, to corrupt corners of institutions, to the shadowy parts of our perceptions of society. This desire to put moral decay on screen and expose the suppressed or hidden secrets with classics such as The Godfather and Trainspotting, and, though perhaps in a more sanitised form, in recent offerings such as Beautiful Boy. Yet Darren Aronofsky’s Requiem for a Dream pushes these notions of decay to its limits; the director stares the vulgar right in the face, taking what it normally uncomfortably pushed to the margins and slamming it into the spotlight. In his magnum opus, Aronofsky tackles the extremes of drug addiction with barely a flinch.

Viewers have a tendency to consider Requiem as an archetypal drug film. But Aronofsky departs from the ‘traditional’ addiction narrative that we are acquainted with through Sara’s storyline of dieting and self-consciousness, and the film compels the viewer to understand that the characters’ decay is not simply the result of drug-use, but of the most primordial of feelings. Completing the arc is the very final scene where Sara is subjected to electroconvulsive therapy. In her dream, which has become conflated with reality, she sees herself finally fulfilling her ambition of appearing on a television game show. It is because of this ambition and her poor body image that she began to diet, leading to her addiction and mental deterioration. Here, the trope of the drug addict is made more humane, and the distinction between the typical drug user (or ‘ junkie’) and the more benign ‘addict’ is blurred. Sara’s feelings of self-consciousness are familiar as a deeply human experience. By grounding their narrative in basic instincts and emotions, addiction no longer becomes ‘other’ and uncivilised. Rather, one is forced reflect and evaluate one’s own character, discover similarities to those in the film, and find compassion for them.

The film opens with rapid montages depicting the ecstasy of not only drug use, but of all addictions. Ellen Burstyn’s character sits in front of her television with a box of confectionary, her finger circling a piece of chocolate in an almost erotic fashion, alluding to her unhealthy relationship with food. Such a visceral cinematic technique becomes oppressive, and the film closes just as it begins: with flickering scenes which, more frenzied and set against an overwhelming cacophony of orchestral music, depict the characters in their decayed states. The arc is complete, and all four of the principle characters, in the pursuit of dreams, money, and euphoria, have succumbed to addiction and been destroyed by it, all failed by the public institutions which exist to protect them.

Equally disturbing is the way in which the characters are let down by the institutions which supposedly exist to assist them. Sara’s apathetic doctor recklessly prescribes her diet pills and ignores obvious signs of addiction, and the psychiatric hospital subjects her to problematic treatments that exacerbate her mental degradation. Another character’s psychologist pays her for sex, and the prison in which another is incarcerated is inhumanely run, caring little for his poor state of health. Although these representations are fictitious, they nonetheless expose an anxiety about the way public institutions treat those in a mentally and physically deteriorating state; the very same people they exist to support. This anxiety, quite overtly expressed in the film, is not unfounded: Sara’s storyline directly alludes to the ‘rainbow pill’ regimen of amphetamines that doctors prescribed in the 1970s, which is just one instance of drugs being over- or mis-prescribed. The sexually-motivated abuse of power by the psychologist and the dismissal of the prison also ring especially true in the wake of the #MeToo movement and recent controversies surrounding prison conditions.

Although the film is now ten years old, the themes seem timeless. Addiction
in the United States demonstrates whole new dimensions of decay – physical, psychological, and societal – unlike anything we’ve seen before. Perhaps, then, Requiem for a Dream deserves renewed attention. Unlike other representations, addiction is not presented as a moral deficiency, or indicative of bad character, but as a fault arising from human emotions and the mistakes everyone makes, and tragically exacerbated by public institutions which, again and again, fail to address the problem.

Tidying Up with Marie Kondo: transformation tv done right

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I like Tidying Up with Marie Kondo in the same way that I liked Queer Eye: good things happening to likeable people, with the added bonus of aesthetic transformation at the end. It’s the same with day-time TV programs about home renovations, “I’m glad Steve is happy with his work and thank GOD he had that fireplace removed to reveal the original one underneath”.

Through the KonMarie process (a tidying programme which focuses on keeping only those items which “spark joy”, introducing yourself to your space, and organising possessions in a way where you can see everything at one glance) the families and couples taking part seem to experience real, emotional transformations as well as the physical decluttering transformations of their homes. Particularly emotionally moving is Margie Hodges’ episode, in which Marie helps her to re-organise her home after the death of Margie’s husband. While not all of the episodes are tear-jerkers, like Margie’s was, each partaking person is interesting and likeable and you genuinely want them to succeed. The focus on the participants themselves sets this program (as it did with Queer Eye) apart from other “transformation” television.

At university, only the cream of the crop of my clothes and sentimental items have come along, so my miniature KonMarie attempt in term-time has been swift. However, I’m aware of what waits at home for me. In each episode, in order to sort clothing, Marie gets her participants to take all of their clothes and make them into one pile on the bed. Then, shifting through the pile piece by piece, the person must choose whether it A) sparks joy and must be kept, or B) does not spark joy, in which case it must be thanked, and let go of. The piles of accumulated clothes at the start of this process are always, as many participants commented on, shamefully high. My pile will be no less embarrassingly large, but I am excited to take in what I own, to be reminded of my love for items long forgotten, and to declutter both space and mind. Despite criticism that the programme seemingly encourages fast and simple disposal of items, presumably to the bin, in many episodes there has been an effort made to film the items (clothes) being donated to charity.

The pace of the show means that it is not one that you want to binge in one go. The appeal of watching each episode is just meeting the participants and hear their stories. In this way, Tidying up with Marie Kondo differed from Queer Eye. With Queer Eye I had to ration episode-watching, distraught at the looming possibility of the end of that available series. Tidying up with Marie Kondo is ideal for low-energy watching in front of dinner, or as relaxation, but lacks the genuine thrill of the Queer Eye transformation. Perhaps this emphasises the sustainability and accessibility of the KonMarie system: no, you won’t have a new haircut and new furniture won’t be put in for you, but you can do the KonMarie system on your own, and truly realise the value of what you already own.

What I have taken from the show is mostly garment-based, and perhaps I would take more lessons away from reading one of Kondo’s four books on the art of tidying up. I’ll probably eventually give in to the temptation to buy one, but it’s unlikely I will act on all the advice therein. I’m happy for the television participants, and I certainly want to sort out my wardrobe, but I expect my cupboards will be fit to burst with miscellany for a while longer. Some tasks seem too big to begin.

Catz mourns Master’s passing

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Master of St Catherine’s College, Professor Roger Ainsworth, has passed away following what the College called “a short battle with cancer.”

The College will be flying their flag at half-mast as a token of respect to the Professor.

Professor Ainsworth became Master of the College in 2002, having been a Tutorial Fellow in Engineering since 1985. During his time at the College, he was elected a Fellow of the Royal Aeronautical Society and a Fellow of the Learned Society of Wales. He also fostered connections with Denmark, which saw him being appointed a Knight of the Order of Dannebrog by HM the Queen of Denmark in 2005.

Closer to home, the Professor served as a Pro-Vice-Chancellor from 2003 and supervised a £750 million building programme as Chair of the University’s Building Committee.

He was originally both an undergraduate and graduate at Jesus, and became an Honorary Fellow of the College in 2002.

A spokesperson for St Catherine’s said: “During his time as Master, Professor Ainsworth presided over an immense amount of change at St Catherine’s, with thousands of students coming and going during his tenure. His dedication and commitment to ensuring that St Catherine’s remains a welcoming college and a remarkable environment in which to live, work, and study was extraordinary. He will be sorely missed by students and colleagues alike.”

The Vice-Master, Professor Penny Handford, said: “The entire College community is deeply indebted to Roger for his loyal friendship, his outstanding leadership, and his immense contribution to the advancement of St Catherine’s College. He will be greatly missed and we will continue to honour the tremendous impact he has had on our community. In the meantime, as Roger himself said, the College must march forward together.”

Well-wishers can sign the book of condolences at St Catherine’s College Porters’ Lodge, and messages for the family are being received at ww.stcatz.ox.ac.uk/roger-ainsworth/.

Details of a memorial service will be announced in due course.

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Review: Velvet Buzzsaw – “rebellion of art against the pretentious world”

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In Velvet Buzzsaw director Dan Gilroy teams up with the leads from his directorial debut Nightcrawler. Whilst Nightcrawler set out to condemn local news television this time he casts an unfavourable judgement on the world of high art.

Morf Vendewalt (Jake Gyllenhaal) is a vain and pompous art critic with the mythical illusory power to make or break exhibitions and careers with his words. Meanwhile, Rene Russo plays Rhodora Haze, a cold and powerful art dealer. The film centres around Haze’s protégé and Vendewalt’s love interest Josephina (Zawe Ashton) finding a collection of paintings after a man in her building dies. Against the wishes of the departed the paintings are not destroyed and are instead sold to the highest bidder. That is until they kill anyone who was seeking to profit from them.

The horror aspect of this film was done well. In many horror films, the victims are complicit in their own deaths, failing to take even basic precautions to ensure their own safety. There was none of that here as victims were either taken by complete surprise or killed despite concerted efforts to escape. The rational behaviour of the victims evokes greater fear as unlike other horror films, the audience are similarly unable to identify a route to survival.

The film is a successful satire of the behaviour of those around high art. The scene where a dead body is mistaken for an installation and children are allowed to play in the blood is an exaggerated statement of the film’s essential ideas. People so detached from reality that they cannot differentiate a dead body from an art instillation. In the aftermath, attendance to the other parts of the exhibit soars. To the people of the art world, death incites a perverse curiosity. This disconnect from reality is again highlighted in one of the films deliberate laughs when an art dealer stops at a pile of bin bags astonished with their beauty only to be informed by the artist that it is indeed just trash.

The rebellion of art against the pretentious world in which it is forced to live is seen throughout the film. The art enacts revenge on those who lack integrity and have exploited it for their own greed. It is not just Dease’s paintings which are killing – characters are attacked by any art installation around them, including a twenty-year-old tattoo. At the end of the film the art appears to be content with being sold on a street corner for five dollars. That the art chooses to be sold in an unassuming manner to ordinary people serves to reinforce that high art profiteers were the target of its contempt. The attractiveness of the colours that kill Josephina shows us there is some beauty, or at least justice, in these deaths.

Velvet Buzzsaw conveys a clear distaste for the people who operate around high art. Satire is used particularly well to this effect. Nonetheless, the movie struggles to find its rhythm.

Early on it has a slow and unspectacular build up; it’s forty minutes until anything supernatural happens. Then, the main three characters die in a dozen minute killing spree at the end. In light of this, the film feels rushed, and the storyline truncated. Despite its flaws Velvet Buzzsaw is a fun and thought-provoking film and ultimately two hours well spent.

Review: Kinky Boots – ‘a poignant message amongst the glitter and glamour’

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Introspective, pained, gritty – these are the adjectives that are often bandied around nowadays in praise of new hard-hitting, meditative plays. The world seems to be getting more and more serious, and our arts, serving to some extent as a reflection of reality, have naturally started heading down the same gloomy route.

But who says the theatre can’t be thought-provoking and fun? The cast and crew of Kinky Boots certainly don’t. This production is jam-packed with show-stopping numbers, rip-roaring dance sequences and, of course, glitter and glamour galore. The plot follows the life of Charlie Price (Joel Harper-Jackson), the son of a Northampton shoe factory owner, as his attempts to break away from his family’s legacy are complicated by tragedy. He is abruptly thrown into the deep end in being appointed the factory’s reluctant new boss, and is eventually faced with the choice between an easy but lucrative escape, and a bejewelled moonshot that could save the business.

The first act soars by, the songs combining melody and meaning perfectly, with ‘Take What You Got’, ‘Everybody Say Yeah’ and ‘The History of Wrong Guys’ all fitting the Disney, or The Greatest Showman, mould that is currently in such a purple patch. Joel Harper-Jackson and Kayi Ushe provide stunning vocals, their on-stage chemistry elevating the production with every twist and turn. The latter adorns ‘Land of Lola’ with triumphant sass and charm, but then reduces the self-assured strut to an anxious tip-toe in the most moving moment of the play, a duet with Harper-Jackson on ‘Not My Father’s Son’. It would have been easy to overdramatise the part of Lola, but Ushe carries the persona with elegance, lacing each line with the acerbic wit and charisma that makes the character such a crowd favourite.

The humour that pervades the plot is well judged throughout, perhaps pushing the line a little too much in its stereotyping of transvestites as less sophisticated than drag acts, but generally giving the audience plenty of laugh-out-loud moments. Act two is just as effervescent as the first, with Harper-Jackson leaping from scene to scene with the energy and stamina of a Jack Russell terrier. His buoyancy matches the breakneck pace of the plot, keeping us invested in the story, yet the play benefits from the respite offered by the aforementioned low lights of ‘Not My Father’s Son’. The momentum is then built back up, before reaching boiling point when Charlie finally cracks on the heart-rending ‘Soul of a Man’, emphasising the versatility of Harper-Jackson’s performance.

The staging is slick, with the pizzazz being tempered by inventive lighting, particularly during the slow-mo boxing match between Lola and Dan, preventing the glitz from sliding into tackiness. The costumes are, of course, unforgettable, with the runway finale being the cherry on top of an already rich and extravagant cake. There are moments where the plot jumps a little too suddenly from harmony to sharp divisions in the factory, and back again. Equally, some of the songs feel a tad twee, and more High School Musical than The Greatest Showman. But make no mistake, this play is full of feel-good fun, sugarcoating a poignant message. When Lola encounters the narrow-minded Don, who ridicules the drag act and zeroes in on Lola’s lack of self-confidence when dressed as a man, they end up agreeing to set each other a challenge. Don asks Lola to compete in a fight with him, while Lola asks for just one thing – “Accept someone for who they are”. What better cri de coeur to champion during LGBT History month?

Listening to Music on Repeat

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There’s one sure-fire way to lose interest in your favourite recordings, and I do it on a daily basis. I can’t stop obsessively listening to the same tracks over and over again. My Spotify runs on a rotation of the same two or three albums for about a week, and then a new two or three albums take their places. I couldn’t possibly take my headphones out around the house for fear the incessant repetitiveness would drive my housemates to kick me out. In fact sometimes the aural equivalent of groundhog day actually starts to drive me to distraction. Someone please send help.

Oddly enough, this causes me fewer problems in the classical sphere than it does with other genres. I simply cannot face the live gigs of my favourite artists, because the variations of a live performance jar so painfully against the recorded track branded into my internal ear. I’m used to hearing the same piano trio or symphony in many different forms and interpretations but hearing Florence sing ‘Shake it out’ with any deviation from the studio version that pounds through radios, shop speakers and club nights just feels wrong. Such musical rigidity seems a shame, that songs are so ingrained in my mind as one version that I can no longer appreciate variations or live versions. I wish remixes, live gigs and even covers didn’t irritate me, but they often do. Whether or not I can listen to them purely depends on whether I know the original too well.

The rise of the singer-songwriter has, I think, created a much more symbiotic relationship between recording and song. A singer writes, performs and records a piece exactly how they wish, and that is the definitive version that everyone knows. even artists’ covers of older songs have a tendency to subsume the original, such as Adele singing Dylan’s ‘Make you feel my love’ or Jeff Buckley’s version of Cohen’s ‘Hallelujah’. How many people have heard ‘Valerie’ in any other version than Amy Winehouse’s? We want to associate songs with one particular person (or band), to define them by one sound. This trend in popular musical is so different to the approach taken by jazz or classical musicians, where ownership is more fluid. The old-fashioned jazz standards of the (?)1940s-(?)1960s for example were passed around from artist to artist, performed and recorded in completely different ways and styles each time. I have no intractable sense of what the version of ‘Summertime’, ‘Stormy weather’ or ‘I’ve got you under my skin’ is because they exist in so many covers, re-imaginings and re-fashionings. But I think slowly this sense of collective musical ownership is being lost. Artists seem determined at the moment to stamp their songs with as much of themselves as possible (take Ariana Grande or Beyoncé’s last releases), to demonstrate that a song is theirs perhaps in defiance of the fact that their recordings will be played in shops and restaurants as background music as well as on the radio, in clubs and headphones. I clearly don’t help myself. I should perhaps listen to shuffle, or the radio, but it’s not half as satisfying. The albums I listen to I know absolutely back to front, from the basslines upwards. It’s only through listening to ‘Hey Jude’ 20 times that you discover that John Lennon, faintly, shouts out ‘oh fucking hell!’ five minutes in. But I think my disturbing inability to appreciate alternative performances of a song is possibly symptomiatic of a music industry slowly becoming too rigidly artist-focused, perhaps at the expense of live performances.